Mihrî Hatun's ghazal with the refrain "Allah Allah", a short-metre lament that wonders at the beloved's disloyalty and at the heart's refusal to give up.
Mihrî Hatun's six-couplet ghazal to a pitiless beloved: a soul that keeps company with grief, wine offered to the rival, liver-blood drunk to the full, and a poet burning in love.
Mihrî Hatun's ghazal opening with a reproach to a jasmine-scented lock: ah and vah in the house of grief, a lover fallen like Majnun, and patience before a fate written in eternity.
Mihrî Hatun's six-couplet ghazal written only in undotted letters: a lover complains to a beloved who takes no notice, her sighs filling the skies in a plain, repetitive voice.
Mihrî Hatun's ghazal woven entirely from pilgrimage concepts: a Kaaba-faced beloved, a quarter circumambulated, love as the ihram robe, and the zamzam of a lip, in seven couplets.
Mihrî Hatun's ten-couplet ghazal of longing for a scattered circle of friends: complaint against fate, yearning for past days, and hope for friends sent to the land of the infidels.
Mihrî Hatun's five-couplet ghazal with the refrain "olmaya": a question about a beauty who is never cruel, a hundred thousand hearts on one hair, a plea at the Judgment, a black fortune.
Mihrî Hatun's ghazal with the refrain "kimseye": a prayer that no one be sigh's companion, the passing turn of beauty, Adam driven from paradise, and a play on Mihr and Mihrî.
Mihrî Hatun's ghazal of parting with the refrain "giderse": a nightingale sacrificed on the thorn, a lover putting earth on her head and a stone on her breast, and a resolute makta.
Mihrî Hatun's ghazal addressed to Hâşimî, the poet-companion of Selim the Grim: a wine gathering, people of perfection sought in the külhan, and a link to Hâşimî's famous "-ânlar ile" rhyme.
A five-couplet ghazal with punning rhymes on a heart helplessly drawn to a moon-faced beauty, a rival who comes between them, and a devotion that lasts until the grave.
A seven-couplet ghazal in which a lover drawn to a gazelle-eyed beauty settles accounts with the rival, built on Turkish rhymes such as elik, elek, ilik, sirke and tilki.
In the closing couplet of this spring ghazal, Mihrî laments that her life has passed in Amasya and advises staying in Istanbul; the couplet can be read two ways.
A nine-couplet ghazal woven from the words verse, khutba and treatise, in which the beloved's face is a Qur'an codex and the lover a student who reads and memorizes it.
A five-couplet ghazal that casts love as a bargain, the beloved as the rose, the lover as the nightingale and the rival as the thorn, ending in a plea to remember old faithfulness.
A five-couplet ghazal of separation that begins with the beloved befriending rivals and leaving, and closes every couplet with the refrain "gitdi" (went), ending on labour lost to the wind.
A five-couplet ghazal with the refrain "delüsi" (mad for her), in which everyone from the nightingale of the heart to the cypress and all the world is the beloved's madman.
A plain six-couplet ghazal with Turkish verb rhymes that tells of a lover wounded by the eyebrow-bow and lash-arrows, and treats the beloved's cruelty as a mark of election.
Mihrî Hatun's reproachful ghazal with the refrain "kâşkî" (if only): unrecognized in her worth, she mocks a world that honours ignorance in her couplet on Turkishness and tarhana.
Mihrî Hatun's ghazal of union with the refrain "yetişdi" (has arrived): the beloved's coming is a remedy for the sick heart, a sultan for its throne, and Isfahan kohl brought by the east wind.
Mihrî Hatun's ghazal of counsel with the refrain "seni": beauty is fleeting, the beloved should fear curses, and fate will make the sovereign of beauty a beggar.
Mihrî Hatun's ghazal on the signs of love: a heart lamenting like a ney, a breast become a def, a stature bent like a çeng, and a pen-name couplet blaming fortune rather than fate.
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.
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.
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.
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.
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.
Mihrî Hatun's nine-couplet ghazal with the redif "olaydum kâşkî" (if only I were): four couplets quoted by Âşık Çelebi, and its likeness to a ghazal by Tâcîzâde Cafer Çelebi.
Mihrî Hatun's ghazal with the redif "egler beni" (keeps me occupied): a lover in the house of sorrow, a spring of tears, promises of union and a wind that drives her boat ashore.
Mihrî Hatun's ghazal with the redif "imişsin böyle bilmezdüm seni" (I did not know you to be like this): a new face of the beloved in each couplet, and a reproach turned on the poet.
Mihrî Hatun's ghazal with the redif "baġladı" (bound), the verb used in a different idiom in each of its seven couplets: the rope of hair, Layla and Majnun, and the confectioners' shops.
Mihrî Hatun's ghazal with the redif "bayrâm irtesi" (the day after the festival): the senbûse pastry, festival swings, strolling beauties and a rope prepared for the rival.
Mihrî Hatun's ghazal, opening in praise of a beloved and turning to praise of a prince; by Gülşen Kaya's count one of three ghazals for Prince Ahmed, with a Mevlevî and Venus scene.
Mihrî Hatun's ghazal condemning concern for honour on the road of love: the rose among thorns, the snake-lock and antidote-lip, and a lover who accepts the gallows.
Mihrî Hatun's ghazal with the redif "yazdı": fate's writing in the opening couplet, then a redif that turns to "all but", and a beloved who all but smiles at the lover's plea for a kiss.
Mihrî Hatun's ghazal with the redif "dükenmedi" (has not run out), kept in one manuscript: a spent life against an unkept promise, a roasted liver, a nightingale in the beloved's quarter.
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