Guided by Köse Mihal, the gazis cross the Sakarya to Göynük, Tarakçı Yenicesi and Gül-Falanoz and return with booty but no captives; four couplets follow the raid.
Sâhib's chronogram on the first down on the face of Hattî Mustafa Çelebi: a rampart around the city of beauty, China conquering Rum, and a beard like the Kaaba's veil.
In this nazire to Fuzûlî, opening with an Arabic line, love is both sea and dough; motes draw one another, no soul lives in the airless house of the heart, and "aşk olsun" reads two ways.
An 18-couplet spring kaside with the redif "'îd", presented to Şâh Süleymân when the festival met spring; the sources disagree about whom it was written for.
Adlî's five-couplet ghazal on the refrain "medh", which opens by declaring praise of the beloved unfit for a servant and likens a wound to a mouth and an arrowhead to its tongue.
Münîrî's forty-two-couplet kaside for Bayezid II opens as a ghazal to the beloved, turns to praise by naming the sultan by his pen name Adlî, and lauds his sword and arrow.
Basîrî's ghazal on the refrain "people": the poet as master of love, a market crowd beating their breasts for Joseph, the damned warmed by his sigh and zünnar-wearers girding for him.
Kara Fazlî's forty-eight-couplet kaside that praises the worth of speech and poetry, mocks false poets and then praises Prince Mustafa, asking for his patronage.
Kadı Burhaneddin's ghazal couplet addressing the beloved as one would a sultan: a love that will last until death and a raging lion that fears nothing at all.
A voice from the years of the War of Independence: Fedâî Baba's poem with the redif "we are not", declaring "our origin is Turk" and standing against the Greeks.
Harîmî's short ghazal with the refrain "-yı 'ışk": a sea of love that will drown the world, a lover whose head is given to the wind and disgrace chosen because love's secret cannot be kept.
Mustafa Vâzıh's ghazal opening with a call to the drunkards: a stony-hearted beloved, Jacob's heart parted from Joseph, the cry "O brothers" and eyebrows like a mihrab.
Nigârî's couplet asking whether words that astonish the people of the heart are revelation, miracle or magic; the last poetic quotation in Hüsameddin's entry.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: withdrawal from life and consolation in God's decree; original text, English prose and commentary.
Sıdkî Baba's deyiş of praise with the redif "bakın": the sultan of the fair who comes to the gathering, a beauty whose eyes and face recite the suras and whose threshold is the Kaaba.
Kul Hüseyin's nefes with the redif "requires purity": Ali, the chain of seeker, pir and sultan, the sage who understands by signs, and the counsel that one heart cannot hold two.
Derviş Edna's nefes naming a beloved of Pîrî Baba's line, Kul Fakir and the year 1330 (1911-1912): the square of the Forty, the Burak and a soul that falls into the mother's womb.
Ehlî's matla about a beloved who ignores the lover on the road and looks at the sky: the opposition of heaven and dust, and Beyânî's different and tighter text.
The book's last na't: a chain of prophets from Adam and Eve to Moses and Jesus, an echo of the first na't, and a poet who calls himself a blind beggar.
A couplet by Sürûrî claiming that the crescent marks on the beloved's path come not from the heel-iron but from the eyebrows of the lover who laid his head there.
The punishment of the grave, the questioning, the scales, the Pool, paradise and hell are each declared "true"; grave sins and intercession follow. Sa‘dī Çelebi's Arabic verse.
Refîkî's ghazal woven of tax terms such as tribute, stamp-duty and toll: a glass heart that cannot hide the candle, tribute from a ruined road and love's untaxed caravan.
A ghazal in a short metre and plain language: mouth and hair played on with the titles of madrasa textbooks, robbers in the city of the heart and a world-rose whose scent brings headaches.
Asked why he shows such respect to the infidels of Bilecik, Osman Gazi answers "they are our neighbours"; three couplets then urge neighbourliness and caution together.
Sâhib's poem counting the waters of Bursa one by one: thirteen waters from Pınarbaşı to Fındıklı, the Müftü water with its fatwa, Moses' Asâ water and a water worth gold.
A wine whose bubbles are planets, youth set against the sheikh, an Arabic line recalling al-Ghazâlî: Cûdî tells of the wine of being in the sea of the bound and the absolute.
The witty couplet Mecdîzâde Hâfız Kâmil Efendi improvised for Hindîzâde Zühdî, boasting in the courtyard of the Sultan Bayezid Mosque: a play on the names Hindî and Kâmil.
Mihrî Hatun's 17-couplet kaside to Şeh Süleymân with the redif "ol lâ-cerem": a prayer for the Kurban bayram, a Solomon allusion and a boast invoking Hassân.
Adlî's five-couplet ghazal on the refrain "ferah", which opens with the rose season and the passing cup and reaches the allusion to Solomon and the ant's humble gift.
Münîrî's forty-five-couplet Turkish kaside for Bayezid II, a response to Ahmed Paşa that moves from the beloved to the sultan and sets the planets in his service.
Basîrî's ghazal on the refrain "the one who does": a beloved drinking with the rival, liver's blood from the eye's goblet, a torn cloak of patience and a flood from the heart's oven.
Kara Fazlî's thirty-two-couplet Nevruz kaside with the refrain "nevrūz", describing spring with a secretary's pen and likening Prince Mustafa's face to Nevruz.
Kadı Burhaneddin's ghazal couplet setting the stone of cruelty against a heart of glass: the fragile heart is not made of Shiraz iron, an antithesis of stone and glass.
Fedâî Baba's lament on Atatürk's death: the refrain "the father of the Turks has passed away" and the Republic seen by a villager, from the tithe to free medicine.
Harîmî's ghazal built on doubled words: a stature like the letter elif on the tablet of the heart, a rose scattering gold by the tray and the liver's blood filling the eye.
Mustafa Vâzıh's ghazal whose last couplet challenges a poet called Hafîd to a response poem: long pain, eyes like the sura Kâfirûn and a pun on the word "grandson".
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