Adlî's five-couplet ghazal opens with the rose and the nightingale, names the violet and the forelock, and ends saying a royal crown has brought him only a headache.
Basîrî's opening couplet quoted by Latîfî, Âşık Çelebi and Âlî: a beloved with the Messiah's breath who kills her lovers, and the pun on "kills" and "brings to life", written alike.
Münîrî's Persian ghazal that makes the tavern elder's slave the sultan of both worlds; the poet's pearl-scattering words become an earring in the beloved's ear.
Mustafa Vâzıh's ghazal naming Istanbul and Galata: a wine cup come from Badakhshan, a sheikh's son who outwits the devil and the legal term aqwa used as a joke.
Kul Hüseyin's three-quatrain düvaz-ı imam: a heart unafraid at the Judgement, God, Muhammad and Ali, Zeynel in the dungeon, the saint who turns unbelief to faith, and the Twelve Imams.
A ten-couplet ghazal with the refrain “oldum ṣanır”: irony at the novice who takes a drop of grace for the ocean, the first rapture for the end, himself for Rüstem.
Refîkî's remel nazire on Necâtî's model: a star of fortune in conjunction with the moon, hyacinth and narcissus conspiring, and pomegranate, orange, apple and quince in one line.
An eight-couplet ghazal of wisdom and wine, missing its opening: the world-showing cup instead of the histories of Cem and Alexander, a friend who turns enemy and the tavern as sole refuge.
One captive in five is levied through Kara Rüstem and Çandarlı Halil, and the boys learn Turkish among Turks before becoming janissaries; two couplets define their role.
A ghazal whose couplets all end "from you X, from me Y": edâ and kazâ, light and longing, cruelty and joy, an exchange between beloved and lover set up like a contract.
Sâhib's ghazal mocking the Sufis: with the sounds mır mır, hır hır, fır fır, dır dır, çır çır they purr, snarl and spin like cats, dogs, millstones and a cotton gin.
Cûdî's mesnevi for children, The Mirror and the Child: a little boy who shows his fist to the child in the mirror, the mother who calms him, and the lesson "the world is like a mirror".
Mihrî Hatun's five-couplet ghazal with the redif "geçer", praising the beloved as the shah of the land of beauty and playing on being counted, prevailing and piercing.
Adlî's seven-couplet ghazal, found in all five manuscripts, traces how separation drives the lover to madness through the fairy, hashish, the tambourine and the harp.
Münîrî's Persian ghazal of a heart made drunk at the feast of elest; the glass of good name breaks, lost Joseph is found, and wax trees cannot match the beloved.
A couplet of praise given to Basîrî by Âlî and to Mevlânâ Emîrî by Sehî Bey: generosity that nurtures the learned, resolve that bestows bounty, and a dispute over authorship.
Mustafa Vâzıh's ghazal on the beloved's forelock: a crown of black ruby, a magic square written in musk, a lock that marches like Shah Tahmasp, and Khidr and Elijah.
Kul Hüseyin's poem of counsel with the refrain "come, heart, let us be lower than others": the garden that made itself earth, the poplar that never touched the sky, the book of love.
The one section named after a city: the “red-head” way in Amasya, mourning in Muharrem and cursing of Muâviye, deficient sheikhs and dervishes for a living.
Stars as the eyes of a sky kept awake by the lover's wailing, a rose branch fenced with thorns and a harvest of reason lost for a grain, on Ahmed Paşa's 'hırmen' model.
Six couplets on beauty: a lover urging the architect of cruelty to hurry, and a palace where the face is sultan, the brow chamberlain, the eye executioner.
Eight couplets ending with the pen name Âşıkî on the great wedding at which Murad Han married his son Bayezid to the daughter of the lord of Germiyan, where Evrenez offered a hundred slaves.
The "üktülûnî" of the ninth couplet recalls Hallâj's famous line; the poet counts his being a veil over the beloved's face and dying at her hand another life.
Sâhib's ghazal rhymed on the reciprocal suffix: candle and moth, beauty and reflection, chain links, sorrow and streams, jar and rinds answer one another.
A basil begging the cloud for water in a drought finds, once its prayer is granted, a troop of nettles round it; its complaint is answered in words recalling "He is not questioned".
Mihrî Hatun's ten-couplet ghazal with the redif "gizlüdür", a series of hidden treasures from love in the heart to pearls on the lip and knowledge hidden from the ignorant.
Adlî's seven-couplet ghazal on cheeks that lend light to sun and moon, a glance that turns dust into elixir, threshold dust as kohl and the musk of China.
Münîrî's Persian response to Hâfız: the eyelash arrow pierces pearls in the night, the eye sweeps the beloved's road for years, and the poem ends on "goft u şinoft".
A ghazal of Basîrî published by Kurnaz and absent from the divan manuscript: a beloved even beauties adore, an answer to a preacher, and a poor poet who makes the melody.
Mustafa Vâzıh's ghazal of water, wine and tears: aqua fortis refining false gold, a soul surrendered on the feast of union, a dagger's tempering and eyes of quicksilver.
Kul Hüseyin's eight-syllable poem with the redif "from the hand of": the cup from the pir's hand, singing cranes, melting snows and a lover who fears the enemy's tongue.
A ghazal addressing the denier: the heart as God's Throne and house of the Merciful, surrender to a master, and the denier who sees himself in the mirror.
Refîkî's ghazal on the heart as 'harâb-âbâd': foundations torn up by grief's flood, an army of grief raiding joy's tent by night, a breast pierced like a reed, congratulations on servitude.
The ghazal of a lover whose grave will breathe the scent of faithfulness: a nightingale that gets thorns from the rose cheek, a couplet built on chess pieces and a lap full of pearls.
The party that fetched Bayezid's bride from Kütahya, Paşacuk Ağa's passing into Ottoman service and the handing over of Kütahya, followed by five melancholy couplets.
A ghazal that makes Moses' staff and the dragon captives of a glance: the words mecnûn and meftûn, a wine-coloured eye, "yahşı kânûn" and the trade language of profit in giving one's soul.
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