A ghazal opening with a Persian line: Majnun at Leylâ's tent, the dog moaning at the door, the barren palm of sighs, and the cry that shames the lover but makes the beloved famous.
Sâhib's ghazal woven with idioms: love that roasts the heart like coffee, a rival dog in ambush, a plane tree wrestling the whirlwind of grief, and a balance pan struck from stone to stone.
Cûdî's ghazal describing a living beauty: the freshness of youth, a smile like a miracle, a beloved who thinks of how to be loved, beauty read as rhetoric, and a moon rising behind a veil.
A five-couplet ghazal of thanks to a generous great man who honoured the poet with a visit, likening his breath to that of Jesus, who raised the dead.
Adlî's ghazal on the refrain "olmış" on bitter words from a sweet lip, a beloved not won by seeking, and the poet's audacity in coveting the ruby lip.
Münîrî's Persian ghazal with the refrain "mā-rā": the heart's parrot caged by the locks, a lentil from Abraham's table, and a lover burned by one spark.
Basîrî's ghazal woven of letter similes: masters of meaning who call the curl a long lām and the mouth a short mīm, a pun on two rhetoric books, sun and moon in one face.
Harîmî's ghazal rhyming in "-er": a moon made small by the sun of love, a sigh whose spark might burn the beloved's street, lips that make one forget candle and wine, and peacock locks.
Mustafa Vâzıh's ghazal mocking a Sufi: two plague sores under one arm and the watermelon proverb, an eye that is a fountain of strife and words that become no one's earring.
Kul Hüseyin's nefes collected and made known by Âşık Gülabi: the refrain "the blessing of Abdal Musa has reached us", the tomb within seven gates and the house of Kaygusuz Sultan.
Derviş Edna's seven-syllable quatrain to his mother: a reproach to a mother who, "every day at God's side, still has veiled eyes" and does not recognise the saint beside her.
The book's first supplication: the prayer of a poet captive to his unbelieving self, repentant and wretched, asking not to be left to himself, for his master's sake.
An invitation to the cupbearer in six stanzas, the cup as fire for the cotton of piety, and the refrain 'let us rend our collars': a nazire to Tâcîzâde Câfer Çelebi's murabba‘.
A ghazal that names a condition in every couplet: who seeks the lip must forget the stature, a fire tears cannot quench, love's horse running till doomsday and a tavern vaulted by the sky.
Three couplets on the orders man sets up in the world and the intention behind them, opening the chapter on the customs Orhan Gazi introduced after his father.
Nigârî tells his heart it may kiss the Magians' feet and bow to idols, and that if all this is done for the love of God the revelry is lawful.
Wet fire in dry water inside a crystal neck, night and day made equal in spring, pearls in a ruby box, and a poet bound for China, all under the refrain "gösterir" (shows).
Drunk at the gathering of sorrow, a lover cries to the cupbearer for help: the soul at the lips awaits a drop of wine, and in Jamshid's cup a proposition stands plain.
A ghazal of wordplay that uses the rhyme word "karalar" seven times, each time in a different sense, and counts among Mihrî's showpieces of artistry.
Adlî's ghazal surviving only in manuscript T describes a beloved learning the saz through the Bûselik mode, the royal falcon and the miracle of Jesus.
Münîrî's short Persian ghazal rhyming in "-ālā": asked whether it has a mouth, the beloved answers "lā lā", "no, no", and the same sound shifts meaning.
Basîrî's second food ghazal: a playful poem that likens the smell of kalye to the morning breeze and the leaf of salma to a rose petal, and sets paluze in the beloved's place.
Harîmî's ghazal with the refrain "âteşi": fires of separation, wine, meaning and longing, in a poem woven with medrese terms that also appears in Korkut's Kitâb fi't-tasavvuf.
Mustafa Vâzıh's ghazal of letter play: the word "soul" written with a cim of locks, an elif of stature and a nun of eyes, rue seed in the fire and a decree for the tuğra of the locks.
Kul Hüseyin's nefes with the redif "does it grow weary?": serving a just king, the branch bearing its fruit, the arm that embraces in fellowship, and friendship exalted over blind zealotry.
Derviş Edna's seven-syllable quatrain to his wife: a warning to the beauty who pours wine, "you gave a pledge, you took a pledge, stand by your pledge, my beauty".
The section on enemies of the law who claim to be dervishes: self-pleasure called love, Naqshi claimants ignorant of the law, and a cloak shown to keep an endowment.
Refîkî's ghazal turning the black smoke of sighs into a curtain that hides the beloved: a waist that carries off to fancy, an eye-boat in tears, a tongueless lover, a mouthless beloved.
A ghazal of poetic aetiology with the refrain "senüñ" (yours): sun and moon as buyers, a sulking full moon, the cypress upside down in water and a narcissus trembling with envy.
Orhan Gazi's white cap, Çandarlı Kara Halil, the foot soldiers and the twisted turban are described, and three couplets look at the ever-changing face of the world.
A ghazal likening the lover caught between face and lips to a needle between two magnets: the cut rope of patience, the beloved's hut and the poet moaning fret by fret like a tanbur.
Sâhib's ghazal that reads the beloved like a book of verse: eyebrows as a couplet's two lines, the beloved as a seven-couplet ghazal, the down as its closing line, unveiling as a veil.
Cûdî's ghazal A Melody: a heart opening onto the Preserved Tablet, elements as the ink of God's pen, an observatory telescope that cannot see the soul's frontier, and a nest in strange places.
A five-couplet ghazal rhymed on "kaftânlar" that portrays a beauty in gold and silver kaftans through the images of houris, planets and the game of çevgân.
Adlî's five-couplet ghazal on the refrain "halâs" (escape): a bird in the snare, a burning straw and the arrow of a sigh show that no one who falls in love escapes.
Münîrî's Persian ghazal opening with a dawn "welcome" from the unseen; the lover seeks the crescent that ends his fast of grief in the beloved's eyebrow.
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