Münîrî's only Turkish ghazal rhyming in the letter tı: moles as the dots in the Mushaf of beauty, a sun at the centre of the soul, and tears that outdo the Tigris and the Oxus.
Prince Bayezid's ghazal with the redif "-lar mıdur": fire-worshipping Hindu tresses, sorcerous eyes, a forelock scented like the night-flower, and common ground with his brother Cihangir.
Kara Fazlî's five-couplet response poem with the redif "saña" to a ghazal by Hızrî: a cupbearer who serves blood, a heart that loses patience, a young blade and sorcerer eyes.
Münîrî's ghazal mixing Turkish, Persian and Arabic: a face that is the sun's rising place, down falling like two lines of verse, and a final couplet addressing the heart in Arabic.
Prince Bayezid's ghazal "hoş mıdur", asking the morning breeze after his father Süleyman: a sâhib-kırân marching on the Kızılbaş and a son kept far from his service.
Kara Fazlî's five-couplet response poem to Nizâmî of Karaman: tresses fanning the fire of the cheek, the cage of the breast, the rose banquet, the true dawn and the pointing thorn.
Münîrî's ghazal rhyming in the letter ayn: a beauty that lends light to the sun, a sigh that spreads secrets, an eye inventing spells, a dancing cypress and a soul's farewell.
Prince Bayezid's ghazal that opens with a dialogue: a beloved who says "that is your soul, go away", locks that keep their unbelief though cut, and fortune as an old crone.
Kara Fazlî's response poem with the redif "peydā" to Tabîbî of Plovdiv: down as smoke from the candle of power, a sorcerer glance, the Judas tree and the tiger of eloquence.
Münîrî's ghazal in which every couplet ends with "şem‘": a candle whose tongue dries for its insolence, a lock as a wick, a mouth full of gold, and a brand seen only at the end.
Prince Bayezid's ghazal rhymed in "zâr u zâr, târ u mâr": locks turned to snakes, a treasure of the heart guarded by snakes, and an ant offering its soul to Süleyman Han.
Kara Fazlî's five-couplet ghazal with the redif "-den peydā": a sigh that topples the heavens, a lip made of sugar, the arrow of fate and the proverb "a man is raised by a man".
Münîrî's only Turkish ghazal rhyming in the letter gayn: a garden lit by tulip candles and rose lamps, a lover who says "may you be well", and the Gulistan's parrot and crow.
Prince Bayezid's ghazal built on repetition: refrains such as "vefâdâr ol vefâdâr ol vefâdâr" and a plain plea that ends by wishing the beloved into the same love.
Münîrî's only Turkish ghazal rhyming in the letter fe: a breast never targeted by the arrow, a lip that whispers the Qur'anic "fear not", and a fortune in conjunction with the sun.
Kara Fazlî's ghazal with Arabic lines: a cypress stature above the Sidra tree, glances tied to the verse "You did not throw", a healing mouth and a prayer for long life.
A ghazal by Prince Bayezid built on repetition: each second line says a word such as "zâr", "bî-karâr" or "intizâr" three times, cataloguing the states of the lover.
Kara Fazlî's five-couplet ghazal with the redif "-dan cüdā": a lover who calls on death rather than live apart, a play on alif and nun, the unbelief of the hair, the sultan's door.
Münîrî's ghazal whose rhymes are all Turkish words: a veil over the bride of beauty, a guest who cannot eat what he hopes for, and a rival who is a donkey's-head scarecrow.
Prince Bayezid's nazire with the redif "geçer" on a ghazal by Firâkî of his Kütahya circle: the shifting senses of the refrain, school imagery and the anthology version.
Kara Fazlî's five-couplet ghazal without a redif: a destitute shah of love whose drum is his breast and army his tears, the lamenting reed and the moon and fish as witnesses.
Münîrî's ghazal dense with Sufi language: the secret of a lip that bewilders all creatures, passing beyond the self, the wish never to be sober, and a burning worthy of his name.
A ghazal by Prince Bayezid in the tone of a prayer: the beloved as sovereign of the throne of beauty, a sun asked to visit the house of grief, and a disguise as a dervish.
Kara Fazlî's five-couplet ghazal in a short remel metre: the lover who stakes his head, the candle and the moth, a beloved who curses kindly, a remedy refused and Rizvan's envy.
Münîrî's ghazal woven of proverbs: a rosebud gossiping behind the lip's back, a heart saying "stick it in your eye", a lover at the threshold, and an arrow that never returns.
A ghazal by Prince Bayezid opening with the images of Tûbâ and Kevser: couplets that move from simile to superiority, a star of fortune and a moon-faced beloved who never comes.
Kara Fazlî's five-couplet ghazal in rich rhyme: a lover who rejects paradise, the letter of beauty written by the Scribe of pre-eternity, wine and secrets, the fairy and the madman.
Münîrî's ghazal in plain language: a lover who has no one, arrows plentiful in his breast, the saying "there is no sin in erring", and a dagger he asks to be sheathed.
A ghazal by Prince Bayezid opening with a spring gathering: pearls of Aden in a ruby casket, a face turned yellow as gold, a cry of reproach and a poet who calls himself sweet-tongued.
Kara Fazlî's five-couplet ghazal in rich rhyme: consent to the arrows of destiny, cruelty as the due of beauty, a threshold above paradise and Ali's valour against the rival.
Münîrî's ghazal built on scenes of dialogue: a beloved who gives an arrow instead of a kiss, a full heart that knows nothing of hunger, and a breeze flinging dust into the eye.
A ghazal by Prince Bayezid built on images of the dervish lodge and Abraham: brands on the breast as candles at the hearth of love, the heart as a Kaaba, the beloved as a healer.
Kara Fazlî's five-couplet ghazal with the redif "aña": a lover who is the dervish of a youth, a dal-shaped brand, a robe of bloody tears, hyacinths and the upright alif.
Münîrî's ghazal set between morning and night: pale cheeks as two trays of gold, a rose giving its leaves to the wind, and a prayer recalling the Qur'anic oath by the dawn.
A ghazal by Prince Bayezid in which the word "mevzûn" unites stature and verse: a poetic cause for a red eye, a moaning reed flute and drum, and a kiss demanded as Ottoman tax.
Kara Fazlî's five-couplet ghazal with the redif "-e oldum mübtelā": reason, thought, patience and heart all gone, a stature raising doomsday, Layla's hair and a lover dried like a comb.
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