Prince Bayezid's short ghazal with the refrain "kaçma benden": a lover calls the departing beloved by a new name in each couplet and likens himself to abandoned Hüsrev.
Mustafa Vâzıh's two-couplet chronogram for Nûh Bey, born in 1210, likening the world to Noah's ark and adding three to the count through the word "üçler".
A ghazal by Kara Fazlî of which a single couplet survives because of a missing page: a lover burning like a candle, smoke rising from his head and a cap made of flame.
In this ghazal with the refrain "içün" Münîrî shows a lover washed in blood by the eye's pupil, a collar mended with a hair, and a comb asked not to sharpen its teeth on the locks.
Prince Bayezid's ghazal with the redif "eylesün": lovers are called to complain at the court of the shah of beauty, love is told as prayer and ablution, all rhymes in one pattern.
Mustafa Vâzıh's three-couplet chronogram for Seyyid İskender Bey, born in 1214, built on Alexander the Great, his teacher Aristotle and his companion Khidr.
Kara Fazlî's mystical ghazal: essence and attributes, God both the same as and other than the universe, the tree in the seed, the necessary and the contingent, and Khidr's lip.
Münîrî opens this ghazal with a quotation from the sura Fatir, "He has taken grief away", puns on the name Hasen and grief, and shows tulips growing from Ferhad's tears.
Prince Bayezid's ghazal portraying the beloved through gold, silver, quince, pistachio and apple, ending with the chain of a thieving lock of hair.
Mustafa Vâzıh's single-couplet chronogram for a child born on the Night of Power in 1238, describing the birth as "the light of Muhammad" descending into a house.
Kara Fazlî's five-couplet ghazal praising Lâdik, north of Amasya, comparing its air, water and greenery to Paradise, a rare example of a poem of place in divan poetry.
In this ghazal Münîrî presents the beloved's two locks as a dwelling that unties the difficulty of both worlds, and plays subtly on the words hand and people, mole and state.
Prince Bayezid's ghazal on a beloved who ruins the realm of the heart with the poet's tears; in the closing couplet the poet says he is gathering his verses into a divan.
Mustafa Vâzıh's four-couplet Arabic chronogram for Muhammed Ali, born in 1240, hiding his pen name in "tārīḫu Vāżıḥ" and the child's name in a blessing.
Kara Fazlî's ghazal rhyming in "-ūr": a face that made Mount Sinai tremble, a threshold under the Frequented House, Hallâc's bow, music that drowns the Trumpet and a broken cup.
In this spring ghazal Münîrî calls the rose season a faithless turn of watch, draws the tulip as a culprit come to beg pardon with a shroud about its neck, and the heart as a net.
Prince Bayezid's ghazal with the refrain "etegin": the idiom of clinging to the beloved's skirt takes a new sense in every couplet, from Mansûr's gallows to a stolen kiss.
Mustafa Vâzıh's single-couplet Turkish chronogram for Muhammed Ali, born in 1240, in which the phrase "çü ṭoġdı Muḥammed ‘Alī" adds up exactly to 1240.
A ghazal by Kara Fazlî with the redif "-ca yigitcik" of which only the opening survives: a fair, graceful and noble young lad called to make merry alone like the rose.
In this ghazal Münîrî turns the beloved's face into a garden heaped with hyacinth and rose, makes clouds a coat of mail against the sigh's arrow and the rose garden one with the furnace.
Prince Bayezid's ghazal that opens with a cup and closes with the upturned cup of the sky: the poison of time, a lover moaning like the flute, and a faithless heaven.
Mustafa Vâzıh's three-couplet chronogram for the wedding of Hacı Ahmed Bey, son of Hacı Ali Paşa, in 1239, likening the bride to the moon split by the Prophet's miracle.
Kara Fazlî's mystical ghazal with the redif "ol": waking from the night of heedlessness, the call to travel light, from desire to the air of love, and existing through nonexistence.
Münîrî builds every couplet of this ghazal on the eye; the eye becomes a flower pot, the eyelashes a fly whisk, and the tearful eye a mine holding a ruby of Badakhshan.
Prince Bayezid's ghazal with the refrain "illerin": a heart wandering from Isfahan kohl to Badakhshan rubies, and a fifth couplet calling a shah to the lands of Karaman.
Mustafa Vâzıh's ten-couplet chronogram celebrating the Ottoman-Iranian peace of 1823 as a triumph of Mahmud II and Rauf Paşa, ending in a pun on "O Rauf".
Kara Fazlî's ghazal with the redif "-sı yoḳ degül": a lover who delights in cruelty, a hand stretched out to kill at the festival, and the honey and affliction of love.
In this ghazal Münîrî presents the beloved's face as a qibla and the lip as a bud opened by the dawn breeze, and says that the world is lit not by sun and moon but by the face's reflection.
Mustafa Vâzıh's five-couplet chronogram for the fountain built by Benderli Hâfız Ağa in 1227 (1812): "when you take a cup of water, read its chronogram".
Prince Bayezid's ghazal with the refrain "ben": a lover burning in separation, distraught like Mecnun and sweet-tongued like a parrot, in a closing couplet Kılıç cites.
Kara Fazlî's short ghazal with the redif "mı degül": a pain that is a remedy, a lofty stature that is worse than the tresses, and curses that the lover counts as prayers.
Münîrî wrote this ghazal for Koyun Baba, a Kalenderi dervish of Osmancık; with the refrain "Koyun" he praises the saint as the lion of saints and shepherd of the Abdals of Rum.
Mustafa Vâzıh's chronogram for the death of Hâfız Alemdar Hüseyin el-Gâzî in 1234 (1818-19): a standard-bearer who planted his banner all the way to Paradise.
Prince Bayezid's ghazal of praise with the refrain "sen": the beloved as the Joseph and the Süleyman Han of beauty, and a heartfelt couplet calling the body a worn-out mould.
Kara Fazlî's ghazal with the redif "dil": a lover freed of the world's colours, griefs and states of the heart counted four times over, and a heart that will not call Ferhad a man.
In this short-metre ghazal Münîrî plays on the rhymes āhū and āh o, has the gazelle-eyed beloved strike like a lion, and turns the proverb "speak of the dog" against the rival.
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