Kara Fazlî's five-couplet ghazal with the redif "saña": the sun casting shade on the moon, a kiss not bought with the soul alone, sweet life for milk, speech as adornment.
Prince Bayezid's response poem to a ghazal by Ahmedî: the fire of longing, the smoke of separation, and counsel that the world builds up a man's beginning only to ruin his end.
Münîrî's ghazal of witness with the refrain "bilür": the mouth as the dot of the cim in beauty, the one who bears it knows, the chopping arrow, and the fair one who knows the heart.
Kara Fazlî's five-couplet response poem with the redif "aña" to Atâ's ghazal, answered by 54 poets: prayer for an insult, the falcon arrow, the astonished inkstand, sacrifice.
Prince Bayezid's ghazal in a short metre: tears turned to wine by longing, a breast roasted by separation, and the counsel to give the heart to a place that will not fall to ruin.
Münîrî's ghazal found only in the Vienna and Istanbul manuscripts: pupils learning to swim with gourds, tears with legs, the prohibition of grief, and the lock as a tethered falcon.
Kara Fazlî's longest ghazal, eleven couplets complaining that ignorant men in office are praised as poets while true poets go unheard, naming Hassan, Sahban and Bakil.
Prince Bayezid's ghazal with the redif "heb" (all): the faithlessness of all beauties, arrows shot from bow-shaped brows, the beloved's dog and the rival, a tale written in bloody tears.
Münîrî's twenty-nine-couplet elifname: a love poem whose couplets open with the letters from elif to ye, called a "long ghazal" by Ersoy and woven with puns under the rule of the alphabet.
Kara Fazlî's five-couplet ghazal with the redif "āşinā": a beloved acquainted only with strangers, the paradox of becoming a stranger to be known, pearl and sea, sun and mote.
Prince Bayezid's party ghazal with the redif "mest" (drunk): a drunken glance holding a dagger, a pickpocket forelock, a flask that sings gulgul and a lover who outdoes Ferhad and Mecnun.
Münîrî's ghazal with the refrain "-Uz", moving by "we are": a night-walking lover, a breast that is a house of affliction, game pointed out by a dog, and tinder that needs no spark.
Kara Fazlî's five-couplet ghazal of separation with the redif "baña": hyacinths in mourning, a gathering Cem would envy, and "âdem" spelled from alif, dal and mim.
Prince Bayezid's ghazal of separation: the smoke of the fire of longing, the wish to wander the mountains like Mecnun, and a pen of destiny that wrote separation first upon his brow.
Münîrî's ghazal with the refrain "-umuz": a waiting beyond bounds, patience given to the wind, a gravestone that will moan until Judgement, a missed union and a week of sighs.
Kara Fazlî's ghazal of spring and wine, with the couplet "ṣūfī delü olma" that Özkat cites for the poet's profligate stance and Plain Turkish, and a praise built on "igen".
Prince Bayezid's ghazal joined from two fragments: repetitions such as "'alâmetdür 'alâmetdür 'alâmet", a plea for favour at the beloved's door and the Kaaba of her street.
Münîrî's ghazal woven of popular sayings with the refrain "-ulmaz": blood not left unavenged, an orange chin no hand may touch, the arrow off the bow, the sun no mud can cover.
Kara Fazlî's five-couplet ghazal with the redif "baña": a lip above the wine of paradise, Özkat's example of leff ü neşr in morning and evening, and the beloved's dog.
Prince Bayezid's lament with the redif "elinden el-gıyâs" (help against): a stature bent like a letter, a rose garden pitiless to the nightingale, a breast pierced like a reed flute.
Münîrî's ghazal with the refrain "-Uz", only in the Vatican manuscript: the falcon of love, a village in plain sight needs no guide, tinder ready to burn, a lover patient as Job.
Kara Fazlî's five-couplet ghazal with the redif "saña": wine from the liver's blood, lock and mole as snare and bait, a gazelle tame to the rival dog, and a play on "iti".
Prince Bayezid's second "el-gıyâs" ghazal, sharing its redif with G.14: a beloved who is a sultan oppressing her servant, a chain of locks, mischief-making eyes and a pain without cure.
Münîrî's ghazal with the refrain "-maz": a ruby lip never tired of drinking blood, a tear that trusts no one else, the wise who lean not on water, and a lover burning in a Kaaba street.
Kara Fazlî's seven-couplet ghazal with the redif "ṣafā": the couplet of ṣuffe, ṣaf, ṣūfī and ṣāfī that Özkat cites for iştikak, a pun on cānā ne and cānāne, and conquest.
Prince Bayezid's ghazal with the redif "genc" (treasure): love hidden in the heart, locks as a dragon talisman, union bought with the soul, and love as a gift of God.
Münîrî's rind ghazal spoken in the voice of "we": slaves of the Magian elder, madmen of Leylâ's lock, warriors for a Turkish horseman and moths of one candle.
Kara Fazlî's five-couplet ghazal with the redif "-dan vefā": no faithfulness from lock, time or sword, the proverb of the sharp sword, and a pun on "ḳandan u ḳandan".
Prince Bayezid's second ghazal with the redif "genc": union as treasure, a double entendre between the age of the down and the last age, and counsel to keep love hidden.
Münîrî's six-couplet ghazal: tears that revive the fainting heart, a breast turned into a jewel casket by arrowheads, a drunken eye that betrays secrets, and proverbial words.
Kara Fazlî's five-couplet ghazal with the redif "oldı baña": the lover as shah with grief for his army, an arch for prostration, and calling a forelock musk as a disgrace.
Prince Bayezid's ghazal of musk and medicine: chain-like locks, musk without a market in Rûm, a down that taxes Cathay, and a threshold above throne and crown.
Münîrî's ghazal with the refrain "-maz": a lip that never asks, water that cannot stay in a broken pot, an ascetic drunk with pride, a rival unwelcome even in dreams.
Kara Fazlî's five-couplet ghazal with the redif "gedā": the padishah of the realm of beauty and the beggar at the threshold, a plain Turkish reproach and a question.
Prince Bayezid's ghazal joining love and counsel: a sun eclipsed by a cap worn aslant, a heart-breaking pilgrim, "es-sabru miftâhu'l-ferec" and good deeds scattered on the water.
Münîrî's ghazal without a refrain: a pain that knows no season, a sigh that lights the lamps of heaven, tears that betray secrets, and love's metaphor as a bridge to truth.
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