Sâhib's gnomic ghazal naming Nâbî as master: judgements proved by examples, from treasure not in every ruin to vinegar that never turns to honey and the olive and fig.
Sâhib's ghazal with the refrain "-erlik istemez": Farhad, valued for helplessness not strength, the play of foot and rank, and the down that comes with the dust of time.
The lover calls himself an almond in patience, the pilgrim's garb on the road of Unity, a dot in writing, a cup in the gathering, and the useless days of an old calendar.
Sharing its pattern with ghazal 54 and repeating two of its lines, this ghazal from the T. 738 copy says fortune is won by luck and union bought with gold.
One of Sâhib's most playful ghazals: puns on Kays and the apricot, peach and mişmiş, gossip told with the suffix "-miş", a Sufi without music, and check in chess.
Sâhib's ghazal with the refrain "-eşden halâs": eyes like a quiver, an old lover bent like a bow, Siyavush in the fire, and advice to escape the five and six of backgammon.
The down is a ruler who pitches his tent on Hızır's day and marches with army and sword-bearers, and five musical modes from Uşşak to Pençgâh meet in a single couplet.
Sâhib's ghazal woven in madrasa language: the rising sun and the book Şerh-i Metâli', the jurists' rule of lesser and greater, love through the ear, five couplets as fingers.
Sâhib's ghazal with the refrain "-âsı yok": a heart holding trust in God as a life-tenure estate with no field or village, the city of contentment and the land of greed.
Sâhib's ghazal rhymed on reduplications: a bud reciting sura al-Fath, a nightingale reading leaf by leaf, the tulip of Kefe and the Tatar raider, servants inspected hearth by hearth.
Sâhib's ten-couplet ghazal with the refrain "-andırıncaya dek": a poem of patience in causative verbs, the two senses of kandırmak, an embroidered handkerchief, a watering inkwell.
Sâhib's ghazal built on the language of food and taste: the sky as a sieve, a musket whose barrel cracks with the fire of envy, and a lip both sugar and salt.
Sâhib's ghazal opening and closing in the language of shaving and barbers: a candle beheaded by the snuffers, the price of revealing love's secret, a barber.
Sâhib's ghazal woven in the language of old medicine: mummia that sets fractures but keeps its own blackness, tutty for the eyes, and a sapling as an old man's cane.
Sâhib's ghazal written in response to Necîb: the repeated letters of the word barber and Egypt's refined sugar, dry water and moist fire, and the pen that walks on its head.
Sâhib's ghazal built on "neither ... nor": an inventory of what the lover could not do, body's dust that never became kohl, and a lawsuit of love that cannot be proved.
A ghazal found only in the T. 738 copy, rhymed with the Turkish diminutive "-cik" on Arabic and Persian words: dew and sun, a little nightingale, a stranger in a stokehole.
The refrain "ol" (be) bids the lover become something new in every couplet: a vine round the cypress, a split tooth-stick, a torn cage, a bath attendant who shakes off worldly dirt.
What comforts Majnun is the glance of Layla he sees in a gazelle's eye; in this ghazal on "degül" everything that burns the lover lies a step beyond where it seems to be.
The down as the hour of breaking the fast, the cheek as the feast morning: a ghazal on down and mole woven with Ramadan, the dot of nûn and the geomancer's board.
Ricâm câm, selâm lâm, enâm nâm: in a ghazal whose rhymes echo the last syllable of the word before, the upright man stands like elif and a name ends on a gravestone.
The lover prepares his words, sees the beloved and forgets them all; he endows himself to agitation, while the heart's black spot and the mole sail in one ship.
The inkwell is an ignoramus full of ink, and the pen that dips into it daily never learns its secret; a market of fancy and a brimming cup in a dream share the ghazal.
A ghazal spoken wholly by the beloved and called a response to Nâbî: the lovers' quince and "alas", linen that outlasts the moon, and musk whose heart turns to blood.
Bent double under separation, the lover reaches the last sitting of his prayer; the principles and branches of law, a heavy-turbaned ascetic and a sun rising in the west.
No one looks for a mihrab in the courtyard of the Kaaba; Sâhib carries this point of law to the kiss, and his refrain "neylersin" weighs the shadow against the real thing.
A hair-fine waist is likened to the Sirat bridge of the Last Day; the February of separation, the Nevruz of union, and a beloved at the head of a banquet of lips.
Let the wind not hear the sigh, the boxwood not hear a stature praised, the ascetic not learn the taste of good wine: every couplet asks that something stay hidden.
The beloved who lights a fire in the oven of the heart is a Janissary's son, may his hearth never lack; cotton in a wound, a foot that is a cup, taverns shut for Ramadan.
As beauty passes from lip to down the mad heart moves from Aleppo to Damascus, from white to dark; every night is a Night of Power, and wine exposes boasted lineage.
Separation turns the lover from Rüstem into Zâl: the ghazal runs the Shahnama's family tree backwards and adds souls that undress from their bodies in the bath.
A ghazal of maxims with hardly any love in it: needle and thread, a window fed by sunlight, fate as the officer who divides an estate, a sieve that parts bran from kernel.
The letter elif stays upright whether joined or apart, a model of the beloved's rectitude; road earth sealed by a horseshoe and the counsel to be the son of the moment.
Do not split, do not water, do not shoot unfletched: moving through commands close to spoken Turkish, the ghazal ends with Sâhib telling the preacher he has said it a thousand times.
Matla, mısra, makta: rhymed on the terms of poetry itself, the ghazal ends by holding up to the poet the pen that writes only after its head is cut on the makta.
His breast branded ring upon ring, the lover takes to the mountains like a spotted leopard; a rebel cypress with bound feet and candles burning with fire on their heads.
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