Mihrî Hatun's ghazal on the refrain "beñzetdüm", a response to Necâtî, moves from tulip, narcissus and spring images to a faithless beloved likened to the wind.
Adlî's five-couplet ghazal: a collar held in the hand of grief, a prayer against infidel-eyed beloveds, the desert of love, and kingship of the world through servitude to beauty.
Münîrî's seven-couplet Persian ghazal on the refrain "gül": the rose glows like the fire of Moses, the bud presents the nightingale's petition, and even dry thorns will bear roses.
Kara Fazlî's six-stanza müseddes with Arabic lines, praising beauty in the language of the Qur'an, the basmala and prayer: the orphan pearl, Khitai musk and a game of letters.
Murad II praised as a lord of the conjunction whose sins are forgiven: four couplets headed "Nazım", after the second Kosovo victory is dated 852 (1448).
Rhymes echoing the call to prayer's "salâh" and "felâh": a Sufi blind to the goodness of wine, pure wine that wins prayers from the people of purity, and the passage to hâ.
A light of divine manifestation that lights the earth by attaching to it, and a few old bodies that served it as mirrors in the visible world: soul and body.
A ghazal with the refrain "knows" that uses the phrase "God knows" in two tones: tears opening a road to union, a brow as chamberlain and a pen-name couplet echoing Necâtî.
A response to Hattî, who led the way in this new valley: a lover bent into a bridge arch, a folding lantern, a weekly shave and a sigh carved like a chronogram into stone.
Mihrî Hatun's ghazal on the refrain "çoḳlar sevdügüm" tells of a sigh that burns the sun and moon and passes through iron, and of a rival like a demon beside an angel.
Adlî's six-couplet ghazal: pearl teeth and coral lips, the musk of China leaving home with "one friend, one skin", and a heart entangled in the beloved's hair.
Kara Fazlî's nine-stanza müseddes elegy with the refrain "ḥayf", written in 955 (1548) for Mahmud, the young son of Sun'ullah Beg, vizier of Prince Mustafa.
Münîrî's Persian ghazal without refrain: a mounted Turkish beauty seeks the soul, the eye rules lines of blood on the face, and the poet speaks a graceful, delicate poem of the lip.
On royal generosity: Murad sends Hızır Ağa's wife from Amasya to Elbistan to choose a Dulkadır bride for his son Mehmed and holds the wedding at Edirne.
A woman neither rosebud-mouthed nor soft of speech, a husband who would flee even were he Khidr, and a house of sorrow even in Paradise: a harsh link in the sequence.
The ghazal opening the hâ section: Moses' plea "Rabbi erinî", a veil opened by the words Fettâh and miftâh, an elder at the tavern door and Umayyad thoughts washed away by wine.
The ghazal with the line "the beauty is she whose standing and sitting become her": internal rhyme, a two-coloured rose called two-faced, a chain of hair and a line Zâtî repeated.
Wording and meaning, exception and illâ, pronoun and antecedent: in a ghazal woven from Arabic grammar the brows become the tuğra's hançere and the curls its zülfe.
Mihrî Hatun's ghazal on the refrain "göstermesün", a response to Necâtî, is built on a prayer against separation, a jealous mirror, a hypocritical ascetic and a faithless beloved.
Adlî's five-couplet spring ghazal: a gathering in the rose garden, blossoms shedding petals like coins, pure wine, the dew on the flowers and the drooping violet.
Münîrî's Persian ghazal without refrain: the heart caught in the knot of the curls cannot escape, the sweet soul is laid on the road as a child seeks sweets, and no rose lacks nightingales.
Kara Fazlî's incomplete müseddes, of which one stanza and two lines survive: a love poem of scales and Joseph that Özkat likens to Yunus Emre's "bana seni gerek seni".
The world as a chessboard, in eight couplets signed Âşıkî, just after the author says Murad II married his son, married off his sisters and came to a good end.
Headache children born of the world, a loveless woman, and men of God who knew her as a stranger and passed by without greeting: the marriage image at its harshest.
In a ghazal whose every couplet ends in "cup", the cup speaks: it shows the lover the mountains as his home and walks fearless as the saints, while the pious find the tavern shut.
A ghazal with the refrain "leans": a soul at the threshold, a lover on the beloved's knee, a face like a medallion in a silver arch, a sleeping archer eye and the angels of the Throne.
The linen shirt that draws the beloved to its breast turns into linen halva with the sweetness of union; threads become gold wire, and a chin's apple becomes a peach at a kiss.
Mihrî Hatun's ghazal of a lover sold for nothing in the bazaar of love, with a message sent by the morning breeze and toil that goes to the wind, in everyday Turkish idiom.
Adlî's five-couplet ghazal: love as an obscure book beyond the schoolmaster, a gathering of grief played on ney, harp and rebab, and a ruined realm to be abandoned.
Kara Fazlî's seven-stanza muaşşer with the refrain "Āferīn iy iftiḫār-ı Āl-i 'Os̱mān āferīn", praising Prince Mustafa's justice, bounty and likeness to the four caliphs.
Münîrî's Persian ghazal without refrain: the dawn breeze brings news of union, grief is an old friend, the heart leaves home once the image settles in, and the beloved's door beats paradise.
Seven couplets under the heading "Devr-i Sultân Muhammed", announcing Murad II's death and the beginning of the Conqueror's reign, calling on Mehmed and mocking the house of Karaman.
A wife lacking every quality sought in the beloved, without lightness of spirit but chaste, and a burden borne for regard: a softer quatrain in the marriage sequence.
Morning lifts the veil from the beloved's face; an eye that makes drunk and a cheek that sobers, a tulip holding a cup and the poet's litany meet in this ghazal of dawn.
A palace ghazal built on the refrain "they will not let", whose subject is never named: a king whose face may not be seen, a fly kept from the halva and a last sip denied the lover.
The down has sprouted, the adornment is done: a poem built on "bitmek" as both to sprout and to end, closing on its own first line as the last Turkish ghazal of the thesis.
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