One of Mihrî Hatun's best-known ghazals: a lover who hoped for faithfulness and found cruelty says "I do not curse" and then wishes her beloved the same fate.
Adlî's five-couplet ghazal: paradise seen in a dream, lovers kneaded from the clay of love, the law of love against the muhtesib, and love's horsemen conquering the heart.
Kara Fazlî's three-stanza terkib-bend elegy for Prince Mustafa: a reproach to heaven, praise of the prince and a lament, recorded right after a copy of Gül ü Bülbül.
Münîrî's Persian ghazal on the refrain "nīz hem": the lover who gave heart and soul is hated by people and beloved alike, the arrowhead stays in his liver, and fortune drives him away.
Seven couplets on the Conqueror's accession: Murad II's death is hidden for thirteen days, Mehmed takes the throne at Edirne, and Karaman repents and gives a daughter.
A life spent poisoned, the serpent of life as a mate, and Eve who becomes a burden even to Adam when she is no sharer of pain but a pain herself: the last marriage quatrain.
A second ghazal with the refrain "cup": a preacher who denies the cup, a Sufi waiting for its miracles, a scholar to see his compound ignorance in it and the secret that lies in the poet.
A ghazal that asks mercy for a heart smitten with passion for the hair: white arms like Moses' shining hand, a night of Yeldâ on the cheek, a passionate tulip and a careless candle.
Before praising the Prophet the poet must cleanse his heart of hypocrisy and his words of plagiarism, slips and errors: a two-couplet kıt‘a near the opening of the divan.
Mihrî Hatun's ghazal on the refrain "bencileyin" tells of a starless fate, a ney with a broken heart and a beloved's name written on the walls of the heart with a sigh.
Adlî's seven-couplet ghazal with the refrain "where is": the crescent goblet, a sapling bearing love, the never-setting sun, lost patience and a vanished world of dreams.
Münîrî's Persian ghazal on the refrain "-ı toyīm": the pearl-scattering ruby lip makes the liver bleed, the chin's well yields no water, and sick Münîr calls the candle of Çiğil to his side.
Kara Fazlî's seven-stanza terkib-bend elegy on the death in 950 (1543) of his first master, Prince Mehmed: an allusion to sura al-Rahmân, the cosmos called to mourn, and a prayer.
Five couplets on the just khan, in the chapter where conquered Constantinople is resettled, a rent drives people away, and the Conqueror builds a mosque and medreses.
A chaste wife lacking every quality sought in a beloved, a rewriting of an earlier quatrain, and acceptance in the words "this fell to my lot, yâ hû".
Morning as a lover smitten with a moon: a daybreak tearing its collar, the false and the true dawn, and the light of Ahmed the Chosen arriving before sunrise.
A beloved who hunts hearts in the blink of an eye: shooting stars turned into gold scattered by angels, the fire of waiting and a pupil that embraces hairs.
Blackened with ink, the pen is a black slave: in one line tahrîr, kitâbet and kat‘ describe both trimming a nib and a contract by which a slave buys his freedom.
Mihrî Hatun's ghazal on the refrain "eyleyen" names the causes of her suffering: a separation that makes the breast bleed, a nightingale soul and the well of the chin.
Adlî's five-couplet ghazal with the refrain "-ligi": the rose's orphan nightingale, a potsherd for a golden cup, the tulip as censer, and servants learning servitude from Adlî.
Münîrî's Persian ghazal without refrain: the morning breeze carries news of separation, grief grows lawful and life forbidden, poison comes before union's honey, and the poet ends his tale.
Three couplets under the heading "Ve-lehu", where the rent imposed on Constantinople drives people away, saying that the evil a man does comes back to him.
An enemy in a friend's guise who takes in his guest kindly and drives him out in wrath, a smile not to be trusted, and an exit from the world naked and weeping.
The beloved's cheek is read like a Quran-copy, with a new commentator in each couplet: the interpreter of letters, a glance that speaks in signs, twice-refined sugar, Majnun's secrets.
An opening that says the beloved was given the Resurrection instead of stature: extended rhyme on kâmet and kıyâmet, a professor's conceit of commentary and hadith, and the poet's fame.
The ring of the lover's eye is an archer's thumb-ring that looses the arrow of the beloved's glance; even the killing sword is called "hoş kadem", lucky.
Mihrî Hatun's ghazal about two silver-bodied riders seen on the Feast of Sacrifice, likened to Alexander and Haydar Shah; the poem closes by repeating its first line.
Adlî's seven-couplet ghazal with the refrain "like": a rose cheek and nightingale lovers, shamed musk of China, musk reaching Rûm like black pepper, and the sun and moon as servants.
Münîrî's Persian ghazal on the refrain "tovem" (I am yours): the lover is the beloved's wounded captive, his helper in shedding his own blood, his patient, a nightingale among thorns.
Three couplets aimed at a ruler's changing word and a vizier of infidel birth, where the author names Rûm Mehmed as the cause of the rent in Constantinople.
The garden of the world with its leaves, fruit, nightingales, roses and thorns, and a pleasure ground where serpents lie beside the spring flowers: a quatrain on "there is".
A second ghazal with the refrain "morning": a sun defeated by the beloved's cheek, a lover to whom night and day are one, a muezzin left to wake the heedless and a veil cast off.
A winter ghazal with the refrain "it is the age of": braziers like tulip beds, wine as dry water and wet fire, a sky holding the new moon as a cup and a money-changer's couplet.
Counsel to reach union with the beauties by tedrîc, step by step: a six-line piece placed among the rubais in the thesis, though it stands closer to the kıt‘a.
Mihrî Hatun's ghazal on the refrain "etegin", a response to Necâtî that later passed into Emrî's divan, with a debated reading of "Nâmi" in its last couplet.
Adlî's five-couplet ghazal with the refrain "oldı": a rival's dice in the backgammon of grief, a God-given empire, Moldavia and the Tatar chief, and a last wish for union.
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