The book's only ghazal in the ahreb metre: hold to one road, become a master through the masters, and a couplet that opens the pen name as a mirror.
From buttermilk to raiding: returning from Samsun, Mehmed Çelebi sees Minnet Beg's Tatars at İskilip and moves them to the Plovdiv district, where Minnet's son becomes a raider.
Raised on gazelle's milk, breath scattering musk: the scent of a burning liver in the gathering, wine smelling of rose-water, poetry that opens veils, and the tavern of reason laid waste.
The rows that turn to God and away from people at prayer are carried into the heart: communities within facing God, the ranks of strangers left behind, a heart like a congregation.
The refrain "ol" (be) bids the lover become something new in every couplet: a vine round the cypress, a split tooth-stick, a torn cage, a bath attendant who shakes off worldly dirt.
Mihrî Hatun's angry ghazal on the refrain "yuf": a voice rebuking the world's beauties, who love those who do not love them, and finally her own trust in the faithless.
Adlî's seven-couplet ghazal with the refrain "I am not": the lover answers the rival, teases the eye that denies its sorcery, and counts grief bought with his life a bargain.
Münîrî's Persian response to Hâfız: the curl of the tresses is every heart's home, death holds no fear when the killer has Jesus' breath, and a face lights the gathering.
The section in which the author introduces himself: a declaration of humility from a poet who says he never studied, never completed the Qur'an and wrote a poor hand.
False Sufis mocked in six couplets, after Börklüce Mustafa plays the prophet at Karaburun, is crushed by Bayezid Paşa and Prince Murad, and the kadı's son claims power.
A ghazal naming Attâr's hoopoe: the Conference of the Birds and the road to the Simurgh, a speaking parrot and an uncomprehending crow, and a difference between two editions.
Cûdî's Arabic quatrain on death the leveller: kings, prophets, worshippers of God and of Ya'ûq and Yaghûth, a whole humanity teased apart by time like wool and scattered on the earth.
What comforts Majnun is the glance of Layla he sees in a gazelle's eye; in this ghazal on "degül" everything that burns the lover lies a step beyond where it seems to be.
Mihrî Hatun's ghazal on the refrain "tekellüf", which shifts between trouble and hospitality: a çevgân of hair, a cup of liver blood and a rival not worth the rope.
Adlî's five-couplet ghazal with the refrain "kılam": a Tûbâ-tree stature, the staff of Moses, elixir and alchemy, and a lover who ranks servitude equal to sovereignty.
Münîrî's Persian ghazal on the feast: almonds and halva go to the Sufi, wine to the libertine, a doorkeeper's kick is sweeter, and a crescent brow is the feast's tughra.
The book's last Turkish ghazal: a confession made heavier by repetition, then repentance, and a turning from both worlds to take refuge in God.
A scholar who sought rule: the son of the kadı of Simavna is seized, brought to Mehmed Çelebi at Serres and hanged on Mevlânâ Haydar's ruling. Four couplets.
An eleven-couplet münacat with the refrain "yâ Rab": beloved or death, a slave asking for his freedom, a soul sent to the Kaaba, a prayer for the divan, and bread without obligation.
The one who falls into the lap of time weeps, and so does the one who falls from it: greeting and farewell to the world meet in one weeping, and here both comer and goer weep.
The down as the hour of breaking the fast, the cheek as the feast morning: a ghazal on down and mole woven with Ramadan, the dot of nûn and the geomancer's board.
Mihrî Hatun's nine-couplet ghazal on the refrain "yok": a complaint to an indifferent beloved, advice on fleeting beauty, an allusion to Abraham and a counsel of patience.
Adlî's seven-couplet ghazal with the refrain "eyledüm": tears become a flood for a cypress stature, the body a water-wheel, and the stars the wounds of sighs that pierce the sky.
Münîrî's second Persian feast ghazal: the beloved's quarter becomes the Kaaba, the soul is sacrificed in pre-eternity to the feast of union, and the cup goes round again.
The section that says why the book was written: prayers for İsmet, his son Abdullah Bahâ and the poet's parents, his coming to Amasya under command, the book's aim.
Lying Sufis who chase pilaf and feasts are mocked in four couplets, once the question whether the kadı's son of Simavna died in the faith is answered "God knows".
The cupbearer rubai closing the letter be: a rhyme announcing the "-ât" of the letter te, a lover checkmated by wonder, the water of life and the useless water of the Euphrates.
Cûdî's quatrain on the three faculties of man: the soul that desires the good, the mind that seeks the true, the senses that look to beauty, and an eye that cannot see without them.
Ricâm câm, selâm lâm, enâm nâm: in a ghazal whose rhymes echo the last syllable of the word before, the upright man stands like elif and a name ends on a gravestone.
Mihrî Hatun's Sufi ghazal to the ascetic: from metaphorical love to ascension toward the Truth, taming the self by hunger, a pun on pilgrims and Hajjaj, and the dervish's cloak.
Adlî's five-couplet ghazal rhyming in "-âm": a full moon drunk on its own lip's wine, the unripe fruit of union, hyacinth and pepper as slaves, and at last the hope of a greeting.
Münîrî's Persian ghazal on the refrain "keşed": who draws his being into nonexistence reaches permanence, and pure wine is drunk in the gathering of nonexistence.
The two-couplet chronogram on the book's completion: a keepsake for the brethren, the phrase “mir'ât dedim târîḫ” and a correction of the Gregorian date for 1296.
Signed Âşıkî, four couplets from the chapter in which Mehmed Çelebi takes Hereke, Gebze, Tarucılar, Pendik and Kartal to endow his Bursa imaret; his reign ends in 824.
A rubai asking the cupbearer for "the wine of the Essence": life from the shade of the lips' water, salvation from a glance, and the second of the pair closing the letter be.
A nightingale of frenzied inspiration, the rose of opening that will not bloom, a crossing of admonition strewn with tears, a soul asked to befriend the heart: every line ends in "weep".
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