Münîrî's second Persian ghazal on the refrain "diger": each ring of the curls breeds a new passion, the heart roams new deserts, but the one refuge is the beloved's door.
The last of Kara Fazlî's three murabbas for the tailor beauty Memî Şâh: a life-giving lip like the Messiah's, a life-taking glance, and the irony of servant and shah.
Mustafa Vâzıh's incomplete ghazal with the refrain "turned its face": a beloved unveiled to strangers, dogs denied the lover's bones and a roof the sun never lights.
The bird that alights flies off: Yörgüç Paşa seizes Alparslanoğlu of Canik and keeps his family under guard in Amasya, but the captive escapes from Bursa by rope.
A ghazal in the language of learned gatherings: words for conversation, news and disputation, questions left hanging at the curl's tip, and a place third after Ferhad and Majnun.
Vain displayers of the law, rinds and sinners who bring the faith into contempt, the wavering that joins them, and a prayer for the right path in Fâtiha's words.
A description of beauty built on the hadith terms sound, explicit and fair: lips that issue a legal opinion, a face inscribed "ente melîh", and thanks for an eloquent tongue.
Rindâne rindâne, pervâne pervâne, peymâne peymâne: every line of the nine-couplet ghazal ends on a doubled word whose two halves carry different senses.
Mihrî Hatun's five-couplet ghazal with the refrain "ben dönmezem", on constancy in love: an allusion to Hallâj-ı Mansûr and a challenge to the ascetic who fears hell.
A ghazal with the refrain "var iken" found only in manuscript M2; four tezkires give its opening couplet to Ahdî of Edirne, and the text Latîfî quotes shares its fourth couplet.
Münîrî's ghazal without refrain alternating Persian and Turkish couplets: the face a sun, the mouth a secret of the unseen, wine at Nevruz, and intellect a child before love.
Kara Fazlî's five-stanza murabba of praise and plea for silver-bodied Muslî, opening with Joseph and a feast day turned into Jacob's house of sorrow.
Mustafa Vâzıh's incomplete ghazal on a young reciter of the Qur'an: the story of Joseph, the water of life from his lips and a face drawn with the names of suras.
Never trust an infidel's pact, warn three couplets: the Serbian despot hinders İshak Beg's raids, Murad takes back his grant, and the despot offers his daughter.
A ghazal ending every couplet with "el-gıyâs" (help): a plundering glance, an eye counting tribute, Hallâj torn apart, the caravan guide, the lord of the Ascension and a call to Ali.
A name remembered through work and a Fâtiha, the lodge, dome and cenotaph, and tomb-eaters who turn a name into income: a Persian criticism of the culture of tombs.
A ghazal that likens the cheek to a book page, the down to a gloss, the lips to a point and the waist to a line; love as "the soundest school" and a heart gladdened by a ruby cordial.
Chess with its knights and mate, brows standing like a tuğra before the row of lashes, a pen lost in Zulumat, and a mole that multiplies longing tenfold like a zero.
Mihrî Hatun's five-couplet ghazal of complaint with the refrain "-umdan benüm": the hezâr double entendre, the rose, nightingale and thorn, and the candle and moth image.
Adlî's ghazal with the refrain "-dan", found only in manuscript M2: moaning until dawn, a chain of hair not lowered to hearts in the well, and a beggar expecting honour from a king.
Münîrî's Persian response poem to Hâfız: the lover with his face in the road's dust opens his eyes at every footstep, and the poet melts like the candle of the gathering.
Kara Fazlî's five-stanza prayer murabba for a beauty named Ramazan, a double entendre carrying the crescent, the fast, the Night of Power and the feast to the beloved.
Murad's designs on the Morea and Hungary, in five couplets: Salonica falls in a moment in 833 (1430) at his cry "the fortress is booty, gazis".
A ghazal with the refrain "is the cause": denying the tavern folk bars one from the Prophet's sanctuary, humility opens the door, and "dîvâne" means both madman and a new divan.
Knowledge as the strength of the faith and honour of the nation, prayer and fasting of no use to ignorance, and the heedless as sleepwalkers: a teacher's quatrain.
A ghazal rich in sound with the doubled word "şāḫ şāḫ" as refrain: locks spilling over the cheek, turtledove and nightingale in the rose garden, a boxwood comb and a singing poet.
Down black as night becomes the hour of the gathering and the moon-faced beloved is set in Scorpio: an obscure ghazal whose refrain "olmağ ile" gives a reason in every couplet.
Mihrî Hatun's ghazal of union with the refrain "buldum": the Jayhun and Nile hyperbole, a feast with daf, çeng and rebab, and a hüsn-i ta'lîl on the envious tulip.
Adlî's four-couplet ghazal found only in manuscripts T and M2: eye, brow and lock drawn with the letters of narcissus and tulip, and Chinese musk wrapped in a hide.
Münîrî's Persian ghazal on the refrain "bes" (enough): moans, a sleepless eye and a wall's shade suffice the lover, the tavern the knowers of God, and the Prophet's light Münîr.
Kara Fazlî's five-stanza murabba pleading with a beauty named Hasan Bâlî as "my lord", woven from images of a ring, a green robe, pistachio satin and the pen.
The zeal of the gazis, in four couplets: Karaman allies with Hungary, the Hungarians besiege Golubac, and Sinan Beg and Sinan of Vidin rout them by the Danube.
A cupbearer rubai making the cup a crown and the poet's nature a sultan: tribute from Jamshid, tax paid by the people of words, a claim to mastery in poetry and the passage to cim.
The definition of the unlearned reduced to "a speaking animal", every mouth speaking as much as it knows, and knowledge as a pair of scales still awaiting correction.
A winter ghazal spoken by the hearth: fire girded with snakes, smoke drawing tears from heaven's eye, an ember turned blue with cold and a garden where crows sing.
Hilâl is both the slender moon and a toothpick; toothpick and tooth-stick serve the mouth like two servants of one master, and the mouth is the theologians' indivisible atom.
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