The ghazal that opens "whoever sees Galata sets no heart on Paradise": a Christian beauty with Frankish ways, a lover who forgets the mosque, and Avnî pictured with girdle and cross.
Kara Temür Paşa, governor-general after Lala Şahin's death, moves the Saruhan nomads to Serres and marches on Manastır, while four couplets foreshadow Kosovo.
Across the boundary of two lines in the sixth couplet "kara / Bağ", Karabakh, appears; the beloved's street becomes the eight paradises and a Kaaba, her face a Quran learned by heart.
The refrain "geçer" changes meaning in every couplet, from being counted to giving up to time passing, and the idiom of a hair between two people turns literal with the down.
The divan's only song, in syllabic metre: a white-handed beauty in a black veil, the warning "this way of walking does the people harm", a face like a clouded sun, a lover crying "aman".
A seven-couplet ghazal that likens the beloved's brow to a bow and her glance to an arrow, woven from the archer image, the bottle of honour, the long lock and the rival's lengthened rope.
Adlî's five-couplet ghazal on the refrain "-den yeg" ranks the beloved's sweat above rose water, speech above pearls, lip above gülşeker and face above sun and moon.
Münîrî's Persian ghazal that makes the ruined heart home to the beloved's treasure; the arrow wound is a laughing bud, and smoke lights the hut of sorrows.
The Persian kıt'a Basîrî left under the cushion of Müeyyedzâde, the chief judge who refused him a post: counsel on contentment and an Arabic line on God's sustenance.
Kul Hüseyin's nefes of counsel with the redif "how will it be": the road that does not lie in words, the belt from the pir's hand, and the search for a guide to the Friend.
Two Persian couplets after the section on the traveller whose sheikh has died: holding the hem of other friends, and the world as a house of trade until the hereafter.
Refîkî's second nazire on Vasfî's model: a lover who turns stranger because the beloved favours strangers, servitude preferred to Egypt's throne, and Refîk to be sought in the taverns.
A ghazal with the refrain "var iken" (while I have): a lover who serves no other while he has a crowned king, autumn amid spring, and grief powerless against the tavern's fortress.
Six couplets in the section where the Serbian king Lazar summons Murad Han with his sons to Kosovo, and Murad sets out with Bayezid and Yakub Çelebi, prays on horseback and pleads with God.
A ghazal whose couplets all end "or is it ...?": feigned ignorance, a mouth likened to the indivisible part of theology, a threshold turned doomsday, Ferhad and Majnun.
Lip and down are praised through the titles Reşehât and Nefehât, brows become a tughra, a chestnut bursts and kings are left on foot in chess; known only from the T. 738 copy.
Earth and sky join in a downpour, motes open like ovens, ducks take fright; the müseddes Rain recalls Ibn Arabî's annihilation in water, and all but God flows away.
A nazire with the refrain "yeter" that answers Necâtî's mat couplet with "a bare place at the beloved's door is enough"; Âşık Çelebi records it as a jab at Necâtî.
Adlî's seven-couplet ghazal on the refrain "gerek" sets out the conditions of love's path through tears, brushwood, sighs and Sinai, ending with the rhyme Etrâk and idrâk.
Münîrî's Persian ghazal that has no use for miracles while the tavern and the cup remain; the beloved's waist is a hair and the beauty a book to be read.
Basîrî's Persian opening couplet quoted by Latîfî, Âşık Çelebi and Âlî: tears greater than the sea once the dust of the beloved's feet is gone, and two readings of "gerd".
Kul Hüseyin's nefes with the redif "there is": strife among the people of the age, manners gone, people worshipping greed, the ledger of deeds and the scale in the grave.
A single Persian couplet: the wise man who knows his own self, and the real praise reserved for the one who knows God; reason and gnosis, with an uncertain reading.
A brow drawn like a tughra on the decree of beauty, stars turned to pearls in a sea of tears, an arrow from a bent bow and a brand like a tulip, in a ghazal on 'gibi'.
Kohl, Zülfikar and red ink: dust that lights the eye, a dagger hung like a Zülfikar picture to guard the heart, and Avnî's verse copied in tears.
Four couplets signed Âşıkî after the account of Kosovo: Miloš Obilić kills Murad Han as if coming to kiss his hand, Yakub Çelebi is put to death, Bayezid rises.
Nigârî turns the poverty of love into a kingship: his crown is a sigh, his throne grief, his land a corner of sorrow that seems to him as wide as eight lands.
A ghazal with the refrain "bağlanur" found only in the T. 738 copy: a girded sword, a musky headband on the bride of beauty, roses tied with thread, donkeys for horses.
A mesnevi aimed twenty years earlier at the poets of wine: claim and proof in the language of a court, witnesses from Imru' al-Qays to Ibn al-Fârid, and the call "here is the pen".
A five-couplet ghazal with the refrain "yatur" (lies): the moon behind a cloud, the heart-nightingale that makes the threshold its homeland, and the turtledove moaning until dawn.
Adlî's five-couplet ghazal on the refrain "varduñ" traces the heart's arrival at the beloved through chaff in a rose garden, royal pearl teeth and musk from the perfumer.
Münîrî's Persian ghazal that makes the beloved a sovereign of beauty in whose name the sermon is read; the heart circles the beloved's street like the Kaaba.
Basîrî's Persian opening couplet quoted by Âşık Çelebi: a spring in which not one rose blooms as he wishes, the word hezâr meaning both "thousand" and "nightingale".
Kul Hüseyin's nefes with the redif "did you hear?": the sultan of sultans passed away, the door of mercy locked, the door of darkness opened, and a sharp reproach.
A six-couplet ghazal rhyming in “-mend”: thanks from a poet who attained the Naqshbandi grace, an answer to the adviser, and a strong noose around the neck.
Refîkî's ghazal with the redif 'ehli': the people of denial and affirmation, a beloved worshipped by cloak and zunnar alike, a cloak of honour pawned, and every matter with its expert.
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