A jesting poem of curses that Mihrî Hatun sent to Güvâhî, poet of the Pend-nâme: she wishes him every torment of love, and his only offence is never mentioning her in his couplets.
Kara Fazlî's chronogram celebrating with the line "Aḥmedā yümn-ile olduñ defterī" Ahmed Çelebi's appointment in 954 (1547) as defterdar of the timars of Rumelia.
Münîrî's ghazal of the chin's apple: apples on a grave's willow, an eye that is a sick physician, a sword-bearing preacher in the mosque of the face and the "sehm" pun.
Prince Bayezid's murabba with the refrain "what a hard pain separation is"; Filiz Kılıç reads its fourth stanza as a son's plea for a letter from his father Süleyman.
Mustafa Vâzıh's moral couplet holding a servant's mountainous faults lighter than a master's reproach for favours done, matched by an Arabic couplet.
Cûdî's quatrain defining "the man of God": a hero who cuts off self-interest and recompense, a work founded on strengthening religion, and a hope whose soul is the community's good.
The lover is shut in the six-gate block of grief, and every throw comes up calamity; beside this backgammon couplet the ghazal also jokes about buying with face and coin.
A Sufi at the rinds' gathering meets a poet not quenched by a hundred cups; the order of the suras Tebbet and İhlâs becomes a joke, and the preacher is offered fodder.
Mihrî Hatun's short ghazal with the refrain "gibi" (like): an incomparable beloved, a hem held even in death, a tress hung with a thousand hearts, and a tress that is a homeland.
Kara Fazlî's seven-couplet chronogram recording the banquet given on Mount Taşan in 958 (1551) by the vizier Mîr Yahyâ in honour of Prince Mustafa.
Münîrî's banquet ghazal: tears turned to wine and a breast turned to kebab, rosewater for a dog, a sun that drops in through the chimney and a closing "God knows best".
Prince Bayezid's murabba with the refrain "my wish is only to be at service in the dust of your feet"; for Filiz Kılıç a plea awaiting Süleyman's pardon.
The only Arabic single couplet in Mustafa Vâzıh's Dîvânçe: a maxim ranking even a gravely accused servant above one who reproaches with his favours.
Cûdî's Arabic poem as the plea of a dervish on foot to the mounted men of God: saints whose trace he follows, the well of error, and a crescent waiting for light from suns.
A ghazal of a belt with an appetite for a hair-fine waist: buds flayed by the breeze, knotted sugar cane, beaten musk wrapped in skin, and a moon that will enter the bow of the arms.
Praise of the Prophet in the metre of Rumi's Masnavi: the organ is Khidr of hidden knowledge, the reed a reed of wisdom, and all the poet's verse is born of a single glance.
Mihrî Hatun's ghazal with the redif "unuduldı" (was forgotten): before the beloved's beauty the rose, hyacinth, tulip, narcissus and Joseph fade, and finally the vow to kill the lover too.
Kara Fazlî's eleven-couplet chronogram on Sinan Bey, secretary of the salaried horsemen of the Left Division, rising in 954 (1547) to secretary of the Zümre-i evvel.
Münîrî's ghazal of the forsaken lover: only the sword turns its face to him, a cup lip to lip, a Sufi's turban pawned for wine, gold on the touchstone and a fevered grave.
Prince Bayezid's seven-stanza murabba with the refrain "the soul may part from the body, but to part from you is impossible": Ferhad and Şirin and the word dirlik.
The corrected second version of Cûdî's Arabic poem of entreaty: guides of the caravans, provision of piety and load of sins, a camel left behind, the caravan song, and shelter among tents.
Opening with the saying "Every Ahmed has his Abu Jahl", this short-lined ghazal targets the fodder-eating preacher and leaves its secrets behind in a sefine.
Mihrî Hatun's ghazal, said by the tezkires to be for İskender Çelebi: a moon-faced beauty seen at dawn, the auspicious star Jupiter, and the water of life Alexander never found.
Kara Fazlî's two-couplet chronogram with the prayer "Yirin nūr eylesün" on the death in 955 (1548) of Mahmud, son of Sun'ullah Beg, vizier of Prince Mustafa.
Münîrî's ghazal with the refrain "-üp": a pupil at the window, a pun on dragging one's face and following a track, an arrow of fate and lips that need not take a life.
Prince Bayezid's eight-stanza love murabba with the refrain "I have loved a faithless beloved": hyacinth, rose, nightingale, the breath of Jesus, Leylâ and Mecnun.
Cûdî's kaside turning a night's gazing into a spiritual ascension: the play of rank and well, the spirit as a fallen star, a night brighter than day, the Refref of a sigh, and the semâ of the worlds.
A ghazal of colour built on an indigo dress: a sky that whirls with joy, a reflection taken for kohl, a dark-blue arrow in a red bow, and a soul-mirror rusting with envy of a green robe.
The six-couplet ghazal opens on roast and wine, yet the wine needs no cup and no eye sees it; ruined lovers fill the tavern and a dergâh stands between palace and lodge.
Mihrî Hatun's six-couplet ghazal on the transience of beauty: the bud and the thorn, the nightingale's week of joy, the life of a rose, and a poet once first among beauties.
Kara Fazlî's three-couplet chronogram on the death in 955 (1548) of Mahmud, son of Prince Mustafa's vizier Sun'ullah Beg, built on the double sense of "Maḳām-ı Maḥmūd".
Münîrî's chess ghazal: lips served by sugar and candy, the alms of beauty, a beloved who checkmates kings with "ruḫ" as cheek and rook, and freedom in captivity to tresses.
Prince Bayezid's murabba with the refrain "my pain comes from longing for a merciless moon": stanzas completed by the refrain, the mihr pun and the threshing floor of grief.
Cûdî's ghazal on speech and spirit: the inner face of the world unseen until love's eye opens, noble speech born of a generous spirit, a man revealed by his word, and a call to the summit of speech.
Every couplet ends in "Pîrî's": the refrain is a proper name, which suggests a poem for a real young man. The beloved's mole is a Hindu holding a mirror in the west.
Naming Abu Bakr as guide and Ali as conqueror of Khaybar side by side, this syllabic ghazal voices without dispute the stance Nigârî took against the Rafidi charge.
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