Sent alone for the first time against Karaçepüş and Karatekin, with Akça Koca, Konur Alp, Gazi Abdurrahman and Köse Mihal, Orhan is praised in three couplets.
Five couplets in short remel: ney, harp and kanun in the gathering of grief, puns on the names Hüsrev, Ferhad and Mecnun, and Avnî who spent his tears and could not buy union.
A cheek rising like a sun from the evening of the tress is a sign of Doomsday in this nazire on Nesîmî's model, along with a pearl of grace, a salamander heart and a slave moon.
A ghazal whose every couplet ends with “etmiş misiñ”, have you: an examination of the claimant to love through two bows' length, the moth, Ferhad and prayer.
Mustafa Vâzıh's ghazal with the refrain "dirler": a beloved like a gazelle in self or only in eye, kohl-darkened brows, a "suckling lamb" and a pun on eş'âr and iş'âr.
Harîmî's ghazal rhyming in "-en": the pearl of Aden piercing its breast, Khotan musk falling to the ground, thorns on the Kaaba road turned to roses and a shroud of roses for the lover.
Kara Fazlî's twenty-nine-couplet kaside that opens with chess terms, describes his scrawny horse in comic language and then asks Prince Mustafa for a new mount.
Basîrî's ghazal of a lover made for affliction: a house of pain with eyes for windows, a heart like a madman in the bath-furnace and a needle forged from an arrowhead to sew the wound.
Münîrî's forty-two-couplet Persian kaside for Prince Ahmed with the refrain "rosebud"; the bud plays Joseph, horseman and plaintiff, and ends as the title of his divan.
Adlî's ghazal on the refrain "eylediler", which presents the beloved's beauty as a gift of pre-eternity, likens the beloved to Joseph and names him king of the world.
Sâhib's debate ghazal with the refrain "bahs" (dispute): a grain against the mill, the cup against the rosary, false and true tears, a heart reconciling lock and comb, a moth at the lantern.
The second cupbearer rubai opening the divan: wine offered openly to the gathering of rinds, completed with blessings on the Prophet and a prayer for his family.
The tekfur of Karatekin refuses Orhan's offer "give me this fortress" and his stronghold is sacked; six couplets follow, each ending with the word "kal'a", fortress.
A ghazal in which the rival bars even a heart content with the scent of the hair: a beloved above the angels, a love on every tongue and a final couplet urging wealth be spent on wine.
Refîkî's second nazire on Nesîmî's model: a muezzin who sees the beloved's stature and cries 'What a fine kâmet!', jasmine trembling like linen, and a couplet after the pen name.
Love of saints and the Hizbü'l-bahr, a call to unity in the Khalidi hatm, and sharp yet measured criticism of other orders: on the superiority of the Naqshbandis.
Mustafa Vâzıh's ghazal to a schoolchild reciting the sura of Joseph: the well of Nakhshab, sweetened coffee for a melancholy temper and ink in a crystal bottle.
Harîmî's ghazal rhyming in "-en": the idol as teacher of coquetry, a lover who puts the rope around his own neck, basil and jasmine laid low and the sound play "yil, yiri, yirine".
Kara Fazlî's thirty-couplet winter kaside that portrays winter as a sultan invading the realm of the garden and links the silver of snow to Prince Mustafa's bounty.
Basîrî's ghazal on the lover's frailty: bones turned into a letter, a tongue of flame in the oven of grief, a body no one can tell from its trace and a black eye that assays silver tears.
Münîrî's forty-two-couplet Persian kaside for Prince Ahmed; after an inner ghazal he likens himself to a Hassân beside the prince who bears the Prophet's name.
Adlî's ghazal imagining a gentle beloved, in whose final couplet the poet asks himself: you pass for a sultan, but can you pay the price of a soul?
Sâhib's sententious ghazal with the refrain "geç" (let go): Joseph who left home to become aziz, carnelian famed once it leaves Yemen, a proverb, and thought milled to flour in the heart.
The ghazal section of the divan begins with this poem, each of whose nine couplets opens "O love"; love is invoked as the source of speech, melody, wine and the path.
After the fall of Karatekin the frontier gazis press İznik: Konur Alp raids in Akyazı, Akça Koca towards İzmit, Gazi Rahman beside them, in five couplets.
A ghazal spoken in the first person plural: the body turned to dust and swept away by sighs, wine set upon the head, breasts bared to separation's arrows and a threshold equal to heaven.
A ghazal the Pervâne Bey Mecmuası heads 'Refîkî of Amasya': the lot of pre-eternity giving coquetry to beauty and supplication to lovers, a letter, and an upright cypress.
The book's only rubai: a reply to the Sufi who thinks the saints' spirits dead, God's sword that cuts more than an axe and a remedy kept in a flask.
Mustafa Vâzıh's ghazal with the refrain "virir": the sick eye and the world of images, a lisping Greek beauty whose mouth holds no dot, and an eyebrow that says "ceffe'l-kalem".
Harîmî's poem of leaving crown and robe to wander in exile: couplets that the biographers say Prince Korkut spoke as the voice of his condition when he went to Egypt.
Kara Fazlî's thirty-three-couplet kaside with the refrain "-dür bugün", celebrating like a feast Prince Selim's arrival in Bursa and his meeting there with Süleyman.
Basîrî's ghazal on the refrain "our": a tulip-faced beauty, the sky's goblet of sorrow, a suit for blood against the beloved, moans heard as music and a pun on al, ala and almak.
Münîrî's forty-one-couplet Persian kaside for Prince Ahmed with the refrain "nihād"; Ersoy calls it a response to Selmân and Zahîr, and the poet names both at the end.
Adlî's ghazal about an old lover who has given his heart to the young, the chain of the curls, a Sufi's dream of Paradise and the grief written by destiny.
Sâhib's ghazal whose refrain uses the astronomical terms "hazîz" (perigee) and "evc" (apogee): rise and fall in music, in a seal, in the dots of letters, in rank and in fortune.
A ghazal whose twelve lines all begin "‘Aşkdandır": love as the beginning and end of existence through sun, moon, bird, fish, sky and Mount Qaf, with Arabic rhymes.
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