In this short five-couplet ghazal the blame falls on separation rather than on the sphere or fortune; the beauty spot is bait in a trap and grief rains pearls of pain.
Sâhib's ghazal of questions: Noah's flood boiling from the oven of the heart, a monarch of beauty holding council on the face, an eye with a sea of pearls, and a lover with no soul left.
An infinity that cannot be named, names as the soul's invention, the sky pointed out as "this", orphan atoms: the last part of the series closes on the black and white of eternity.
In this seven-couplet ghazal that calls the beloved "infidel", Mihrî recalls when they were rose and nightingale and asks the faithless beloved for a glance and for faithfulness.
Adlî's five-couplet ghazal: the tulip's scar, lamp and moth, a lover who renounces the cup of Cem and the throne of Keykâvus, and owl and crow in the rose garden.
The kıt'a Basîrî addressed to the chief judge Zeyrekoğlu, who promised a reward and gave none: a man praised as an ocean of learning who would not give even a drop beyond a promise.
Münîrî's Persian ghazal that opens with the fire of the valley of Ayman and ends with Ferhad and Şîrîn; Ferhad dug mountains, the lover digs out his life.
Harîmî's ghazal on the same ground as Ghazal 45: love ruling like Solomon, a glance that strikes a lancet into the breast, pain sought like a cure and a lock that scatters the mind.
Mustafa Vâzıh's playful ghazal with the refrain "olursa": a pun on bed and bedridden, the proverb of the fish in muddy water, a bathhouse scene and wordplay on tutor and father.
Kul Hüseyin's nefes with the refrain "I seek my wish from you, O Ali": a love that lasts night and day, Ali who will draw Zülfikar with love, and a heart that will not give up.
The section on contentment and the four caliphs: the heart's mirror polished by remembrance, man and animal, not blaming destiny, and praise of the four together.
Refîkî's ghazal woven of music and chess terms: a stature bent like a harp, lament as the kanun, a sigh raising banners, and Sultan Mahmud and Ayaz on the board of the world.
Couplets that explain an act by a rule: a heart-bird drawn to the cheek like a salamander to fire, a rival unmoved as rock and a parrot drawn to sugared words.
The Karasi heir flees to Bergama, his brother is shot before the fortress and Karasi passes to Orhan in 735 (1335), all told in four couplets in the language of chess.
A ghazal whose every rhyme follows the pattern "cefâ-ender-cefâ": rose garden against furnace-room, countless sacrifices, the reed flute of the body and a complaint after the pen name.
Sâhib's ghazal listing things that interlock: Rumi and Arabic months merging like a doubled letter, interlaced fingers like a Qur'an stand, and water and waterwheel that need each other.
For forty-one couplets the world is a shadow-play screen; imagination gives birth to human progress, but also to the love of rank and decoration, the fire of war and inoculation with fancy.
An eight-couplet ghazal full of small scenes: heart and eye drawn to the beloved's cheek, irises sticking out their tongues at the rose, and the rival spoken of on the gallows.
Adlî's seven-couplet ghazal on the refrain "dirîġ" (to begrudge) asks the beloved for one grain, and in the last couplet counsels not to withhold treasure from dervishes.
Münîrî's Persian ghazal counted as a response to Hâfız; the eyebrow shows lovers the qibla, and the heart reads the beloved's silence as consent to a kiss.
Basîrî's ghazal of reproach with the refrain "you made": wounds opened one upon another, a star of fortune black as a mole, a collar of patience torn like a rose.
Harîmî's ghazal with the refrain "gibi": a glance thirsting for blood, a breast burning like a censer, a mole like bait in the snare and a lover who is a moth to the candle of the cheek.
Mustafa Vâzıh's ghazal with the refrain "mashallah": with the phrase that wards off the evil eye he praises the beloved's lip, cheek, gait and the dagger that kills a thousand lovers.
Kul Hüseyin's poem with the refrain "do not flee, mother deer, I am no hunter": the hennaed deer, kohl-dark eyes, a mother deer leaving her fawn, and a lover who carries barley.
Eyes that both watch and wait: the poet as Kıtmîr, praying for the sake of the Prophet, the four caliphs, the two imams and his master Mustafa İsmet.
An ascetic who thinks himself the nightingale of the Throne but flies like a hen, a colourless wail and a firework sigh, in the second nazire on Şâmî's model.
The ghazal holding the salamander couplet that Doğan counts a masterpiece: a lash that kills like Moses, a salamander living in fire, a beloved whose very promise is torment.
Three couplets on a land filled with saints: the sermon and coinage of Karasi pass to Orhan, the Karasi heir dies of plague in Bursa and Süleyman Paşa is given Karasi.
The speaking voice leaves the desert of love to Nigârî, keeps service at Leylâ's tent for itself, and ends by reproaching Majnun, called here by his real name Qays.
A heart hurt even by grief's leaving, a beloved hurt whether he is looked at or not, a warning to the breeze, and the rose on a seal ring hurt by a thorn.
Six stanzas built on "I said, she said": an unopened rosebud, a moon putting on her black veil, a garden entered with leave, and a beloved who turns every praise back to his poetry.
A ghazal with every couplet ending "is different", listing love's torment, chemistry and cure to argue that love can be understood only by those who live it.
Adlî's seven-couplet ghazal sets the sun against the beloved's face, prays in Arabic for rescue from the night watchman, and retreats into the corner of grief.
Basîrî's ghazal opening with a couplet quoted by the anthologies: two narcissus eyes in the garden of the cheek, a ruined heart where even thorns bear no rose, locks scented like Tatar musk.
Münîrî's Persian ghazal that reads the beloved's face as a tablet of script, the mole as the dot of God's pen and the cheek's down as an anthology of beauty.
Harîmî's ghazal with the refrain "gibi": a comb reaching for the locks, a shell nourishing the pearl of tears, a moth-like lover and a mole-pawn that becomes queen.
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