Five couplets on the "Çıtak", in the chapter where at Otlukbeli Uzun Hasan cries "bring the grey horse" and flees, and later bids his kin never again speak the Ottomans' name.
Münîrî's seven-couplet Persian ghazal: a stream of tears seeking the sea of union, the sword's sherbet, an overflowing jug, and a lover who washes his hands of both worlds.
Adlî's single-couplet Persian matla, surviving only in manuscript M2: soul-reviving wine from the jar, the double sense of safâ, and a lover leading the jug by the hand.
A short ghazal with the refrain "green": right and left turned green by tears, an eye become a stream's edge, green garments for a rose-cheeked one, and green growing on the lover's grave.
A rubai with the refrain "delicious, O cupbearer": the word lezîz announcing the letter zâl, a rose-coloured cup, chief of the drunken with one cup and a name that is delicious to speak.
Five couplets where, after Otlukbeli, the Conqueror turns back without ravaging Uzun Hasan's land, takes Kemah on the way, and dismisses Mahmud Paşa again on entering Constantinople.
Münîrî's Persian ghazal on the refrain "-ı ū": the breeze lifting the veil from a rose face, sick lovers past the Yâsin, the ascetic's Paradise, and Me'vâ in a wall's shade.
Adlî's Persian matla cited in the tezkires: smoke from a torn breast that becomes a cloud and weeps over the grave, and the chain of response poems from Necâtî to İbn Kemal.
A ghazal of libertines who speak as "we": tavern-goers, ruffians, painters on water, sweepers with lashes for brooms, and a line that echoes Kâsım Paşa's model almost word for word.
A rubai with the refrain "more delicious, O cupbearer": the comparative of lezîz, talk sweeter than life, and wandering with the dog at her door preferred to the glory of a ruler.
Four couplets with the refrain "Ahmed", in the chapter where Gedük Ahmed Paşa sails to Caffa with three hundred ships in 880, takes it by treaty, and seizes the coast forts and Mangup.
Münîrî's Persian ghazal answering Hâfız: an oath by love's fire, a drinker unafraid of the inspector, tavern sweeping worth more than Cem's cup, and the faint star Sühâ.
A ghazal likening a street without night to Paradise: a wet-skirted spring cloud, a cypress casting its reflection head down, down like an amulet against fever, and Irem's garden.
The ghazal with the refrain "letter" that opens the zâl section: a letter that never comes, a breeze passing in shame, a pickaxe of sighs and a parrot of poems sent to the falcon of Qaf.
Three couplets in the chapter where the Conqueror crosses the Danube by ship in 881 into Moldavia, its lord sets his men on foot in a steep pass, and the gazis break his gun carts.
Münîrî's Persian ghazal on the refrain "-yı ū": a soul given for a glance, death's poison as cure, the world-revealing cup, pure wine denied the Sufi, and dust as kohl.
A play of light on a garment that looks rose-coloured from the reflection of roses: fire-coloured cloth, fire that burns only what touches it, and a robe half satin, half sackcloth.
Even the poison of abuse tastes sweet: a cry that delights the beloved, a palm-shoot sway and partridge gait, talk like twice-refined sugar and the honey of verse.
Two couplets in the chapter where Shkodër (İskenderiye of Albania) resists the first siege, is pressed by a siege tower and surrenders by treaty in 883, the Conqueror's last holy war.
Münîrî's Persian ghazal on the refrain "ḫāne": a breast turned guesthouse, the eyebrow's bow and the archers' ground, a house worth eight paradises, and a song's miyanhane.
Tresses like a musk chain on a silver lamp: a brow that takes the sick eye into its lap, a stature-arrow fletched with tresses, two beauties "making one mouth" and a witch.
A cupbearer rubai about a morning breeze that does not come: saba as confidant of secrets and the beloved's messenger, a cheek casting fire without pause and a rhyme announcing re.
Three couplets on the setting of the sun of life, in the chapter where the Conqueror crosses into Anatolia in 886 and dies at the hour of afternoon prayer on the meadow of Maldepe.
Münîrî's Persian ghazal: a cypress waiting on one foot for the walking beloved, a necklace of tear pearls, a pun on the word "sāde", and beauty the ascetic belittles.
A beloved who delights in the lover's blood as a child delights in a coloured house: an eye rhyme on "hoş", a liver turned quiver, a gold-clad candle and a response to Kâsım Paşa.
A cupbearer rubai that counts spring the noblest of the four seasons: the time of revelry, a tavern scattered like largesse, and a quatrain without heading.
Six couplets signed Âşıkî, in the chapter where at the Conqueror's death Bayezid holds "the throne of Eretna" and Cem "the throne of Yunan", and Keklik Mustafa carries the news to Bayezid.
Münîrî's Persian ghazal on the refrain "ġonca": a rosebud that bears a trace of the beloved's lip, seals its mouth on a secret, scatters an offering, and opens in blood.
The refrain "it turns out" gives each couplet the surprise of a discovery: the old lover finds his fortune young, solves a mouth the size of a hair's tip and reads long tresses as long life.
A defence of poetry opening the re section: the hadith "some poetry is wisdom", poets' hearts as God's treasury of secrets, a stone thrown at the Kaaba and the best of mankind.
Four couplets on yielding to what fate has written, in the chapter where, urged by the Karaman faction, Cem comes to Bursa and rules as sovereign, as lying astrologers had foretold.
Münîrî's Persian ghazal on the refrain "müje": the lover's eyelashes become a fiery needle, the broom of Paradise, rose thorns and the wings of the eye, a bird in flight.
Here the rhymes are almost all plain Turkish words: diş, kiriş, ḳamış, ḳış. The bud whets teeth of dew, and a sugar thief has a reed driven into his finger.
The praise poem whose opening couplet "Felek ser-geşte-i zülf-i mutarrâ" Hüsameddin quoted: a beauty that makes Joseph its prey, a rind copying the tughra, and teberrâ with tevellâ.
Two couplets where Cem, back from Mecca, marches on Ankara with Kasım Beg of Karaman, a scouting party of the Amasya troops kills the governor who deserted to him, and Cem takes to the sea.
Münîrî's Persian ghazal on "ez-müje", found only in the Vienna copy: tears that run like a waterwheel, rubies set in a yellow face, lashes as butcher's hooks, and sleeplessness.
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