The ghazal whose last couplet names "mülk-i 'Osmân", the realm of Osman, granted to Avnî for serving beauty's king; the two senses of "var ise" and dogs glad at his death.
Bayezid builds Güzelce Hisar, the tekfur sends gold hidden in fish and a Muslim quarter with a kadı is set up in the city; six couplets turn to the wheel of fortune.
This five-couplet ghazal is built on words of two meanings: "âl" is trick and red, "vech" face and reason; at the end the beloved is a gazelle that pulls the lover's ear.
Sâhib's ghazal with the refrain "olmaz": office-holders' fear of dismissal told in grammar terms, pearls of the salt sea, the reed and sugar cane, and the sandal skiff.
Zenbilli Ali Efendi, praised for his piety, against a cleric who stirred up the crusaders: a harsh polemical kıta built on Illiyyûn and Sijjîn, Tûbâ and zaqqûm.
Mihrî's mocking reply to Makâmî's praise; Âşık Çelebi records both poems, and Mihrî likens her kiss to an illness and rejects the compliments.
Adlî's six-couplet ghazal on the refrain "degül" outdoes Ferhad's cry, recalls Mecnun's broken bowl and ends with a lover whose fortune is not his friend.
Münîrî's Persian ghazal of the beloved as a candle of manifestation burning in a corner of the heart; the pen name plays on "münīr", bright, in the last couplet.
Basîrî's kıt'a satirizing Revânî without naming him: Pinti Hamîd, once spoken of for stinginess, is acquitted, and the guilt passes to a still greater miser.
Kul Hüseyin's eight-syllable poem with the redif "turns": brave men on Arab horses, a beloved with sugared lips, a rosebud on a red cheek, and a soul turned into a sacrifice.
The notion in the book's title becomes a refrain: five couplets defining good conduct, beginning and end of every science, door of sainthood, nobler than the world.
A ghazal given to Refîkî in the Pervâne Bey Mecmuası and to Nasûhî in the Mecma'u'n-Nezâ'ir: beauties as pieces of the moon, beloveds touring like planets, white face and black faces.
A night without the beloved: a beloved who does not come, a candle unlit, a promise broken, and Avnî claiming his verse would make Nizâmî, Sadi and Salman jealous.
Three couplets on exile in the short chapter where Bayezid takes Nicopolis and Silistra, sends raiders out from Karaferye and builds soup kitchens there.
A ghazal whose voice shifts in the last couplet: a lover scattering his soul, a prostration of thanks by the Prophet's right, the Shirin pun and a counsellor confronting Nigârî.
Sâhib's ghazal with the refrain "-âra dek çekerüz": seven senses of the verb çekmek, lament turned into merchandise, a rosary of scars counted to the day of reckoning.
Cûdî's poem A Resolve Beyond Bounds: Saladin, hinted at as "bringer of welfare to the faith", millions defeated by a handful, an arch of triumph of the heavens, and enemies' witness.
A ghazal whose refrain verb "tutar" takes a different sense in each couplet, with enchanting eyes, tears that flood the world and a mirror of beauty soon to be covered by down.
Adlî's five-couplet ghazal on the refrain "degül" uses letter-shaped brows and curls, the bloody eye as a cup, and kings Hüsrev and Dârâ as slaves of the beloved.
Münîrî's Persian response to Hâfız: the unbelief of the lock is the lover's religion, thorns turn to flowers, and his ghazals are the candle of the libertines.
Basîrî's satirical kıt'a on Revânî's kitchen, where the servant foams from hunger: a pun on imsâk as fasting and as stinginess, and a fast broken for a free morsel.
Kul Hüseyin's lament-nefes for Imam Hüseyin: a heart longing for the desert of Karbala, the wish to stand at the gallows like Mansur, dervishes in the semah and orphaned lambs.
Four couplets, the shortest section: the sheikh's lawful conversation with disciples, warning against innovation, conduct and companionship, and following the elders.
A feast-day ghazal counted Kemalpaşazâde's model in the Mecma'u'n-Nezâ'ir and Refîkî's nazire in the Pervâne Bey Mecmuası: cups with nowhere to step, and the address 'ey refîk'.
A ghazal made known to scholars only in 2015: cypresses rising to serve, lashes that sweep the threshold, idols stranded in the church and Avnî wishing to pillow his head on the doorstone.
Lazar's daughter is given to Bayezid, who learns the ways of the drinking party from her with Ali Paşa's help; four couplets on how the Ottomans took to wine.
Closing the elif ghazals, this cupbearer rubai already sounds the letter be in its rhyme; the cupbearer is asked to lift her veil and to bring wine for a liver turned to blood.
A trembling image turns the mirror into a house of quicksilver, the mole is the summary and the down the detail, bâl is both mind and wing, and the candle wears a moth-wing shawl.
Mocking definitions beginning "civilization means", the debate on women's place in society, and the image of a plucked flower: a four-couplet unfinished ghazal titled "Latîfe".
An eight-couplet spring ghazal of dancing cypresses and a clapping plane tree; Mihrî ends with a dialogue in which the rose says she sees a thousand nightingales a day.
Adlî's seven-couplet ghazal on the refrain "eylegil" moves from garden images to the language of the court and ends asking the beloved to make him sultan of Rum.
Münîrî's Persian ghazal on the refrain "ne-reft" (did not go): the lancet of the lashes never leaves the wound, and longing stays like the dervish's thought of begging.
Kul Hüseyin's nefes with the refrain "did you see, my crane?": Mother Fatma in Medina, Ali at Najaf, Hüseyin at Karbala, and questions put to a crane touring the holy places.
The book's only ghazal wholly in Persian: a supplication with the refrain “feryâd res”, the wound of exile, a lover fallen drunk and a poet among the rakes.
A Refîkî ghazal kept only in the Pervâne: a moon that wanes to a crescent hearing of the cheek's sun, an objection to the sugar cane, and down on the cheek like converts.
A tavern ghazal addressed to the cupbearer and the elder of the temple: a heart's building gone to ruin, the secret of wine, a cask emptied upstairs and the fire Moses saw on Sinai.
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