Kara Fazlî's ghazal with Arabic lines: a cypress stature above the Sidra tree, glances tied to the verse "You did not throw", a healing mouth and a prayer for long life.
Kara Fazlî's five-couplet ghazal with the redif "-dan cüdā": a lover who calls on death rather than live apart, a play on alif and nun, the unbelief of the hair, the sultan's door.
Prince Bayezid's nazire with the redif "geçer" on a ghazal by Firâkî of his Kütahya circle: the shifting senses of the refrain, school imagery and the anthology version.
Münîrî's ghazal whose rhymes are all Turkish words: a veil over the bride of beauty, a guest who cannot eat what he hopes for, and a rival who is a donkey's-head scarecrow.
Kara Fazlî's five-couplet ghazal without a redif: a destitute shah of love whose drum is his breast and army his tears, the lamenting reed and the moon and fish as witnesses.
A ghazal by Prince Bayezid in the tone of a prayer: the beloved as sovereign of the throne of beauty, a sun asked to visit the house of grief, and a disguise as a dervish.
Münîrî's ghazal dense with Sufi language: the secret of a lip that bewilders all creatures, passing beyond the self, the wish never to be sober, and a burning worthy of his name.
Kara Fazlî's five-couplet ghazal in a short remel metre: the lover who stakes his head, the candle and the moth, a beloved who curses kindly, a remedy refused and Rizvan's envy.
A ghazal by Prince Bayezid opening with the images of Tûbâ and Kevser: couplets that move from simile to superiority, a star of fortune and a moon-faced beloved who never comes.
Münîrî's ghazal woven of proverbs: a rosebud gossiping behind the lip's back, a heart saying "stick it in your eye", a lover at the threshold, and an arrow that never returns.
Kara Fazlî's five-couplet ghazal in rich rhyme: a lover who rejects paradise, the letter of beauty written by the Scribe of pre-eternity, wine and secrets, the fairy and the madman.
A ghazal by Prince Bayezid opening with a spring gathering: pearls of Aden in a ruby casket, a face turned yellow as gold, a cry of reproach and a poet who calls himself sweet-tongued.
Münîrî's ghazal in plain language: a lover who has no one, arrows plentiful in his breast, the saying "there is no sin in erring", and a dagger he asks to be sheathed.
Kara Fazlî's five-couplet ghazal in rich rhyme: consent to the arrows of destiny, cruelty as the due of beauty, a threshold above paradise and Ali's valour against the rival.
A ghazal by Prince Bayezid built on images of the dervish lodge and Abraham: brands on the breast as candles at the hearth of love, the heart as a Kaaba, the beloved as a healer.
Münîrî's ghazal built on scenes of dialogue: a beloved who gives an arrow instead of a kiss, a full heart that knows nothing of hunger, and a breeze flinging dust into the eye.
Kara Fazlî's five-couplet ghazal with the redif "aña": a lover who is the dervish of a youth, a dal-shaped brand, a robe of bloody tears, hyacinths and the upright alif.
A ghazal by Prince Bayezid in which the word "mevzûn" unites stature and verse: a poetic cause for a red eye, a moaning reed flute and drum, and a kiss demanded as Ottoman tax.
Münîrî's ghazal set between morning and night: pale cheeks as two trays of gold, a rose giving its leaves to the wind, and a prayer recalling the Qur'anic oath by the dawn.
![Ghazal 38 — Nā-gehān bir serv-i ḫoş-reftār[e] oldum mübtelā](https://amasya05.com/storage/gallery/1734f3ab23207696f58a4a7e8c342aad.webp)
Kara Fazlî's five-couplet ghazal with the redif "-e oldum mübtelā": reason, thought, patience and heart all gone, a stature raising doomsday, Layla's hair and a lover dried like a comb.
The first of three ghazals by Prince Bayezid rhyming in "-estedür": a garden scene giving poetic causes to flowers, "joined" eyebrows and a thread of separation tied to union.
Münîrî's ghazal with the refrain "-nüñ": a comb whose teeth broke for never letting go of the lock, a mad heart's incitement, a mole bearing no harvest, and the moth's fate.
Kara Fazlî's five-couplet ghazal with the redif "-um fedā": soul, faith, eye, bones and blood offered to a lip with the Messiah's breath, unbelieving tresses and a dagger.
A ghazal by Prince Bayezid rhyming in "-estedür" with a line left incomplete in the manuscript: a heart bound to every strand of the locks, a Leylâ-night pun and an unopened rosebud.
Münîrî's nine-couplet ghazal on a Frankish beauty: allusions to Jesus, a lock like a monk's cord, the double sense of "çeng", and a final couplet in which the poet mentions his lameness.
Kara Fazlî's two-couplet ghazal whose opening couplets are lost: a libertine's logic that makes drinking the blood of wine lawful, and the saying that dawn prayers are answered.
The third of Prince Bayezid's ghazals rhyming in "-estedür": a cry that reaches the heavens but not the moon, a sigh-wind that could fell a sapling, and a lover keeping watch with dogs.
Münîrî's ghazal built on the goldsmith's craft: a golden face set with rubies, jeweller pupils, a sigh as bellows, carnelian tears, and a lover pitied even by the unbeliever.
Kara Fazlî's three-couplet ghazal whose end is lost: a heart that never says "no", the body as a borrowed garment, swimming in the sea of love and a couplet repeated from Ghazal 26.
Prince Bayezid's ghazal with the redif "vardur": the word "mâ-cerâ" for tears flowing to a cypress stature, counsel given to the beloved, and a pain whose remedy is never found.
Münîrî's seven-couplet ghazal with the refrain "idicek": the dawn nightingale, trembling elms, a cypress awaiting freedom, a heart of flint and steel, and a hut of sorrows.
Kara Fazlî's three-couplet ghazal whose end is lost: a fourfold "this", a double entendre on "em" as medicine and as "suck", and the law of a beloved who drinks blood.
A ghazal thought to express Prince Bayezid's waiting for a letter from his father: a rose garden turned dungeon, a physician taking the pulse and a life-granting letter asked of the sultan.
Münîrî's ghazal opening in the language of the market: hair and teeth that lower the price of musk and pearl, a rose petal at the beloved's feet, and a candle for all.
Kara Fazlî's five-couplet ghazal with the redif "mest": a heart twice drunk on eye and lip, a thousand drunkards, a pun on "merdüm" and Fazlî lying in a corner of the tavern.
Prince Bayezid's ghazal with the redif "bilür": a proverb on the master of every craft, Ferhad knowing the pleasure of love that the ruler Hüsrev never knew, and sleepless stars.
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