Mustafa Vâzıh's chronogram for water brought by Yegenzâde in 1208 (1793-94): a couplet for a charitable water work recalling Husayn and Karbala.
The single published couplet from Âkif's ghazal with colours as its refrain: black, red, white, green and yellow matched with the beloved's beauty and the lover's state.
Prince Bayezid's ghazal with the redif "benüm": the rose and the nightingale as equals, a lover unafraid of death and a servant faultless for years in the service of beauty.
Kara Fazlî's ghazal woven of derivations and puns: a candle that shows its cheek and turns away, a rose torn by the wind, counsel to be generous, and a lover bowing to an idol.
In this ghazal close to everyday speech Münîrî shows a mad heart that forgets yesterday's arrow, a preacher who may not keep his word, and a lover who finds the sun on earth.
Mustafa Vâzıh's chronogram of 1237 for his son Seyyid Muhammed Ni'metullah, born when the poet was sixty: news brought at the Friday prayer and a father's prayer.
The published last couplet of Âkif's 25-couplet chronogram on a commentary by the Kaymakam Paşa: the date 1121 (1709-10) and an image of ink and the Kaaba's black covering.
Prince Bayezid's ghazal wishing to stand in service, hand on breast, and to rub his face at the beloved's feet; its wishes match murabbas Kılıç links to the father.
Kara Fazlî's richly rhymed ghazal in "-īż": an ascetic troubled by his foot, a beloved at the apogee of beauty, a lover at the perigee, a sincere rind and a single kiss.
In this ghazal Münîrî ties a curse formula, the reciting of spells, the Qur'anic verse on the spirit as God's command and a proverb about asking the way to the beloved's lip.
The last couplet of Âkif's 18-couplet chronogram elegy on the death of his father, Îdî Bayram Efendi: the date 1112 built on the name "Bayram" and the word "ıyd" (feast).
Prince Bayezid's ghazal with the redif "ideyin": a lover quotes words the beloved never said and, by the bloody eye's word, falls into the dungeon of the chin dimple.
Mazhar Efendi's two-couplet Persian congratulation on the birth of Vâzıh's son Seyyid Muhammed Ni'metullah in 1237, ending in an Arabic chronogram line.
Kara Fazlî's ghazal with the redif "there is no place": a love without shore, a whirlpool of tears, a tavern with no room to stand, and a lover at home in neither tavern nor mosque.
In this ghazal Münîrî portrays an elm that dares to imitate the beloved's stature, a chin like an orange, a shirt trembling in the wind and a lover rising in a bloody shroud.
The last couplet of Âkif's 12-couplet chronogram for the fountain built by Gülnuş Emetullah Sultan in Üsküdar: the date 1120 (1708-09) in an invitation to "come and drink".
Prince Bayezid's ghazal setting the beloved's lip above Khidr's water and Jamshid's cup; a twin poem written on the same ground as ghazal 110.
Mazhar Efendi's single-couplet Turkish chronogram for the birth of Vâzıh's son Muhammed Ni'metullah in 1237, which sets the child's name in the date line.
Kara Fazlî's mystical ghazal with the redif "-ya baḳ": an eye turned to the mirror of the world, a tulip grown in fire, a barber's white hand and the quarrel of love and reason.
Münîrî closes the lines of this ghazal with Arabic phrases from the Qur'an, rebuking his scheming self with verses of al-Baqara and likening the heart to paradise.
Prince Bayezid's twin ghazal to ghazal 109, sharing its ground and one whole line, in which a single reply from the beloved is worth more than a thousand cups of Jamshid.
Mazhar Efendi's two-couplet chronogram for the birth of Vâzıh's younger son Seyyid Ahmed Tayyib in 1240, whose date line adds up exactly to 1240.
Münîrî wrote this ghazal for the eye ailment of Prince Ahmed, tracing the redness, watering and dimness of his eye to fine poetic causes and closing with a prayer against the evil eye.
Kara Fazlî's Sufi ghazal with the refrain "‘ışḳ": love present since the command "Be", a Persian couplet defying the ascetic through Lât and Uzzâ, and chess terms.
Mustafa Vâzıh's two-couplet chronogram for his younger son Seyyid Ahmed Tayyib, born in 1240 (1824-25) and lost at the age of three or four.
Prince Bayezid's ghazal with the redif "oda yansun": a blaze from the lover's sigh spreads to his breast, the sky, Jacob's hut of sorrows and the candle of the night.
Kara Fazlî's ghazal with the redif "-a ġarḳ": a lover drowning while he burns, the Noah of the soul lost in the ship of the body, and a closing oath in which the poet names himself Ali.
In this ghazal with the refrain "-dan" Münîrî likens the mole before the eye to a thief begging mercy of the executioner and measures himself against Ferhad in giving his life.
Prince Bayezid's ghazal with the redif "var iken": a prince who counts crown and throne as a straw complains of being held lower than others at a just shah's door.
Mustafa Vâzıh's 21-couplet chronogram of 1209 for the birth of Mîr Abdüsselâm, son of Amasya's governor Seyyid Süleyman Rif'at, in which the sun is born a baby.
Kara Fazlî's ghazal with the redif "‘āşıḳ": a body whose every hair is a lover, a martyr of love who wants no shroud, and a famous closing couplet on poems that must burn the reader.
In this ghazal Münîrî makes Chinese musk, the pearl and the famed painting of China yield to the beloved's beauty, and plays on mihr, Venus and Jupiter in the closing couplet.
Prince Bayezid's ghazal opening with the proverb that no faithfulness comes from a tyrant shah: a heart-bird caught in the lock's snare and a lover rivalling Ferhâd and Mecnûn.
Mustafa Vâzıh's three-couplet death chronogram for the poet and stylist Sarı Nâibzâde Mustafa, who died in 1206, playing his "yellow" name against death's pallor.
Kara Fazlî's ghazal with the redif "‘āşıḳ" sharing its opening with the preceding one: a sigh that splits the sky, Ferhad and Mount Bîsütun, and a street dearer than paradise.
Münîrî shows the heart as a child who finishes the ABC of love and opens a section of the Qur'an of beauty, the tear as a beggar at the door and the musk-pod put to shame.
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