Karaman as the infidel's helper: Kula Şahin crosses drunk into Wallachia and is first to flee from the Hungarians, and the lord of Karaman exults and plunders Emirdağı.
Kara Fazlî's only eight-stanza murabba, a mystical call to break the ties of the world and become a wandering dervish, with the refrain "Gel ḳalender olalum".
Münîrî's Persian ghazal built on the language of accounts: the glance's arrows are counted, the rival is like the silent waw of 'Amr, and "lek" rhymes in two languages.
Adlî's seven-couplet ghazal with the refrain "what remedy": the sword of the glance, the heart hanged as a night thief, the thorn that never leaves the rose, and patience.
The almanac looks ahead and the chronicles look back; in a ghazal that draws counsel from objects come the alchemist's crucible, upstart branches and a chronogram line at the beloved's feet.
A ghazal with the refrain "they called" that gives its verdicts from others' mouths: a pen name likened to Şeyhî, Leylâ and Mecnûn, a blind ascetic and eye rhymes in Arabic script.
The third ghazal with the refrain "görgeç": a zealot rejoicing at soup, a dog clinging to a morsel, bowing to the dreg-drinkers, a moth running to light, and a beggar before the king.
Envy at the root of mischief: Murad lays Karaman waste, its lord sends his wife and vizier Sürûr to beg pardon, and the author blames Ottoman harshness on Karaman.
Kara Fazlî's seven-stanza muhammes on the refrain "Gördüñ zemāne uymadı uy sen zemāneye", popular in the sixteenth century, counselling submission to the world's ways.
Münîrî's Persian ghazal ending in an Arabic line: in the rose season no one fears the inspector, buds tear their collars, and tears wash all but the beloved from the heart's tablet.
Adlî's seven-couplet ghazal: the lover's head as a ball for a polo-stick tress, fire and pomegranate, the shamed sea and mine, and counsel to summon oppressors to justice.
An eye wet with pearls of tears is like the mouth of a seven-year-old who has cut his teeth; a mirror that steals images, checkmate on the board, a head held to the stone.
A ghazal with the refrain "belt": a jealous halo belting the moon, a sash that outshines Gemini's belt, a belt that stakes all it has and a lover bent into its ring.
Training the self told in palace language: tribute withheld by an unafraid servant, a lamp that cannot burn its moth unburned, the heart's flask, and a tree that is a sigh.
Good sons and bad: Murad seats his son Mehmed on the throne in his own lifetime, and the despot's sons imprisoned in Tokat are blinded and sent back to their father.
Kara Fazlî's five-stanza tahmis on Necâtî's ghazal with the redif "ṣandılar", headed "Naẓīre-i Fażlī" in the manuscript: Cem's cup, Mary, and a garden in mourning.
Münîrî's Persian ghazal on the refrain "gül" (rose): the meadow spreads green satin for the rose, buds hang red amulets on her, yet without the beloved's face the rose is fire.
Adlî's seven-couplet ghazal: the double sense of mihr, pearls and verse without value, a tress that ruins the ambergris market, the salamander, and kingship through servitude.
Two lips merge like two letters of one kind in assimilation: a madrasa-trained poet tells of a kiss through a rule of grammar, and a Damascus caravan sets out for Aleppo.
A response on Hafî's ground with the refrain "pâreler": wounds that weep blood for the lover, gold against a farthing, longing inside a bubble and black-blanketed hyacinths.
A ghazal with the refrain "have you ever seen": questions to the sphere, Husayn of Karbala as the measure of calamity, no king or beggar without sorrow, and why çim ghazals stand under cim.
Praise of the dynasty after Varna (848): the Hungarian king falls from his horse and is beheaded, Turahan Beg is freed from Tokat and Murad takes the throne again.
Kara Fazlî's five-stanza tahmis on a ghazal with the redif "aldum" by Zâtî, whom he counted his master: birds of the hunt, patent and coin, a fortress, a market of hearts.
Münîrî's Persian ghazal on the refrain "dil" (heart): even the Anka is lean prey for the falcon of the curls, the heart bears a hundred tulip scars, and no soul can keep its secret.
Adlî's five-couplet ghazal: the bird of the heart in the rose garden, a moon-faced beloved cruel as the heavens, weeping mountains, a dry ascetic, and counsel against the world.
Kanun, kemençe and bow-hairs that lend each other an ear make a whole consort in one line; the pen's prostrations of forgetfulness and two-faced paper share the ghazal.
A model poem in Nazmî answered by Necâtî and Süleyman: a sick, slow breeze, the idiom "a draught of water", joined brows and buds like sealed letters.
A rubai forbidding the cupbearer to say "would that" and "perhaps": the Arabic particles leyte and le‘alle, a lover without Khidr's life or Noah's span, morning wine and the passage to hâ.
The author's line, Yahya, Selman, Âşık, Muhlis and İlyas, named in couplets on the second Kosovo (852), where he says he slew an infidel and won a horse.
Kara Fazlî's five-stanza tahmis on Âhî's ghazal with the redif "olsa": a picture of spring, a pun on waist and lap, the emerald palace of the sky, a wish to flee.
Münîrî's Persian ghazal without refrain: separation is a dark night, a thousand-year breath equals one moment of union, and the poet bearing love's burden is like man in the Trust verse.
Adlî's seven-couplet ghazal with the refrain "upon": a sigh that brands the moon, arrows that become stars in the sky's shield, tears strung like rubies, and the eyelash as fate.
A response to Hattî, who led the way in this new valley: a lover bent into a bridge arch, a folding lantern, a weekly shave and a sigh carved like a chronogram into stone.
A ghazal with the refrain "knows" that uses the phrase "God knows" in two tones: tears opening a road to union, a brow as chamberlain and a pen-name couplet echoing Necâtî.
Rhymes echoing the call to prayer's "salâh" and "felâh": a Sufi blind to the goodness of wine, pure wine that wins prayers from the people of purity, and the passage to hâ.
Murad II praised as a lord of the conjunction whose sins are forgiven: four couplets headed "Nazım", after the second Kosovo victory is dated 852 (1448).
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