The refrain "bilmezler" divides jurists and ascetics who do not know the hidden treasure from love's drunkards who know neither rite nor school, and the poet joins Majnun.
In the market where Joseph found no buyer even for dinars, the lover bids for the beloved with his yellow face; on the refrain "yours", even the morning breeze turns lover.
Two couplets in the appendix: Kayıtbay becomes sultan, Şehsuvar is betrayed by his Turkmen lords and killed in Cairo, and the Ottomans ask, "Where is your pledge?"
Münîrî's ghazal with the refrain "-dan yaña": heart and soul turning toward the beloved, the soul as a guest at the lips, news like Joseph's and eyes turned to a sultan.
The heart plays with the gurgle of the flask, the strand of the tress and the stages of the road, and in love's world Mahmud of Ghazna is a plaything before his slave Ayaz.
Each couplet pairs a Turkish line with an Arabic one built from everyday formulas of prayer; the ghazal closes on a prayer for the dead, "may your resting-place be pleasant".
Four couplets on friendship that ends in enmity, where Ottoman slaves sent to aid Alâeddevle are killed at Sis and their heads used for polo in Cairo.
A ghazal recorded under Münîrî's name only in Pervâne Bey's anthology: a robe jealous of a shirt, a moon exiled for telling the truth and a "bālā belā" pun.
Each couplet opens with the blessing "Âbâd olsun", may it flourish, on the place in Karabağ where the poet loved a black brow and saw light upon light.
The beloved has put on the felt cloak of the Kalenderi dervishes, and the lover follows suit for love; even the iron-hearted mirror turns dervish in its felt case.
Three couplets signed Âşıkî in the edition's appendix, where the Conqueror's envoy to Kayıtbay is shown no honour and the sultan of Egypt in return sends a market inspector.
Münîrî's macaronic Turkish-Persian ghazal: a banquet seized by the grape's blood, the beloved as a second Khiḍr, musk as a steppe Turk and union sealed by "men ṭaleb".
Ghazals curling like a forelock, a poet who is no preacher and, after "baht-ı hümâyûn", a confession: the couplet past the pen name hands every boast to divine grace.
The tresses that shade the face in the opening are, by the last couplet, the sun's "hem-sāye", its neighbour, too proud to bow; between, they swim as a crocodile in a sea of tears.
Three couplets on the man needed to face the enemy: a force Bayezid II gave Alâeddevle beats the Arabs near Horman, then falls into an ambush at Malatya.
Münîrî's ghazal of the stranger lover: drawn by his own earth to a quarter, a five-day nightingale, a preacher who would strike with a sword and an eyebrow like an Indian doctor.
The places where the beloved played her brows would make Hafez's rose-walk at Musalla jealous, and the "nigâr" inside the pen name writes her portrait without pen.
A poet who served as nişancı sees the down as the tughra on beauty's patent. The green down under black tresses is a parrot of India, the teeth the Pleiades hidden in an atom.
Three couplets on those heedless of their enemy: the Ottoman troops at Adana give themselves to revelry while the Egyptian army crosses the mountains.
Münîrî's ghazal rhyming on the suffix "-üp": a lover seeking the beloved even at the Gathering, a tear kissing a dog's track, a falcon-like heart and a mended glass.
A second turn at the refrain "plays with": the heart handles the forelock like a perfumer his cinnamon and cardamom, a strand brings news, rose and nightingale take turns.
A ghazal of a lover who sends the physician away: a doctor of the soul, wine or lips instead of sherbet, a drinking set made of liver's blood and a life too short to bear the pain.
Four untitled couplets in the appendix, where Hersekoğlu Ahmed Paşa marches to Adana with hungry troops, wishing the legends to stop here and praying for the dynasty.
Mustafa Vâzıh's playful single couplet that turns the beloved's hair-thin waist into a madrasa problem and solves it by "splitting a hair forty ways".
Âkif's quatrain addressed to God: a heart that sings like a nightingale in His grace and lives like a salamander in His wrath, between the furnace of fear and the garden of hope.
Prince Bayezid's five-stanza tahmis on a ghazal by Celâlî with the refrain "garaz": rose, nightingale, cypress and plane tree, and seeing the beloved as the purpose of all.
Münîrî's ghazal of the sun-like face: light that burns the veil, manifestation in the dust, a sun climbing the hills to see an eyebrow's crescent and a sleepy glance.
Kara Fazlî's chronogram with the line "İclāl ü 'ömr bāḳī", written in Amasya in 957 (1550) when a teacher was appointed for Prince Mustafa's son Mehmed.
A twin ghazal that remembers the same places as fire: the liver roasts, the desert of China is shamed, and the bitterest memory is where her hand left Mîr Nigârî's.
The bud has not opened; the rose branch's gall has burst at the nightingale's wailing. With "do not think", the ghazal denies what is seen and puts poetic causes in its place.
Eight couplets in the appendix listing the sultans' lifespans, noting Çelebi Mehmed's sermon read for a time in Amasya, and telling of the Conqueror's death.
Mustafa Vâzıh's single couplet joking about his poverty: his leaking old house is "of heavenly rank", and so it drips drop by drop like the sky itself.
Âkif's quatrain of prayer: asking God, the absolute sovereign, to join him to the hidden servants and to let the sword of his tongue, tempered by the law, lay bare the veins of truth.
Prince Bayezid's murabba with the refrain "Which one shall I tell, I have a thousand kinds of pain": separation, fate, the grief of friends and a warning to the beloved.
Münîrî's ghazal of the hyacinth veil: a sun-face behind a cloud, cheek-down that is no verse of mercy, "death" as the answer to "em" and Ersoy's example of zihaf.
Kara Fazlî's chronogram on Behrâm of Prince Mustafa's Amasya retinue becoming sword-bearer in 957 (1550), playing on his name, which means the planet Mars.
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