Mihrî Hatun's ghazal on the refrain "var iken": the lover sets a lasso of hair, the Sidra and Tuba trees and a ruler's rank against the beloved.
Mihrî Hatun's ghazal on the refrain "var iken": rose, nightingale, tears as treasure and the beloved's dogs, set against worldly honour and a smashed flask of shame.
Mihrî Hatun's ghazal addressed to the poet Hâtemî (Müeyyedzâde Abdurrahman Çelebi): a reviving breath like Jesus's, Farhad and Shirin, and a teasing last couplet.
Mihrî Hatun's ghazal that opens and closes with the beloved's hair: musk of the Khotan gazelle, a rose garden, Jesus's breath and a pun on Sham (evening).
Mihrî Hatun's ghazal on the refrain "olmasun": a wish that no one suffer as she has, ending in a curse aimed at the beloved, and its 2015 musical setting.
Mihrî Hatun's ghazal on the refrain "-sin": the beloved's glance as an arrow, down on the cheek as soot from lovers' sighs, and a threat against the rival.
Mihrî Hatun's ghazal on the refrain "ben": a lover weary of pleading with rivals, thorns around the rose, a gallows of hair, and a closing self-portrait.
Mihrî Hatun's ghazal on the refrain "olmadan": a lover who has given up on union, the ruby casket of the lip offered to rivals, and a final hope that a promise not be false.
Mihrî Hatun's ghazal in question-and-answer form on the refrain "bu": the eye as a goblet of blood, the beloved's stature as an alif, and an offering of head and soul.
Mihrî Hatun's ghazal on the refrain "ḳarşu": the rose unveiling before the nightingale, a pun on "güle ḳarşu", and a final threat to reveal the beloved's secret.
Mihrî Hatun's ghazal of fulfilment on the refrain "şimden girü" (from now on): the beloved's quarter preferred to Paradise, a peach for a kiss, and the tulip in the mountains.
Mihrî Hatun's ghazal of beauty on the refrain "-dur bu": scented hair, a glance that makes Farhads, a waist like a hair, and tears watering the cypress.
A short ghazal praising a poet who looks like a dervish but is a sultan in meaning; it is thought to be addressed to Hâtemî and rests on outward versus inner reality.
Mihrî Hatun's famous "döne döne" response to Necâtî, judged by the tezkire writers the finest nazire on this ground, woven from images of acrobat, lantern and moon.
Mihrî Hatun's ghazal with the refrain "geçen gice" recalls the beloved's unexpected night visit as a memory, woven from images of candle, moon and shah and beggar.
Mihrî Hatun's nine-couplet ghazal about a night stroll with the beloved on the fifteenth of Dhu al-Hijja, with festival air drawn from Kaaba, circumambulation and sacrifice.
Mihrî Hatun's ghazal with the refrain "bu gice" casts the beloved as physician and her lip as salve, ends with advice to seize the moment, and recalls Necâtî's poem.
Mihrî Hatun's five-couplet ghazal on love at first sight likens the beloved to a fairy and ends with the answer "take it, here" to a beloved who asks for her life.
Mihrî Hatun's satirical ghazal on a long night spent with ugly guests in place of the beloved; Rûhî Çelebi and Ravzî later took it as a model for their own poems.
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.
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".
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.
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.
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.
A five-couplet ghazal by Mihrî Hatun with the refrain "üstine," moving from the idiom "upon my head" through fate and the lover's own epitaph.
An eight-couplet ghazal in which Mihrî Hatun calls the heart to a spring outing with beloveds, music and wine, and reminds the reader how short life is.
A five-couplet ghazal in colloquial tone in which Mihrî Hatun's lover, whose word counts for nothing, voices reproach through the hereafter and the right of salt and bread.
A six-couplet ghazal in which Mihrî Hatun opens separation and a rival's jealousy with a pun on "yaka" and ends in a reproach that her patience is spent.
A five-couplet ghazal by Mihrî Hatun, quoted by Sehî Beg in his tezkire, that opens with a composite pun as the beloved lifts her veil and says "gör işte."
A seven-couplet ghazal by Mihrî Hatun bound to the "-ile" sound: a heart-bird caught in the snare, a liver pierced like a reed flute, a nature kneaded with cruelty.
Mihrî Hatun's ghazal with the refrain "unutma" (do not forget), in which the lover begs the beloved to remember the torn collar, the ruined heart and a promise, and finally Mihrî.
Mihrî Hatun's ghazal with the refrain "üstine," framed by the candle-and-moth image, which mocks the judge, mufti, teacher and ascetic before beauty.
Mihrî Hatun's nazire to Necâtî with the refrain "ile"; in the last couplet she calls herself a beggar and Necâtî a king, acknowledging the master's superiority.
Mihrî Hatun's ghazal of a sea voyage and exile, about casting grief into the sea and setting sail, which Mehmet Arslan links to a possible stay in Istanbul.
Mihrî Hatun's ghazal of praise with the refrain "içinde," honouring the beloved's stature, cheek and lip and asking that Mihrî be written first in the book of love.
Mihrî Hatun's ghazal with the refrain "aşkına" pleads with the beloved through the story of Joseph, the road to the Kaaba and the dervish lodge, and ends by asking for a quick death.
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