Five couplets spoken as Orhan, having taken Atranoz, camps at Pınarbaşı before Bursa, announcing that Bursa will be taken without bloodshed.
A ghazal made of refusals: a lover who will not rebuild his ruined heart, the recluse who shuns fame, and one rich in love's coin who scorns guarding a treasure.
Refîkî's answer to Hafî's ghazal claiming no beloved is without rivals: no hospital without patients, tears like planets, and the thornless rose of seeing the beloved alone.
A ghazal that lists the qualities sought in a master as a row of attributes: not every crowned head is a master, the balance of law and inner path, the lover thought mad.
Mustafa Vâzıh's four-couplet ghazal with the refrain "açmış gider": a boat of coquetry under sail, a dragon lock with open jaws and the bird of beauty spreading its wings.
Harîmî's ghazal with the refrain "şimdengirü": an ear closed to advice, locks that make the musk of Cathay needless and death called to be physician when the healer of souls forgets.
Kara Fazlî's late kaside for Prince Selim, using the words "throne" and "crown" in every one of its forty-two couplets, each time in a new figure.
Basîrî's ghazal on the refrain "efendi": the plain complaint of a servant who answers curses with prayers, finds no faith even in life and longs for a greeting from his master.
Münîrî's eighty-one-couplet mesnevi on an outing to Lâdik with Prince Ahmed; the road, the lake and Akdağ are described in couplets woven with puns.
Adlî's ghazal built from the language of the state, with the muhtesib, the unjust king and the army of sorrow, in which the poet asks his viziers for help.
Morning defeats the army of Şâm, a white rose outshines the stars, the sun performs the işrak prayer, and in this ghazal on "subh" the lover's eye is lit by the cheek.
Nigârî does not define passion; he gives it titles instead: painter, calligrapher, commander, alchemist, prophet, and at last the hand of Ali that opened the gate of Khaybar.
The tekfur of Bursa gives up his fortress through Köse Mihal for thirty thousand florins and leaves dressed in sackcloth: a scene told in three couplets.
A second ghazal of lovers speaking as "we": collars torn at the sight of the bud-lipped beloved, a love made an epic like the Tale of Hamza, a stature open as a flag, the mouth's secret.
Written to a ghazal of Sultan Bayezid II (Adlî) on 'olmaz': the treasure of union, no torment in paradise, a sleepless eye and a heart roasted on the hearth of pain.
A section on the necessity of a pledge to a master and on saints still existing: the intermediary before a king, a reply to “there is no master” and the lineage's start.
Mustafa Vâzıh's ghazal of a lover who trades his soul for wine: dust taken for the elixir, a Milky Way of tears showing the road to the Kaaba, and a kiss from the beloved.
Harîmî's ghazal in the long hezec metre: locks that perfume the horizons, the water of the eye against that of the cheek, a black passion and sleep turned into a dream.
Kara Fazlî's seventy-one-couplet sûriyye for Prince Selim on the circumcision feast of his son Murad, with its banquet, nahıl, mock galleys and fireworks.
Basîrî's ghazal in the short hafîf metre: a lover with no star to see the sun-faced beloved, and a self-praising close that claims to have borrowed nothing from any divan.
Münîrî's thirty-couplet kaside for Prince Ahmed; in this response to Ahmed Paşa the heavenly bodies become servants waiting at the prince's threshold.
Adlî's six-couplet ghazal likening the beloved's threshold to a hospital; its makta sets taking a fortress against winning a heart, conquest being easy and love hard.
Sâhib's ghazal on patience and time: grapes that turn to wine in the jar, an eyebrow-bow slackened by the years, a ripened cypress bearing fruit, and a pen that bows as it writes a name.
A seven-couplet ghazal opening each couplet with "O beauty": the wine of charm that burns and gladdens the lover, a meaning beyond words, and the form of the pen name.
Bursa surrenders to Orhan in 726 (1326), the tekfur's treasure is shared among the gazis and the vizier Saroz explains why the fortress was given up; six couplets follow.
A ghazal whose refrain is the beloved's name, Veyis: for Veyis, sultan of the heart's throne for years, tears become wine and the liver a kebab when he comes as a guest for one night.
Refîkî's ten-couplet ghazal with the redif 'olmaz': the ihram before the sanctuary of union, the reed flute as companion, and stature, tress and mouth spelling 'âdem'.
A Persian couplet in the section on the pledge to a master: praise of the reasoning dervish, superiority given to the one who always worships God, an uncertain reading.
Mustafa Vâzıh's ghazal of spring and the drinking party: friendship with the beloved's dogs, spring bloodletting, a daring comb and a beloved who says "the pen knows".
Harîmî's ghazal built like a catalogue of beauty: mole and locks as Zanzibari and Indian, eye and glance as trickster and sorcerer, a beloved rising like a star of fortune and the cry "Hû".
Kara Fazlî's forty-three-couplet autumn kaside for Prince Selim, with a nesib on autumn's ruin of the garden, a ghazal-like interlude and praise of his justice.
Basîrî's ghazal asking for the alms of beauty: a lover begging a kiss, a heart longing to be a moth, a burnt body even dogs refuse and a breast turned into an archery range.
Münîrî's tree-shaped (müşeccer) kaside for Prince Ahmed; a trunk and fourteen branches praise the prince, repeating the words "Rūḥ-ı ‘ālemdür".
Adlî's six-couplet ghazal of curls, candle, cypress and rose; in its makta the sultan-poet ties the reach of his command to a tuğra drawn from the beloved's eyebrow.
Sâhib's short ghazal: an ascetic in his shawl is a rapier hidden in a staff, the tughra is the imam of the mosque of decrees, and the wounded heart is content with the decree of fate.
In the second "O beauty" ghazal the eye is never sated: melâhat, the salty kind of beauty, only makes it thirstier, and the gazing goes on even through doomsday.
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