Münîrî's Persian-Arabic macaronic ghazal: a brow, eye and mouth like the letters nun, ayn and mim that spell "ne‘am" (yes) in the opening couplet, and the pun on "müdām".
Adlî's five-couplet ghazal: an eyebrow like fate's compass, the şemse of the face, a sword that drinks blood like water, a breeze lifting the lock, and libertines asked to remember him.
When the down sprouts the cheek has its spring, when it is shaved its autumn; Sâhib ranks the autumn of this rose garden above its spring.
A ghazal that turns a yellow face dyed red by bloody tears into a more precious gold: a lover who says "my darling", an ant in search of a grain, and Şeyhî's breeze.
Hey hey, vay vay, güm güm, kulkul and gulgul: a samâ‘ gathering heard in its sounds, lines split by inner rhyme, and a poet who ends by setting himself beside Hafez.
Four couplets signed Âşıkî on the second and third days of the circumcision feast of Prince Bayezid, brought from Amasya, when the poor and the lords were entertained and horse races held.
Münîrî's Persian ghazal: a blue sky made from the smoke of the heart, a burning breast in place of a grave candle, a lover turned to dust for a kohl-lined eye, and a vine twig in the fire.
Adlî's only murabba: seven stanzas of reproach to the eye under the refrain "gözüm eyvây gözüm", with eyebrow-bow and glance-arrow images and a servant complaining of his shah.
Haram-zâde arrack dances into the arena and gives the harvest of reason and heart to bâde, to the wind and to wine at a single stroke.
A ghazal whose opening takes Şeyhî's ghazal 192 with the same image and almost the same words: beauty that makes the sun a moth, a mole as Adam's grain and a play on merdüm.
Cup, pilgrim robe, dagger and festival garment, all dyed red: a lover sacrificed at the Feast of Sacrifice, a beloved on a red horse and a line written in tears of blood.
Seven couplets signed Âşıkî on the Conqueror's Morea campaign, Mahmud Paşa's conquests in Serbia, the rise of the farm tax and the author waiting at Skopje.
Münîrî's macaronic ghazal in Arabic, Persian and Turkish couplets: a morning wine gathering, the rose season against the ascetic, wine sealed with musk, and a closing "that is all".
The fragment Bayezid sent to his brother Cem Sultan during their struggle for the throne: Sehî's account of the 1482 exchange, Cem's replies and the four-couplet text of M2.
The "lâ" of the creed wipes all but God from thought, its "illâ" tears the breast open for love of a moon: counsel on love drawn from the formula of faith.
A ghazal that turns a stature bent by separation into a ring set with the stone of reproach: a mouth like the secret of the unseen, a name like God's Greatest Name, a necklace of dew.
A ghazal with the refrain "look": a speech passing from tavern scene to repentance, the hut of sorrows, the poet pointing to his own divan and the good tidings of "lâ taknetû".
Seven couplets in the chapter where the king of Bosnia gives up Smederevo and the conquest of the Serbian land is completed, with a Slavic phrase, the date 864 and a hint of Amasra.
Münîrî's trilingual macaronic ghazal: wine like the spring of Salsabil against the fire of separation, a sun rising from the cupbearer's hand, and pre-eternal shares of halva and wine.
A two-couplet nazm surviving only in manuscript T: the beloved's eye recalls revelry, the cup of the lip draws laments, and with the rose-faced one near no garden rose is sought.
First "no" is said, then a "yes" is drawn from that nothingness: the passage of the creed from negation to affirmation becomes proof of creation from nothing.
A ghazal in which a cloud sprinkles rose water on a rose that fainted at the beloved's beauty: a heart that loves the servant of an aziz, tears named Ruby and Coral, basil in a broken pot.
Here the cheek lends lustre to the ruby of Badakhshan and to the sun, becomes a page of the Quran for the drunken eye and sets a heart burning in pre-eternity.
Three couplets signed Âşıkî on the taking of Amasra: Mahmud Paşa comes by sea, the sultan by land, and the tekfur says it is better to give the fortress up kindly.
Münîrî's Persian ghazal: a lover who boasts of dying with the beloved's lip in mind, a footprint dug with the eyelash, the fortune of grief, and an eye lit by the dust of the horse's road.
A single-couplet matla found only in manuscript M2: the sherbet of a ruby lip that steals the mind, and the sigh for the well of the chin that leaves the lover giddy.
Bound for the white face, Akşehir, the heart finds dark down sprouting and its road falling to Karahisar, the black castle: a travel joke on two Anatolian towns.
A short ghazal opening with spring: trees turned into silver pavilions, branches taking cotton from their ears, bones moaning like a reed flute and tresses spoiled by "giving face".
Absences counted with "yoh", the Azerbaijani "there is none": none like me, no cure, the lack of a confidant worse than separation and a sigh that burns iron but not the beloved.
Four couplets after the heading of the chapter on how the Conqueror took Sinop, Kastamonu, Koyulhisar and Trebizond in one campaign, praising the khan's intent.
Münîrî's Persian ghazal on the refrain "āverem" (I bring): a lover moaning like the reed flute, blood carried to a pupil imprisoned in the well of the chin, and the heart as a child.
The matla that Latîfî, Âşık Çelebi, Beyânî and Kınalızâde quote from Adlî: a beloved riding the horse of coquetry, the soul as a stirrup, and plain diction called sehl-i mümteni.
The down is the black castle and the night-coloured mole the opium; a heart that never saw Karahisar-ı Afyon may see it in the beloved's face.
A ghazal with the refrain "draws, writes", as if from the hand of a painter: a cup with hatayî and rûmî motifs, a line taken from Ahmed Paşa and Ferhad drawing Shirin on the mountain.
A ghazal with the refrain "çoh", many: answering the "yoh" ghazal with a claim to be unique in a crowd, many wounds in the eye, Hind who ate Hamza's liver and the hospital of wisdom.
Three couplets on man's greed, where the Conqueror crosses to Bursa for the Sinop campaign, a hundred ships sail to Sinop, and İsmail Beg's son is called to Ankara.
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