Kara Fazlî's kıt'a of welcome greeting a dignitary back from the pilgrimage with "Ḫayr-maḳdem", likening separation to illness and reunion to a physician.
The last part of Münîrî's hijra narrative: Surâqa's pursuit, the miracles in Umm Ma‘bad's tent, her portrait of the Prophet, the arrival in Medina and the building of the mosque.
Prince Bayezid's only Persian nazm bearing his pen name: a register of fortune blackened by guilt and rebellion, and crown, throne and treasure worthless without God's pardon.
Kara Fazlî's incomplete two-couplet kıt'a asking bounty of a shah he calls a "mine of generosity", arguing that even if he is unworthy, his patron is worthy.
Kara Fazlî's kıt'a, its beginning lost, in which he wins a fairy-like beloved with poetry and ties his tears to the proverb "drop by drop a lake is made".
Kara Fazlî's kıt'a woven from chess terms, likening fate to a chess player and himself to a player robbed of his knight, asking the king for help.
Kara Fazlî's two-couplet kıt'a in which, waiting at a great man's door as his old well-wisher, he asks leave to enter with the refrain "var mıdur".
Kara Fazlî's playful kıt'a recounting talk of sweets, sugared börek and sherbet with Rüstem and Murad at a gathering of friends taking hashish.
Kara Fazlî's two-couplet kıt'a of thanks to a patron, in which the double meanings of "paste" and "esrār" hint at the pleasures of a convivial gathering.
Kara Fazlî's kıt'a portraying himself and his Edirne namesake Fazlî-i Leng as two riders racing in the field of verse, needling his lame rival with the verb "aksadur".
Kara Fazlî's Persian kıt'a likening the unlearned poet to a proud merchant without capital, and the ignorant man's pen name to a kingship without army or subjects.
Kara Fazlî's kıt'a, taken from one of his kasides, separating the poet from the poetaster: the Antichrist and the Prophet are both called Messiah, yet differ.
Kara Fazlî's Persian kıt'a holding that cherishing one's servant is generosity, and that asking after the poet now and then would take nothing from a generous heart.
Kara Fazlî's short kıt'a on the lover's ill luck: a day that lasts a year in separation turns to evening before morning on the day of union.
Kara Fazlî's kıt'a describing in a single sentence the lover who does not know where the beloved dwells, cannot reach the water of union and burns.
Kara Fazlî's satirical kıt'a mocking in ribald language a poet named Riyâzî, who strains to produce a poem and promises gold for a response poem.
Kara Fazlî's two-couplet piece rhymed like a mesnevi, praising the people of perfection by saying that the praise of a picture returns to the painter.
Kara Fazlî's two-couplet kıt'a likening the word to April rain, which becomes a pearl in the oyster shell and poison in the mouth of a snake.
Kara Fazlî's mesnevi fragment, reminiscent of Gül ü Bülbül, in which he gathers the pearls of meaning and the stars of knowledge into his speech.
Kara Fazlî's single-couplet müfred on love, binding the story of Leylâ and Mecnun to the Arabic saying "el-leyletü ḥublā", "the night is pregnant".
Prince Bayezid's single-couplet müfred: a prince who finds the pain of love a treasure in the corner of affliction and proclaims himself sultan only of the realm of love.
Kara Fazlî's single-couplet müfred on exile: where he looked for joy he carried only grief, and leaving one's homeland, he concludes, holds no delight.
Prince Bayezid's single-couplet müfred: every strand of the beloved's scattered forelock turns into a snake; the couplet rests on the pun between "târ ü mâr" and "târı mâr".
Prince Bayezid's single-couplet müfred: a sigh that burns the body whenever it breaks from the heart; Persian "âteşîn" and Turkish "od" name one fire in two languages.
A single couplet by Prince Bayezid: why is the beloved's eye always languid? Because it has wine before it, like the lip. A müfred built on poetic aetiology.
Prince Bayezid's single couplet: the cypress that cannot walk and the rosebud that cannot speak fail to match the beloved. A couplet whose lines answer word for word.
Prince Bayezid's single couplet plays on the Turkish idiom of the sun rising on one's head: when the forelock is drawn from the cheek, the sun rises for the lover.
Prince Bayezid's single couplet brings together the Persian "mû" and the Turkish "kıl", both meaning hair: a hair-thin waist and a life not worth a hair. Two readings.
In Prince Bayezid's single couplet the lover's body is a banquet table: his breast an oven, his heart kebab, his two eyes two bottles of wine. Pain turned into a feast.
In Prince Bayezid's single couplet the beloved's drunken eye is a ruffian who draws a dagger on whoever he meets. The same image appears in the divan's eleventh ghazal.
Prince Bayezid's single couplet would liken the ruby to the beloved's lip on one condition: if the stone had a speck of life. The life-giving lip stands above the ruby.
Prince Bayezid's single couplet moves from the casket mouth and pearl teeth to the Turkish idiom of whetting one's teeth: is it fitting for such teeth to be sharpened?
Prince Bayezid's single couplet uses "gözlerüm" in two senses: eyes stained with blood from watching the road, and a lover who waits as long as his soul is in his body.
In Prince Bayezid's single couplet the preacher tells the people not to love the beautiful, then lays a snare for a beauty himself. A mocking couplet on a pun.
Prince Bayezid's single couplet uses its refrain "tolar" in two senses: the beloved winds his forelock round his finger and the horizons fill with musk.
In Prince Bayezid's single couplet the lover finds no cure in the world and learns by experience how hard it is to bear separation with patience.
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