The divan of Tâcîzâde Câfer Çelebi, chancellor and poet born in Amasya: his kasides, ghazals and kıt'as with original text and translation.
The divan, Heves-nâme and prose works of Tâcîzâde Câfer Çelebi, chancellor born in Amasya: the verdicts of the biographers, his response poems and the edition of his divan.
The first ghazal of Câfer Çelebi's divan: five couplets that define the lover as one who yields to the beloved's will, carry an image of smoke and end with God's pleasure.
A ghazal with the refrain "baña" that adds the night of separation to a lifetime, leaves the world to the rival for the beloved and likens a rose petal to a heated horseshoe.
A response to Şeyhî's ghazal with the refrain "baña": its close kinship with Ahmed Paşa's response, a pen name placed in the penultimate couplet and a lover who calls love a sin.
The first of the responses to Ahmedî's "serv-i revân ola": a lover who invests his soul in the beloved's tresses, his reckoning of profit and loss, and a joke on her missing waist.
A ghazal that likens the down on the cheek to immortal Khidr and bloody lashes to a painter's brush; an opening Erünsal compares with Ahmed Paşa, and a large group of responses.
A traveller's prayer for a beloved setting out on a journey: words of the road from caravan leader to highwayman, and the lover's fear of being forgotten once out of sight.
A ghazal that turns the beloved's street into Paradise, the cupbearer into a houri and the cup into a red shield against grief; an argument built on Resurrection and stature.
A plain ghazal of separation close to spoken Turkish, "let whatever black days may come", the couplet Erünsal cites, and a closing image read as a mirror or as sparks.
An informal drinking ghazal with the refrain "kiss": the beloved's hem, tresses likened to the veil of the Kaaba, and down read like a sultan's decree; reverence mixed with jest.
A ghazal with the refrain "guarding": a lover who tries to shield the beloved from the evil eye, from mirrors, from moonlight and from his own blood; Erünsal's example of leff ü neşr.
A short ghazal that likens the beloved's lip, eye and glance to the madrasa books Şifâ, Hikmetü'l-ayn and Şerhu'l-İşârât; a response to Ahmedî with an eye rhyme.
A ghazal with the refrain "ey dōst" that likens the cheek to a mirror no gaze can harm: a response on Şeyhî's ground, an opening Zâtî repeated, and a lover burning like a candle.
A response to Ahmed Paşa's "dürüst" ground written alongside Bayezid II and Necâtî: tresses as a polo stick, an elif hidden in the word "cān" and couplets worth a divan.
A ghazal with the refrain "dispute", each couplet a debate: Ahmed Paşa's ground answered by thirty poets, the ant and Solomon, and a violet that loses to the tresses.
A short ghazal on the narrow rhyme "-enc": a treasure guarded by a dragon, mirrors turning into oranges, a chessboard in the night sky and Erünsal's example of question and answer.
A drinking ghazal with the refrain "cup": images running from the crescent in the twilight to the rising sun, from a drunken cup carried hand to hand to a vessel of the lover's dust.
A description of beauty built on the hadith terms sound, explicit and fair: lips that issue a legal opinion, a face inscribed "ente melîh", and thanks for an eloquent tongue.
A ghazal that likens the cheek to a book page, the down to a gloss, the lips to a point and the waist to a line; love as "the soundest school" and a heart gladdened by a ruby cordial.
A ghazal rich in sound with the doubled word "şāḫ şāḫ" as refrain: locks spilling over the cheek, turtledove and nightingale in the rose garden, a boxwood comb and a singing poet.
A winter ghazal spoken by the hearth: fire girded with snakes, smoke drawing tears from heaven's eye, an ember turned blue with cold and a garden where crows sing.
A response to Ahmed Paşa's ghazal with the refrain "lezîz": two couplets skilfully merged into one, kinship with Necâtî and Zâtî, and a scroll of verse like sugar cane.
A response to a ghazal by Prince Cem: a musky breeze, a mole like a spring fly, a parrot in an iron cage, and a line that Zâtî took over word for word.
A drinking ghazal that sets the golden cup beside the rival's yellow face: gates from Paradise, a prayer niche turned infidel under a cross-like forelock, and souls thin as hairs.
A ghazal with the refrain "is … coming?" that reads a twitching eye as the beloved's coming: a passion brought by spring, death as a spectacle and a response very close to Ulvî's.
A short-metre ghazal of reproach with the refrain "you infidel": a body turned coffin, a body that is no castle tower, a meadow that drives out its nightingale, a heart torn down.
A ghazal that runs the names Hüsrev, Şîrîn, Şebdîz, Leylâ and Mecnûn together with their everyday meanings: an eye that bewitches the sorcerer and a rival's simile that limps.
An opening that turns a mote gazing at moonlight into a sun in its exaltation: extended rhyme, a perfect pun, a glance lodging in a ruined caravanserai and Ahmedî's large group.
A calligrapher's couplet built on reyhânî, muhakkak and the writing of Yâkût: a bud whose mouth is torn, a pine gone to the mountains and Nazmî's crowded "gül-i ter" group.
A ghazal with the refrain "they called" that gives its verdicts from others' mouths: a pen name likened to Şeyhî, Leylâ and Mecnûn, a blind ascetic and eye rhymes in Arabic script.
A ghazal with the refrain "belt": a jealous halo belting the moon, a sash that outshines Gemini's belt, a belt that stakes all it has and a lover bent into its ring.
A response on Hafî's ground with the refrain "pâreler": wounds that weep blood for the lover, gold against a farthing, longing inside a bubble and black-blanketed hyacinths.
A model poem in Nazmî answered by Necâtî and Süleyman: a sick, slow breeze, the idiom "a draught of water", joined brows and buds like sealed letters.
A ghazal with the refrain "knows" that uses the phrase "God knows" in two tones: tears opening a road to union, a brow as chamberlain and a pen-name couplet echoing Necâtî.
The ghazal with the line "the beauty is she whose standing and sitting become her": internal rhyme, a two-coloured rose called two-faced, a chain of hair and a line Zâtî repeated.
A ghazal with the refrain "leans": a soul at the threshold, a lover on the beloved's knee, a face like a medallion in a silver arch, a sleeping archer eye and the angels of the Throne.
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