Mustafa Vâzıh's ghazal opening with an allusion to the surah of the Star: an eyebrow like a basmala above beauty spots, the night-mirror belief and a toast to a generous tomorrow.
Kul Hüseyin's nefes "I saw your face and became drunk with you": elif for God, mim for Muhammad, ayn for Ali; the order swimming in the water of gnosis, and the master who outplays us.
A bond permitted only to the perfect sheikh, a counter-question to those who hold wealth in their hearts, and a verse list of authorities: rabıta defended.
Refîkî's nazire on Kemalpaşazâde's model: smoke rising like vapour from a torn breast, a sky that plants festival flowers, the road's dust in the eye, and union as theriac.
The only muhammes in the divan: a lament in seven stanzas, each closing with the refrain "Göñül eyvây göñül vây göñül eyvây göñül", addressed to the lover's own heart.
A dervish from near İnegöl plants a poplar at the palace gate and prays for Orhan Gazi and his line; three couplets on the power of prayer follow the story.
A love ghazal in the language of chess and backgammon: the king of one's aim in check, love as vizier, the blockade of wonder, Ferhad's art, the elder's breath and the rank of guidance.
Sâhib's ghazal with the refrain "budur" (this is): a saki who makes the cup "walk", a beloved who would love his own reflection, the old man of the tavern, and a cry for help.
Cûdî's muhammes with the refrain "not to my taste": what the rind dislikes, a moonlit night without wine, eyebrows instead of the mihrab, a pen playing on Moses' miracles, Câmî and Hâfız.
A seven-couplet ghazal on a lover who weeps like Jacob, a nightingale captive to the rose, and the candle and moth, ending in a complaint of a thousand bowls of poison.
Adlî's five-couplet ghazal on the refrain "yok": a parrot without sugar, an arrowless bird, a dawnless night of parting and a lover with neither crown nor belt.
Münîrî's Persian ghazal woven of tavern imagery; the pupil of the eye joins the drinking party, and the lost heart hides in the beloved's pistachio mouth.
Basîrî's first kıt'a on the kazasker Zeyrekoğlu: a short satire that needles, in a single line, the patron who gave a poet kindnesses and promises instead of a reward.
Harîmî's ghazal with the refrain "eglencesi": locks the soul dwells on, a mouth whose secret cannot be told, Mongol-Chinese eyes with bow and arrow and a soul bound for paradise.
Mustafa Vâzıh's ghazal woven from prohibitions: an eye dark with kohl by nature, a sounding line in a sea of tears, a child sliding on ice and a curse on a peppercorn.
Kul Hüseyin's poem collected and made known by Erdal Erzincan: "man is part by part, the earth vein by vein", brows like lam-elif, the wish to be a belt on a slender waist.
The single couplet within the section on rabıta: the disciple as a watchman bound with iron to the door of the saints, and rabıta as the greatest pillar of nearness.
Drunkenness before the vine, prey proud to hang from the saddle-strap and satin traded for straw, in the second nazire on the same model by Kemalpaşazâde.
A ghazal apparently written for a beauty with a shaven head: a sun-lamp that needs no wick, a beloved of whose hair no news can be had, and a Paradise not entered without sacrifice.
Three couplets on Süleyman Paşa crossing on a raft from Aydıncık to the Rumelian shore, taking Çimbini and Ayaşolonya and founding the Gallipoli frontier.
The preacher threatens hell; the lover changes the measure, counts every place shared with the beloved as paradise, and speaks of a God who adds cruelty to show his favour.
Sâhib's ghazal rhyming in "-âredür": a beauty mark like a star burnt by the sun, a heart rocking like a cradle, a being pressed to juice in annihilation, and a candle in a lantern.
In this sixty-two-couplet rooster poem the rooster is muezzin and head of a family, his robe never out of fashion, his cry "korrrrk"; a debate on the hereafter ends in pessimism.
In this short ghazal with the redif "beñzer" (resembles), the beloved's face is compared to violet, jasmine and paradise, the moon cannot imitate her, and the lover is a ring.
Adlî's seven-couplet ghazal on the refrain "yok" describes a matchless beloved, grief driven from the house of the heart, a lip of living water and a school of grief.
Basîrî's satire on Nasûhî, chief physician of the Edirne hospital: a two-couplet kıt'a saying that patients who drink his sherbet make a "sincere repentance" of good health.
Münîrî's Persian ghazal turning the blood of the liver first into jewels of tears, then into tulips in the meadow; without the beloved, roses bring a headache.
Harîmî's ghazal of heavens and Resurrection: Jupiter and the Pleiades, a bare dagger, the play of kıyam, kıyamet and kâmet, and verse burning enough to turn Âzer to ash.
Mustafa Vâzıh's ghazal with the refrain "n’olsun bu": the candle of the world dressed in red, moths around her, a beloved laughing into the gathering and a sword of grief for Vâzıh alone.
Kul Hüseyin's düvaz-ı imam with the redif "is in you": the secret of the Twelve Imams within man, "you seek the Kaaba, the Kaaba is in you", and a lineage reaching to Şeyh Safi.
Five names for the sheikh's heart: house of grace, lodge of the Prophet and the polished mirror in which the disciple sees himself; a ghazal on “ḳalb-i şeyḫ”.
A ghazal counted a nazire to Kemalpaşazâde in one anthology and Refîkî's own model in the other: wine forbidden with others, a crooked gazer bent like lâm, offices in Egypt and Damascus.
A ghazal not in the main manuscript, from the Pervâne Bey Mecmuası: a heart-bird that roams the world and settles on a cypress, a heart overflowing like the Meriç and a sleeper woken.
Süleyman Paşa asks Orhan for settlers, nomad households from Karasi cross over and the advance turns to Tekirdağ, in four couplets that play on the name Süleyman.
A ghazal joining Shirvan, Karabakh and Baghdad in one couplet: the cupbearer of Shirvan, the wine of Rûhî of Baghdad, the rank of evtâd and a heart that outruns Majnun and Ferhad.
Sâhib's ghazal of indifference with the refrain "hep birdür" (all one): unbelief and Islam, jug and cup, grain and snare, sugar and poison, fame and namelessness are all one.
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