Mihrî Hatun's ghazal built on the beloved's threshold: the wordplay of head and stone, the doorkeeper heart, water-carrier eye and sweeper eyelash, the Ferhad allusion.
Mihrî Hatun's "sen gideli" ghazal of separation, a nazire of Ahmed Paşa's famous poem: a lament in which the whole world has grown narrow, and the history of the refrain.
Mihrî Hatun's near-colloquial ghazal that curses the rival: the arrowheads of the eyelash, the evil eye, the wish that his bran run out, and the lover who gave her toil to the wind.
Mihrî Hatun's ghazal with the redif "ġayri" (other than): a world where only the belt, the cup and the morning breeze may approach the beloved, the müşteri pun and the stony lips.
Mihrî Hatun's ghazal likening the beloved's face to a rose garden: beauty set above paradise, the glance-arrow that makes a home in the soul, and the wish to hold the beloved's hem.
Mihrî Hatun's ghazal written without the letter elif: a praise poem to a warrior prince, its Sulaymân riddle in abjad numbers, and the question of the Şehzade Süleyman.
Mihrî Hatun's ghazal on a beauty beyond painter and word: Mânî the legendary painter, the visit to a broken heart worth a pilgrimage, and the glad tidings of union drummed like a conquest.
Mihrî Hatun's ghazal with the "nice bir" lament: love as a bad bargain, the censorious sufi, the rope-dancer on the beloved's tress, and the lover who runs from the rival's barking.
Mihrî Hatun's nazire to Necâtî with the redif "beni": the blood-drinking eyes, the water wheel that weeps for the lover, and a plea to be killed rather than left to suffer.
Mihrî Hatun's ghazal of a vanished beloved: each couplet names one beauty and asks "where is she?", with the odd refrain "ḳanda durur ḳanda iki" and a pun on "nişân".
Mihrî Hatun's last ghazal of the divan, with the redif "ehli": love told in the language of faith, the infidel tress, the peach in the garden and the hafiz at the door.
Mihrî Hatun's only mustezad, eleven stanzas in the beloved's own voice with the refrain "Olsun begüm olsun": commands to the lover, the question of who speaks, and a poem of trade and fanâ.
Mihrî Hatun's murabba with the refrain word "dürüst" turns a couplet by Nizâmî into its refrain; the halo around the moon extends to the mountains of Amasya.
Mihrî Hatun's five-stanza murabba complaining of the faithlessness of the beautiful; every stanza ends with the refrain "Fiġân güzeller elinden ki bî-vefâlardur".
Mihrî Hatun's six-stanza murabba describing the rope-dancer Haydar, whom she watched in the assembly of Şeh Süleymân at Eğribük; it survives only in the M manuscript.
Mihrî Hatun's twenty-five-stanza murabba in praise of a city: the summer pasture of Lâdik, Elmalı Bahçe and the Yeni Hammâm, seen through the favour of Prince Ahmed.
Mihrî Hatun's eight-stanza murabba with the refrain "Āh elinden felegüñ", lamenting the cruelty of fate and the turning heavens, which make the rival laugh and the lover weep.
Mihrî Hatun's seven-stanza love murabba, a vow of fidelity to the beloved on the refrain "Allâh ḥaḳḳıçün begüm", woven from the images of the qibla and the infidel.
Mihrî Hatun's six-stanza murabba of reproach, with an allusion to Joseph and Zulaykha, addressed to a beloved who listened to the rival: "Ben de senden vâz geldüm".
Mihrî Hatun's murabba bidding farewell to a beloved setting out on a journey, on the refrain "I commend you to God"; the name İskender ties it to the İskender Çelebi story.
Mihrî Hatun's murabba of reproach to a faithless beloved, "I have given you up"; its refrain is almost identical to that of a murabba by Tâcî-zâde Cafer Çelebi.
Mihrî Hatun's tahmis on Necâtî Bey's ghazal with the redif "-ına"; according to one study, the earliest known tahmis written on a ghazal of Necâtî.
Mihrî Hatun's four-part terci‘-i bend, offered to Prince Ahmed as a festival greeting, asks in its linking couplet, "Who is he? Sultan Ahmed, son of Sultan Bayezid."
Mihrî Hatun's 29-couplet mesnevi on the oneness of God, each couplet opening with a letter of the Arabic alphabet; it turns from doctrine to advice on repentance and to prayer.
Mihrî Hatun's fifty-one-couplet mesnevi to the vizier Ali Pasha, with ghazal and kaside sections set inside it, asking him from Amasya to present her case to the sultan.
Mihrî Hatun's single couplet, preserved in three manuscripts, in which an eye weeping under the cruelty of fate is dyed with blood and called Sürhâb, "red water."
Mihrî Hatun's single couplet praising the first down on the beloved's cheek as fresh basil that has newly sprung up in a rose garden and adorned it.
Mihrî Hatun's single couplet in which the fine down along the edge of the beloved's lip is likened to ants swarming over a sugared pâlûde dessert.
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.
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.
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.
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.
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.
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.
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.
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.
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