Basîrî's ghazal with the refrain "to you": a cup of blood raised in the beloved's honour, a sun with no nerve to face him, a lover in the desert like Majnun and a gazelle eye.
Harîmî's ghazal with the refrain "-ını": a beloved guarded like faith from Satan, locks taken for an eclipse, spring opening a shop and a golden cup that illuminates the poet's divan.
Mustafa Vâzıh's ghazal on the beauties of the market: a charming merchant's son, a tooth-pulling barber ready to shave the lovers and strength that fails before an arched brow.
Kul Hüseyin's nefes in the Battalname tradition: Seyyid Battal Gazi, who set out from Malatya to avenge his father, his war cry on the field, and the warrior who brought Rum to Islam.
The lover who passes beyond the world, the hereafter and Leylâ, the path of blame that accepts reproach, and the ascetic who says “lâ” and stops short of “illâ”.
A road to the cheek through the black tress on a moonless night, a pupil asked for humanity and earth split by floods, in a nazire on Necâtî's model.
A short-metre ghazal in which the lover speaks to his own heart: show the faithless one your love, never cease lamenting, and a beauty who scorns a penniless beggar.
An eleven-couplet mesnevi on the Greek women who came to the garden of Ebkülos after İznik surrendered to Orhan in 731 (1331), and on their marriage to the gazis.
Declaring himself "of Ahmed's disposition", the poet takes calamity as his companion; fate's arrows turn to honey, cruelty to joy, and hevâ rules among the four elements.
Sâhib's ghazal woven from abjad equalities: lamp and moth at 264, fly and elephant at 120, morning and evening at 101, pain and separation at 208, strife and peace at 128.
The book of being that cannot be solved without commentary, weakness that cries the takbir, brothers destroying one another: the first part of Tahayyür ends by blaming poor education.
A seven-couplet ghazal of reproach, every couplet ending in "why?", that questions the beloved giving torment to the lover and favour and kisses to the rival.
Adlî's seven-couplet ghazal rhyming in "-at" likens the beloved's face to a Mushaf written in musk and the down on the cheek to the flawless script of God.
Basîrî's food ghazal: the poet, slave of rice and dervish of kalye, flees bulgur, soup and cabbage soup in a playful poem that carries the language of love into the kitchen.
Münîrî's macaronic ghazal mixing Arabic, Persian and Turkish lines; the sky becomes a sea of the lover's tears and the stars turn into bubbles upon it.
Harîmî's ghazal rhyming in "-eh": love's army plundering the heart, a poppy dashing its cap in ecstasy, an Indian mole in paradise and a lover who follows like a shadow.
Mustafa Vâzıh's ghazal with the refrain "benefşe": the drooping violet, the eyebrow as the nun in the word "violet" and a time-honoured theme dismissed as "just a purple flower".
Kul Hüseyin's eight-syllable nefes: people running wild, digging pits for one another, manners and modesty gone, patience with a sharp sword, and the refrain "İllallahi ve sabirin".
A historical document in confrontational language, showing a Sunni Naqshbandi sheikh's view of Kızılbaş circles in the late nineteenth century: the “sürh-ser”.
Refîkî's ghazal opening on 'yâd' as stranger and as memory: the proverb that kindness is never forgotten, tulips from Farhad's bloody tears, and a beloved bowing from his horse.
A ghazal built on the imperative "eylegil" (do): a lover content to be remembered even for cruelty, a pine freed after being circled over the head, advice to the rival and letters of sighs.
Four couplets praising the sermon read in Orhan Gazi's name in İznik, where he made a church a mosque and opened the soup kitchen himself, naming Âşık Paşa.
A ghazal that begins with the ruin of separation and goes on in prayers: Ferhad the mountain-digger, dust of lovers' horseshoes, nightingale and parrot, and a plea not to be parted from God.
Sâhib's ghazal of feigned ignorance: eyes like swallows nesting in the arch of the brow, a lovelock like the scales of the heart's market, and beauty marks like Majnun's gazelles.
The second poem of Cûdî's Bewilderment series: caravans of motes, all things passing like lightning, the foaming torrent of time, a chain with hidden ends, and an Arabic close.
A seven-couplet ghazal that calls the beloved's threshold "love of the homeland", turns the cypress into a coffin and the rose into a shroud, and ends with Mihrî a thorn to her rival.
Adlî's seven-couplet ghazal moves from the lover's devotion to counsel on hearing those who seek justice, and to the saying that the royal crown brings only a headache.
The only kaside among Basîrî's Turkish poems: nineteen couplets praising Sultan Selim Shah through the heavens, with a renewed opening and a love section, presented to Selim I.
Münîrî's libertine Persian ghazal counted as a response to Hâfız; the cupbearer's arrival ruins vows of repentance and the burning heart smells of kebab.
Harîmî's ghazal with the refrain "-um gibi": love enthroned like Solomon in the heart, a swaying cypress, a moon lighting the ruin and a flask bowing at the feet.
Mustafa Vâzıh's ghazal on narrowing eyes: a yellow body like a golden sheath, a glance like a Frankish folding knife, a winking farrier and a rival's plucked beard.
Kul Hüseyin's nefes with the redif "they said": counsel against gloom, news from one of a thousand Hızırs, sages who know a person by his voice, and "look to yourself" to the zealot.
A harsh address to one who reviles the Companions: the Sunni principle of independent judgement, “the words of a Persian traitor” and who truly loves the Prophet's house.
From a tress likened to Mansur's gallows to Joseph passing through the bazaar, and from a beloved with the breath of Jesus to beauty that comes in through the wall.
Five couplets on roses and wine: a river of the bleeding heart carrying a rose petal, bunches of roses in the cup, a couplet playing on tulip names and a heart that refuses every crown.
Four couplets on the covenant between God and man, after the tekfur of Ulubat, who did not keep his pact, is killed on the Karasi campaign that began with the death of Aclan Beg of Karasi.
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