A naat on the Ascension in which every line ends with a repeated word: Isrâ, Aqsâ, "kâbe kavseyn", the names Yâsîn and Tâhâ, dancing heavens and twice-refined sugar.
"Who is there besides you" recurs over four couplets, each time with a new title for the Prophet; the answer is never given, since the question is itself the praise.
The second naat, built on the question "kanı sen tek" (where is one like you): comparisons between sky and earth, fate closing the register of beauty, and incapacity in praise.
Seven couplets go round Ali, Fatima, Hasan, Husayn and the People of the Cloak in turn, and every sacrifice on the path of love is set beside one made by the Prophet's family.
A ghazal opening with a Persian line: Majnun at Leylâ's tent, the dog moaning at the door, the barren palm of sighs, and the cry that shames the lover but makes the beloved famous.
Nigârî tells his heart it may kiss the Magians' feet and bow to idols, and that if all this is done for the love of God the revelry is lawful.
![Ghazal 19 — Der-miyân-ı rûy u leb hayretde[y]em ey dil-rübâ](https://amasya05.com/storage/gallery/9e2b7e1d8926436b21885df248de8039.webp)
A ghazal likening the lover caught between face and lips to a needle between two magnets: the cut rope of patience, the beloved's hut and the poet moaning fret by fret like a tanbur.
Declaring himself "of Ahmed's disposition", the poet takes calamity as his companion; fate's arrows turn to honey, cruelty to joy, and hevâ rules among the four elements.
A ghazal that begins with the ruin of separation and goes on in prayers: Ferhad the mountain-digger, dust of lovers' horseshoes, nightingale and parrot, and a plea not to be parted from God.
In this short five-couplet ghazal the blame falls on separation rather than on the sphere or fortune; the beauty spot is bait in a trap and grief rains pearls of pain.
A ghazal whose every rhyme follows the pattern "cefâ-ender-cefâ": rose garden against furnace-room, countless sacrifices, the reed flute of the body and a complaint after the pen name.
The speaking voice leaves the desert of love to Nigârî, keeps service at Leylâ's tent for itself, and ends by reproaching Majnun, called here by his real name Qays.
A love ghazal in the language of chess and backgammon: the king of one's aim in check, love as vizier, the blockade of wonder, Ferhad's art, the elder's breath and the rank of guidance.
The preacher threatens hell; the lover changes the measure, counts every place shared with the beloved as paradise, and speaks of a God who adds cruelty to show his favour.
A ghazal joining Shirvan, Karabakh and Baghdad in one couplet: the cupbearer of Shirvan, the wine of Rûhî of Baghdad, the rank of evtâd and a heart that outruns Majnun and Ferhad.
Each couplet says where something comes from, and the "silsile-i zülf-i Bahâ" of the third joins the chain of the curl and the lineage of Bahâeddin Nakşibend in one phrase.
A list of offerings with the refrain "fedâ": heart to lips, eye to a gazelle glance, reason to a languid narcissus, the earnings of asceticism to one cup; and "kara bağrım" and Karabakh.
Here Nigârî says that desire for the beloved wrote his divan, does not shrink from challenging Örfî of Shiraz, and counts himself the Majnun of the Leylâ of his age.
A ghazal playing on "Müşterî" as both Jupiter and buyer: the reason for giving one's soul to the beloved, the breath of Jesus, a sacrifice at the Kaaba and pain that becomes a cure.
The beloved calls the burned-out lover "raw"; from this injustice the ghazal moves to public disgrace and to counting it a favour to be cursed by name, to spite the rival.
A ghazal whose couplets all end "from you X, from me Y": edâ and kazâ, light and longing, cruelty and joy, an exchange between beloved and lover set up like a contract.
The "üktülûnî" of the ninth couplet recalls Hallâj's famous line; the poet counts his being a veil over the beloved's face and dying at her hand another life.
A ghazal that makes Moses' staff and the dragon captives of a glance: the words mecnûn and meftûn, a wine-coloured eye, "yahşı kânûn" and the trade language of profit in giving one's soul.
"The unbelief of your curl is guidance": the curl that covers the face has set the poet on the right path, the preacher cannot grasp it, and the kohl of passion sharpens his eye.
The poet reproaches his own heart: a fresh boil on the liver, angels who would fall if they knew love, a mouth that is a riddle and a manifest sun that never touched his eye.
Across the boundary of two lines in the sixth couplet "kara / Bağ", Karabakh, appears; the beloved's street becomes the eight paradises and a Kaaba, her face a Quran learned by heart.
A ghazal whose couplets all end "or is it ...?": feigned ignorance, a mouth likened to the indivisible part of theology, a threshold turned doomsday, Ferhad and Majnun.
Nigârî turns the poverty of love into a kingship: his crown is a sigh, his throne grief, his land a corner of sorrow that seems to him as wide as eight lands.
A ghazal punning on "yaradan": blood from the wound and restlessness from the Creator, passion from the black curl, the nightingale's song from the street, and the heart's retreat.
The poet lists the source of all he has, and none of it is himself: his sight is God's gift, his wings the elder's grace, his madness from the eye of the pre-eternal Leylâ.
A ghazal saying "painting without a pen comes from Bahâ's lesson": a sign to Bahâeddin Nakşibend, "Kâlû belâ" of the Covenant of Alast, Karbala's thirsty and Ferhad's pickaxe.
This five-couplet ghazal is built on words of two meanings: "âl" is trick and red, "vech" face and reason; at the end the beloved is a gazelle that pulls the lover's ear.
A ghazal whose voice shifts in the last couplet: a lover scattering his soul, a prostration of thanks by the Prophet's right, the Shirin pun and a counsellor confronting Nigârî.
Closing the elif ghazals, this cupbearer rubai already sounds the letter be in its rhyme; the cupbearer is asked to lift her veil and to bring wine for a liver turned to blood.
The second cupbearer rubai closing the elif section: strength run out, pure wine as the strength of the soul, a cup to scatter the dark of separation, and an impatient "make haste".
The poem that opens the be ghazals is a prayer turned upside down: let no one in the world be left without love's brand, no body without pain, no heart without sorrow.
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