Münîrî's Persian ghazal: a heart lit by the sun of the cheek, a lover buying grief head in hand in love's market, a street preferred to Iram, and the favour of a sword on the neck.
A single-couplet matla surviving only in manuscript M2: the scent of faithfulness from a rose-faced beloved, and a heart that clears of sorrow like troubled water.
Envying the beloved's face, the rose has gone deep-red mad; hearing the forelock praised, the hyacinth is deep-blue drunk: a couplet on Turkish intensives.
A beauty who turns the land of Rum into China with her tresses: a perfect pun on "pür-çîn" and "Çîn", water that does not quench fire, Khusraw and Ferhad, and a response to Vasfî.
A short ghazal with the refrain "yoh": the difference between gam-hâr and gam-güsâr, an answer to the adviser, the word nigâr hidden in a gold-patterned tress and a lover gone to the hills.
Three couplets against trusting the world, where Mahmud Paşa persuades İsmail Beg to give up Sinop and the Conqueror will not let his "elder brother" kiss his hand.
Münîrî's Persian ghazal on the refrain "efkenem": a lover whose secret would turn the world into Majnun, Korah's treasures scattered in ruins, and tears that roar like the Nile and Oxus.
A single couplet found only in manuscript T: someone who sees the folded end of the beloved's turban above the tall stature likens it to a jasmine blooming on the head.
The mad heart called the beloved the soul's calamity, and the words came true: a jesting couplet that ends on the proverb of sane news from a madman.
A model poem in Nazmî answered by Kemalpaşazâde, Süleyman and Latîfî: a scribe of tears cutting pens from lashes, a rose that rouges its cheeks and pens of sugar cane.
Love's crier calls "who bids more": sevdâ as both passion and bargain, a market where honour is worthless and a Hazret-i Mevlâ that can be read in two ways.
Five long-lined couplets on the deceit of the world, coming right after the previous piece, following the surrender of Sinop and the end of İsmail Beg's principality.
Münîrî's Persian ghazal: a lover now in the water of his eyes, now in the fire of his heart, a headstrong curl that pulls at his life-vein, the Magian elder's wine, and a moon-faced beloved.
A müfred found only in manuscript M2: the lover warns the beloved who has burned him not to trample him underfoot, since a hidden fire still burns within his heart.
A kiss from sugar lip and rose cheek comes to the lover's sickness like rose-sugar paste; the words "gül beñzer" may also be read as gül-be-şeker.
A nine-couplet ghazal of dress describing the beloved's yellow robe with its red satin collar, a water-lily robe and a lemon kaftan: images of a yellow candle, a nahıl and amber.
A cupbearer rubai written in two metres: a first couplet in a rubai pattern and a second in remel, a lover crying for help from love's fire and a wish to settle at the cupbearer's door.
Two couplets where the lord of Karaman tries to stir up İsmail Beg, now settled at Yenişehir, and İsmail Beg refuses, calling such words hypocrisy.
Münîrî's Persian ghazal: a lover seeking the beloved who gives rest to the heart, thinking of the end at love's beginning, honour as a bad name among lovers, and restlessness like wine.
The divan's last poem, a jointly composed couplet: Adlî leaves his line open with "but", and Câfer Çelebi of Amasya completes it: knowledge never put into practice earns no regard.
Each of the four brows runs its own way, as the four schools of law give four rulings on one question; every brow is a dark land of India in its own direction.
An eleven-couplet picture of spring that scarcely mentions the beloved: a stream girded in silver, buds stormed like fortresses, a golden astrolabe and a plane tree holding dew.
A rubai of reproach to the cupbearer: the word dâd meaning a cry in one line and giving in the other, the weighing-stone of a scale, a thirsting heart and the wine of desire withheld.
Four couplets in the chapter where Koyulhisar is taken with cannon, and the author, asked as a dervish, explains the azaps' misdeeds and the army's twelve classes.
Münîrî's Persian ghazal spoken as "we": banners of the heart's smoke planted on the sky, the heart's due taken from the old hag of the world, and tears scattered for dust that is an elixir.
The first of Adlî's Persian ghazals: thanks for seeing the beloved's face, a pupil too shy to look, a soul's realm plundered by grief and an ordeal greater than Job's.
The lover who gives his heart to a Janissary beauty takes Hacı Bektaş-ı Velî as his own patron: a jest born of the bond between the corps and the Bektashis.
The first of the responses to a ghazal of Necâtî: a narcissus that shoots arrows, a fly turned falcon, conjuring tresses, love and musk that cannot hide, a harp out of tune.
A praise poem opening the dâl section: a ghazal whose every couplet ends with the name Muhammad, the term tevellâ, the beloved's images used for the Prophet and the night of the Isrâ.
Three long-lined couplets on Sara Hatun's embassy, the crossing of the Bulgar Dağı and the surrender of Trebizond, when three provinces fell in one campaign.
Münîrî's Persian ghazal: a spirit split in two by every word of a pistachio mouth, grief settled in the house of the heart, a golden face and silver tears, and a Hindu mole beside Moses.
Adlî's second Persian ghazal: a cypress stature that dwarfs the Sidre tree, a sword preferred to Khidr's water and Jesus's breath, and a dove perched on a cypress.
Every thought that passes through that houri's heart shows in her clear breast like an object in a crystal vessel: a beloved who cannot keep a secret.
A sigh that scatters the rose-faced as the dawn wind scatters the rose harvest: a road opened by the comb on beauties' heads, wine that makes a beggar king, union as brief as a rose.
A praise poem with the refrain "Ahmed": the Prophet's story abrogating all others in the legal sense of nesh, a moth turned peacock and the plain of judgement.
Two couplets on the Impaler Voivode, who would not come to the Porte, raided Hamza Beg by night across the frozen Danube and sent his head to the Hungarian king.
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