A single couplet by Âkif: the poet's smile is on his face, his grief in his heart; the pen's grace is in its writing, its bend in its reed. A couplet woven of sound and sense play.
Mustafa Vâzıh's five-stanza musammat inviting a coy young beloved on a caique outing to Beşiktaş, Kandilli and Bebek, with a nod to the poet Nedîm.
Münîrî's punning ghazal with the refrain "-dürür": pearls plentiful in the shop of the breast, an eye bound for drunkenness, a candle under the sword, and a road of tears.
Kara Fazlî's trilingual mülemma ghazal: the Tuba tree enslaved to a cypress-statured beloved, a door circled like the Kaaba, a bewildered lover and the poet's boast.
A love ghazal by Prince Bayezid: beauty above paradise, the snare of locks that catches the heart's bird, a seven-headed dragon and a curse on the rival "before one can say hâ".
Mustafa Vâzıh's musammat with the refrain "Gel e şāhım idelim ‘azm-i Süleymāniyye": vanished empires, Vefa, a market, the nargile and Süleyman's tomb.
A single couplet of congratulation and prayer by Âkif: wishing its addressee to surpass his peers and to be, among his brothers, the Joseph-like lord of the Egypt of fortune.
Kara Fazlî's five-couplet ghazal with the redif "-lıḳ baña", built on the opposition of profligate and sheikh: the faithful dawn, wine as physician, the sinner's plea.
The ghazal in which Münîrî uses his pen name in the opening couplet: an old harper on the string of the soul, one and a thousand, a lock that lifts from the dust, a peerless beauty.
A love ghazal by Prince Bayezid in the short remel metre: a heart caught in the locks, down rebelling over a mole, the contrast of detail and summary, a beloved tall as Doomsday.
Mustafa Vâzıh's musammat with the refrain "Şimdi küskünlügümüz var felege sulṭānım": the king of a nameless land, solitude and a quarrel with fate.
Kara Fazlî's seven-couplet ghazal in the mütekarib metre with the redif "saña", reproaching an indifferent beloved: dream and encounter, candle and moth, shunning and devotion.
Münîrî's ghazal woven of garden and night scenes: a heart moaning a thousand times in a strand of hair, a lover holding a torch all night, a ruby musk-casket, an open-palmed plane.
Prince Bayezid's ghazal of longing rhymed in "-âb": a breast turned to roast meat, tears turned to wine, a cloud of locks veiling the sun, and a king of beauty ashamed of his servant.
Kara Fazlî's five-couplet ghazal with the redif "saña": the sun casting shade on the moon, a kiss not bought with the soul alone, sweet life for milk, speech as adornment.
Münîrî's ghazal built on the puns "ürer" and "dürer": a barking rival and word breeding word, a ruby casket mouth, a Kaaba street, and a breeze reciting Tebbet and blowing.
Prince Bayezid's ghazal built on repetition: the refrain "kebâb oldı kebâb", the candle and the moth, the beloved's dogs and a poet turned to dust on the road.
Kara Fazlî's five-couplet response poem with the redif "aña" to Atâ's ghazal, answered by 54 poets: prayer for an insult, the falcon arrow, the astonished inkstand, sacrifice.
Münîrî's ghazal of witness with the refrain "bilür": the mouth as the dot of the cim in beauty, the one who bears it knows, the chopping arrow, and the fair one who knows the heart.
Prince Bayezid's response poem to a ghazal by Ahmedî: the fire of longing, the smoke of separation, and counsel that the world builds up a man's beginning only to ruin his end.
Kara Fazlî's longest ghazal, eleven couplets complaining that ignorant men in office are praised as poets while true poets go unheard, naming Hassan, Sahban and Bakil.
Münîrî's ghazal found only in the Vienna and Istanbul manuscripts: pupils learning to swim with gourds, tears with legs, the prohibition of grief, and the lock as a tethered falcon.
Prince Bayezid's ghazal in a short metre: tears turned to wine by longing, a breast roasted by separation, and the counsel to give the heart to a place that will not fall to ruin.
Kara Fazlî's five-couplet ghazal with the redif "āşinā": a beloved acquainted only with strangers, the paradox of becoming a stranger to be known, pearl and sea, sun and mote.
Münîrî's twenty-nine-couplet elifname: a love poem whose couplets open with the letters from elif to ye, called a "long ghazal" by Ersoy and woven with puns under the rule of the alphabet.
Prince Bayezid's ghazal with the redif "heb" (all): the faithlessness of all beauties, arrows shot from bow-shaped brows, the beloved's dog and the rival, a tale written in bloody tears.
Kara Fazlî's five-couplet ghazal of separation with the redif "baña": hyacinths in mourning, a gathering Cem would envy, and "âdem" spelled from alif, dal and mim.
Münîrî's ghazal with the refrain "-Uz", moving by "we are": a night-walking lover, a breast that is a house of affliction, game pointed out by a dog, and tinder that needs no spark.
Prince Bayezid's party ghazal with the redif "mest" (drunk): a drunken glance holding a dagger, a pickpocket forelock, a flask that sings gulgul and a lover who outdoes Ferhad and Mecnun.
Kara Fazlî's ghazal of spring and wine, with the couplet "ṣūfī delü olma" that Özkat cites for the poet's profligate stance and Plain Turkish, and a praise built on "igen".
Münîrî's ghazal with the refrain "-umuz": a waiting beyond bounds, patience given to the wind, a gravestone that will moan until Judgement, a missed union and a week of sighs.
Prince Bayezid's ghazal of separation: the smoke of the fire of longing, the wish to wander the mountains like Mecnun, and a pen of destiny that wrote separation first upon his brow.
Kara Fazlî's five-couplet ghazal with the redif "baña": a lip above the wine of paradise, Özkat's example of leff ü neşr in morning and evening, and the beloved's dog.
Münîrî's ghazal woven of popular sayings with the refrain "-ulmaz": blood not left unavenged, an orange chin no hand may touch, the arrow off the bow, the sun no mud can cover.
Prince Bayezid's ghazal joined from two fragments: repetitions such as "'alâmetdür 'alâmetdür 'alâmet", a plea for favour at the beloved's door and the Kaaba of her street.
Kara Fazlî's five-couplet ghazal with the redif "saña": wine from the liver's blood, lock and mole as snare and bait, a gazelle tame to the rival dog, and a play on "iti".
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