Fratricide traced back to Cain and Abel, in the chapter where Mehmed Çelebi defeats Musa at Samakov; here the author tells how he lay sick at Yahşı Fakıh's house in Geyve.
A single couplet taken from the Tezkire of Rızâ: the beloved sets foot in the garden of peace to make merry, but the lover's joy does not last and the season of autumn soon arrives.
A six-couplet ghazal with the refrain “var sînede”: a wound from the lashes, untold longing, loathing for the adviser, and one king, İsmet, in the heart as in one land.
Münîrî's Persian ghazal on the refrain "şod": bloody tears turn to ruby, the lover is a bubble on the flood of tears, and a mote of the beloved's road becomes a sun.
Adlî's seven-couplet ghazal on the refrain "-dur benüm" counts grief as his soul, makes his sigh an arrow aimed at the sky and its smoke the vault of heaven, and blames no one.
Sâhib's ghazal built on the language of food and taste: the sky as a sieve, a musket whose barrel cracks with the fire of envy, and a lip both sugar and salt.
A ghazal in which Nigârî explains his pen name, "I gave my soul to you": the full poem behind Hüsameddin's couplet "Dûzahu'l-‘uşşâk", the meeting of two seas and the word Çalab.
The enemy's fortune is black: while Mehmed Çelebi is in Rumelia, the lord of Karaman besieges Bursa for thirty-one days against Hacı İvaz Paşa and flees when Musa's body arrives.
An opening couplet recorded without a source in Ali Emîrî's Cevâhirü'l-Mülûk: a lover who, since the pain of love is his companion, wants no other faithful beloved.
A supplication within the mesnevî: a confession seeking pardon, a prayer that “this treatise be complete”, and prayer for İsmet and his son Bahâeddîn, dead at sixteen.
Münîrî's Persian ghazal on the refrain "şod": a pun on gül-āb and gül āb, the rose melting with envy, the quick-answering eye and pupils ruined on grief's road.
Adlî's five-couplet ghazal on the refrain "mı diyelüm" lists his sorrows question by question, is wounded by the thorn before reaching the rose of union, and doubts his own patience.
Sâhib's ghazal opening and closing in the language of shaving and barbers: a candle beheaded by the snuffers, the price of revealing love's secret, a barber.
The wine of love drunk without lips or cup: drunkenness in the limbs, a thousand doors opened by sincerity, rapture and trembling, and a lover kissing a friend of the beloved's dogs.
On fortune and opportunity: Emir Süleyman's son in Constantinople crosses to Yanbolu with his tutor, is captured, blinded and sent to Bursa. Three couplets.
A single line that Mehmed II spoke and left unfinished, which twenty poets of his age, and later eight more, completed into couplets with second lines of their own: a court game.
A chronogram on the death of Şeyhzâde Abdullah Bahâeddîn in 1292: couplets in the dead youth's voice, İsmet's lodge and the question of the young man's identity.
Münîrî's Persian ghazal on the refrain "pīçed": curling hair, the heart clutching a rope, the tongue-tied lover, the beloved turning away and the rival writhing like a snake.
Adlî's six-couplet ghazal turns the eye into a sea and a mine, tears into rain, the rose branch into an arrow, and the bloodied eyelash into coral in a sea of tears.
Sâhib's ghazal woven in the language of old medicine: mummia that sets fractures but keeps its own blackness, tutty for the eyes, and a sapling as an old man's cane.
An eleven-couplet ghazal saying "I am an Ahrârî": a chain that may point to Ubeydullah Ahrâr and Muhammad Ma‘sûm, "lebbeyk" in answer to "yâ Rab", a fatherless child and the repeated "men".
Friendship with khans, in two couplets: before his Karaman campaign Mehmed Çelebi asks İsfendiyar for troops and Germiyan for supplies, which arrive in plenty.
A six-couplet ghazal with the refrain “aġlarız”: the disciples' shared longing amid the section on contemplation, a hidden wound, a jealous rival and a barefoot poet.
Münîrî's Persian response to Hâfız: asked for the alms-tax of her lip, the beloved says "lâ" and it becomes "belâ", while the lover's sigh fans the fire within.
Adlî's five-couplet ghazal: the sultan-poet makes himself a doorkeeper at the beloved's threshold, becomes a sultan in that fancy, and turns his wounded breast into a rose garden.
Sâhib's ghazal written in response to Necîb: the repeated letters of the word barber and Egypt's refined sugar, dry water and moist fire, and the pen that walks on its head.
A poet who turns the Quran of a face into a book through the mirror of his nature: lips as the sherbet of speech, a glance that could ruin the world, and a lover silent to spare the beloved.
A seven-couplet satire on Karaman: Mehmed Çelebi captures its lord and his son on the plain of Konya and makes peace, only for the lord to declare his enmity eternal.
The ghazal “suited to this station” in the section on contemplation: a lover calling the morning breeze, a servant sold for a stamp and a poet unmoved by the gallows.
Münîrî's Persian ghazal on the refrain "-i çend", found only in the Vatican manuscript: a stature bent like the harp, the reed flute as companion and dust borne by the breeze.
Adlî's eight-couplet ghazal with the refrain "what am I to do": a lament on the slave driven from the shah's door, a sun of fortune that never rose, and black fortune.
Sâhib's ghazal built on "neither ... nor": an inventory of what the lover could not do, body's dust that never became kohl, and a lawsuit of love that cannot be proved.
The daughter of the grape walks unveiled: no torment for those who burn with love, the dry-mouthed zealot's writing on water, and circling the cupbearer's head and cup.
The treacherous wheel, in six couplets: Mehmed Çelebi builds Giurgiu and makes Wallachia tributary, while İsfendiyar's son Kasım Beg stays in Ottoman service.
A ten-couplet ghazal rhyming in negative verbs: not every cap is a master, love as God's sword, a weight Mount Kaf cannot lift, and the verdict on Mecnun.
Münîrî's Persian ghazal on the refrain "mī-pervered": pain is nurtured in the soul, Joseph in the well, musk in the gazelle, wine in the jar and a pearl in the sea of tears.
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