The Prophet's street as qibla of the holy realm: Gabriel leading the pilgrims, dust to kiss before the Kaaba, "Levlâke", lightning from Burâq's shoe and a glance that gives uprightness.
The Ottoman line from Gök Alp to Murad, in five couplets: in 840 (1436-37) Murad crosses from Vidin into Hungary and raids for forty-five days as far as Sibiu.
Kara Fazlî's six-stanza wine murabba, its opening lost, celebrating the end of the fast and the feast arriving with spring: the crescent cup, Hızır, the water of life.
Münîrî's Persian ghazal on the refrain "ṭaraf": the writ of safety on the cheek guards the heart, which turned to the Kaaba before direction existed, and the blind ascetic cannot walk.
Adlî's seven-couplet ghazal woven from images of the sky: sigh-smoke that darkens the moon, a shadowless angel, a pun on Jupiter, and Joseph ready to become a slave.
Down has appeared on the cheeks, beauty's zevâl begins and the lover's turn draws near: in this "az kaldı" ghazal the fast is ending and the feast is announced.
A ghazal with the refrain "is … coming?" that reads a twitching eye as the beloved's coming: a passion brought by spring, death as a spectacle and a response very close to Ulvî's.
A ghazal turning a spring scene into a palace wedding: a crowned bud taking tribute, a rose in a wedding gown, a garden paying tribute to the beloved, beauty needing no proof, eloquent lips.
The martyrs' passage to the palace of permanence: Evrenezoğlu İsa Beg's raiders fall in Albania on roads cut by İskender, once the khan's page, now in rebellion.
Kara Fazlî's five-stanza murabba of longing, recalling scattered gatherings of friends, dawn roses, others' merriment and a dream, with the refrain "añdum aġladum".
Münîrî's Persian ghazal ending in an Arabic line: one lesson from beauty's book outgrows the Tablet, the dawn reddens with tears, and the beloved's face outshines the daybreak.
Adlî's five-couplet ghazal: a heart that dies for the bond and hook of a lock, a lover sick with sleeplessness, a soul thirsting for a sword's water, a gilded panel.
In Islamic inheritance law the male share is double; Sâhib builds a jest that applies this to the youths' share of beauty, though the start of the line could not be read.
A short-metre ghazal of reproach with the refrain "you infidel": a body turned coffin, a body that is no castle tower, a meadow that drives out its nightingale, a heart torn down.
A ghazal with the refrain "görgeç": the full poem behind Hüsameddin's couplet "Bakdıkça bana gamzelerin", a lament that scatters mountains, refuge in hell, and fame from earth to heaven.
Belgrade addressed in three couplets: Murad raids across the Sava, and the author, on campaign himself, tells how he bought captives and was given money and horses.
Kara Fazlî's five-stanza murabba searching for a lost beloved by asking the lords for news, cited by Özkat for its plain speech, with allusions to Mecnun and Jacob.
Münîrî's Persian ghazal without refrain: he wishes the beloved would come to spite the hypocrite, love was written in pre-eternity, and the faithful heart grows bright as dawn.
Adlî's seven-couplet ghazal with the refrain "her gice": a moon-beloved rising every night, a candle burning like a moth, an eye adorned with tears, a vigil until dawn.
The wine drinker sees king and beggar with the same eye: Jamshid's world-showing cup, a skiff in the whirlpool of grief, and a champion in a ruby robe who routs sorrow.
A ghazal that runs the names Hüsrev, Şîrîn, Şebdîz, Leylâ and Mecnûn together with their everyday meanings: an eye that bewitches the sorcerer and a rival's simile that limps.
Passion told in the language of old medicine: a disordered temperament cured by lips, a jurist blind to the Quran's subtlety, a creed without proof, and a crown of flame.
Long-lined praise of the Ottomans: Smederevo falls in 841 (1438), and the author says he came back from Mecca with İshak Beg and took five captives raiding.
Münîrî's Persian ghazal woven of musical terms: the lovers' moans outdo kanun, ney and harp, love claws the soul's string, and the cheek grows down as a damp mirror gathers rust.
Kara Fazlî's nine-stanza murabba sung in the voice of Prince Mustafa's circle of poets in Amasya, with the refrain "Sāḳiyā ṣun cāmı Sulṭān Muṣṭafālīlerdenüz".
Adlî's seven-couplet ghazal: the arrow of the eyelash, nightingales taught to lament, a sultan seeking a doorkeeper's favour, and a closing word on king and beggar.
Kazancı, miyâncı, nişancı, doğancı: rhymed on the Turkish suffix of trades, the ghazal presents the heart as an officer at the court of the king of love.
An opening that turns a mote gazing at moonlight into a sun in its exaltation: extended rhyme, a perfect pun, a glance lodging in a ruined caravanserai and Ahmedî's large group.
Refrain "görgeç": the street dog that greets the lover, the dog as guide, a sea heaving in the wind, a kohl-stone that makes eyes water, and blood boiling at Karbala's soil.
Germe as the gate of a treasure: the wall at the entrance to the Morea is battered with cannon and sacked, and the author calls it the first conquest of the Morea.
Münîrî's Persian ghazal rhyming in "-eng": arrows of glances do not fit the narrow lamp of the heart, the image from a stone heart gushes like water, and the sky wears mourning blue.
Kara Fazlî, Prince Mustafa's divan secretary in Amasya, wrote this eleven-stanza murabba elegy with the refrain "Meded begler meded" on the prince's killing in 1553.
Adlî's five-couplet ghazal: the beloved's face in place of the garden of Irem and Jamshid's cup, blood in place of tears, and a poem written with a tress for a pen.
Longing for the stature becomes the cypress, yearning for the cheek the candle's oil, passion for the mole the tulip's scar; and a rival who swears left-handed.
A calligrapher's couplet built on reyhânî, muhakkak and the writing of Yâkût: a bud whose mouth is torn, a pine gone to the mountains and Nazmî's crowded "gül-i ter" group.
A ghazal ending "yandım, alışdım, dutuşdum": alışmak as catching fire, becoming one with the fire, kâc for "would that", a disordered temperament and an answer to the jurist.
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