This ghazal appears in Fuzûlî's famous Leylâ and Mecnûn masnavi (couplets 2658–2662), expressing Mecnûn's total state of helplessness and amazement in the face of love.
Known for her classical and folk crossover style. This ghazal appears in Fuzûlî's famous Leylâ and
The poem consists of five couplets (beyit) that describe a state of spiritual drunkenness ( ser-mest ) where the world ceases to exist. Original (Ottoman Turkish) Modern Meaning Öyle ser-mestem ki idrâk etmezem dünyâ nedir This ghazal appears in Fuzûlî's famous Leylâ and
This ghazal appears in Fuzûlî's famous Leylâ and Mecnûn masnavi (couplets 2658–2662), expressing Mecnûn's total state of helplessness and amazement in the face of love.
Known for her classical and folk crossover style.
The poem consists of five couplets (beyit) that describe a state of spiritual drunkenness ( ser-mest ) where the world ceases to exist. Original (Ottoman Turkish) Modern Meaning Öyle ser-mestem ki idrâk etmezem dünyâ nedir