Three couplets on a father who guides his son and a son who takes counsel, after the question whether Osman Gazi was still alive when Bursa was taken.
A ghazal whose refrain "olmış" (has become) reports changes: eyelids bobbing as bubbles in a pool of tears, locks turned eagle, a Sufi who allows secret drinking, a rival dog at the door.
A reveller's ghazal opening on the pun between 'evbâşlaruz biz' and 'ev başlaruz biz', with a sip worth more than Jamshid's cup, joy grafted on grief and lashes that sweep the threshold.
The second ghazal to Amasya, opening “do not think I bring you harm”: a sheikh who brings prayer, charged to mark granite-hard hearts with the pen of love.
The longest ghazal in Mustafa Vâzıh's Dîvânçe: with the refrain "elmās" it links dagger, cup, censer, the splitting of the moon and the beloved's ruby lip in jeweller's images.
Harîmî's ghazal built in the language of calligraphy: down written on the lips, the basmala of the Mahzenü'l-esrâr, a sunburst on a wall and a name the scribe of tears writes on every wall.
Kara Fazlî's thirty-four-couplet kaside of praise from the tehniyetname he wrote for Ahmed Çelebi on his appointment as defterdar of the tımars of Rumelia in 954 (1547).
Basîrî's ghazal on the refrain "both": a poet disgraced by love, nightingale and moth, mansion and ruin grown narrow, the ascetic's snare and a tavern full of God's light.
Münîrî's festival kaside for Prince Ahmed; the crescent at the end of Ramadan becomes a key, a sickle, a skiff and a horseshoe before turning to the prince.
Adlî's seven-couplet ghazal on the refrain "henüz"; its second couplet, on the palace of the heart, is disputed, as Âşık Çelebi and Âlî give it to Mahmud Paşa (Adnî).
Torment grows with hope, beauty with the down, appetite with eating, and the moon's light with its distance from the sun: Sâhib's ghazal on "artar" is a chain of proportions.
A prayer ghazal that pleads with God as if addressing a beloved: play on the word "nigâr" and the pen name, a rhyme recalling Hafez, and the elders of Samarkand and Bukhara.
Osman Gazi asks Orhan to bury him under the Silver Dome and to reject words God has not commanded; two couplets on intention close the chapter of his testament.
A short ghazal on a bud-lipped beloved who was a sapling and is now a cypress: honey on beauty's table, a brow watched instead of the crescent, and a lip like sugared halva.
Refîkî's nazire on the model of Resmî the painter: a moon-candle unafraid of the dawn wind, a sword offering the water of life, an arrowhead as bud, and dust that polishes the heart.
Love as the capital and tavern of lovers, the jewel fallen into filth and Bâyezîd-i Bistâmî's anecdote of the lost donkey: one of the book's most poetic mesnevî pieces.
Mustafa Vâzıh's ghazal on the beloved's finery: a belt wound round a hair-thin waist, a cypress called a tall fool, a forelock under the fez and henna turned to blood.
Harîmî's ghazal rhyming in "-âne": the matchless pearl of the sea of love, a rind who leaves the kingdom of the world for the tavern and advice that cannot reach one maddened by love.
Kara Fazlî's thirty-two-couplet kaside praising Sun'ullah, again vizier to Prince Mustafa, with the moon of justice, Âsaf and Hâtem, and letters that spell "reason".
Basîrî's ghazal that opens the language of the tavern to Sufism: an owl of the ruin whose huma of aspiration nests on the Sidra, a coffin of vine branches, devotion to the tavern elder.
Münîrî's fifty-four-couplet elegy for his children Ali and Ferah, who died within a week in 887 (1482-83); it opens with complaint and closes in prayer.
Adlî's seven-couplet ghazal likening the liver to an oven and tears to wine; its makta counts the beloved's street as Paradise, where there can be no torment.
Sâhib's ghazal with the refrain "olmaz da n'olur": advice never to set foot in state office, grief that rises and falls like the tide, and a pen-name couplet that follows the way of Nâbî.
Nigârî reads the Quranic judgement on poets in his own favour and sets believing poets apart; blame (melâmet) and the two senses of "nevâ" are the poem's other supports.
Four couplets on love, signed Âşıkî, in the middle of the story of the daughter of the tekfur of Aydos, who saw in a dream a man lifting her out of a pit and lost her heart to him.
A ghazal of discovery with the refrain "-mış": an eye lit by the threshold's dust, a heart rebuilt by the architect of cruelty, motes turning to the sun and an ascetic who skips prayer.
A ghazal that opens by wishing long life to a tolerant tavern-keeper, with the goblet's skirt, a fawning decanter, a temple bell, a moth burnt by a mole and a jealous comb.
The deliverance of a poet burned by love, through the beloved's grace: the sheikh taken for a stranger, the master who opened the road, and a sharp word for the ascetic.
Mustafa Vâzıh's ghazal on an armed young rake: reduplicated phrases from spoken Turkish, a drunken night scene and the thief of the glance in the ruined house of the heart.
Harîmî's ghazal with the refrain "oldun yine": a heart moaning like a nightingale, the scent of union, a soul waiting for death and a Sufi flight from multiplicity to unity.
Kara Fazlî's forty-two-couplet autumn kaside, opening with a picture of the fading garden and praising the chancellor Celâlzâde Mustafa Çelebi for his verse, pen and generosity.
Basîrî's ghazal that makes the beloved's street a Mount Sinai: God's light in the Friend's face, Paradise refused without her, Leyla's locks, a sugar-chewing lip and the passion of curls.
Münîrî's five-stanza love terci-bend; its Turkish and Persian stanzas meet in one refrain couplet: for lovers the sorrow of love is gain enough in both worlds.
Adlî's seven-couplet ghazal likening the sun to a beggar who comes to the beloved's door each morning; it closes in a frame of Paradise, with Sidre, Rıdvan and Abu Lahab.
Sâhib's ghazal with the refrain "yazar" (writes): couplets laid out like a letter, a fief of paper villages, an eye that becomes a Kahramannâme, and Majnun naked in love's bathhouse.
A ghazal saying the tongue cannot suffice to praise God: the Prophet's prayer "lâ uhsî senâen", images of Qaf and the Anka, riddles and abjad, and incapacity as praise.
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