The lover prepares his words, sees the beloved and forgets them all; he endows himself to agitation, while the heart's black spot and the mole sail in one ship.
Mihrî Hatun's love poem on the same ground as the preceding ghazal: the beloved's skirt a crown, her cheeks a chessboard, her lip a güllaç, her blood-shedding eye a Hajjaj.
Adlî's five-couplet ghazal: drowned in tears, the lover can no longer tell his sea from his land, and in the end gives up crown and throne, counting his sighs' flame a golden crown.
Münîrî's Persian ghazal on "ne-bāşed": a heart that knows no love has lost its way, the open eye sees beauty in every mote, and paradise without the beloved consoles fools.
The book's last poem: a work promising grace to the reader and love to the traveller, holding a ready answer for the denier, and ending “Read Âdâbü'l-müeddeb”.
A time of transition in five couplets: Mehmed Çelebi's death is hidden for forty-one days, the physician Gûrdüzen makes the dead man stroke his beard, and Murad is awaited.
The naat opening the te ghazals: the Prophet described by Quran, Gospel, Psalms and Torah, the Quran as miracle, a sun lighting the motes, the jewel of the verse and words that are a decree.
Cûdî's quatrain with the refrain "what we take for": the heart a spring of sorrow, the rose that weeps before admonition, and rose and wine that draw only bloody water.
The inkwell is an ignoramus full of ink, and the pen that dips into it daily never learns its secret; a market of fancy and a brimming cup in a dream share the ghazal.
A muvashshah ghazal whose couplet initials spell "Süleymân": six couplets of praise on the refrain "ancak," thought to be offered by Mihrî Hatun to Prince Süleyman.
Adlî's seven-couplet ghazal: the fire of separation outdoes Hell, the beloved is the one pearl in the world's oyster shell, and the poet names himself an old servant at that shah's door.
Münîrî's Persian ghazal on "ne-şod": one who never dwelt in the tavern knows not its secret, an unruined heart cannot hold the treasure, and the moth never leaves the flame.
Music for a new reign: Murad takes the throne at Bursa and, once Mehmed Çelebi's body is seen, the lords of İzmir and Menteşe stir and are calmed by envoys.
Praise of a heart that serves the tavern elder: servanthood above kingship, leaving tomorrow to God, advice to make a name good or bad, the passing cup and a sweet moment.
Man comes into the world bound hand and foot, without wit or tongue; God gives him wit, feet and tongue, and he still arrives empty-handed at death's door. The first Persian quatrain.
A ghazal spoken wholly by the beloved and called a response to Nâbî: the lovers' quince and "alas", linen that outlasts the moon, and musk whose heart turns to blood.
Mihrî Hatun's prayer ghazal on the refrain "kimsenüñ", built on a reed flute wailing by night, a threshold likened to the Kaaba, a tyrannical sovereign of beauty and a moon in clouds.
Adlî's five-couplet ghazal with the refrain "itdüm": a body bent like the crescent, grief's dust on the heart's tablet, a body trampled into dust, and love between death and revival.
Münîrî's Persian ghazal on "sūzed": a rose cheek burns the rose and tulip, beside the dry the wet burns too, and the fire of love sets even the lancet in the vein alight.
İzmiroğlu is warned in four couplets: the Pretender Mustafa wins over Rumelia, and Bayezid Paşa, after kissing his hand, is put to death at Sazlıdere.
A ghazal inviting the zealot to the tavern: a call sounded from the tavern, the turning circle, a paradise without vision as prison, the astronomer's lecture room and the word "illet".
Cûdî's Persian quatrain on time: a saw going back and forth over the trees of the world's garden, the two-toothed saw of life that is night and day, and a master asleep.
Bent double under separation, the lover reaches the last sitting of his prayer; the principles and branches of law, a heavy-turbaned ascetic and a sun rising in the west.
Mihrî Hatun's ghazal on the refrain "bu kerîmüñ"; it opens like an elegy but can also be read as a playful lament for a beloved whose face has grown down and lost its beauty.
Adlî's ghazal with the refrain "benüm", preserved only in the T manuscript: furnace and rose garden, friend and enemy, and a closing couplet built on the old idiom of adoption.
Münîrî's eleven-couplet Persian response to Hâfız opens with news of union, passes from the rose season to autumn and closes with a prayer praising Sultan Bayezid's face.
On lying: Mihaloğlu, freed from prison in Tokat, takes the author along from the Elvan Çelebi tekke, and a forged letter makes the Pretender and İzmiroğlu flee.
Four couplets, opening missing in the edition: the beloved's place of ascension unreachable without a guide, a veiled bud, wine in the eye's cup and a kiss worth a thousand souls.
Alexander's long sword did not lengthen his short life; the world's peace comes from the Hijaz, and peace is built by long deliberation. A Persian saying rhymed three times on "dırâz".
No one looks for a mihrab in the courtyard of the Kaaba; Sâhib carries this point of law to the kiss, and his refrain "neylersin" weighs the shadow against the real thing.
Mihrî Hatun's spring ghazal in seven couplets: an invitation to the rose garden, a lover's pain told in musical terms such as daf and chang, and sweet speech that puts the parrot in check.
Adlî's ghazal preserved only in the T manuscript, whose second couplet Sehî gives to Hadîdî: lashes like drawn swords, drunken eyes wrecking a glass shop, a lip reflected as a cup.
Münîrî's Persian response to Hâfız: tears flow as they did before, the beloved's image rules the land of the heart, and not even death changes the lover's sorrow.
A prayer in Murad's voice, four couplets long: the Pretender bribes the kadı of Biga to cross, hauls the Gallipoli ships ashore, and Murad is held up at Lapseki.
Deed, salvation and merit carried into the tavern: the rind's deed, Lât and Menât in the breast, the tavern of steadfastness, the wine of constancy and a soul given to the cup.
Cûdî's Persian quatrain on pride: turbid wine in the place of pride, a flask that never grows bright, and the blindness of the proud eye that cannot see itself as the blind man can.
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