The refrain says "there is", yet the heart has nothing but grief: Jacob's sanctuary ruined by sorrow, a breast wasted as if by consumption for a Joseph, a wound counted a gift.
Every couplet ends "I did not, says", and the speaker changes: a regretful heart, a self claiming never to have sinned, a beloved who ruined nothing, a soul that found no nearness.
Nigârî makes the world an inn with two doors and sets a madmen's home of gazelles and cries of "Yâ Hû" against the ascetic's mouse-ridden cell, closing on Joseph.
A Naqshbandi sheikh who sits now in the tavern, now in the lodge praises the tavern elder who unsettles reason and calls gazing on the beloved's face the real art.
A red-headed tulip from the mountains of Karadağ, the heart as Attar's hoopoe and a signature ending "he is from Karabağ": the poet sets his homeland beside his name.
Opening with the wine of the primordial covenant, the ghazal plays on three senses of makam and gathers love's madmen in a desert of devotion to the Prophet's family.
A musk-scented lodging haunted by gazelles and fairies, wine of the tress at night and of the lip at dawn, and a preacher whose knowledge stays merely "nazarî".
A verse from the sura al-An'am is spoken of the unseen mouth of a beloved who comes unveiled from the tavern of the Unseen; the poem ends with the dog of her street.
Colloquial echo-words such as "akçe makçe" mock an alms-collecting preacher in a ghazal close to syllabic measure, where the poet also names his ancestor Ağa Bâlî.
A lip recalled again and again like twice-refined "kand-i mükerrer", a heart turned Moses asking a single mote of light, and a terse warning not to break the cup.
The beloved's cheek is a Qur'an learned by heart, her name the Greatest Name, the dust of her foot red sulphur, and the preacher a snake blinded by an emerald cup.
A commander who takes a thousand Khaybars at one stroke, a bond between the chain of the tress and the line of Mîr Hayder, and divine secrets storming the poet.
The whole ghazal behind a couplet published alone on this site: the edition's "hergiz" turns the subject to the heart, Majnun finds his Leyla and blame becomes a wine.
A lover who leaves paradise to the preacher and keeps the tavern, a play between musk and the wretched, and a hard verdict that any lover who tells his secret is a Hallaj.
The cruel beloved's arrival at the gathering is likened to Hülagü entering Baghdad, yet musk, gâliye and jasmine foretell it, and at the end the one arriving is the poet.
The rhymes "bî-hâr", "bî-mâr" and "bî-nâr" are built like proverbs, no rose without thorns, no treasure without a serpent, while the heart turns Christian in the idol house.
The refrain "bilmezler" divides jurists and ascetics who do not know the hidden treasure from love's drunkards who know neither rite nor school, and the poet joins Majnun.
The heart plays with the gurgle of the flask, the strand of the tress and the stages of the road, and in love's world Mahmud of Ghazna is a plaything before his slave Ayaz.
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.
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.
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.
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.
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.
A Sufi at the rinds' gathering meets a poet not quenched by a hundred cups; the order of the suras Tebbet and İhlâs becomes a joke, and the preacher is offered fodder.
Praise of the Prophet in the metre of Rumi's Masnavi: the organ is Khidr of hidden knowledge, the reed a reed of wisdom, and all the poet's verse is born of a single glance.
Opening with the saying "Every Ahmed has his Abu Jahl", this short-lined ghazal targets the fodder-eating preacher and leaves its secrets behind in a sefine.
The six-couplet ghazal opens on roast and wine, yet the wine needs no cup and no eye sees it; ruined lovers fill the tavern and a dergâh stands between palace and lodge.
Naming Abu Bakr as guide and Ali as conqueror of Khaybar side by side, this syllabic ghazal voices without dispute the stance Nigârî took against the Rafidi charge.
The poet calls his own divan a verse of love and a scripture of passion; the brow is a prayer niche, the stature a pulpit, the ascetic lower than a donkey, and a naat closes.
Âye, pîrâye, mâye, sermâye, dâye and sâye share one sound, while over the crownless head of the poet, nurse to love's child, stands the shade of the cypress-statured.
In this syllabic ghazal wine is the vine's daughter and mihr both sun and love, and the sayyid poet counts his salty speech and excess of love an inheritance from the Prophet.
A strand of hair becomes a lute string, a tear turns telltale and love's lesson begins at night; past the pen name, Hafez of Shiraz is made nurse to the poet's child of verse.
The refrain "var" counts wounds and sugar like an inventory of wealth, the poet reminds a questioning master of his skill in proving God, and Hafez becomes his measure.
A poem of longing built on a past tense of habits now ended: the beloved would ask after him with half a smile and half a glance, and now the poet asks where that time went.
The poet's nature is pregnant with a child of verse; Moses' story of the fire seen on a dark night is turned around, and to the lover who says "Erinî" the beloved appears.
The refrain "ağlar" sets the eye, the minstrel and a lost caravan's master weeping; the beloved is a vengeful Rustam, and past the pen name the fire of Karbala rises.
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