Mihrî Hatun's five-couplet ghazal of devotion in a short hezec metre, moving from violet, spring and rose images to a prayer never to be parted from the beloved.
Adlî's eight-couplet ghazal found in all five manuscripts: tulip and hyacinth on a grave, an army of glances plundering Rûm, and a poem to be carried to Samarkand.
Münîrî's Persian ghazal on the refrain "-eş": beauty is a rose garden, the Hindu of the curls brings peppercorn moles to beauty's Egypt for sugar, and Münîr is its nightingale.
Kara Fazlî's lilting five-stanza murabba of praise for crescent-browed Mahmud, newly appeared in the city, built from images of full moon, sun, mote and sugar.
A ruler biding his time: the despot's daughter is brought to Edirne, but Murad holds no wedding, saying an infidel's daughter needs none, and returns her dowry.
The second cupbearer rubai closing the se ghazals: "revâc" rhyming twice, a gathering enlivened by harp and melody, ruby lips as medicine, and the passage to cim.
Knowing that is mere fancy, like a fevered man's perception, irony in "my lord", and the saying "it became known to me that nothing is known": against the claim to know.
A response to Ahmed Paşa's ghazal with the refrain "lezîz": two couplets skilfully merged into one, kinship with Necâtî and Zâtî, and a scroll of verse like sugar cane.
A ney player bending his neck as he blows, scars that rise to the face, down cold as deep winter, and a pen serving as çavuş to set the divan of thought in order.
A Mihrî ghazal in which a single breath with the beloved erases the fear of death, the lover defies a preacher who threatens her with hell, and she begs not to be driven away.
Adlî's six-couplet ghazal with the refrain "eylemege": a rose that makes the nightingale moan, the thrice-used word karâr, pearls of tears and a lock that scatters.
Münîrî's six-couplet Persian ghazal on the refrain "-eş": the heart tied to the knot of the curls is never freed, love is a shoreless sea, and the poet's clay was kneaded with passion.
Kara Fazlî's ironic seven-stanza murabba praising Muslî Şâh as a fountain of generosity in the language of lodge and palace, a gate open to all but the poet.
The sign a man leaves: Evrenezoğlu Ali Beg raids Hungary for a month, returns saying the captives outnumber the raiders, and urges the khan on. Five couplets.
Naat opening the cim ghazals: a Prophet to whom the nine spheres are bound and sun and moon are crownless servants, a sidelong glance that sets one straight, and an orphan asking a crown.
God who never shows a thing on two pages, works that are ever new, and a newness seen only by one attentive to delicacy: a quatrain on unrepeated manifestation.
A response to a ghazal by Prince Cem: a musky breeze, a mole like a spring fly, a parrot in an iron cage, and a line that Zâtî took over word for word.
Head full of fire, body thin as a pipe stem, the lover touches the beloved's lips only as a pipe's mouthpiece does; a two-tongued pen and an ostrich that carries no load.
In this ghazal every line is sealed with "lâ-cerem" (of course), treating the pain of separation, the beloved on the heart's throne, Ferhad and Şirin, and the rival as devil.
Adlî's seven-couplet ghazal woven from images of the sky: sigh-smoke that darkens the moon, a shadowless angel, a pun on Jupiter, and Joseph ready to become a slave.
Münîrî's Persian ghazal on the refrain "ṭaraf": the writ of safety on the cheek guards the heart, which turned to the Kaaba before direction existed, and the blind ascetic cannot walk.
Kara Fazlî's six-stanza wine murabba, its opening lost, celebrating the end of the fast and the feast arriving with spring: the crescent cup, Hızır, the water of life.
The Ottoman line from Gök Alp to Murad, in five couplets: in 840 (1436-37) Murad crosses from Vidin into Hungary and raids for forty-five days as far as Sibiu.
The Prophet's street as qibla of the holy realm: Gabriel leading the pilgrims, dust to kiss before the Kaaba, "Levlâke", lightning from Burâq's shoe and a glance that gives uprightness.
The belief that a licence makes one a lamp, a burnt-out softa with a frozen brain, chained fancies, and a diploma far from knowledge: a satire on the licensed ignoramus.
A drinking ghazal that sets the golden cup beside the rival's yellow face: gates from Paradise, a prayer niche turned infidel under a cross-like forelock, and souls thin as hairs.
A youth with his first moustache and the hair's breadth between the four schools of law meet in a single line; a lamp by the mihrab and the sun entering Virgo.
A Mihrî Hatun ghazal with the refrain "kerem" that asks a "mine of generosity" for help and justice and wishes Amasya to be made flourishing with light.
Adlî's five-couplet ghazal: a heart that dies for the bond and hook of a lock, a lover sick with sleeplessness, a soul thirsting for a sword's water, a gilded panel.
Münîrî's Persian ghazal ending in an Arabic line: one lesson from beauty's book outgrows the Tablet, the dawn reddens with tears, and the beloved's face outshines the daybreak.
Kara Fazlî's five-stanza murabba of longing, recalling scattered gatherings of friends, dawn roses, others' merriment and a dream, with the refrain "añdum aġladum".
The martyrs' passage to the palace of permanence: Evrenezoğlu İsa Beg's raiders fall in Albania on roads cut by İskender, once the khan's page, now in rebellion.
A ghazal turning a spring scene into a palace wedding: a crowned bud taking tribute, a rose in a wedding gown, a garden paying tribute to the beloved, beauty needing no proof, eloquent lips.
The yeldâ night that is the day of one blind to essences, a date palm that cannot be grafted onto an oak, and a weary farewell: "my nature does not suit yours".
A ghazal with the refrain "is … coming?" that reads a twitching eye as the beloved's coming: a passion brought by spring, death as a spectacle and a response very close to Ulvî's.
Down has appeared on the cheeks, beauty's zevâl begins and the lover's turn draws near: in this "az kaldı" ghazal the fast is ending and the feast is announced.
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