A ghazal of consolation found only in the Ali Emîrî copy: scars that turn to roses, black fortune that becomes the pupil of the eye, and enemies scattered by time.
The humble violet, the rose named by an angel, the mock orange in love with the sun, the daisy and the orange blossom worn by brides speak in turn in an angel's bunch: A Bunch of Flowers.
Mihrî Hatun's five-couplet ghazal with the redif "olupdur", which repeats its opening line in the closing couplet: a harsh complaint about the beauties' faithlessness and lost worth.
Adlî's short-lined ghazal on the refrain "gerek" lists the desired beauty from stature to waist, with wordplay on guile and red, calligraphic terms and the letter dâl.
Münîrî's Persian ghazal in which the dust of the beloved's road crowns kings; the ascetic misses the tavern's secret, and the tale grows long in the lock.
A ghazal of wisdom published by Kurnaz with the refrain "is there": the fortune of needing no fortune, a lover greater than Ferhad, and a Lord who needs no statement of need.
Mustafa Vâzıh's ghazal built on the saying "neither the sugar of Damascus nor the face of the Arab": the heart's broken cart, the small mouth and the eyebrow's sword.
Kul Hüseyin's poem with the redif "the two of them": two beauties seated right and left, garments of green, the shroud, and Jesus and the Mahdi who will order the world.
The section on spiritual striving: counsels of retreat, fasting, little sleep and food, and an unexpected eulogy of tea, one or two glasses after a meal, as help on the path.
A watchman with his drum, a shepherd with his pipe, a caravan at the fountains and a child with bow and arrow: a ghazal of everyday life built on the redif 'eglencesi'.
A ghazal built as a garden scene: a rose buttoning its rose-coloured shirt with buds, buds that fall silent, jasmine and wild rose scattering their wealth and grass kept wet with tears.
Six couplets on a ruler's breath: Polanya, which Murad Han could not take, collapses after he says "perhaps God will pull it down" and is named "God-Felled".
"The unbelief of your curl is guidance": the curl that covers the face has set the poet on the right path, the preacher cannot grasp it, and the kohl of passion sharpens his eye.
A ghazal found only in the T. 738 copy: a pipe stem that splits from envy of the smoke kissing the beloved's mouth, down plucked like a weed, saplings watered.
A misty mountain, fields like green prayer rugs spread by angels, a waterfall playing the tambourine, sparrows deaf to the nightingale; the spring tableau asks why perfect beauty hides.
Mihrî Hatun's seven-couplet ghazal of counsel without a redif: hold on to the beloved in time, through rose, nightingale and thorn; it ends with the poet fallen to dust.
Adlî's five-couplet ghazal opens with allusions to Cem, Zâl and Rüstem and ends by declaring that, in the realm of transience, ruling the world lasts but a moment.
Münîrî's Persian response to Hâfız: no repenting of wine in the rose season, harp and rebab play, the world is a mirage, and unkindred company is torment.
A ghazal of supplication published by Kurnaz with the refrain "do not, O Lord": a plea to be spared hunger and need of the needy, the garment of piety and an unwanted crown.
Mustafa Vâzıh's ghazal on a glance holding an olive pit and a sword: an eye touring Transoxiana, a waist like a thread of Ferhâr and the small mouth in legal terms.
Kul Hüseyin's düvaz-ı imam opening "you seek the qibla, the qibla is in you": a face made of light, angels bowing to Adam, and the secret of the Twelve Imams within man.
A seven-couplet ghazal calling poverty wealth: the capital of contentment, the poet as Ankâ, the rake against the ascetic and the kindness of his master İsmet.
Refîkî's ghazal with the redif 'ol yüri': an opening that echoes a line of Prince Korkut, lovers weeping like a thousand nightingales, Solomon's seal and Joseph made sultan in Egypt.
A ghazal drawing beauty as a world-conquering sultan: a musk tent of hair, a throne of cheek, two cups offered by the brows, and a beloved Avnî cannot summon however he rules.
Seven couplets with the refrain "iklîm" praising Hayreddin Paşa's ordering of affairs, as he and Evrenez take Büre and İskete and Lala Şahin takes Kavala and Serres.
The poet reproaches his own heart: a fresh boil on the liver, angels who would fall if they knew love, a mouth that is a riddle and a manifest sun that never touched his eye.
A ghazal with the refrain "yarılur" found only in the T. 738 copy: pistachio, pomegranate, pen nib and dewdrop split of themselves, each given a cause in love.
Cûdî's ghazal The Wedding House: a house like a haunted mountain, a playful tambourine player, women singing of victory over men, a bird caught with a bird, little girls, attraction.
Mihrî Hatun's seven-couplet ghazal with the refrain "de var": a salve of union for the wound of parting, a warning to the rival, and an Adam allusion in the forbidden-fruit lip.
Adlî's ghazal on the refrain "-üñdür senüñ" sets the beloved's face against moon and sun, likens the brow to a bow and the sigh to an arrow, and ends with a full moon's waist.
Münîrî's Persian ghazal in which Kevser thirsts for the beloved's lip; one heart is better than a thousand Kaabas, and the threshold is the greater pilgrimage.
A ghazal of Basîrî published by Kurnaz: a gardener punished for likening the cypress to the beloved, a two-faced letter and a two-tongued pen, and a lover lost to black and white.
Mustafa Vâzıh's ghazal naming Amasya as Harşena: eyelashes like spearmen, Tatar beauties, Karakalpak forelocks and tears flowing like the city's rivers.
Kul Hüseyin's eight-syllable nefes with the redif "is Ali": the cypress and plane in Muhammad's garden, the vein in the soul, the belt at the waist, and Ali seen in every imam.
A section for the traveller whose sheikh has died: continued rabıta, a spiritual power like a drawn sword, and pledging oneself to the most perfect deputy.
Refîkî's ghazal with the redif 'devrân beni': fortune levelling the lover with dust, a divan opened at every gathering, a lover known only by his moans, and blood that catches up.
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