A six-couplet ghazal rhyming in “-mend”: thanks from a poet who attained the Naqshbandi grace, an answer to the adviser, and a strong noose around the neck.
Basîrî's Persian opening couplet quoted by Âşık Çelebi: a spring in which not one rose blooms as he wishes, the word hezâr meaning both "thousand" and "nightingale".
Münîrî's Persian ghazal that makes the beloved a sovereign of beauty in whose name the sermon is read; the heart circles the beloved's street like the Kaaba.
Adlî's five-couplet ghazal on the refrain "varduñ" traces the heart's arrival at the beloved through chaff in a rose garden, royal pearl teeth and musk from the perfumer.
A moaning waterwheel, Sohrab killed unknowingly by Rustam, squirrel fur that keeps the embers, and a heart turned astrolabe: the ghazal on the refrain "-âbdan kalmaz".
The poet lists the source of all he has, and none of it is himself: his sight is God's gift, his wings the elder's grace, his madness from the eye of the pre-eternal Leylâ.
Bayezid takes Alaşehir by agreement and annexes Aydın, Saruhan and Menteşe, conquests said to be made through justice; five couplets signed Âşıkî follow.
A repetition in every couplet: an idol building cruelty, a beloved flowing like a soul through the city, a sun rising from a veil, and Avnî buying the glance with his life.
A body like an anthology whose leaves the wind will scatter, Hâfız's Arabic line reversed and the partridge of detachment, in one of Refîkî's most openly didactic ghazals.
The section on the Khalidi path and the forty-day retreat: loyalty to the law, the silent remembrance taught to Ebûbekir, and practical rules for the erbain.
Basîrî's kıt'a comparing the poet Revânî's stinginess with Pinti Hamîd's: a double entendre on "revân", Qur'anic quotations and the sparring recorded in the tezkires.
Münîrî's Persian ghazal of a beloved who is a newly opened rose and a bouquet in himself; because of Hayrî, famous in the city, every quarter is full of lovers.
Adlî's seven-couplet ghazal on the refrain "itdüñ" counts the beloved's cruelties as favours and ends with the servant made sovereign over the land of grief.
Sâhib's ghazal with the refrain "-âşıyuz": a lover grateful for the day of shaving, head and foot of the gathering, and the new ghazal met like a gazelle in a fresh valley.
A ghazal saying "painting without a pen comes from Bahâ's lesson": a sign to Bahâeddin Nakşibend, "Kâlû belâ" of the Covenant of Alast, Karbala's thirsty and Ferhad's pickaxe.
Three couplets: Bayezid leaves his first siege of Constantinople to rout the Hungarians near Alacahisar, a battle the author heard of from Umur Beg himself.
On arrows of the glance loaded in the quiver of the brow, union bought though its cloth be flawed, an infidel eye and a Jesus-natured lip, and a house of parting visited only by grief.
Refîkî's short-metre ghazal leaning on spoken language: a lover who longs to be the target of the lash's arrow, a beloved in sky-blue dyeing the world red, and 'I love a certain so-and-so'.
A six-couplet ghazal with the refrain “Naḳşibend”: those who remember in the heart, a hidden treasury found with the law, masters of the hidden road, and Shah Bahâ.
Basîrî's chronogram on Süleyman's conquest of Belgrade: praise that makes the heavens the sultan's threshold, Gabriel's wordless eulogy and the line giving the year 927.
Münîrî's Persian ghazal that uses the refrain "girifteest" in a new sense in each couplet; the heart takes a riverbank on the cheek, and tears take the beloved's road.
Adlî's five-couplet ghazal tells the lovers' grief through spring, nightingale, tulip and thorn, and ends by pairing the beloved's face and curl with day and night.
Sâhib's ghazal with the refrain "olmaz": office-holders' fear of dismissal told in grammar terms, pearls of the salt sea, the reed and sugar cane, and the sandal skiff.
This five-couplet ghazal is built on words of two meanings: "âl" is trick and red, "vech" face and reason; at the end the beloved is a gazelle that pulls the lover's ear.
Bayezid builds Güzelce Hisar, the tekfur sends gold hidden in fish and a Muslim quarter with a kadı is set up in the city; six couplets turn to the wheel of fortune.
The ghazal whose last couplet names "mülk-i 'Osmân", the realm of Osman, granted to Avnî for serving beauty's king; the two senses of "var ise" and dogs glad at his death.
A couplet of praise woven of the terms me‘ânî, beyân and bedî‘, a mouth beyond imagining and a mole that makes the eye ache, in a second ghazal on Mesîhî's model.
The section on the Arabs and the Companions: love for the Arabs as the Prophet's people, the people of Mecca and Medina, and speaking ill of the Companions as unbelief.
A kıt'a of uncertain authorship that Latîfî places at the start of the Basîrî and Revânî story: bringing verse to a poet is like selling cress to a gardener or pepper to India.
Münîrî's Persian ghazal on the refrain "rīḫt" (poured): tears pour rubies and pearls, the eye pours like a water wheel, and the dagger pours julep into the heart.
Adlî's five-couplet ghazal moves through motes of dust, the crescent pointed at, an autumn leaf and the ascetic, and ends by saying that wealth cannot buy union.
Sâhib's ghazal with the refrain "-âra dek çekerüz": seven senses of the verb çekmek, lament turned into merchandise, a rosary of scars counted to the day of reckoning.
A ghazal whose voice shifts in the last couplet: a lover scattering his soul, a prostration of thanks by the Prophet's right, the Shirin pun and a counsellor confronting Nigârî.
Three couplets on exile in the short chapter where Bayezid takes Nicopolis and Silistra, sends raiders out from Karaferye and builds soup kitchens there.
A night without the beloved: a beloved who does not come, a candle unlit, a promise broken, and Avnî claiming his verse would make Nizâmî, Sadi and Salman jealous.
A ghazal given to Refîkî in the Pervâne Bey Mecmuası and to Nasûhî in the Mecma'u'n-Nezâ'ir: beauties as pieces of the moon, beloveds touring like planets, white face and black faces.
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