Kara Fazlî's ghazal with the redif "there is no place": a love without shore, a whirlpool of tears, a tavern with no room to stand, and a lover at home in neither tavern nor mosque.
Prince Bayezid's ghazal setting the beloved's lip above Khidr's water and Jamshid's cup; a twin poem written on the same ground as ghazal 110.
Münîrî closes the lines of this ghazal with Arabic phrases from the Qur'an, rebuking his scheming self with verses of al-Baqara and likening the heart to paradise.
Mazhar Efendi's two-couplet chronogram for the birth of Vâzıh's younger son Seyyid Ahmed Tayyib in 1240, whose date line adds up exactly to 1240.
Kara Fazlî's mystical ghazal with the redif "-ya baḳ": an eye turned to the mirror of the world, a tulip grown in fire, a barber's white hand and the quarrel of love and reason.
Prince Bayezid's twin ghazal to ghazal 109, sharing its ground and one whole line, in which a single reply from the beloved is worth more than a thousand cups of Jamshid.
Münîrî wrote this ghazal for the eye ailment of Prince Ahmed, tracing the redness, watering and dimness of his eye to fine poetic causes and closing with a prayer against the evil eye.
Mustafa Vâzıh's two-couplet chronogram for his younger son Seyyid Ahmed Tayyib, born in 1240 (1824-25) and lost at the age of three or four.
Prince Bayezid's ghazal with the redif "oda yansun": a blaze from the lover's sigh spreads to his breast, the sky, Jacob's hut of sorrows and the candle of the night.
Kara Fazlî's Sufi ghazal with the refrain "‘ışḳ": love present since the command "Be", a Persian couplet defying the ascetic through Lât and Uzzâ, and chess terms.
In this ghazal with the refrain "-dan" Münîrî likens the mole before the eye to a thief begging mercy of the executioner and measures himself against Ferhad in giving his life.
Mustafa Vâzıh's 21-couplet chronogram of 1209 for the birth of Mîr Abdüsselâm, son of Amasya's governor Seyyid Süleyman Rif'at, in which the sun is born a baby.
Kara Fazlî's ghazal with the redif "-a ġarḳ": a lover drowning while he burns, the Noah of the soul lost in the ship of the body, and a closing oath in which the poet names himself Ali.
Prince Bayezid's ghazal with the redif "var iken": a prince who counts crown and throne as a straw complains of being held lower than others at a just shah's door.
In this ghazal Münîrî makes Chinese musk, the pearl and the famed painting of China yield to the beloved's beauty, and plays on mihr, Venus and Jupiter in the closing couplet.
Mustafa Vâzıh's three-couplet death chronogram for the poet and stylist Sarı Nâibzâde Mustafa, who died in 1206, playing his "yellow" name against death's pallor.
Kara Fazlî's ghazal with the redif "‘āşıḳ": a body whose every hair is a lover, a martyr of love who wants no shroud, and a famous closing couplet on poems that must burn the reader.
Prince Bayezid's ghazal opening with the proverb that no faithfulness comes from a tyrant shah: a heart-bird caught in the lock's snare and a lover rivalling Ferhâd and Mecnûn.
Münîrî shows the heart as a child who finishes the ABC of love and opens a section of the Qur'an of beauty, the tear as a beggar at the door and the musk-pod put to shame.
Mustafa Vâzıh's two-couplet chronogram for Nûh Bey, born in 1210, likening the world to Noah's ark and adding three to the count through the word "üçler".
Kara Fazlî's ghazal with the redif "‘āşıḳ" sharing its opening with the preceding one: a sigh that splits the sky, Ferhad and Mount Bîsütun, and a street dearer than paradise.
Prince Bayezid's short ghazal with the refrain "kaçma benden": a lover calls the departing beloved by a new name in each couplet and likens himself to abandoned Hüsrev.
In this ghazal with the refrain "içün" Münîrî shows a lover washed in blood by the eye's pupil, a collar mended with a hair, and a comb asked not to sharpen its teeth on the locks.
Mustafa Vâzıh's three-couplet chronogram for Seyyid İskender Bey, born in 1214, built on Alexander the Great, his teacher Aristotle and his companion Khidr.
A ghazal by Kara Fazlî of which a single couplet survives because of a missing page: a lover burning like a candle, smoke rising from his head and a cap made of flame.
Prince Bayezid's ghazal with the redif "eylesün": lovers are called to complain at the court of the shah of beauty, love is told as prayer and ablution, all rhymes in one pattern.
Münîrî opens this ghazal with a quotation from the sura Fatir, "He has taken grief away", puns on the name Hasen and grief, and shows tulips growing from Ferhad's tears.
Mustafa Vâzıh's single-couplet chronogram for a child born on the Night of Power in 1238, describing the birth as "the light of Muhammad" descending into a house.
Kara Fazlî's mystical ghazal: essence and attributes, God both the same as and other than the universe, the tree in the seed, the necessary and the contingent, and Khidr's lip.
Prince Bayezid's ghazal portraying the beloved through gold, silver, quince, pistachio and apple, ending with the chain of a thieving lock of hair.
In this ghazal Münîrî presents the beloved's two locks as a dwelling that unties the difficulty of both worlds, and plays subtly on the words hand and people, mole and state.
Mustafa Vâzıh's four-couplet Arabic chronogram for Muhammed Ali, born in 1240, hiding his pen name in "tārīḫu Vāżıḥ" and the child's name in a blessing.
Prince Bayezid's ghazal on a beloved who ruins the realm of the heart with the poet's tears; in the closing couplet the poet says he is gathering his verses into a divan.
Kara Fazlî's five-couplet ghazal praising Lâdik, north of Amasya, comparing its air, water and greenery to Paradise, a rare example of a poem of place in divan poetry.
In this spring ghazal Münîrî calls the rose season a faithless turn of watch, draws the tulip as a culprit come to beg pardon with a shroud about its neck, and the heart as a net.
Mustafa Vâzıh's single-couplet Turkish chronogram for Muhammed Ali, born in 1240, in which the phrase "çü ṭoġdı Muḥammed ‘Alī" adds up exactly to 1240.
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