Poems of Sürûrî of Gelibolu, tutor of Prince Mustafa at Amasya: his praise of Mustafa in Bahrü'l-maârif, his reply to Gubârî and texts preserved in the anthologies.
The poetry of Gelibolulu Sürûrî, Prince Mustafa's tutor in Amasya: his praise of the prince in the Bahrü'l-maârif, his verse reply to Gubârî and couplets preserved in the tezkires.
Gelibolulu Sürûrî's verse reply to Gubârî, who had reproached him for becoming tutor to Prince Mustafa: the poet's own defence of his years as the prince's teacher in Amasya.
Gelibolulu Sürûrî's ghazal known for its pen-name couplet, in which the poet whose name means "joyful" says he never smiled; Âşık Çelebi read it as an augury of his teacher's fate.
Gelibolulu Sürûrî's barbed reply to Gubârî, who claimed his poem could have no equal: a response couplet that began the quarrel later continued over Sürûrî's tutorship in Amasya.
Two couplets of Gelibolulu Sürûrî cited in four anthologies: the heart that darkens the world with sighs to avoid seeing rivals, and the beloved who keeps people awake so none dreams of him.
Two playful couplets by Gelibolulu Sürûrî with the refrain "has grown": the beloved now beyond his father's control, and the torn collar grown wide enough to pass him through in adoption.
Gelibolulu Sürûrî's couplet reading the halo around the moon as a protective circle drawn by prayer, in which the moon takes refuge from the beloved's bewitching eye.
Gelibolulu Sürûrî's matla reading a cloud covering the sun as the hiding of the sky's sun so that the sun-faced beloved might remain without equal in the world.
Gelibolulu Sürûrî's single-couplet matla voicing, in plain Turkish close to everyday speech, the wish that the beloved embraced in a dream might be found in one's arms on waking.
Gelibolulu Sürûrî's matla cited by Latîfî, Kınalızâde and Beyânî: the kiss that gives back the life the lover paid for it, and a jest on a lip kissed for nothing.
Gelibolulu Sürûrî's couplet on the lover who deliberately makes his eye squint so as to see the beloved as two in a single glance, a couplet resting on a playful conceit.
The quatrain of praise in the preface of the Bahrü'l-maârif, completed by Gelibolulu Sürûrî in Amasya for Prince Mustafa: the four caliphs' virtues gathered in the Prophet's namesake.
Gelibolulu Sürûrî's pen-name couplet: a jest on the idiom "to eat grief", saying that the poet who spent all he had on the beloved's road will leave his heir nothing but sorrow.
A feast-day witticism Âşık Çelebi preserved from his teacher: whoever sees the beloved's face and kisses his hand gains three feasts in one day, through a pun on sa‘īd and se ‘īd.
The couplet inscribed on Gelibolulu Sürûrî's gravestone in Kasımpaşa, wishing that whoever passes his grave with a prayer may pass on to Paradise with faith.
A couplet by Sürûrî claiming that the crescent marks on the beloved's path come not from the heel-iron but from the eyebrows of the lover who laid his head there.
The opening couplet Latîfî quotes as "inimitable" from Sürûrî's book on rhetoric, the Bahrü'l-maârif: a turtle-dove caught in the snare of hair, of uncertain attribution.
The last couplet Latîfî chose from Sürûrî: a rose-skinned beloved in an iris-coloured robe, so that whoever looks at him gathers fresh rose and iris together.
Two couplets recorded by Sehî in 1538: Sürûrî's ghazal fragment putting in their place the moon that vies with the beloved's face and the rival who plays the pasha.
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