Kara Fazlî's ghazal rhyming in "-ūr": a face that made Mount Sinai tremble, a threshold under the Frequented House, Hallâc's bow, music that drowns the Trumpet and a broken cup.
Prince Bayezid's ghazal with the refrain "etegin": the idiom of clinging to the beloved's skirt takes a new sense in every couplet, from Mansûr's gallows to a stolen kiss.
In this ghazal Münîrî turns the beloved's face into a garden heaped with hyacinth and rose, makes clouds a coat of mail against the sigh's arrow and the rose garden one with the furnace.
Mustafa Vâzıh's three-couplet chronogram for the wedding of Hacı Ahmed Bey, son of Hacı Ali Paşa, in 1239, likening the bride to the moon split by the Prophet's miracle.
A ghazal by Kara Fazlî with the redif "-ca yigitcik" of which only the opening survives: a fair, graceful and noble young lad called to make merry alone like the rose.
Prince Bayezid's ghazal that opens with a cup and closes with the upturned cup of the sky: the poison of time, a lover moaning like the flute, and a faithless heaven.
Münîrî builds every couplet of this ghazal on the eye; the eye becomes a flower pot, the eyelashes a fly whisk, and the tearful eye a mine holding a ruby of Badakhshan.
Mustafa Vâzıh's ten-couplet chronogram celebrating the Ottoman-Iranian peace of 1823 as a triumph of Mahmud II and Rauf Paşa, ending in a pun on "O Rauf".
Kara Fazlî's mystical ghazal with the redif "ol": waking from the night of heedlessness, the call to travel light, from desire to the air of love, and existing through nonexistence.
Prince Bayezid's ghazal with the refrain "illerin": a heart wandering from Isfahan kohl to Badakhshan rubies, and a fifth couplet calling a shah to the lands of Karaman.
In this ghazal Münîrî presents the beloved's face as a qibla and the lip as a bud opened by the dawn breeze, and says that the world is lit not by sun and moon but by the face's reflection.
Kara Fazlî's ghazal with the redif "-sı yoḳ degül": a lover who delights in cruelty, a hand stretched out to kill at the festival, and the honey and affliction of love.
Mustafa Vâzıh's five-couplet chronogram for the fountain built by Benderli Hâfız Ağa in 1227 (1812): "when you take a cup of water, read its chronogram".
Prince Bayezid's ghazal with the refrain "ben": a lover burning in separation, distraught like Mecnun and sweet-tongued like a parrot, in a closing couplet Kılıç cites.
Münîrî wrote this ghazal for Koyun Baba, a Kalenderi dervish of Osmancık; with the refrain "Koyun" he praises the saint as the lion of saints and shepherd of the Abdals of Rum.
Kara Fazlî's short ghazal with the redif "mı degül": a pain that is a remedy, a lofty stature that is worse than the tresses, and curses that the lover counts as prayers.
Mustafa Vâzıh's chronogram for the death of Hâfız Alemdar Hüseyin el-Gâzî in 1234 (1818-19): a standard-bearer who planted his banner all the way to Paradise.
Prince Bayezid's ghazal of praise with the refrain "sen": the beloved as the Joseph and the Süleyman Han of beauty, and a heartfelt couplet calling the body a worn-out mould.
In this short-metre ghazal Münîrî plays on the rhymes āhū and āh o, has the gazelle-eyed beloved strike like a lion, and turns the proverb "speak of the dog" against the rival.
Kara Fazlî's ghazal with the redif "dil": a lover freed of the world's colours, griefs and states of the heart counted four times over, and a heart that will not call Ferhad a man.
Mustafa Vâzıh's chronogram of 1198 (1784) for his father, the Amasya mufti Kara İsmâil Hâtif Efendi, who died on the Night of Berât: a "fatwa of berât".
Prince Bayezid's ghazal that opens with death and ends with the grave: a prayer for the beloved's long life, a heart unafraid of Zülfikâr and a grave turned tulip garden.
In this ghazal Münîrî likens the sword of the glance to the water a parched patient begs for, turns a proverb on nature against the ascetic, and seeks honour in the dust of the path.
Kara Fazlî's nine-couplet ghazal rhyming in "-ā'il": the beloved praised in Arabic superlatives, word and state, a beauty that needs no proof and a threshold become the Kaaba.
Mustafa Vâzıh's chronogram for Mahmud II's abolition of the Janissary corps in 1241 (1826): "ġazā-yı ekber" and its link with the poet's own exile.
Prince Bayezid's ghazal with the refrain "aglayayın": a beloved who laughs like the rose and a lover who weeps like the nightingale, accepting the land of separation as fate.
In this ghazal Münîrî likens the ring of the locks to the ring of the Haram, the dark locks to a night walker who frightens sleep away, and himself to a turtledove still crying "kû kû".
Mustafa Vâzıh's two-couplet chronogram of 1244 announcing that "our Osman Paşa" has become vizier, a poem earlier studies confused with the Hakkı Paşa chronogram.
Three surviving couplets of a ghazal by Kara Fazlî with the redif "ol iy göñül": a heart called to become dust, fortune found by giving it up and ease reached through affliction.
Prince Bayezid's ghazal that begins for the beloved and ends for Sultan Süleyman Han; Kılıç reads its closing couplet as praise of both the father and the poet's own verse.
In this ghazal with the refrain "benefşe" Münîrî explains the violet's bunches, its bent neck, its low growth and its colour by graceful reasons tied to the beloved.
Mustafa Vâzıh's two-couplet chronogram celebrating the release of the Amasya-born vizier Hakkı İsmail Paşa from compulsory residence in Amasya in 1240.
Three surviving couplets of a ghazal by Kara Fazlî with the redif "-uñ iy göñül": a beloved befriending rivals, a ship of delight lost in a sea of grief, poisonous tresses.
Prince Bayezid's ghazal that uses the word "kara" as dry land in one couplet and as black hair in the next; a highwayman lock, bread drawn from stone and a shah who breaks his servant.
In this ghazal Münîrî treats the pupil as a heart's window blackened by sighs, desire for a mole as Adam's sin, and the ruby lip's bloodshed as a case the judge needs no witness for.
Kara Fazlî's response poem to Zâtî with the redif "itdüm": a letter erased from the register of being, dark arms round a white neck, a yellowed body spread before a horse.
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