A traveller's prayer for a beloved setting out on a journey: words of the road from caravan leader to highwayman, and the lover's fear of being forgotten once out of sight.
Do not split, do not water, do not shoot unfletched: moving through commands close to spoken Turkish, the ghazal ends with Sâhib telling the preacher he has said it a thousand times.
Mihrî Hatun's ghazal on the refrain "dek": arrow and bow, an eye tying the infidel's girdle, lashes sweeping the road to the shop, a rival driven off like a boar, and a rose garden.
Adlî's ghazal with the refrain "-dan": a lover who moans more than a water wheel, an eyebrow like a mihrab, tears red as the jujube, and all the seas poured out of Adlî's eyes.
Münîrî's Persian ghazal on "buved": one strand of the tresses becomes a lasso for the soul, the cypress borrows its worth from the beloved, and the heart burns like rue seed.
Kara Fazlî's five-stanza murabba with the refrain "Ṣabra ṭāḳat ḳalmadı terk-i diyār ister göñül": with patience spent, the lover resolves on the other remedy, leaving home.
Âkif's ghazal with the refrain "mi degildir": glances as swords of martyrdom, the coffin as a bed of mercy and a closing couplet admitting that the poet longs to return to Amasya.
Mustafa Vâzıh's kıt‘a of reproach in everyday speech: a beloved who never asks after the sick heart, the moth and the nightingale, and a poet who is no bought eulogist.
The Serbian and Hungarian borders named in three couplets: Murad marches on Albania, marries İsfendiyar's daughter at Bursa, and the despot imprisons Delü Paşa.
A ghazal likening a night with the curl to the Night of Power: a fresh decree, a dawn breeze taking musk from the forelock, the alms of beauty, manifestation, and a mirror unveiled.
A personal confession: the finest voice and renown he was given, a life spent bewildered and silent, and the wish to leave even a tiny voice under this dome.
A ghazal that turns the beloved's street into Paradise, the cupbearer into a houri and the cup into a red shield against grief; an argument built on Resurrection and stature.
Matla, mısra, makta: rhymed on the terms of poetry itself, the ghazal ends by holding up to the poet the pen that writes only after its head is cut on the makta.
Mihrî Hatun's ghazal on the refrain "kendümüñ", a nazire to Necâtî, with Joseph and Zulaykha, Layla and Majnun, a body bent like a harp and a love that outlasts the bones.
Adlî's ghazal with the refrain "içün": a gathering in a meadow, the soul flying to falcon eyes, a pun on the Şehnaz mode, and Mahmud who gave his life for Ayaz.
Münîrî's Persian response to Hâfız: a Magian boy will be the bane of souls, the heart turns from sheikh to tavern elder, and the soul will follow the arrow of a glance.
Kara Fazlî's five-stanza murabba with the refrain "Göñlüm ārām eylemez ṭaġlara düşmemdür hemān", a lover taking to the mountains in the footsteps of Ferhad and Mecnun.
Âkif's ghazal with the refrain "itmiş": the beloved setting out for the rose garden, the heart's nightingale crying in the body's cage, a partridge fleeing to a falcon and a deadly mercy.
Mustafa Vâzıh's incomplete ghazal with the refrain "red, red": blood from the weeping eye, the beloved's wine-reddened eye, a brow like the letter dāl and a bloodied skirt.
Joy for some, grief for others: Murad's two young brothers are imprisoned and blinded in Tokat, his sisters married to the lords of Karaman and İsfendiyar.
A ghazal saying "what stature, what doomsday, what form": the pun on stature and doomsday, an eye-sign only drinkers understand, a misplaced wink at the zealot, and a curse as honour.
Death and desire: man seeking to last and fleeing death's face, desires as envoys of nonbeing, and death that destroys the house of pleasure by coming as pleasure.
A plain ghazal of separation close to spoken Turkish, "let whatever black days may come", the couplet Erünsal cites, and a closing image read as a mirror or as sparks.
His breast branded ring upon ring, the lover takes to the mountains like a spotted leopard; a rebel cypress with bound feet and candles burning with fire on their heads.
Mihrî Hatun's ghazal of praise with the refrain "görmedük": a face like sun and moon, a cypress stature, a beauty mark that astonishes the recording angels, a breath like the Messiah's.
Adlî's hezec ghazal with the refrain "-lerden": the arrow of a sigh reaching the heavens, wishes never granted, a lover passed through sieves, and submission to the divine decree.
Münîrî's Persian ghazal on "-yı ḫod": the lover finds permanence in nonexistence, the heart's mirror is polished by the rust of grief, and the perfect man reaches his place.
Kara Fazlî's five-stanza murabba of praise for Derviş Bâlî, one of the famous beauties of his day, woven from images of the dervish lodge, the abdal and the Işık.
Âkif's ghazal with the refrain "mı ḳaṣdıñ": a dawn cypress swaying to the garden, an angry rosebud, a smile that would betray secrets and a physician beloved of poison and antidote.
The only Persian nazm in the Mukatta‘ât section of Mustafa Vâzıh's Dîvânçe: a glance like black light, a Leyla awake at night, a golden sunburst and a pearl on a mirror.
Seven of the author's forebears lived alongside the Ottoman dynasty, says the last of five couplets on Aydın and İzmiroğlu Cüneyd shut in İpsili.
A ghazal built on the exclamations "what a doomsday, what a miracle": a lover made a worshipper of the cup, a mocking miracle, an endless tale of love, unquenchable heat and a corrupt line.
A vineyard whose harvest is in, the fall of the leaves, a lamp beginning to go out, and a life that ends "alas, the oil in my lamp is done": a quatrain on old age.
An informal drinking ghazal with the refrain "kiss": the beloved's hem, tresses likened to the veil of the Kaaba, and down read like a sultan's decree; reverence mixed with jest.
The prayer rug, trodden on first and then touched with the face, becomes a lesson; the vine's daughter is born with the cup as midwife, and noble hearths scatter in the wind.
Mihrî Hatun's ghazal with the refrain "olsañ": a reproach to a beloved who broke her word, a heart called to be a nightingale in rose season, and a wish to become dust at her feet.
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