Three couplets on a land filled with saints: the sermon and coinage of Karasi pass to Orhan, the Karasi heir dies of plague in Bursa and Süleyman Paşa is given Karasi.
The ghazal holding the salamander couplet that Doğan counts a masterpiece: a lash that kills like Moses, a salamander living in fire, a beloved whose very promise is torment.
An ascetic who thinks himself the nightingale of the Throne but flies like a hen, a colourless wail and a firework sigh, in the second nazire on Şâmî's model.
Eyes that both watch and wait: the poet as Kıtmîr, praying for the sake of the Prophet, the four caliphs, the two imams and his master Mustafa İsmet.
Mustafa Vâzıh's ghazal with the refrain "mashallah": with the phrase that wards off the evil eye he praises the beloved's lip, cheek, gait and the dagger that kills a thousand lovers.
Harîmî's ghazal with the refrain "gibi": a glance thirsting for blood, a breast burning like a censer, a mole like bait in the snare and a lover who is a moth to the candle of the cheek.
Basîrî's ghazal of reproach with the refrain "you made": wounds opened one upon another, a star of fortune black as a mole, a collar of patience torn like a rose.
Münîrî's Persian ghazal counted as a response to Hâfız; the eyebrow shows lovers the qibla, and the heart reads the beloved's silence as consent to a kiss.
Adlî's seven-couplet ghazal on the refrain "dirîġ" (to begrudge) asks the beloved for one grain, and in the last couplet counsels not to withhold treasure from dervishes.
Sâhib's ghazal with the refrain "budur" (this is): a saki who makes the cup "walk", a beloved who would love his own reflection, the old man of the tavern, and a cry for help.
A love ghazal in the language of chess and backgammon: the king of one's aim in check, love as vizier, the blockade of wonder, Ferhad's art, the elder's breath and the rank of guidance.
A dervish from near İnegöl plants a poplar at the palace gate and prays for Orhan Gazi and his line; three couplets on the power of prayer follow the story.
The only muhammes in the divan: a lament in seven stanzas, each closing with the refrain "Göñül eyvây göñül vây göñül eyvây göñül", addressed to the lover's own heart.
Refîkî's nazire on Kemalpaşazâde's model: smoke rising like vapour from a torn breast, a sky that plants festival flowers, the road's dust in the eye, and union as theriac.
A bond permitted only to the perfect sheikh, a counter-question to those who hold wealth in their hearts, and a verse list of authorities: rabıta defended.
Mustafa Vâzıh's ghazal opening with an allusion to the surah of the Star: an eyebrow like a basmala above beauty spots, the night-mirror belief and a toast to a generous tomorrow.
Harîmî's ghazal with the refrain "gibi": a comb reaching for the locks, a shell nourishing the pearl of tears, a moth-like lover and a mole-pawn that becomes queen.
Münîrî's Persian ghazal that reads the beloved's face as a tablet of script, the mole as the dot of God's pen and the cheek's down as an anthology of beauty.
Basîrî's ghazal opening with a couplet quoted by the anthologies: two narcissus eyes in the garden of the cheek, a ruined heart where even thorns bear no rose, locks scented like Tatar musk.
Adlî's seven-couplet ghazal sets the sun against the beloved's face, prays in Arabic for rescue from the night watchman, and retreats into the corner of grief.
Sâhib's ghazal rhyming in "-âredür": a beauty mark like a star burnt by the sun, a heart rocking like a cradle, a being pressed to juice in annihilation, and a candle in a lantern.
The preacher threatens hell; the lover changes the measure, counts every place shared with the beloved as paradise, and speaks of a God who adds cruelty to show his favour.
Three couplets on Süleyman Paşa crossing on a raft from Aydıncık to the Rumelian shore, taking Çimbini and Ayaşolonya and founding the Gallipoli frontier.
A ghazal apparently written for a beauty with a shaven head: a sun-lamp that needs no wick, a beloved of whose hair no news can be had, and a Paradise not entered without sacrifice.
Drunkenness before the vine, prey proud to hang from the saddle-strap and satin traded for straw, in the second nazire on the same model by Kemalpaşazâde.
The single couplet within the section on rabıta: the disciple as a watchman bound with iron to the door of the saints, and rabıta as the greatest pillar of nearness.
Mustafa Vâzıh's ghazal woven from prohibitions: an eye dark with kohl by nature, a sounding line in a sea of tears, a child sliding on ice and a curse on a peppercorn.
Harîmî's ghazal with the refrain "eglencesi": locks the soul dwells on, a mouth whose secret cannot be told, Mongol-Chinese eyes with bow and arrow and a soul bound for paradise.
Basîrî's first kıt'a on the kazasker Zeyrekoğlu: a short satire that needles, in a single line, the patron who gave a poet kindnesses and promises instead of a reward.
Münîrî's Persian ghazal woven of tavern imagery; the pupil of the eye joins the drinking party, and the lost heart hides in the beloved's pistachio mouth.
Adlî's five-couplet ghazal on the refrain "yok": a parrot without sugar, an arrowless bird, a dawnless night of parting and a lover with neither crown nor belt.
Sâhib's ghazal of indifference with the refrain "hep birdür" (all one): unbelief and Islam, jug and cup, grain and snare, sugar and poison, fame and namelessness are all one.
A ghazal joining Shirvan, Karabakh and Baghdad in one couplet: the cupbearer of Shirvan, the wine of Rûhî of Baghdad, the rank of evtâd and a heart that outruns Majnun and Ferhad.
Süleyman Paşa asks Orhan for settlers, nomad households from Karasi cross over and the advance turns to Tekirdağ, in four couplets that play on the name Süleyman.
A ghazal not in the main manuscript, from the Pervâne Bey Mecmuası: a heart-bird that roams the world and settles on a cypress, a heart overflowing like the Meriç and a sleeper woken.
A ghazal counted a nazire to Kemalpaşazâde in one anthology and Refîkî's own model in the other: wine forbidden with others, a crooked gazer bent like lâm, offices in Egypt and Damascus.
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