Three couplets signed Âşıkî in the edition's appendix, where the Conqueror's envoy to Kayıtbay is shown no honour and the sultan of Egypt in return sends a market inspector.
Cûdî's answer to those who call prostration to Adam the secret of the path: Qur'an 2:34 addressed to the angels alone, mankind not yet existing, and the restriction in "to the angels".
The beloved has put on the felt cloak of the Kalenderi dervishes, and the lover follows suit for love; even the iron-hearted mirror turns dervish in its felt case.
Each couplet opens with the blessing "Âbâd olsun", may it flourish, on the place in Karabağ where the poet loved a black brow and saw light upon light.
Mihrî Hatun's reproachful ghazal with the refrain "kâşkî" (if only): unrecognized in her worth, she mocks a world that honours ignorance in her couplet on Turkishness and tarhana.
Münîrî's ghazal of the stranger lover: drawn by his own earth to a quarter, a five-day nightingale, a preacher who would strike with a sword and an eyebrow like an Indian doctor.
Three couplets on the man needed to face the enemy: a force Bayezid II gave Alâeddevle beats the Arabs near Horman, then falls into an ambush at Malatya.
Cûdî's kıta continuing the debate on prostration to Adam: the worshippers of the Messiah, Jesus as a perfect man, a Prophet who never asked for prostration, and "you are children of Muslims".
The tresses that shade the face in the opening are, by the last couplet, the sun's "hem-sāye", its neighbour, too proud to bow; between, they swim as a crocodile in a sea of tears.
Ghazals curling like a forelock, a poet who is no preacher and, after "baht-ı hümâyûn", a confession: the couplet past the pen name hands every boast to divine grace.
Mihrî Hatun's ghazal of union with the refrain "yetişdi" (has arrived): the beloved's coming is a remedy for the sick heart, a sultan for its throne, and Isfahan kohl brought by the east wind.
Münîrî's ghazal rhyming on the suffix "-üp": a lover seeking the beloved even at the Gathering, a tear kissing a dog's track, a falcon-like heart and a mended glass.
Three couplets on those heedless of their enemy: the Ottoman troops at Adana give themselves to revelry while the Egyptian army crosses the mountains.
Cûdî's kıta linking Sheikh Bedreddin's revolt with Shah Ismail: Börklüce Mustafa and Torlak Kemal, a seed sown a century before, and an objection to the historians.
A poet who served as nişancı sees the down as the tughra on beauty's patent. The green down under black tresses is a parrot of India, the teeth the Pleiades hidden in an atom.
The places where the beloved played her brows would make Hafez's rose-walk at Musalla jealous, and the "nigâr" inside the pen name writes her portrait without pen.
Mihrî Hatun's ghazal of counsel with the refrain "seni": beauty is fleeting, the beloved should fear curses, and fate will make the sovereign of beauty a beggar.
Kara Fazlî's chronogram with the line "İclāl ü 'ömr bāḳī", written in Amasya in 957 (1550) when a teacher was appointed for Prince Mustafa's son Mehmed.
Münîrî's ghazal of the sun-like face: light that burns the veil, manifestation in the dust, a sun climbing the hills to see an eyebrow's crescent and a sleepy glance.
Prince Bayezid's five-stanza tahmis on a ghazal by Celâlî with the refrain "garaz": rose, nightingale, cypress and plane tree, and seeing the beloved as the purpose of all.
Âkif's quatrain addressed to God: a heart that sings like a nightingale in His grace and lives like a salamander in His wrath, between the furnace of fear and the garden of hope.
Mustafa Vâzıh's playful single couplet that turns the beloved's hair-thin waist into a madrasa problem and solves it by "splitting a hair forty ways".
Four untitled couplets in the appendix, where Hersekoğlu Ahmed Paşa marches to Adana with hungry troops, wishing the legends to stop here and praying for the dynasty.
Cûdî's polemical kıta on the clear and the ambiguous verses: a method that explains away clear rulings and makes veiled verses a plaything of fancy, with Qur'an 3:7 behind it.
A ghazal of a lover who sends the physician away: a doctor of the soul, wine or lips instead of sherbet, a drinking set made of liver's blood and a life too short to bear the pain.
A second turn at the refrain "plays with": the heart handles the forelock like a perfumer his cinnamon and cardamom, a strand brings news, rose and nightingale take turns.
Mihrî Hatun's ghazal on the signs of love: a heart lamenting like a ney, a breast become a def, a stature bent like a çeng, and a pen-name couplet blaming fortune rather than fate.
Kara Fazlî's chronogram on Behrâm of Prince Mustafa's Amasya retinue becoming sword-bearer in 957 (1550), playing on his name, which means the planet Mars.
Münîrî's ghazal of the hyacinth veil: a sun-face behind a cloud, cheek-down that is no verse of mercy, "death" as the answer to "em" and Ersoy's example of zihaf.
Prince Bayezid's murabba with the refrain "Which one shall I tell, I have a thousand kinds of pain": separation, fate, the grief of friends and a warning to the beloved.
Âkif's quatrain of prayer: asking God, the absolute sovereign, to join him to the hidden servants and to let the sword of his tongue, tempered by the law, lay bare the veins of truth.
Mustafa Vâzıh's single couplet joking about his poverty: his leaking old house is "of heavenly rank", and so it drips drop by drop like the sky itself.
Eight couplets in the appendix listing the sultans' lifespans, noting Çelebi Mehmed's sermon read for a time in Amasya, and telling of the Conqueror's death.
Cûdî's quatrain to those who raise the master and 'Alî to the divine attributes: the counsel to call on God, the Living and Self-Subsisting, and a gentler second ending noted by the copyist.
The bud has not opened; the rose branch's gall has burst at the nightingale's wailing. With "do not think", the ghazal denies what is seen and puts poetic causes in its place.
A twin ghazal that remembers the same places as fire: the liver roasts, the desert of China is shamed, and the bitterest memory is where her hand left Mîr Nigârî's.
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.