A five-couplet spring ghazal built on tulips, the cupbearer and dew, setting the beloved's cruelty against the lover's lament in matching lines.
A six-couplet ghazal of separation that ties rivers to tears and mountain clouds to sighs, playing on the rhymes daġlar, dâġlar, baġlar and bâġlar.
A "get well soon" ghazal to a prince struck by fever; it wishes the illness onto his rival, mentions his mother, and ends with joy at a meeting.
A six-couplet ghazal that lists the beloved's hair, face, brow and glance and wishes health in every couplet, naming the beloved of "the Solomon of the age".
A five-couplet ghazal of thanks to a generous great man who honoured the poet with a visit, likening his breath to that of Jesus, who raised the dead.
A ghazal of wordplay that uses the rhyme word "karalar" seven times, each time in a different sense, and counts among Mihrî's showpieces of artistry.
A five-couplet ghazal rhymed on "kaftânlar" that portrays a beauty in gold and silver kaftans through the images of houris, planets and the game of çevgân.
A seven-couplet ghazal of reproach, every couplet ending in "why?", that questions the beloved giving torment to the lover and favour and kisses to the rival.
A seven-couplet ghazal that calls the beloved's threshold "love of the homeland", turns the cypress into a coffin and the rose into a shroud, and ends with Mihrî a thorn to her rival.
In this seven-couplet ghazal that calls the beloved "infidel", Mihrî recalls when they were rose and nightingale and asks the faithless beloved for a glance and for faithfulness.
An eight-couplet ghazal full of small scenes: heart and eye drawn to the beloved's cheek, irises sticking out their tongues at the rose, and the rival spoken of on the gallows.
A ghazal with every couplet ending "is different", listing love's torment, chemistry and cure to argue that love can be understood only by those who live it.
A seven-couplet ghazal on a lover who weeps like Jacob, a nightingale captive to the rose, and the candle and moth, ending in a complaint of a thousand bowls of poison.
In this short ghazal with the redif "beñzer" (resembles), the beloved's face is compared to violet, jasmine and paradise, the moon cannot imitate her, and the lover is a ring.
A six-couplet Mihrî ghazal with the redif "açılur" (opens), seeing the beloved's face as a paradise garden that blooms in winter and summer, as a book and as a Mushaf.
A ghazal that uses the redif "sürür" in a different sense in every couplet, where the tress becomes first a gallows, then a sacrificial rope, then a peacock in a rose garden.
A short ghazal with the redif "biledür" (is together), in which the lover gives his life along with his heart, hosts the beloved's image and watches the rival like a shadow.
Mihrî Hatun's five-couplet ghazal on a lover who falls from the beloved's eye through the rivals' gossip, on lovers stoning the unbelieving rival, and on boundless cruelty.
Mihrî Hatun's question-and-answer ghazal with the redif "ol didüm be-ser": the beloved's ever heavier demands, and the lover's unchanging reply, "on my head".
Mihrî Hatun's eight-couplet ghazal with the redif "-dan çıḳar"; in the closing couplet she recalls her lineage through a double entendre on her father's pen name Belâyî and "belâ".
Mihrî Hatun's five-couplet ghazal with the redif "geçer", praising the beloved as the shah of the land of beauty and playing on being counted, prevailing and piercing.
Mihrî Hatun's ten-couplet ghazal with the redif "gizlüdür", a series of hidden treasures from love in the heart to pearls on the lip and knowledge hidden from the ignorant.
Mihrî Hatun's five-couplet ghazal with the redif "olupdur", which repeats its opening line in the closing couplet: a harsh complaint about the beauties' faithlessness and lost worth.
Mihrî Hatun's seven-couplet ghazal of counsel without a redif: hold on to the beloved in time, through rose, nightingale and thorn; it ends with the poet fallen to dust.
Mihrî Hatun's seven-couplet ghazal with the refrain "de var": a salve of union for the wound of parting, a warning to the rival, and an Adam allusion in the forbidden-fruit lip.
A seven-couplet ghazal that likens the beloved's brow to a bow and her glance to an arrow, woven from the archer image, the bottle of honour, the long lock and the rival's lengthened rope.
A nazire with the refrain "yeter" that answers Necâtî's mat couplet with "a bare place at the beloved's door is enough"; Âşık Çelebi records it as a jab at Necâtî.
A five-couplet ghazal with the refrain "yatur" (lies): the moon behind a cloud, the heart-nightingale that makes the threshold its homeland, and the turtledove moaning until dawn.
A ghazal with the refrain "öldürür" (kills) that lists what kills the lover: parting, griefs, memory and beauties; leff ü neşr stands out where friends weep and the rival laughs.
A seven-couplet ghazal with the refrain "imrenür" (envies), in which the unbeliever, the moon, the garden, the prisoners and even the remedy envy the beloved's beauty.
A five-couplet ghazal that likens the beloved's face to a Qur'an codex, her brow to a prayer niche and her threshold to the qibla; the poet calls herself a waterwheel shedding tears.
Mihrî's mocking reply to Makâmî's praise; Âşık Çelebi records both poems, and Mihrî likens her kiss to an illness and rejects the compliments.
A ghazal whose refrain verb "tutar" takes a different sense in each couplet, with enchanting eyes, tears that flood the world and a mirror of beauty soon to be covered by down.
An eight-couplet spring ghazal of dancing cypresses and a clapping plane tree; Mihrî ends with a dialogue in which the rose says she sees a thousand nightingales a day.
Mihrî Hatun's five-couplet ghazal with the refrain "ne kolaysuz" (how unseemly): a reproach that the beloved shows her kindness to the rival and her wrath to the faithful lover.
Mihrî Hatun's second ghazal with the refrain "ne kolaysuz": a beloved like a sultan turning from his slave, the conceit of beauty's zakat, and the rope that snaps before the dog hangs.
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