In this short ghazal with the refrain "a efendiciğim", puns on yak, yaka and Hakk'a, a lover's voice that ends in reproach, and the tone of a woman poet come to the fore.
Adlî's seven-couplet ghazal with the refrain "her gice": a moon-beloved rising every night, a candle burning like a moth, an eye adorned with tears, a vigil until dawn.
Münîrî's Persian ghazal without refrain: he wishes the beloved would come to spite the hypocrite, love was written in pre-eternity, and the faithful heart grows bright as dawn.
Kara Fazlî's five-stanza murabba searching for a lost beloved by asking the lords for news, cited by Özkat for its plain speech, with allusions to Mecnun and Jacob.
Belgrade addressed in three couplets: Murad raids across the Sava, and the author, on campaign himself, tells how he bought captives and was given money and horses.
A ghazal with the refrain "görgeç": the full poem behind Hüsameddin's couplet "Bakdıkça bana gamzelerin", a lament that scatters mountains, refuge in hell, and fame from earth to heaven.
Man who sees what is near him as large, a finger raised before the eye, and a distant mountain that looks lower than the finger: a moral drawn from perspective.
A short-metre ghazal of reproach with the refrain "you infidel": a body turned coffin, a body that is no castle tower, a meadow that drives out its nightingale, a heart torn down.
In Islamic inheritance law the male share is double; Sâhib builds a jest that applies this to the youths' share of beauty, though the start of the line could not be read.
A ghazal built on question and answer in which the lover meets each of the beloved's demands with "on my eyes", ending with a kiss requested and a life demanded in return.
Adlî's seven-couplet ghazal: the arrow of the eyelash, nightingales taught to lament, a sultan seeking a doorkeeper's favour, and a closing word on king and beggar.
Kara Fazlî's nine-stanza murabba sung in the voice of Prince Mustafa's circle of poets in Amasya, with the refrain "Sāḳiyā ṣun cāmı Sulṭān Muṣṭafālīlerdenüz".
Münîrî's Persian ghazal woven of musical terms: the lovers' moans outdo kanun, ney and harp, love claws the soul's string, and the cheek grows down as a damp mirror gathers rust.
Long-lined praise of the Ottomans: Smederevo falls in 841 (1438), and the author says he came back from Mecca with İshak Beg and took five captives raiding.
Passion told in the language of old medicine: a disordered temperament cured by lips, a jurist blind to the Quran's subtlety, a creed without proof, and a crown of flame.
A first couplet that cannot be fully read, and the question whence comes life-giving speech to man made of earth: an innate wonder before the miracle of speech.
A ghazal that runs the names Hüsrev, Şîrîn, Şebdîz, Leylâ and Mecnûn together with their everyday meanings: an eye that bewitches the sorcerer and a rival's simile that limps.
The wine drinker sees king and beggar with the same eye: Jamshid's world-showing cup, a skiff in the whirlpool of grief, and a champion in a ruby robe who routs sorrow.
A short Mihrî Hatun ghazal with the refrain "isterem" (I want), in which a lover fallen into the beloved's pain asks for a remedy, a rose-faced sultan and a night as a guest.
Adlî's five-couplet ghazal: the beloved's face in place of the garden of Irem and Jamshid's cup, blood in place of tears, and a poem written with a tress for a pen.
Kara Fazlî, Prince Mustafa's divan secretary in Amasya, wrote this eleven-stanza murabba elegy with the refrain "Meded begler meded" on the prince's killing in 1553.
Münîrî's Persian ghazal rhyming in "-eng": arrows of glances do not fit the narrow lamp of the heart, the image from a stone heart gushes like water, and the sky wears mourning blue.
Germe as the gate of a treasure: the wall at the entrance to the Morea is battered with cannon and sacked, and the author calls it the first conquest of the Morea.
Refrain "görgeç": the street dog that greets the lover, the dog as guide, a sea heaving in the wind, a kohl-stone that makes eyes water, and blood boiling at Karbala's soil.
An intellect that errs in seeking truth, thoughts that seem right today and prove empty tomorrow, and the verdict that the works are God's, not nature's.
An opening that turns a mote gazing at moonlight into a sun in its exaltation: extended rhyme, a perfect pun, a glance lodging in a ruined caravanserai and Ahmedî's large group.
Kazancı, miyâncı, nişancı, doğancı: rhymed on the Turkish suffix of trades, the ghazal presents the heart as an officer at the court of the king of love.
A Mihrî ghazal with the refrain "hoş görelüm" that urges taking the world, the beloved's cruelty and her turn toward the rival with tolerance in the face of fleeting life and seasons.
Adlî's seven-couplet ghazal with the refrain "what remedy": the sword of the glance, the heart hanged as a night thief, the thorn that never leaves the rose, and patience.
Münîrî's Persian ghazal built on the language of accounts: the glance's arrows are counted, the rival is like the silent waw of 'Amr, and "lek" rhymes in two languages.
Kara Fazlî's only eight-stanza murabba, a mystical call to break the ties of the world and become a wandering dervish, with the refrain "Gel ḳalender olalum".
Karaman as the infidel's helper: Kula Şahin crosses drunk into Wallachia and is first to flee from the Hungarians, and the lord of Karaman exults and plunders Emirdağı.
A ghazal ending "yandım, alışdım, dutuşdum": alışmak as catching fire, becoming one with the fire, kâc for "would that", a disordered temperament and an answer to the jurist.
Destiny as the stirring of God's sword, space surging from His cloud, and every drop that, by His influence, says "I am the ocean": the unity of being in four lines.
A calligrapher's couplet built on reyhânî, muhakkak and the writing of Yâkût: a bud whose mouth is torn, a pine gone to the mountains and Nazmî's crowded "gül-i ter" group.
Longing for the stature becomes the cypress, yearning for the cheek the candle's oil, passion for the mole the tulip's scar; and a rival who swears left-handed.
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