Kara Fazlî's libertine ghazal with the redif "-dur": the one who knows no love as the truly sick, a lesson for the Sufi, wine in the season of roses, and the curse of shame.
Münîrî likens the beloved's eye, mouth, brow and tresses to letters; in each couplet the letters spell the rhyme words cedel, amel, remel, asel and ecel.
Prince Bayezid's four-couplet ghazal with the refrain "eylemiş": the hunt of hair and glance, the allusion to "ahsen-i takvîm", divine attributes and its form as the short twin of ghazal 67.
Kara Fazlî's ghazal with the redif "ider": arrow lashes and sword glances, water wearing away stone, a magic circle drawn with tears, and poetry like a sugar-scattering parrot.
Münîrî likens the tear to a courier and the lip to a table sent down from heaven, and depicts an ill-tempered ascetic and a lover who gives himself to the beloved's dog.
Prince Bayezid's drinking ghazal rhyming in "-ûş": the ruby cup that carries the mind from head to foot, the robed cypress, the hair-thin waist and a poet lost in a sip of love.
Kara Fazlî's ghazal with the redif "ider": a heart that makes its sigh an arrow, tears that move earth and sky, the tress as unbelief, and a mouse-sized Sufi playing the lion.
Münîrî compares the tear that will not look back at the pupil of the eye to the Day of Judgement, and the tear that fails to reach the threshold to a traveller gone astray.
Prince Bayezid's ghazal with the refrain "âteş": the smoke of a sigh that burns the world, separation worse than seven hells, tears like the Oxus and the Tatar hair that plunders.
Kara Fazlî's ghazal with the redif "-ın sever": a lip loved above life, a heart that loves its own fetters and dungeon, and a head offered as the ball to the polo stick of the tress.
In this ghazal with the refrain "degül" Münîrî depicts an ascetic indifferent to the grain of the mole, the rival's question, and an old lover who has given his heart to a youth.
Prince Bayezid's ghazal with the refrain "'arz": a lover who finds no one to present his state, the moaning nightingale, a secret kept from rivals and the ruby lip asked of the physician.
Kara Fazlî's ghazal with the redif "-den ṣor": love as a shirt of fire, sweet grief asked of Ferhad, paradise asked of the nightingale, the tulip's bloody shroud, a lip like Jesus.
Münîrî opens this ghazal with a pun on hem-dem and depicts a rosebud binding its aching head, rose-water from the nightingale's eye, and a chin dimple that is no Zamzam.
Prince Bayezid's ghazal with the refrain "haz", in a metre rare in the divan: the ascetic who takes no pleasure in beauty, the rose that enjoys lament and a beloved preferred to the houri.
Kara Fazlî's ghazal built on a pun on "muẓaffer": a shah named Muzaffer who conquers the heart, a leader who must give his head, and the moon with black smeared on its face.
Münîrî's eyelash rules a table in bloody tears on the yellowed face; the threshold cures a headache, and the poet asks the absent beloved to come at least to his funeral.
Kara Fazlî's ghazal with the redif "oḳur": the Qur'an read in the codex of the face, arrows reciting Yâsîn, Câmî's Bahâristân and Sâdî's Gülistan and Bostan.
Prince Bayezid's only Turkish ghazal ending in the letter "ayn": the events love brings, the sherbet of union, the poor heart returning to its origin and a glance drawing a sword.
Münîrî calls beauty the light of God, likens the hair to a wick for the wound, and says that remembering the rose-like face turns the fire of Abraham into a rose garden.
Kara Fazlî's ghazal with the redif "sürer": wine passed round and delight enjoyed, the beggar who enjoys the world, black smeared on the moon's face, a fortune above kings.
Prince Bayezid's ghazal rhyming in "-ag": the tulip brand on the breast, the royal tent of the shah of love, a play on the word "sag" and a night lamp lit from the heart's fat.
Münîrî describes a stature and lip that shame the cypress and the rosebud, a heart still thirsty for ruby, and himself as a moth circling the candle of Çigil.
Kara Fazlî's ghazal with the redif "söyledür": a cypress stature that makes poems raise a tumult, folly in the ascetic, wine that tells secrets, a cup that teaches the parrot.
Prince Bayezid's descriptive ghazal with the refrain "üzre her taraf": hyacinth hair on the cheek, a parrot spreading its wings in Rum, a Judas tree's shadow and tulips on the mountain.
Münîrî welcomes the beloved back from a campaign as king and sun of fortune, and writes of his turn at the mill of the heavens and the sackcloth of grief given by love.
Kara Fazlî's ghazal of separation with the redif "-dur": bloody tears taken for wine, free wine turned to poison, a bowl of heart's blood, and a breast played like a kanun.
Prince Bayezid's ghazal of wisdom without a beloved: a faithful friend not found in the world, liars and hypocrites, hungry dogs on carrion and the worldly ties that must be cut.
Münîrî makes all who see the beloved cry out "God is most great", likens union and separation to antidote and poison, and reads the eyebrows as a tughra that ends lovers.
Kara Fazlî's farewell ghazal with the redif "-um gider": a shah setting out in felicity, a heart that goes with him, a courier of imagination at every stage, a lord likened to Alexander.
Prince Bayezid's witty ghazal: a beloved opening a mouth said not to exist, arrow-like glances, an indulged forelock and a faithful friend who, like the Ankâ, is only a name.
In this ghazal with the refrain "gözlerüm" Münîrî uses the word both as an address to the beloved and for his own eyes, which grow four from watching the road to his cottage.
Kara Fazlî's yek-âhenk ghazal built on puns on "al" (red): a beloved dressed in red in every couplet, a deceived nightingale, an elif amid blood, a poem like a tulip garden.
Prince Bayezid's ghazal with the refrain "'ışk": a passion that disgraces before the worlds, a breast pierced like the ney, the plundered shop of the body and a poet who speaks of love.
Münîrî plays on the idiom "to see the day", counts his tears as peerless pearls, and holds that fine speech and a sound disposition suffice a poet who has no gold.
Prince Bayezid's ghazal with the refrain "'ışkun": a wound of love without cure, love's wine-drinker, a vagabond who has shaken off the world and a manifestation that burns the horizons.
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