Letter games that draw 'cidâl' from the tress's jîm and dâl and 'derd' from a râ-shaped brow between two dâls, with the kanun's tuning peg and a grain in the snare.
The book's only strophic poem: four stanzas returning to the refrain on the beauty of God, the master as architect, and the world as testing ground and dream.
Mustafa Vâzıh's reproachful tavern ghazal: a drunken beloved scattering fire, a lover who thanks him for treachery, wine and rakı from the tavern elder and a poet struck by a fairy.
Harîmî's ghazal with the refrain "-yı leylî": a lover made Mecnun by passion for Leylâ, a sea of tears gathered drop by drop and a corner of the heart to be Leylâ's shelter.
Basîrî's ghazal with the refrain "for": ghazals recited for a painter beloved, a pun on wound and trusty companion, a head longing for the stones of the path.
Münîrî's Persian nazire to Hâfız invites him from the Rüknâbâd and Musallâ of Shiraz to the square of Amasya, praising the city as an earthly Paradise.
Adlî's five-couplet ghazal holding that union is not won by effort but hangs on one kind regard from the beloved, told through cage, web and reaching hand.
Sâhib's ghazal rhyming in "-em olur": eyes that become the knocker of a house of mourning, a chin dimple that becomes Zamzam, eyes like purses of dirhams, and a footprint that seals.
The second naat, built on the question "kanı sen tek" (where is one like you): comparisons between sky and earth, fate closing the register of beauty, and incapacity in praise.
After Osman Gazi's modest legacy comes a second piece headed "Velehu eydan": five couplets saying the world is made for coming and going and creation is for worshipping God.
Six charges against the beloved: a cruel beloved turns the lover into Mecnun and Korah, makes his tears the Nile and the Oxus, and ruins Avnî anew just as he had grown used to parting.
Refîkî's ghazal on Kıvâmî's model in remel-i mahbûn: a gazelle that turns the lover into Majnun, a crescent body people point at, and the gaze on beauty set apart from kisses.
The section on the many saints and the few masters: saints hidden not in coffee-house crowds but in the corner of oneness, proud deniers and a warning not to be a goose.
Mustafa Vâzıh's ghazal with the refrain "-umdur benim": lips that are half the soul, a glance that wounds and heals, a Noah in a flood of tears and conquests won with Anka tails.
Harîmî's ghazal rhyming in "-en": Yemen carnelian swallowing blood, a rosebud tearing its shirt for the mouth's secret, a cypress dropped as a comparison and a lover who comes in his shroud.
Basîrî's ghazal with the refrain "I must make": bloody tears turning a saffron field into tulips, hunting the Anka with a gnat and dust veiling a sun-like face.
Münîrî's Persian ghazal whose every line ends in the refrain "cüdā", "apart": parting from the heart, homeland, life and the rose garden in five couplets.
Adlî's ghazal on the refrain "bağlamış" shows the beloved's hair as chain, polo stick and bond of sorcery, ending with a divan bound from rose petals.
Sâhib's ghazal in the language of alchemy: soul as mercury, heart as crucible, body as arsenic; eyelashes as nails or skewers, an eye as Mars, and the down as a book's chronogram.
Seven couplets go round Ali, Fatima, Hasan, Husayn and the People of the Cloak in turn, and every sacrifice on the path of love is set beside one made by the Prophet's family.
Four couplets saying that Orhan Gazi took counsel from his brother and prayers from the saints, and that Âşık Paşa prayed for him: the author placing his own ancestor in the founding story.
A ghazal in which the wounds too tear their collars: a lip that gives others life yet kills the lover, a fearless soul-bird and an image summoned by a torn breast.
Refîkî's ghazal signed 'Refîk': a heart content with the fancy of a waist, a lover weeping blood like a pen, a crescent brow from a black cloud, and months and years confused.
A ghazal that portrays the saint in a chain of definitions: heir of the prophets, settled upon the Throne, making the son of Adam human, purer than the ascetic.
Mustafa Vâzıh's ghazal woven from wishes of "if only I could hold": cup, sweetmeat, brow dye, hennaed hand and Fâris Beg, to be taken by the collar and shown a poem.
Harîmî's ghazal rhyming in "-âyet": the cruelty of a faithless beloved, a glance under the eye's protection, an arrow from the bow of the brow and strength spent under the burden.
Basîrî's ghazal with the refrain "your": an eye become an archer's ring, a sword that drank from the fountain of life, a mole like Abraham in the fire, and a madman's chain.
Münîrî's Persian ghazal in a short metre: the beloved's stature is a calamity, the glance a ruin, the mouth unseen; the lover rises like a mote to the sun.
Adlî's five-couplet ghazal on the refrain "imiş" calls the poet who longs to serve the beloved "a strange sultan", openly working the irony of king and servant.
Sâhib's ghazal woven with idioms: love that roasts the heart like coffee, a rival dog in ambush, a plane tree wrestling the whirlwind of grief, and a balance pan struck from stone to stone.
A ghazal opening with a Persian line: Majnun at Leylâ's tent, the dog moaning at the door, the barren palm of sighs, and the cry that shames the lover but makes the beloved famous.
Akça Koca and Konur Alp die, İzmit surrenders and Kocaeli, Konrapa and Bolu are won; the chapter ends with three couplets addressed to those who say "mine".
A second poem calling the beloved to account in the refrain of ghazal 38: a cheek that wounds the rose, a cypress enslaved then freed, a threshing floor of moles, a lover denied her sword.
Refîkî's nazire on Cem Sultan's model: a mihrab brow, fiery smoke as a cap plume, a star of tears rising from a house of the zodiac, and a close built of chess terms.
Not sitting, speaking or eating with a denier: the example of Bahâeddîn Nakşibend, the poet's own testimony and a remedy of ablution and recitation.
The only six-couplet ghazal in Mustafa Vâzıh's Dîvânçe: with the refrain "I do not know, I have not seen" it seeks the beloved's beauty in wine, rose, glass and the Anka.
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