The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: the pun on bensiz and beňsiz, and the cypress-tall beloved; original text, English prose and commentary.
The opening couplet of Ârif's semai in the Merzifon Cönkü: thanks for rising from a sickbed; original text, English prose and literary commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a sulking beloved with a tilted fez and a frowning brow; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a mad and ruined heart longing for freedom and union; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a lover weary of life, tears of blood and a plea for fairness; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: withdrawal from life and consolation in God's decree; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a lover begging pardon from a just and gracious lord; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: the rose garden gone with autumn and the forlorn nightingale; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: nightingales drunk on the wine of Elest and divine love; original text, English prose and commentary.
The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: plays on devran, the realm of locks and the steed of coquetry; original text, English prose and commentary.
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: a sorrow that grows from one to a thousand when told; original text, English prose and commentary.
The first stanza of Tokatlı Nûrî's Düstûr in the Merzifon Cönkü: a stanza with a refrain and a merciless cypress-like beloved; original text, English prose and commentary.
Sıdkî Baba's crane deyiş: it describes to the cranes a pilgrim road from Hamdullah's post in Amasya through Merzifon, Harız, Çorum, Bozok and Malya to Hacıbektaş.
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: a plea not to be left in the fire of separation; original text, English prose and commentary.
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: a figure praised with ceberût, melekût and the shadow of the hümâ; original text, English prose and commentary.
The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: a prayer for divine grace for a heart on the path of love; original text, English prose and commentary.
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.
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.
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.
The opening section of Tokatlı Nûrî's Satrancî in the Merzifon Cönkü: a eulogy built from shifting verbal segments; original text, English prose and commentary.
The opening couplet of Tokatlı Nûrî's ghazal in the Merzifon Cönkü: asking the beloved, physician of the age, for a cure; original text, English prose and commentary.
The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: a heart lamenting amid the delight of the pleasure-seekers; original text, English prose and commentary.
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: a nightingale with no rose or branch, a lover with no refuge; original text, English prose and commentary.
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.
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.
The opening couplet of Tokatlı Nûrî's semai in the Merzifon Cönkü: the laughing rose that no longer begrudges the nightingale's sighs; original text, English prose and commentary.
The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: an invitation to an outing and the enigmatic çifteler; original text, English prose and commentary.
The first stanza of Tokatlı Nûrî's six-line semai in the Merzifon Cönkü: a na't on the Muhammadan light and the pride of the prophets; original text, English prose and commentary.
On change, in four couplets: while Prince Murad is in Amasya the infidels burn Samsun, and Mehmed Çelebi marches via Merzifon to take Muslim Samsun from Hızır Beg.
Born in Merzifon, the tanburi and composer Sadun Aksüt accompanied Münir Nurettin Selçuk for years and taught tanbur at the ITU Conservatory for nearly half a century.
From the baths of Mehmed I to Kara Mustafa Pasha's water channel from Mount Taşan, the Sofular distribution chamber, some thirty fountains and the endowment baths, this is the story of Merzifon's water system.
From Merzifonlu Kara Mustafa Pasha to Sheikh Abdürrahîm-i Rûmî, Pîrî Baba and the professors of the Merzifon Madrasa, the people this Anatolian town produced.
The roots of Amasya keşkek, cooked whole in a stone oven and left unpounded, with its geographical indication No. 1183, its traditional recipe and its difference from the Merzifon style.
From the origin of its name to the Kara Mustafa Pasha Complex, the Çelebi Sultan Mehmed Madrasa, the American College and its keşkek, a sourced portrait of Merzifon.
Club sport in Amasya grew from Amasyaspor, founded in 1967, through Merzifonspor and the 12 Haziran Stadium to a handball side now in the Super League.
Circumcision feasts and the kirvelik tradition in Amasya are described by reading local records alongside Anatolian research, with attention to how the custom lives on in Merzifon.
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