Münîrî's Persian ghazal: a lover gilding with his face the stones his tears turned to ruby, bones given to the dog, a street circled like the Kaaba, and a cloak left in pledge.
A Persian ghazal by Adlî surviving only in manuscript T: a face like the moon through clouds, a smiling rose petal, a world turned prison and half a soul offered a guest.
Beloved and sun are as far apart as heaven and earth, so let the sky not set its sun too often before her: a couplet holding an Arabic phrase inside a Turkish line.
A ghazal that treats union as merchandise bought with the soul: a heart repenting in the niche of the brow, a bitter word that wearies sweet life, a beloved who leaves Ca'fer out.
A ghazal rhymed on words written with dâl: a lover trembling like a willow, the sound play of âferîn and âferîd, the call "hel min şehîd" and the words Mîr and emir in the pen name.
Four couplets signed Âşıkî on the Wallachian campaign: the Impaler's night raid fails, his cavalry submit, and the lordship goes to his younger brother.
Münîrî's Persian ghazal: a lover asking for a full cup with an Arabic maxim, a sword not drawn from its sheath in the rain, and a moth-soul made perfect by burning at the candle of the face.
Adlî's seven-couplet Persian ghazal found in three manuscripts: a lover who drinks the dregs of pain, Majnun, the Day of Alast, the polo field and a parrot flying to sugar.
The hadith qudsi "My saints are beneath My domes" is applied to the beloved's cap: under the dome-shaped cap, too, a hidden beauty lies.
A ghazal that complains to its listeners with the refrain "has become, friends": a beloved turned friend to the enemy, a rival like a doorstone, a rival tasting fortune's fruit.
A ghazal spoken as a chain: each couplet opening with the last word of the one before, a reed flute moaning joint by joint, a chain asked of Leylâ's tress and Shah Naqshband who unties.
Six couplets on the fame of the legends, in the chapter where the Conqueror turns to Lesbos, its tekfur surrenders to Mahmud Paşa, and the people are registered.
Münîrî's Persian ghazal that opens with "the pen has dried" and closes with "Nun. By the pen": a lip so rare it seems not to exist, a stature grown by tears, and grief as companion.
A Persian ghazal by Adlî surviving only in manuscript T: a lover prostrate before a swaying cypress, a soul made visible, sighs that burn the heavens and a torn shirt.
Hoping for a peach, a kiss, from the sapling of coquetry, the lover is sent off by fortune's gardener with a quince, an "alas": a short, sharp twin of an earlier couplet.
A night when the moon came as a guest: a beloved who tells the lover "the moon gives no one a kiss", a moon hidden on a rainy night and an arm that becomes a belt as the moon enters the Bow.
A ghazal whose every couplet ends in the Persian question "çi bûd": a beloved who never came called to account, lovers turned to the zünnâr, and the question finally forbidden to the lover.
Six couplets on the conquest of Bosnia in 867, where the king comes out under oath and is later killed by a fatwa, and the Conqueror looks to Herzegovina.
Münîrî's Persian ghazal on the refrain "-i men": the rose of the face preferred to Iram, a knot of curls never untied, the trade of love, and fire, air, water and earth in one couplet.
Adlî's Persian ghazal with the refrain "dil": the pun on "‘anâdil" and "‘anâ dil", a heart filled with blood in separation, a faithless beloved and a heart of stone.
In Arabic the particle "kad" signals rarity, in Turkish kad means stature; the beauty of the cypress-tall one is as rare in the world as the particle says.
A ghazal with the refrain "kills": a beloved who kills by her carefree manner more than by brow and eye, a bow without arrows, a lethal water of life and a Turkish pen-name couplet.
Leylâ, Azrâ and Shirin paired with Majnun, Vâmık and Farhad in one couplet, passion as Bisitun, a call to the Khusraw of the evtâd and the Sufi terms evtâd and efrâd.
Five couplets signed Âşıkî after the heading of the chapter on the strife among the six sons of İbrahim Beg of Karaman and the coming of Uzun Hasan.
Münîrî's Persian ghazal on the refrain "-i men": a soul made glad by sorrow, a cure from the honey of a sting, a lover drinking his liver's blood, and an autumn wind born of a cold sigh.
Adlî's six-couplet Persian ghazal: the soul as the only coin to spread before the beloved's feet, promises put off, pearls of tears and a brand struck on the heart.
Head bowed, breast split, shedding tears, dark of state: four epithets fit both the reed pen and the lover, and the pen name hides in "Sâhib-makâl".
A ghazal built on the "opening" of rose and beauty: a wet eye that turns an idiom of sin into virtue, a mole like a cannonball against the heart's fortress and cypresses turned brooms.
A ghazal in which being and nothing are one: the image of the unseen mouth, the saying "generosity is made from what exists", a hearth burning since kâlû belâ and the land of loss.
Six couplets on the faithlessness of Karaman, where İshak of Karaman dies with Uzun Hasan, and Pîr Ahmed, once lord, asks for Ilgın and begins to break his pledge.
Münîrî's Persian ghazal on the refrain "-i men": wine turned bitter without the lip, judgement gone awry without the cypress stature, Ferhad and Khusrau, and the hoped-for shadow.
Adlî's Persian ghazal with the refrain "-i men": a soul wounded by the arrow of a glance, a fairy-faced guest who never comes, and a final couplet addressing "my sultan".
Cheek as lamp, face as mosque, brow as mihrab, stature as minbar: in a verbless couplet of eight nouns the beloved's face becomes a mosque.
A model poem in Nazmî answered by İshak Çelebi and Zâtî: tresses whose brokenness is wished like a blessing, Khidr present on wet and dry, and musk worthless until it travels.
A ghazal that treats love as a matter of aptitude: the terms isti‘dâd, kâbiliyyet and tecrîd, lovers withdrawn to desert and mountain, the dog at Leylâ's door and the Khusraw of the evtâd.
Four couplets of satire on a convert vizier, in the chapter where the Conqueror enters Albania in 870, builds Elbasan in its midst, and Rûm Mehmed becomes vizier.
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