Münîrî's Persian ghazal on the refrain "-i men": the rose of the face preferred to Iram, a knot of curls never untied, the trade of love, and fire, air, water and earth in one couplet.
Six couplets on the conquest of Bosnia in 867, where the king comes out under oath and is later killed by a fatwa, and the Conqueror looks to Herzegovina.
A bouquet adorned outside and in turmoil within, and a transparent balloon, blown and made, that goes out without a gleam: unbelief likened to a soap-bubble balloon.
A ghazal whose every couplet ends in the Persian question "çi bûd": a beloved who never came called to account, lovers turned to the zünnâr, and the question finally forbidden to the lover.
A night when the moon came as a guest: a beloved who tells the lover "the moon gives no one a kiss", a moon hidden on a rainy night and an arm that becomes a belt as the moon enters the Bow.
Hoping for a peach, a kiss, from the sapling of coquetry, the lover is sent off by fortune's gardener with a quince, an "alas": a short, sharp twin of an earlier couplet.
Mihrî Hatun's nine-couplet ghazal about a night stroll with the beloved on the fifteenth of Dhu al-Hijja, with festival air drawn from Kaaba, circumambulation and sacrifice.
Adlî's six-couplet Persian ghazal: the soul as the only coin to spread before the beloved's feet, promises put off, pearls of tears and a brand struck on the heart.
Münîrî's Persian ghazal on the refrain "-i men": a soul made glad by sorrow, a cure from the honey of a sting, a lover drinking his liver's blood, and an autumn wind born of a cold sigh.
Five couplets signed Âşıkî after the heading of the chapter on the strife among the six sons of İbrahim Beg of Karaman and the coming of Uzun Hasan.
Young people weary of the old surroundings, innovators who incline to the West, and others who settle in an order: the first quatrain of the series on youth and innovation.
Leylâ, Azrâ and Shirin paired with Majnun, Vâmık and Farhad in one couplet, passion as Bisitun, a call to the Khusraw of the evtâd and the Sufi terms evtâd and efrâd.
A ghazal with the refrain "kills": a beloved who kills by her carefree manner more than by brow and eye, a bow without arrows, a lethal water of life and a Turkish pen-name couplet.
In Arabic the particle "kad" signals rarity, in Turkish kad means stature; the beauty of the cypress-tall one is as rare in the world as the particle says.
Mihrî Hatun's ghazal with the refrain "bu gice" casts the beloved as physician and her lip as salve, ends with advice to seize the moment, and recalls Necâtî's poem.
Adlî's Persian ghazal with the refrain "-i men": a soul wounded by the arrow of a glance, a fairy-faced guest who never comes, and a final couplet addressing "my sultan".
Münîrî's Persian ghazal on the refrain "-i men": wine turned bitter without the lip, judgement gone awry without the cypress stature, Ferhad and Khusrau, and the hoped-for shadow.
Six couplets on the faithlessness of Karaman, where İshak of Karaman dies with Uzun Hasan, and Pîr Ahmed, once lord, asks for Ilgın and begins to break his pledge.
Renewal as an ancient law, the young in whom its rule is plainest, and a youth that takes light from its surroundings and brings new feelings to birth.
A ghazal in which being and nothing are one: the image of the unseen mouth, the saying "generosity is made from what exists", a hearth burning since kâlû belâ and the land of loss.
A ghazal built on the "opening" of rose and beauty: a wet eye that turns an idiom of sin into virtue, a mole like a cannonball against the heart's fortress and cypresses turned brooms.
Head bowed, breast split, shedding tears, dark of state: four epithets fit both the reed pen and the lover, and the pen name hides in "Sâhib-makâl".
Mihrî Hatun's five-couplet ghazal on love at first sight likens the beloved to a fairy and ends with the answer "take it, here" to a beloved who asks for her life.
Adlî's Persian ghazal rhyming in "-û": a lover turned to dust on the beloved's road, an eye beyond the gazelle's, a dragon curl, a sorcerer eye and the dog at the door.
Münîrî's Persian ghazal: longing for a lip like love of homeland in exile, an almond eye and a silent pistachio mouth, and a nightingale and parrot talking of rose and sugar.
Four couplets of satire on a convert vizier, in the chapter where the Conqueror enters Albania in 870, builds Elbasan in its midst, and Rûm Mehmed becomes vizier.
Hope like the blood in the body, strong in youth and like jaundice in age, and the strength of the blood as a shield against every calamity: the last of the youth series.
A ghazal that treats love as a matter of aptitude: the terms isti‘dâd, kâbiliyyet and tecrîd, lovers withdrawn to desert and mountain, the dog at Leylâ's door and the Khusraw of the evtâd.
A model poem in Nazmî answered by İshak Çelebi and Zâtî: tresses whose brokenness is wished like a blessing, Khidr present on wet and dry, and musk worthless until it travels.
Cheek as lamp, face as mosque, brow as mihrab, stature as minbar: in a verbless couplet of eight nouns the beloved's face becomes a mosque.
Mihrî Hatun's satirical ghazal on a long night spent with ugly guests in place of the beloved; Rûhî Çelebi and Ravzî later took it as a model for their own poems.
Adlî's Persian ghazal rhyming in "-û": a languid eye that seeks mischief, beauty beyond a thousand tongues, wine settling in the jar and a heart tossed like a polo ball.
Münîrî's macaronic ghazal of Persian and Turkish couplets: the right of salt and bread with the dog, curls like mail, a sick Turk eye under a bow brow, and an earring pearl by the sun.
Two couplets on Mahmud Paşa's retreat to Hasköy, in the chapter where Rûm Mehmed deports households from Larende and Konya and the paşa's tent is pulled down at Karahisar.
A poet who cannot be happy with his own comfort, wishes to see those around him in well-being, and counts Euphrates water torment beside a thirsty man's sigh.
A ghazal against the ascetic: the verse "ve in yekâd" engraved on the cup, a fodder-picking captive of imitation, a poet who teaches Majnun detachment and Venus dancing to his poems.
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