Münîrî's ghazal opening with "ahsen-i takvîm": speech with the Messiah's breath, curl and cheek as night and day, path dust as tutty, and a star unlit by the sigh.
Kara Fazlî's seven-couplet ghazal with the redif "-ı dürüst": one word with a new sense in each couplet, an unbelieving glance, a crooked cypress, a toothless lover, torn rosebuds.
Prince Bayezid's ghazal with the redif "kılur": an army of grief plundering the realm of the heart, an infidel forelock plundering faith, a flood of tears and a sacrifice at the Kaaba.
Münîrî's ghazal opening with a forelock come to learn sorcery: a heart with no remedy, the veil lifted at death, a lover burning like a furnace, and a dazzled eye.
Kara Fazlî's five-couplet ghazal in rich rhyme: speech that checkmates the water of life, Khidr and Jesus, an eyelash pen and an eye inkwell, and the thought that beauty is fleeting.
Prince Bayezid's ghazal opening with the words "pâre pâredür": a stone-hearted beloved, a kiss paid for with the soul, and the pun on "mihr" that turns hidden love into the sun.
Münîrî's ghazal on the glance that ruins the realm of the heart: a thief-like glance, sigh smoke rising straight to the sky, a black-faced crooked curl and a kind wrath.
Kara Fazlî's five-couplet ghazal to the Sufi: delight and purity, the daughter of the vine, the shattered mirror of the heart and an heir left with nothing but the moisture of tears.
Prince Bayezid's ghazal with the redif "ideyor": the parrot of the heart wanting to escape the cage of the body, sweet speech recalling Şirin, and a parrot speaking before the mirror.
Münîrî's libertine ghazal rhyming in "-eng": a drunken lover free of shame, a last draught above henbane, stone-hearted beauties, and a closing couplet on the poet's lameness.
Kara Fazlî's five-couplet ghazal against the Sufis: the harlot world, man and coward, a double entendre on square and triangle, and Fazlî as the one hero on the field of love.
Prince Bayezid's short ghazal of separation with the redif "olupdur": tears turned to blood, the earth dyed rose-red, adjectives fitting both stature and verse, and a Leylâ-Mecnun pun.
Münîrî's ghazal surviving only in the Vatican manuscript: saliva like a wine bubble, a heart roasting in a fire temple, a fleeting bubble, and curses as bitter as wine.
Kara Fazlî's five-couplet ghazal with the redif "baḥs̱": astronomers debating the sun, lovers quarrelling like the people of the book, and a wine gathering with no room for Kevser.
Münîrî's ghazal with the refrain "huşk" (dry): a wound that never dries, blood dried at the sight of the rival, a dry ascetic, a withered cypress, and fresh verse against dry words.
Prince Bayezid's ghazal with the redif "irişdür", entrusting a letter to the morning breeze; for Kılıç, one of the poems voicing a son awaiting his father's reply.
Kara Fazlî's short ghazal with the redif "el-ġıyās̱": a five-couplet cry for help against a blood-shedding eye, a glance that whets its sword and an amber-scented tress.
Münîrî's ghazal also copied into two nazire anthologies: a shaming kindness, a beloved who never asks, a weeping pen, a heart jealous of the liver, and dust instead of kohl.
Prince Bayezid's ghazal on a heart gone mad for "a shah named Süleyman": candle and moth, sleepless nights, an answer to the ascetic and the ruined house of the heart.
Kara Fazlî's response poem to Ahmed Paşa with the redif "elinden el-ġıyās̱": endless cruelty, an eye that betrays the secret, a forelock that trips the heart, a burning breast.
Münîrî's ghazal opening with a thirsting heart: the dust of the feet instead of the lip, thorns beside the rose, tears like the Nile and Aras, and the soul as a caged bird.
Prince Bayezid's ghazal with the redif "sever" in the short remel pattern: a proverb-like maxim in every couplet, a moon in the sky and union set above paradise.
Kara Fazlî's ghazal with the redif "ile baḫs̱": the Oxus competing with tears, sugar disputing with the lip, musk shamed by the tress, and the forgotten idiom "kelle geçmek".
Münîrî's ghazal rhyming in "-eng" and opening with musical terms: a lament the harp takes as its model, heart and soul at war, stone in flowing water, and a rusted arrowhead.
Prince Bayezid's ghazal of exile with the redif "sefer"; according to Kılıç it may voice his distance from Istanbul or his forced departure for Iran.
Kara Fazlî's five-couplet ghazal in rich rhyme: the beggar of love who asks nothing of Dârâ, pain as the remedy, a heart broken like glass and musk that loses its value.
Münîrî's ghazal opening with the pun "iş iden" and "işiden": a heart gone into the wilds, a curse on the rival, an unerring glance, and a poet defending his verse's secret.
Prince Bayezid's ghazal from the last leaves of the manuscript: the pun on "sende" and "bende", burning tulip and rose, the heart as a ball before the polo stick.
Kara Fazlî's response poem to Revânî with the redif "gördüñ mi hīç": taverns, ruins full of treasure, madmen like Mecnun and moths slain by the candle's dagger.
Preserved only in the Vatican manuscript, this ghazal by Münîrî brings together the mirror of the heart, the languid eye, the flayed plane tree and the night of tresses.
Prince Bayezid's longest ghazal: in twenty-nine couplets a beloved arriving in Rûm, Hallâc's gallows, a kaside-like prayer and a Bâkî ghazal added after it.
Kara Fazlî's three-couplet ghazal whose last couplets are lost: a lamp with a golden crown, a beloved whose mole is worth Anatolia's tribute, and the counsel to seize the moment.
In this ghazal with the refrain "olsam gerek", Münîrî foretells the lover's fate, from the wound of the glance to death and a return from the grave as a tulip.
Prince Bayezid's ghazal with the redif "ele girmez": the peerless beloved, physician and patient, the proverb of the thornless rose and the cheap bargain of life for a lip.
Kara Fazlî's response poem to Resmî with the redif "telḫ" (bitter): sugar turned bitter, sweet bitter words, a sour-faced Sufi and tears that make the waters salty.
A mülemma ghazal alternating Persian and Turkish couplets: a bubble as a tent, an amulet written with evening and dawn, closed tavern doors and Câfer Çelebi's Persian.
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