Mustafa Vâzıh's chronogram of 1198 (1784) for his father, the Amasya mufti Kara İsmâil Hâtif Efendi, who died on the Night of Berât: a "fatwa of berât".
Prince Bayezid's ghazal that opens with death and ends with the grave: a prayer for the beloved's long life, a heart unafraid of Zülfikâr and a grave turned tulip garden.
Kara Fazlî's nine-couplet ghazal rhyming in "-ā'il": the beloved praised in Arabic superlatives, word and state, a beauty that needs no proof and a threshold become the Kaaba.
In this ghazal Münîrî likens the sword of the glance to the water a parched patient begs for, turns a proverb on nature against the ascetic, and seeks honour in the dust of the path.
Mustafa Vâzıh's chronogram for Mahmud II's abolition of the Janissary corps in 1241 (1826): "ġazā-yı ekber" and its link with the poet's own exile.
Prince Bayezid's ghazal with the refrain "aglayayın": a beloved who laughs like the rose and a lover who weeps like the nightingale, accepting the land of separation as fate.
Three surviving couplets of a ghazal by Kara Fazlî with the redif "ol iy göñül": a heart called to become dust, fortune found by giving it up and ease reached through affliction.
In this ghazal Münîrî likens the ring of the locks to the ring of the Haram, the dark locks to a night walker who frightens sleep away, and himself to a turtledove still crying "kû kû".
Prince Bayezid's ghazal that begins for the beloved and ends for Sultan Süleyman Han; Kılıç reads its closing couplet as praise of both the father and the poet's own verse.
Mustafa Vâzıh's two-couplet chronogram of 1244 announcing that "our Osman Paşa" has become vizier, a poem earlier studies confused with the Hakkı Paşa chronogram.
Three surviving couplets of a ghazal by Kara Fazlî with the redif "-uñ iy göñül": a beloved befriending rivals, a ship of delight lost in a sea of grief, poisonous tresses.
In this ghazal with the refrain "benefşe" Münîrî explains the violet's bunches, its bent neck, its low growth and its colour by graceful reasons tied to the beloved.
Prince Bayezid's ghazal that uses the word "kara" as dry land in one couplet and as black hair in the next; a highwayman lock, bread drawn from stone and a shah who breaks his servant.
Mustafa Vâzıh's two-couplet chronogram celebrating the release of the Amasya-born vizier Hakkı İsmail Paşa from compulsory residence in Amasya in 1240.
Kara Fazlî's response poem to Zâtî with the redif "itdüm": a letter erased from the register of being, dark arms round a white neck, a yellowed body spread before a horse.
In this ghazal Münîrî treats the pupil as a heart's window blackened by sighs, desire for a mole as Adam's sin, and the ruby lip's bloodshed as a case the judge needs no witness for.
Mustafa Vâzıh's chronogram for Şeyh Hâfız Abdullah Efendi of Taşköprü, who died in 1244 (1828-29): the man of the Stone Bridge crosses the bridge of the world.
Prince Bayezid's ghazal with the refrain "olsun olmasun": a lover who accepts the beloved come what may, a love with no cure even in Avicenna's Canon, and a cup despite the Sufi.
Kara Fazlî's response poem to Necâtî rhyming in "-el": a hand that never reached stature or tresses, death sought in nonexistence, a stature bent like a polo stick.
In this ghazal with the refrain "üstine" Münîrî likens the down to writing set on water by magic, the brow to light descending on the Night of Power, and the locks to Gabriel's wing.
Mustafa Vâzıh's couplet of apology to Âkif-zâde in İçeri Şehir when the flooded river kept him away, and his friend's reply about "the bridge whose eyes I love".
Prince Bayezid's ghazal on a moment of farewell, as union slips away and separation comes; the lover asks the beloved to remember him every moment with a letter.
Kara Fazlî's ghazal with the redif "çekelüm", probably a response to Muhibbî: the drum of the breast, the banner of the sigh, the divine cup, the bow of love and a drawn sword.
In this ghazal Münîrî envies the fortune of the beloved's dark forelock, clings to his ring of hair at the Last Judgement, and likens the eye to a narcissus sheltering in the brow's shade.
Prince Bayezid's ghazal on the inexpressibility of love through images of pores, a pickaxe, a dragon and a bird's nest; allusions to Ferhad, Mecnun and hidden treasure.
Âkif-zâde's reply to Mustafa Vâzıh, kept from visiting by a flooded river: a couplet playing on "the bridge whose eyes I love", recorded in Vâzıh's Dîvânçe.
Kara Fazlî's ghazal with the redif "misin nesin", also cited in two tezkires: sun or angel, the wheel of the heavens, the pupil of the eye, a deaf Sufi and words like salt.
In this drinking ghazal Münîrî describes wine whose feet blister as it runs to the beloved's lip, a talking flask, and a moon-faced guest who lights the gathering.
Mustafa Vâzıh's nineteen-couplet chronogram for the two riverside pavilions built by Yegenzâde Hacı İbrâhim Bey in 1245: water wheels, a fountain and Paradise.
Prince Bayezid's twenty-couplet ghazal of reproach with the refrain "senden"; the names Tabriz, Karbala and the land of Persia suggest it may date from his years in Iran.
Kara Fazlî's ghazal with the redif "-umsın": a beloved who is the soul of the soul, a shadow beneath a swaying cypress, and a weak ant before Solomon on his throne.
In this ghazal Münîrî describes a curl like a knot tied on water by magic, eyelashes writing in red ink, and a heart burning like a candle in the mihrab of the eyebrow.
Prince Bayezid's ghazal addressed to the sky with the refrain "felek şimdengirü"; in the fourth couplet the poet says that torment comes from his own pure lineage.
Kara Fazlî's ghazal with the redif "ḫaberlerin": the Night of the Journey in the hair, the breath of Jesus in the lip, Majnun waiting, Moses on Sinai and an army of lashes.
In this ghazal Münîrî likens his tears to stars counted on a sleepless night, his bloody lashes to needles reddened in the heart's fire, and curl and cheek to a moonlit night.
Prince Bayezid's ghazal of question and answer with the refrain "bu": a cheek like the rose of paradise, a mole dressed as an ascetic, a brand as a token of love and a false promise.
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