Pain and wine, king and beggar are one; so are the abjad values of lovelock and passion and the spelling of affliction and love: Sâhib proves "birdür" in script itself.
Sâhib's ghazal with the refrain "çıkar" (comes out): mummy from broken bones, silent laments from a kohl-lined eye, a sigh turned rope-dancer, and eye salve from the beloved's ground.
Sâhib's ghazal rhyming in "-em olur": eyes that become the knocker of a house of mourning, a chin dimple that becomes Zamzam, eyes like purses of dirhams, and a footprint that seals.
Sâhib's ghazal in the language of alchemy: soul as mercury, heart as crucible, body as arsenic; eyelashes as nails or skewers, an eye as Mars, and the down as a book's chronogram.
Sâhib's ghazal woven with idioms: love that roasts the heart like coffee, a rival dog in ambush, a plane tree wrestling the whirlwind of grief, and a balance pan struck from stone to stone.
Wet fire in dry water inside a crystal neck, night and day made equal in spring, pearls in a ruby box, and a poet bound for China, all under the refrain "gösterir" (shows).
Sâhib's ghazal that reads the beloved like a book of verse: eyebrows as a couplet's two lines, the beloved as a seven-couplet ghazal, the down as its closing line, unveiling as a veil.
Sâhib's ghazal woven from abjad equalities: lamp and moth at 264, fly and elephant at 120, morning and evening at 101, pain and separation at 208, strife and peace at 128.
Sâhib's ghazal of feigned ignorance: eyes like swallows nesting in the arch of the brow, a lovelock like the scales of the heart's market, and beauty marks like Majnun's gazelles.
Sâhib's ghazal of questions: Noah's flood boiling from the oven of the heart, a monarch of beauty holding council on the face, an eye with a sea of pearls, and a lover with no soul left.
Sâhib's ghazal listing things that interlock: Rumi and Arabic months merging like a doubled letter, interlaced fingers like a Qur'an stand, and water and waterwheel that need each other.
A heart hurt even by grief's leaving, a beloved hurt whether he is looked at or not, a warning to the breeze, and the rose on a seal ring hurt by a thorn.
Sâhib's ghazal with the refrain "budur" (this is): a saki who makes the cup "walk", a beloved who would love his own reflection, the old man of the tavern, and a cry for help.
Sâhib's ghazal rhyming in "-âredür": a beauty mark like a star burnt by the sun, a heart rocking like a cradle, a being pressed to juice in annihilation, and a candle in a lantern.
Sâhib's ghazal of indifference with the refrain "hep birdür" (all one): unbelief and Islam, jug and cup, grain and snare, sugar and poison, fame and namelessness are all one.
An eyelash passes like fate's arrow and only contentment remains; "what is past is past", a sky no bigger than a blister and a costly union meet on the refrain "kadar".
Sâhib's short ghazal with the refrain "kadar": generosity and delight rarer than the Simurgh and alchemy, submission guarding the ship, advice on surfeit.
Sâhib's ghazal on the tools of writing: the pen as the tongue of thought, the inkwell as a kohl box, the ruling board as a ladder, word and meaning as body and soul.
Kevkeb is both the star of fortune and a mole; reproach is excused as the raving of fever, and longing for dawn is laid to the length of the night, on "-ümdendür".
Sâhib's ghazal with the refrain "kalmışdur": virtues left only in rose, cup, chess and backgammon, the heart as a barber's mirror, a raw silver-and-amber image.
Sâhib's ghazal mocking the Sufis: with the sounds mır mır, hır hır, fır fır, dır dır, çır çır they purr, snarl and spin like cats, dogs, millstones and a cotton gin.
Sâhib's ghazal rhymed on the reciprocal suffix: candle and moth, beauty and reflection, chain links, sorrow and streams, jar and rinds answer one another.
A ghazal of consolation found only in the Ali Emîrî copy: scars that turn to roses, black fortune that becomes the pupil of the eye, and enemies scattered by time.
A ghazal found only in the T. 738 copy: a pipe stem that splits from envy of the smoke kissing the beloved's mouth, down plucked like a weed, saplings watered.
A ghazal with the refrain "yarılur" found only in the T. 738 copy: pistachio, pomegranate, pen nib and dewdrop split of themselves, each given a cause in love.
The refrain "geçer" changes meaning in every couplet, from being counted to giving up to time passing, and the idiom of a hair between two people turns literal with the down.
Lip and down are praised through the titles Reşehât and Nefehât, brows become a tughra, a chestnut bursts and kings are left on foot in chess; known only from the T. 738 copy.
A ghazal with the refrain "bağlanur" found only in the T. 738 copy: a girded sword, a musky headband on the bride of beauty, roses tied with thread, donkeys for horses.
Terms of astronomy, the almanac, Arabic grammar, finance and baking in one ghazal, where mansions of silk-clad beauties become Harîrî's Maqâmât; only in the T. 738 copy.
A moaning waterwheel, Sohrab killed unknowingly by Rustam, squirrel fur that keeps the embers, and a heart turned astrolabe: the ghazal on the refrain "-âbdan kalmaz".
Sâhib's ghazal with the refrain "-âşıyuz": a lover grateful for the day of shaving, head and foot of the gathering, and the new ghazal met like a gazelle in a fresh valley.
Sâhib's ghazal with the refrain "olmaz": office-holders' fear of dismissal told in grammar terms, pearls of the salt sea, the reed and sugar cane, and the sandal skiff.
Sâhib's ghazal with the refrain "-âra dek çekerüz": seven senses of the verb çekmek, lament turned into merchandise, a rosary of scars counted to the day of reckoning.
A trembling image turns the mirror into a house of quicksilver, the mole is the summary and the down the detail, bâl is both mind and wing, and the candle wears a moth-wing shawl.
Sâhib's ghazal with the refrain "itmege degmez": a couplet built on the musical modes Uşşak, Şehnaz and Dügâh, the down as preface and title page, crown and cap.
A wound that laughs from its saffron salve, a cradle of vine wood, a rosary strung on a sigh, and a fountain that climbs because its source is high: a ghazal of old beliefs.
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