On seeing the poet the ascetic gives up idolatry and becomes his new convert; the rind found his faith in the tavern, the jar never empties, and love is the poet's fame.
When God's voice comes from a carpenter's saw and a church bell the poet dances; "Lâ taknatû" is heard from the cup, and sweet speech is an inheritance from Fatima's line.
A return to the story of Sinai: a manifestation that shatters mountains, a lover who fears majesty, a six-door bewilderment and a beloved whose pardon grows with every cup.
The poet asks with "I said" and a nameless company answers with "they said"; the cure is sought from a mouth that hardly exists, and two last couplets turn to God's pardon.
Karabağ's Aras joins the Oxus, the Nile and the Euphrates, the heart's bell calls the caravan to the road, and gnostics hold falcons while ascetics hold a fly.
A boast that counts Plato and Aristotle as pupils, yet its footing is lineage: the gift of speech comes from the Prophet, Câmi‘u'l-kelim, and the poet gives his age as forty.
The refrain "mı var" puts the same question to the ascetic two, three or four times without answer, and jingling internal rhymes end the list with passion, longing and tevellâ.
Roses pour from the lip, rubies and pearls from the eye, blood from the glance; a mirror shows the beloved her cruelty, fire threatens the Throne and wine flows from the heart.
Whoever is caught on the tress falls into the chin's well, singing ghazals falls to Nigârî, and in the last couplet fighting the Muscovite falls to the lion of Daghestan.
In nine of eleven couplets the poet asks "I said"; lovers take up the Trust that earth and heaven refused, the beloved is manifest yet hidden, and the preacher is one who brays.
A wind that roams evening and morning, the people of vision answering the world's self-adorning beauty, a heart mad for the pre-eternal Leyla and pearls from an unknown sea.
Every joy of the heart is traced to a source, the Family of the Cloak, Ali who opened Khaybar, Naqshband's Bahâ and the Prophet, in a lineage told partly in chess terms.
Nothing comes of madrasa debate and the seeker arrives only through a guide: kiss his hand, take favour from the cypress-statured, and beware the arrows of a praying heart.
Stature, resurrection, station, dwelling and uprightness grow from one root; the Tuba tree bows its head in shame, the dove leaves the cypress, and blame turns into safety.
The strand of hair dances not to the east wind but to the heart's reed; a calamity named "heart" is given to man, and the last couplet makes martyrdom a legacy of Karbala.
Prohibition sharpens desire and Leyla's tress goes up for auction; in Amasya the poet walks the rose-walk of Karabağ in his mind and hopes for a fair name.
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