Sanatçı, yaşadığı ya da gözlemlediği herhangi bir ruh hâlini ya da duyguyu, kendi bakış açısıyla, zihnî bir takım kurgulamalar yaparak eserinde işler. Nedim, "-âre midir" redifli gazelinde sevgilinin gelişiyle ilgili, onun iyi niyetle mi; yoksa kötü niyetle mi geldiği noktasında yaşadığı tereddütlü ruh hâlini şiirine yansıtmıştır. Nedim (âşık), şiir boyunca zihninde olumlu ve olumsuz iki ihtimal arasında kalır. Bu iki ihtimalin karşılığı olarak hissettiği duygular, ümit ve korkudur. Âşık, sevgilinin iyi niyetle gelmesini ümit etmekte; kötü amaçla gelmesinden de korku duymaktadır. Hissedilen korku ve ümit sıradan, basit duygulanımlar değildir. Bunları klasik şairlerin duygu anlayışına uygun olarak, âşıkların sevgiliden gelebilecek en ufak bir lütfu büyük bir ümitle arzu etmesi ve buna karşın ondan gelebilecek en ufak bir kötülükten büyük korku duyması arka planında düşünmek gerekir. Böyle düşünüldüğünde âşığın yaşadığı gerilim, heyecan daha iyi hissedilebilir. Ümitle korku, gelecekle ilgili olduğunda birinin varlığı diğerini lağvetmesi yönüyle karşıt duygulardır. Nedim, şiirinde zıt duyguları karşı karşıya getirmenin yanında, bunları eş zamanlı olarak aynı kişiye hissettirir. Bu, şairlerin duyguları işleme yöntemlerinden "duygu karşıtlığı"nın ilk çeşidi, yani aynı objeye yönelik, olumlu ve olumsuz duyguların eş zamanlı olarak bir arada oluşu anlamındaki "ambivalans"a (ambivalance) karşılık gelir. Aynı zamanda sevgilinin geliş amacındaki belirsizlik, olumlu ve olumsuz ihtimaller arasındaki ikircikli durum, âşığı ümit ve korku ile birlikte bir kaygı, tereddüt, tedirginlik ve şüphe hissetmeye yöneltir. Bu bağlamda düşünüldüğünde ise âşığın yaşadığı ruh hâlini tekinsizlikle ilişkilendirmek mümkündür.

Artist deals with a mood, state of mind or a feeling in his work by means of several mental fictionalizations from his point of view which s/he has either experienced or observed. In his lyric poem “-âre midir”, Nedim reflects his hesitating state of mind into his poem whether the beloved’s coming is friendly or malignant. Throughout the poem, Nedim (the lover) is torn between two possibilities of positive and negative in his mind. At this juncture, hope and fear are the very emotions he feels in exchange for these two possibilities. The lover expects the beloved come with good intentions and at the same time he fears that she might come with ill-intentions. The fear and hope are not ordinary, common feelings. These feelings, which are in accordance with the classical poets’ perception of love are what form the background of classical poets who desire the tiniest favor from the beloved with great hope and at the same time fear the slightest mischief that may be engendered by her. Envisioned in this way, the stress and the anxiety that the lover feels are better felt. Hope and fear which are the emotions concerning the future, are the opposite feelings one of which existence abolishes the other. Besides juxtaposing the opposite emotions, Nedim make them felt simultaneously by the same person. This is one of the methods that poets work with feelings, the “ambivalence” which is the first kind of “emotion adverseness”; in other words, by ambivalence, it is meant to be the existence of positive and negative feelings directed simultaneously to same object which can also be observed in Nedim’s poem. The ambiguity in the aim of the beloved’s coming, indecisive situation between the positive and negative possibilities direct the beloved into the feelings of anxiety, hesitation and suspicion as well as hope and fear. In this context, it is possible to associate the lover’s state of mind with uncanny Feelings are universal. Emotions such as compassion, jealousy, regret were there yesterday and are all around the world. When we evaluate literary texts considering their feelings (motion) and traits (character, habit) we see that they are facts which outgrows settings (time and place). Therefore a piece written in the past has the characteristic feature to speak to the whole world both in its era and in the future by the virtue of the feelings in it. In other words mood of a character could be same with a person who lives in another place or another era. Literary texts are products of human thoughts and feelings. An artist treats any mood or feeling she/he experienced or observed from his point of view through several fictions created in her/his mind. Artists use three methods to treat emotions. In the first method a single emotion is treated deeply