Harîmî's ghazal in syllabic metre: a mad heart fallen into a new passion, a creation leavened with love, the ship of the heart dragged to sea and strength left by a hair.
Harîmî's ghazal with the refrain "-yı leylî": a lover made Mecnun by passion for Leylâ, a sea of tears gathered drop by drop and a corner of the heart to be Leylâ's shelter.
Harîmî's ghazal rhyming in "-en": Yemen carnelian swallowing blood, a rosebud tearing its shirt for the mouth's secret, a cypress dropped as a comparison and a lover who comes in his shroud.
Harîmî's ghazal rhyming in "-âyet": the cruelty of a faithless beloved, a glance under the eye's protection, an arrow from the bow of the brow and strength spent under the burden.
Harîmî's Sufi ghazal with the refrain "olmadı": a heart like Mount Sinai, sorrow as a cause of joy, a curse on the loveless head and a lodge not open to every dervish.
Harîmî's ghazal rhyming in "-er": a moon made small by the sun of love, a sigh whose spark might burn the beloved's street, lips that make one forget candle and wine, and peacock locks.
Harîmî's ghazal with the refrain "âteşi": fires of separation, wine, meaning and longing, in a poem woven with medrese terms that also appears in Korkut's Kitâb fi't-tasavvuf.
Harîmî's ghazal with the refrain "-ını": a beloved guarded like faith from Satan, locks taken for an eclipse, spring opening a shop and a golden cup that illuminates the poet's divan.
Harîmî's ghazal rhyming in "-eh": love's army plundering the heart, a poppy dashing its cap in ecstasy, an Indian mole in paradise and a lover who follows like a shadow.
Harîmî's ghazal with the refrain "-um gibi": love enthroned like Solomon in the heart, a swaying cypress, a moon lighting the ruin and a flask bowing at the feet.
Harîmî's ghazal on the same ground as Ghazal 45: love ruling like Solomon, a glance that strikes a lancet into the breast, pain sought like a cure and a lock that scatters the mind.
Harîmî's ghazal with the refrain "gibi": a glance thirsting for blood, a breast burning like a censer, a mole like bait in the snare and a lover who is a moth to the candle of the cheek.
Harîmî's ghazal with the refrain "gibi": a comb reaching for the locks, a shell nourishing the pearl of tears, a moth-like lover and a mole-pawn that becomes queen.
Harîmî's ghazal with the refrain "eglencesi": locks the soul dwells on, a mouth whose secret cannot be told, Mongol-Chinese eyes with bow and arrow and a soul bound for paradise.
Harîmî's ghazal of heavens and Resurrection: Jupiter and the Pleiades, a bare dagger, the play of kıyam, kıyamet and kâmet, and verse burning enough to turn Âzer to ash.
Harîmî's ghazal with the refrain "ol yüri": a heart moaning like the reed flute, kingship in the beloved's street, Egypt left to the rival and a wish to be a Selmân in verse.
The last ghazal in Harîmî's Dîvânçe: a poem that opens "Where are those days" and recalls a past with a steed like Rahş, a tall cypress and many young men at hand.
The only Arabic poem in Prince Korkut's Dîvânçe: two couplets on a heart sick with love that refuses a physician, and a stranger who comes begging to the beloved.
The first single couplet at the end of Harîmî's Dîvânçe: a brief declaration of devotion by a lover who has turned his face to a valiant king since love appeared in his heart.
The single couplet that closes Harîmî's Dîvânçe: a poppy turned into a bareheaded abdal by longing for the beloved's lips, the couplet Sehî's anthology also gives first.
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