– the rose (ﮔل gol) the world (جهان cihan; عالم ‘âlem) – the rosegarden (ﮔﻠﺴﺘﺎن golistan; ﮔﻠﺸﻦ golshen) the ascetic (زاهد zâhid) – the dervish (درويش darvish) As the opposition of "the ascetic" and "the darvish" suggests, Divan poetry—much like Turkish folk poetry—was heavily influenced by Sufi thought. One of the primary characteristics of Divan poetry, however—as of the Persian poetry before it—was its mingling of the mystical Sufi element with a profane and even erotic element. Thus, the pairing of "the nightingale" and "the rose" simultaneously suggests two different relationships: the relationship between the fervent lover ("the nightingale") and the inconstant beloved ("the rose") the relationship between the individual Sufi practitioner (who is often characterized in Sufism as a lover) and God (who is considered the ultimate source and object of love) Similarly, "the world" refers simultaneously to the physical world and to this physical world considered as the abode of sorrow and impermanence, while "the rosegarden" refers simultaneously to a literal garden and to the garden of Paradise. "The nightingale", or suffering lover, is often seen as situated—both literally and figuratively—in "the world", while "the rose", or beloved, is seen as being in "the rosegarden". Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. A brief example is the following line of verse, or mısra (مصراع), by the 18th-century judge and poet Hayatî Efendi: بر گل مى وار بو گلشن ﻋالمدﻪ خارسز Bir gül mü var bu gülşen-i ‘âlemde hârsız ("Does any rose, in this rosegarden world, lack thorns?") Here, the nightingale is only implied (as being the poet/lover), while the rose, or beloved, is shown to be capable of inflicting pain with its thorns (خار hâr). The world, as a result, is seen as having both positive aspects (it is a rosegarden, and thus analogous to the garden of Paradise) and negative aspects (it is a rosegarden full of thorns, and thus different from the garden of Paradise). Development As for the development of Divan poetry over the more than 500 years of its existence, that is—as the Ottomanist Walter G. Andrews points out—a study still in its infancy; clearly defined movements and periods have not yet been decided upon. Early in the history of the tradition, the Persian influence was very strong, but this was mitigated somewhat through the influence of