A letter tied to a stone, Samandıra set on fire for a feigned retreat and Gazi Rahman climbing the wall on a rope: the taking of Aydos in five couplets.
A ghazal likening the tavern to Paradise: houri-faced tavern boys, a courtyard smelling of spring on every side, the murky-hearted Sufi kept out and a dregs-drinker raised to intercessor.
Refîkî's ghazal in the language of the money-changer: a pupil that honours bread and salt, a sky leaning on a staff of sighs, moles as dots, and a hard heart as touchstone.
Those who drift from master to master, those who say there is none, and the likeness of Rûmî and Şems: on seekers who waver and whose aspiration is low.
Mustafa Vâzıh's only ghazal ending in the letter ṭı: tears of blood, a rose garden ringed with thorns and a closing couplet on daring to answer the verse of Hazret-i Rif‘at.
Harîmî's ghazal rhyming in "-âb": a heart thirsty in the sea of love, prayer at the niche of the brow, an eye that has seen the divine light and a soul surrendered to love's butcher.
Kara Fazlî's last kaside, thirty-five couplets opening with a praise of knowledge and praising Hᵛâce-i Şân, thought to be the Gülşenî sheikh Zarîfî Hasan Efendi.
Basîrî's ghazal that makes the beloved king of beauty: a sun that bows before her, a golden face rubbed on the touchstone, the calligrapher who erased Majnun and a kiss as halva money.
Münîrî's only murabba, in seven stanzas; its verses on the cupbearer, spring, the gathering and a prayer for the king each close with a refrain imitating the ney.
Adlî's five-couplet ghazal found only in the T manuscript, moving from a sound-woven opening to a parrot struck dumb and a lover who dashes the flask of his honour.
Sâhib's ghazal on the down: a copy full of errors, down that tunes the face like the pegs of an instrument, a joke on "bedel-i iştimâl", a fortune that sets like the afternoon sun.
The poet asks for the calamity of love to grow rather than fade, wants his body pierced like a reed flute, and calls Hamza and Husayn to his funeral prayer.
Six couplets ending with the pen name Âşıkî, in which Âşıkpaşazâde says he began writing his history at eighty-six, on the day Bayezid II set out on his campaign to Moldavia.
A Sufi ghazal on the tavern's safe station and its kindly elder: an age without companions, the drowned man who cannot know the sea, the hypocrite Sufi and the path of annihilation.
Advice to trample a wheel that is both sky and spindle, a dawn that tore its collar for jealousy of a shirt, and a beloved kneaded with spirit: a Refîkî ghazal on Nizâmî's model.
Five counsels with the refrain “etmek gerek”: need laid before God, throne and crown left like İbrâhim b. Edhem, the command to be upright, the master as physician.
Mustafa Vâzıh's only ghazal ending in the letter ayn: the beloved's beauty is a ghazal, the collar its matla and the dagger its makta, and poets write murabba‘s for a youth.
Harîmî's ghazal with the refrain "-uma": a beloved guarded from friends, a shadow that comes only on sunny days, a spider web bound on a wound and verse that seizes the world like the sun.
Basîrî's ghazal on the refrain "were there not": ney and wine as companions, no union without parting as no spring without winter, Majnun's encampment and the scroll of life.
Münîrî's only Persian tahmis, expanding a ghazal by Hâfız of Shiraz into five-line stanzas; the last two lines of every stanza are Hâfız's own couplet.
Adlî's seven-couplet ghazal on the refrain "enîs" (companion), pairing nightingale and rose, camphor and pepper, seeking the purpose of kingship in the beloved's company.
Pain and wine, king and beggar are one; so are the abjad values of lovelock and passion and the spelling of affliction and love: Sâhib proves "birdür" in script itself.
A naat on the Ascension in which every line ends with a repeated word: Isrâ, Aqsâ, "kâbe kavseyn", the names Yâsîn and Tâhâ, dancing heavens and twice-refined sugar.
Four couplets that tell the deaths of Osman Gazi and his father-in-law Edebali as a "campaign", built on the image of an eight-legged mount and a journey with no return.
Seven couplets that each end on "revnak" (lustre): a cheek glowing with wine, a room lit by candles, a moon adorned with stars, the ruby of Badakhshan and Sadi's Gulistan with its chapters.
Refîkî's hezec ghazal on Şeyhî's model: an eye given to floods, candles burning for the moth, a night lit by sighs, and a beloved whose collar is the rising-place of the sun.
A section on law, self and saints: no path without the robe of the law, the tricks of the self that people blame on Satan, and a long praise of the Naqshbandi saints.
Mustafa Vâzıh's tavern ghazal mixing coarse sayings with mystical speech: a wine jug sweating like an old man, coffee that reads "Hû Hak" and the world divorced like a wife.
Harîmî's ghazal in syllabic metre: a mad heart fallen into a new passion, a creation leavened with love, the ship of the heart dragged to sea and strength left by a hair.
Basîrî's ghazal in which he calls himself Majnun's blood brother and Ferhad's namesake: brigand eye and brow, letters titled "rind and kallâş" and a love revealed by one sigh.
The first of Münîrî's Persian ghazals, a poem of the gathering urging the cupbearer not to waste the rose season: the rind, raw wine and the nightingale.
Adlî's seven-couplet ghazal on the refrain "ile mûnis" lists the companions of the parted lover: sighs, the sleepless eye and the beloved's dog.
Sâhib's ghazal with the refrain "çıkar" (comes out): mummy from broken bones, silent laments from a kohl-lined eye, a sigh turned rope-dancer, and eye salve from the beloved's ground.
"Who is there besides you" recurs over four couplets, each time with a new title for the Prophet; the answer is never given, since the question is itself the praise.
Four couplets on Orhan and his brother Alâeddin Paşa remaining united without dividing Osman Gazi's legacy, saying that wars were not fought for captives.
The ghazal of a lover who hopes to revive with the last drop poured on the earth: a head ready to hang from the saddle like game to kiss the stirrup, and a hundred-patched cloak.
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