A hair-fine waist is likened to the Sirat bridge of the Last Day; the February of separation, the Nevruz of union, and a beloved at the head of a banquet of lips.
Mihrî Hatun's ghazal of a saint's shrine called Göynicek: a spring landscape likened to Paradise, a pilgrimage, and an open question about the saint Ak Şemseddin and the place.
Adlî's ghazal with the refrain "sevmezin": a lover who rebukes those who will not love, the ascetic and God's light, dust like an elixir, and a beggar driven from the door.
Münîrî's Persian ghazal on "şeved": every mote of one who turns to dust on the beloved's path becomes a sun, and beside the ruby lip Khidr's water is a mirage.
A false prince's end: Murad crosses to Rumelia from Ece Ovası on an infidel ship, and the Pretender Mustafa flees Edirne, is caught and hanged from a tower there.
A ghazal saying "do not linger in Rûm, set out for Baghdad": the city of Hâlid-i Bağdâdî and of Fuzûlî, guidance in the tavern, making a name, and a pun on wakefulness and cruelty.
Every bond made in the gathering of determinate beings ends in parting; the world is a market where no one profits. This Persian quatrain counts all trade as "teğâbün", mutual loss.
Let the wind not hear the sigh, the boxwood not hear a stature praised, the ascetic not learn the taste of good wine: every couplet asks that something stay hidden.
Mihrî Hatun's ghazal on the refrain "-lik": the heart as painter, ruby, pearl and musk taking their qualities from the beloved, then a rival's boast met with a challenge in the arena.
Adlî's ghazal with the refrain "itmek neden": a reproach to the heavens that grieve the lover and gladden the rival, a pun on "dâd", and a bowl of poison given to Adlî.
Münîrî's Persian ghazal on "gīred": a Turk of an eye lies in ambush, Khitai and China slip into the play of brow and arrow, and a lip sets Solomon's seal beneath its stone.
Kara Fazlî's plain-spoken five-stanza murabba with the refrain "Yüri şāhum yüri Allah'uma ṣaldum", leaving to God a faithless beloved who has favoured the rival.
Âkif's gloomy ghazal with the refrain "dur baña": every beauty of spring appears to the poet as blood, mourning and winter, and comfort is sought from God alone.
The kıt‘a that opens the Mukatta‘ât section of Mustafa Vâzıh's Dîvânçe: a heart wailing like a Balyemez cannon, scented tobacco and a beloved who raises doomsday.
Pacts and raids: with Murad settled at Edirne, envoys go to the Serbian despot and the tekfur of Constantinople, and Evrenezoğlu and Firuz Beg are sent raiding.
A ghazal of hope with the refrain "elbet": a rose-red rider who will come, the crowned hoopoe bringing news, the patience taught by the sura of Joseph, the breeze and the hunter of fortune.
Four counsels in Persian, each line closing on "bâş", be: stand apart amid worldly affairs, keep from jesters, hold the bridle of hope, take the fear of God as companion.
The first ghazal of Câfer Çelebi's divan: five couplets that define the lover as one who yields to the beloved's will, carry an image of smoke and end with God's pleasure.
The beloved who lights a fire in the oven of the heart is a Janissary's son, may his hearth never lack; cotton in a wound, a foot that is a cup, taverns shut for Ramadan.
Mihrî Hatun's short ghazal addressed to the rival: a lover who offers herself to be kicked, curses the rival at the door and finally asks the beloved to rub salt into her wound.
Adlî's ghazal of a spring outing: the meadow spreads satin for a rose-shirted Joseph, cypresses rise, almond blossom showers gold and jasmine clings to his hem.
Münîrî's Persian ghazal without refrain: beauty seen in pre-eternity becomes the litany "Yâ Vedûd", a glance steals the heart with a toy, and love is older than time.
Kara Fazlî's five-stanza murabba of exile with the refrain "Kimse yā Rab olmasun yār u diyārından cüdā", joining separation from the beloved and from home.
Âkif's ghazal with the refrain "âsâ" (like): a world that camps and moves on like a guest, a beloved faithless as time, the brow-bow play and a pen like a lion in the reeds.
Mustafa Vâzıh's incomplete ghazal on a child starting school: a forelock decked with tinsel, ink made from heart's blood, the sī-pāre and Kawthar on the lips.
A treacherous tutor: Murad's young brother Mustafa settles at İznik while the paşas secretly promise his tutor Şarabdar İlyas a governorship. Six couplets.
A ghazal telling the poet's nature "take the pen, make the secrets known in poems": eş‘âr and iş‘âr, a pacing partridge, a parrot silenced by sugar, tears as pearls and a prayer.
The Light Verse in Persian: the light of the heavens and the earth, all between them that light too, and the unanswered question why we see ourselves and not God.
A ghazal with the refrain "baña" that adds the night of separation to a lifetime, leaves the world to the rival for the beloved and likens a rose petal to a heated horseshoe.
As beauty passes from lip to down the mad heart moves from Aleppo to Damascus, from white to dark; every night is a Night of Power, and wine exposes boasted lineage.
Mihrî Hatun's ghazal of reproach on the refrain "böyle mi gerek", with a closing couplet that plays on the pen name Mihr, the sun, and müşteri, which means both suitor and Jupiter.
Adlî's ghazal with the refrain "dirsin": a face in the hair like the sun in Scorpio, rebukes to ascetic, Sufi and preacher, a mouth so small it is nothing, a nightingale's praise.
Münîrî's Persian ghazal on "bāşed": distraught hearts find their place in dishevelled tresses, love's pain has no cure, and Judgement Day is the very night of parting.
Kara Fazlî's five-stanza murabba of supplication with the refrain "Yā İlāhī sen ḫalāṣ it bu belālardan beni", lamenting his fortune and the beloved's "God willing".
Âkif's ghazal of supplication with the refrain "eyleme yâ Rab": a prayer to be kept from the cup of heedlessness, the snare of sin and the well of disobedience.
Mustafa Vâzıh's incomplete ghazal on the beloved's glance: the glance that intoxicates and kills, the bow-shaped brow, the gazelle's eye and repeated oaths and sighs.
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