A ghazal from the anthologies: a soul circling the threshold crying "labbayk", musk fleeing to Cathay in shame, a poor man burning a mat on his head, and the huma's shadow.
Four couplets on the mines, in the chapter where Bayezid, after his accession, gives the mines of Kratovo in Serbia to Paşa Yiğit Beg and builds a mosque, medrese and hospital in Bursa.
A ghazal punning on "yaradan": blood from the wound and restlessness from the Creator, passion from the black curl, the nightingale's song from the street, and the heart's retreat.
Terms of astronomy, the almanac, Arabic grammar, finance and baking in one ghazal, where mansions of silk-clad beauties become Harîrî's Maqâmât; only in the T. 738 copy.
Cûdî's poem Waiting: a bride waiting for her husband, the pun "tiz gelin gelin", tears without sediment, and a letter whose telegraph is a strand of hair and whose stamp is an eye.
A ghazal with the refrain "öldürür" (kills) that lists what kills the lover: parting, griefs, memory and beauties; leff ü neşr stands out where friends weep and the rival laughs.
Adlî's seven-couplet ghazal on the refrain "itdüñ" counts the beloved's cruelties as favours and ends with the servant made sovereign over the land of grief.
Münîrî's Persian ghazal of a beloved who is a newly opened rose and a bouquet in himself; because of Hayrî, famous in the city, every quarter is full of lovers.
Basîrî's kıt'a comparing the poet Revânî's stinginess with Pinti Hamîd's: a double entendre on "revân", Qur'anic quotations and the sparring recorded in the tezkires.
Kul Hüseyin's nefes with the redif "let him come": a call to one who would see the radiant face, pour wine in the cem and kill the devil in his self.
The section on the Khalidi path and the forty-day retreat: loyalty to the law, the silent remembrance taught to Ebûbekir, and practical rules for the erbain.
A body like an anthology whose leaves the wind will scatter, Hâfız's Arabic line reversed and the partridge of detachment, in one of Refîkî's most openly didactic ghazals.
A repetition in every couplet: an idol building cruelty, a beloved flowing like a soul through the city, a sun rising from a veil, and Avnî buying the glance with his life.
Bayezid takes Alaşehir by agreement and annexes Aydın, Saruhan and Menteşe, conquests said to be made through justice; five couplets signed Âşıkî follow.
The poet lists the source of all he has, and none of it is himself: his sight is God's gift, his wings the elder's grace, his madness from the eye of the pre-eternal Leylâ.
A moaning waterwheel, Sohrab killed unknowingly by Rustam, squirrel fur that keeps the embers, and a heart turned astrolabe: the ghazal on the refrain "-âbdan kalmaz".
A crescent with a dim end, martyrs, a hungry soldier on guard on a mountain, a child waiting for his father: in this lament the poet, with no friend of the heart, weeps into his handkerchief.
A seven-couplet ghazal with the refrain "imrenür" (envies), in which the unbeliever, the moon, the garden, the prisoners and even the remedy envy the beloved's beauty.
Adlî's five-couplet ghazal tells the lovers' grief through spring, nightingale, tulip and thorn, and ends by pairing the beloved's face and curl with day and night.
Münîrî's Persian ghazal that uses the refrain "girifteest" in a new sense in each couplet; the heart takes a riverbank on the cheek, and tears take the beloved's road.
Basîrî's chronogram on Süleyman's conquest of Belgrade: praise that makes the heavens the sultan's threshold, Gabriel's wordless eulogy and the line giving the year 927.
Kul Hüseyin's poem "now one pain of ours has become five": a pain that grew from one to ten, a seeker who left the pir's precept, and awaited summers that turned to winter.
A six-couplet ghazal with the refrain “Naḳşibend”: those who remember in the heart, a hidden treasury found with the law, masters of the hidden road, and Shah Bahâ.
Refîkî's short-metre ghazal leaning on spoken language: a lover who longs to be the target of the lash's arrow, a beloved in sky-blue dyeing the world red, and 'I love a certain so-and-so'.
On arrows of the glance loaded in the quiver of the brow, union bought though its cloth be flawed, an infidel eye and a Jesus-natured lip, and a house of parting visited only by grief.
Three couplets: Bayezid leaves his first siege of Constantinople to rout the Hungarians near Alacahisar, a battle the author heard of from Umur Beg himself.
A ghazal saying "painting without a pen comes from Bahâ's lesson": a sign to Bahâeddin Nakşibend, "Kâlû belâ" of the Covenant of Alast, Karbala's thirsty and Ferhad's pickaxe.
Sâhib's ghazal with the refrain "-âşıyuz": a lover grateful for the day of shaving, head and foot of the gathering, and the new ghazal met like a gazelle in a fresh valley.
Muhammed Kâhya's village prayer against the Vatican: gold-embroidered vestments, a church chant like distant thunder, and the pun on tersâ and ters, in a polemic expanded from al-Ma'arrî.
A five-couplet ghazal that likens the beloved's face to a Qur'an codex, her brow to a prayer niche and her threshold to the qibla; the poet calls herself a waterwheel shedding tears.
Adlî's five-couplet ghazal moves through motes of dust, the crescent pointed at, an autumn leaf and the ascetic, and ends by saying that wealth cannot buy union.
Münîrî's Persian ghazal on the refrain "rīḫt" (poured): tears pour rubies and pearls, the eye pours like a water wheel, and the dagger pours julep into the heart.
A kıt'a of uncertain authorship that Latîfî places at the start of the Basîrî and Revânî story: bringing verse to a poet is like selling cress to a gardener or pepper to India.
Kul Hüseyin's "destan of the ages": the stages of human life from birth to a hundred; a fresh sapling, a cypress stature, a caravan's load, an owl-haunted ruin and a station near God.
The section on the Arabs and the Companions: love for the Arabs as the Prophet's people, the people of Mecca and Medina, and speaking ill of the Companions as unbelief.
A couplet of praise woven of the terms me‘ânî, beyân and bedî‘, a mouth beyond imagining and a mole that makes the eye ache, in a second ghazal on Mesîhî's model.
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