An eleven-couplet picture of spring that scarcely mentions the beloved: a stream girded in silver, buds stormed like fortresses, a golden astrolabe and a plane tree holding dew.
Each of the four brows runs its own way, as the four schools of law give four rulings on one question; every brow is a dark land of India in its own direction.
Mihrî Hatun's ghazal of fulfilment on the refrain "şimden girü" (from now on): the beloved's quarter preferred to Paradise, a peach for a kiss, and the tulip in the mountains.
Adlî's second Persian ghazal: a cypress stature that dwarfs the Sidre tree, a sword preferred to Khidr's water and Jesus's breath, and a dove perched on a cypress.
Münîrî's Persian ghazal: a spirit split in two by every word of a pistachio mouth, grief settled in the house of the heart, a golden face and silver tears, and a Hindu mole beside Moses.
Three long-lined couplets on Sara Hatun's embassy, the crossing of the Bulgar Dağı and the surrender of Trebizond, when three provinces fell in one campaign.
A conditional on how man treats his kind, and man finding no peace between vermin here and the torment of the Resurrection there; a quatrain whose first couplet stays unclear.
A praise poem opening the dâl section: a ghazal whose every couplet ends with the name Muhammad, the term tevellâ, the beloved's images used for the Prophet and the night of the Isrâ.
The first of the responses to a ghazal of Necâtî: a narcissus that shoots arrows, a fly turned falcon, conjuring tresses, love and musk that cannot hide, a harp out of tune.
The lover who gives his heart to a Janissary beauty takes Hacı Bektaş-ı Velî as his own patron: a jest born of the bond between the corps and the Bektashis.
Mihrî Hatun's ghazal of beauty on the refrain "-dur bu": scented hair, a glance that makes Farhads, a waist like a hair, and tears watering the cypress.
A Persian ghazal by Adlî surviving only in manuscript T: a face like the moon through clouds, a smiling rose petal, a world turned prison and half a soul offered a guest.
Münîrî's Persian ghazal: a lover gilding with his face the stones his tears turned to ruby, bones given to the dog, a street circled like the Kaaba, and a cloak left in pledge.
Two couplets on the Impaler Voivode, who would not come to the Porte, raided Hamza Beg by night across the frozen Danube and sent his head to the Hungarian king.
Faith as the Prophet's livâü'l-hamd, the shade of delight it spreads over those beneath, and the candidacy of its volunteers for the sovereignty of the Resurrection.
A praise poem with the refrain "Ahmed": the Prophet's story abrogating all others in the legal sense of nesh, a moth turned peacock and the plain of judgement.
A sigh that scatters the rose-faced as the dawn wind scatters the rose harvest: a road opened by the comb on beauties' heads, wine that makes a beggar king, union as brief as a rose.
Every thought that passes through that houri's heart shows in her clear breast like an object in a crystal vessel: a beloved who cannot keep a secret.
A short ghazal praising a poet who looks like a dervish but is a sultan in meaning; it is thought to be addressed to Hâtemî and rests on outward versus inner reality.
Adlî's seven-couplet Persian ghazal found in three manuscripts: a lover who drinks the dregs of pain, Majnun, the Day of Alast, the polo field and a parrot flying to sugar.
Münîrî's Persian ghazal: a lover asking for a full cup with an Arabic maxim, a sword not drawn from its sheath in the rain, and a moth-soul made perfect by burning at the candle of the face.
Four couplets signed Âşıkî on the Wallachian campaign: the Impaler's night raid fails, his cavalry submit, and the lordship goes to his younger brother.
A kıta naming the Shaykh al-Islam Zenbilli Ali Efendi: a proposal to kiss his grave soil, the correction that follows, and a last line that gives the glory to the law.
A ghazal rhymed on words written with dâl: a lover trembling like a willow, the sound play of âferîn and âferîd, the call "hel min şehîd" and the words Mîr and emir in the pen name.
A ghazal that treats union as merchandise bought with the soul: a heart repenting in the niche of the brow, a bitter word that wearies sweet life, a beloved who leaves Ca'fer out.
Beloved and sun are as far apart as heaven and earth, so let the sky not set its sun too often before her: a couplet holding an Arabic phrase inside a Turkish line.
Mihrî Hatun's famous "döne döne" response to Necâtî, judged by the tezkire writers the finest nazire on this ground, woven from images of acrobat, lantern and moon.
A Persian ghazal by Adlî surviving only in manuscript T: a lover prostrate before a swaying cypress, a soul made visible, sighs that burn the heavens and a torn shirt.
Münîrî's Persian ghazal that opens with "the pen has dried" and closes with "Nun. By the pen": a lip so rare it seems not to exist, a stature grown by tears, and grief as companion.
Six couplets on the fame of the legends, in the chapter where the Conqueror turns to Lesbos, its tekfur surrenders to Mahmud Paşa, and the people are registered.
Duties fading day by day, reason grown a companion of madness, sensual lust as the furthest aim, and the delight of Paradise taken for a fable: a gloomy critique of the age.
A ghazal spoken as a chain: each couplet opening with the last word of the one before, a reed flute moaning joint by joint, a chain asked of Leylâ's tress and Shah Naqshband who unties.
A ghazal that complains to its listeners with the refrain "has become, friends": a beloved turned friend to the enemy, a rival like a doorstone, a rival tasting fortune's fruit.
The hadith qudsi "My saints are beneath My domes" is applied to the beloved's cap: under the dome-shaped cap, too, a hidden beauty lies.
Mihrî Hatun's ghazal with the refrain "geçen gice" recalls the beloved's unexpected night visit as a memory, woven from images of candle, moon and shah and beggar.
Adlî's Persian ghazal with the refrain "dil": the pun on "‘anâdil" and "‘anâ dil", a heart filled with blood in separation, a faithless beloved and a heart of stone.
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