The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: roses in clusters of four or five and an army of nightingales; original text, English prose and commentary.
Kul Hüseyin's poem with the redif "it is time to": a lover drawn to a beauty, saying the time has come for secret talk, for weeping, for reconciling and at last for union.
Derviş Edna's nefes counselling patience in a corrupt age: the people of truth in hiding, honesty slandered, the tyrant's fall and a fate that "opens at thirty-three".
A ghazal whose every couplet ends with “etmiş misiñ”, have you: an examination of the claimant to love through two bows' length, the moth, Ferhad and prayer.
A cheek rising like a sun from the evening of the tress is a sign of Doomsday in this nazire on Nesîmî's model, along with a pearl of grace, a salamander heart and a slave moon.
Five couplets in short remel: ney, harp and kanun in the gathering of grief, puns on the names Hüsrev, Ferhad and Mecnun, and Avnî who spent his tears and could not buy union.
Sent alone for the first time against Karaçepüş and Karatekin, with Akça Koca, Konur Alp, Gazi Abdurrahman and Köse Mihal, Orhan is praised in three couplets.
Nigârî opens his Turkish divan with wine drunk in God's name and that name called aloud; this cupbearer rubai is also the first of those placed at the end of each letter.
Sâhib's ghazal with the refrain "at dut" (throw, hold): the same two words take new meanings in archery, a cap thrown for joy, sand divination, chess and the wine gathering.
Fire rises from bones in the grave, arrowheads from the breast on the dissecting table; in this ghazal the world is the beloved's hospital and the glance a foe in a friend's guise.
A five-couplet ghazal with the refrain "oldı âkıbet" about a reversed fortune, in which the friend turns enemy and the physician gives poison, ending with Mihrî calling her own case strange.
Adlî's ghazal imagining a gentle beloved, in whose final couplet the poet asks himself: you pass for a sultan, but can you pay the price of a soul?
Münîrî's forty-two-couplet Persian kaside for Prince Ahmed; after an inner ghazal he likens himself to a Hassân beside the prince who bears the Prophet's name.
Basîrî's ghazal on the lover's frailty: bones turned into a letter, a tongue of flame in the oven of grief, a body no one can tell from its trace and a black eye that assays silver tears.
Kara Fazlî's thirty-couplet winter kaside that portrays winter as a sultan invading the realm of the garden and links the silver of snow to Prince Mustafa's bounty.
Harîmî's ghazal rhyming in "-en": the idol as teacher of coquetry, a lover who puts the rope around his own neck, basil and jasmine laid low and the sound play "yil, yiri, yirine".
Mustafa Vâzıh's ghazal to a schoolchild reciting the sura of Joseph: the well of Nakhshab, sweetened coffee for a melancholy temper and ink in a crystal bottle.
The opening couplet of Tokatlı Nûrî's semai in the Merzifon Cönkü: a letter and a many-coloured robe sent to the beloved; original text, English prose and commentary.
Kul Hüseyin's nefes with the redif "a point": the point seen on the throne of Elest, the Greatest Name, the hundred and fourteen suras, and all the verses gathered in the letter be.
Derviş Edna's nefes on meeting his pir in the month of Muharrem: a face kneaded with light, the cloak and crown, the hand that gives out portions, and Ali seen at the fount of Kevser.
Love of saints and the Hizbü'l-bahr, a call to unity in the Khalidi hatm, and sharp yet measured criticism of other orders: on the superiority of the Naqshbandis.
Refîkî's second nazire on Nesîmî's model: a muezzin who sees the beloved's stature and cries 'What a fine kâmet!', jasmine trembling like linen, and a couplet after the pen name.
A ghazal in which the rival bars even a heart content with the scent of the hair: a beloved above the angels, a love on every tongue and a final couplet urging wealth be spent on wine.
The tekfur of Karatekin refuses Orhan's offer "give me this fortress" and his stronghold is sacked; six couplets follow, each ending with the word "kal'a", fortress.
The second cupbearer rubai opening the divan: wine offered openly to the gathering of rinds, completed with blessings on the Prophet and a prayer for his family.
Sâhib's debate ghazal with the refrain "bahs" (dispute): a grain against the mill, the cup against the rosary, false and true tears, a heart reconciling lock and comb, a moth at the lantern.
Cûdî's ghazal meant to gladden Fuzûlî's spirit: beauty lighting Joseph's prison, the weeping eye turned laughing rose, the mirror that turns away, and every melody turning to a cry.
A ghazal with the refrain "bahs" (debate) that casts love as a matter of madrasa argument; Latîfî quotes its first couplet as an example of "manly" speech in Mihrî's poetry.
Adlî's ghazal about an old lover who has given his heart to the young, the chain of the curls, a Sufi's dream of Paradise and the grief written by destiny.
Münîrî's forty-one-couplet Persian kaside for Prince Ahmed with the refrain "nihād"; Ersoy calls it a response to Selmân and Zahîr, and the poet names both at the end.
Basîrî's ghazal on the refrain "our": a tulip-faced beauty, the sky's goblet of sorrow, a suit for blood against the beloved, moans heard as music and a pun on al, ala and almak.
Kara Fazlî's thirty-three-couplet kaside with the refrain "-dür bugün", celebrating like a feast Prince Selim's arrival in Bursa and his meeting there with Süleyman.
Harîmî's poem of leaving crown and robe to wander in exile: couplets that the biographers say Prince Korkut spoke as the voice of his condition when he went to Egypt.
Mustafa Vâzıh's ghazal with the refrain "virir": the sick eye and the world of images, a lisping Greek beauty whose mouth holds no dot, and an eyebrow that says "ceffe'l-kalem".
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: telling the ascetic that the saz is a prayer to God; original text, English prose and commentary.
Kul Hüseyin's nefes "since Elest I have loved the light": the merchant from India, the letters elif and mim on the Throne, accepting the gallows like Mansur, and the lover's wound.
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.