A ghazal that turns a yellow face dyed red by bloody tears into a more precious gold: a lover who says "my darling", an ant in search of a grain, and Şeyhî's breeze.
When the down sprouts the cheek has its spring, when it is shaved its autumn; Sâhib ranks the autumn of this rose garden above its spring.
Mihrî Hatun's ghazal on the refrain "var iken": rose, nightingale, tears as treasure and the beloved's dogs, set against worldly honour and a smashed flask of shame.
The fragment Bayezid sent to his brother Cem Sultan during their struggle for the throne: Sehî's account of the 1482 exchange, Cem's replies and the four-couplet text of M2.
Münîrî's macaronic ghazal in Arabic, Persian and Turkish couplets: a morning wine gathering, the rose season against the ascetic, wine sealed with musk, and a closing "that is all".
Seven couplets signed Âşıkî on the Conqueror's Morea campaign, Mahmud Paşa's conquests in Serbia, the rise of the farm tax and the author waiting at Skopje.
The debate on unveiling and taste goes on: the charge of belittling the world, reports that need talk to be understood, and reason resting on the word.
Cup, pilgrim robe, dagger and festival garment, all dyed red: a lover sacrificed at the Feast of Sacrifice, a beloved on a red horse and a line written in tears of blood.
A ghazal whose opening takes Şeyhî's ghazal 192 with the same image and almost the same words: beauty that makes the sun a moth, a mole as Adam's grain and a play on merdüm.
Haram-zâde arrack dances into the arena and gives the harvest of reason and heart to bâde, to the wind and to wine at a single stroke.
Mihrî Hatun's ghazal addressed to the poet Hâtemî (Müeyyedzâde Abdurrahman Çelebi): a reviving breath like Jesus's, Farhad and Shirin, and a teasing last couplet.
A two-couplet nazm surviving only in manuscript T: the beloved's eye recalls revelry, the cup of the lip draws laments, and with the rose-faced one near no garden rose is sought.
Münîrî's trilingual macaronic ghazal: wine like the spring of Salsabil against the fire of separation, a sun rising from the cupbearer's hand, and pre-eternal shares of halva and wine.
Seven couplets in the chapter where the king of Bosnia gives up Smederevo and the conquest of the Serbian land is completed, with a Slavic phrase, the date 864 and a hint of Amasra.
A reproach after thirty years of teaching: light and darkness sharing the outer world equally, the blameworthy prevailing within, and students who cannot understand speech.
A ghazal with the refrain "look": a speech passing from tavern scene to repentance, the hut of sorrows, the poet pointing to his own divan and the good tidings of "lâ taknetû".
A ghazal that turns a stature bent by separation into a ring set with the stone of reproach: a mouth like the secret of the unseen, a name like God's Greatest Name, a necklace of dew.
The "lâ" of the creed wipes all but God from thought, its "illâ" tears the breast open for love of a moon: counsel on love drawn from the formula of faith.
Mihrî Hatun's ghazal that opens and closes with the beloved's hair: musk of the Khotan gazelle, a rose garden, Jesus's breath and a pun on Sham (evening).
A single-couplet matla found only in manuscript M2: the sherbet of a ruby lip that steals the mind, and the sigh for the well of the chin that leaves the lover giddy.
Münîrî's Persian ghazal: a lover who boasts of dying with the beloved's lip in mind, a footprint dug with the eyelash, the fortune of grief, and an eye lit by the dust of the horse's road.
Three couplets signed Âşıkî on the taking of Amasra: Mahmud Paşa comes by sea, the sultan by land, and the tekfur says it is better to give the fortress up kindly.
The stranger who marries away from home and has his food watered down, quarrels of praise and blame, and marriage as a slate written and wiped: a joke titled Mudhike.
Here the cheek lends lustre to the ruby of Badakhshan and to the sun, becomes a page of the Quran for the drunken eye and sets a heart burning in pre-eternity.
A ghazal in which a cloud sprinkles rose water on a rose that fainted at the beloved's beauty: a heart that loves the servant of an aziz, tears named Ruby and Coral, basil in a broken pot.
First "no" is said, then a "yes" is drawn from that nothingness: the passage of the creed from negation to affirmation becomes proof of creation from nothing.
Mihrî Hatun's ghazal on the refrain "olmasun": a wish that no one suffer as she has, ending in a curse aimed at the beloved, and its 2015 musical setting.
The matla that Latîfî, Âşık Çelebi, Beyânî and Kınalızâde quote from Adlî: a beloved riding the horse of coquetry, the soul as a stirrup, and plain diction called sehl-i mümteni.
Münîrî's Persian ghazal on the refrain "āverem" (I bring): a lover moaning like the reed flute, blood carried to a pupil imprisoned in the well of the chin, and the heart as a child.
Four couplets after the heading of the chapter on how the Conqueror took Sinop, Kastamonu, Koyulhisar and Trebizond in one campaign, praising the khan's intent.
Advice to live in the villages, the plenty of "madams" in the city, and a bawdy play on words about the young sent to Europe to study: a comic piece titled Another.
Absences counted with "yoh", the Azerbaijani "there is none": none like me, no cure, the lack of a confidant worse than separation and a sigh that burns iron but not the beloved.
A short ghazal opening with spring: trees turned into silver pavilions, branches taking cotton from their ears, bones moaning like a reed flute and tresses spoiled by "giving face".
Bound for the white face, Akşehir, the heart finds dark down sprouting and its road falling to Karahisar, the black castle: a travel joke on two Anatolian towns.
Mihrî Hatun's ghazal on the refrain "-sin": the beloved's glance as an arrow, down on the cheek as soot from lovers' sighs, and a threat against the rival.
A single-couplet matla surviving only in manuscript M2: the scent of faithfulness from a rose-faced beloved, and a heart that clears of sorrow like troubled water.
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