The kıt‘a that opens the Mukatta‘ât section of Mustafa Vâzıh's Dîvânçe: a heart wailing like a Balyemez cannon, scented tobacco and a beloved who raises doomsday.
Âkif's gloomy ghazal with the refrain "dur baña": every beauty of spring appears to the poet as blood, mourning and winter, and comfort is sought from God alone.
Kara Fazlî's plain-spoken five-stanza murabba with the refrain "Yüri şāhum yüri Allah'uma ṣaldum", leaving to God a faithless beloved who has favoured the rival.
Münîrî's Persian ghazal on "gīred": a Turk of an eye lies in ambush, Khitai and China slip into the play of brow and arrow, and a lip sets Solomon's seal beneath its stone.
Adlî's ghazal with the refrain "itmek neden": a reproach to the heavens that grieve the lover and gladden the rival, a pun on "dâd", and a bowl of poison given to Adlî.
As beauty passes from lip to down the mad heart moves from Aleppo to Damascus, from white to dark; every night is a Night of Power, and wine exposes boasted lineage.
A ghazal with the refrain "baña" that adds the night of separation to a lifetime, leaves the world to the rival for the beloved and likens a rose petal to a heated horseshoe.
A ghazal telling the poet's nature "take the pen, make the secrets known in poems": eş‘âr and iş‘âr, a pacing partridge, a parrot silenced by sugar, tears as pearls and a prayer.
A treacherous tutor: Murad's young brother Mustafa settles at İznik while the paşas secretly promise his tutor Şarabdar İlyas a governorship. Six couplets.
Mustafa Vâzıh's incomplete ghazal on a child starting school: a forelock decked with tinsel, ink made from heart's blood, the sī-pāre and Kawthar on the lips.
Âkif's ghazal with the refrain "âsâ" (like): a world that camps and moves on like a guest, a beloved faithless as time, the brow-bow play and a pen like a lion in the reeds.
Kara Fazlî's five-stanza murabba of exile with the refrain "Kimse yā Rab olmasun yār u diyārından cüdā", joining separation from the beloved and from home.
Münîrî's Persian ghazal without refrain: beauty seen in pre-eternity becomes the litany "Yâ Vedûd", a glance steals the heart with a toy, and love is older than time.
Adlî's ghazal of a spring outing: the meadow spreads satin for a rose-shirted Joseph, cypresses rise, almond blossom showers gold and jasmine clings to his hem.
Separation turns the lover from Rüstem into Zâl: the ghazal runs the Shahnama's family tree backwards and adds souls that undress from their bodies in the bath.
A response to Şeyhî's ghazal with the refrain "baña": its close kinship with Ahmed Paşa's response, a pen name placed in the penultimate couplet and a lover who calls love a sin.
A plea with the refrain "O Friend": desert vagabondage in place of reason's torment, "take our souls but do not hide your face", a wish for half a glance, and the address Dost.
On fratricide, in ten couplets: Murad reaches İznik in nine days, Mihaloğlu is killed, and young Mustafa is seized, strangled and buried in Bursa.
Mustafa Vâzıh's incomplete ghazal on the beloved's glance: the glance that intoxicates and kills, the bow-shaped brow, the gazelle's eye and repeated oaths and sighs.
Âkif's ghazal of supplication with the refrain "eyleme yâ Rab": a prayer to be kept from the cup of heedlessness, the snare of sin and the well of disobedience.
Kara Fazlî's five-stanza murabba of supplication with the refrain "Yā İlāhī sen ḫalāṣ it bu belālardan beni", lamenting his fortune and the beloved's "God willing".
Münîrî's Persian ghazal on "bāşed": distraught hearts find their place in dishevelled tresses, love's pain has no cure, and Judgement Day is the very night of parting.
Adlî's ghazal with the refrain "dirsin": a face in the hair like the sun in Scorpio, rebukes to ascetic, Sufi and preacher, a mouth so small it is nothing, a nightingale's praise.
A ghazal of maxims with hardly any love in it: needle and thread, a window fed by sunlight, fate as the officer who divides an estate, a sieve that parts bran from kernel.
The first of the responses to Ahmedî's "serv-i revân ola": a lover who invests his soul in the beloved's tresses, his reckoning of profit and loss, and a joke on her missing waist.
A ghazal wishing its poetry to be admired by the people of Shiraz: the city of Hafez and Saadi, the bargain "be at least a little coy", distinction among the mad, and a gathering.
Murad challenges İsfendiyar: having crushed his enemies he disperses his viziers, Amasya goes to his tutor Yörgüç, and İsfendiyar marches on Taraklı Borlu.
Mustafa Vâzıh's incomplete ghazal that keeps asking the beloved "did you learn it from…": elegance from the waist, delicacy from the mouth and cruelty of his own making.
Âkif's ghazal with the refrain "eyler": a complaint against an age that favours the unworthy, a garden where crows are the rose's confidants, and praise of a patron.
Kara Fazlî's six-stanza murabba of complaint with the refrain "Hey ne ẓālimsin elüñden dād u feryād iy felek", accusing the sphere of giving his beloved to his foes.
Münîrî's Persian ghazal on "şod": tears become a flood seeking the cypress, the gazelle eye's leanest prey is a roaring lion, and the heart leads the circle of madmen.
Adlî's short ghazal with the refrain "imişsin": a weeping eye, a heart turned to blood, the soul within the soul, and the poet calling himself a strange sultan who would be a servant.
The letter elif stays upright whether joined or apart, a model of the beloved's rectitude; road earth sealed by a horseshoe and the counsel to be the son of the moment.
A ghazal that likens the down on the cheek to immortal Khidr and bloody lashes to a painter's brush; an opening Erünsal compares with Ahmed Paşa, and a large group of responses.
A ghazal with the refrain "O Friend" built on thirst and water: honey-water, a spring-head and a life-giving drop, the unveiled face as the greatest blessing, and a poet scattering pearls.
The world as a garden of heedlessness: Murad defeats İsfendiyar before Borlu, İsfendiyar offers his daughter for peace, and the paşas are won over with "red florins".
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