Adlî's five-couplet ghazal with the refrain "ideyin": a heart that rejoices in pain, a ruined house rebuilt by arrows, a bird freed in the rose garden, and a closing wish for a name.
Münîrî's Persian ghazal without refrain: without the beloved the garden turns to tulips with tears, the soul thirsts for the sword's sherbet, and the pupil keeps the curtain.
Kara Fazlî's five-stanza murabba for the tailor beauty Memî Şâh, built on images of collar, skirt, iron, shears and cloth from the tailor's shop.
Âkif's autumn ghazal: a seasonal poem that calls autumn "the wedding feast of the old spring" and sees the joy of the path of annihilation in hennaed and falling plane leaves.
Mustafa Vâzıh's three-couplet nazm: moths of grief circling the candle of the soul, a pupil dressed in festive red and a pen whose mouth waters at a lemon chin.
With "Hamza" as refrain: Hamza Beg defeats İzmiroğlu Cüneyd before İpsili, brings him out under oath, and Yahşı Beg avenges his brother on Cüneyd and his son.
A ghazal telling entry into a Sufi order in tavern language: kissing the elder's foot, the hand of acceptance, repentance, the licence, the moment before cup or sky, and the dog's name.
Hope as pale moonlight in sorrowful hearts, and the pleasure of a mild sorrow that the fierce ardour of the sun cannot give: a quatrain setting moon against sun.
A ghazal with the refrain "guarding": a lover who tries to shield the beloved from the evil eye, from mirrors, from moonlight and from his own blood; Erünsal's example of leff ü neşr.
The dark curl is the evening of exiles, the bright cheek the morning of home; a heart falling from curl to curl towards China, a mouth no bigger than an imagined point.
Mihrî Hatun's nazire to Necâtî with the refrain "zülfüñ": a trickster tress scattering the beauty mark as grain for the heart-bird, a bent branch, resurrection and the Antichrist.
Adlî's ghazal with the refrain "gibi ben": a body thin as a hair, hair sweeter than Khotan musk, hyacinths that amaze Rıdvan, and a gazelle-like beloved who tells Adlî to follow like a dog.
Münîrî's Persian ghazal without refrain: the lip is the spring of life's water, the cheek the eye's light, rose conserve cannot cure the lip's sickness, and the guest gets liver's blood.
Kara Fazlî's five-stanza murabba for the barber beauty Hasan Bâlî, built on shaving, the mirror, the razor and the double meaning of "bringing one's work to a head".
Mustafa Vâzıh's nazm built on images from calligraphy: blood dripping from the pen of the eyebrow, teeth like the teeth of the letter sīn and wine in the tavern harem.
Imprisoned princes speak in three long couplets: Veys and Ahmed of Menteşe, sent to Tokat, are first given a timar and then shut in Tokat castle.
The alms of beauty asked in legal terms: vow, khums, alms and charity, the degrees of paradise left to the preacher, the sugar-drinking parrot of nature and words from a sea of miracles.
The living who applaud the morning, a demon of death taking one more step each day, and a sun whose source is the spring of darkness: a quatrain on the rising day.
A short ghazal that likens the beloved's lip, eye and glance to the madrasa books Şifâ, Hikmetü'l-ayn and Şerhu'l-İşârât; a response to Ahmedî with an eye rhyme.
Like a shadow, a skirt, a candle, an autumn leaf and a curl, the lover finds no return from anyone at whose feet he has fallen: the long refrain "kimüñ pâyına düşdümse".
Mihrî Hatun's ghazal declaring that true learning is reaching the beloved: a spring gathering, the compound pun belâ bil and belâbil, a lover begging a kiss, and the chain-like tress.
Adlî's five-couplet ghazal with the refrain "-umdan": a blood-raining eye, black fortune, a profitless bargain with the beloved's hair, and a poet who might burn for his own poems.
Münîrî's Persian spring ghazal without refrain: the cup is called for, no raw promises are made to those cooked by love, and love's foundation stands in a ruined heart.
Kara Fazlî's five-stanza murabba of supplication to the tailor beauty Memî Şâh, with the refrain "Ben ḳuluña merḥamet eyle Memī Şāh'um benüm" and Leyla and Mecnun.
Mustafa Vâzıh's incomplete ghazal opening with an invitation to spring and wine: griefs blown away, the arrow of calamity accepted and a head held high on a spear.
Escape in a sack of straw: the Menteşe prince Ahmed Beg is smuggled out of Tokat castle while his brother Veys stays behind, and flees to Egypt and Persia.
The harshest satire on the preacher in the divan: the refrain-like "what wickedness, what wickedness", compound ignorance, a preacher stoning the heart's Kaaba, and a poet stoning the devil.
Breath spent, a breast with no strength left to sigh, a little light left in the eye, and a hope of union not cut off even in death: a deathbed quatrain.
A ghazal with the refrain "ey dōst" that likens the cheek to a mirror no gaze can harm: a response on Şeyhî's ground, an opening Zâtî repeated, and a lover burning like a candle.
The lover who called the curl musk of China admits he said it by error, hatâ; a kiss like a sale without consent, "what is past is past", and a bubble in the sea of love.
Mihrî Hatun's seven-couplet spring ghazal with the refrain "gül": a call to enjoy the brief season of the rose, with nightingale and cupbearer, and a warning of its passing.
Adlî's seven-couplet ghazal with the refrain "-umdan": sigh-smoke that veils the sun, a lover calling the beloved "my sovereign", Alexander in the dark, and the eyebrow as mihrab.
Münîrî's Persian ghazal without refrain: spring is empty without the beloved, the plane tree trembles because its hand cannot reach his hem, and with him winter beats spring.
Kara Fazlî's five-stanza murabba praising Alî Bâlî, a famous beauty of his day, with the play "a‘lā ‘Alī", flower comparisons and the motif of the Resurrection.
Mustafa Vâzıh's three-couplet nazm: a heart seeking refuge in God from brow and glance, a moon burning for the sun of beauty and griefs that never leave the dead lover.
A feast that ends in mourning: the Kızılkocaoğulları, who cut the roads of Amasya and Tokat, are lured to Amasya by Yörgüç Paşa, seized at a feast and killed.
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