Mustafa Vâzıh's chronogram for Şeyh Hâfız Abdullah Efendi of Taşköprü, who died in 1244 (1828-29): the man of the Stone Bridge crosses the bridge of the world.
Prince Bayezid's ghazal with the refrain "olsun olmasun": a lover who accepts the beloved come what may, a love with no cure even in Avicenna's Canon, and a cup despite the Sufi.
In this ghazal with the refrain "üstine" Münîrî likens the down to writing set on water by magic, the brow to light descending on the Night of Power, and the locks to Gabriel's wing.
Kara Fazlî's response poem to Necâtî rhyming in "-el": a hand that never reached stature or tresses, death sought in nonexistence, a stature bent like a polo stick.
Mustafa Vâzıh's couplet of apology to Âkif-zâde in İçeri Şehir when the flooded river kept him away, and his friend's reply about "the bridge whose eyes I love".
Prince Bayezid's ghazal on a moment of farewell, as union slips away and separation comes; the lover asks the beloved to remember him every moment with a letter.
In this ghazal Münîrî envies the fortune of the beloved's dark forelock, clings to his ring of hair at the Last Judgement, and likens the eye to a narcissus sheltering in the brow's shade.
Âkif-zâde's reply to Mustafa Vâzıh, kept from visiting by a flooded river: a couplet playing on "the bridge whose eyes I love", recorded in Vâzıh's Dîvânçe.
Kara Fazlî's ghazal with the redif "çekelüm", probably a response to Muhibbî: the drum of the breast, the banner of the sigh, the divine cup, the bow of love and a drawn sword.
Prince Bayezid's ghazal on the inexpressibility of love through images of pores, a pickaxe, a dragon and a bird's nest; allusions to Ferhad, Mecnun and hidden treasure.
In this drinking ghazal Münîrî describes wine whose feet blister as it runs to the beloved's lip, a talking flask, and a moon-faced guest who lights the gathering.
Kara Fazlî's ghazal with the redif "misin nesin", also cited in two tezkires: sun or angel, the wheel of the heavens, the pupil of the eye, a deaf Sufi and words like salt.
Mustafa Vâzıh's nineteen-couplet chronogram for the two riverside pavilions built by Yegenzâde Hacı İbrâhim Bey in 1245: water wheels, a fountain and Paradise.
Prince Bayezid's twenty-couplet ghazal of reproach with the refrain "senden"; the names Tabriz, Karbala and the land of Persia suggest it may date from his years in Iran.
In this ghazal Münîrî describes a curl like a knot tied on water by magic, eyelashes writing in red ink, and a heart burning like a candle in the mihrab of the eyebrow.
Kara Fazlî's ghazal with the redif "-umsın": a beloved who is the soul of the soul, a shadow beneath a swaying cypress, and a weak ant before Solomon on his throne.
Prince Bayezid's ghazal addressed to the sky with the refrain "felek şimdengirü"; in the fourth couplet the poet says that torment comes from his own pure lineage.
In this ghazal Münîrî likens his tears to stars counted on a sleepless night, his bloody lashes to needles reddened in the heart's fire, and curl and cheek to a moonlit night.
Kara Fazlî's ghazal with the redif "ḫaberlerin": the Night of the Journey in the hair, the breath of Jesus in the lip, Majnun waiting, Moses on Sinai and an army of lashes.
Prince Bayezid's ghazal of question and answer with the refrain "bu": a cheek like the rose of paradise, a mole dressed as an ascetic, a brand as a token of love and a false promise.
In this ghazal Münîrî teases the ascetic by saying the preacher's cold words have turned the mosque into an icehouse, and speaks of a journey within the city of the heart.
Kara Fazlî's ghazal with the redif "-lara": rivers stretching tongues to the seas, a play on Layla and lament, the fresh rose, an eyebrow like the letter rā and a falcon above the anka.
Prince Bayezid's ghazal of pardon with the refrain "afv"; Kılıç holds it was written in Iran, the pardoning shah of its last couplet being Tahmasb and the padishah Süleyman.
In this spring ghazal Münîrî plays on çeng (harp) and ceng (war) to describe a drinking party and the war of separation, and brings the beloved to his hut of sorrows.
Kara Fazlî's ghazal with the redif "-lara" on the same ground as the preceding one: an army of tears raiding the seas, Majnun's lament, a pun on brow and wound, crows and anka.
Prince Bayezid's short ghazal setting the words renc and genc against each other: a beauty not even Rıdvan would hide, a patience beyond Ferhad's and a soul as thin as a hair.
In this ghazal Münîrî plays on hezâr as both thousand and nightingale, and portrays a rose kneaded from blood, a rose-king scattering gold and a penniless nightingale.
Kara Fazlî's double-rhymed ghazal praised by Latîfî: from beloved to beloved, moth to moth, tavern to tavern, and the chain of tresses handed down from Majnun to Fazlî.
Prince Bayezid's ghazal with the refrain "üzre": tulips on Mecnun's grave, a brow and eye like the letter nûn, and two bridges, one over the Aras and one over the Oxus.
In this ghazal Münîrî portrays a mounted beauty riding in anger, tears watched like stars in a sea of sorrow, and a moon reduced to a single section beside beauty's mushaf.
Three surviving couplets of a ghazal by Kara Fazlî with the redif "-la": a poet revived by the king's breath, a promise recalled, a call to keep faith and a prayer for long life.
Prince Bayezid's ghazal that opens with the picture of a spring gathering: a rose holding a cup, dew like wine, a drunken narcissus eye and a lover's warning about the burden of sin.
In this ghazal with the refrain üzre, Münîrî sets the dust of the beloved's door upon his eye and likens her face, covered by her curl, to the sun eclipsed in daytime.
Kara Fazlî's ghazal from the tehniyet-nâme celebrating Ahmed Çelebi's appointment as treasurer of the timars of Rumelia in 954 (1547): your fortune and your honour have come.
Prince Bayezid's ghazal of a lover whose sigh would burn the sun and moon like moths, who would not take world sovereignty without the beloved and who prays over his own death.
In this ghazal Münîrî likens the beloved's cap to a sign of the zodiac and her cheek to a lucky star, questions the dawn breeze's cold breath, and calls her mole a lucky slave.
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