Adlî's six-couplet ghazal: the lover's eyes outdo the April cloud, the beloved counts her own nightingales, and praise of her cheek's down fills the ledger of the world.
A ghazal found only in the T. 738 copy, rhymed with the Turkish diminutive "-cik" on Arabic and Persian words: dew and sun, a little nightingale, a stranger in a stokehole.
A ghazal inviting the beloved to a hut of sorrows: Jacob's house of sorrows, a pain that would burn the physician's hand, the idiom "kanına girmek", a drunken nightingale and nearness soon.
On change, in four couplets: while Prince Murad is in Amasya the infidels burn Samsun, and Mehmed Çelebi marches via Merzifon to take Muslim Samsun from Hızır Beg.
The single couplet closing the section on contemplation: the mill of the heavens whose ruin brings no sorrow to a dervish who has not a single grain in it.
Münîrî's Persian ghazal on the refrain "şod": the heart is a half-slaughtered bird, tears flow like beggars asking alms, and only the beloved remains on the heart's tablet.
Adlî's seven-couplet ghazal: the arrow of a sigh reaching heaven, an unceasing flood of tears, the chain of the locks and the rival's dog, and a lament that no one hears.
The refrain "ol" (be) bids the lover become something new in every couplet: a vine round the cypress, a split tooth-stick, a torn cage, a bath attendant who shakes off worldly dirt.
Raised on gazelle's milk, breath scattering musk: the scent of a burning liver in the gathering, wine smelling of rose-water, poetry that opens veils, and the tavern of reason laid waste.
From buttermilk to raiding: returning from Samsun, Mehmed Çelebi sees Minnet Beg's Tatars at İskilip and moves them to the Plovdiv district, where Minnet's son becomes a raider.
The book's only ghazal in the ahreb metre: hold to one road, become a master through the masters, and a couplet that opens the pen name as a mirror.
Münîrî's Persian ghazal without refrain: the grain of the mole scatters life's harvest, the dice of two worlds must be thrown, and peace lies beyond multiplicity in union.
Adlî's five-couplet ghazal: the beloved is a sun-faced moon and an idol with the breath of Jesus, her street the Kaaba, the lover's tears Zemzem; the close urges kissing a shah's feet.
What comforts Majnun is the glance of Layla he sees in a gazelle's eye; in this ghazal on "degül" everything that burns the lover lies a step beyond where it seems to be.
A ghazal naming Attâr's hoopoe: the Conference of the Birds and the road to the Simurgh, a speaking parrot and an uncomprehending crow, and a difference between two editions.
False Sufis mocked in six couplets, after Börklüce Mustafa plays the prophet at Karaburun, is crushed by Bayezid Paşa and Prince Murad, and the kadı's son claims power.
The section in which the author introduces himself: a declaration of humility from a poet who says he never studied, never completed the Qur'an and wrote a poor hand.
Münîrî's Persian response to Hâfız: the curl of the tresses is every heart's home, death holds no fear when the killer has Jesus' breath, and a face lights the gathering.
Adlî's seven-couplet ghazal with the refrain "I am not": the lover answers the rival, teases the eye that denies its sorcery, and counts grief bought with his life a bargain.
The down as the hour of breaking the fast, the cheek as the feast morning: a ghazal on down and mole woven with Ramadan, the dot of nûn and the geomancer's board.
An eleven-couplet münacat with the refrain "yâ Rab": beloved or death, a slave asking for his freedom, a soul sent to the Kaaba, a prayer for the divan, and bread without obligation.
A scholar who sought rule: the son of the kadı of Simavna is seized, brought to Mehmed Çelebi at Serres and hanged on Mevlânâ Haydar's ruling. Four couplets.
The book's last Turkish ghazal: a confession made heavier by repetition, then repentance, and a turning from both worlds to take refuge in God.
Münîrî's Persian ghazal on the feast: almonds and halva go to the Sufi, wine to the libertine, a doorkeeper's kick is sweeter, and a crescent brow is the feast's tughra.
Adlî's five-couplet ghazal with the refrain "kılam": a Tûbâ-tree stature, the staff of Moses, elixir and alchemy, and a lover who ranks servitude equal to sovereignty.
Ricâm câm, selâm lâm, enâm nâm: in a ghazal whose rhymes echo the last syllable of the word before, the upright man stands like elif and a name ends on a gravestone.
The cupbearer rubai closing the letter be: a rhyme announcing the "-ât" of the letter te, a lover checkmated by wonder, the water of life and the useless water of the Euphrates.
Lying Sufis who chase pilaf and feasts are mocked in four couplets, once the question whether the kadı's son of Simavna died in the faith is answered "God knows".
The section that says why the book was written: prayers for İsmet, his son Abdullah Bahâ and the poet's parents, his coming to Amasya under command, the book's aim.
Münîrî's second Persian feast ghazal: the beloved's quarter becomes the Kaaba, the soul is sacrificed in pre-eternity to the feast of union, and the cup goes round again.
Adlî's seven-couplet ghazal with the refrain "eyledüm": tears become a flood for a cypress stature, the body a water-wheel, and the stars the wounds of sighs that pierce the sky.
The lover prepares his words, sees the beloved and forgets them all; he endows himself to agitation, while the heart's black spot and the mole sail in one ship.
A rubai asking the cupbearer for "the wine of the Essence": life from the shade of the lips' water, salvation from a glance, and the second of the pair closing the letter be.
Signed Âşıkî, four couplets from the chapter in which Mehmed Çelebi takes Hereke, Gebze, Tarucılar, Pendik and Kartal to endow his Bursa imaret; his reign ends in 824.
The two-couplet chronogram on the book's completion: a keepsake for the brethren, the phrase “mir'ât dedim târîḫ” and a correction of the Gregorian date for 1296.
Münîrî's Persian ghazal on the refrain "keşed": who draws his being into nonexistence reaches permanence, and pure wine is drunk in the gathering of nonexistence.
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