Cûdî's single couplet among the quatrains: the folly of taking refuge with people while the Creator exists, the sound play of hâlık and halk, and a short word of experience on ruin.
Mihrî Hatun's nine-couplet ghazal on the refrain "hat": the down on the beloved's face as script, cloud, meadow, army and dust on a mirror, in a chain of double entendres.
Adlî's five-couplet ghazal: the sultan-poet makes himself a doorkeeper at the beloved's threshold, becomes a sultan in that fancy, and turns his wounded breast into a rose garden.
Münîrî's Persian response to Hâfız: asked for the alms-tax of her lip, the beloved says "lâ" and it becomes "belâ", while the lover's sigh fans the fire within.
A six-couplet ghazal with the refrain “aġlarız”: the disciples' shared longing amid the section on contemplation, a hidden wound, a jealous rival and a barefoot poet.
Friendship with khans, in two couplets: before his Karaman campaign Mehmed Çelebi asks İsfendiyar for troops and Germiyan for supplies, which arrive in plenty.
An eleven-couplet ghazal saying "I am an Ahrârî": a chain that may point to Ubeydullah Ahrâr and Muhammad Ma‘sûm, "lebbeyk" in answer to "yâ Rab", a fatherless child and the repeated "men".
Sâhib's ghazal woven in the language of old medicine: mummia that sets fractures but keeps its own blackness, tutty for the eyes, and a sapling as an old man's cane.
The miracle of Jesus opened eyes; the Qur'an, by its eloquence, conquers the eye of the heart: the quatrain to Âl 'Imrân builds the idea of inimitability on an image of the eye.
Mihrî Hatun's five-couplet ghazal on the refrain "haz", written as a nazire to Necâtî Bey: the voice of a lover who finds pleasure even in pain and loss.
Adlî's eight-couplet ghazal with the refrain "what am I to do": a lament on the slave driven from the shah's door, a sun of fortune that never rose, and black fortune.
Münîrî's Persian ghazal on the refrain "-i çend", found only in the Vatican manuscript: a stature bent like the harp, the reed flute as companion and dust borne by the breeze.
The ghazal “suited to this station” in the section on contemplation: a lover calling the morning breeze, a servant sold for a stamp and a poet unmoved by the gallows.
A seven-couplet satire on Karaman: Mehmed Çelebi captures its lord and his son on the plain of Konya and makes peace, only for the lord to declare his enmity eternal.
A poet who turns the Quran of a face into a book through the mirror of his nature: lips as the sherbet of speech, a glance that could ruin the world, and a lover silent to spare the beloved.
Sâhib's ghazal written in response to Necîb: the repeated letters of the word barber and Egypt's refined sugar, dry water and moist fire, and the pen that walks on its head.
Cûdî's quatrain to the sura Yâsîn: a light that feeds heart and soul, the hadith of "the heart of the Qur'an", and praise for Gabriel's wing that bore the weight of that heart.
Mihrî Hatun's six-couplet ghazal without a refrain: a plain complaint about the beloved's returning cruelty, a blood-drinking glance, a saving eye and union that depends on fortune.
Adlî's six-couplet ghazal: the lover's eyes outdo the April cloud, the beloved counts her own nightingales, and praise of her cheek's down fills the ledger of the world.
Münîrî's Persian ghazal on the refrain "mī-pervered": pain is nurtured in the soul, Joseph in the well, musk in the gazelle, wine in the jar and a pearl in the sea of tears.
A ten-couplet ghazal rhyming in negative verbs: not every cap is a master, love as God's sword, a weight Mount Kaf cannot lift, and the verdict on Mecnun.
The treacherous wheel, in six couplets: Mehmed Çelebi builds Giurgiu and makes Wallachia tributary, while İsfendiyar's son Kasım Beg stays in Ottoman service.
The daughter of the grape walks unveiled: no torment for those who burn with love, the dry-mouthed zealot's writing on water, and circling the cupbearer's head and cup.
Sâhib's ghazal built on "neither ... nor": an inventory of what the lover could not do, body's dust that never became kohl, and a lawsuit of love that cannot be proved.
A gift to mankind from the divine realm, the ornament of the Preserved Tablet: in this quatrain to the Qur'an, the book's descent makes the earth the envy of the sky.
Mihrî Hatun's five-couplet ghazal inviting the beloved to the garden at Nevruz: a spring table, a kebab of the heart, and a plea for union ending in the idiom "the knife reached the bone."
Adlî's seven-couplet ghazal: the arrow of a sigh reaching heaven, an unceasing flood of tears, the chain of the locks and the rival's dog, and a lament that no one hears.
Münîrî's Persian ghazal on the refrain "şod": the heart is a half-slaughtered bird, tears flow like beggars asking alms, and only the beloved remains on the heart's tablet.
The single couplet closing the section on contemplation: the mill of the heavens whose ruin brings no sorrow to a dervish who has not a single grain in it.
On change, in four couplets: while Prince Murad is in Amasya the infidels burn Samsun, and Mehmed Çelebi marches via Merzifon to take Muslim Samsun from Hızır Beg.
A ghazal inviting the beloved to a hut of sorrows: Jacob's house of sorrows, a pain that would burn the physician's hand, the idiom "kanına girmek", a drunken nightingale and nearness soon.
A ghazal found only in the T. 738 copy, rhymed with the Turkish diminutive "-cik" on Arabic and Persian words: dew and sun, a little nightingale, a stranger in a stokehole.
Cûdî's single couplet of Turkish and Arabic lines: front and back discovered through faith, and a word of repentance that turns to God and turns its back on all else.
Mihrî Hatun's five-couplet ghazal built on the image of hair: a net set for the heart's bird, a pun on black and white (aġ), the wick of love and a fairy's hook of hair.
Adlî's five-couplet ghazal: the beloved is a sun-faced moon and an idol with the breath of Jesus, her street the Kaaba, the lover's tears Zemzem; the close urges kissing a shah's feet.
Münîrî's Persian ghazal without refrain: the grain of the mole scatters life's harvest, the dice of two worlds must be thrown, and peace lies beyond multiplicity in union.
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