Münîrî's Persian ghazal on the refrain "-ı toyīm": the pearl-scattering ruby lip makes the liver bleed, the chin's well yields no water, and sick Münîr calls the candle of Çiğil to his side.
Adlî's seven-couplet ghazal with the refrain "where is": the crescent goblet, a sapling bearing love, the never-setting sun, lost patience and a vanished world of dreams.
The ring of the lover's eye is an archer's thumb-ring that looses the arrow of the beloved's glance; even the killing sword is called "hoş kadem", lucky.
An opening that says the beloved was given the Resurrection instead of stature: extended rhyme on kâmet and kıyâmet, a professor's conceit of commentary and hadith, and the poet's fame.
The beloved's cheek is read like a Quran-copy, with a new commentator in each couplet: the interpreter of letters, a glance that speaks in signs, twice-refined sugar, Majnun's secrets.
Three couplets under the heading "Ve-lehu", where the rent imposed on Constantinople drives people away, saying that the evil a man does comes back to him.
Münîrî's Persian ghazal without refrain: the morning breeze carries news of separation, grief grows lawful and life forbidden, poison comes before union's honey, and the poet ends his tale.
Adlî's five-couplet ghazal with the refrain "-ligi": the rose's orphan nightingale, a potsherd for a golden cup, the tulip as censer, and servants learning servitude from Adlî.
Counsel to reach union with the beauties by tedrîc, step by step: a six-line piece placed among the rubais in the thesis, though it stands closer to the kıt‘a.
A winter ghazal with the refrain "it is the age of": braziers like tulip beds, wine as dry water and wet fire, a sky holding the new moon as a cup and a money-changer's couplet.
A second ghazal with the refrain "morning": a sun defeated by the beloved's cheek, a lover to whom night and day are one, a muezzin left to wake the heedless and a veil cast off.
Three couplets aimed at a ruler's changing word and a vizier of infidel birth, where the author names Rûm Mehmed as the cause of the rent in Constantinople.
Münîrî's Persian ghazal on the refrain "tovem" (I am yours): the lover is the beloved's wounded captive, his helper in shedding his own blood, his patient, a nightingale among thorns.
Adlî's seven-couplet ghazal with the refrain "like": a rose cheek and nightingale lovers, shamed musk of China, musk reaching Rûm like black pepper, and the sun and moon as servants.
The down is the writing on beauty's certificate, and the beloved who shaves it has scraped the document and made it void: a jest in the language of the judge's court.
A get-well ghazal with the refrain "health becomes": a double meaning between health and correctness, infidel tresses likened to faith, and a couplet mistakenly assigned to Adlî.
A ghazal with the refrain "opening": the whole of the couplet "Ey gönül miftâh-ı mihr-ile" quoted by Hüsameddin, the veil of the face, the road Majnun opens and the verse of the face.
Three couplets signed Âşıkî on the taking of Enez: Has Yunus Beg sails into its harbour with ten galleys, the Conqueror comes by land to İpsala, and the tekfur surrenders.
Münîrî's Persian ghazal spoken as "we": the wine of love drunk at the feast of pre-eternity, renouncing both worlds, an allusion to Joseph, and the lover running to the beloved's dog.
Adlî's five-couplet ghazal with the refrain "oldı": a rival's dice in the backgammon of grief, a God-given empire, Moldavia and the Tatar chief, and a last wish for union.
Pilgrims of old brought back turban cloth, those of Sâhib's day give only aloeswood; and if ‘ûd is read as "return" the jest grows sharper still.
A ghazal with the refrain "holds": teeth like pearls of Aden in a ruby casket, the sun holding the ewer and heaven the basin, carnelian within turquoise and tresses holding a rope.
A rubai whose every line ends "look, O cupbearer": a lover amazed by her drunken eye, a moth burning round the candle, a gazer who cannot look away and a heart thirsting for the cup.
Five couplets saying that whoever will not pray for the dynasty wears a stone for a cap, after Novo Brdo falls and the Conqueror feasts at Kosovo where Murad I fell.
Münîrî's Persian ghazal: a lover jealous of the morning breeze who would turn to dust, the pun on "ger dem" and "gerdem", the many senses of "dem", and a fire lit by a cold sigh.
Adlî's six-couplet ghazal with the refrain "oldı": tears turned to coral, a collar left untorn, a sword that cures pain, and a beggar made sultan by serving the beloved.
The pen gives all it takes from the inkwell to the page and keeps only a dirty hand and a black face: a go-between who is generous but out of luck.
A ghazal that names the beloved "King Mehmed": life cut short in the moon's cycle, a moon rising from the heart of Scorpio, a body like straw on the water and a pavilion on the water.
A cupbearer rubai rhymed on the Turkish words çok, yok and tok: a lover burning in separation, a plea not to say no, an eye quenched by a face and the sated eye that turns to faithfulness.
Three couplets on the Conqueror's siege of Belgrade in 861 (1456), where his uncle Karaca Beg is killed, the Rumelian lords hold back, and the sultan charges himself.
Münîrî's Persian ghazal: tulip-red tears on a yellowed face, a lover who answers the ascetic's reproach with his madness, and an inner voice speaking to the poet about his heart.
Adlî's six-couplet ghazal: a cheek that gave Moses the white hand, a lip that taught the Messiah to raise the dead, seven seas poured from the eyes, and a shah's empty quarrel.
Grief enters the tree of existence with axe and saw, and time cuts it up like a carpenter; "keser" names both the tool and the work it does.
A ghazal that turns a house made a stokehole by love's fire into a rose garden like Abraham's fire: a breast that lights the world, a magnet for an iron heart and cups like tulips.
The ghazal with the refrain "coquette" that opens the hı section: a beloved who heals where she wounds, dagger and arrow turned to medicine, and a cupbearer in red on the feast day.
Three playful couplets in which many a kadı turns "sugar porter", at the Edirne circumcision feast for which the Conqueror brought Prince Bayezid from Amasya.
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