Kara Fazlî's ghazal rhyming in "-āṣ": a lover reciting İhlâs at dawn, jealousy of rivals told through an Arabic proverb, the well of the chin and the sea of meaning.
Mustafa Vâzıh's one-couplet chronogram of 1223 (1808-09) for a fountain: the idiom "learn it like water" and the fountain's name, "‘Uyūnü'r-rıżvān".
Prince Bayezid's ghazal with the redif "benüm": a cry that reaches the sky but not the beloved, a plea to the sultan for justice and a legend outdoing Ferhâd and Mecnûn.
Münîrî likens the weeping eye to an upturned wine bottle, has Mount Bîsütûn grieve for Ferhad and gives the harp, the reed flute and the organ the voices of suffering lovers.
Two couplets published from the fahriye of Âkif's kaside to Ahmed III: the poet says he studied morphology, logic, theology, astronomy, geometry, hadith and tafsir and wrote on most.
Mustafa Vâzıh's single-couplet chronogram for a charitable work of 1223 (1808-09), in which the phrase "āyā ḫayrāt" adds up exactly to 1223 in ebced.
Kara Fazlî's ghazal with the redif "raḳṣ" (dance): a sun that spins when the beloved dances unveiled, a heart leaping like a roast, motes dancing in a grave, a drunk lover.
Prince Bayezid's ghazal with the redif "görmedüm": each couplet names something lost through separation, a sleepless night is recalled and a young beloved closes it.
Münîrî likens the heart to a parrot caged in the beloved's locks, dreams of burning the angels' register of his sins with his sigh, and compares lip and teeth to a ruby ring.
Two couplets published from the fahriye of Âkif's hundred-couplet kaside on a new fortress, written for Mehmed Paşa: the poet calls himself both poet and scholar devoted to study.
Kara Fazlî's ghazal of counsel with the redif "-a baṣ": the heart, a falcon, should set foot on the nine heavens, be unbound like Jesus and tread on Afrasiyab like Kay Khusraw.
Mustafa Vâzıh's chronogram for the 1211 (1796-97) repair of the Kocacık Mosque in Amasya, playing on "old Vâzıh" and the "little old" mosque made young.
Prince Bayezid's ghazal with the redif "itdüm": a lover leaves his homeland, hunts the uncatchable hümâ with the falcon of his poetry and dwells in fire like the salamander.
In this short ghazal Münîrî shows the beloved's image as a guest lodged in the eye and a troop of horsemen in the breast, playing on "vech-i hasen" as fair face and fair way.
Two couplets published from Âkif's 18-couplet response poem to a ghazal by his teacher Uşşâkzâde Efendi: the poet praises his teacher and asks to be taken on the pilgrimage.
Kara Fazlî's second ghazal with the redif "-a baṣ": a cypress to be broken, a rose pressed into the dust, an eye that is a ruby stirrup and a musician who heals the afflicted.
Mustafa Vâzıh's chronogram of 1215 (1800-01) for the vizierate of his patron Tayyâr Mahmûd Paşa of Canik: a hunting falcon, the Hümâ and a pasha named "flier".
Prince Bayezid's ghazal with the redif "benüm": love from pre-eternity, a letter whose red ink is blood, a stature bent like the letter dâl and a faithless shah of the world.
In this ghazal with the refrain "deminden" Münîrî plays on "dem" as companion, moment, breath and dawn, and likens his heart, called mad, to the dervish abdals of Rum.
The single published couplet from Âkif's ghazal with colours as its refrain: black, red, white, green and yellow matched with the beloved's beauty and the lover's state.
Kara Fazlî's short-metred, richly rhymed ghazal: a face like an auspicious omen, expansion of the heart through love, a Sufi at his austerities, and a play on Fudayl ibn Iyad.
Mustafa Vâzıh's chronogram for water brought by Yegenzâde in 1208 (1793-94): a couplet for a charitable water work recalling Husayn and Karbala.
Prince Bayezid's ghazal with the redif "benüm": the rose and the nightingale as equals, a lover unafraid of death and a servant faultless for years in the service of beauty.
In this ghazal close to everyday speech Münîrî shows a mad heart that forgets yesterday's arrow, a preacher who may not keep his word, and a lover who finds the sun on earth.
The published last couplet of Âkif's 25-couplet chronogram on a commentary by the Kaymakam Paşa: the date 1121 (1709-10) and an image of ink and the Kaaba's black covering.
Kara Fazlî's ghazal woven of derivations and puns: a candle that shows its cheek and turns away, a rose torn by the wind, counsel to be generous, and a lover bowing to an idol.
Mustafa Vâzıh's chronogram of 1237 for his son Seyyid Muhammed Ni'metullah, born when the poet was sixty: news brought at the Friday prayer and a father's prayer.
Prince Bayezid's ghazal wishing to stand in service, hand on breast, and to rub his face at the beloved's feet; its wishes match murabbas Kılıç links to the father.
In this ghazal Münîrî ties a curse formula, the reciting of spells, the Qur'anic verse on the spirit as God's command and a proverb about asking the way to the beloved's lip.
The last couplet of Âkif's 18-couplet chronogram elegy on the death of his father, Îdî Bayram Efendi: the date 1112 built on the name "Bayram" and the word "ıyd" (feast).
Mazhar Efendi's two-couplet Persian congratulation on the birth of Vâzıh's son Seyyid Muhammed Ni'metullah in 1237, ending in an Arabic chronogram line.
Kara Fazlî's richly rhymed ghazal in "-īż": an ascetic troubled by his foot, a beloved at the apogee of beauty, a lover at the perigee, a sincere rind and a single kiss.
Prince Bayezid's ghazal with the redif "ideyin": a lover quotes words the beloved never said and, by the bloody eye's word, falls into the dungeon of the chin dimple.
In this ghazal Münîrî portrays an elm that dares to imitate the beloved's stature, a chin like an orange, a shirt trembling in the wind and a lover rising in a bloody shroud.
The last couplet of Âkif's 12-couplet chronogram for the fountain built by Gülnuş Emetullah Sultan in Üsküdar: the date 1120 (1708-09) in an invitation to "come and drink".
Mazhar Efendi's single-couplet Turkish chronogram for the birth of Vâzıh's son Muhammed Ni'metullah in 1237, which sets the child's name in the date line.
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