Sâhib's ghazal with the refrain "-eşden halâs": eyes like a quiver, an old lover bent like a bow, Siyavush in the fire, and advice to escape the five and six of backgammon.
The wonder-giving strength in the Prophet's spirit, the question how he bore the Qur'an, and the Arabic praise "well done, may you be blessed": a quatrain on the weight of revelation.
Mihrî Hatun's nine-couplet ghazal with the redif "-lerüz biz": a community of lovers presents itself as moths, rends, madmen and brave men against the hypocritical sheikh.
Adlî's seven-couplet ghazal on the refrain "degül ol" makes his tears greater than the ocean, the rival an untrained hunting dog, and the poet lord of a land of pain.
Münîrî's Persian response to Hâfız: the reed flute laments with the lover recalling last night, Farhad's suffering is invoked, and love's captive is freed of both worlds.
The section on the masters and the sheikh's treatise: the lineage from the Prophet to Mustafa İsmet, praise of Mevlânâ Hâlid and Abdullah Mekkî, and the Risâle-i Kudsiyye.
Three couplets of disputed authorship, given to Mehmed II by Âşık Çelebi and others but to Bayezid II by Latîfî: the dagger of reproach, the shears of grief, the angels' prayer.
Timur's advance into Anatolia in six couplets headed "Diger, bu da nazm": oppression covering the world, lawful and unlawful mixed, people in flight, gold turned to copper.
A ghazal that turns to prayer with "O you nearer to me than myself": nearer than the jugular vein, wine that comes on its own feet, Azerbaijani forms, nightingale and moth.
The down is a ruler who pitches his tent on Hızır's day and marches with army and sword-bearers, and five musical modes from Uşşak to Pençgâh meet in a single couplet.
A turning that begins with "veccehtu", surrender and blessings, a beauty sun and moon cannot rival: the last line of this second Arabic quatrain to the Prophet stays unsettled.
Mihrî Hatun's seven-couplet ghazal with the redif "-ümüz": love born of a glance, a lover whose word counts for nothing with the rival, and moths burning at the cheek-candle.
Adlî's five-couplet ghazal likens the crescent to an old slave bent before the eyebrow, plays on the calligraphic terms ruby, nesih and reyhânî, and calls each ghazal a petition.
Münîrî's Persian ghazal on the rose and the nightingale: a pun on gül-zār and gül zār, the thorn that wins the rose, and the rose's gold as blood money for the nightingale.
A Persian eulogy of Mustafa İsmet Efendi: the double sense of the refrain “‘İṣmet”, the sheikh as moonlight and God's sword, the realm of Süleyman and the lineage.
A Persian response to Hafez's famous "Turk of Shiraz": a sultan's couplet saying that if that Frankish infidel takes our heart, he will give Istanbul and Galata for his Indian mole.
Ankara in four couplets and a witness: Bayezid captured, Mehmed withdrawing to Amasya with its troops, and the author's informant Koca Nâyib made warden of Amasya.
The rhymes meet in "-ağlar" and most carry two meanings: brand and mountain, weeping and nets, blade and crow; the refrain "çekilüp" plays on the idioms of Turkish.
Sâhib's ghazal woven in madrasa language: the rising sun and the book Şerh-i Metâli', the jurists' rule of lesser and greater, love through the ear, five couplets as fingers.
Cûdî's quatrain comparing the Qur'an and the Gospel: the Qur'an and hadith counting themselves among the living, and against "Jesus is alive" a legacy with neither Gospel nor man in view.
Mihrî Hatun's six-couplet ghazal with the redif "-suz": a beloved who breaks her word, a physician who kills without treating, and the rose that is never without thorns.
Adlî's five-couplet spring ghazal in a short metre: the rose scatters coins, the hyacinth tears its hair, the forelock turns highwayman, and the poet prefers haircloth to satin.
Münîrî's Persian ghazal on the refrain "āyed": the beloved as a nimble horseman, the cup in rose season, words to the ascetic, and the poet praising his own pearl-like verse.
A chronogram on the death of Mustafa İsmet Efendi in 1289: a sheikh likened to Bistâmî, nearness from the chapter of the Star, a disciple's grief and the date line.
A one-couplet threat against the Karamanid lord: "That man of Karaman, they say, talks of sovereignty with us; if God gives the chance, I will mingle him with the black earth."
Timur, worse than an infidel, winters in Aydın, destroys hospices, mosques and medreses and returns the lands to their old lords; Bayezid dies at Akşehir. Five couplets.
A ghazal seeking the daring lover who would declare the beloved peerless: a nightingale whose delight is its cry, a share from the sea of the soul, and a veil to be lifted soon.
A poet who is no star-worshipper falls prostrate after reciting "The Star": the verse of prostration in al-Najm, an inimitability that enraptured the Arab notables: the first of the sura quatrains.
Mihrî Hatun's ghazal with the long redif "gelmişlerdenüz": the polo game, Mansur's gallows, the dervish begging beauty's alms, and madmen coming to the chain of the tress.
Adlî's five-couplet ghazal on the refrain "kul" makes pepper, cypress, pearl and the wise all slaves of the beloved, and the sultan-poet counts himself one of many slaves.
Münîrî's Persian ghazal on the refrain "sefīd" (white): white and black change places in each couplet, black fortune awaits dawn, and the weeping eye sees again.
A ghazal with the refrain “etdim” addressed to Mustafa İsmet: the motif of turning to the true faith through love, rabıta as the eyebrow-mihrab, and blame as honour.
The only Arabic couplet in the divan: two lines recorded in Ali Emîrî's Cevâhirü'l-Mülûk, lamenting with two cries of "alas" a departure with no return and longing for friends.
Emir Süleyman, sunk in drinking parties and overthrown by Musa, is rebuked in three couplets; earlier Mehmed Çelebi had sent him envoys from Amasya.
The cup goes round for the thirsty of Karbala: wine upon wine and kebab upon kebab, a heart not cleansed without the cup, the rind's ill name, and an answer to love's martyr.
Sâhib's ghazal with the refrain "-âsı yok": a heart holding trust in God as a life-tenure estate with no field or village, the city of contentment and the land of greed.
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