Kul Hüseyin's poem for a beloved fallen ill: a rose complexion fading day by day, a lover ready to wear iron sandals in search of a cure, and a beloved dressed in black for mourning.
Derviş Edna's poem of counsel beginning "the time is fulfilled": worldly goods that do not fit the collarless shirt, the likeness of customer and profit, and the pir's trace.
The section on the many saints and the few masters: saints hidden not in coffee-house crowds but in the corner of oneness, proud deniers and a warning not to be a goose.
Refîkî's ghazal on Kıvâmî's model in remel-i mahbûn: a gazelle that turns the lover into Majnun, a crescent body people point at, and the gaze on beauty set apart from kisses.
Six charges against the beloved: a cruel beloved turns the lover into Mecnun and Korah, makes his tears the Nile and the Oxus, and ruins Avnî anew just as he had grown used to parting.
After Osman Gazi's modest legacy comes a second piece headed "Velehu eydan": five couplets saying the world is made for coming and going and creation is for worshipping God.
The second naat, built on the question "kanı sen tek" (where is one like you): comparisons between sky and earth, fate closing the register of beauty, and incapacity in praise.
Sâhib's ghazal rhyming in "-em olur": eyes that become the knocker of a house of mourning, a chin dimple that becomes Zamzam, eyes like purses of dirhams, and a footprint that seals.
Cûdî's five-couplet spring ghazal: smiling flowers, censers drifting in the air, nature's poem taking form, rhymes from one pattern, and a cycle that ends on the line it began with.
A "get well soon" ghazal to a prince struck by fever; it wishes the illness onto his rival, mentions his mother, and ends with joy at a meeting.
Adlî's five-couplet ghazal on the refrain "imiş" calls the poet who longs to serve the beloved "a strange sultan", openly working the irony of king and servant.
Münîrî's Persian ghazal in a short metre: the beloved's stature is a calamity, the glance a ruin, the mouth unseen; the lover rises like a mote to the sun.
Basîrî's ghazal with the refrain "your": an eye become an archer's ring, a sword that drank from the fountain of life, a mole like Abraham in the fire, and a madman's chain.
Harîmî's ghazal rhyming in "-âyet": the cruelty of a faithless beloved, a glance under the eye's protection, an arrow from the bow of the brow and strength spent under the burden.
Mustafa Vâzıh's ghazal woven from wishes of "if only I could hold": cup, sweetmeat, brow dye, hennaed hand and Fâris Beg, to be taken by the collar and shown a poem.
Kul Hüseyin's poem of counsel "heart, do not grieve for this passing world": love that passes like a flood, mountains not crossed without effort, a warning against slander.
Derviş Edna's ten-quatrain nefes of parting: the refrain "separation has burned my breast again", Ferhat and Şirin, mutual forgiveness and a plea to Balım Sultan.
A ghazal that portrays the saint in a chain of definitions: heir of the prophets, settled upon the Throne, making the son of Adam human, purer than the ascetic.
Refîkî's ghazal signed 'Refîk': a heart content with the fancy of a waist, a lover weeping blood like a pen, a crescent brow from a black cloud, and months and years confused.
A ghazal in which the wounds too tear their collars: a lip that gives others life yet kills the lover, a fearless soul-bird and an image summoned by a torn breast.
Four couplets saying that Orhan Gazi took counsel from his brother and prayers from the saints, and that Âşık Paşa prayed for him: the author placing his own ancestor in the founding story.
Seven couplets go round Ali, Fatima, Hasan, Husayn and the People of the Cloak in turn, and every sacrifice on the path of love is set beside one made by the Prophet's family.
Sâhib's ghazal in the language of alchemy: soul as mercury, heart as crucible, body as arsenic; eyelashes as nails or skewers, an eye as Mars, and the down as a book's chronogram.
A light sought in vain on the horizons, a sun with neither east nor west, kinds of seeing anatomy cannot record: this ghazal closes on a Paradise that walks on two legs.
A six-couplet ghazal that lists the beloved's hair, face, brow and glance and wishes health in every couplet, naming the beloved of "the Solomon of the age".
Adlî's ghazal on the refrain "itmiş" bends the crescent into an eyebrow and explains the moon's spots, then makes the poet king of lovers through pain.
Münîrî's Persian ghazal with the refrain "merā": the sinless beloved kills and revives with a glance, and the lover asks to be counted among his dogs.
Basîrî's short ghazal rhyming in "-eb": night and day made equal by separation, a pun on meşreb, a star risen beside the sun and an eye like a Chinese inkwell.
Harîmî's Sufi ghazal with the refrain "olmadı": a heart like Mount Sinai, sorrow as a cause of joy, a curse on the loveless head and a lodge not open to every dervish.
The only six-couplet ghazal in Mustafa Vâzıh's Dîvânçe: with the refrain "I do not know, I have not seen" it seeks the beloved's beauty in wine, rose, glass and the Anka.
Kul Hüseyin's call to the Mahdi: the refrain "we are soldiers of the Mahdi, master of the age", devotion to Hacı Bektaş and the words "we are Alevi".
Derviş Edna's nefes with the refrain "heart, why do you lie there, rise and ask your need": the fire of love, waking at midnight, the gate of paradise opening at dawn.
Not sitting, speaking or eating with a denier: the example of Bahâeddîn Nakşibend, the poet's own testimony and a remedy of ablution and recitation.
Refîkî's nazire on Cem Sultan's model: a mihrab brow, fiery smoke as a cap plume, a star of tears rising from a house of the zodiac, and a close built of chess terms.
A second poem calling the beloved to account in the refrain of ghazal 38: a cheek that wounds the rose, a cypress enslaved then freed, a threshing floor of moles, a lover denied her sword.
Akça Koca and Konur Alp die, İzmit surrenders and Kocaeli, Konrapa and Bolu are won; the chapter ends with three couplets addressed to those who say "mine".
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