Three couplets on a father who guides his son and a son who takes counsel, after the question whether Osman Gazi was still alive when Bursa was taken.
In the second "O beauty" ghazal the eye is never sated: melâhat, the salty kind of beauty, only makes it thirstier, and the gazing goes on even through doomsday.
Sâhib's short ghazal: an ascetic in his shawl is a rapier hidden in a staff, the tughra is the imam of the mosque of decrees, and the wounded heart is content with the decree of fate.
Bewilderment bordering on madness, the sphere as a cart of tremors, the world as a painted square: in this short-metre ghazal to the cupbearer, wine takes the place of reason as guide.
A nine-couplet ghazal, found in a single manuscript only, built on images of the hair-lasso, Hârût and Mârût, chess terms and sugar hanged in the bazaar.
Adlî's seven-couplet ghazal likening the liver to an oven and tears to wine; its makta counts the beloved's street as Paradise, where there can be no torment.
Münîrî's fifty-four-couplet elegy for his children Ali and Ferah, who died within a week in 887 (1482-83); it opens with complaint and closes in prayer.
Basîrî's ghazal that opens the language of the tavern to Sufism: an owl of the ruin whose huma of aspiration nests on the Sidra, a coffin of vine branches, devotion to the tavern elder.
Kara Fazlî's thirty-two-couplet kaside praising Sun'ullah, again vizier to Prince Mustafa, with the moon of justice, Âsaf and Hâtem, and letters that spell "reason".
Harîmî's ghazal rhyming in "-âne": the matchless pearl of the sea of love, a rind who leaves the kingdom of the world for the tavern and advice that cannot reach one maddened by love.
Mustafa Vâzıh's ghazal on the beloved's finery: a belt wound round a hair-thin waist, a cypress called a tall fool, a forelock under the fez and henna turned to blood.
The opening couplet of Tokatlı Nûrî's semai in the Merzifon Cönkü: a lover at the beloved's feet wishing for evening to come; original text, English prose and commentary.
Kul Hüseyin's farewell nefes with the refrain "come, send us off with joy": a heart longing for its homeland, mutual forgiveness, the lovers' knowledge from Imam Cafer and hope of reunion.
Derviş Edna's nefes of counsel addressed to the saints: many pains and one physician, the ledger of deeds opened, the seven hells, the seven kings of the self and an order set from eternity.
Love as the capital and tavern of lovers, the jewel fallen into filth and Bâyezîd-i Bistâmî's anecdote of the lost donkey: one of the book's most poetic mesnevî pieces.
Refîkî's nazire on the model of Resmî the painter: a moon-candle unafraid of the dawn wind, a sword offering the water of life, an arrowhead as bud, and dust that polishes the heart.
A short ghazal on a bud-lipped beloved who was a sapling and is now a cypress: honey on beauty's table, a brow watched instead of the crescent, and a lip like sugared halva.
Osman Gazi asks Orhan to bury him under the Silver Dome and to reject words God has not commanded; two couplets on intention close the chapter of his testament.
A prayer ghazal that pleads with God as if addressing a beloved: play on the word "nigâr" and the pen name, a rhyme recalling Hafez, and the elders of Samarkand and Bukhara.
Torment grows with hope, beauty with the down, appetite with eating, and the moon's light with its distance from the sun: Sâhib's ghazal on "artar" is a chain of proportions.
Faithless rosebud mouths, the picture gallery of China, Alexander and Darius, bloody footprints are counted with the refrain "we have seen"; only Şeyh Gâlib's pen has never been matched.
A ghazal with the refrain "-umdur nemed" (is felt) in which the dervish's felt becomes companion, confidant, beloved and winter fire; compared with Necâtî's ghazal.
Adlî's seven-couplet ghazal likening the sun to a beggar who comes to the beloved's door each morning; it closes in a frame of Paradise, with Sidre, Rıdvan and Abu Lahab.
Münîrî's five-stanza love terci-bend; its Turkish and Persian stanzas meet in one refrain couplet: for lovers the sorrow of love is gain enough in both worlds.
Basîrî's ghazal that makes the beloved's street a Mount Sinai: God's light in the Friend's face, Paradise refused without her, Leyla's locks, a sugar-chewing lip and the passion of curls.
Kara Fazlî's forty-two-couplet autumn kaside, opening with a picture of the fading garden and praising the chancellor Celâlzâde Mustafa Çelebi for his verse, pen and generosity.
Harîmî's ghazal with the refrain "oldun yine": a heart moaning like a nightingale, the scent of union, a soul waiting for death and a Sufi flight from multiplicity to unity.
Mustafa Vâzıh's ghazal on an armed young rake: reduplicated phrases from spoken Turkish, a drunken night scene and the thief of the glance in the ruined house of the heart.
The opening couplet of Tokatlı Nûrî's semai in the Merzifon Cönkü: advice not to expect faithfulness from the fair; original text, English prose and commentary.
Kul Hüseyin's sixteen-quatrain nefes on the Last Day: the fair Shah who will come as a guest, the Mahdi and Jesus, the Beast of the Earth, Israfil's trumpet, the bridge and the scale.
Derviş Edna's nefes on meeting his guide on the fifteenth of the spring month: the apple divided in four, the words "the heart is in the heart" and the grief of parting.
The deliverance of a poet burned by love, through the beloved's grace: the sheikh taken for a stranger, the master who opened the road, and a sharp word for the ascetic.
A ghazal that opens by wishing long life to a tolerant tavern-keeper, with the goblet's skirt, a fawning decanter, a temple bell, a moth burnt by a mole and a jealous comb.
A ghazal of discovery with the refrain "-mış": an eye lit by the threshold's dust, a heart rebuilt by the architect of cruelty, motes turning to the sun and an ascetic who skips prayer.
Four couplets on love, signed Âşıkî, in the middle of the story of the daughter of the tekfur of Aydos, who saw in a dream a man lifting her out of a pit and lost her heart to him.
Nigârî reads the Quranic judgement on poets in his own favour and sets believing poets apart; blame (melâmet) and the two senses of "nevâ" are the poem's other supports.
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.