Münîrî's ghazal with the refrain "-Uz", only in the Vatican manuscript: the falcon of love, a village in plain sight needs no guide, tinder ready to burn, a lover patient as Job.
Prince Bayezid's lament with the redif "elinden el-gıyâs" (help against): a stature bent like a letter, a rose garden pitiless to the nightingale, a breast pierced like a reed flute.
Kara Fazlî's seven-couplet ghazal with the redif "ṣafā": the couplet of ṣuffe, ṣaf, ṣūfī and ṣāfī that Özkat cites for iştikak, a pun on cānā ne and cānāne, and conquest.
Münîrî's ghazal with the refrain "-maz": a ruby lip never tired of drinking blood, a tear that trusts no one else, the wise who lean not on water, and a lover burning in a Kaaba street.
Prince Bayezid's second "el-gıyâs" ghazal, sharing its redif with G.14: a beloved who is a sultan oppressing her servant, a chain of locks, mischief-making eyes and a pain without cure.
Kara Fazlî's five-couplet ghazal with the redif "-dan vefā": no faithfulness from lock, time or sword, the proverb of the sharp sword, and a pun on "ḳandan u ḳandan".
Münîrî's rind ghazal spoken in the voice of "we": slaves of the Magian elder, madmen of Leylâ's lock, warriors for a Turkish horseman and moths of one candle.
Prince Bayezid's ghazal with the redif "genc" (treasure): love hidden in the heart, locks as a dragon talisman, union bought with the soul, and love as a gift of God.
Kara Fazlî's five-couplet ghazal with the redif "oldı baña": the lover as shah with grief for his army, an arch for prostration, and calling a forelock musk as a disgrace.
Münîrî's six-couplet ghazal: tears that revive the fainting heart, a breast turned into a jewel casket by arrowheads, a drunken eye that betrays secrets, and proverbial words.
Prince Bayezid's second ghazal with the redif "genc": union as treasure, a double entendre between the age of the down and the last age, and counsel to keep love hidden.
Kara Fazlî's five-couplet ghazal with the redif "gedā": the padishah of the realm of beauty and the beggar at the threshold, a plain Turkish reproach and a question.
Münîrî's ghazal with the refrain "-maz": a lip that never asks, water that cannot stay in a broken pot, an ascetic drunk with pride, a rival unwelcome even in dreams.
Prince Bayezid's ghazal of musk and medicine: chain-like locks, musk without a market in Rûm, a down that taxes Cathay, and a threshold above throne and crown.
Kara Fazlî's five-couplet response poem with the redif "saña" to a ghazal by Revânî: the candle of the gathering, the robe of coquetry and the nightingale in love.
Münîrî's ghazal without a refrain: a pain that knows no season, a sigh that lights the lamps of heaven, tears that betray secrets, and love's metaphor as a bridge to truth.
Prince Bayezid's ghazal joining love and counsel: a sun eclipsed by a cap worn aslant, a heart-breaking pilgrim, "es-sabru miftâhu'l-ferec" and good deeds scattered on the water.
Kara Fazlî's five-couplet ghazal with the redif "-dan cüdā": a corpse parted from its soul, a drop torn from the ocean, the unbelief of the forelock and a dog's life.
A ghazal recorded under Münîrî's name only in an anthology: the boast of the rind who studied with Ferhad, the rogue of love's tavern, the vagabond at love's backgammon.
Prince Bayezid's chess ghazal with the redif "ruh": a double entendre between cheek and rook, the mole as a pawn on the chessboard of the cheek, and a move against Şâhî's soul.
Kara Fazlî's seven-couplet ghazal addressed to the cupbearer, with the redif "-dan sāḳiyā": an earthen body, Jamshid's cup, weeping blood and love drunk in pre-eternity.
Münîrî's dawn ghazal: a candle that longs to go out with the morning sun, a veil to be lifted at the last breath, a thankful fly, and a rosebud bringing gold for a dead nightingale.
Prince Bayezid's ghazal that opens on a festival morning: people rejoicing while the lover cannot kiss the beloved's feet, an answer to a preacher, and "the grave of a martyr".
Kara Fazlî's five-couplet ghazal without a redif: a sea that vies with tears, a beloved gentle to others and stone to the lover, and a pun on quince, peach and apple.
Münîrî's six-couplet ghazal: a heart moving between rose garden and cage, a moth who would lose his head for turning away, and a dog-like rival who needs no collar.
Prince Bayezid's ghazal measuring paradise and hell against the beloved: the spark of separation, an ivory throne and golden crown, the mirror of the cheek and a Tûbâ-tall stature.
Kara Fazlî's seven-couplet wine ghazal with the redif "peydā": a heart lost in the valley of grief, the bubble and longing, the rust on the heart's mirror and a new ghazal.
Münîrî's ghazal mixing Turkish and Persian: a heart throwing double six at the backgammon of love's grief, a robe embroidered with tears, a fainting rebab and an arrow's "oh".
Prince Bayezid's ghazal that closes with self-praise: the soul as a courier in service, the heart refined like gold in the crucible, a play on Şirin and Ferhad, and the pearl of verse.
Kara Fazlî's five-couplet ghazal of comparisons with the redif "-dür gūyiyā": a robe turned shroud, a presumptuous parrot, jasmine and salamander, and the musk of Khotan.
Münîrî's seven-couplet ghazal with the refrain "imiş": tear drops that turn out to be oceans, a realm found within the breast, and the pupil keeping watch at the heart's palace.
Prince Bayezid's ghazal of reproach with the redif "yok mıdur": lovers whose blood goes unavenged, union put off, the land of separation, a pale face and a play on Şirin.
Kara Fazlî's seven-couplet ghazal with the redif "-e belā": a pun in the opening couplet, grief and tears, tresses as a headache, Joseph's beauty and the fading esteem for poetry.
Münîrî's only Turkish ghazal rhyming in the letter sad: the İhlâs recited for escape from the chin's well, a lover who risks retaliation, and a poet who writes down her words.
Prince Bayezid's second ghazal with the redif "yok mıdur": an army of down raiding the heart, a claim to the lordship of love, locks like the huma's shadow and a glance of favour.
Kara Fazlî's five-couplet ghazal naming his master Zâtî: a lover who calls his sacrifice a feast, gossip like a plague, the hurrying east wind and the favour of Zâtî.
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