The divan of Prince Bayezid, son of Süleyman the Magnificent (pen name Şâhî; governor of Amasya 1558-59): each poem with its original text, English rendering and commentary.
Prince Bayezid's five-stanza tahmis on a ghazal by Celâlî with the refrain "garaz": rose, nightingale, cypress and plane tree, and seeing the beloved as the purpose of all.
Prince Bayezid's murabba with the refrain "Which one shall I tell, I have a thousand kinds of pain": separation, fate, the grief of friends and a warning to the beloved.
Prince Bayezid's murabba with the refrain "what a hard pain separation is"; Filiz Kılıç reads its fourth stanza as a son's plea for a letter from his father Süleyman.
Prince Bayezid's murabba with the refrain "my wish is only to be at service in the dust of your feet"; for Filiz Kılıç a plea awaiting Süleyman's pardon.
Prince Bayezid's seven-stanza murabba with the refrain "the soul may part from the body, but to part from you is impossible": Ferhad and Şirin and the word dirlik.
Prince Bayezid's eight-stanza love murabba with the refrain "I have loved a faithless beloved": hyacinth, rose, nightingale, the breath of Jesus, Leylâ and Mecnun.
Prince Bayezid's murabba with the refrain "my pain comes from longing for a merciless moon": stanzas completed by the refrain, the mihr pun and the threshing floor of grief.
Prince Bayezid's murabba with the refrain "had your image not been my companion on this road": stanzas built on a condition, Cemşid and falling far from service.
Prince Bayezid's murabba with the refrain "let this weeping eye weep, let it weep blood": clouds and ocean weeping with the lover, and in the end trust in God.
Prince Bayezid's murabba with the refrain "again I have fallen into the pain of separation": longing to serve a padishah on the throne of felicity and a farewell prayer.
Prince Bayezid's murabba with the refrain "watch for me, I have died, O my fair lord": love begun with a glance, a breast holed like a reed flute, the moth and a broken heart.
Prince Bayezid's eight-stanza murabba with the refrain "O my bey, O my padishah, O my fair lord"; Filiz Kılıç cites its first stanza as an example of Şâhî's sincerity.
Prince Bayezid's murabba with the refrain "O base, faithless wheel of heaven, I cry out against you": water turning to dust, roses to chaff and a complaint against fate.
Prince Bayezid's murabba with the refrain "O my eye, weep blood; O heart, sigh and cry out": a meadow like a dungeon, an imagined feast and exile from a padishah's door.
Prince Bayezid's seven-stanza murabba with the refrain "all that is left for me is to take to the mountains": Mecnun, the madman, the moth and repeated set phrases.
Prince Bayezid's nine-stanza murabba with the refrain "my heart's comforter, in every state my partner in sorrow": tears like the Ceyhun, sun and mote, Ferhad and the rebab.
Prince Bayezid's murabba with the refrain "my heart-stealer, peace of my soul, my padishah, come hither": a call to the sun of sovereignty and being sent into exile.
Prince Bayezid's murabba with the refrain "my friend, you are young; do not make bloodshed your law"; Filiz Kılıç counts it among poems of counsel to the padishah.
Prince Bayezid's murabba with the refrain "come, come, O my soul, or else your absence will destroy me": Mecnun and Ferhad, the roasted heart, rose and laughter, and an oath.
Prince Bayezid's only murabba in the muzari metre: a beauty seen on a rose-viewing outing and a one-line portrait in the refrain "moon-faced, cypress-statured, rose-scented".
Prince Bayezid's murabba of only two stanzas, without a pen name: a stanza where the verb "geçmek" changes meaning in every line, and a poem that may be incomplete.
Prince Bayezid's murabba with the refrain "He who adorned your beauty made me mad for you": love as written fate and a plea at the threshold not to count it a sin.
Prince Bayezid's murabba with the refrain "attain your wish, my padishah; you have granted me mine": the only joyful poem among his murabbas and thanks for a reunion.
The tevhid ghazal that opens the divan of Prince Bayezid, pen name Şâhî: allusions to the miracles of Moses, Jesus and the Prophet, and a poet named 'kingly' who calls himself a slave.
Prince Bayezid's ghazal of welcome to his father Süleyman: the joy of "safâ geldün", the fear of separation, and the wish to trade the lordship of Karaman for servitude.
Prince Bayezid's supplication to God: a poet who finds no one to take his hand, the hand of wrath and the hand of grace, and a tongue silenced before attribute and essence.
A love ghazal by Prince Bayezid: beauty above paradise, the snare of locks that catches the heart's bird, a seven-headed dragon and a curse on the rival "before one can say hâ".
A love ghazal by Prince Bayezid in the short remel metre: a heart caught in the locks, down rebelling over a mole, the contrast of detail and summary, a beloved tall as Doomsday.
Prince Bayezid's ghazal of longing rhymed in "-âb": a breast turned to roast meat, tears turned to wine, a cloud of locks veiling the sun, and a king of beauty ashamed of his servant.
Prince Bayezid's ghazal built on repetition: the refrain "kebâb oldı kebâb", the candle and the moth, the beloved's dogs and a poet turned to dust on the road.
Prince Bayezid's response poem to a ghazal by Ahmedî: the fire of longing, the smoke of separation, and counsel that the world builds up a man's beginning only to ruin his end.
Prince Bayezid's ghazal in a short metre: tears turned to wine by longing, a breast roasted by separation, and the counsel to give the heart to a place that will not fall to ruin.
Prince Bayezid's ghazal with the redif "heb" (all): the faithlessness of all beauties, arrows shot from bow-shaped brows, the beloved's dog and the rival, a tale written in bloody tears.
Prince Bayezid's party ghazal with the redif "mest" (drunk): a drunken glance holding a dagger, a pickpocket forelock, a flask that sings gulgul and a lover who outdoes Ferhad and Mecnun.
Prince Bayezid's ghazal of separation: the smoke of the fire of longing, the wish to wander the mountains like Mecnun, and a pen of destiny that wrote separation first upon his brow.
Prince Bayezid's ghazal joined from two fragments: repetitions such as "'alâmetdür 'alâmetdür 'alâmet", a plea for favour at the beloved's door and the Kaaba of her street.
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