A palace ghazal built on the refrain "they will not let", whose subject is never named: a king whose face may not be seen, a fly kept from the halva and a last sip denied the lover.
A ghazal that asks mercy for a heart smitten with passion for the hair: white arms like Moses' shining hand, a night of Yeldâ on the cheek, a passionate tulip and a careless candle.
A beloved who hunts hearts in the blink of an eye: shooting stars turned into gold scattered by angels, the fire of waiting and a pupil that embraces hairs.
An opening that says the beloved was given the Resurrection instead of stature: extended rhyme on kâmet and kıyâmet, a professor's conceit of commentary and hadith, and the poet's fame.
A winter ghazal with the refrain "it is the age of": braziers like tulip beds, wine as dry water and wet fire, a sky holding the new moon as a cup and a money-changer's couplet.
A get-well ghazal with the refrain "health becomes": a double meaning between health and correctness, infidel tresses likened to faith, and a couplet mistakenly assigned to Adlî.
A ghazal with the refrain "holds": teeth like pearls of Aden in a ruby casket, the sun holding the ewer and heaven the basin, carnelian within turquoise and tresses holding a rope.
A ghazal that names the beloved "King Mehmed": life cut short in the moon's cycle, a moon rising from the heart of Scorpio, a body like straw on the water and a pavilion on the water.
A ghazal that turns a house made a stokehole by love's fire into a rose garden like Abraham's fire: a breast that lights the world, a magnet for an iron heart and cups like tulips.
A ghazal that turns a yellow face dyed red by bloody tears into a more precious gold: a lover who says "my darling", an ant in search of a grain, and Şeyhî's breeze.
A ghazal whose opening takes Şeyhî's ghazal 192 with the same image and almost the same words: beauty that makes the sun a moth, a mole as Adam's grain and a play on merdüm.
A ghazal that turns a stature bent by separation into a ring set with the stone of reproach: a mouth like the secret of the unseen, a name like God's Greatest Name, a necklace of dew.
A ghazal in which a cloud sprinkles rose water on a rose that fainted at the beloved's beauty: a heart that loves the servant of an aziz, tears named Ruby and Coral, basil in a broken pot.
A short ghazal opening with spring: trees turned into silver pavilions, branches taking cotton from their ears, bones moaning like a reed flute and tresses spoiled by "giving face".
A ghazal with the refrain "draws, writes", as if from the hand of a painter: a cup with hatayî and rûmî motifs, a line taken from Ahmed Paşa and Ferhad drawing Shirin on the mountain.
A beauty who turns the land of Rum into China with her tresses: a perfect pun on "pür-çîn" and "Çîn", water that does not quench fire, Khusraw and Ferhad, and a response to Vasfî.
A model poem in Nazmî answered by Kemalpaşazâde, Süleyman and Latîfî: a scribe of tears cutting pens from lashes, a rose that rouges its cheeks and pens of sugar cane.
A nine-couplet ghazal of dress describing the beloved's yellow robe with its red satin collar, a water-lily robe and a lemon kaftan: images of a yellow candle, a nahıl and amber.
An eleven-couplet picture of spring that scarcely mentions the beloved: a stream girded in silver, buds stormed like fortresses, a golden astrolabe and a plane tree holding dew.
The first of the responses to a ghazal of Necâtî: a narcissus that shoots arrows, a fly turned falcon, conjuring tresses, love and musk that cannot hide, a harp out of tune.
A sigh that scatters the rose-faced as the dawn wind scatters the rose harvest: a road opened by the comb on beauties' heads, wine that makes a beggar king, union as brief as a rose.
A ghazal that treats union as merchandise bought with the soul: a heart repenting in the niche of the brow, a bitter word that wearies sweet life, a beloved who leaves Ca'fer out.
A ghazal that complains to its listeners with the refrain "has become, friends": a beloved turned friend to the enemy, a rival like a doorstone, a rival tasting fortune's fruit.
A night when the moon came as a guest: a beloved who tells the lover "the moon gives no one a kiss", a moon hidden on a rainy night and an arm that becomes a belt as the moon enters the Bow.
A ghazal with the refrain "kills": a beloved who kills by her carefree manner more than by brow and eye, a bow without arrows, a lethal water of life and a Turkish pen-name couplet.
A ghazal built on the "opening" of rose and beauty: a wet eye that turns an idiom of sin into virtue, a mole like a cannonball against the heart's fortress and cypresses turned brooms.
A model poem in Nazmî answered by İshak Çelebi and Zâtî: tresses whose brokenness is wished like a blessing, Khidr present on wet and dry, and musk worthless until it travels.
A letter whose every letter the tears wash away: the soul painted on a drop of Kevser, a wish in internal rhyme beginning "if I were a cup", a moaning chain and love's woes one by one.
A ghazal comparing for nine couplets with the refrain "is better": a cheek in hand against Paradise on credit, fortune above reason, and talk alone with the bare-faced.
A ghazal that advances by invented causes: hairs as smoke, brows as spectators, water as a silver chain on the cypress; an emerald down against snake tresses, tresses as witches.
A ghazal on the unmeasured ascetic who cannot imagine a well-measured stature: the two senses of mevzun, a witching eye, a heart madder than Mecnûn and verse like a hidden pearl.
A ghazal that turns "nâz", coyness, into wine, an account, a sleep and a book: an ailing eye cured by wine, down that writes glosses, and a response on Ahmed Paşa's ground.
A ghazal in which the bird of luck nests only in breasts that took the beloved's arrow: a sigh worse than autumn's wind, no life by another's soul, and an idiom of harming a soul.
A ghazal that joins the proverb "do good and cast it on the water" to tears: a fruit of union that grows in no common air, a rose deaf to the nightingale, a mouth whose want is poverty.
A short ghazal with the refrain "green": right and left turned green by tears, an eye become a stream's edge, green garments for a rose-cheeked one, and green growing on the lover's grave.
A ghazal of libertines who speak as "we": tavern-goers, ruffians, painters on water, sweepers with lashes for brooms, and a line that echoes Kâsım Paşa's model almost word for word.
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