This booklet introduces the technique of mu‘amma (enigma, riddle, world puzzle) used by the famous Timurid poet ‘Ali Shir Nawayi (1441-1501). Ninety nine bayts are presented along with the transliterated text following a translation into French and a short commentary, but without the original Arabo-Persian writing. Readers will find also preliminary remarks on the various rules of the enigma. To go beyond such preamble, it is important to remind that, as is well-known, mu‘amma (see also the lughz and the uhdjiyya) is a prosodic play present in Arabic, Persian, Ottoman Turkic and Chaghatay Turkic (though not mentioned in the bibliographical references, see the arch-classical Geschichte der schönen Redekünste Persiens, mit einer Blüthenlese aus zweyhundert persischen Dichtern by J. von Hammer-Purgstall, Vienne, 1818; and the more recent Ali Fuat Bilkan, Türk Edebiyatında Mu’amma, Ankara, 2000). It belongs to a long tradition theoretically inaugurated by Khalil b. Ahmad (718-786), author of the Kitab al-mu‘amma which, unfortunately, did not survive, then continued until the modern period throughout classical poetry (numerous references in C. A. Storey, Persian Literature: A Bio-Bibliographical Survey, 3/2, Oxford, 1990: 233-5). For instance, in fourteenth-century Central Asia the case of ‘Ismat Allah Nasiri and of his disciples is particularly interesting. The point about ‘Ali Shir Nawayi’s logogriphs — unmentioned also in the booklet — is actually the role of his mentor ‘Abd al-Rahman Jami, who was a tremendously influent master in rhetoric (including enigma). Jami apparently authored a Risala-yi mu‘amma, and represented a literary as well as spiritual model for Nawa’i. The central question, then, is to understand how and to which extent Nawa’i’s mu‘ammas are related to those composed by Jami.