The poetry of Nigârî, the Naqshbandi sheikh who came from Karabakh to Amasya: his divans, mesnevis, syllabic verse and twenty-four surviving poems.
The poetry of Nigârî, the Naqshbandi sheikh who came from Karabakh to Amasya: his Turkish and Persian divans, Nigârnâme and Çaynâme, his syllabic poems and Hüsameddin's view.
The ghazal with the refrain "ne ‘aceb" that Nigârî wrote in a carriage on his way into exile from Merzifon: reproach for a saviour who never came, prophets' stories and a final repentance.
Nigârî's four-line satire against the scholars of Amasya: fodder for the preacher, a saddle for the donkey, a morsel for the ascetic, and the targets Hüsameddin names one by one.
The couplets Hüsameddin cites as Nigârî's ecstatic utterances: a claim to be peerless in love, with allusions to al-Hallaj's "Ene'l-Hak" and Moses' plea "Rabbi erinî".
The quatrain in syllabic metre that Hüsameddin found "very poignant": the voice of a lover left without will from calling on Nigâr, the name behind Nigârî's pen name.
Nigârî's couplet telling the physician not to ask the cause of his pain: a secret of love that cannot be disclosed, and a line Hüsameddin cites as an example.
Nigârî's couplet on the huma of the heart roaming alone in the desert of love: a comparison with the Anka and a pun built on two meanings of the word "tek".
Nigârî's couplet in which the heart prostrates itself on the dust of the beloved's feet: a likening that casts the tresses as a commander and the heart as a bondsman.
Nigârî's couplet on the bird of the heart caught in the beloved's forelock: the conceit of the tresses as a snare and the play of sound between turra and tarrâr.
Nigârî's four-line piece presenting the pavilion of Nigâr as a refuge served by sultans and placing the battlements of the Throne of God at its foot.
Nigârî's couplet presenting the beloved's glances and eye as tyrants thirsting for the lover's blood: the two meanings of the word "susuyor" and the imagery of blood.
Nigârî's short couplet that calls separation the hell of lovers and says that even in that hell the thought of union makes the heart rejoice.
Nigârî's opening couplet with the refrain "feth": secrets open with the key of love and locked doors with a brimming cup, playing on the two meanings of mihr.
The opening couplet of a naat by Nigârî with the refrain "Muhammeddir", describing the Prophet's beauty through the turning heavens, the Moon, Leylâ and Mecnun.
Nigârî's kıt‘a describing his poems as a divine gift and a casket of musk his followers carried on their heads, and the story of the reverence shown to his divan.
Nigârî's couplet asking whether words that astonish the people of the heart are revelation, miracle or magic; the last poetic quotation in Hüsameddin's entry.
Nigârî's ghazal recalling his native Bergüşad, the Hekeri river and his beloved in Karabağ: the pain of exile, an allusion to Jacob and the voice of Azerbaijani Turkish.
Nigârî's ghazal with the refrain "olmayan bilmez": love, separation and truth can be known only by those who live them, with allusions to Leylâ, Ferhad and al-Hallaj.
The stanza of Nigârî's terci‘-bend known for the line "Sana Kur'an dimese ben sana insân dimezem": a naat for the Prophet by a poet who likens himself to Hassan.
Nigârî's three eight-syllable quatrains: a plain folk utterance explaining the cause of separation through the caged nightingale, the faithful gardener and the hunter.
Nigârî's opening couplet likening the corner of unity to a school for the seeker and love to the water that raises a sapling: the link between love and unity.
Nigârî's couplet saying that in the tavern of unity everyone is busy with a task of his own and none seeks travel, and the two ways in which it can be read.
Nigârî's couplet saying he is outwardly far from the beloved yet near in truth: the contrasts of outward and inward, far and near, evening and dawn.
Six lines in syllabic metre in which Nigârî expresses love for the Prophet's household: hatred of that lineage, love for it, and the poet's own seyyid descent.
Nigârî's poem with the refrain "siz bir taraf biz bir taraf": harsh language setting the Prophet's household against the Umayyads, reflecting the Ali-Muâviye dispute in Amasya.
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.
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.
The ghazal section of the divan begins with this poem, each of whose nine couplets opens "O love"; love is invoked as the source of speech, melody, wine and the path.
A ghazal whose twelve lines all begin "‘Aşkdandır": love as the beginning and end of existence through sun, moon, bird, fish, sky and Mount Qaf, with Arabic rhymes.
Nigârî does not define passion; he gives it titles instead: painter, calligrapher, commander, alchemist, prophet, and at last the hand of Ali that opened the gate of Khaybar.
A seven-couplet ghazal opening each couplet with "O beauty": the wine of charm that burns and gladdens the lover, a meaning beyond words, and the form of the pen name.
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.
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.
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.
A ghazal saying the tongue cannot suffice to praise God: the Prophet's prayer "lâ uhsî senâen", images of Qaf and the Anka, riddles and abjad, and incapacity as praise.
The poet asks for the calamity of love to grow rather than fade, wants his body pierced like a reed flute, and calls Hamza and Husayn to his funeral prayer.
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.