Adlî's seven-couplet ghazal on the refrain "kıl" warns the heart against the sorcerous eye, urges tears as offerings, and asks for long praise of stature and few words on the mouth.
Sâhib's ghazal with the refrain "-erlik istemez": Farhad, valued for helplessness not strength, the play of foot and rank, and the down that comes with the dust of time.
Beauty above the nisâb owes alms; Nigârî counts himself poverty upon poverty and the beloved nisâb upon nisâb, so that she is the debtor and he the creditor.
Taharten of Erzincan, whose wife, son and daughter were held hostage, speaks in five couplets from the chapter on Yıldırım Bayezid's taking of Amasya and Sivas.
The last ghazal of the main manuscript: a soul-bird perched on the eye, the cage of the breast, the breath of the ney, lashes blocking the way, and calling her "my soul".
Forty-two couplets, the longest section: the contemplations of oneness, withness and nearness, the greater and highest sainthood, annihilation and the four journeys.
Münîrî's Persian ghazal treating love as a science: the disputant is ignorant, the beloved's street becomes the Kaaba, and the lover's sigh lights the gathering.
Adlî's seven-couplet ghazal on the refrain "gönül" traces grief to man's creation, names the strife of sovereignty as his burden and urges laying down the care of the realm.
The lover calls himself an almond in patience, the pilgrim's garb on the road of Unity, a dot in writing, a cup in the gathering, and the useless days of an old calendar.
A ghazal telling the physician "do not trouble yourself": death as the cure of passion, calamities that ask after the lover while the beloved does not, a love-curse on the rival.
The world never keeps one form: two couplets headed "Diger nazm" that close the chapter on Yıldırım Bayezid's taking of Amasya, Sivas, Erzincan and Malatya.
The only quatrain in the main manuscript: a heart wounded by the arrow of grief, a lover undone by the thought of lashes, and grief that tears his collar to shreds, in four lines.
An eight-couplet ghazal with the refrain “-ilen”: a love that speech, writing, law and exegesis cannot hold, the limit of remembrance and rabıta as the beloved's eyebrow.
Münîrî's Persian ghazal on the refrain "-yı tost": the face is the dawn, the hair the night, the preacher's hell a spark of separation, the lover her nightingale.
Adlî's five-couplet ghazal on the refrain "kıl" makes the beloved a physician, plays on fixed stars and planets, sets the tavern against hypocrisy and ends with a cypress by the river.
Sharing its pattern with ghazal 54 and repeating two of its lines, this ghazal from the T. 738 copy says fortune is won by luck and union bought with gold.
Lightning from the lover's sighs is hurled at the strangers driven from the door, the liver becomes kebab for the wine, and the poet asks a reward as if for a Shahname.
Deportation as law: Saruhan nomads who ignored the salt ban are moved by Bayezid's son Ertuğrul to the Plovdiv district as the Sarhan Beglü, in three couplets.
The quatrain of a lover who does not want to be freed from love's pain: two couplets praying "may God not save me from this pain nor stop my tears".
The ghazal in which the poet names his master İsmet: kingship through poverty, a head laid at the threshold like İbrâhim b. Edhem, and turning from all to God.
Münîrî's Persian ghazal on the refrain "est": the ruby lip is sweeter than life, the tulip loses the ring game with ash in its mouth, and the breast smokes like a censer.
Adlî's seven-couplet ghazal on the refrain "eksük degül" counts the snare of the locks, a beauty equal to the sun and the rivals in his company, ending as one of a thousand beggars.
One of Sâhib's most playful ghazals: puns on Kays and the apricot, peach and mişmiş, gossip told with the suffix "-miş", a Sufi without music, and check in chess.
A ghazal with the refrain "O physician": the pain of love told to a doctor, souls and blood found in a split breast, a sickness even Luqman could not cure, and the ruby lip as sole remedy.
A reproach in two couplets to Taharten, the lords of Germiyan, Aydın and Menteşe and İsfendiyar's envoy, who fled from Bayezid to Timur and incited him against Anatolia.
A two-stanza murabba from the Pervâne Bey Mecmuası: a piece unlike any other in the divan, calling the beloved by name, "my life, my Hasan Bâlî", and naming him a maker of caps.
The section on dying before death: annihilation and abiding, the descent from ascent back among the people, and the most perfect saint who seems most ignorant.
Münîrî's Persian ghazal found only in the Vienna manuscript: a lip that revives like the Messiah, salt on the wound, and the poet's view that every art needs learning.
Adlî's five-couplet ghazal makes the eyebrow a crescent shaped like the letter râ above a sunlike face, the locks a Night of Power, and ends: no gazelle is caught with a ghazal.
Sâhib's ghazal with the refrain "-eşden halâs": eyes like a quiver, an old lover bent like a bow, Siyavush in the fire, and advice to escape the five and six of backgammon.
Youth is over, yet the horse of aspiration still runs in the arena of passion; the ghazal of a drunkenness without wine calls the Sufi drunk with sleep and itself awake.
The Anatolian lords who fled from Bayezid to Timur tell how they lost their wealth, families and homes, in six couplets headed "Diger nazm".
Three couplets left from an incomplete ghazal: a lover chained by the beloved's locks who prays never to be freed, a soul made for many pains, and tears and breast-fire joining forces.
The second kaside to the saints: saints as treasuries, divers and mirrors, criticism of imitators, and a prayer for the sake of İsmet, Nakşibend and Geylânî.
Münîrî's Persian ghazal on the refrain "keşīd": the refrain takes a new sense in each couplet, the down writes on the heart's tablet, and grief's army lays waste the heart.
Adlî's five-couplet ghazal makes the lover a candle's wick and the lip's memory the water of Selsebil, calls the tearless a miser, and finds honour not in sovereignty but at a threshold.
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