Münîrî's Persian ghazal without refrain: spring is empty without the beloved, the plane tree trembles because its hand cannot reach his hem, and with him winter beats spring.
Adlî's seven-couplet ghazal with the refrain "-umdan": sigh-smoke that veils the sun, a lover calling the beloved "my sovereign", Alexander in the dark, and the eyebrow as mihrab.
Tears like coins laid on a barber's mirror after a shave: carrying an Istanbul shop custom into verse, the ghazal adds a marble breast and a nightingale that spurns the juniper.
A ghazal with the refrain "dispute", each couplet a debate: Ahmed Paşa's ground answered by thirty poets, the ant and Solomon, and a violet that loses to the tresses.
A cupbearer rubai repeating "‘abes" three times: those who think the moaning of the heart futile, the circling cup and devrân, and the judgement turned back on the scrupulous.
On planning: after the Kızılkocaoğulları are killed in Amasya, Yörgüç raids the Turkmen camps around Çorumlu and the question is asked whether these men had sinned.
Mustafa Vâzıh's nazm opening in everyday speech: an ugly Sufi brought to the beloved, the camel saying, a glance like a lancet and a spot in the nūn like Jonah.
Kara Fazlî's seven-stanza murabba of praise and separation for a beauty named Hasan, with punning stanzas and an allusion to Hasan, Hüseyin and Yezid.
Münîrî's Persian ghazal without refrain: a heart weeping blood till dawn has fallen in love, a yellow face is valued like gold, and sighs melt stone but not the beloved's heart.
Adlî's short-metre ghazal with the refrain "-dan": hair scented like Chinese musk, rose and nightingale, a hypocritical Sufi, a face asking for grief's stamp, and the compass circle.
The rose smiles on all, the Kaaba draws all into its circuit, the shoe takes all for Hızır; in this "kimi görse" ghazal the bath too strips whoever it sees.
A short ghazal on the narrow rhyme "-enc": a treasure guarded by a dragon, mirrors turning into oranges, a chessboard in the night sky and Erünsal's example of question and answer.
A cupbearer rubai rhyming on "bahs": talk of the wine of the lips in place of madrasa disputation, honey of the lips as relish, a wish for face-to-face talk, and the passage to se.
The last three couplets of the chapter: the Kızılkocaoğulları used to call in the lords of Dulkadır and Karaöylük, and with their removal Amasya found peace.
Mustafa Vâzıh's incomplete ghazal on the flooding of Amasya's rivers: waters surging like a lover's eye, a foaming river and bubbles that look like coins.
Kara Fazlî's five-stanza murabba in praise of a beauty named Ömer, building a congruence of images from the names Ömer, Osman, Abu Bakr and Muhammad.
Münîrî's Persian ghazal without refrain: Khidr's name is spelled out letter by letter, the beloved roams heart and eye like Khidr on sea and land, and his passing is life's passing.
Adlî's seven-couplet ghazal of beauty: a lip whose breath raises the dead like Jesus, a face laid out as a garden, the musk of the Khotan gazelle, and a lily that draws its dagger.
The breast should be split by grief's sword into a cleft, a kâf, and the heart made Mount Kaf for love's Anka; a heart held at A‘râf between hope and fear.
A drinking ghazal with the refrain "cup": images running from the crescent in the twilight to the rising sun, from a drunken cup carried hand to hand to a vessel of the lover's dust.
Opening the se section, refrain "bahs": no dispute with the wind, the executioner eye, the guiding Magian or the drinkers; a lover of Alast is sought to dispute with zealots.
A hundred years' supplies burned in a night: Haydar Beg of Kocakayası yields to Yörgüç after Tayfur Çelebi, who claimed Elvan Çelebi's line, fires the stores.
Mustafa Vâzıh's incomplete ghazal on the Christian-boy motif: a beauty who corrupts the people's faith, a drawn dagger and wine from a lip that leads to the faith of Jesus.
Kara Fazlî's seven-stanza murabba for a beauty named Süleyman Bâlî, alluding to Solomon through images of the wind, the ant, and the men and jinn he ruled.
Münîrî's Persian ghazal on the refrain "diger": no work but love's grief, no lip but the beloved's sugar lip, and the poet's one wish is to see the beloved's face once more.
Adlî's five-couplet ghazal with the refrain "without knowing": coquetry and entreaty, the Kaaba of the beloved's street, metaphorical love against the Sufi, and Mahmud and Ayaz.
Rindâne rindâne, pervâne pervâne, peymâne peymâne: every line of the nine-couplet ghazal ends on a doubled word whose two halves carry different senses.
A description of beauty built on the hadith terms sound, explicit and fair: lips that issue a legal opinion, a face inscribed "ente melîh", and thanks for an eloquent tongue.
A ghazal in the language of learned gatherings: words for conversation, news and disputation, questions left hanging at the curl's tip, and a place third after Ferhad and Majnun.
The bird that alights flies off: Yörgüç Paşa seizes Alparslanoğlu of Canik and keeps his family under guard in Amasya, but the captive escapes from Bursa by rope.
Mustafa Vâzıh's incomplete ghazal with the refrain "turned its face": a beloved unveiled to strangers, dogs denied the lover's bones and a roof the sun never lights.
The last of Kara Fazlî's three murabbas for the tailor beauty Memî Şâh: a life-giving lip like the Messiah's, a life-taking glance, and the irony of servant and shah.
Münîrî's second Persian ghazal on the refrain "diger": each ring of the curls breeds a new passion, the heart roams new deserts, but the one refuge is the beloved's door.
Adlî's six-couplet ghazal on the beloved's hair: a threshold starred with tears, a pearl of sweat on the eyebrow, hair laying ambush for souls, and Gabriel bending over the lip.
Chess with its knights and mate, brows standing like a tuğra before the row of lashes, a pen lost in Zulumat, and a mole that multiplies longing tenfold like a zero.
A ghazal that likens the cheek to a book page, the down to a gloss, the lips to a point and the waist to a line; love as "the soundest school" and a heart gladdened by a ruby cordial.
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