A letter whose every letter the tears wash away: the soul painted on a drop of Kevser, a wish in internal rhyme beginning "if I were a cup", a moaning chain and love's woes one by one.
Do not fall short in the company of the wise, nor write every wrong stroke on the heart's tablet: a couplet of counsel that hides the pen name in "sâhib-i irfân".
Mihrî Hatun's nine-couplet ghazal said to be composed "on Ahmed's down", which Gülşen Kaya reads as written for Prince Ahmed, woven from images of music and writing.
Adlî's Persian ghazal rhyming in "-âde": a curl on the cheek showing the forenoon and night of the sura Duhâ, the champion rider of beauty, a cupbearer of blood.
Münîrî's Persian ghazal on the refrain "-i men": the beloved named "yellow rose" through the letters kaf, lam, ze, re and dal, a book of deeds full of love, and the street dog.
Five couplets ending in a prayer, in the chapter where Negroponte is besieged by land and sea in 874 and taken at the cry "The fortress is yours to plunder."
Sky and earth meeting like two tresses, night named Leylâ, winking stars, the moon holding up a lamp, and onlookers slipping away one by one: a playful night kıta.
A ghazal of a love older than the heavens: a lover who belittles the circle full of tricks, an ascetic with no aptitude for love, a preacher without heat and the chain of the tress.
A ghazal comparing for nine couplets with the refrain "is better": a cheek in hand against Paradise on credit, fortune above reason, and talk alone with the bare-faced.
When the morning breeze opens the rosebud it has taken a fortress, and the nightingale marks the victory with the chronogram "güşâde bâd": a couplet on the two senses of feth.
Mihrî Hatun's musammat ghazal mocks a beloved whose beauty has passed; each couplet turns back to her former bright days with the refrain "idi vaktinde".
Adlî's Persian ghazal with the refrain "zede": a line in ambergris on sugar, a crescent curled at the sight of an eyebrow, eyelash guards before the mihrab and a scorned sun.
Münîrî's Persian ghazal on the refrain "-ı men": a welcome to the light of the weeping eye, an image that is a guest till dawn, a sun face and shining moon, and a fiery sigh as love's proof.
Four couplets on spreading oppression, in the chapter where Rûm Mehmed Paşa is sent to Karaman, pulls down mosques and medreses at Larende and kills those who protest.
The greedy who want a spring of plenty and the envious who build a dam, and two questions defining the animal as a greedy body and man as a giving spirit.
A ghazal whose every couplet ends "see, O ascetic": the sound play of inkâr and în-kâr, an elder girded for guidance in the tavern of meaning, the rinds' market and internal rhymes.
A ghazal that advances by invented causes: hairs as smoke, brows as spectators, water as a silver chain on the cypress; an emerald down against snake tresses, tresses as witches.
Mihrî Hatun's seven-couplet love ghazal with the refrain "ile" praises the beloved's beauty and nature and shows a mad lover bound by a single hair of her tress.
Adlî's Persian ghazal rhyming in "-ânî": a stature taking tribute from all beauties, a face to astonish Mânî, the command left to the beloved and a table of union.
Münîrî's Persian ghazal on the refrain "reften": a sword that enters the heart, a heart that leaves with the tears, madness in the curl of tresses, and grief that keeps growing.
Four couplets where Gedük Ahmed takes Alanya in 876, its lord Kılıç Arslan is given Komotini, and while keeping watch on the shore he boards a ship and flees, leaving wife and son.
Green rippling in the breeze, a green skirt longing for that loveliness, and laughing fairies whose skirts leave traces as they pass: the wind's traces on the meadow.
A ghazal that gives the lover the question "is there more?" from the sura Qaf: a lover asking for more fire, a crier calling "who bids more", iron shrinking from fire and word from Selmâ.
A ghazal on the unmeasured ascetic who cannot imagine a well-measured stature: the two senses of mevzun, a witching eye, a heart madder than Mecnûn and verse like a hidden pearl.
Mihrî Hatun's ghazal describing a moonlit music gathering in a lofty palace at Eğribük that lasts until morning, linked by Gülşen Kaya to Prince Süleyman.
Adlî's last Persian ghazal: sighs as the gain of a life, a hoofprint as the mirror of the soul, the honour of being a shah's prey and a lover made sultan of the world by a glance.
Münîrî's ghazal that brings Persian, Turkish and Arabic couplets together: a lip like Solomon's seal, rubies of fire, and a hundred retreats in one tavern cup.
Five untitled couplets where Gedük Ahmed receives Silifke, takes the fortresses of Mokan and Lüle by storm and kills their people, saying those who lay in palaces lie buried in rotten straw.
His little son Sâfî reciting the Qur'an at home, the melodies in his thin, mournful voice, and a listening that gives life to his father's soul.
A ghazal of the Sufi path: sanem and Samed, nearly identical in Arabic script, two names from the sura al-Ikhlas, poverty, annihilation, abiding and detachment, and Khidr the guide.
A ghazal that turns "nâz", coyness, into wine, an account, a sleep and a book: an ailing eye cured by wine, down that writes glosses, and a response on Ahmed Paşa's ground.
Mihrî Hatun's ghazal with the refrain "bir lahza" voices longing to see the beloved for a moment and will not trade the robe of paradise for a cloak at her door.
Adlî's only Persian kıt‘a, surviving solely in manuscript M2: a narcissus striking the enemy with a mace and a spear driven into the enemy's heart like the line of an axis.
Münîrî's Persian ghazal on the refrain "ez-ū", a response to Hâfız: a sigh at parting, the sorcerer glance's apology, a soul at the lips, and a dizzy sun and moon.
Three couplets on the witless commander, in the chapter where Murad Paşa, governor of Rumelia, ignores Mahmud Paşa, crosses the Euphrates and vanishes, and many lords are taken.
A grave with as many visitors as the Mevlid, an author no one passes without a Fâtiha, and birds as reciters: a quatrain outside the metre on the Mevlid and its author.
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