The first quatrain of Fethî's koşma in the Merzifon Cönkü: a heart riddled by the fire of love, tears flowing like the Ceyhun and an insistent call to the beloved.
The line Kınalızâde puts in Hayâtî's mouth: the words "my patience is spent" of a poet who had spent his fortune for love, marking his move from Istanbul to the Hejaz.
Edîb of Lâdik's ghazal with the redif "let it appear": a breast like a crystal mirror, the light of Sinai, a house of mourning turned to a feast and lions that look like ants.
Twenty-four couplets that Safâyî took from Eşref Abdurrahman Efendi's kaside on the zerrîn for Damad İbrâhim Pasha: a spring flower, Âsaf's garden and gold illumination.
Kul Hüseyin's eight-syllable nefes: with the refrain "mercy, to the court of grace", a dervish who finds God in the one he loves and comes bearing his load of sins.
Derviş Edna's seven-syllable poem of counsel: the refrain "whoever hurts, hurts himself", the lure of worldly goods, and a soul whose "turn will come again".
Dervîş Mehmed Çelebi's Turkish couplet likening the world to an old hag: an oath, the idiom of showing someone the way out, and the true man who renounces the world.
Pîrî Mehmed Pasha's question-and-answer couplet: the beloved turns the lover's praise of her lovely eyes back on him, with the same words, as the charge of eyeing beauties.
Siyâbî's short couplet built on the words er, merd and cömerd: a saying of advice that looks for the gain of manliness in generosity, its meaning not wholly certain.
A lover who answers the beloved's offer of a hand to kiss with "Which hand?": the language of ceremony in Ehlî's couplet and a coy question hinting at the lip.
A heart that reads the beloved's face like a copy of the Qur'an: locks and cheek, west and east in Cevherî's couplet, and the allusion to a verse of sura Rahmân.
Love that comes from the day of pre-eternity, the transient world and permanence, the pure who long for the light of a cheek: two couplets by Bahâeddîn Mehmed Efendi.
Şeyhî's opening couplet with the refrain ölümlüsi: a lover who joins the thousands of love-sick men ready to die for a rose-faced beloved, and the two readings of its second line.
A three-couplet ghazal fragment by Sıdkı Mustafa Pasha: hope in a faithless promise, a moon that casts no shadow, tears that drown the world and a mote facing the sun.
The only surviving couplet of Refîkî's Persian verse, written as a response to Emîr Hüsrev-i Dihlevî, tells of a lover who leaves the roses for a jasmine-scented street.
In this opening couplet by Rûhî Fâzıl Çelebi the sun and moon, which roam the whole sky every day, become fickle beauties who may be forgiven for imitating the beloved's face.
The archer's feat of piercing glass with one arrow becomes the beloved's glance in this couplet by Sülûkî; Beyânî and Kınalızâde give it with one small difference.
Âşıkpaşazâde's three couplets announcing the conquest of İnegöl in 699 (1299-1300): the town taken, the warriors' booty, the land of unbelief laid waste and Osman's arrival.
A two-couplet ghazal fragment comparing the beloved to a rose-bodied cypress and the lover to its shadow, with a signature couplet playing on "Remzî" as keeper of secrets.
The section on the Reality of Muhammad, telling of creation from love and from the light of Muhammad, with the mirror image and closing couplets on love.
A ghazal signed Murâdî and attributed to Murad II: a lover busy only with the beloved, a drop of water vanishing on fire, and the image of the compass and its point.
A ghazal whose first six couplets run like a single conditional sentence: it lists all the lover's ordeals and ends with Avnî refusing to trade her street for the world's throne.
Sâhib's na‘t in a short metre: "two bows' length" as the target of the Ascension's arrow, a sandal that crowns the Throne, a robe of levlâk and a poet among the needy.
Niyâzî's opening couplet on the rival: a man who enters the garden of union and reaches for unripe fruit, and the double sense of the idiom "tama'-ı hâm".
Mihrî Hatun's 39-couplet kaside for Prince Ahmed, a Ramadan festival greeting that opens with a spring scene, with an English version and commentary.
A ghazal by Remzî, last sheikh of the Üsküdar Mevlevi lodge, praising Amasya, the Yeşilırmak, its water wheels, its apples and Governor Tal‘at after a brief visit in 1936.
A ghazal by Adlî built wholly on the language of calligraphy: the down on the beloved's cheek as şemse, gubâr and reyhânî script, a Gospel sura and Majnun's desert.
Münîrî's six-stanza terci-bend in praise of the Prophet, each stanza led into its refrain couplet by nightingales, angels, the poet or a voice from the unseen.
Tâcîzâde Sa'dî Çelebi's response to a ghazal by his brother Câfer Çelebi: five couplets kept in two anthologies, black fortune, a setting sun, kanun, harp and reed flute.
Hubbî Hatun's ghazal with the refrain "holy war" in İmâdü'l-cihâd: five couplets that carry love poetry's rose garden and light into the praise of war, an example of her "manly" voice.
A couplet of Âfitâbî preserved only by Âşık Çelebi: a letter written as if by a bewitched pen, whose heading makes everyone who sees it fall in love.
Three couplets of Kasım Paşa (Sâfî) quoted by Sehî in the Heşt-Bihişt: a cypress that bears a rose, a lock on the cheek, and a saying warning against locks with a thousand tongues.
Basîrî's ghazal on the refrain "variken": a lover who never leaves the shade of his cypress-tall master, burns like rue seed in the fire and prefers love's counsel to the counsellor's.
Kara Fazlî's fifty-seven-couplet na't using the words "şütür" (camel) and "ḥücre" (cell) in every line, moving from counsel to longing for a journey to the Prophet's cell.
Müeyyedzâde Abdurrahman Çelebi's three-couplet kıt‘a preserved only in Latîfî: the ever-turning wheel of heaven, the changeableness of the world and the counsel not to miss the moment.
Two playful couplets by Gelibolulu Sürûrî with the refrain "has grown": the beloved now beyond his father's control, and the torn collar grown wide enough to pass him through in adoption.
Karekod · QR code
Bu sayfanın karekodudur. A5 olarak yazdırıp asabilir ya da yapıştırabilirsiniz; okutan kişi doğrudan bu içeriğe ulaşır.
This QR code links to this page. Print it on A5 and post it anywhere; scanning it opens this content.