Bayezid wants to burn the corrupt kadıs, an Arab jester saves them with a joke about monks and their fees are fixed; three couplets draw the lesson of the anecdote.
The second cupbearer rubai closing the elif section: strength run out, pure wine as the strength of the soul, a cup to scatter the dark of separation, and an impatient "make haste".
Sâhib's ghazal with the refrain "itmege degmez": a couplet built on the musical modes Uşşak, Şehnaz and Dügâh, the down as preface and title page, crown and cap.
Cûdî's jest at the decadents titled A Joke: crystal laughter, the jasmine-coloured hour, pink hope, a transparent melody, a green dream, and a warm lip that turns into warm halva.
Mihrî Hatun's five-couplet ghazal with the refrain "ne kolaysuz" (how unseemly): a reproach that the beloved shows her kindness to the rival and her wrath to the faithful lover.
Adlî's five-couplet ghazal likens the unbending lock to an ear of grain and tears to a shoreless sea, then plays on his pen name to give up the title "just king".
Münîrî's Persian ghazal on the refrain "est": a summons to the spring gathering, wine and Zamzam shamed by the lip, a pun on key and Key, and the beggar above kings.
Kul Hüseyin's twenty-quatrain tevhid and miraçlama: Ali seen upon the Throne, the Burak of the Ascension, the cup and grape of the Forty, and "your flesh is my flesh".
The section on knowledge of the heart: a voice without letters, the unschooled Prophet, unlettered saints, Şems, Mevlânâ and Câmî, and sheikhhood without learning.
A Refîkî ghazal kept only in the Pervâne: a brow that teaches mischief to the eye, a hyacinth jealous of the comb, a mirror that kisses the king's hand, and a sun-face joined to a crescent.
A warning to the heart to keep away from beauties: grief that debases, a master rider who scatters one like dust, and a beloved shamed by her mercy.
A just khan is a saint, say these four couplets: on Bayezid's Karaman campaign Konya opens its gates after his army buys barley fairly, and Aksaray and Niğde surrender.
The poem that opens the be ghazals is a prayer turned upside down: let no one in the world be left without love's brand, no body without pain, no heart without sorrow.
A wound that laughs from its saffron salve, a cradle of vine wood, a rosary strung on a sigh, and a fountain that climbs because its source is high: a ghazal of old beliefs.
A mocking dictionary glossing decadent phrases in quotation marks: moonlight, a hint at marriage, and "when the lilacs bloom" and "if the lily kisses" turned into ages.
Mihrî Hatun's second ghazal with the refrain "ne kolaysuz": a beloved like a sultan turning from his slave, the conceit of beauty's zakat, and the rope that snaps before the dog hangs.
Adlî's seven-couplet ghazal on the refrain "kıl" warns the heart against the sorcerous eye, urges tears as offerings, and asks for long praise of stature and few words on the mouth.
Münîrî's Persian ghazal with Arabic rhymes: calamity shuns the eye's mischief, a rival who reads the Kashshaf lacks refinement, and the lover travels like Gabriel.
Kul Hüseyin's nefes and düvaz-ı imam on the cycle of the soul: "I have come again and gone again", a journey from Adam to the Mahdi, Noah's ark, Job's worm and the flower in the hive.
A five-couplet ghazal with the refrain “baña”: a poet whom no one calls human in his mirror, the cloak of poverty, the pilgrim's garment as shroud and a burning love.
A Refîkî ghazal kept only in the Pervâne: tears that never cease, a lover far from the door who cannot find even a stone for a pillow, and the idiom of the brow above the eye.
A Turk of Cathay raiding the land of the heart, a tavern boy's lip that drove Jesus from the old church, the robe of piety thrown on the fire, and Cem's cup taken from the royal treasury.
Karaman and Silifke in tears: four couplets from the chapter where Bayezid takes Taraklı Borlu and Kastamonu, leaving İsfendiyar only the district of Sinop.
A ghazal opening with the repeated "Benem" (I am): moth and thirsting lover, Leylâ's camel and caravan bell, the veil of selfhood, a gathering made ready, and engraving on the breast.
Sâhib's gnomic ghazal naming Nâbî as master: judgements proved by examples, from treasure not in every ruin to vinegar that never turns to honey and the olive and fig.
The Rubâ'iyyât section opens with praise as the divan does, but in Arabic: "the best of masters", the Most High who holds all things, "You are enough for me", and trust in both worlds.
Mihrî Hatun's five-couplet ghazal with the redif "-laruz biz": a complaint built on companionship with the nightingale and moth, the rival-dog conceit and black fortune.
Adlî's seven-couplet ghazal on the refrain "gönül" traces grief to man's creation, names the strife of sovereignty as his burden and urges laying down the care of the realm.
Münîrî's Persian ghazal treating love as a science: the disputant is ignorant, the beloved's street becomes the Kaaba, and the lover's sigh lights the gathering.
Kul Hüseyin's poem of a lover fallen for a fickle beloved: a heart passing from state to state, the wise driven mad, and a line with the disputed date 1220.
Forty-two couplets, the longest section: the contemplations of oneness, withness and nearness, the greater and highest sainthood, annihilation and the four journeys.
The last ghazal of the main manuscript: a soul-bird perched on the eye, the cage of the breast, the breath of the ney, lashes blocking the way, and calling her "my soul".
Taharten of Erzincan, whose wife, son and daughter were held hostage, speaks in five couplets from the chapter on Yıldırım Bayezid's taking of Amasya and Sivas.
Beauty above the nisâb owes alms; Nigârî counts himself poverty upon poverty and the beloved nisâb upon nisâb, so that she is the debtor and he the creditor.
Sâhib's ghazal with the refrain "-erlik istemez": Farhad, valued for helplessness not strength, the play of foot and rank, and the down that comes with the dust of time.
Cûdî's Persian quatrain of supplication: the address "bârî Ḫudâ" repeated three times, a name never parted from heart or tongue, and mercy asked for tomorrow as for today.
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