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.
Refîkî's reveller's reply to the preacher and the Sufi: goblets that shake the house of piety like cannonballs, shouts that drown advice, and tales other than love's epic.
Counsel to a seeker who has found a perfect master: surrender like a corpse in the washer's hands, conduct even in sleep, extra prayers and a warning in a folk idiom.
Nigârî's couplet saying he is outwardly far from the beloved yet near in truth: the contrasts of outward and inward, far and near, evening and dawn.
Mustafa Vâzıh's ghazal that says the same request first in a Persian compound, then in plain Turkish: a loosened sash, a witticism on the dot and pleasure four times over.
Harîmî's ghazal with the refrain "-um benüm": a welcome embroidered in blood on the slipper, a moon-faced beloved who walks without a shadow and a lover dancing on the gallows of the locks.
Kara Fazlî's kaside that praises his dead horse in hyperbolic images, mourns it in the language of chess and asks Prince Mustafa for a new mount.
Basîrî's ghazal on the refrain "you made": a lip flushed with wine, a rā-shaped brow bending the lover into a nūn, Shirin's lips, Leyla's locks and an eye woken from the sleep of mischief.
Münîrî's sixty-four-couplet kaside for Bayezid II with the refrain "morning"; the dawn that conquers the land of night ends as a servant at the sultan's threshold.
Adlî's ghazal in which a lover near death gives thanks for one last sight of the beloved and serves his roasted liver to the beloved's image as a guest.
Sâhib's ghazal built on the shapes of letters: a breast torn like "illâ", a collar shaped like "lâ", a forelock like a tughra, and the plague leading the rival to the funeral stone.
The battle of Koyunhisarı summed up, the martyr Aytoğdı mourned and Yahşı Fakıh named as the source of the legends, in eight couplets signed Âşıkî.
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.
A ghazal headed 'Refîk' in the Mecma'u'n-Nezâ'ir and 'Refîkî' in the Pervâne: candle and moth, treasure in ruins, dervish caps as goblets and a cup of repentance broken.
A ghazal addressing the people of Amasya: a sheikh not hidden yet beyond understanding, who comes as the Lord's appointee and is counted wise or mad by the city.
Six lines in syllabic metre in which Nigârî expresses love for the Prophet's household: hatred of that lineage, love for it, and the poet's own seyyid descent.
Mustafa Vâzıh's ghazal in the language of a madrasa debate: the problem of a hair-thin waist, two beloveds from Istanbul and the provinces, a barber and Birmen wine.
Harîmî's ghazal in the letter nûn: a Mecnun heart bound to Leylâ's hair, a soul clinging to the rope of the locks in the chin's well and a pearl pierced by envy.
Kara Fazlî's kaside that describes the pilgrimage and the sacrifices in hyperbolic language, praises Prince Mustafa in chess terms and sets a nine-couplet ghazal within.
Basîrî's ghazal in the hafif metre: a wheel that fills the eye with tears, a street that is a mosque, an eye turned astrolabe, the cheering wine of the lip and liver kebab on lash skewers.
Münîrî's sixty-one-couplet spring kaside for Prince Ahmed, a response to Ahmed Paşa, in which the garden becomes a drinking party and the stars serve the prince.
Adlî's five-couplet ghazal in which the lover's fiery sigh and his tears compete with lightning, the spring cloud, the waters and the mountains.
The tughra atop a decree, the title "izzetlü", a meal begun with salt, the basmala and the first rosary bead: Sâhib fills the refrain "ibtidâ" from the customs of his age.
Five couplets with the refrain "kopdı" showing Osman as a thunderbolt sprung from the line of Gök Alp, after Köse Mihal's conversion and the taking of Lefke, Akhisar and Geyve.
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.
Refîkî's nazire to Ahmed Paşa's ghazal with the redif 'yiter': a quarter worth paradise, the beloved's street between Safa and Marwa, and a cup of bloody tears.
The section on uprightness: the teacher who gave remembrance, leave to seek another master if a sheikh leaves the law, signs of the perfect and deputies whose sheikh has died.
Nigârî's poem with the refrain "siz bir taraf biz bir taraf": harsh language setting the Prophet's household against the Umayyads, reflecting the Ali-Muâviye dispute in Amasya.
Mustafa Vâzıh's plain ghazal in a short remel pattern: the proverb of the thief in the house, a year of separation, the hospital threshold and a heart that moans like a cymbal.
Harîmî's ghazal rhyming in "-âb": the change of the qibla, eyes that cannot leave Cem's cup, an ascetic bound to the prayer niche and a lover at the Kaaba's door.
Kara Fazlî's kaside that uses the words sword and pen together in almost every couplet, arguing that the two are inseparable, and praises Prince Mustafa.
Basîrî's ghazal that opens with a proverb: a straight cypress no harm can touch, a curl that is the cīm of cemāl, a map of beauty from China to Damascus and gazelles not won by ghazals.
Münîrî's sixty-one-couplet kaside for Prince Ahmed with the refrain "rose"; the sultan of the rose opens its register and comes to bow in the dust of the prince's road.
Adlî's ghazal on the pain the beloved's eye, curls and cheek bring the lover, the broker of love, and the lover who circles and moans like a water-wheel.
Sâhib's ghazal with the refrain "at dut" (throw, hold): the same two words take new meanings in archery, a cap thrown for joy, sand divination, chess and the wine gathering.
Nigârî opens his Turkish divan with wine drunk in God's name and that name called aloud; this cupbearer rubai is also the first of those placed at the end of each letter.
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