Mustafa Vâzıh's two-couplet kıt‘a to a blacksmith beauty: an iron heart that no pickaxe of laments can soften, the apple of the chin and a call to mourn the poet.
Âkif's ghazal on toothache: teeth as pearls, pain as a kicking horse, an ache likened to the torment of the grave, and a jest at the poet who did not shun the beloved's honey lip.
Kara Fazlî's five-stanza murabba with the refrain "Hercāyi güzel sevmeyeyin tevbeler olsun", renewing in every stanza a vow to give up fickle beauties he cannot forget.
Münîrî's Persian ghazal without refrain: the lover asks the sword for sherbet, his sigh is the smoke of love's fire, grief's harp scratches the soul and he dies at the feast.
Adlî's ghazal with the refrain "-dan": a heart that expects no mercy from an unjust shah, a bird caught in the hair, a love older than Mecnun and Ferhad, and a cypress that will not bend.
Do not split, do not water, do not shoot unfletched: moving through commands close to spoken Turkish, the ghazal ends with Sâhib telling the preacher he has said it a thousand times.
A traveller's prayer for a beloved setting out on a journey: words of the road from caravan leader to highwayman, and the lover's fear of being forgotten once out of sight.
A supplication built on "have mercy on my ...": a mad, lonely, placeless and disgraced lover, an aged lala, a moth, and the first line returning at the end.
A lord unwilling to be dyed in his own blood: Dracul plunders across Silistra, Murad looses Firuz Beg on Wallachia, and Dracul brings his two sons to the Porte.
Mustafa Vâzıh's nazm rhymed on everyday words: brand-wounds as a flower pot, beauty spots like flies, a lock as a fly whisk and the heart as a partridge in the bag.
Âkif's ghazal with the refrain "ḳalur gider": the letter of union that never comes, a beloved who stays at the rival's feast, the ascetic stuck in mud and a heart offended until Judgement.
Kara Fazlî's five-stanza murabba of regret with the refrain "Kāş ezelden olmayaydı āşinālıḳlar begüm", wishing that a love begun in eternity had never begun.
Münîrî's Persian ghazal on "resed": the beloved's arrow wound is sweeter than his salve, the dust of his road is collyrium, and his ruby lip pays the blood money.
Adlî's five-couplet ghazal with the refrain "-dan": a faithless beauty, a rose to be picked before autumn, Nu‘mân tulips in a wounded breast, and a sultan who would rather be a servant.
Matla, mısra, makta: rhymed on the terms of poetry itself, the ghazal ends by holding up to the poet the pen that writes only after its head is cut on the makta.
A ghazal that turns the beloved's street into Paradise, the cupbearer into a houri and the cup into a red shield against grief; an argument built on Resurrection and stature.
A ghazal likening a night with the curl to the Night of Power: a fresh decree, a dawn breeze taking musk from the forelock, the alms of beauty, manifestation, and a mirror unveiled.
The Serbian and Hungarian borders named in three couplets: Murad marches on Albania, marries İsfendiyar's daughter at Bursa, and the despot imprisons Delü Paşa.
Mustafa Vâzıh's kıt‘a of reproach in everyday speech: a beloved who never asks after the sick heart, the moth and the nightingale, and a poet who is no bought eulogist.
Âkif's ghazal with the refrain "mi degildir": glances as swords of martyrdom, the coffin as a bed of mercy and a closing couplet admitting that the poet longs to return to Amasya.
Kara Fazlî's five-stanza murabba with the refrain "Ṣabra ṭāḳat ḳalmadı terk-i diyār ister göñül": with patience spent, the lover resolves on the other remedy, leaving home.
Münîrî's Persian ghazal on "buved": one strand of the tresses becomes a lasso for the soul, the cypress borrows its worth from the beloved, and the heart burns like rue seed.
Adlî's ghazal with the refrain "-dan": a lover who moans more than a water wheel, an eyebrow like a mihrab, tears red as the jujube, and all the seas poured out of Adlî's eyes.
His breast branded ring upon ring, the lover takes to the mountains like a spotted leopard; a rebel cypress with bound feet and candles burning with fire on their heads.
A plain ghazal of separation close to spoken Turkish, "let whatever black days may come", the couplet Erünsal cites, and a closing image read as a mirror or as sparks.
A ghazal saying "what stature, what doomsday, what form": the pun on stature and doomsday, an eye-sign only drinkers understand, a misplaced wink at the zealot, and a curse as honour.
Joy for some, grief for others: Murad's two young brothers are imprisoned and blinded in Tokat, his sisters married to the lords of Karaman and İsfendiyar.
Mustafa Vâzıh's incomplete ghazal with the refrain "red, red": blood from the weeping eye, the beloved's wine-reddened eye, a brow like the letter dāl and a bloodied skirt.
Âkif's ghazal with the refrain "itmiş": the beloved setting out for the rose garden, the heart's nightingale crying in the body's cage, a partridge fleeing to a falcon and a deadly mercy.
Kara Fazlî's five-stanza murabba with the refrain "Göñlüm ārām eylemez ṭaġlara düşmemdür hemān", a lover taking to the mountains in the footsteps of Ferhad and Mecnun.
Münîrî's Persian response to Hâfız: a Magian boy will be the bane of souls, the heart turns from sheikh to tavern elder, and the soul will follow the arrow of a glance.
Adlî's ghazal with the refrain "içün": a gathering in a meadow, the soul flying to falcon eyes, a pun on the Şehnaz mode, and Mahmud who gave his life for Ayaz.
The prayer rug, trodden on first and then touched with the face, becomes a lesson; the vine's daughter is born with the cup as midwife, and noble hearths scatter in the wind.
An informal drinking ghazal with the refrain "kiss": the beloved's hem, tresses likened to the veil of the Kaaba, and down read like a sultan's decree; reverence mixed with jest.
A ghazal built on the exclamations "what a doomsday, what a miracle": a lover made a worshipper of the cup, a mocking miracle, an endless tale of love, unquenchable heat and a corrupt line.
Seven of the author's forebears lived alongside the Ottoman dynasty, says the last of five couplets on Aydın and İzmiroğlu Cüneyd shut in İpsili.
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