Kara Fazlî's ghazal with the redif "-dür": a rosebud who wears red and plays tricks, a cypress bending to the wind, jealous hyacinths and a lover who is neglected.
In this ghazal with the refrain "-malu degül", Münîrî lays down the rules of the drinking party, launches the boat of the cup on a sea of wine and refuses to trade his name for piety.
Prince Bayezid's ghazal spoken in the voice of "we": the lord of the land of nothingness, soldiers of calamity at his door, the sura of Ihlâs on the cheek and a sultan who forgets.
Kara Fazlî's ghazal with the redif "durur": the world as a halting place for a day or two, eyes like two cups of blood, a bed in the tavern and a poet with a clear brow.
Münîrî likens the beloved's face to a Qur'an-copy and the tresses to Gabriel, reads mole, tress and brow as the letters cīm, dāl and rā, and closes with a turn towards God.
Prince Bayezid's nazire to Şeyhî with the refrain "istemez": a portrait of the contented man who rejects the pavilion, the feast, the water of life and the sultan's robe of honour.
Kara Fazlî's five-couplet ghazal in rich rhyme: separation from beloved and homeland, the passion of the tress, the lover at the feet of the tavern elder, a rose beside a thorn.
Münîrî brings "gül" into the rhyme three times, as the rose and as the command "laugh", and a ghazal that opens with the rose closes with a lover burned to ash in love's fire.
Prince Bayezid's ghazal rhyming in "-es": the soul's bird in the cage of hair, the thorn beside the rosebud, the fly on the lip's wine and a morsel and cloak preferred to crown and throne.
Kara Fazlî's yek-âhenk ghazal with the redif "bulunur": a rose without equal in the garden of the world, the heart's nightingale, cypress stature and hyacinth tresses in plain Turkish.
Münîrî writes of a crescent granted a warrant for resembling the beloved's brow, an augury from the Hindu of the tresses, and a beloved who takes a dog of a rival as friend.
Prince Bayezid's poem of four couplets recorded in the manuscript as an "unfinished ghazal": the lover who sees the world as a cage, the Jesus-breathed beloved and the fly on honey.
Kara Fazlî's ghazal with the redif "-lar": a tress that cuts off heads when it begins its tricks, tulip-like wounds, tears that redden the dawn and eyes like highway robbers.
Münîrî likens union to the joy of finding wealth, reads the mole on the cheek as the dot of a script, and describes the fancy of the lip through a proverb about honey.
Prince Bayezid's third ghazal rhyming in "-es": a lover who has never laughed, a fly giving its life for honey, a cup going round in the rose season and a plea to the padishah.
Kara Fazlî's libertine ghazal with the redif "-dur": the one who knows no love as the truly sick, a lesson for the Sufi, wine in the season of roses, and the curse of shame.
Münîrî likens the beloved's eye, mouth, brow and tresses to letters; in each couplet the letters spell the rhyme words cedel, amel, remel, asel and ecel.
Prince Bayezid's ghazal with the refrain "eylemiş": forelock and glance joining hands, beauty drawn in Joseph's form, the Allotter of Pre-eternity and its twin, ghazal 68.
Kara Fazlî's ghazal with the redif "ider": arrow lashes and sword glances, water wearing away stone, a magic circle drawn with tears, and poetry like a sugar-scattering parrot.
Münîrî likens the tear to a courier and the lip to a table sent down from heaven, and depicts an ill-tempered ascetic and a lover who gives himself to the beloved's dog.
Prince Bayezid's four-couplet ghazal with the refrain "eylemiş": the hunt of hair and glance, the allusion to "ahsen-i takvîm", divine attributes and its form as the short twin of ghazal 67.
Kara Fazlî's ghazal with the redif "ider": a heart that makes its sigh an arrow, tears that move earth and sky, the tress as unbelief, and a mouse-sized Sufi playing the lion.
Münîrî compares the tear that will not look back at the pupil of the eye to the Day of Judgement, and the tear that fails to reach the threshold to a traveller gone astray.
Prince Bayezid's drinking ghazal rhyming in "-ûş": the ruby cup that carries the mind from head to foot, the robed cypress, the hair-thin waist and a poet lost in a sip of love.
![Ghazal 70 — Ḫaste dil cānından artuḳ lā‘l-i cānān[ın] sever](https://amasya05.com/storage/gallery/1c54740c8cfec9381fbf778479e8c731.webp)
Kara Fazlî's ghazal with the redif "-ın sever": a lip loved above life, a heart that loves its own fetters and dungeon, and a head offered as the ball to the polo stick of the tress.
In this ghazal with the refrain "degül" Münîrî depicts an ascetic indifferent to the grain of the mole, the rival's question, and an old lover who has given his heart to a youth.
Prince Bayezid's ghazal with the refrain "âteş": the smoke of a sigh that burns the world, separation worse than seven hells, tears like the Oxus and the Tatar hair that plunders.
Kara Fazlî's ghazal with the redif "-den ṣor": love as a shirt of fire, sweet grief asked of Ferhad, paradise asked of the nightingale, the tulip's bloody shroud, a lip like Jesus.
Münîrî opens this ghazal with a pun on hem-dem and depicts a rosebud binding its aching head, rose-water from the nightingale's eye, and a chin dimple that is no Zamzam.
Prince Bayezid's ghazal with the refrain "'arz": a lover who finds no one to present his state, the moaning nightingale, a secret kept from rivals and the ruby lip asked of the physician.
Kara Fazlî's ghazal built on a pun on "muẓaffer": a shah named Muzaffer who conquers the heart, a leader who must give his head, and the moon with black smeared on its face.
Münîrî's eyelash rules a table in bloody tears on the yellowed face; the threshold cures a headache, and the poet asks the absent beloved to come at least to his funeral.
Prince Bayezid's ghazal with the refrain "haz", in a metre rare in the divan: the ascetic who takes no pleasure in beauty, the rose that enjoys lament and a beloved preferred to the houri.
Kara Fazlî's ghazal with the redif "oḳur": the Qur'an read in the codex of the face, arrows reciting Yâsîn, Câmî's Bahâristân and Sâdî's Gülistan and Bostan.
Münîrî calls beauty the light of God, likens the hair to a wick for the wound, and says that remembering the rose-like face turns the fire of Abraham into a rose garden.
Prince Bayezid's only Turkish ghazal ending in the letter "ayn": the events love brings, the sherbet of union, the poor heart returning to its origin and a glance drawing a sword.
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