Kara Fazlî's six-stanza müseddes with Arabic lines, praising beauty in the language of the Qur'an, the basmala and prayer: the orphan pearl, Khitai musk and a game of letters.
Münîrî's seven-couplet Persian ghazal on the refrain "gül": the rose glows like the fire of Moses, the bud presents the nightingale's petition, and even dry thorns will bear roses.
Adlî's five-couplet ghazal: a collar held in the hand of grief, a prayer against infidel-eyed beloveds, the desert of love, and kingship of the world through servitude to beauty.
Wording and meaning, exception and illâ, pronoun and antecedent: in a ghazal woven from Arabic grammar the brows become the tuğra's hançere and the curls its zülfe.
The ghazal with the line "the beauty is she whose standing and sitting become her": internal rhyme, a two-coloured rose called two-faced, a chain of hair and a line Zâtî repeated.
The ghazal opening the hâ section: Moses' plea "Rabbi erinî", a veil opened by the words Fettâh and miftâh, an elder at the tavern door and Umayyad thoughts washed away by wine.
On royal generosity: Murad sends Hızır Ağa's wife from Amasya to Elbistan to choose a Dulkadır bride for his son Mehmed and holds the wedding at Edirne.
Münîrî's Persian ghazal without refrain: a mounted Turkish beauty seeks the soul, the eye rules lines of blood on the face, and the poet speaks a graceful, delicate poem of the lip.
Kara Fazlî's nine-stanza müseddes elegy with the refrain "ḥayf", written in 955 (1548) for Mahmud, the young son of Sun'ullah Beg, vizier of Prince Mustafa.
Adlî's six-couplet ghazal: pearl teeth and coral lips, the musk of China leaving home with "one friend, one skin", and a heart entangled in the beloved's hair.
The linen shirt that draws the beloved to its breast turns into linen halva with the sweetness of union; threads become gold wire, and a chin's apple becomes a peach at a kiss.
A ghazal with the refrain "leans": a soul at the threshold, a lover on the beloved's knee, a face like a medallion in a silver arch, a sleeping archer eye and the angels of the Throne.
In a ghazal whose every couplet ends in "cup", the cup speaks: it shows the lover the mountains as his home and walks fearless as the saints, while the pious find the tavern shut.
The world as a chessboard, in eight couplets signed Âşıkî, just after the author says Murad II married his son, married off his sisters and came to a good end.
Kara Fazlî's incomplete müseddes, of which one stanza and two lines survive: a love poem of scales and Joseph that Özkat likens to Yunus Emre's "bana seni gerek seni".
Münîrî's Persian ghazal without refrain: the heart caught in the knot of the curls cannot escape, the sweet soul is laid on the road as a child seeks sweets, and no rose lacks nightingales.
Adlî's five-couplet spring ghazal: a gathering in the rose garden, blossoms shedding petals like coins, pure wine, the dew on the flowers and the drooping violet.
The down has sprouted, the adornment is done: a poem built on "bitmek" as both to sprout and to end, closing on its own first line as the last Turkish ghazal of the thesis.
A palace ghazal built on the refrain "they will not let", whose subject is never named: a king whose face may not be seen, a fly kept from the halva and a last sip denied the lover.
Morning lifts the veil from the beloved's face; an eye that makes drunk and a cheek that sobers, a tulip holding a cup and the poet's litany meet in this ghazal of dawn.
Seven couplets under the heading "Devr-i Sultân Muhammed", announcing Murad II's death and the beginning of the Conqueror's reign, calling on Mehmed and mocking the house of Karaman.
Münîrî's Persian ghazal without refrain: the dawn breeze brings news of union, grief is an old friend, the heart leaves home once the image settles in, and the beloved's door beats paradise.
Kara Fazlî's seven-stanza muaşşer with the refrain "Āferīn iy iftiḫār-ı Āl-i 'Os̱mān āferīn", praising Prince Mustafa's justice, bounty and likeness to the four caliphs.
Adlî's five-couplet ghazal: love as an obscure book beyond the schoolmaster, a gathering of grief played on ney, harp and rebab, and a ruined realm to be abandoned.
Before praising the Prophet the poet must cleanse his heart of hypocrisy and his words of plagiarism, slips and errors: a two-couplet kıt‘a near the opening of the divan.
A ghazal that asks mercy for a heart smitten with passion for the hair: white arms like Moses' shining hand, a night of Yeldâ on the cheek, a passionate tulip and a careless candle.
A second ghazal with the refrain "cup": a preacher who denies the cup, a Sufi waiting for its miracles, a scholar to see his compound ignorance in it and the secret that lies in the poet.
Seven couplets on the Conqueror's accession: Murad II's death is hidden for thirteen days, Mehmed takes the throne at Edirne, and Karaman repents and gives a daughter.
Münîrî's Persian ghazal on the refrain "nīz hem": the lover who gave heart and soul is hated by people and beloved alike, the arrowhead stays in his liver, and fortune drives him away.
Kara Fazlî's three-stanza terkib-bend elegy for Prince Mustafa: a reproach to heaven, praise of the prince and a lament, recorded right after a copy of Gül ü Bülbül.
Adlî's five-couplet ghazal: paradise seen in a dream, lovers kneaded from the clay of love, the law of love against the muhtesib, and love's horsemen conquering the heart.
Blackened with ink, the pen is a black slave: in one line tahrîr, kitâbet and kat‘ describe both trimming a nib and a contract by which a slave buys his freedom.
A beloved who hunts hearts in the blink of an eye: shooting stars turned into gold scattered by angels, the fire of waiting and a pupil that embraces hairs.
Morning as a lover smitten with a moon: a daybreak tearing its collar, the false and the true dawn, and the light of Ahmed the Chosen arriving before sunrise.
Five couplets on the just khan, in the chapter where conquered Constantinople is resettled, a rent drives people away, and the Conqueror builds a mosque and medreses.
Kara Fazlî's seven-stanza terkib-bend elegy on the death in 950 (1543) of his first master, Prince Mehmed: an allusion to sura al-Rahmân, the cosmos called to mourn, and a prayer.
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