Câfer Çelebi applies the Arabic proverb "the storyteller does not love the storyteller" to preacher and singer, and likens the beloved's mole to a sura written on a lentil.
A ghazal of a poet whose very nature is metrical: mevzûn as shapely and as measured, a treasure inside mahzûn, the hidden-treasure hadith, and Nigârî as a concealed pearl.
Three couplets on the gazis' spoils, where Bayezid II, his campaign put off, has the Danube forts his father had razed rebuilt and garrisoned.
Münîrî's Persian ghazal on the refrain "būse": a kiss that grants life yet stirs fear, blood money, a face kissed like the Qur'an, the sun kissing the ground, and tears on a footprint.
Every rhyme ends in the Arabic letter ḍād, a narrow list to choose from; the brevity of the rose season becomes a warning, and mouth and waist a dispute over what exists.
A poet who begins by refusing wine and ends as tavern-keeper, an old head still wanting wine, speech without letters and a surrender that asks nothing.
Five couplets signed Âşıkî on Bayezid II's taking of Kilia and Akkerman in 889, just before the closing note of 26 Receb 890 that ends the S manuscript.
Münîrî's Persian ghazal on short rhymes: a face yellowed like a quince or made fine, a brand set on the wound, the bowstring's "zih", and a love that knows neither great nor small.
A cheek like a page dotted before it is written: the play of script and dots, "no good except in the middle", the calligrapher Yâkut, river and distance, and Ahmed Paşa.
The refrain says "there is", yet the heart has nothing but grief: Jacob's sanctuary ruined by sorrow, a breast wasted as if by consumption for a Joseph, a wound counted a gift.
Three couplets of sun and light, in the apparently added part of the work, where the cry of Çukurova, ruined by Mamluk oppression, reaches Bayezid II.
Münîrî's Persian ghazal that ends in praise of Bayezid II: an army of tears, down no land can hold, the witness of two lips, and two couplets of praise after the pen name.
Each second line states a rule known to all. The jeweller loves the gem, the thief shuns the moon; and an eye overrun with blood needs the jujube of the beloved's lip.
Every couplet ends "I did not, says", and the speaker changes: a regretful heart, a self claiming never to have sinned, a beloved who ruined nothing, a soul that found no nearness.
Eight couplets in the chapter where Bayezid's slave comes down from Niğde to Adana, the oppressors flee, the castles of Külek, Alnakşan and Millen and the notables of Tarsus surrender.
Münîrî's Persian wine ghazal on the refrain "-i mey": a cup turned to blood, an abashed Kevser, a secret on the cheek, a rose that pawns its garment, and the daughter of wine.
Nigârî makes the world an inn with two doors and sets a madmen's home of gazelles and cries of "Yâ Hû" against the ascetic's mouse-ridden cell, closing on Joseph.
A candle blossoming on its wick foretells a guest; Câfer Çelebi ties this household belief to spring and, with the refrain "if the candle were", lets flowers burn in its place.
Two couplets on where trickery ends: after Kilia and Akkerman fall, the lord of Moldavia scales the walls by night and the gazis cut his men down till morning.
Münîrî's seven-couplet Persian ghazal: a call to the cupbearer, the seed of love sown in the breast, a sun that holds a mirror to the moon, and a martyr of love's funeral prayer.
A Naqshbandi sheikh who sits now in the tavern, now in the lodge praises the tavern elder who unsettles reason and calls gazing on the beloved's face the real art.
On a spring morning the rose lights lamps of flowers for the dawn-drinking party; an Old Turkish suffix appears twice, and spring gives the tulip a garden on the mountain.
Five couplets naming Ali Beg with images of the caliph Ali, Zülfikar and Burak, where the sovereign orders him to enter Moldavia openly by day and Ali Beg sets out.
Münîrî's Persian ghazal rhyming on "-evī": love told in the words of the Mesnevî, Moses' ember, the breath of Jesus, Khosrow's crown, and the worldly set against the hereafter.
A red-headed tulip from the mountains of Karadağ, the heart as Attar's hoopoe and a signature ending "he is from Karabağ": the poet sets his homeland beside his name.
The fear of a broken promise turns, at the end of the opening, into an Arabic prayer. Muhibbî used the same line, and the rose withdraws into the bud to learn a secret.
A ten-couplet mesnevi answering "What sort of infidel is this," where Ali Beg enters Moldavia in 890, its lord flees to Poland, and his throne is burned.
Münîrî's Persian ghazal on the refrain "-ī": a yellow face reddened with blood, a lover rising dancing from his grave, knowledge over elixir, and a beloved who sees all.
Opening with the wine of the primordial covenant, the ghazal plays on three senses of makam and gathers love's madmen in a desert of devotion to the Prophet's family.
The lover asks that the army of down be drowned in the cheek, and the beloved answers "There is no Moses here"; the refrain "there is no" leaves moon and garden bereft.
Five couplets praising the sultan as God's caliph, in the chapter listing Bayezid II's works: a medrese and imaret in Amasya and a bridge over the Kızılırmak at Osmancık.
Münîrî's last Persian ghazal in the divan: a travelling beloved who is never anyone's guest, a story that fills the world, and a candle that lights a hut of sorrows.
A musk-scented lodging haunted by gazelles and fairies, wine of the tress at night and of the lip at dawn, and a preacher whose knowledge stays merely "nazarî".
Separation acts in every couplet here: it bends the stature into a bow, thins the body to a yellow thread fit to wind round a letter, and proves "I shall die without you" false.
Four couplets signed Âşıkî ending the chapter on the viziers' works, which records that Bayezid Paşa and Hızır Ağaoğlu Mehmed Paşa each built an imaret in Amasya.
The first of Münîrî's Turkish ghazals: the manifestation of beauty, divine names seen in motes, counting oneself as nothing, and dying before death; Ersoy's example of Sufi symbols.
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