A ghazal ending every couplet with "el-gıyâs" (help): a plundering glance, an eye counting tribute, Hallâj torn apart, the caravan guide, the lord of the Ascension and a call to Ali.
Never trust an infidel's pact, warn three couplets: the Serbian despot hinders İshak Beg's raids, Murad takes back his grant, and the despot offers his daughter.
Mustafa Vâzıh's incomplete ghazal on a young reciter of the Qur'an: the story of Joseph, the water of life from his lips and a face drawn with the names of suras.
Kara Fazlî's five-stanza murabba of praise and plea for silver-bodied Muslî, opening with Joseph and a feast day turned into Jacob's house of sorrow.
Münîrî's ghazal without refrain alternating Persian and Turkish couplets: the face a sun, the mouth a secret of the unseen, wine at Nevruz, and intellect a child before love.
A ghazal with the refrain "var iken" found only in manuscript M2; four tezkires give its opening couplet to Ahdî of Edirne, and the text Latîfî quotes shares its fourth couplet.
Down black as night becomes the hour of the gathering and the moon-faced beloved is set in Scorpio: an obscure ghazal whose refrain "olmağ ile" gives a reason in every couplet.
A ghazal rich in sound with the doubled word "şāḫ şāḫ" as refrain: locks spilling over the cheek, turtledove and nightingale in the rose garden, a boxwood comb and a singing poet.
A ghazal with the refrain "is the cause": denying the tavern folk bars one from the Prophet's sanctuary, humility opens the door, and "dîvâne" means both madman and a new divan.
Murad's designs on the Morea and Hungary, in five couplets: Salonica falls in a moment in 833 (1430) at his cry "the fortress is booty, gazis".
Kara Fazlî's five-stanza prayer murabba for a beauty named Ramazan, a double entendre carrying the crescent, the fast, the Night of Power and the feast to the beloved.
Münîrî's Persian response poem to Hâfız: the lover with his face in the road's dust opens his eyes at every footstep, and the poet melts like the candle of the gathering.
Adlî's ghazal with the refrain "-dan", found only in manuscript M2: moaning until dawn, a chain of hair not lowered to hearts in the well, and a beggar expecting honour from a king.
Hilâl is both the slender moon and a toothpick; toothpick and tooth-stick serve the mouth like two servants of one master, and the mouth is the theologians' indivisible atom.
A winter ghazal spoken by the hearth: fire girded with snakes, smoke drawing tears from heaven's eye, an ember turned blue with cold and a garden where crows sing.
A cupbearer rubai making the cup a crown and the poet's nature a sultan: tribute from Jamshid, tax paid by the people of words, a claim to mastery in poetry and the passage to cim.
The zeal of the gazis, in four couplets: Karaman allies with Hungary, the Hungarians besiege Golubac, and Sinan Beg and Sinan of Vidin rout them by the Danube.
Kara Fazlî's five-stanza murabba pleading with a beauty named Hasan Bâlî as "my lord", woven from images of a ring, a green robe, pistachio satin and the pen.
Münîrî's Persian ghazal on the refrain "bes" (enough): moans, a sleepless eye and a wall's shade suffice the lover, the tavern the knowers of God, and the Prophet's light Münîr.
Adlî's four-couplet ghazal found only in manuscripts T and M2: eye, brow and lock drawn with the letters of narcissus and tulip, and Chinese musk wrapped in a hide.
A ney player bending his neck as he blows, scars that rise to the face, down cold as deep winter, and a pen serving as çavuş to set the divan of thought in order.
A response to Ahmed Paşa's ghazal with the refrain "lezîz": two couplets skilfully merged into one, kinship with Necâtî and Zâtî, and a scroll of verse like sugar cane.
The second cupbearer rubai closing the se ghazals: "revâc" rhyming twice, a gathering enlivened by harp and melody, ruby lips as medicine, and the passage to cim.
A ruler biding his time: the despot's daughter is brought to Edirne, but Murad holds no wedding, saying an infidel's daughter needs none, and returns her dowry.
Kara Fazlî's lilting five-stanza murabba of praise for crescent-browed Mahmud, newly appeared in the city, built from images of full moon, sun, mote and sugar.
Münîrî's Persian ghazal on the refrain "-eş": beauty is a rose garden, the Hindu of the curls brings peppercorn moles to beauty's Egypt for sugar, and Münîr is its nightingale.
Adlî's eight-couplet ghazal found in all five manuscripts: tulip and hyacinth on a grave, an army of glances plundering Rûm, and a poem to be carried to Samarkand.
Head full of fire, body thin as a pipe stem, the lover touches the beloved's lips only as a pipe's mouthpiece does; a two-tongued pen and an ostrich that carries no load.
A response to a ghazal by Prince Cem: a musky breeze, a mole like a spring fly, a parrot in an iron cage, and a line that Zâtî took over word for word.
Naat opening the cim ghazals: a Prophet to whom the nine spheres are bound and sun and moon are crownless servants, a sidelong glance that sets one straight, and an orphan asking a crown.
The sign a man leaves: Evrenezoğlu Ali Beg raids Hungary for a month, returns saying the captives outnumber the raiders, and urges the khan on. Five couplets.
Kara Fazlî's ironic seven-stanza murabba praising Muslî Şâh as a fountain of generosity in the language of lodge and palace, a gate open to all but the poet.
Münîrî's six-couplet Persian ghazal on the refrain "-eş": the heart tied to the knot of the curls is never freed, love is a shoreless sea, and the poet's clay was kneaded with passion.
Adlî's six-couplet ghazal with the refrain "eylemege": a rose that makes the nightingale moan, the thrice-used word karâr, pearls of tears and a lock that scatters.
A youth with his first moustache and the hair's breadth between the four schools of law meet in a single line; a lamp by the mihrab and the sun entering Virgo.
A drinking ghazal that sets the golden cup beside the rival's yellow face: gates from Paradise, a prayer niche turned infidel under a cross-like forelock, and souls thin as hairs.
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