Cûdî's ghazal on a woman's walk: a motion unlike any other, a stature like a fountain of the water of life, a spring morning laughing in an old man's evening, and a walk in a black wrap.
Mihrî Hatun's single couplet in which the beloved's cheek, stature and lip are likened to a rose, a rosebud and a swaying cypress in a mixed-order leff ü neşr.
Münîrî's ghazal without refrain: a heart settled in a Kaaba-like quarter, tears that come as guests, grief's night raid, and the poet's heart as a glass whose shards become lancets.
Cûdî's autobiographical kaside on his madrasa years, "Dakk-ı Müdik": puns on the textbooks, a critique of old philosophy and kalâm, praise of Muslim scholars, and a complaint of lost merit.
Mihrî Hatun's single couplet likening the first down on the beloved's cheek to fresh basil in a rose garden; a müfred written twice in the Ü manuscript.
Münîrî's ghazal: a lover sacrificed for union who becomes a martyr at the feast, a sword like sherbet, remembrance as the key to the heart's palace, and a mote lost at night.
Cûdî's kıta addressing Russia over the Dogger Bank incident of 1904: an arrogance too big for the Black Sea, a Russia that scorned the Ottomans, and a power now forced to beg Britain for mercy.
Mihrî Hatun's single couplet in which she addresses herself: she is not the only lover ruined by the beautiful ones, and many on this road run and never recover.
Münîrî's ghazal opening with the pun "emsem" and "em sem": a crescent lesser than a brow, a pistachio silent beside a ruby lip, a tale-telling tear, and pride in poverty.
Cûdî's poem on Ramadan through children's eyes: minarets hung with lamps, the mahya, Ramadan pide, peddlers, Karagöz and Hacivat, the sahur drum, and a mother weeping at home.
Mihrî Hatun's single couplet addressed to a preacher: it recalls the mullahs' habit of loving beauty and advises him to be one of the arifs, and can be read sincerely or mockingly.
Münîrî's ghazal woven with proverbs: a heart hoping for a shirt from the dead, black news soon heard, the wet burning beside the dry, and the orphan who cuts his own navel cord.
Cûdî's satirical ghazal on the fasting of grown men: a faster who thinks himself an angel by day, the dragon of hunger at noon, afternoons spent watching the clock, and His Excellency the baklava.
Münîrî's ghazal: the beloved as a sovereign of Kashmir taking tribute from China and Cathay, the archer Turk, a burning breast beaten with stones, and a dream fulfilled in blood.
Cûdî's ghazal on singers: singers who gnaw at poetry with fine voices, the singer as "the second ignorant", two blessings rarely met in one person, and the world's table laid by measure.
Mihrî Hatun's only long work outside her divan: a 462-couplet mesnevi of supplication of tawhid, na‘t, munajat, counsel and prayer, closing with a defence of women's intellect.
Münîrî's only ghazal with the refrain "depredür": a lock stirring like a peacock's wing, a heart trembling like a willow leaf in a gale, and a half-dead moth still fluttering.
Cûdî's internally rhymed poem on snowfall: the moon's dust, the shaven sky's hairs, winter's flower, an earth turned milk pudding, a globe that partners the moon, and snow falling like open pages.
The earth qit‘a among the four-element pieces at the end of the Tażarru‘-nâme: from the creation of man from earth it advises keeping away from the old hag of a world.
Münîrî's ghazal with Turkish rhymes: a rosebud-lipped cypress that becomes a rose branch, the rival's ruin as a dog's bed, a Mecnun heart, and a corner of grief fated in eternity.
Cûdî's Arabic poem with the refrain of the sura al-Rahmân, "which of your Lord's favours will you deny": body and spirit, the worm's sustenance in the rock, and generosity raining on Cûdî.
The water qit‘a among the four-element pieces at the end of the Tażarru‘-nâme: it recalls man's creation from water and quotes "Would that I were dust" from the Surah of Naba.
Münîrî's ghazal: a heart that knows love and becomes a stranger to the lover, a ruined house turned temple of idols, a dervish's gift, and a mole that is a grain of bait.
Cûdî's short satirical kıta "Sefsâfdan": a figure who kisses the cross and wears black wool, the status of the protected subject, and many feast days; its title is left unexplained.
The fire qit‘a among the four-element pieces at the end of the Tażarru‘-nâme: it says that God, Vedûd, will turn into light the fire of one who gives up the world.
Münîrî's only ghazal with the refrain "Hızır": a sea of tears rising over the head, an alif-straight stature, a soul-reviving lip, and a text of seven couplets joined from two manuscripts.
Cûdî's two-couplet witticism on the terms of the dower: prompt and deferred dower, the likeness in writing of dower and seal, and a bride who pledges pearls; its sense is not fully clear.
The last of the four elemental quatrains closing the Tażarru‘-nâme, warning man, made of air, not to lean on the wind and to wake from heedlessness before death.
Münîrî's ghazal: a heart hard as a piece of stone, a rose branch like a liver torn by an arrow, moles on a white face, the black of the eye that casts into melancholy, and plain speech.
Cûdî's ghazal on chastity and beauty: a hennaed hand and a greeting from afar, the unplucked apple, only the dual in the book of love, and a chaste gaze that burns the slinking whisperer.
A ghazal with the refrain "güç" (hard) under the pen name Mihrî in a Kütahya miscellany, of uncertain attribution, on how hard parting, union and the beloved's gaze are.
Münîrî's ghazal found only in the Vatican manuscript: puns built on the words eye and face, a shameless tear that throws the truth in one's face, and an eye that becomes a sea of pearls.
Cûdî's ghazal against the materialists, "The Hiddenness of Manifestness": a God hidden by His brightness, the doctor as a turner who cannot play, "Nature made it", matter and force, and conscience.
A ghazal with the refrain "ḳadeḥ" (wine cup) under the pen name Mihrî in a Kütahya miscellany, of uncertain attribution, ending with the cup as Iskender's mirror.
Münîrî's ghazal built on proverbs: a pupil scattering the grain of tears, "whoever sows reaps" and "whoever halts moves on", dust as eye salve, and pure silver that passes through stone.
Cûdî's ghazal of a chain of causes: war born of the love of money, people dizzied by silver, a violin heard from the harem, a madman claiming to come from the office, and the sea of pre-eternity.
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