Kara Fazlî's ghazal with the redif "sürer": wine passed round and delight enjoyed, the beggar who enjoys the world, black smeared on the moon's face, a fortune above kings.
Münîrî describes a stature and lip that shame the cypress and the rosebud, a heart still thirsty for ruby, and himself as a moth circling the candle of Çigil.
Prince Bayezid's ghazal rhyming in "-ag": the tulip brand on the breast, the royal tent of the shah of love, a play on the word "sag" and a night lamp lit from the heart's fat.
Kara Fazlî's ghazal with the redif "söyledür": a cypress stature that makes poems raise a tumult, folly in the ascetic, wine that tells secrets, a cup that teaches the parrot.
Münîrî welcomes the beloved back from a campaign as king and sun of fortune, and writes of his turn at the mill of the heavens and the sackcloth of grief given by love.
Prince Bayezid's descriptive ghazal with the refrain "üzre her taraf": hyacinth hair on the cheek, a parrot spreading its wings in Rum, a Judas tree's shadow and tulips on the mountain.
Kara Fazlî's ghazal of separation with the redif "-dur": bloody tears taken for wine, free wine turned to poison, a bowl of heart's blood, and a breast played like a kanun.
Münîrî makes all who see the beloved cry out "God is most great", likens union and separation to antidote and poison, and reads the eyebrows as a tughra that ends lovers.
Prince Bayezid's ghazal of wisdom without a beloved: a faithful friend not found in the world, liars and hypocrites, hungry dogs on carrion and the worldly ties that must be cut.
Kara Fazlî's farewell ghazal with the redif "-um gider": a shah setting out in felicity, a heart that goes with him, a courier of imagination at every stage, a lord likened to Alexander.
In this ghazal with the refrain "gözlerüm" Münîrî uses the word both as an address to the beloved and for his own eyes, which grow four from watching the road to his cottage.
Prince Bayezid's witty ghazal: a beloved opening a mouth said not to exist, arrow-like glances, an indulged forelock and a faithful friend who, like the Ankâ, is only a name.
Kara Fazlî's yek-âhenk ghazal built on puns on "al" (red): a beloved dressed in red in every couplet, a deceived nightingale, an elif amid blood, a poem like a tulip garden.
Münîrî plays on the idiom "to see the day", counts his tears as peerless pearls, and holds that fine speech and a sound disposition suffice a poet who has no gold.
Prince Bayezid's ghazal with the refrain "'ışk": a passion that disgraces before the worlds, a breast pierced like the ney, the plundered shop of the body and a poet who speaks of love.
Kara Fazlî's ghazal with the redif "eyler": a listener who whirls to a ney-like lament, a yellowed body turning in the wind, quarrelling spheres and a head never cut from love.
In this ghazal with the refrain "eyledüm", Münîrî turns his tears to an ocean and his heart to a ruin, refutes a slander with two witnesses and lets grief plunder his heart.
Prince Bayezid's ghazal with the refrain "'ışkun": a wound of love without cure, love's wine-drinker, a vagabond who has shaken off the world and a manifestation that burns the horizons.
Kara Fazlî's ghazal with the redif "eyler", one couplet lost: prey whirling to the ney-like sound of an arrow, a drunken cup, friends bidding grief farewell, and a curse.
Münîrî's ghazal that makes the smoke of sighs a banner, hopes for a scrap of a dog's horse-cloth and belittles mastery of sword and pen, a clue to the poet's own career.
Prince Bayezid's ghazal with the refrain "eyledün": a breast bleeding like the tulip, the Leylâ of the hair, a union reviving the dead and a poem made a pearl in the padishah's ear.
Kara Fazlî's only ghazal with a double pen name: a lover who sees himself and the beloved in Farhad and Shirin, a head crowned by fortune, and poetry given as a gift.
In this spring ghazal Münîrî turns the rose garden into a state: the rose is sultan, pays dues and issues decrees, the iris keeps the ledger and the narcissus collects alms.
Prince Bayezid's eight-couplet ghazal with the refrain "eyledün": the joy and prayers of union, a beloved who makes servants khagans and the complaint of Şâhî kept far from his service.
Kara Fazlî's ghazal with the redif "-dür": an eye that casts the heart into fire, a letter that is a white dove, a cup like a falcon, and a heart that mirrors the beloved's face.
In this ghazal with the refrain "itdüm" Münîrî stakes his soul in the market of love; a pun on revān, the eye's shop and a losing bargain for a single kiss stand out.
Prince Bayezid's ghazal rhyming in "-âk": sorrowful heart, bloody liver and wet eye, union as antidote to separation and the lantern of the heavens turned by the smoke of sighs.
Kara Fazlî's ghazal with the redif "yeğdür": abuse sweeter than a rival's praise, the dog of the beloved's street, a lover who leaves Kevser and a poet secluded in a tavern.
In this ghazal with the refrain "I could not tell", Münîrî's lover bows to the niche instead of the horseshoe, rusts the mirror of a face with sighs and rubs his face on a threshold.
Prince Bayezid's ghazal with the refrain "yig": a beauty finer than bud, cypress, ruby and the pearl of Aden, a tulip in a bloody shroud and union measured against the tribute of Rum.
Kara Fazlî's ghazal in a mystical vein: a face that is proof of God's beauty, a path of love open to the content, a beauty veiled by its own light, and all things returning to their origin.
Münîrî opens this ghazal with the feast, likens an eyebrow to an old man leaning on a staff, turns arrowheads into windowpanes and pictures his stature through elif and lām.
Prince Bayezid's ghazal with the refrain "eksük degül": slander from every side, the crooked sphere, prayer at the padishah's court and the saying that a servant never lacks error.
Kara Fazlî's response to Kemâl Paşa-zâde with the redif "ṣandılar": a forelock taken for blood, a crescent for a bone, a chain for a beloved, and Farhad's story for the lover's own.
In this spring ghazal Münîrî rhymes on müdām in two senses, makes the violet the rose's envoy and keeps to the rose's company despite the proverb on those who are bound.
Prince Bayezid's ghazal of invitation with the refrain "oldı gel": a roasted breast, a soul within a hair's breadth, a rose garden turned prison and a closing couplet on coquetry's measure.
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