Şeyhülislam Pîrîzâde Mehmed Sâhib Efendi, translator of Ibn Khaldun: in Hüsameddin a man of Merzifon banished to Amasya, and a poet in three languages.
Şeyhülislam Pîrîzâde Mehmed Sâhib Efendi, translator of the Muqaddima: his Merzifon origin in Hüsameddin, banishments to Amasya, endowment, poetry in three languages and divan.
The prayer that opens the Sâhib Divanı: release from lovelock, eyebrow, down and beauty mark, a pun on Āl-i ‘Abā and the red rose, and a plea not to be mute on Judgement Day.
Sâhib's na‘t that opens with a wine gathering: the rebuke of ascetic reason, the need for intercession, the shadowless body and Qur'anic phrases woven into praise.
Sâhib's na‘t of nine couplets: the shadowless Prophet as the leaven of God's shadow on earth, the levlâke hadith, the moon of the Ascension night and a plea for intercession.
Sâhib's na‘t in a short metre: "two bows' length" as the target of the Ascension's arrow, a sandal that crowns the Throne, a robe of levlâk and a poet among the needy.
Sâhib's kaside on the Sinjar campaign of Hasan Pasha, governor of Baghdad: good news that builds a pavilion in the heart, Rustam and Farhad, Karbala's revenge and a chronogram.
Sâhib's chronogram on Hasan Pasha's conquest of Sinjar: praise that shrinks the heroes of the Shahnameh, a grammatical pun on "mâ" and "sıla", and the date "Gazâ-i Hasan".
Sâhib's poem on a promise of favour from Hasan Pasha, rhyming in "-et geldi": the end of waiting, a pen turned sugar cane, and a poet who admits the rhyme has run dry.
Sâhib's chronogram on Maktûlzâde Ali Pasha's arrival in the city of Abraham's birth: the echo of "coolness and safety" and "Aliyy Azîm", a date that holds the vizier's name.
Sâhib's chronogram for the Ferahâbâd Palace built by Maktûlzâde Ali Pasha in Urfa: pavilions, a fiery bathhouse, a pun on halvet and Halveti, and a double chronogram.
Sâhib's chronogram for Ali Pasha's pool pavilion: praise that finds the garden of Iram an inadequate comparison, a pavilion like a waterside mansion, and its dating line.
Sâhib's chronogram for the Hüseynâbâd pavilion built by Hüseyin Agha in Urfa: the names Hasan and Husayn, Husayn Bayqara, a pun on "kusur" and a painted ceiling.
Sâhib's short chronogram for Muhammad, steward of Hasan Pasha, governor of Baghdad: a riddle on the letters of the name and brief praise defended with "mâ kalle ve dell".
Sâhib's chronogram for Süleyman Efendi, deputy judge of Ruha: the kadı's "fine substitute", signatures like rows of worshippers, and a seal likened to the seal of Solomon.
Sâhib's chronogram on the first down on the face of Hattî Mustafa Çelebi: a rampart around the city of beauty, China conquering Rum, and a beard like the Kaaba's veil.
Sâhib's poem counting the waters of Bursa one by one: thirteen waters from Pınarbaşı to Fındıklı, the Müftü water with its fatwa, Moses' Asâ water and a water worth gold.
Sâhib's poem on Mahmud I shooting a bird from a hundred and fifty paces at the Gülhâne Pavilion: a gold-inlaid musket and a hit read as an omen of Tahmasb Kulı Khan's death.
Sâhib's poem on Mahmud I shooting a bird in flight at the Bahâriye Pavilion: the idiom "what kind of bird are you", Rustam's eye-piercing arrow and a double chronogram.
Sâhib's second chronogram for Hattî: the youth who masters forty years of calligraphy in a short time turns to the "hatt" of his face; a riddle of Hasan from Şehbâ to Damascus.
The only muhammes in Sâhib's divan: a poem of warning that reminds the beloved of the transience of beauty, turning the face into a Kaaba and the eyebrow into a ruined mihrab.
The ghazal that opens Sâhib's ghazal section: an unlucky lover who sees a mirage in the sea and whose wine turns to water, the merit of a smile, and rosewater from a cheek.
Every couplet closes on "âsâ" (like): the lover turns like a millstone, the beloved is carried like a book, the down is admired like a choice couplet, tears scatter like rosewater.
The judge Sâhib's ghazal with the refrain "da‘vâ" (lawsuit): libertine against ascetic, Zayd and Amr suing by proxy, a pun on target and betrothed, and a claim that falls with the down.
Sâhib's ghazal built on the shapes of letters: a breast torn like "illâ", a collar shaped like "lâ", a forelock like a tughra, and the plague leading the rival to the funeral stone.
The tughra atop a decree, the title "izzetlü", a meal begun with salt, the basmala and the first rosary bead: Sâhib fills the refrain "ibtidâ" from the customs of his age.
Sâhib's ghazal with the refrain "at dut" (throw, hold): the same two words take new meanings in archery, a cap thrown for joy, sand divination, chess and the wine gathering.
Sâhib's debate ghazal with the refrain "bahs" (dispute): a grain against the mill, the cup against the rosary, false and true tears, a heart reconciling lock and comb, a moth at the lantern.
Sâhib's sententious ghazal with the refrain "geç" (let go): Joseph who left home to become aziz, carnelian famed once it leaves Yemen, a proverb, and thought milled to flour in the heart.
Sâhib's ghazal whose refrain uses the astronomical terms "hazîz" (perigee) and "evc" (apogee): rise and fall in music, in a seal, in the dots of letters, in rank and in fortune.
Morning defeats the army of Şâm, a white rose outshines the stars, the sun performs the işrak prayer, and in this ghazal on "subh" the lover's eye is lit by the cheek.
Sâhib's ghazal on patience and time: grapes that turn to wine in the jar, an eyebrow-bow slackened by the years, a ripened cypress bearing fruit, and a pen that bows as it writes a name.
Sâhib's short ghazal: an ascetic in his shawl is a rapier hidden in a staff, the tughra is the imam of the mosque of decrees, and the wounded heart is content with the decree of fate.
Torment grows with hope, beauty with the down, appetite with eating, and the moon's light with its distance from the sun: Sâhib's ghazal on "artar" is a chain of proportions.
Sâhib's ghazal with the refrain "olmaz da n'olur": advice never to set foot in state office, grief that rises and falls like the tide, and a pen-name couplet that follows the way of Nâbî.
Sâhib's ghazal with the refrain "yazar" (writes): couplets laid out like a letter, a fief of paper villages, an eye that becomes a Kahramannâme, and Majnun naked in love's bathhouse.
Sâhib's ghazal on the down: a copy full of errors, down that tunes the face like the pegs of an instrument, a joke on "bedel-i iştimâl", a fortune that sets like the afternoon sun.
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