Adlî's ghazal on the refrain "muhtâc", preferring the sight of the beloved to paradise and the dust at her door to its palace, and ending with the dervish's need of the king.
Sâhib's poem counting the waters of Bursa one by one: thirteen waters from Pınarbaşı to Fındıklı, the Müftü water with its fatwa, Moses' Asâ water and a water worth gold.
Asked why he shows such respect to the infidels of Bilecik, Osman Gazi answers "they are our neighbours"; three couplets then urge neighbourliness and caution together.
A ghazal in a short metre and plain language: mouth and hair played on with the titles of madrasa textbooks, robbers in the city of the heart and a world-rose whose scent brings headaches.
Refîkî's ghazal woven of tax terms such as tribute, stamp-duty and toll: a glass heart that cannot hide the candle, tribute from a ruined road and love's untaxed caravan.
The punishment of the grave, the questioning, the scales, the Pool, paradise and hell are each declared "true"; grave sins and intercession follow. Sa‘dī Çelebi's Arabic verse.
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 book's last na't: a chain of prophets from Adam and Eve to Moses and Jesus, an echo of the first na't, and a poet who calls himself a blind beggar.
Ehlî's matla about a beloved who ignores the lover on the road and looks at the sky: the opposition of heaven and dust, and Beyânî's different and tighter text.
Nigârî's couplet asking whether words that astonish the people of the heart are revelation, miracle or magic; the last poetic quotation in Hüsameddin's entry.
Mustafa Vâzıh's ghazal opening with a call to the drunkards: a stony-hearted beloved, Jacob's heart parted from Joseph, the cry "O brothers" and eyebrows like a mihrab.
Harîmî's short ghazal with the refrain "-yı 'ışk": a sea of love that will drown the world, a lover whose head is given to the wind and disgrace chosen because love's secret cannot be kept.
Kadı Burhaneddin's ghazal couplet addressing the beloved as one would a sultan: a love that will last until death and a raging lion that fears nothing at all.
Kara Fazlî's forty-eight-couplet kaside that praises the worth of speech and poetry, mocks false poets and then praises Prince Mustafa, asking for his patronage.
Basîrî's ghazal on the refrain "people": the poet as master of love, a market crowd beating their breasts for Joseph, the damned warmed by his sigh and zünnar-wearers girding for him.
Münîrî's forty-two-couplet kaside for Bayezid II opens as a ghazal to the beloved, turns to praise by naming the sultan by his pen name Adlî, and lauds his sword and arrow.
Adlî's five-couplet ghazal on the refrain "medh", which opens by declaring praise of the beloved unfit for a servant and likens a wound to a mouth and an arrowhead to its tongue.
Sâhib's poem on Mahmud I shooting a bird from a hundred and fifty paces at the Gülhâne Pavilion: a gold-inlaid musket and a hit read as an omen of Tahmasb Kulı Khan's death.
Four couplets on Köse Mihal's daughter's wedding, where the tekfurs plotted against Osman Gazi and the tekfur of Bilecik conceived the idea of a wedding trap.
A ghazal in which every couplet turns one thing into another: pearl teeth and ruby lip, a lover made sultan by a half-spoken "my slave", Avicenna's Canon and the kanun zither.
A short-metre ghazal given to Refîkî in the Mecma'u'n-Nezâ'ir and to Fakîrî in the Pervâne Bey Mecmuası: a crown and kohl of dust, a glass that tells, and two pen-name couplets.
Faith is the heart's assent and works are no part of it: Sa‘dī Çelebi also takes up "a believer, if God wills" and whether the blessed may become wretched.
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.
Admitting a seeker to the Naqshbandi-Khalidi path: istihare, the remembrance of God's name, the five subtle centres and negation and affirmation, in six couplets.
The lover's resolve to stay in the beloved's street, tied to fortune and to God's will: salmazsa and almazsa in Ehlî's matla, and Beyânî's wish to die at her door.
Nigârî's ghazal recalling his native Bergüşad, the Hekeri river and his beloved in Karabağ: the pain of exile, an allusion to Jacob and the voice of Azerbaijani Turkish.
Mustafa Vâzıh's ghazal whose last couplet challenges a poet called Hafîd to a response poem: long pain, eyes like the sura Kâfirûn and a pun on the word "grandson".
Harîmî's ghazal built on doubled words: a stature like the letter elif on the tablet of the heart, a rose scattering gold by the tray and the liver's blood filling the eye.
Kadı Burhaneddin's ghazal couplet setting the stone of cruelty against a heart of glass: the fragile heart is not made of Shiraz iron, an antithesis of stone and glass.
Kara Fazlî's thirty-two-couplet Nevruz kaside with the refrain "nevrūz", describing spring with a secretary's pen and likening Prince Mustafa's face to Nevruz.
Basîrî's ghazal on the refrain "the one who does": a beloved drinking with the rival, liver's blood from the eye's goblet, a torn cloak of patience and a flood from the heart's oven.
Münîrî's forty-five-couplet Turkish kaside for Bayezid II, a response to Ahmed Paşa that moves from the beloved to the sultan and sets the planets in his service.
Adlî's five-couplet ghazal on the refrain "ferah", which opens with the rose season and the passing cup and reaches the allusion to Solomon and the ant's humble gift.
Sâhib's poem on Mahmud I shooting a bird in flight at the Bahâriye Pavilion: the idiom "what kind of bird are you", Rustam's eye-piercing arrow and a double chronogram.
Four couplets on the wedding of the tekfur of Bilecik at Çakırbınarı, the gazis hidden among bales of felt, and the taking of Bilecik, then of Yarhisar and İnegöl.
An eight-couplet ghazal telling the beloved's walk in the garden like a royal procession: narcissi watching the road, box trees standing at attention and two seas of the eyes.
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