Münîrî's Persian ghazal: longing for a lip like love of homeland in exile, an almond eye and a silent pistachio mouth, and a nightingale and parrot talking of rose and sugar.
Adlî's Persian ghazal rhyming in "-û": a lover turned to dust on the beloved's road, an eye beyond the gazelle's, a dragon curl, a sorcerer eye and the dog at the door.
Do not fall short in the company of the wise, nor write every wrong stroke on the heart's tablet: a couplet of counsel that hides the pen name in "sâhib-i irfân".
A letter whose every letter the tears wash away: the soul painted on a drop of Kevser, a wish in internal rhyme beginning "if I were a cup", a moaning chain and love's woes one by one.
A ghazal against the ascetic: the verse "ve in yekâd" engraved on the cup, a fodder-picking captive of imitation, a poet who teaches Majnun detachment and Venus dancing to his poems.
Two couplets on Mahmud Paşa's retreat to Hasköy, in the chapter where Rûm Mehmed deports households from Larende and Konya and the paşa's tent is pulled down at Karahisar.
Münîrî's macaronic ghazal of Persian and Turkish couplets: the right of salt and bread with the dog, curls like mail, a sick Turk eye under a bow brow, and an earring pearl by the sun.
Adlî's Persian ghazal rhyming in "-û": a languid eye that seeks mischief, beauty beyond a thousand tongues, wine settling in the jar and a heart tossed like a polo ball.
When the morning breeze opens the rosebud it has taken a fortress, and the nightingale marks the victory with the chronogram "güşâde bâd": a couplet on the two senses of feth.
A ghazal comparing for nine couplets with the refrain "is better": a cheek in hand against Paradise on credit, fortune above reason, and talk alone with the bare-faced.
A ghazal of a love older than the heavens: a lover who belittles the circle full of tricks, an ascetic with no aptitude for love, a preacher without heat and the chain of the tress.
Five couplets ending in a prayer, in the chapter where Negroponte is besieged by land and sea in 874 and taken at the cry "The fortress is yours to plunder."
Münîrî's Persian ghazal on the refrain "-i men": the beloved named "yellow rose" through the letters kaf, lam, ze, re and dal, a book of deeds full of love, and the street dog.
Adlî's Persian ghazal rhyming in "-âde": a curl on the cheek showing the forenoon and night of the sura Duhâ, the champion rider of beauty, a cupbearer of blood.
A ghazal that advances by invented causes: hairs as smoke, brows as spectators, water as a silver chain on the cypress; an emerald down against snake tresses, tresses as witches.
A ghazal whose every couplet ends "see, O ascetic": the sound play of inkâr and în-kâr, an elder girded for guidance in the tavern of meaning, the rinds' market and internal rhymes.
Four couplets on spreading oppression, in the chapter where Rûm Mehmed Paşa is sent to Karaman, pulls down mosques and medreses at Larende and kills those who protest.
Münîrî's Persian ghazal on the refrain "-ı men": a welcome to the light of the weeping eye, an image that is a guest till dawn, a sun face and shining moon, and a fiery sigh as love's proof.
Adlî's Persian ghazal with the refrain "zede": a line in ambergris on sugar, a crescent curled at the sight of an eyebrow, eyelash guards before the mihrab and a scorned sun.
A ghazal on the unmeasured ascetic who cannot imagine a well-measured stature: the two senses of mevzun, a witching eye, a heart madder than Mecnûn and verse like a hidden pearl.
A ghazal that gives the lover the question "is there more?" from the sura Qaf: a lover asking for more fire, a crier calling "who bids more", iron shrinking from fire and word from Selmâ.
Four couplets where Gedük Ahmed takes Alanya in 876, its lord Kılıç Arslan is given Komotini, and while keeping watch on the shore he boards a ship and flees, leaving wife and son.
Münîrî's Persian ghazal on the refrain "reften": a sword that enters the heart, a heart that leaves with the tears, madness in the curl of tresses, and grief that keeps growing.
Adlî's Persian ghazal rhyming in "-ânî": a stature taking tribute from all beauties, a face to astonish Mânî, the command left to the beloved and a table of union.
A ghazal that turns "nâz", coyness, into wine, an account, a sleep and a book: an ailing eye cured by wine, down that writes glosses, and a response on Ahmed Paşa's ground.
A ghazal of the Sufi path: sanem and Samed, nearly identical in Arabic script, two names from the sura al-Ikhlas, poverty, annihilation, abiding and detachment, and Khidr the guide.
Five untitled couplets where Gedük Ahmed receives Silifke, takes the fortresses of Mokan and Lüle by storm and kills their people, saying those who lay in palaces lie buried in rotten straw.
Münîrî's ghazal that brings Persian, Turkish and Arabic couplets together: a lip like Solomon's seal, rubies of fire, and a hundred retreats in one tavern cup.
Adlî's last Persian ghazal: sighs as the gain of a life, a hoofprint as the mirror of the soul, the honour of being a shah's prey and a lover made sultan of the world by a glance.
A ghazal in which the bird of luck nests only in breasts that took the beloved's arrow: a sigh worse than autumn's wind, no life by another's soul, and an idiom of harming a soul.
A ghazal crying "O Muhammad, O Ali, O Naqshband": a reed flute burning node by node, a tress that binds designs, and a nature praised by Hafez and the poets of Khujand and Kerman.
Three couplets on the witless commander, in the chapter where Murad Paşa, governor of Rumelia, ignores Mahmud Paşa, crosses the Euphrates and vanishes, and many lords are taken.
Münîrî's Persian ghazal on the refrain "ez-ū", a response to Hâfız: a sigh at parting, the sorcerer glance's apology, a soul at the lips, and a dizzy sun and moon.
Adlî's only Persian kıt‘a, surviving solely in manuscript M2: a narcissus striking the enemy with a mace and a spear driven into the enemy's heart like the line of an axis.
A ghazal that joins the proverb "do good and cast it on the water" to tears: a fruit of union that grows in no common air, a rose deaf to the nightingale, a mouth whose want is poverty.
A ghazal rhyming rose with yellow: verd and zerd, a bewilderment taken from the backgammon block şeşder, blood offered by the azure sphere and the fire, water and cold sigh of the heart.
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