Mihrî Hatun's five-couplet ghazal with the redif "-laruz biz": a complaint built on companionship with the nightingale and moth, the rival-dog conceit and black fortune.
Mihrî Hatun's seven-couplet ghazal addressed to one Hacı Nâbî, complaining of fickle beauties in plain, conversational idiom close to everyday speech.
Mihrî Hatun's ghazal with the redif "itmemek olmaz" (cannot but): longing, tears, the cypress, the lash-arrow and the moth as inevitable results of love.
Mihrî Hatun's ghazal with the redif "gerekmez" (not needed): a poem of devotion saying that with the beloved present even soul, paradise, pearls and the water of life are superfluous.
Mihrî Hatun's second ghazal with the redif "gerekmez": the lover counts cruelty as fidelity and grief as cure, dismisses the counsellor and turns to the wine of love as a rend.
Mihrî Hatun's nine-couplet ghazal with the redif "-lerüz biz": a community of lovers presents itself as moths, rends, madmen and brave men against the hypocritical sheikh.
Mihrî Hatun's seven-couplet ghazal with the redif "-ümüz": love born of a glance, a lover whose word counts for nothing with the rival, and moths burning at the cheek-candle.
Mihrî Hatun's six-couplet ghazal with the redif "-suz": a beloved who breaks her word, a physician who kills without treating, and the rose that is never without thorns.
Mihrî Hatun's ghazal with the long redif "gelmişlerdenüz": the polo game, Mansur's gallows, the dervish begging beauty's alms, and madmen coming to the chain of the tress.
Mihrî Hatun's ghazal without redif, rhymed in "-es": the rival as the beloved's shadow, a fly on the lip, and a poet who tells herself that one letter suffices for the wise.
Mihrî Hatun's five-couplet ghazal with the redif "âteş" (fire): the hidden fire of love in the house of the heart, Abraham's fire turned rose garden, and the burning city of the body.
Mihrî Hatun's short-lined ghazal in the hafif metre: the lover swears by the Sura al-Ikhlas for death, then the poet calls herself a pearl in the sea of poetry that no diver has seen.
Mihrî Hatun's ghazal on the refrain "eyle arz": a lover in the dark like Khidr seeks the water of life, with down as infidel, cypress stature, chin apple and scattered tears.
Mihrî Hatun's nine-couplet ghazal on the refrain "hat": the down on the beloved's face as script, cloud, meadow, army and dust on a mirror, in a chain of double entendres.
Mihrî Hatun's five-couplet ghazal on the refrain "haz", written as a nazire to Necâtî Bey: the voice of a lover who finds pleasure even in pain and loss.
Mihrî Hatun's six-couplet ghazal without a refrain: a plain complaint about the beloved's returning cruelty, a blood-drinking glance, a saving eye and union that depends on fortune.
Mihrî Hatun's five-couplet ghazal inviting the beloved to the garden at Nevruz: a spring table, a kebab of the heart, and a plea for union ending in the idiom "the knife reached the bone."
Mihrî Hatun's five-couplet ghazal built on the image of hair: a net set for the heart's bird, a pun on black and white (aġ), the wick of love and a fairy's hook of hair.
Mihrî Hatun's angry ghazal on the refrain "yuf": a voice rebuking the world's beauties, who love those who do not love them, and finally her own trust in the faithless.
Mihrî Hatun's ghazal on the refrain "tekellüf", which shifts between trouble and hospitality: a çevgân of hair, a cup of liver blood and a rival not worth the rope.
Mihrî Hatun's nine-couplet ghazal on the refrain "yok": a complaint to an indifferent beloved, advice on fleeting beauty, an allusion to Abraham and a counsel of patience.
Mihrî Hatun's Sufi ghazal to the ascetic: from metaphorical love to ascension toward the Truth, taming the self by hunger, a pun on pilgrims and Hajjaj, and the dervish's cloak.
Mihrî Hatun's love poem on the same ground as the preceding ghazal: the beloved's skirt a crown, her cheeks a chessboard, her lip a güllaç, her blood-shedding eye a Hajjaj.
A muvashshah ghazal whose couplet initials spell "Süleymân": six couplets of praise on the refrain "ancak," thought to be offered by Mihrî Hatun to Prince Süleyman.
Mihrî Hatun's prayer ghazal on the refrain "kimsenüñ", built on a reed flute wailing by night, a threshold likened to the Kaaba, a tyrannical sovereign of beauty and a moon in clouds.
Mihrî Hatun's ghazal on the refrain "bu kerîmüñ"; it opens like an elegy but can also be read as a playful lament for a beloved whose face has grown down and lost its beauty.
Mihrî Hatun's spring ghazal in seven couplets: an invitation to the rose garden, a lover's pain told in musical terms such as daf and chang, and sweet speech that puts the parrot in check.
Mihrî Hatun's ghazal of a saint's shrine called Göynicek: a spring landscape likened to Paradise, a pilgrimage, and an open question about the saint Ak Şemseddin and the place.
Mihrî Hatun's ghazal on the refrain "-lik": the heart as painter, ruby, pearl and musk taking their qualities from the beloved, then a rival's boast met with a challenge in the arena.
Mihrî Hatun's short ghazal addressed to the rival: a lover who offers herself to be kicked, curses the rival at the door and finally asks the beloved to rub salt into her wound.
Mihrî Hatun's ghazal of reproach on the refrain "böyle mi gerek", with a closing couplet that plays on the pen name Mihr, the sun, and müşteri, which means both suitor and Jupiter.
Mihrî Hatun's ghazal on the refrain "-nüñ": the beloved offers to rebuild a ruined heart, with allusions to Layla and Majnun, the candle and the moth, and a messenger breeze.
Mihrî Hatun's ghazal of burning images, from kebab and salt in the wound to a lover hard of soul and a closing couplet about a beloved whose owner's name cannot be spoken.
Mihrî Hatun's ghazal of the lock as lasso: a lover bound by black hair, a rival and a sheikh who cannot cure her, and a final garden of rose, cypress and jasmine left behind.
Mihrî Hatun's ghazal on the refrain "dek": arrow and bow, an eye tying the infidel's girdle, lashes sweeping the road to the shop, a rival driven off like a boar, and a rose garden.
Mihrî Hatun's ghazal on the refrain "kendümüñ", a nazire to Necâtî, with Joseph and Zulaykha, Layla and Majnun, a body bent like a harp and a love that outlasts the bones.
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