Adlî's five-couplet ghazal holding that union is not won by effort but hangs on one kind regard from the beloved, told through cage, web and reaching hand.
Adlî's ghazal on the refrain "bağlamış" shows the beloved's hair as chain, polo stick and bond of sorcery, ending with a divan bound from rose petals.
Adlî's five-couplet ghazal on the refrain "imiş" calls the poet who longs to serve the beloved "a strange sultan", openly working the irony of king and servant.
Adlî's ghazal on the refrain "itmiş" bends the crescent into an eyebrow and explains the moon's spots, then makes the poet king of lovers through pain.
Adlî's ghazal on the refrain "olmış" on bitter words from a sweet lip, a beloved not won by seeking, and the poet's audacity in coveting the ruby lip.
Adlî's ghazal surviving only in manuscript T describes a beloved learning the saz through the Bûselik mode, the royal falcon and the miracle of Jesus.
Adlî's five-couplet ghazal on the refrain "halâs" (escape): a bird in the snare, a burning straw and the arrow of a sigh show that no one who falls in love escapes.
Adlî's seven-couplet ghazal rhyming in "-at" likens the beloved's face to a Mushaf written in musk and the down on the cheek to the flawless script of God.
Adlî's seven-couplet ghazal moves from the lover's devotion to counsel on hearing those who seek justice, and to the saying that the royal crown brings only a headache.
Adlî's five-couplet ghazal: the tulip's scar, lamp and moth, a lover who renounces the cup of Cem and the throne of Keykâvus, and owl and crow in the rose garden.
Adlî's seven-couplet ghazal on the refrain "dirîġ" (to begrudge) asks the beloved for one grain, and in the last couplet counsels not to withhold treasure from dervishes.
Adlî's seven-couplet ghazal sets the sun against the beloved's face, prays in Arabic for rescue from the night watchman, and retreats into the corner of grief.
Adlî's five-couplet ghazal on the refrain "yok": a parrot without sugar, an arrowless bird, a dawnless night of parting and a lover with neither crown nor belt.
Adlî's seven-couplet ghazal on the refrain "yok" describes a matchless beloved, grief driven from the house of the heart, a lip of living water and a school of grief.
Adlî's ghazal on the refrain "olmak" moves through the sick eye, forelock and curls, the bandit and the lawful, and ends with love shaking the foundation of a sultanate.
Adlî's five-couplet ghazal opens with a pun on neğam and ne gam, names the cup of Cem, Mecnun and Ferhad, and seeks the secret of the tiny mouth in nothingness.
Adlî's ghazal on the refrain "itmek" weaves the dust of the threshold, a sigh like an arrow, the thieving glance, the drunken eye and a breast made shield against lashes.
Adlî's seven-couplet ghazal stands out for allusions to Ferhad and Joseph, a brow likened to a sultan's tuğra and a slave of love who is sultan in the land of Rum.
Adlî's seven-couplet ghazal paints a face of hyacinth, jasmine and rose, with the musk of Khotan, a fairy in a ruin and grass on a grave that becomes a tongue.
Adlî's five-couplet ghazal opens with the rose and the nightingale, names the violet and the forelock, and ends saying a royal crown has brought him only a headache.
Adlî's seven-couplet ghazal, found in all five manuscripts, traces how separation drives the lover to madness through the fairy, hashish, the tambourine and the harp.
Adlî's seven-couplet ghazal on cheeks that lend light to sun and moon, a glance that turns dust into elixir, threshold dust as kohl and the musk of China.
Adlî's short-lined ghazal on the refrain "gerek" lists the desired beauty from stature to waist, with wordplay on guile and red, calligraphic terms and the letter dâl.
Adlî's five-couplet ghazal opens with allusions to Cem, Zâl and Rüstem and ends by declaring that, in the realm of transience, ruling the world lasts but a moment.
Adlî's ghazal on the refrain "-üñdür senüñ" sets the beloved's face against moon and sun, likens the brow to a bow and the sigh to an arrow, and ends with a full moon's waist.
Adlî's five-couplet ghazal on the refrain "-den yeg" ranks the beloved's sweat above rose water, speech above pearls, lip above gülşeker and face above sun and moon.
Adlî's seven-couplet ghazal on the refrain "gerek" sets out the conditions of love's path through tears, brushwood, sighs and Sinai, ending with the rhyme Etrâk and idrâk.
Adlî's five-couplet ghazal on the refrain "varduñ" traces the heart's arrival at the beloved through chaff in a rose garden, royal pearl teeth and musk from the perfumer.
Adlî's seven-couplet ghazal on the refrain "itdüñ" counts the beloved's cruelties as favours and ends with the servant made sovereign over the land of grief.
Adlî's five-couplet ghazal tells the lovers' grief through spring, nightingale, tulip and thorn, and ends by pairing the beloved's face and curl with day and night.
Adlî's five-couplet ghazal moves through motes of dust, the crescent pointed at, an autumn leaf and the ascetic, and ends by saying that wealth cannot buy union.
Adlî's six-couplet ghazal on the refrain "degül" outdoes Ferhad's cry, recalls Mecnun's broken bowl and ends with a lover whose fortune is not his friend.
Adlî's five-couplet ghazal on the refrain "degül" uses letter-shaped brows and curls, the bloody eye as a cup, and kings Hüsrev and Dârâ as slaves of the beloved.
Adlî's seven-couplet ghazal on the refrain "eylegil" moves from garden images to the language of the court and ends asking the beloved to make him sultan of Rum.
Adlî's five-couplet ghazal likens the unbending lock to an ear of grain and tears to a shoreless sea, then plays on his pen name to give up the title "just king".
Adlî's seven-couplet ghazal on the refrain "kıl" warns the heart against the sorcerous eye, urges tears as offerings, and asks for long praise of stature and few words on the mouth.
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