A ghazal with the redif "olmaz", recorded under the pen name Mihrî in a Kütahya anthology, about a lover who keeps loving despite the beloved's indifference.
Münîrî's ghazal with the refrain "diñlenür": a moth that rests in the flame, tears that never rest, advice to a barking rival to rest now and then, and a refrain split in two.
Cûdî's ghazal "Astonishment" at his own being: a poet who opens his eyes and asks "what am I?", abysses crossed since pre-eternity, a joke on Zeyd and 'Amr, the holy breath, and no transmigration.
An anthology ghazal under the pen name Mihrî that calls the beloved by a new epithet in each couplet, with the redif "gelgil" formed by the Old Anatolian Turkish suffix "-gil".
Münîrî's ghazal: a lip that is rose-sugar in form and moist fire in essence, an eye turned shield full of arrows, a brow like the lengthening mark, and dust that lights the eye.
Cûdî's ghazal "Being": being that fire and light cannot explain, being drawn from its sheath, a universe-book of black pages and letters of light, vagrant forms, and the limit of reason.
A hezec-metre anthology ghazal headed "Mihrî-i Nâlân" by the compiler, describing the beloved through narcissus, bud, rose and hyacinth and the lamenting Mihrî as the nightingale.
Münîrî's ghazal whose opening couplet the biographers cite: two springs of the eye pouring jewels like water, the falcon of the lock, and a false heart known on the touchstone.
Cûdî's ghazal reading creation as a book: a heart asking about the last chapter before saying "alif", the nasal sound of the command "Be!", wonders that answer "Here I am", and a book beyond doubt.
An anthology ghazal under the pen name Mihrî, of uncertain attribution, whose couplets are all questions ending in the redif "‘aceb" (I wonder), between hope of union and fear of parting.
Münîrî's ghazal with the refrain "alur gider": a beggar heart that hosts a sultan each night, a madman taking a thief as guest, the drunken Turk's sword, and a candle carried about.
Cûdî's poem telling spirit and body through a classroom: a teacher writing on the blackboard, writing wiped away, meaning kept in memory, the body as swept chalk dust, and the book of creation.
A ghazal with the redif "bâ‘is" (reason) that asks the cause of everything from the beloved's lock to her mood and ends by naming Mihrî herself as the cause.
Münîrî's ghazal with the refrain "var": a glance with dawn arrows, a heart whose trouble is worse than the lover's, a breeze bearing news of the tulip, and sorrow that also passes.
Cûdî's second "Ecstatic Sayings" ghazal: a heart turned sun by the lights of pre-eternity, a self no sphere can hold, a spring tree of stars, an orange sun and bitter-orange moon, and one soul.
An anthology ghazal with the redif "olmuş", moving from admiration to the hurt of hearing the beloved is in a rival's arms, with candle and moth and arrow and bow conceits.
Münîrî's ghazal woven of letter play: the verdict "ṣarar" written by a ṣād eye and two rā brows, lashes sifting the threshold's dust, and puns on żarar, yarar and ḳarar.
Cûdî's ghazal of the ecstatic self: precious dust from the door of the Prophet's Family, a being pounded in love's mortar, a nestless nightingale, Sheba's throne carried to Solomon.
A couplet reported in the tezkires, said to have been spoken in Prince Ahmed's assembly when Mihrî was linked with İskender Çelebi, likening her lip to the water of life.
Münîrî's ghazal with the refrain "ider": an army of sorrow plundering the heart, a nightingale moaning on an almond branch, locks like peacocks, and a rose compiling a divan.
Cûdî's ghazal that sees the heart as the only refuge: a man who is both refugee and refuge, the weapon of patience, the body as armour, non-being as rest, and a poet who wants no showy grave.
Münîrî's ghazal laden with idiom and proverb: where fire falls it smokes, a beloved who thinks man grows like grass, and an eye drowned in tears like a water jug lying in water.
Cûdî's ghazal to the gathering of saints: pearl-hunting in the sea of Aden, a wish to befriend all strangers, streams that give up, and a foot slipping from the world of spirits.
Münîrî's ghazal close to popular speech: a pun on "yaşar", tears like rivers in spring flood, an army of sorrow besieging the heart, and the proverb "one who asks crosses mountains".
Cûdî's kıta greeting the Feast of Sacrifice: a prayer that the morning of fortune be lit by many more like it, the rhyme of forenoon with the feast, and a greeting addressed to everyone.
Münîrî's ghazal with the refrain "-ler": madmen clinging to the lock, a narcissus eye that ruins houses, moles as burnt hearts, and moths that come to the lover to take lessons.
Cûdî's feast greeting built on the images of the hajj: pilgrims standing at 'Arafat, the cry of "Here I am", and blessed feasts circling the Kaaba of a life caravan after caravan.
Münîrî's ghazal with the refrain "olur": tears turning from sugar to salt, a guest uneasy in a sick heart's house, a heart burned as incense, and an ascetic blind as a bat in the sun.
The second version of Cûdî's feast greeting: takbirs accompanying the cry of "Here I am", and a feast that circles not the Kaaba of life but the Kaaba of the heart; the two versions compared.
Münîrî's ghazal with the refrain "didiler": a face that is spirit given form, a lip of refined honey, a play on copy and incomplete, and a sun that whirls for resembling her by a mote.
Cûdî's seven-stanza Karbala elegy: the crescent of Muharram turned bloody crown, a call to mourning with the refrain "hush", Hüseyin's martyrdom, anger at Yezid, praise of Muhtasham, and moderation.
Münîrî's ghazal: a lock that cannot rest on the cheek like a hair in fire, a stature that is elif in the abjad, a tulip jealous of the breeze, and the pupil as curtain-keeper.
Cûdî's elegy in the manner of a ghazal for his son Muhammed Nûrü'l-Hüdâ, who died young: a cup of joy turned to poison, a question to the sky, and a meeting at the Resurrection.
Münîrî's ghazal with the refrain "yeter": a face for the gathering's candle, tears for wine, Paradise for the ascetic and halva for the sufi, a lock that ruins musk, a crow in the garden.
Cûdî's two-couplet kıta left outside the divan: a man who weeps at birth while the world laughs, and the counsel to live so that death is a smile to oneself and mourning to others.
Münîrî's short-metre ghazal with the refrain "ider": a strand of hair that bends the lover like a harp, a narrow lip that narrows the world, a rusting mirror, and a pun on çeng and ceng.
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.