Münîrî's ghazal with the refrain "-nüñ": a comb whose teeth broke for never letting go of the lock, a mad heart's incitement, a mole bearing no harvest, and the moth's fate.
The first of three ghazals by Prince Bayezid rhyming in "-estedür": a garden scene giving poetic causes to flowers, "joined" eyebrows and a thread of separation tied to union.
Kara Fazlî's five-couplet ghazal with the redif "-um fedā": soul, faith, eye, bones and blood offered to a lip with the Messiah's breath, unbelieving tresses and a dagger.
Münîrî's nine-couplet ghazal on a Frankish beauty: allusions to Jesus, a lock like a monk's cord, the double sense of "çeng", and a final couplet in which the poet mentions his lameness.
A ghazal by Prince Bayezid rhyming in "-estedür" with a line left incomplete in the manuscript: a heart bound to every strand of the locks, a Leylâ-night pun and an unopened rosebud.
Kara Fazlî's two-couplet ghazal whose opening couplets are lost: a libertine's logic that makes drinking the blood of wine lawful, and the saying that dawn prayers are answered.
Münîrî's ghazal built on the goldsmith's craft: a golden face set with rubies, jeweller pupils, a sigh as bellows, carnelian tears, and a lover pitied even by the unbeliever.
The third of Prince Bayezid's ghazals rhyming in "-estedür": a cry that reaches the heavens but not the moon, a sigh-wind that could fell a sapling, and a lover keeping watch with dogs.
![Ghazal 41 — Başını ḳaṭ‘eyleseñ zülf[üñ] gibi iy dil-rübā](https://amasya05.com/storage/gallery/9ee1dd460975ec2608e3a2f39366e56a.webp)
Kara Fazlî's three-couplet ghazal whose end is lost: a heart that never says "no", the body as a borrowed garment, swimming in the sea of love and a couplet repeated from Ghazal 26.
Münîrî's seven-couplet ghazal with the refrain "idicek": the dawn nightingale, trembling elms, a cypress awaiting freedom, a heart of flint and steel, and a hut of sorrows.
Prince Bayezid's ghazal with the redif "vardur": the word "mâ-cerâ" for tears flowing to a cypress stature, counsel given to the beloved, and a pain whose remedy is never found.
Kara Fazlî's three-couplet ghazal whose end is lost: a fourfold "this", a double entendre on "em" as medicine and as "suck", and the law of a beloved who drinks blood.
Münîrî's ghazal opening in the language of the market: hair and teeth that lower the price of musk and pearl, a rose petal at the beloved's feet, and a candle for all.
A ghazal thought to express Prince Bayezid's waiting for a letter from his father: a rose garden turned dungeon, a physician taking the pulse and a life-granting letter asked of the sultan.
Kara Fazlî's five-couplet ghazal with the redif "mest": a heart twice drunk on eye and lip, a thousand drunkards, a pun on "merdüm" and Fazlî lying in a corner of the tavern.
Münîrî's ghazal opening with "ahsen-i takvîm": speech with the Messiah's breath, curl and cheek as night and day, path dust as tutty, and a star unlit by the sigh.
Prince Bayezid's ghazal with the redif "bilür": a proverb on the master of every craft, Ferhad knowing the pleasure of love that the ruler Hüsrev never knew, and sleepless stars.
Kara Fazlî's seven-couplet ghazal with the redif "-ı dürüst": one word with a new sense in each couplet, an unbelieving glance, a crooked cypress, a toothless lover, torn rosebuds.
Münîrî's ghazal opening with a forelock come to learn sorcery: a heart with no remedy, the veil lifted at death, a lover burning like a furnace, and a dazzled eye.
Prince Bayezid's ghazal with the redif "kılur": an army of grief plundering the realm of the heart, an infidel forelock plundering faith, a flood of tears and a sacrifice at the Kaaba.
Kara Fazlî's five-couplet ghazal in rich rhyme: speech that checkmates the water of life, Khidr and Jesus, an eyelash pen and an eye inkwell, and the thought that beauty is fleeting.
Münîrî's ghazal on the glance that ruins the realm of the heart: a thief-like glance, sigh smoke rising straight to the sky, a black-faced crooked curl and a kind wrath.
Prince Bayezid's ghazal opening with the words "pâre pâredür": a stone-hearted beloved, a kiss paid for with the soul, and the pun on "mihr" that turns hidden love into the sun.
Kara Fazlî's five-couplet ghazal to the Sufi: delight and purity, the daughter of the vine, the shattered mirror of the heart and an heir left with nothing but the moisture of tears.
Münîrî's libertine ghazal rhyming in "-eng": a drunken lover free of shame, a last draught above henbane, stone-hearted beauties, and a closing couplet on the poet's lameness.
Prince Bayezid's ghazal with the redif "ideyor": the parrot of the heart wanting to escape the cage of the body, sweet speech recalling Şirin, and a parrot speaking before the mirror.
Kara Fazlî's five-couplet ghazal against the Sufis: the harlot world, man and coward, a double entendre on square and triangle, and Fazlî as the one hero on the field of love.
Münîrî's ghazal surviving only in the Vatican manuscript: saliva like a wine bubble, a heart roasting in a fire temple, a fleeting bubble, and curses as bitter as wine.
Prince Bayezid's short ghazal of separation with the redif "olupdur": tears turned to blood, the earth dyed rose-red, adjectives fitting both stature and verse, and a Leylâ-Mecnun pun.
Kara Fazlî's five-couplet ghazal with the redif "baḥs̱": astronomers debating the sun, lovers quarrelling like the people of the book, and a wine gathering with no room for Kevser.
Münîrî's ghazal with the refrain "huşk" (dry): a wound that never dries, blood dried at the sight of the rival, a dry ascetic, a withered cypress, and fresh verse against dry words.
Prince Bayezid's ghazal with the redif "irişdür", entrusting a letter to the morning breeze; for Kılıç, one of the poems voicing a son awaiting his father's reply.
Kara Fazlî's short ghazal with the redif "el-ġıyās̱": a five-couplet cry for help against a blood-shedding eye, a glance that whets its sword and an amber-scented tress.
Münîrî's ghazal also copied into two nazire anthologies: a shaming kindness, a beloved who never asks, a weeping pen, a heart jealous of the liver, and dust instead of kohl.
Prince Bayezid's ghazal on a heart gone mad for "a shah named Süleyman": candle and moth, sleepless nights, an answer to the ascetic and the ruined house of the heart.
Kara Fazlî's response poem to Ahmed Paşa with the redif "elinden el-ġıyās̱": endless cruelty, an eye that betrays the secret, a forelock that trips the heart, a burning breast.
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