Cûdî's "Book of Asking Forgiveness" with the refrain "other than": a servant with no worship but repentance and no gift but tears, the trembling hand of hope, and borrowed goods taken back by time.
Münîrî's ghazal: a breast split like an almond, rose petals as bloodied cotton on the nightingale's wound, a tear wandering like a planet, and a mote whirling though near the sun.
Cûdî's ghazal addressed to the nightingale: the nightingale as interpreter of the tongueless rose, its name hezâr meaning a thousand, a bird calling to prayer like Bilâl, and 'Attâr.
Münîrî's ghazal with the refrain "-a geçer": a lock spreading over the cheek like the king of Abyssinia marching on Rum, pain in the heart's seat of honour, and an arrow piercing marble.
Cûdî's ghazal defining the poet: the poet as reader of creation's secrets, a nature like a crystal lens, harmony learned from birds, and feeling balanced by eloquence.
Münîrî's ghazal: a heart that urges the lover to give up the lock only to test him, a soul's mirror clouded by breath, armies of sorrow encamping in turn, and an eye like a burning reed bed.
Cûdî's ghazal with the refrain "sweet": the beloved sweeter than soul, life as tasting perception, reason a drop of the boundless sea, mercy hidden in poisons, and a smile.
Münîrî's ghazal with the refrain "-ıdur": bloody tears as the token of longing, two eyes as sentries of the heart's sanctum, a gift of sorrow, and a pen-name couplet that shifts place.
Cûdî's ghazal seeking a cure for love: a madness of love that no amulet cures, a lip to be bitten in retaliation for a wound, a lip whose halva is on every tongue, and a servant's wish.
Münîrî's ghazal with the refrain "andadur": a soul lodging where the beloved strolls, a wound with the arrowhead still inside, a thieving glance that guards the lip, and a lit heart.
Cûdî's ghazal with the refrain "makes": divine light passing from mind to limbs, man as himself a work, sweet water made of two poisons, and dates ripened by the simoom.
Münîrî's ghazal rhymed in reduplications: an eye writing in blood "fır fır", a heart trembling "dir dir", tears trickling "sır sır", and a rival snarling "ḫır ḫır" after the gazelle.
Cûdî's kıta with the refrain "what can it do, O Lord": learning without guidance, the unlettered Prophet, a martyr's banner, and naturalists who read only letters.
Münîrî's ghazal with the refrain "-dür": a breast that is the glance's target, one beloved sought in every form, eyes drunk with morning and evening wine, and a stature like the Tuba tree.
Cûdî's farewell ghazal left outside the divan: a rosebud asked to lessen her cruelty, a poet who has drawn the dervish cloak over his head, cruelty like Hajjâj's, and a ruling sought at the madrasa.
Münîrî's ghazal without a refrain: grief that never wearies by repetition, the "Belî" given to the lock, the deadly thought of the mouth, and the heart likened to a building.
Münîrî's ghazal found only in the Vatican manuscript: a word that is salt to the wound, a pupil swimming like a fish in tears, and a false rival exposed on the touchstone.
Münîrî's ghazal with the refrain "eyler": a sun shielding itself from the arrow of sighs, a ship rigged with eyelashes, rose conserve, and a double entendre on the pen name.
Münîrî's ghazal with the refrain "ile geçer": the eye as a sailor living by pearls, love growing with age, tears like rosewater, and life passing as the cypress passes by.
Münîrî's seven-couplet ghazal with the refrain "eyler": a being sent as a raft on the flood of tears, a pupil bringing honey, a heart refined in a crucible, an elif bent into a dal.
Münîrî's ghazal with the refrain "-ur": a sea that sours its face, a musk deer bristling at a glance, and a rival's tears likened to the water Satan shows to the dying.
Münîrî's ghazal on the rose and the nightingale: roses turned to pieces of fire, a heart closed like marble, a heart torn like a bud, and tears moving like planets.
Münîrî's ghazal without a refrain: honey melting before the beloved's speech, stone hearts sparking under a horseshoe, an image in a hurry as if to fetch fire, and false news.
Münîrî's ghazal set in a garden at dawn: pearls scattered for an image that steps on the eye, a cypress and plane tree dancing, dew like sweat on a rose, and a list of wishes.
The poem in which Münîrî calls his own ghazal "sūz-nāk": a bud tearing its collar, a tulip laying its face in the dust, a mirror cleansed by greenery, a burning ghazal.
Münîrî's ghazal with the refrain "-dedür": tears of ruby and pearl watching for the lip, a visit at dawn while the dog sleeps, the well of the chin, and thirst for a tempered sword.
Kara Fazlî's Arabic-Persian mülemma ghazal on divine unity: God as the First, the Last, the Manifest and the Hidden, the letter elif and the hidden treasure.
The tevhid ghazal that opens the divan of Prince Bayezid, pen name Şâhî: allusions to the miracles of Moses, Jesus and the Prophet, and a poet named 'kingly' who calls himself a slave.
Mustafa Vâzıh's tahmis of Bâkî's ghazal with the refrain "da güzel": a playful manner after Nedîm, with scenes of a tavern boy, a bath and a gathering.
The ghazal in which Münîrî likens speech to a jewel: a heart harder than marble, tears as travellers not to be stopped, the word of love spent in its place, and "man is human".
Kara Fazlî's cupbearer ghazal opening with an Arabic line: the cup of guidance, a heart cleansed by the cup of unity, the Uşşak melody and the face that endures.
Prince Bayezid's ghazal of welcome to his father Süleyman: the joy of "safâ geldün", the fear of separation, and the wish to trade the lordship of Karaman for servitude.
Mustafa Vâzıh's tahmis of a ghazal by Mikdâd Paşazâde Hasan Bey, deputy governor of Amasya: a stature like a lengthening sign and eyelashes like Alexander's wall.
Münîrî's ghazal rhyming on Arabic religious phrases: a heart fleeing the glance and crying "where is the escape", prayer at the mihrab of the brow, and the well of the chin.
Kara Fazlî's mülemma ghazal in Turkish, Arabic and Persian lines: a rind who will not renounce wine, the sleepless lover, unity brighter than the sun and a secret kept.
Prince Bayezid's supplication to God: a poet who finds no one to take his hand, the hand of wrath and the hand of grace, and a tongue silenced before attribute and essence.
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