Prince Bayezid's ghazal with the redif "benüm": an opening line of heart epithets, a nightingale in the rose garden and lines shared with ghazal 90.
Münîrî likens bloody tears to pomegranate seeds in a bowl, turns the rosebud into a scribe rolling a scroll, and plays on kâh, which means both palace and straw.
Kara Fazlî's ghazal with the redif "yazmışlar": a cheek written on a rose petal, an eyebrow like a tughra on a patent, teeth strung as verse and hair written in an anthology.
Prince Bayezid's ghazal with the refrain "bilmen n'eyleyem": a lament in which every couplet ends with the same helpless question, a nightingale among thorns.
Münîrî likens the eyebrow to a gold-inlaid sword and the tress to a knot that binds the tongue, bringing an untimely guest and a profit-and-loss partnership into the poem.
The single surviving couplet of a Kara Fazlî ghazal whose first couplets are lost: a lover who fears death no more than Khidr, the beloved's lip his water of life.
Prince Bayezid's ghazal with the redif "benüm": the poet addresses a letter dyed with bloody tears, calls himself the Hüsrev of love and finds his words rindâne.
In this ghazal with the refrain "speech", Münîrî has the invisible mouth speak with the tongue of the unseen and plays on the mīm of ‘adem, the word for nonexistence.
Kara Fazlî's ghazal with the redif "uyur", its first couplets lost: a heart asleep with the dogs of the beloved's street, a languid eye sleeping on a sun-face, and dawn.
Prince Bayezid's ghazal to a beloved swaying in the lands of Rûm, written from the land of separation; it ends by offering the pearl of poetry to a shah who knows speech.
Münîrî calls a beloved named Sinan the Joseph of the Egypt of beauty, likens his chin dimple to the well of Canaan and alludes to the crier's call over the hidden cup.
Kara Fazlî's spring ghazal with the redif "zemānıdur", its last couplets lost: no time for sobriety, a tulip holding a goblet, a teasing rind, and wine as the cure of sorrow.
Prince Bayezid's nazire to the ghazal his father Süleyman, as Muhibbî, wrote for his mother Hürrem Sultan: a catalogue of the beloved that ends with an ant.
In this plain-spoken ghazal in a short metre Münîrî reproaches a faithless beloved, asks the giver of pain for a cure and likens union to a feast day that should go unspoken.
Kara Fazlî's two-couplet ghazal whose last couplets are lost: a rival showing the beloved gold, a musician stroking his tambourine for a tip, and a tress that hangs the lover.
Prince Bayezid's ghazal with the redif "benüm": a khan to visit the house of sorrows, the smoke of sighs painting the world sky-blue and a legend of love on every tongue.
Münîrî likens the tress falling on the cheek to a moon eclipsed by day, gives the morning breeze a reason for stealing footprint dust and ends with a sun seen at night.
Kara Fazlî's two-couplet ghazal whose last couplets are lost: a fickle beloved who talks with others everywhere, a world booming with jealous sighs, and pupils drowned in blood.
Prince Bayezid's ghazal to a beloved he has long not seen, praised as the Hüsrev of the realm of poetry, closing with a prayer for fortune until the Resurrection.
Münîrî rhymes on yakın in three different senses, likens union to a feast of sacrifice and the lovers' blood to henna, and turns the tress into a girdle worn like a rosary.
Kara Fazlî's archery ghazal with the redif "-veş": a lover who cannot sway like a sword, an eye like a ruby thumb ring, people linked like a chain, and loyalty like Qitmir's.
Prince Bayezid's ghazal of thanksgiving with the redif "buldum": the joy of a reunion, overshadowed in the closing couplet by fear of the coming separation.
Münîrî likens the tear-filled eye to a whirlpool, welcomes the arrow wound that comes from the beloved and joins the down on the cheek to the saying that what is written befalls one.
Kara Fazlî's second archery ghazal with the redif "-veş": a lover bent like a bow, counsel from bow and arrow, a chin like a dungeon and Qitmir in the cave of faithfulness.
Prince Bayezid's short-metre ghazal in which he gives his soul as a reward for the greeting his shah sent him; its final word "dirlik" can be read in two ways.
Münîrî has the troop of the beloved's image pass slowly through a tear-filled eye, recalls the nightingale dying for a week-long rose and joins gazing and reasoning in one word.
Kara Fazlî's ghazal with the redif "baġlamış", its first couplets lost: an arm round the beloved's neck like a golden amulet, arched eyebrows, and a down never made fair.
Prince Bayezid's ghazal in which he proclaims himself padishah of the realm of grief, tells of idols turned to stone and ends on the faithlessness of the world.
Münîrî brings the battle with the glance from knife to spear, shows grief stopping the spring of tears at its source and reads a death at dawn as the sign of an auspicious day.
Münîrî calls the man who forbids wine a stone, sees the black mole on a white cheek as an Abyssinian king come down into Rum and blames the rose season for his return to the tavern.
The single published couplet from Âkif's 96-couplet kaside presented to Sultan Ahmed III and Dâmâd Ali Paşa: a couplet of praise calling the sultan God's drawn sword.
Kara Fazlî's richly rhymed ghazal in "-āṣ": a pupil diving for pearls in a sea of tears, wine that revives like Jesus, love's closed chamber and a heart melted in love's crucible.
The 1177 couplet "my dear son" that Kara Müftî İsmâil Hâtif Efendi wrote for the birth of his son Mustafa Vâzıh, preserved in Vâzıh's own Dîvânçe.
Prince Bayezid's ghazal with the redif "benüm": a stature bent into a harp, a lament moving in the makam râst, a plea to the sultan for justice and a palace of grief.
In this ghazal with the refrain "içün" Münîrî sets the beloved's lip above honey and sugar, plays on the word ney, speaks of oath and expiation and comes begging like a dervish.
The single published couplet from the part of Âkif's kaside devoted to Dâmâd Ali Paşa: a eulogy built on the words "first intellect" and "second".
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