The ghazals, quatrains and couplets Mehmed the Conqueror wrote as Avnî; the manuscripts and editions of his divan and his disputed Amasya link.
The poems Mehmed II wrote as Avnî: his divan surviving in one manuscript, its editions from Jacob to Doğan, the pieces outside it and his disputed link to Amasya.
The opening ghazal of Avnî's divan: five couplets praising a beloved whose face is the Eid crescent, hair the Night Journey, glance Moses' hand and lip Jesus' breath.
A lover searching for a way to be heard: the ant that cannot reach Solomon, the candle weeping in the gathering and a torn collar that shows the wound of parting.
The lover's complaint in the refrain "baña" (to me): he reaps only grief from the world's field, Adam weeps, poison meets antidote and prayer turns to the brow's niche.
A ghazal whose first six couplets run like a single conditional sentence: it lists all the lover's ordeals and ends with Avnî refusing to trade her street for the world's throne.
Every couplet ends on wine in this ghazal of spring and the tavern: wine like the lip, a gathering lit by the cupbearer's face and Avnî robbed of his cash while lying drunk.
A ghazal on how hard everything in love is: reaching the beloved's door, plunging into a sea of tears, giving her up; and a warning against the world's old hag.
A garden ghazal that hangs its images "şâh şâh", branch by branch: hyacinth locks, moles like peppercorns, a nightingale memorising the bud's letter and an amulet for a sigh.
A ghazal that works like a dictionary: the rose means the cheek, the cypress the stature; clouds are the smoke of sighs, the Pleiades tears; the rival has no place in a poem.
A ghazal that looks for hope in a new place in every couplet: a lover who will not give up despite the rival, the pearl diver, April rain and a play on the pen name and God's "avn".
A ghazal whose redif "geçer" (passes) shifts sense in every couplet: death's draught passing for medicine, a rival passing for pious, treasure in ruins and a puzzled beloved.
A ghazal in which the roses on the cheek turn the heart into a nightingale: pains earned as profit in love's market, a knot of locks the breeze cannot untie, candles lit by wine.
A short ghazal fed by wedding and royal customs: the cloud of the lashes scatters pearls at the beloved's feet, and the yellowed face becomes a gold carpet for her image.
A ghazal whose redif "düşer" (falls) wanders through seven senses: a silk carpet of autumn leaves, a lover haunted by his shadow, decree and tughra, and sun and moon fallen into water.
A ghazal for a black-clad Frankish beauty: the knot of the zünnar girdle, the life-giving way of Jesus, and the famous last couplet "You are king of Istanbul, he is king of Galata".
A ghazal in a short metre and plain language: mouth and hair played on with the titles of madrasa textbooks, robbers in the city of the heart and a world-rose whose scent brings headaches.
A ghazal in which every couplet turns one thing into another: pearl teeth and ruby lip, a lover made sultan by a half-spoken "my slave", Avicenna's Canon and the kanun zither.
An eight-couplet ghazal telling the beloved's walk in the garden like a royal procession: narcissi watching the road, box trees standing at attention and two seas of the eyes.
The ghazal that opens "I became the slave of a king whose beggar is the world": a sultan-poet enslaved, mornings that are feast days and evenings that are the Night of Power.
A four-couplet ghazal missing its opening couplet: stature and resurrection, the soul returning with the sword of the glance, and a rose season shorter than a month.
A short ghazal in the mütekârib metre built on questions: are these tears or blood, can the sea scatter pearls like the eye, is it the beloved or fate that torments Avnî?
The ghazal of a lover who would not take Ferhad as his apprentice: the free cypress, a soul dug out with fingernails, laments echoing on Bîsütûn and the rusted mirror of the heart.
The wine ghazal whose opening couplet Latîfî quoted as a sample: a lover calling for the cup before autumn, a will that slips away, passing beauty and a fight with the rival.
The ghazal of a lover bound to a king whose slave is the world's sultan: hair as the Night of Power, separation as Ramadan, a pun on Yusuf and Sinan and Sadi's tale of Sultan Mahmud.
The lover speaks as king of the land of love: his realm the desert of grief, his banner a dragon-shaped flame of sighs, his mirror the wine cup, and the ash that keeps his fire his own body.
Five couplets in short remel: ney, harp and kanun in the gathering of grief, puns on the names Hüsrev, Ferhad and Mecnun, and Avnî who spent his tears and could not buy union.
A ghazal in which the rival bars even a heart content with the scent of the hair: a beloved above the angels, a love on every tongue and a final couplet urging wealth be spent on wine.
A ghazal spoken in the first person plural: the body turned to dust and swept away by sighs, wine set upon the head, breasts bared to separation's arrows and a threshold equal to heaven.
A ghazal made of refusals: a lover who will not rebuild his ruined heart, the recluse who shuns fame, and one rich in love's coin who scorns guarding a treasure.
A second ghazal of lovers speaking as "we": collars torn at the sight of the bud-lipped beloved, a love made an epic like the Tale of Hamza, a stature open as a flag, the mouth's secret.
A ghazal whose refrain is the beloved's name, Veyis: for Veyis, sultan of the heart's throne for years, tears become wine and the liver a kebab when he comes as a guest for one night.
A ghazal whose refrain "olmış" (has become) reports changes: eyelids bobbing as bubbles in a pool of tears, locks turned eagle, a Sufi who allows secret drinking, a rival dog at the door.
A short ghazal on a bud-lipped beloved who was a sapling and is now a cypress: honey on beauty's table, a brow watched instead of the crescent, and a lip like sugared halva.
A ghazal of discovery with the refrain "-mış": an eye lit by the threshold's dust, a heart rebuilt by the architect of cruelty, motes turning to the sun and an ascetic who skips prayer.
A ghazal likening the tavern to Paradise: houri-faced tavern boys, a courtyard smelling of spring on every side, the murky-hearted Sufi kept out and a dregs-drinker raised to intercessor.
A Sufi ghazal on the tavern's safe station and its kindly elder: an age without companions, the drowned man who cannot know the sea, the hypocrite Sufi and the path of annihilation.
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