Neà ÂÃÂá¹Âë (ÃÂôç÷ÃÂ<span dir="ltr">;?âÂÂ1674)</span> was the pen name (Ottoman Turkish: ﻡﺨﻠﺺ maḫla<u>s</u>) of an Ottoman poet. He was a Sufi, or Islamic mystic, of the Mevlevi Order, and his poetry is often considered exemplary of the "Indian style" (óèàÃÂÃÂïàsebk-i hindî) of Ottoman poetry, a movement which flourished beginning in the 17th century.
Though one source claims that Neà Ââtî's real name was Süleymân (óÃÂÃÂàçÃÂ), the majority of sources give his name as Ahmed (ãÃÂàï). He was born in Edirne, in the region of Thrace. It is not known exactly when he was born, though it is speculated that it was around the year 1600, on the evidence of a poem commemorating the winter of 1621âÂÂ22, in which year the Bosphorus strait in Istanbul was known to be covered with ice:
Neà Ââtî first become affiliated with the Mevlevi order as a disciple of the shaykh AÃÂazâde Mehmed Dede, first in Gelibolu in Thrace and then in Beà Âiktaà  in Istanbul. After AÃÂazâde Mehmed Dede's death, Neà Ââtî went to Konya in central Anatolia, where he served for a time at the tomb of Jalal ad-Din Muhammad RumiâÂÂthe founder of the Mevlevi orderâÂÂbefore finally returning, around the year 1670, to Edirne as the shaykh of the Murâdiyye Mevlevîhâne there. He died in 1674, and was buried in the courtyard of the Murâdiyye Mosque.
Neà Ââtî was not as prolific as many other Ottoman poets, but is nonetheless considered to be among the masters of the gazel form of poetry. He was strongly influenced by, and a great admirer of, the Persian poet `Urfë of Shîraz (d. 1591), about whom he wrote a treatise, the à Âerḥ-i Müà ÂkilÃÂt-i `Urfë (ôñààôÃÂÃÂçê ùÃÂñÃÂà"Explanation of the Difficulties of `Urfî"). It was primarily through the influence of `Urfî, among other Persian poets, that Neà Ââtî's poetry took on certain aspects of the so-called "Indian style", which was characterized by extravagant conceits; a complex, Persian-derived syntax; and a high level of lexical and syntactic ambiguity. An example is the following beyit, or couplet, from one of Neà Ââtî's most famous gazels:
The image used in the second line makes use of a double meaningâÂÂknown in Ottoman Turkish as tevriyye (êÃÂñÃÂÃÂ)âÂÂof the word nÃÂle (ÃÂçÃÂÃÂ): it can mean not only "lament" or "moan", but can also refer to a "reed pen", and specifically to the sound made by such a pen as it moves across the page in the act of writing.
Despite his word play, however, Neà Ââtî was also a poet of highâÂÂif sometimes restrainedâÂÂemotion, as present-day Turkish poet ðlhan Berk points out in a short essay:
<blockquote>Above all, Neà Ââtî was a master of expression, a man of great precision and sensitivity. Not a shouter, hidden, quiet, sparkling, genuine. In his poems, one is always struck with a great and profound sensation. More importantly, despite his being a Mevlevî poet ... he does not attempt to appear learned or to pretend to wisdom, but prefers in his poems to behave like a person, pure and simple. And like all great poets, he is humble.</blockquote>
The honest and undisguised expression of emotion that Berk's appreciation hints at can be seen, for example, in the opening couplets to one of Neà Ââtî's most often anthologized gazels: