Münîrî's ghazal found only in the Vatican manuscript: a word that is salt to the wound, a pupil swimming like a fish in tears, and a false rival exposed on the touchstone.
Münîrî's ghazal with the refrain "eyler": a sun shielding itself from the arrow of sighs, a ship rigged with eyelashes, rose conserve, and a double entendre on the pen name.
Münîrî's ghazal with the refrain "ile geçer": the eye as a sailor living by pearls, love growing with age, tears like rosewater, and life passing as the cypress passes by.
Münîrî's seven-couplet ghazal with the refrain "eyler": a being sent as a raft on the flood of tears, a pupil bringing honey, a heart refined in a crucible, an elif bent into a dal.
Münîrî's ghazal with the refrain "-ur": a sea that sours its face, a musk deer bristling at a glance, and a rival's tears likened to the water Satan shows to the dying.
Münîrî's ghazal on the rose and the nightingale: roses turned to pieces of fire, a heart closed like marble, a heart torn like a bud, and tears moving like planets.
Münîrî's ghazal without a refrain: honey melting before the beloved's speech, stone hearts sparking under a horseshoe, an image in a hurry as if to fetch fire, and false news.
Münîrî's ghazal set in a garden at dawn: pearls scattered for an image that steps on the eye, a cypress and plane tree dancing, dew like sweat on a rose, and a list of wishes.
The poem in which Münîrî calls his own ghazal "sūz-nāk": a bud tearing its collar, a tulip laying its face in the dust, a mirror cleansed by greenery, a burning ghazal.
Münîrî's ghazal with the refrain "-dedür": tears of ruby and pearl watching for the lip, a visit at dawn while the dog sleeps, the well of the chin, and thirst for a tempered sword.
Mustafa Vâzıh's tahmis of Bâkî's ghazal with the refrain "da güzel": a playful manner after Nedîm, with scenes of a tavern boy, a bath and a gathering.
Kara Fazlî's Arabic-Persian mülemma ghazal on divine unity: God as the First, the Last, the Manifest and the Hidden, the letter elif and the hidden treasure.
The tevhid ghazal that opens the divan of Prince Bayezid, pen name Şâhî: allusions to the miracles of Moses, Jesus and the Prophet, and a poet named 'kingly' who calls himself a slave.
The ghazal in which Münîrî likens speech to a jewel: a heart harder than marble, tears as travellers not to be stopped, the word of love spent in its place, and "man is human".
Mustafa Vâzıh's tahmis of a ghazal by Mikdâd Paşazâde Hasan Bey, deputy governor of Amasya: a stature like a lengthening sign and eyelashes like Alexander's wall.
Kara Fazlî's cupbearer ghazal opening with an Arabic line: the cup of guidance, a heart cleansed by the cup of unity, the Uşşak melody and the face that endures.
Prince Bayezid's ghazal of welcome to his father Süleyman: the joy of "safâ geldün", the fear of separation, and the wish to trade the lordship of Karaman for servitude.
A single couplet by Âkif: the poet's smile is on his face, his grief in his heart; the pen's grace is in its writing, its bend in its reed. A couplet woven of sound and sense play.
Mustafa Vâzıh's five-stanza musammat inviting a coy young beloved on a caique outing to Beşiktaş, Kandilli and Bebek, with a nod to the poet Nedîm.
Münîrî's ghazal rhyming on Arabic religious phrases: a heart fleeing the glance and crying "where is the escape", prayer at the mihrab of the brow, and the well of the chin.
Kara Fazlî's mülemma ghazal in Turkish, Arabic and Persian lines: a rind who will not renounce wine, the sleepless lover, unity brighter than the sun and a secret kept.
Prince Bayezid's supplication to God: a poet who finds no one to take his hand, the hand of wrath and the hand of grace, and a tongue silenced before attribute and essence.
A single couplet of congratulation and prayer by Âkif: wishing its addressee to surpass his peers and to be, among his brothers, the Joseph-like lord of the Egypt of fortune.
Münîrî's punning ghazal with the refrain "-dürür": pearls plentiful in the shop of the breast, an eye bound for drunkenness, a candle under the sword, and a road of tears.
Mustafa Vâzıh's musammat with the refrain "Gel e şāhım idelim ‘azm-i Süleymāniyye": vanished empires, Vefa, a market, the nargile and Süleyman's tomb.
Kara Fazlî's trilingual mülemma ghazal: the Tuba tree enslaved to a cypress-statured beloved, a door circled like the Kaaba, a bewildered lover and the poet's boast.
A love ghazal by Prince Bayezid: beauty above paradise, the snare of locks that catches the heart's bird, a seven-headed dragon and a curse on the rival "before one can say hâ".
A love ghazal by Prince Bayezid in the short remel metre: a heart caught in the locks, down rebelling over a mole, the contrast of detail and summary, a beloved tall as Doomsday.
The ghazal in which Münîrî uses his pen name in the opening couplet: an old harper on the string of the soul, one and a thousand, a lock that lifts from the dust, a peerless beauty.
Mustafa Vâzıh's musammat with the refrain "Şimdi küskünlügümüz var felege sulṭānım": the king of a nameless land, solitude and a quarrel with fate.
Kara Fazlî's five-couplet ghazal with the redif "-lıḳ baña", built on the opposition of profligate and sheikh: the faithful dawn, wine as physician, the sinner's plea.
Prince Bayezid's ghazal of longing rhymed in "-âb": a breast turned to roast meat, tears turned to wine, a cloud of locks veiling the sun, and a king of beauty ashamed of his servant.
Münîrî's ghazal woven of garden and night scenes: a heart moaning a thousand times in a strand of hair, a lover holding a torch all night, a ruby musk-casket, an open-palmed plane.
Kara Fazlî's seven-couplet ghazal in the mütekarib metre with the redif "saña", reproaching an indifferent beloved: dream and encounter, candle and moth, shunning and devotion.
Prince Bayezid's ghazal built on repetition: the refrain "kebâb oldı kebâb", the candle and the moth, the beloved's dogs and a poet turned to dust on the road.
Münîrî's ghazal built on the puns "ürer" and "dürer": a barking rival and word breeding word, a ruby casket mouth, a Kaaba street, and a breeze reciting Tebbet and blowing.
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