Kara Fazlî's archery ghazal with the redif "-veş": a lover who cannot sway like a sword, an eye like a ruby thumb ring, people linked like a chain, and loyalty like Qitmir's.
Münîrî likens the tear-filled eye to a whirlpool, welcomes the arrow wound that comes from the beloved and joins the down on the cheek to the saying that what is written befalls one.
Prince Bayezid's ghazal of thanksgiving with the redif "buldum": the joy of a reunion, overshadowed in the closing couplet by fear of the coming separation.
Kara Fazlî's second archery ghazal with the redif "-veş": a lover bent like a bow, counsel from bow and arrow, a chin like a dungeon and Qitmir in the cave of faithfulness.
Münîrî has the troop of the beloved's image pass slowly through a tear-filled eye, recalls the nightingale dying for a week-long rose and joins gazing and reasoning in one word.
Prince Bayezid's short-metre ghazal in which he gives his soul as a reward for the greeting his shah sent him; its final word "dirlik" can be read in two ways.
Kara Fazlî's ghazal with the redif "baġlamış", its first couplets lost: an arm round the beloved's neck like a golden amulet, arched eyebrows, and a down never made fair.
Münîrî brings the battle with the glance from knife to spear, shows grief stopping the spring of tears at its source and reads a death at dawn as the sign of an auspicious day.
Prince Bayezid's ghazal in which he proclaims himself padishah of the realm of grief, tells of idols turned to stone and ends on the faithlessness of the world.
Kara Fazlî's richly rhymed ghazal in "-āṣ": a pupil diving for pearls in a sea of tears, wine that revives like Jesus, love's closed chamber and a heart melted in love's crucible.
Münîrî calls the man who forbids wine a stone, sees the black mole on a white cheek as an Abyssinian king come down into Rum and blames the rose season for his return to the tavern.
The 1177 couplet "my dear son" that Kara Müftî İsmâil Hâtif Efendi wrote for the birth of his son Mustafa Vâzıh, preserved in Vâzıh's own Dîvânçe.
The single published couplet from Âkif's 96-couplet kaside presented to Sultan Ahmed III and Dâmâd Ali Paşa: a couplet of praise calling the sultan God's drawn sword.
Prince Bayezid's ghazal with the redif "benüm": a stature bent into a harp, a lament moving in the makam râst, a plea to the sultan for justice and a palace of grief.
Kara Fazlî's ghazal rhyming in "-āṣ": a lover reciting İhlâs at dawn, jealousy of rivals told through an Arabic proverb, the well of the chin and the sea of meaning.
In this ghazal with the refrain "içün" Münîrî sets the beloved's lip above honey and sugar, plays on the word ney, speaks of oath and expiation and comes begging like a dervish.
Mustafa Vâzıh's one-couplet chronogram of 1223 (1808-09) for a fountain: the idiom "learn it like water" and the fountain's name, "‘Uyūnü'r-rıżvān".
The single published couplet from the part of Âkif's kaside devoted to Dâmâd Ali Paşa: a eulogy built on the words "first intellect" and "second".
Prince Bayezid's ghazal with the redif "benüm": a cry that reaches the sky but not the beloved, a plea to the sultan for justice and a legend outdoing Ferhâd and Mecnûn.
Kara Fazlî's ghazal with the redif "raḳṣ" (dance): a sun that spins when the beloved dances unveiled, a heart leaping like a roast, motes dancing in a grave, a drunk lover.
Münîrî likens the weeping eye to an upturned wine bottle, has Mount Bîsütûn grieve for Ferhad and gives the harp, the reed flute and the organ the voices of suffering lovers.
Two couplets published from the fahriye of Âkif's kaside to Ahmed III: the poet says he studied morphology, logic, theology, astronomy, geometry, hadith and tafsir and wrote on most.
Prince Bayezid's ghazal with the redif "görmedüm": each couplet names something lost through separation, a sleepless night is recalled and a young beloved closes it.
Mustafa Vâzıh's single-couplet chronogram for a charitable work of 1223 (1808-09), in which the phrase "āyā ḫayrāt" adds up exactly to 1223 in ebced.
Kara Fazlî's ghazal of counsel with the redif "-a baṣ": the heart, a falcon, should set foot on the nine heavens, be unbound like Jesus and tread on Afrasiyab like Kay Khusraw.
Münîrî likens the heart to a parrot caged in the beloved's locks, dreams of burning the angels' register of his sins with his sigh, and compares lip and teeth to a ruby ring.
Mustafa Vâzıh's chronogram for the 1211 (1796-97) repair of the Kocacık Mosque in Amasya, playing on "old Vâzıh" and the "little old" mosque made young.
Two couplets published from the fahriye of Âkif's hundred-couplet kaside on a new fortress, written for Mehmed Paşa: the poet calls himself both poet and scholar devoted to study.
Prince Bayezid's ghazal with the redif "itdüm": a lover leaves his homeland, hunts the uncatchable hümâ with the falcon of his poetry and dwells in fire like the salamander.
Kara Fazlî's second ghazal with the redif "-a baṣ": a cypress to be broken, a rose pressed into the dust, an eye that is a ruby stirrup and a musician who heals the afflicted.
In this short ghazal Münîrî shows the beloved's image as a guest lodged in the eye and a troop of horsemen in the breast, playing on "vech-i hasen" as fair face and fair way.
Mustafa Vâzıh's chronogram of 1215 (1800-01) for the vizierate of his patron Tayyâr Mahmûd Paşa of Canik: a hunting falcon, the Hümâ and a pasha named "flier".
Two couplets published from Âkif's 18-couplet response poem to a ghazal by his teacher Uşşâkzâde Efendi: the poet praises his teacher and asks to be taken on the pilgrimage.
Prince Bayezid's ghazal with the redif "benüm": love from pre-eternity, a letter whose red ink is blood, a stature bent like the letter dâl and a faithless shah of the world.
Kara Fazlî's short-metred, richly rhymed ghazal: a face like an auspicious omen, expansion of the heart through love, a Sufi at his austerities, and a play on Fudayl ibn Iyad.
In this ghazal with the refrain "deminden" Münîrî plays on "dem" as companion, moment, breath and dawn, and likens his heart, called mad, to the dervish abdals of Rum.
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