Harîmî's Sufi ghazal with the refrain "olmadı": a heart like Mount Sinai, sorrow as a cause of joy, a curse on the loveless head and a lodge not open to every dervish.
Basîrî's short ghazal rhyming in "-eb": night and day made equal by separation, a pun on meşreb, a star risen beside the sun and an eye like a Chinese inkwell.
Münîrî's Persian ghazal with the refrain "merā": the sinless beloved kills and revives with a glance, and the lover asks to be counted among his dogs.
Adlî's ghazal on the refrain "itmiş" bends the crescent into an eyebrow and explains the moon's spots, then makes the poet king of lovers through pain.
Wet fire in dry water inside a crystal neck, night and day made equal in spring, pearls in a ruby box, and a poet bound for China, all under the refrain "gösterir" (shows).
Nigârî tells his heart it may kiss the Magians' feet and bow to idols, and that if all this is done for the love of God the revelry is lawful.
Three couplets on the orders man sets up in the world and the intention behind them, opening the chapter on the customs Orhan Gazi introduced after his father.
A ghazal that names a condition in every couplet: who seeks the lip must forget the stature, a fire tears cannot quench, love's horse running till doomsday and a tavern vaulted by the sky.
An invitation to the cupbearer in six stanzas, the cup as fire for the cotton of piety, and the refrain 'let us rend our collars': a nazire to Tâcîzâde Câfer Çelebi's murabba‘.
The book's first supplication: the prayer of a poet captive to his unbelieving self, repentant and wretched, asking not to be left to himself, for his master's sake.
Mustafa Vâzıh's ghazal mocking a Sufi: two plague sores under one arm and the watermelon proverb, an eye that is a fountain of strife and words that become no one's earring.
Harîmî's ghazal rhyming in "-er": a moon made small by the sun of love, a sigh whose spark might burn the beloved's street, lips that make one forget candle and wine, and peacock locks.
Basîrî's ghazal woven of letter similes: masters of meaning who call the curl a long lām and the mouth a short mīm, a pun on two rhetoric books, sun and moon in one face.
Münîrî's Persian ghazal with the refrain "mā-rā": the heart's parrot caged by the locks, a lentil from Abraham's table, and a lover burned by one spark.
Adlî's ghazal on the refrain "olmış" on bitter words from a sweet lip, a beloved not won by seeking, and the poet's audacity in coveting the ruby lip.
Sâhib's ghazal that reads the beloved like a book of verse: eyebrows as a couplet's two lines, the beloved as a seven-couplet ghazal, the down as its closing line, unveiling as a veil.
A ghazal likening the lover caught between face and lips to a needle between two magnets: the cut rope of patience, the beloved's hut and the poet moaning fret by fret like a tanbur.
Orhan Gazi's white cap, Çandarlı Kara Halil, the foot soldiers and the twisted turban are described, and three couplets look at the ever-changing face of the world.
A ghazal of poetic aetiology with the refrain "senüñ" (yours): sun and moon as buyers, a sulking full moon, the cypress upside down in water and a narcissus trembling with envy.
Refîkî's ghazal turning the black smoke of sighs into a curtain that hides the beloved: a waist that carries off to fancy, an eye-boat in tears, a tongueless lover, a mouthless beloved.
The section on enemies of the law who claim to be dervishes: self-pleasure called love, Naqshi claimants ignorant of the law, and a cloak shown to keep an endowment.
Mustafa Vâzıh's ghazal of letter play: the word "soul" written with a cim of locks, an elif of stature and a nun of eyes, rue seed in the fire and a decree for the tuğra of the locks.
Harîmî's ghazal with the refrain "âteşi": fires of separation, wine, meaning and longing, in a poem woven with medrese terms that also appears in Korkut's Kitâb fi't-tasavvuf.
Basîrî's second food ghazal: a playful poem that likens the smell of kalye to the morning breeze and the leaf of salma to a rose petal, and sets paluze in the beloved's place.
Münîrî's short Persian ghazal rhyming in "-ālā": asked whether it has a mouth, the beloved answers "lā lā", "no, no", and the same sound shifts meaning.
Adlî's ghazal surviving only in manuscript T describes a beloved learning the saz through the Bûselik mode, the royal falcon and the miracle of Jesus.
Sâhib's ghazal woven from abjad equalities: lamp and moth at 264, fly and elephant at 120, morning and evening at 101, pain and separation at 208, strife and peace at 128.
Declaring himself "of Ahmed's disposition", the poet takes calamity as his companion; fate's arrows turn to honey, cruelty to joy, and hevâ rules among the four elements.
An eleven-couplet mesnevi on the Greek women who came to the garden of Ebkülos after İznik surrendered to Orhan in 731 (1331), and on their marriage to the gazis.
A short-metre ghazal in which the lover speaks to his own heart: show the faithless one your love, never cease lamenting, and a beauty who scorns a penniless beggar.
A road to the cheek through the black tress on a moonless night, a pupil asked for humanity and earth split by floods, in a nazire on Necâtî's model.
The lover who passes beyond the world, the hereafter and Leylâ, the path of blame that accepts reproach, and the ascetic who says “lâ” and stops short of “illâ”.
Mustafa Vâzıh's ghazal on the beauties of the market: a charming merchant's son, a tooth-pulling barber ready to shave the lovers and strength that fails before an arched brow.
Harîmî's ghazal with the refrain "-ını": a beloved guarded like faith from Satan, locks taken for an eclipse, spring opening a shop and a golden cup that illuminates the poet's divan.
Basîrî's ghazal with the refrain "to you": a cup of blood raised in the beloved's honour, a sun with no nerve to face him, a lover in the desert like Majnun and a gazelle eye.
Münîrî's Persian ghazal opening with a dawn "welcome" from the unseen; the lover seeks the crescent that ends his fast of grief in the beloved's eyebrow.
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