Münîrî's last muamma tells of a lover whose waist bends from not seeing the crescent brow of his full-moon beloved; the edition gives its solution as "Kemal".
Münîrî's first müfred is a short piece of advice to himself: whoever wants an imperishable treasure must take contentment as his treasure and let the world go.
Münîrî's second müfred advises holding on to love until death, since everyone is forgiven in his own craft; it ends on the old verb "yarlıgamak".
Münîrî's third müfred is a single couplet saying that without contentment a person is never satisfied, even if all of his gear is made of red gold.
Münîrî's fourth müfred is a two-couplet piece, printed under the müfred heading, that counsels surrender to God and freedom from rancour and envy.
Münîrî's fifth müfred counsels against giving one's heart to the world: whoever inclines to its honey has chosen its poison too. The nûş and nîş play stands out.
Münîrî's sixth müfred opens with the same couplet as the fifth, but instead of the world's honey it names the honey of the beloved's ruby lip and its sting.
In Münîrî's seventh müfred the beggar-lover longs for union and asks to be called "my dog", resting his request on the saying "no one has enough of honour".
In Münîrî's eighth müfred the lover, having begged from door to door through the world, comes as a last resort to the door of the "king of beauties".
In Münîrî's last müfred the stranger-lover thinks nothing of dying on the beloved's path, even unseen by her, for he gave up his head long ago.
Münîrî's two-couplet Persian chronogram on the musalla built by Bayezid II carries the note "Sene 889" (1484) in the edition and is the last poem of the divan.
Prince Bayezid's only Turkish nazm in the divan: a tongue that pours out pearls, a lip that is a mine of jewels, and the fever and distress that tresses and cheek bring day and night.
Kara Fazlî's sixteen-couplet great kıt'a in the manner of a kaside, praising the son of Ebü'l-Fazl with images of the planets and of the realm of verse.
The opening couplets of the hijra narrative in Münîrî's verse life of the Prophet: a prelude on separation, the Companions' emigration and Satan at the council of Dâru'n-Nedve.
Prince Bayezid's two-couplet Persian nazm: a servant who cannot obey God as is due even for a moment, lacks the strength to reform his self and finds no rest in the palace of trouble.
Kara Fazlî's seven-couplet kıt'a praising an unnamed dignitary with images of the tuğra, the mirror and the sea of generosity, adorned with an Arabic prayer.
The second part of Münîrî's hijra narrative: Gabriel's warning, Ali in the Prophet's bed, Abû Bakr's preparations, the escape from the house and the road from Hira to Thawr.
Prince Bayezid's two-couplet Persian nazm: the "I" who committed a great sin and the "you" who forgives and shows mercy; a Persian voicing of the plea for pardon in Turkish Mesnevi 3.
Kara Fazlî's kıt'a wishing health to a sick youth with the refrain "yaraşur sulṭānum", possibly written, Özkat suggests, during Prince Mehmed's last illness.
The cave of Thawr in Münîrî's hijra narrative: the snake that bites Abû Bakr, the doves and spider at the entrance, the baffled idolaters, the wall opening on the sea and a na't.
Prince Bayezid's only Persian nazm bearing his pen name: a register of fortune blackened by guilt and rebellion, and crown, throne and treasure worthless without God's pardon.
Kara Fazlî's kıt'a of welcome greeting a dignitary back from the pilgrimage with "Ḫayr-maḳdem", likening separation to illness and reunion to a physician.
The last part of Münîrî's hijra narrative: Surâqa's pursuit, the miracles in Umm Ma‘bad's tent, her portrait of the Prophet, the arrival in Medina and the building of the mosque.
Kara Fazlî's incomplete two-couplet kıt'a asking bounty of a shah he calls a "mine of generosity", arguing that even if he is unworthy, his patron is worthy.
Kara Fazlî's kıt'a, its beginning lost, in which he wins a fairy-like beloved with poetry and ties his tears to the proverb "drop by drop a lake is made".
Kara Fazlî's kıt'a woven from chess terms, likening fate to a chess player and himself to a player robbed of his knight, asking the king for help.
Kara Fazlî's two-couplet kıt'a in which, waiting at a great man's door as his old well-wisher, he asks leave to enter with the refrain "var mıdur".
Kara Fazlî's playful kıt'a recounting talk of sweets, sugared börek and sherbet with Rüstem and Murad at a gathering of friends taking hashish.
Kara Fazlî's two-couplet kıt'a of thanks to a patron, in which the double meanings of "paste" and "esrār" hint at the pleasures of a convivial gathering.
Kara Fazlî's kıt'a portraying himself and his Edirne namesake Fazlî-i Leng as two riders racing in the field of verse, needling his lame rival with the verb "aksadur".
Kara Fazlî's Persian kıt'a likening the unlearned poet to a proud merchant without capital, and the ignorant man's pen name to a kingship without army or subjects.
Kara Fazlî's kıt'a, taken from one of his kasides, separating the poet from the poetaster: the Antichrist and the Prophet are both called Messiah, yet differ.
Kara Fazlî's Persian kıt'a holding that cherishing one's servant is generosity, and that asking after the poet now and then would take nothing from a generous heart.
Kara Fazlî's short kıt'a on the lover's ill luck: a day that lasts a year in separation turns to evening before morning on the day of union.
Kara Fazlî's kıt'a describing in a single sentence the lover who does not know where the beloved dwells, cannot reach the water of union and burns.
Kara Fazlî's satirical kıt'a mocking in ribald language a poet named Riyâzî, who strains to produce a poem and promises gold for a response poem.
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