Kara Fazlî's ghazal with the redif "eyler": a listener who whirls to a ney-like lament, a yellowed body turning in the wind, quarrelling spheres and a head never cut from love.
In this ghazal with the refrain "eyledüm", Münîrî turns his tears to an ocean and his heart to a ruin, refutes a slander with two witnesses and lets grief plunder his heart.
Prince Bayezid's ghazal with the refrain "eyledün": a breast bleeding like the tulip, the Leylâ of the hair, a union reviving the dead and a poem made a pearl in the padishah's ear.
Kara Fazlî's ghazal with the redif "eyler", one couplet lost: prey whirling to the ney-like sound of an arrow, a drunken cup, friends bidding grief farewell, and a curse.
Münîrî's ghazal that makes the smoke of sighs a banner, hopes for a scrap of a dog's horse-cloth and belittles mastery of sword and pen, a clue to the poet's own career.
Prince Bayezid's eight-couplet ghazal with the refrain "eyledün": the joy and prayers of union, a beloved who makes servants khagans and the complaint of Şâhî kept far from his service.
Kara Fazlî's only ghazal with a double pen name: a lover who sees himself and the beloved in Farhad and Shirin, a head crowned by fortune, and poetry given as a gift.
In this spring ghazal Münîrî turns the rose garden into a state: the rose is sultan, pays dues and issues decrees, the iris keeps the ledger and the narcissus collects alms.
Prince Bayezid's ghazal rhyming in "-âk": sorrowful heart, bloody liver and wet eye, union as antidote to separation and the lantern of the heavens turned by the smoke of sighs.
Kara Fazlî's ghazal with the redif "-dür": an eye that casts the heart into fire, a letter that is a white dove, a cup like a falcon, and a heart that mirrors the beloved's face.
In this ghazal with the refrain "itdüm" Münîrî stakes his soul in the market of love; a pun on revān, the eye's shop and a losing bargain for a single kiss stand out.
Prince Bayezid's ghazal with the refrain "yig": a beauty finer than bud, cypress, ruby and the pearl of Aden, a tulip in a bloody shroud and union measured against the tribute of Rum.
Kara Fazlî's ghazal with the redif "yeğdür": abuse sweeter than a rival's praise, the dog of the beloved's street, a lover who leaves Kevser and a poet secluded in a tavern.
In this ghazal with the refrain "I could not tell", Münîrî's lover bows to the niche instead of the horseshoe, rusts the mirror of a face with sighs and rubs his face on a threshold.
Prince Bayezid's ghazal with the refrain "eksük degül": slander from every side, the crooked sphere, prayer at the padishah's court and the saying that a servant never lacks error.
Kara Fazlî's ghazal in a mystical vein: a face that is proof of God's beauty, a path of love open to the content, a beauty veiled by its own light, and all things returning to their origin.
Münîrî opens this ghazal with the feast, likens an eyebrow to an old man leaning on a staff, turns arrowheads into windowpanes and pictures his stature through elif and lām.
Prince Bayezid's ghazal of invitation with the refrain "oldı gel": a roasted breast, a soul within a hair's breadth, a rose garden turned prison and a closing couplet on coquetry's measure.
Kara Fazlî's response to Kemâl Paşa-zâde with the redif "ṣandılar": a forelock taken for blood, a crescent for a bone, a chain for a beloved, and Farhad's story for the lover's own.
In this spring ghazal Münîrî rhymes on müdām in two senses, makes the violet the rose's envoy and keeps to the rose's company despite the proverb on those who are bound.
Kara Fazlî's response to his teacher Zâtî with the redif "olur": a moon-face unseen for a year, a drunkard turned lamp, a forelock like Gabriel and grass become tongues.
Prince Bayezid's five-couplet ghazal in the short remel pattern: down and mole on the cheek, a mouth that may or may not exist and a waist beyond imagination.
In this short-lined ghazal Münîrî rhymes on "em" as both "suck" and "remedy", and writes of tears that dry the heart and a lip that outshines the cup of Jamshid.
Kara Fazlî's ghazal with the redif "-um var": a lover made king by his servitude, a tongue that stirs like a bell's clapper, old age in youth, and a falcon of the placeless realm.
Prince Bayezid's ghazal with the redif "gönül" making the heart the home of the 'Anqâ; it ends with the couplet Kılıç cites on the transience of crown and throne.
In this ghazal of counsel Münîrî writes of a contrary star and a juggling heaven that blindfolds man, calls to unity in a Persian couplet and recalls David turning iron to wax.
Kara Fazlî's ghazal with the redif "-den ṣor": ask Farhad, not Khusraw, about love's calamity; a tulip like a bloody shroud, spring like Irem, and dust that heals the eye.
Prince Bayezid's nazire to Cem Sultan's ghazal "Kâse-i ömri", absent from the divan and taken from the Pervâne Bey Mecmuası: long hope, gazelle and ghazal.
In this libertine ghazal Münîrî rates service at the tavern as kingship, warns against the unripe fruit of a gilded garden and pictures an eye bringing water from a hundred streams.
Kara Fazlî's response to Hayâlî with the redif "bilmezler": a beloved present everywhere yet sought far away, a lip that revives like Jesus, a nightingale the deaf cannot know.
One of Prince Bayezid's ten ghazals with the redif "benüm": the sun of beauty's sky, the Hümâ at the summit of disdain, a pun on arrow and bow and a face like an autumn leaf.
Münîrî likens the beloved's stature to the Tûbâ tree and builds a pun on kāmet, stature and the call to prayer, as an imam cries out that the Resurrection has risen.
Kara Fazlî's response to Fuzûlî with the redif "-ı var": Farhad, who has only a name in love's craft, a fortress of pain that withstands the cannon of sighs, and a retreat in the tavern.
Prince Bayezid's ghazal sharing a redif and a whole line with the ninety-first ghazal: the swaying cypress, the flowing soul and the shah of the heart's throne.
Drawing on verses from the suras al-Rum and Ya Sin, Münîrî presents spring as the dead world raised to life, and through the rose warns against trusting this five-day world.
Kara Fazlî's ghazal noted for its plain Turkish: a heart captive to the tress, whoever loves Leyla becoming Majnun, a tress preparing a night raid, and tears that will become the Oxus.
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