A ghazal of supplication published by Kurnaz with the refrain "do not, O Lord": a plea to be spared hunger and need of the needy, the garment of piety and an unwanted crown.
Münîrî's Persian response to Hâfız: no repenting of wine in the rose season, harp and rebab play, the world is a mirage, and unkindred company is torment.
Adlî's five-couplet ghazal opens with allusions to Cem, Zâl and Rüstem and ends by declaring that, in the realm of transience, ruling the world lasts but a moment.
The refrain "geçer" changes meaning in every couplet, from being counted to giving up to time passing, and the idiom of a hair between two people turns literal with the down.
Across the boundary of two lines in the sixth couplet "kara / Bağ", Karabakh, appears; the beloved's street becomes the eight paradises and a Kaaba, her face a Quran learned by heart.
Kara Temür Paşa, governor-general after Lala Şahin's death, moves the Saruhan nomads to Serres and marches on Manastır, while four couplets foreshadow Kosovo.
The ghazal that opens "whoever sees Galata sets no heart on Paradise": a Christian beauty with Frankish ways, a lover who forgets the mosque, and Avnî pictured with girdle and cross.
Refîkî's ghazal with the redif 'devrân beni': fortune levelling the lover with dust, a divan opened at every gathering, a lover known only by his moans, and blood that catches up.
A section for the traveller whose sheikh has died: continued rabıta, a spiritual power like a drawn sword, and pledging oneself to the most perfect deputy.
Mustafa Vâzıh's ghazal naming Amasya as Harşena: eyelashes like spearmen, Tatar beauties, Karakalpak forelocks and tears flowing like the city's rivers.
A ghazal of Basîrî published by Kurnaz: a gardener punished for likening the cypress to the beloved, a two-faced letter and a two-tongued pen, and a lover lost to black and white.
Münîrî's Persian ghazal in which Kevser thirsts for the beloved's lip; one heart is better than a thousand Kaabas, and the threshold is the greater pilgrimage.
Adlî's ghazal on the refrain "-üñdür senüñ" sets the beloved's face against moon and sun, likens the brow to a bow and the sigh to an arrow, and ends with a full moon's waist.
Lip and down are praised through the titles Reşehât and Nefehât, brows become a tughra, a chestnut bursts and kings are left on foot in chess; known only from the T. 738 copy.
A ghazal whose couplets all end "or is it ...?": feigned ignorance, a mouth likened to the indivisible part of theology, a threshold turned doomsday, Ferhad and Majnun.
Six couplets in the section where the Serbian king Lazar summons Murad Han with his sons to Kosovo, and Murad sets out with Bayezid and Yakub Çelebi, prays on horseback and pleads with God.
A ghazal with the refrain "var iken" (while I have): a lover who serves no other while he has a crowned king, autumn amid spring, and grief powerless against the tavern's fortress.
Refîkî's second nazire on Vasfî's model: a lover who turns stranger because the beloved favours strangers, servitude preferred to Egypt's throne, and Refîk to be sought in the taverns.
Two Persian couplets after the section on the traveller whose sheikh has died: holding the hem of other friends, and the world as a house of trade until the hereafter.
The Persian kıt'a Basîrî left under the cushion of Müeyyedzâde, the chief judge who refused him a post: counsel on contentment and an Arabic line on God's sustenance.
Münîrî's Persian ghazal that makes the ruined heart home to the beloved's treasure; the arrow wound is a laughing bud, and smoke lights the hut of sorrows.
Adlî's five-couplet ghazal on the refrain "-den yeg" ranks the beloved's sweat above rose water, speech above pearls, lip above gülşeker and face above sun and moon.
A ghazal with the refrain "bağlanur" found only in the T. 738 copy: a girded sword, a musky headband on the bride of beauty, roses tied with thread, donkeys for horses.
Nigârî turns the poverty of love into a kingship: his crown is a sigh, his throne grief, his land a corner of sorrow that seems to him as wide as eight lands.
Four couplets signed Âşıkî after the account of Kosovo: Miloš Obilić kills Murad Han as if coming to kiss his hand, Yakub Çelebi is put to death, Bayezid rises.
Kohl, Zülfikar and red ink: dust that lights the eye, a dagger hung like a Zülfikar picture to guard the heart, and Avnî's verse copied in tears.
A brow drawn like a tughra on the decree of beauty, stars turned to pearls in a sea of tears, an arrow from a bent bow and a brand like a tulip, in a ghazal on 'gibi'.
A single Persian couplet: the wise man who knows his own self, and the real praise reserved for the one who knows God; reason and gnosis, with an uncertain reading.
Basîrî's Persian opening couplet quoted by Latîfî, Âşık Çelebi and Âlî: tears greater than the sea once the dust of the beloved's feet is gone, and two readings of "gerd".
Münîrî's Persian ghazal that has no use for miracles while the tavern and the cup remain; the beloved's waist is a hair and the beauty a book to be read.
Adlî's seven-couplet ghazal on the refrain "gerek" sets out the conditions of love's path through tears, brushwood, sighs and Sinai, ending with the rhyme Etrâk and idrâk.
Terms of astronomy, the almanac, Arabic grammar, finance and baking in one ghazal, where mansions of silk-clad beauties become Harîrî's Maqâmât; only in the T. 738 copy.
A ghazal punning on "yaradan": blood from the wound and restlessness from the Creator, passion from the black curl, the nightingale's song from the street, and the heart's retreat.
Four couplets on the mines, in the chapter where Bayezid, after his accession, gives the mines of Kratovo in Serbia to Paşa Yiğit Beg and builds a mosque, medrese and hospital in Bursa.
A ghazal from the anthologies: a soul circling the threshold crying "labbayk", musk fleeing to Cathay in shame, a poor man burning a mat on his head, and the huma's shadow.
Refîkî's ghazal with the redif 'ehli': the people of denial and affirmation, a beloved worshipped by cloak and zunnar alike, a cloak of honour pawned, and every matter with its expert.
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