almost in the degree of overstatement. For example; when treating sadness alone, this could be on the level of sorrow or grief. There are many examples for this in Classical Turkish Poetry. In the second method, artist places one emotion to the center – this could be named as prior feeling – and uses some assisting emotions with it. Patience could be an example for this. While treating patience “prior treat” is this feeling. Hope and grief within can be used as emphasizers along with it. What separates this method that includes several emotions from the third method is that feelings does not create an absolute antilogy. As for the third one, artist creates “emotional antilogy” by using opposite feelings on the same context. For example; feelings like love and hate, fear and hope, mercy and cruelty can create emotional antilogy when they are used in the same context. In this point, conflicting emotions can be felt by different people in different times and/or can be felt by the same person at the same time. The second situations is called ambivalence. Also the “emotional antilogy” created by using the second method is an example of oxymoron. Nedim uses the third method, the “emotional antilogy”. In his gazelle with the “-Âre midir” redif he reflects his hesitant mood concerning the arrival of the lover whether the intention behind it is good or not, to his poetry. Nedim is trapped between two possibilities all through the poem. These two possibility creates hope and fear. Poet hopes that the loved one came with good intentions and fears that the intentions are bad. These fear and hope are not just simple, ordinary affections. This should be considered according to motion sense of classical poets, that even the smallest grace of the lover is desired deeply and the tiniest misdeed is feared as well. We can understand the excitement and tension felt by the lover. Fear and hope are opposite feelings when they are about the future because one abolishes the other. Along with putting opposite emotions against each other, Nedim makes the same person – subject – feel them concurrently. This is a variation of “emotional antilogy” and called “ambivalence” meaning both positive and negative emotions are felt by the subject concurrently. Another concept can be related to this text is eeriness. Mostly eeriness is considered within “gothic literature” that involves fantastic and horror elements. First of all, it is not right to confine concepts within specific areas. Along with it, we see that references is missing the human element while explaining it. In fact, it is the human what makes an object eerie and suffers from eeriness. Therefore, concept makes it absolute to involve humans considering its meaning. So human feelings are in the play on eeriness. In this case, it is possible to define the concept as doubt, curiosity and hesitation state of the person forms with fear and anxiety when meeting with the eerie object. When we look at Nedim’s gazelle from this view point, beloved one who is “known” in normal conditions becomes someone “unnoticeable, stranger” due to her purpose. This uncertainty of the purpose, creates two possibilities. One is positive and the other is negative. The negative one creates fear and the positive one creates hope therefore anxiety. Hesitation, doubt and curiosity are the other feelings felt by the lover. When we consider them all together, we see that subject – lover (Nedim) beloved one’s arrival –. Beloved one’s arrival which did not cause eerie before now creates eerie under current status. This can easily be seen in the first three couplets. Symbolic words within the couplets supports these opinions. In the last two couplets there is an “uncertainty” concerning beloved one’s behavior in the common sense. In this point “subject” can’t clearly interpret general behavior of the “object” and this creates an “obscurity” Lover again worries within this obscurity that it could be good or bad with feelings such as fear, hesitation and curiosity. In conclusion, within the first three couplets where really short moments are embodied, eeriness is an instantaneous and we can say that it is a mood experienced in short periods. But in the last two couplets along with the mention of general situations there is an eerie expanded for an expanded period time and felt less. As a result, mood and eerie reflected in Nedim’s poetry assumes sameness. Therefore, Nedim aka lover’s mood against the beloved one can be associated with eerie.