The notion in the book's title becomes a refrain: five couplets defining good conduct, beginning and end of every science, door of sainthood, nobler than the world.
Basîrî's kıt'a satirizing Revânî without naming him: Pinti Hamîd, once spoken of for stinginess, is acquitted, and the guilt passes to a still greater miser.
Münîrî's Persian ghazal of the beloved as a candle of manifestation burning in a corner of the heart; the pen name plays on "münīr", bright, in the last couplet.
Adlî's six-couplet ghazal on the refrain "degül" outdoes Ferhad's cry, recalls Mecnun's broken bowl and ends with a lover whose fortune is not his friend.
A trembling image turns the mirror into a house of quicksilver, the mole is the summary and the down the detail, bâl is both mind and wing, and the candle wears a moth-wing shawl.
Closing the elif ghazals, this cupbearer rubai already sounds the letter be in its rhyme; the cupbearer is asked to lift her veil and to bring wine for a liver turned to blood.
Lazar's daughter is given to Bayezid, who learns the ways of the drinking party from her with Ali Paşa's help; four couplets on how the Ottomans took to wine.
A ghazal made known to scholars only in 2015: cypresses rising to serve, lashes that sweep the threshold, idols stranded in the church and Avnî wishing to pillow his head on the doorstone.
A feast-day ghazal counted Kemalpaşazâde's model in the Mecma'u'n-Nezâ'ir and Refîkî's nazire in the Pervâne Bey Mecmuası: cups with nowhere to step, and the address 'ey refîk'.
Four couplets, the shortest section: the sheikh's lawful conversation with disciples, warning against innovation, conduct and companionship, and following the elders.
Basîrî's satirical kıt'a on Revânî's kitchen, where the servant foams from hunger: a pun on imsâk as fasting and as stinginess, and a fast broken for a free morsel.
Münîrî's Persian response to Hâfız: the unbelief of the lock is the lover's religion, thorns turn to flowers, and his ghazals are the candle of the libertines.
Adlî's five-couplet ghazal on the refrain "degül" uses letter-shaped brows and curls, the bloody eye as a cup, and kings Hüsrev and Dârâ as slaves of the beloved.
Sâhib's ghazal with the refrain "itmege degmez": a couplet built on the musical modes Uşşak, Şehnaz and Dügâh, the down as preface and title page, crown and cap.
The second cupbearer rubai closing the elif section: strength run out, pure wine as the strength of the soul, a cup to scatter the dark of separation, and an impatient "make haste".
Bayezid wants to burn the corrupt kadıs, an Arab jester saves them with a joke about monks and their fees are fixed; three couplets draw the lesson of the anecdote.
A tavern ghazal addressed to the cupbearer and the elder of the temple: a heart's building gone to ruin, the secret of wine, a cask emptied upstairs and the fire Moses saw on Sinai.
A Refîkî ghazal kept only in the Pervâne: a moon that wanes to a crescent hearing of the cheek's sun, an objection to the sugar cane, and down on the cheek like converts.
The book's only ghazal wholly in Persian: a supplication with the refrain “feryâd res”, the wound of exile, a lover fallen drunk and a poet among the rakes.
Münîrî's Persian ghazal on the refrain "ne-reft" (did not go): the lancet of the lashes never leaves the wound, and longing stays like the dervish's thought of begging.
Adlî's seven-couplet ghazal on the refrain "eylegil" moves from garden images to the language of the court and ends asking the beloved to make him sultan of Rum.
A wound that laughs from its saffron salve, a cradle of vine wood, a rosary strung on a sigh, and a fountain that climbs because its source is high: a ghazal of old beliefs.
The poem that opens the be ghazals is a prayer turned upside down: let no one in the world be left without love's brand, no body without pain, no heart without sorrow.
A just khan is a saint, say these four couplets: on Bayezid's Karaman campaign Konya opens its gates after his army buys barley fairly, and Aksaray and Niğde surrender.
A warning to the heart to keep away from beauties: grief that debases, a master rider who scatters one like dust, and a beloved shamed by her mercy.
A Refîkî ghazal kept only in the Pervâne: a brow that teaches mischief to the eye, a hyacinth jealous of the comb, a mirror that kisses the king's hand, and a sun-face joined to a crescent.
The section on knowledge of the heart: a voice without letters, the unschooled Prophet, unlettered saints, Şems, Mevlânâ and Câmî, and sheikhhood without learning.
Münîrî's Persian ghazal on the refrain "est": a summons to the spring gathering, wine and Zamzam shamed by the lip, a pun on key and Key, and the beggar above kings.
Adlî's five-couplet ghazal likens the unbending lock to an ear of grain and tears to a shoreless sea, then plays on his pen name to give up the title "just king".
Sâhib's gnomic ghazal naming Nâbî as master: judgements proved by examples, from treasure not in every ruin to vinegar that never turns to honey and the olive and fig.
A ghazal opening with the repeated "Benem" (I am): moth and thirsting lover, Leylâ's camel and caravan bell, the veil of selfhood, a gathering made ready, and engraving on the breast.
Karaman and Silifke in tears: four couplets from the chapter where Bayezid takes Taraklı Borlu and Kastamonu, leaving İsfendiyar only the district of Sinop.
A Turk of Cathay raiding the land of the heart, a tavern boy's lip that drove Jesus from the old church, the robe of piety thrown on the fire, and Cem's cup taken from the royal treasury.
A Refîkî ghazal kept only in the Pervâne: tears that never cease, a lover far from the door who cannot find even a stone for a pillow, and the idiom of the brow above the eye.
A five-couplet ghazal with the refrain “baña”: a poet whom no one calls human in his mirror, the cloak of poverty, the pilgrim's garment as shroud and a burning love.
Münîrî's Persian ghazal with Arabic rhymes: calamity shuns the eye's mischief, a rival who reads the Kashshaf lacks refinement, and the lover travels like Gabriel.
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