Refîkî's hezec ghazal on Şeyhî's model: an eye given to floods, candles burning for the moth, a night lit by sighs, and a beloved whose collar is the rising-place of the sun.
Letter games that draw 'cidâl' from the tress's jîm and dâl and 'derd' from a râ-shaped brow between two dâls, with the kanun's tuning peg and a grain in the snare.
Refîkî's ghazal on Kıvâmî's model in remel-i mahbûn: a gazelle that turns the lover into Majnun, a crescent body people point at, and the gaze on beauty set apart from kisses.
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Refîkî's ghazal signed 'Refîk': a heart content with the fancy of a waist, a lover weeping blood like a pen, a crescent brow from a black cloud, and months and years confused.
Refîkî's nazire on Cem Sultan's model: a mihrab brow, fiery smoke as a cap plume, a star of tears rising from a house of the zodiac, and a close built of chess terms.
An invitation to the cupbearer in six stanzas, the cup as fire for the cotton of piety, and the refrain 'let us rend our collars': a nazire to Tâcîzâde Câfer Çelebi's murabba‘.
Refîkî's ghazal turning the black smoke of sighs into a curtain that hides the beloved: a waist that carries off to fancy, an eye-boat in tears, a tongueless lover, a mouthless beloved.
A road to the cheek through the black tress on a moonless night, a pupil asked for humanity and earth split by floods, in a nazire on Necâtî's model.
Refîkî's ghazal opening on 'yâd' as stranger and as memory: the proverb that kindness is never forgotten, tulips from Farhad's bloody tears, and a beloved bowing from his horse.
From a tress likened to Mansur's gallows to Joseph passing through the bazaar, and from a beloved with the breath of Jesus to beauty that comes in through the wall.
Refîkî's ghazal woven of music and chess terms: a stature bent like a harp, lament as the kanun, a sigh raising banners, and Sultan Mahmud and Ayaz on the board of the world.
An ascetic who thinks himself the nightingale of the Throne but flies like a hen, a colourless wail and a firework sigh, in the second nazire on Şâmî's model.
Refîkî's nazire on Kemalpaşazâde's model: smoke rising like vapour from a torn breast, a sky that plants festival flowers, the road's dust in the eye, and union as theriac.
Drunkenness before the vine, prey proud to hang from the saddle-strap and satin traded for straw, in the second nazire on the same model by Kemalpaşazâde.
A ghazal counted a nazire to Kemalpaşazâde in one anthology and Refîkî's own model in the other: wine forbidden with others, a crooked gazer bent like lâm, offices in Egypt and Damascus.
A ghazal spoken entirely by the beloved, with a watchman at the threshold, a chin-dimple as a nest for nightingales, a crooked gazer bent like a bow, and Refîkî named lord of lovers.
Refîkî's ghazal of a lover who cannot turn from side to side in the oven of separation: tears as an eye-lotion, a mischief born of wine, and a portico that makes the heavens envious.
The whole of a Refîkî ghazal whose opening couplet the tezkires quote: roses added to the dish of beauty, cups endowed to tavern riffraff, and eye, mouth and brow spelling 'life'.
Refîkî's second nazire on Hayâlî's model: a bravo to the painter of the beloved's face, the proverb of what is written, lashes that sweep the threshold, and a sigh to dry up the seas.
Adam and the grain in the snare of a mole, a lucky comb and a lover who taught the moth to burn, in a nazire on the model of Hafî, an unlettered shoemaker.
Refîkî's remel nazire on Necâtî's model: a star of fortune in conjunction with the moon, hyacinth and narcissus conspiring, and pomegranate, orange, apple and quince in one line.
Stars as the eyes of a sky kept awake by the lover's wailing, a rose branch fenced with thorns and a harvest of reason lost for a grain, on Ahmed Paşa's 'hırmen' model.
Refîkî's ghazal on the heart as 'harâb-âbâd': foundations torn up by grief's flood, an army of grief raiding joy's tent by night, a breast pierced like a reed, congratulations on servitude.
A watchman with his drum, a shepherd with his pipe, a caravan at the fountains and a child with bow and arrow: a ghazal of everyday life built on the redif 'eglencesi'.
Refîkî's ghazal with the redif 'ol yüri': an opening that echoes a line of Prince Korkut, lovers weeping like a thousand nightingales, Solomon's seal and Joseph made sultan in Egypt.
Refîkî's ghazal with the redif 'devrân beni': fortune levelling the lover with dust, a divan opened at every gathering, a lover known only by his moans, and blood that catches up.
Refîkî's second nazire on Vasfî's model: a lover who turns stranger because the beloved favours strangers, servitude preferred to Egypt's throne, and Refîk to be sought in the taverns.
A brow drawn like a tughra on the decree of beauty, stars turned to pearls in a sea of tears, an arrow from a bent bow and a brand like a tulip, in a ghazal on 'gibi'.
Refîkî's ghazal with the redif 'ehli': the people of denial and affirmation, a beloved worshipped by cloak and zunnar alike, a cloak of honour pawned, and every matter with its expert.
A body like an anthology whose leaves the wind will scatter, Hâfız's Arabic line reversed and the partridge of detachment, in one of Refîkî's most openly didactic ghazals.
Refîkî's short-metre ghazal leaning on spoken language: a lover who longs to be the target of the lash's arrow, a beloved in sky-blue dyeing the world red, and 'I love a certain so-and-so'.
A couplet of praise woven of the terms me‘ânî, beyân and bedî‘, a mouth beyond imagining and a mole that makes the eye ache, in a second ghazal on Mesîhî's model.
A ghazal given to Refîkî in the Pervâne Bey Mecmuası and to Nasûhî in the Mecma'u'n-Nezâ'ir: beauties as pieces of the moon, beloveds touring like planets, white face and black faces.
A feast-day ghazal counted Kemalpaşazâde's model in the Mecma'u'n-Nezâ'ir and Refîkî's nazire in the Pervâne Bey Mecmuası: cups with nowhere to step, and the address 'ey refîk'.
A Refîkî ghazal kept only in the Pervâne: a moon that wanes to a crescent hearing of the cheek's sun, an objection to the sugar cane, and down on the cheek like converts.
A Refîkî ghazal kept only in the Pervâne: a brow that teaches mischief to the eye, a hyacinth jealous of the comb, a mirror that kisses the king's hand, and a sun-face joined to a crescent.
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