The "üktülûnî" of the ninth couplet recalls Hallâj's famous line; the poet counts his being a veil over the beloved's face and dying at her hand another life.
Eight couplets ending with the pen name Âşıkî on the great wedding at which Murad Han married his son Bayezid to the daughter of the lord of Germiyan, where Evrenez offered a hundred slaves.
Six couplets on beauty: a lover urging the architect of cruelty to hurry, and a palace where the face is sultan, the brow chamberlain, the eye executioner.
Stars as the eyes of a sky kept awake by the lover's wailing, a rose branch fenced with thorns and a harvest of reason lost for a grain, on Ahmed Paşa's 'hırmen' model.
The one section named after a city: the “red-head” way in Amasya, mourning in Muharrem and cursing of Muâviye, deficient sheikhs and dervishes for a living.
Mustafa Vâzıh's ghazal on the beloved's forelock: a crown of black ruby, a magic square written in musk, a lock that marches like Shah Tahmasp, and Khidr and Elijah.
A couplet of praise given to Basîrî by Âlî and to Mevlânâ Emîrî by Sehî Bey: generosity that nurtures the learned, resolve that bestows bounty, and a dispute over authorship.
Münîrî's Persian ghazal of a heart made drunk at the feast of elest; the glass of good name breaks, lost Joseph is found, and wax trees cannot match the beloved.
Adlî's seven-couplet ghazal, found in all five manuscripts, traces how separation drives the lover to madness through the fairy, hashish, the tambourine and the harp.
A ghazal of consolation found only in the Ali Emîrî copy: scars that turn to roses, black fortune that becomes the pupil of the eye, and enemies scattered by time.
A ghazal that makes Moses' staff and the dragon captives of a glance: the words mecnûn and meftûn, a wine-coloured eye, "yahşı kânûn" and the trade language of profit in giving one's soul.
The party that fetched Bayezid's bride from Kütahya, Paşacuk Ağa's passing into Ottoman service and the handing over of Kütahya, followed by five melancholy couplets.
The ghazal of a lover whose grave will breathe the scent of faithfulness: a nightingale that gets thorns from the rose cheek, a couplet built on chess pieces and a lap full of pearls.
Refîkî's ghazal on the heart as 'harâb-âbâd': foundations torn up by grief's flood, an army of grief raiding joy's tent by night, a breast pierced like a reed, congratulations on servitude.
A ghazal addressing the denier: the heart as God's Throne and house of the Merciful, surrender to a master, and the denier who sees himself in the mirror.
Mustafa Vâzıh's ghazal of water, wine and tears: aqua fortis refining false gold, a soul surrendered on the feast of union, a dagger's tempering and eyes of quicksilver.
A ghazal of Basîrî published by Kurnaz and absent from the divan manuscript: a beloved even beauties adore, an answer to a preacher, and a poor poet who makes the melody.
Münîrî's Persian response to Hâfız: the eyelash arrow pierces pearls in the night, the eye sweeps the beloved's road for years, and the poem ends on "goft u şinoft".
Adlî's seven-couplet ghazal on cheeks that lend light to sun and moon, a glance that turns dust into elixir, threshold dust as kohl and the musk of China.
A ghazal found only in the T. 738 copy: a pipe stem that splits from envy of the smoke kissing the beloved's mouth, down plucked like a weed, saplings watered.
"The unbelief of your curl is guidance": the curl that covers the face has set the poet on the right path, the preacher cannot grasp it, and the kohl of passion sharpens his eye.
Six couplets on a ruler's breath: Polanya, which Murad Han could not take, collapses after he says "perhaps God will pull it down" and is named "God-Felled".
A ghazal built as a garden scene: a rose buttoning its rose-coloured shirt with buds, buds that fall silent, jasmine and wild rose scattering their wealth and grass kept wet with tears.
A watchman with his drum, a shepherd with his pipe, a caravan at the fountains and a child with bow and arrow: a ghazal of everyday life built on the redif 'eglencesi'.
The section on spiritual striving: counsels of retreat, fasting, little sleep and food, and an unexpected eulogy of tea, one or two glasses after a meal, as help on the path.
Mustafa Vâzıh's ghazal built on the saying "neither the sugar of Damascus nor the face of the Arab": the heart's broken cart, the small mouth and the eyebrow's sword.
A ghazal of wisdom published by Kurnaz with the refrain "is there": the fortune of needing no fortune, a lover greater than Ferhad, and a Lord who needs no statement of need.
Münîrî's Persian ghazal in which the dust of the beloved's road crowns kings; the ascetic misses the tavern's secret, and the tale grows long in the lock.
Adlî's short-lined ghazal on the refrain "gerek" lists the desired beauty from stature to waist, with wordplay on guile and red, calligraphic terms and the letter dâl.
A ghazal with the refrain "yarılur" found only in the T. 738 copy: pistachio, pomegranate, pen nib and dewdrop split of themselves, each given a cause in love.
The poet reproaches his own heart: a fresh boil on the liver, angels who would fall if they knew love, a mouth that is a riddle and a manifest sun that never touched his eye.
Seven couplets with the refrain "iklîm" praising Hayreddin Paşa's ordering of affairs, as he and Evrenez take Büre and İskete and Lala Şahin takes Kavala and Serres.
A ghazal drawing beauty as a world-conquering sultan: a musk tent of hair, a throne of cheek, two cups offered by the brows, and a beloved Avnî cannot summon however he rules.
Refîkî's ghazal with the redif 'ol yüri': an opening that echoes a line of Prince Korkut, lovers weeping like a thousand nightingales, Solomon's seal and Joseph made sultan in Egypt.
A seven-couplet ghazal calling poverty wealth: the capital of contentment, the poet as Ankâ, the rake against the ascetic and the kindness of his master İsmet.
Mustafa Vâzıh's ghazal on a glance holding an olive pit and a sword: an eye touring Transoxiana, a waist like a thread of Ferhâr and the small mouth in legal terms.
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