Soil, water, towns, fortresses and graves are listed through the question "What is?"; then a homeland of rights is built from freedom, zeal, family, inheritance and mutual aid: Vatan.
A six-couplet Mihrî ghazal with the redif "açılur" (opens), seeing the beloved's face as a paradise garden that blooms in winter and summer, as a book and as a Mushaf.
Adlî's ghazal on the refrain "olmak" moves through the sick eye, forelock and curls, the bandit and the lawful, and ends with love shaking the foundation of a sultanate.
Münîrî's Persian ghazal counted as a response to Hâfız and ending with a prayer for Bayezid II; the mole is a black slave and the tavern corner a lodge.
Basîrî's single couplet likening his eyes, weeping from separation, to the Black Sea: a pun on "ayn" as eye, likeness and spring, and tears that must not resemble the sea.
Harîmî's ghazal with the refrain "ol yüri": a heart moaning like the reed flute, kingship in the beloved's street, Egypt left to the rival and a wish to be a Selmân in verse.
One of the two ghazals Mustafa Vâzıh wrote in the quatrain metre: a stature bent like the letter nun, a Majnun for a forelock, the mill of love and a pun on kemançe and kanun.
Kul Hüseyin's nefes with the redif "is ours": God as the guest in the transcendent city, Ali's healing, the Lord seen with the eye, the precepts of Şeyh Safi and a rite of seventeen persons.
The section of counsel to sheikhs: when a gift may be taken, a dervish woman in Istanbul who sued her sheikh for gold, and deficient sheikhs who refuse leave.
A ghazal spoken entirely by the beloved, with a watchman at the threshold, a chin-dimple as a nest for nightingales, a crooked gazer bent like a bow, and Refîkî named lord of lovers.
Six couplets of a lover speaking as king of love: his crown the dust of the beloved's feet, his throne her street, and an army whose dust becomes kohl for the stars.
Two couplets closing the chapter in which the tekfur of Konur is ambushed and the fortress surrendered, Gallipoli is taken by agreement and Yakub Ece and Gazi Fâzıl are given lands.
Each couplet says where something comes from, and the "silsile-i zülf-i Bahâ" of the third joins the chain of the curl and the lineage of Bahâeddin Nakşibend in one phrase.
An eyelash passes like fate's arrow and only contentment remains; "what is past is past", a sky no bigger than a blister and a costly union meet on the refrain "kadar".
A beloved whose identity is unknown, the black spot of the heart, a reply to those who deny love for the unknown: the refrain "Severim sevdigim ammā bilemem" returns in every stanza.
A ghazal that uses the redif "sürür" in a different sense in every couplet, where the tress becomes first a gallows, then a sacrificial rope, then a peacock in a rose garden.
Adlî's five-couplet ghazal opens with a pun on neğam and ne gam, names the cup of Cem, Mecnun and Ferhad, and seeks the secret of the tiny mouth in nothingness.
Basîrî's opening couplet on the chief judge Müeyyedzâde, who refused him a post: a conceit framed as a petition for office, finding the beloved more merciless than Müeyyedzâde.
Münîrî's short-metre Persian ghazal; the heart loses its way in the locks, falls like Joseph into the well of the chin, and the lover's hand stays short.
The last ghazal in Harîmî's Dîvânçe: a poem that opens "Where are those days" and recalls a past with a steed like Rahş, a tall cypress and many young men at hand.
Mustafa Vâzıh's ghazal of a night of entertainment: dancing boys whirling like angels, sighs wandering the heavens, rolled-up sleeves and a gold-spotted Damascus fabric.
Kul Hüseyin's poem in praise of the summer pasture: opening hyacinths and roses, melting snows, narcissus and violets growing together, a gentle wind, and the yayla left empty.
A twenty-nine-couplet poem turning on the question “Ḳanı”, where: a lament for corrupt times, sheikhs for gold and blind seekers who wander to Baghdad.
Refîkî's ghazal of a lover who cannot turn from side to side in the oven of separation: tears as an eye-lotion, a mischief born of wine, and a portico that makes the heavens envious.
A ghazal of writing with the refrain "yazam" (let me write): fire from the pen, a prayer read over the sword, tears given to the seas and grief written on the sky.
Süleyman Paşa dies in a fall from his horse while hunting in 758 (1357), Orhan Gazi soon after; the transience of the world is the theme of the four couplets that follow.
A list of offerings with the refrain "fedâ": heart to lips, eye to a gazelle glance, reason to a languid narcissus, the earnings of asceticism to one cup; and "kara bağrım" and Karabakh.
Sâhib's short ghazal with the refrain "kadar": generosity and delight rarer than the Simurgh and alchemy, submission guarding the ship, advice on surfeit.
Cûdî's Workers' Song translated from French: labourers whose mother and father is poverty, hands that hunt pearls from the waves, brotherhood offered to the idle rich, and God's equal table.
A short ghazal with the redif "biledür" (is together), in which the lover gives his life along with his heart, hosts the beloved's image and watches the rival like a shadow.
Adlî's ghazal on the refrain "itmek" weaves the dust of the threshold, a sigh like an arrow, the thieving glance, the drunken eye and a breast made shield against lashes.
Münîrî's Persian ghazal with the refrain girift, counted as a response to Hâfız; the dawn breeze stirs the lock and brings threshold dust as a keepsake.
Basîrî's witty couplet likening meatballs in a hashish-eater's mouth to the cannon of the Boğaz Hisarı: double meanings of top and boğaz, and Sehî Bey's report.
Mustafa Vâzıh's ghazal on the beloved's beauty spots: horsemen of the Hijaz raiding Rum, Bedouins robbing the pilgrim, a spot at prayer and a healer's black pills.
Kul Hüseyin's nefes known as his question to Kul Himmet, "why did the community of the saved come to be": questions on the pilgrim before Adam, the Forty, Ali's sword and the world's end.
The section on the Naqshbandi masters' path: a way whose beginning is others' end, the Khalidi branch and a eulogy of Mevlânâ Hâlid as renewer of the last age.
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