Adlî's seven-couplet ghazal on the refrain "ile mûnis" lists the companions of the parted lover: sighs, the sleepless eye and the beloved's dog.
The first of Münîrî's Persian ghazals, a poem of the gathering urging the cupbearer not to waste the rose season: the rind, raw wine and the nightingale.
Basîrî's ghazal in which he calls himself Majnun's blood brother and Ferhad's namesake: brigand eye and brow, letters titled "rind and kallâş" and a love revealed by one sigh.
Harîmî's ghazal in syllabic metre: a mad heart fallen into a new passion, a creation leavened with love, the ship of the heart dragged to sea and strength left by a hair.
Mustafa Vâzıh's tavern ghazal mixing coarse sayings with mystical speech: a wine jug sweating like an old man, coffee that reads "Hû Hak" and the world divorced like a wife.
The first stanza of Tokatlı Nûrî's six-line semai in the Merzifon Cönkü: a na't on the Muhammadan light and the pride of the prophets; original text, English prose and commentary.
Kul Hüseyin's deyiş of counsel on old age: no companion left who knows his state, years reaching seventy, fallen teeth, and a falcon that has no bird left to hunt.
Derviş Edna's nefes stating plainly his belief in changing garments: the soul given in sacrifice, the tablet on the brow, "I have come and gone many times" and the unbroken pledge.
A section on law, self and saints: no path without the robe of the law, the tricks of the self that people blame on Satan, and a long praise of the Naqshbandi saints.
Refîkî's hezec ghazal on Şeyhî's model: an eye given to floods, candles burning for the moth, a night lit by sighs, and a beloved whose collar is the rising-place of the sun.
Seven couplets that each end on "revnak" (lustre): a cheek glowing with wine, a room lit by candles, a moon adorned with stars, the ruby of Badakhshan and Sadi's Gulistan with its chapters.
Four couplets that tell the deaths of Osman Gazi and his father-in-law Edebali as a "campaign", built on the image of an eight-legged mount and a journey with no return.
A naat on the Ascension in which every line ends with a repeated word: Isrâ, Aqsâ, "kâbe kavseyn", the names Yâsîn and Tâhâ, dancing heavens and twice-refined sugar.
Pain and wine, king and beggar are one; so are the abjad values of lovelock and passion and the spelling of affliction and love: Sâhib proves "birdür" in script itself.
A shadow that is neither accident nor substance, painter and painting changing places, a face changed by years: In Front of the Mirror passes Narcissus to reach the idea of manifestation.
A five-couplet spring ghazal built on tulips, the cupbearer and dew, setting the beloved's cruelty against the lover's lament in matching lines.
Adlî's five-couplet ghazal holding that union is not won by effort but hangs on one kind regard from the beloved, told through cage, web and reaching hand.
Münîrî's Persian nazire to Hâfız invites him from the Rüknâbâd and Musallâ of Shiraz to the square of Amasya, praising the city as an earthly Paradise.
Basîrî's ghazal with the refrain "for": ghazals recited for a painter beloved, a pun on wound and trusty companion, a head longing for the stones of the path.
Harîmî's ghazal with the refrain "-yı leylî": a lover made Mecnun by passion for Leylâ, a sea of tears gathered drop by drop and a corner of the heart to be Leylâ's shelter.
Mustafa Vâzıh's reproachful tavern ghazal: a drunken beloved scattering fire, a lover who thanks him for treachery, wine and rakı from the tavern elder and a poet struck by a fairy.
Kul Hüseyin's eight-syllable nefes: the believer who sees God, God who is in love with His servant, the ember of beauty burning the breast, and a dervish clothed in the cloak of the lover.
Derviş Edna's nefes on waking from heedlessness at dawn: the true lover known by his love, the cup at the fount of Kevser, and a play on the words "ar" (shame) and "var" (being).
The book's only strophic poem: four stanzas returning to the refrain on the beauty of God, the master as architect, and the world as testing ground and dream.
Letter games that draw 'cidâl' from the tress's jîm and dâl and 'derd' from a râ-shaped brow between two dâls, with the kanun's tuning peg and a grain in the snare.
The ghazal of a lover who hopes to revive with the last drop poured on the earth: a head ready to hang from the saddle like game to kiss the stirrup, and a hundred-patched cloak.
Four couplets on Orhan and his brother Alâeddin Paşa remaining united without dividing Osman Gazi's legacy, saying that wars were not fought for captives.
"Who is there besides you" recurs over four couplets, each time with a new title for the Prophet; the answer is never given, since the question is itself the praise.
Sâhib's ghazal with the refrain "çıkar" (comes out): mummy from broken bones, silent laments from a kohl-lined eye, a sigh turned rope-dancer, and eye salve from the beloved's ground.
A Sufi ghazal built on the outer and inner worlds: the signs within the self, the primordial covenant, the eternal reality, ethics as return, and birds of the mind dashed on a mirror.
A six-couplet ghazal of separation that ties rivers to tears and mountain clouds to sighs, playing on the rhymes daġlar, dâġlar, baġlar and bâġlar.
Adlî's ghazal on the refrain "bağlamış" shows the beloved's hair as chain, polo stick and bond of sorcery, ending with a divan bound from rose petals.
Münîrî's Persian ghazal whose every line ends in the refrain "cüdā", "apart": parting from the heart, homeland, life and the rose garden in five couplets.
Basîrî's ghazal with the refrain "I must make": bloody tears turning a saffron field into tulips, hunting the Anka with a gnat and dust veiling a sun-like face.
Harîmî's ghazal rhyming in "-en": Yemen carnelian swallowing blood, a rosebud tearing its shirt for the mouth's secret, a cypress dropped as a comparison and a lover who comes in his shroud.
Mustafa Vâzıh's ghazal with the refrain "-umdur benim": lips that are half the soul, a glance that wounds and heals, a Noah in a flood of tears and conquests won with Anka tails.
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