The ghazal with the refrain "coquette" that opens the hı section: a beloved who heals where she wounds, dagger and arrow turned to medicine, and a cupbearer in red on the feast day.
Hey hey, vay vay, güm güm, kulkul and gulgul: a samâ‘ gathering heard in its sounds, lines split by inner rhyme, and a poet who ends by setting himself beside Hafez.
Cup, pilgrim robe, dagger and festival garment, all dyed red: a lover sacrificed at the Feast of Sacrifice, a beloved on a red horse and a line written in tears of blood.
A ghazal with the refrain "look": a speech passing from tavern scene to repentance, the hut of sorrows, the poet pointing to his own divan and the good tidings of "lâ taknetû".
Here the cheek lends lustre to the ruby of Badakhshan and to the sun, becomes a page of the Quran for the drunken eye and sets a heart burning in pre-eternity.
Absences counted with "yoh", the Azerbaijani "there is none": none like me, no cure, the lack of a confidant worse than separation and a sigh that burns iron but not the beloved.
A ghazal with the refrain "çoh", many: answering the "yoh" ghazal with a claim to be unique in a crowd, many wounds in the eye, Hind who ate Hamza's liver and the hospital of wisdom.
A short ghazal with the refrain "yoh": the difference between gam-hâr and gam-güsâr, an answer to the adviser, the word nigâr hidden in a gold-patterned tress and a lover gone to the hills.
Love's crier calls "who bids more": sevdâ as both passion and bargain, a market where honour is worthless and a Hazret-i Mevlâ that can be read in two ways.
A cupbearer rubai written in two metres: a first couplet in a rubai pattern and a second in remel, a lover crying for help from love's fire and a wish to settle at the cupbearer's door.
A rubai of reproach to the cupbearer: the word dâd meaning a cry in one line and giving in the other, the weighing-stone of a scale, a thirsting heart and the wine of desire withheld.
A praise poem opening the dâl section: a ghazal whose every couplet ends with the name Muhammad, the term tevellâ, the beloved's images used for the Prophet and the night of the Isrâ.
A praise poem with the refrain "Ahmed": the Prophet's story abrogating all others in the legal sense of nesh, a moth turned peacock and the plain of judgement.
A ghazal rhymed on words written with dâl: a lover trembling like a willow, the sound play of âferîn and âferîd, the call "hel min şehîd" and the words Mîr and emir in the pen name.
A ghazal spoken as a chain: each couplet opening with the last word of the one before, a reed flute moaning joint by joint, a chain asked of Leylâ's tress and Shah Naqshband who unties.
A ghazal whose every couplet ends in the Persian question "çi bûd": a beloved who never came called to account, lovers turned to the zünnâr, and the question finally forbidden to the lover.
Leylâ, Azrâ and Shirin paired with Majnun, Vâmık and Farhad in one couplet, passion as Bisitun, a call to the Khusraw of the evtâd and the Sufi terms evtâd and efrâd.
A ghazal in which being and nothing are one: the image of the unseen mouth, the saying "generosity is made from what exists", a hearth burning since kâlû belâ and the land of loss.
A ghazal that treats love as a matter of aptitude: the terms isti‘dâd, kâbiliyyet and tecrîd, lovers withdrawn to desert and mountain, the dog at Leylâ's door and the Khusraw of the evtâd.
A ghazal against the ascetic: the verse "ve in yekâd" engraved on the cup, a fodder-picking captive of imitation, a poet who teaches Majnun detachment and Venus dancing to his poems.
A ghazal of a love older than the heavens: a lover who belittles the circle full of tricks, an ascetic with no aptitude for love, a preacher without heat and the chain of the tress.
A ghazal whose every couplet ends "see, O ascetic": the sound play of inkâr and în-kâr, an elder girded for guidance in the tavern of meaning, the rinds' market and internal rhymes.
A ghazal that gives the lover the question "is there more?" from the sura Qaf: a lover asking for more fire, a crier calling "who bids more", iron shrinking from fire and word from Selmâ.
A ghazal of the Sufi path: sanem and Samed, nearly identical in Arabic script, two names from the sura al-Ikhlas, poverty, annihilation, abiding and detachment, and Khidr the guide.
A ghazal crying "O Muhammad, O Ali, O Naqshband": a reed flute burning node by node, a tress that binds designs, and a nature praised by Hafez and the poets of Khujand and Kerman.
A ghazal rhyming rose with yellow: verd and zerd, a bewilderment taken from the backgammon block şeşder, blood offered by the azure sphere and the fire, water and cold sigh of the heart.
A rubai with the refrain "delicious, O cupbearer": the word lezîz announcing the letter zâl, a rose-coloured cup, chief of the drunken with one cup and a name that is delicious to speak.
A rubai with the refrain "more delicious, O cupbearer": the comparative of lezîz, talk sweeter than life, and wandering with the dog at her door preferred to the glory of a ruler.
The ghazal with the refrain "letter" that opens the zâl section: a letter that never comes, a breeze passing in shame, a pickaxe of sighs and a parrot of poems sent to the falcon of Qaf.
Even the poison of abuse tastes sweet: a cry that delights the beloved, a palm-shoot sway and partridge gait, talk like twice-refined sugar and the honey of verse.
A cupbearer rubai about a morning breeze that does not come: saba as confidant of secrets and the beloved's messenger, a cheek casting fire without pause and a rhyme announcing re.
A cupbearer rubai that counts spring the noblest of the four seasons: the time of revelry, a tavern scattered like largesse, and a quatrain without heading.
A defence of poetry opening the re section: the hadith "some poetry is wisdom", poets' hearts as God's treasury of secrets, a stone thrown at the Kaaba and the best of mankind.
The praise poem whose opening couplet "Felek ser-geşte-i zülf-i mutarrâ" Hüsameddin quoted: a beauty that makes Joseph its prey, a rind copying the tughra, and teberrâ with tevellâ.
A ghazal of a poet whose very nature is metrical: mevzûn as shapely and as measured, a treasure inside mahzûn, the hidden-treasure hadith, and Nigârî as a concealed pearl.
A poet who begins by refusing wine and ends as tavern-keeper, an old head still wanting wine, speech without letters and a surrender that asks nothing.
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