Münîrî's ghazal opening with a thirsting heart: the dust of the feet instead of the lip, thorns beside the rose, tears like the Nile and Aras, and the soul as a caged bird.
Prince Bayezid's ghazal with the redif "sever" in the short remel pattern: a proverb-like maxim in every couplet, a moon in the sky and union set above paradise.
Kara Fazlî's ghazal with the redif "ile baḫs̱": the Oxus competing with tears, sugar disputing with the lip, musk shamed by the tress, and the forgotten idiom "kelle geçmek".
Münîrî's ghazal rhyming in "-eng" and opening with musical terms: a lament the harp takes as its model, heart and soul at war, stone in flowing water, and a rusted arrowhead.
Prince Bayezid's ghazal of exile with the redif "sefer"; according to Kılıç it may voice his distance from Istanbul or his forced departure for Iran.
Kara Fazlî's five-couplet ghazal in rich rhyme: the beggar of love who asks nothing of Dârâ, pain as the remedy, a heart broken like glass and musk that loses its value.
Münîrî's ghazal opening with the pun "iş iden" and "işiden": a heart gone into the wilds, a curse on the rival, an unerring glance, and a poet defending his verse's secret.
Prince Bayezid's ghazal from the last leaves of the manuscript: the pun on "sende" and "bende", burning tulip and rose, the heart as a ball before the polo stick.
Kara Fazlî's response poem to Revânî with the redif "gördüñ mi hīç": taverns, ruins full of treasure, madmen like Mecnun and moths slain by the candle's dagger.
Preserved only in the Vatican manuscript, this ghazal by Münîrî brings together the mirror of the heart, the languid eye, the flayed plane tree and the night of tresses.
Prince Bayezid's longest ghazal: in twenty-nine couplets a beloved arriving in Rûm, Hallâc's gallows, a kaside-like prayer and a Bâkî ghazal added after it.
Kara Fazlî's three-couplet ghazal whose last couplets are lost: a lamp with a golden crown, a beloved whose mole is worth Anatolia's tribute, and the counsel to seize the moment.
In this ghazal with the refrain "olsam gerek", Münîrî foretells the lover's fate, from the wound of the glance to death and a return from the grave as a tulip.
Prince Bayezid's ghazal with the redif "ele girmez": the peerless beloved, physician and patient, the proverb of the thornless rose and the cheap bargain of life for a lip.
Kara Fazlî's response poem to Resmî with the redif "telḫ" (bitter): sugar turned bitter, sweet bitter words, a sour-faced Sufi and tears that make the waters salty.
In this ghazal by Münîrî with the refrain "olsa gerek", separation bends the lover like a bow, and the hidden fire in his breast at last reveals his secret to the world.
Prince Bayezid's ghazal reproaching a shah who sends his servant no letter; Kılıç cites its opening couplet as the voice of a son awaiting his father's reply.
A mülemma ghazal alternating Persian and Turkish couplets: a bubble as a tent, an amulet written with evening and dawn, closed tavern doors and Câfer Çelebi's Persian.
Kara Fazlî's response poem to İshak Çelebi with the redif "-den leẕīẕ": lips sweeter than Kevser, the heart as a sugar-loving parrot, and a curse more delicious than sugar.
Münîrî speaks to his heart in this ghazal: seeking guidance in the light of a face, it is caught in the unbelief of tresses and betrays its "meşreb" by praising a lip like wine.
Prince Bayezid's ghazal with the redif "isterüz" that sets love aside and seeks renown: the aspiration of Alexander, Solomon's seal and the wish to rule with justice.
Kara Fazlî's ghazal with the redif "-dan kim ḳaçar": pure delight urged on the Sufi, a beloved paired with rivals, a life-giving lip, and loyalty under the sword of cruelty.
Münîrî's unrefrained ghazal brings together the drunken beloved with cup in hand, purification by tears and love's fire, the exaltation of humble earth and sighs that rise to the angels.
Prince Bayezid's ghazal with the redif "olmaz": a heart flowing to the beloved with its tears, a stature bent by the bow of cruelty and a consolation that nothing lasts.
Kara Fazlî's ghazal with the redif "-um var": two scars burning like lamps in the lodge of grief, two full cups, one face in both worlds and a place at the beloved's door.
Münîrî writes here of a sigh that could burn the sky, salty words from a sweet lip, a rival whom no touchstone can assay, and eyes like two cruel Turks sharing one ruin.
Prince Bayezid's ghazal with the redif "bilürüz": the beloved's door as the Kaaba, an answer to the city's sheikh, Solomon and the ant, and sovereignty as an empty quarrel.
Kara Fazlî's ghazal with the redif "yaġar" (rains): tears falling when the west wind blows, blood and fire raining from the sky, life raining from the lip, pearls from the April cloud.
In this short-metre ghazal Münîrî puns on the rhymes "berk" and "terk", bringing the segmented dervish cap and the renunciation of the world together in a single word.
Prince Bayezid's ghazal with the redif "olmışuz", opening in a dervish's voice: the heart refined in the crucible, the lodge of love and the lover struck mute.
Kara Fazlî's ghazal with the redif "-dür": sorcerer tresses spreading a prayer rug on water, down as a guest from China, the unbelieving tress, and Fazlî the "subtle" poet.
Preserved only in the Vatican manuscript, this plain-spoken ghazal by Münîrî treats the courage to bear the glance's arrow, love as capital and a pillar made of twigs.
Prince Bayezid's ghazal opening with rancour towards the world: the broken mirror of the heart, a grain of shame on the threshing floor and an old fortune lost.
Kara Fazlî's ghazal of counsel with the redif "idegör": a cry that makes Venus envious, a head in the sky and a face in the dust, the antidote of contentment, a mirror-like heart.
In this ghazal Münîrî plays on hezār as nightingale and thousand, hears weeping in the flask's gurgle and makes ḳıl serve as both a hair and a command.
Prince Bayezid's ghazal with the refrain "itmez": the falcon of the heart hooded with grief and tied by separation, the sword that pierces the shield of patience, hidden sorrow.
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