Adlî's only murabba: seven stanzas of reproach to the eye under the refrain "gözüm eyvây gözüm", with eyebrow-bow and glance-arrow images and a servant complaining of his shah.
The fragment Bayezid sent to his brother Cem Sultan during their struggle for the throne: Sehî's account of the 1482 exchange, Cem's replies and the four-couplet text of M2.
A two-couplet nazm surviving only in manuscript T: the beloved's eye recalls revelry, the cup of the lip draws laments, and with the rose-faced one near no garden rose is sought.
A single-couplet matla found only in manuscript M2: the sherbet of a ruby lip that steals the mind, and the sigh for the well of the chin that leaves the lover giddy.
The matla that Latîfî, Âşık Çelebi, Beyânî and Kınalızâde quote from Adlî: a beloved riding the horse of coquetry, the soul as a stirrup, and plain diction called sehl-i mümteni.
A single-couplet matla surviving only in manuscript M2: the scent of faithfulness from a rose-faced beloved, and a heart that clears of sorrow like troubled water.
A single couplet found only in manuscript T: someone who sees the folded end of the beloved's turban above the tall stature likens it to a jasmine blooming on the head.
A müfred found only in manuscript M2: the lover warns the beloved who has burned him not to trample him underfoot, since a hidden fire still burns within his heart.
The divan's last poem, a jointly composed couplet: Adlî leaves his line open with "but", and Câfer Çelebi of Amasya completes it: knowledge never put into practice earns no regard.
The first of Adlî's Persian ghazals: thanks for seeing the beloved's face, a pupil too shy to look, a soul's realm plundered by grief and an ordeal greater than Job's.
Adlî's second Persian ghazal: a cypress stature that dwarfs the Sidre tree, a sword preferred to Khidr's water and Jesus's breath, and a dove perched on a cypress.
A Persian ghazal by Adlî surviving only in manuscript T: a face like the moon through clouds, a smiling rose petal, a world turned prison and half a soul offered a guest.
Adlî's seven-couplet Persian ghazal found in three manuscripts: a lover who drinks the dregs of pain, Majnun, the Day of Alast, the polo field and a parrot flying to sugar.
A Persian ghazal by Adlî surviving only in manuscript T: a lover prostrate before a swaying cypress, a soul made visible, sighs that burn the heavens and a torn shirt.
Adlî's Persian ghazal with the refrain "dil": the pun on "‘anâdil" and "‘anâ dil", a heart filled with blood in separation, a faithless beloved and a heart of stone.
Adlî's six-couplet Persian ghazal: the soul as the only coin to spread before the beloved's feet, promises put off, pearls of tears and a brand struck on the heart.
Adlî's Persian ghazal with the refrain "-i men": a soul wounded by the arrow of a glance, a fairy-faced guest who never comes, and a final couplet addressing "my sultan".
Adlî's Persian ghazal rhyming in "-û": a lover turned to dust on the beloved's road, an eye beyond the gazelle's, a dragon curl, a sorcerer eye and the dog at the door.
Adlî's Persian ghazal rhyming in "-û": a languid eye that seeks mischief, beauty beyond a thousand tongues, wine settling in the jar and a heart tossed like a polo ball.
Adlî's Persian ghazal rhyming in "-âde": a curl on the cheek showing the forenoon and night of the sura Duhâ, the champion rider of beauty, a cupbearer of blood.
Adlî's Persian ghazal with the refrain "zede": a line in ambergris on sugar, a crescent curled at the sight of an eyebrow, eyelash guards before the mihrab and a scorned sun.
Adlî's Persian ghazal rhyming in "-ânî": a stature taking tribute from all beauties, a face to astonish Mânî, the command left to the beloved and a table of union.
Adlî's last Persian ghazal: sighs as the gain of a life, a hoofprint as the mirror of the soul, the honour of being a shah's prey and a lover made sultan of the world by a glance.
Adlî's only Persian kıt‘a, surviving solely in manuscript M2: a narcissus striking the enemy with a mace and a spear driven into the enemy's heart like the line of an axis.
Adlî's single-couplet Persian matla, surviving only in manuscript M2: soul-reviving wine from the jar, the double sense of safâ, and a lover leading the jug by the hand.
Adlî's Persian matla cited in the tezkires: smoke from a torn breast that becomes a cloud and weeps over the grave, and the chain of response poems from Necâtî to İbn Kemal.
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