Basîrî's witty couplet likening meatballs in a hashish-eater's mouth to the cannon of the Boğaz Hisarı: double meanings of top and boğaz, and Sehî Bey's report.
Münîrî's Persian ghazal with the refrain girift, counted as a response to Hâfız; the dawn breeze stirs the lock and brings threshold dust as a keepsake.
Adlî's ghazal on the refrain "itmek" weaves the dust of the threshold, a sigh like an arrow, the thieving glance, the drunken eye and a breast made shield against lashes.
Kevkeb is both the star of fortune and a mole; reproach is excused as the raving of fever, and longing for dawn is laid to the length of the night, on "-ümdendür".
A ghazal playing on "Müşterî" as both Jupiter and buyer: the reason for giving one's soul to the beloved, the breath of Jesus, a sacrifice at the Kaaba and pain that becomes a cure.
Raiding by night from a small fort on the Maritsa, Hacı İlbegi traps the tekfur of Dimetoka and takes the town while Gazi Evrenez takes Keşan: four couplets.
Another ghazal of invitation with the refrain "olalum" (let us be): to bloom like roses at union, become Cem on Kâvus's throne, grow intimate with the grape's daughter, and be men.
Refîkî's second nazire on Hayâlî's model: a bravo to the painter of the beloved's face, the proverb of what is written, lashes that sweep the threshold, and a sigh to dry up the seas.
A five-couplet ghazal with the refrain “‘âşıḳān”: lovers whom the people think mad but who are wisest, patient, grateful and travelling with God.
Mustafa Vâzıh's ghazal complaining of an infidel beloved to Jesus: a candle turned to wax, the lead of heaven's dome melting and a pun on the maqta where pens are cut.
The first single couplet at the end of Harîmî's Dîvânçe: a brief declaration of devotion by a lover who has turned his face to a valiant king since love appeared in his heart.
Basîrî's jesting couplet dismissing the citron with a bawdy comparison when lemons and bitter oranges are at hand: a congruence of fruit names and a gathering's wit.
Münîrî's ghazal woven of Arabic, Persian and Turkish lines; the ardent lover does not die, blessed is he who dies for love, and the beloved says "silence".
Adlî's seven-couplet ghazal stands out for allusions to Ferhad and Joseph, a brow likened to a sultan's tuğra and a slave of love who is sultan in the land of Rum.
Sâhib's ghazal with the refrain "kalmışdur": virtues left only in rose, cup, chess and backgammon, the heart as a barber's mirror, a raw silver-and-amber image.
The beloved calls the burned-out lover "raw"; from this injustice the ghazal moves to public disgrace and to counting it a favour to be cursed by name, to spite the rival.
Four couplets after Lala Şahin routs the infidels before Edirne, the tekfur flees down the Maritsa by boat to Enez and Edirne surrenders to Murad Han in 761 (1360).
A ghazal of transformations: a street turned tulip bed by tears, a lover leaving home like musk, a tomb built from stones of cruelty and a heart's church adorned with idols.
Adam and the grain in the snare of a mole, a lucky comb and a lover who taught the moth to burn, in a nazire on the model of Hafî, an unlettered shoemaker.
The section on regard for miracles and unveilings: inner states as a test, saints who lost sainthood through selfhood, and the duty of keeping an unveiling hidden.
The single couplet that closes Harîmî's Dîvânçe: a poppy turned into a bareheaded abdal by longing for the beloved's lips, the couplet Sehî's anthology also gives first.
Mustafa Vâzıh's ghazal for a boatman's son: images of sails, boats and the bottomless sea, sayings from popular speech and traces of the localising trend.
Basîrî's opening couplet to a tailor's son: a double entendre between a piece of the soul and a piece of cloth, the uncertain word "gök" and a lover turning round and round.
Münîrî's Persian ghazal in which he presents himself as a wine-drinking rind; homelessness is his honour, liver's blood his wine and sighs his companions.
Adlî's seven-couplet ghazal paints a face of hyacinth, jasmine and rose, with the musk of Khotan, a fairy in a ruin and grass on a grave that becomes a tongue.
Sâhib's ghazal mocking the Sufis: with the sounds mır mır, hır hır, fır fır, dır dır, çır çır they purr, snarl and spin like cats, dogs, millstones and a cotton gin.
A ghazal whose couplets all end "from you X, from me Y": edâ and kazâ, light and longing, cruelty and joy, an exchange between beloved and lover set up like a contract.
One captive in five is levied through Kara Rüstem and Çandarlı Halil, and the boys learn Turkish among Turks before becoming janissaries; two couplets define their role.
An eight-couplet ghazal of wisdom and wine, missing its opening: the world-showing cup instead of the histories of Cem and Alexander, a friend who turns enemy and the tavern as sole refuge.
Refîkî's remel nazire on Necâtî's model: a star of fortune in conjunction with the moon, hyacinth and narcissus conspiring, and pomegranate, orange, apple and quince in one line.
A ten-couplet ghazal with the refrain “oldum ṣanır”: irony at the novice who takes a drop of grace for the ocean, the first rapture for the end, himself for Rüstem.
Mustafa Vâzıh's ghazal naming Istanbul and Galata: a wine cup come from Badakhshan, a sheikh's son who outwits the devil and the legal term aqwa used as a joke.
Münîrî's Persian ghazal that makes the tavern elder's slave the sultan of both worlds; the poet's pearl-scattering words become an earring in the beloved's ear.
Basîrî's opening couplet quoted by Latîfî, Âşık Çelebi and Âlî: a beloved with the Messiah's breath who kills her lovers, and the pun on "kills" and "brings to life", written alike.
Adlî's five-couplet ghazal opens with the rose and the nightingale, names the violet and the forelock, and ends saying a royal crown has brought him only a headache.
Sâhib's ghazal rhymed on the reciprocal suffix: candle and moth, beauty and reflection, chain links, sorrow and streams, jar and rinds answer one another.
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