On fratricide, in ten couplets: Murad reaches İznik in nine days, Mihaloğlu is killed, and young Mustafa is seized, strangled and buried in Bursa.
A plea with the refrain "O Friend": desert vagabondage in place of reason's torment, "take our souls but do not hide your face", a wish for half a glance, and the address Dost.
The divine scales in four lines: eternal decrees that found the spirit of coming-to-be, each spirit's own manner of determination, and scales that give beauty and balance.
A response to Şeyhî's ghazal with the refrain "baña": its close kinship with Ahmed Paşa's response, a pen name placed in the penultimate couplet and a lover who calls love a sin.
Separation turns the lover from Rüstem into Zâl: the ghazal runs the Shahnama's family tree backwards and adds souls that undress from their bodies in the bath.
Mihrî Hatun's ghazal on the refrain "-nüñ": the beloved offers to rebuild a ruined heart, with allusions to Layla and Majnun, the candle and the moth, and a messenger breeze.
Adlî's short ghazal with the refrain "imişsin": a weeping eye, a heart turned to blood, the soul within the soul, and the poet calling himself a strange sultan who would be a servant.
Münîrî's Persian ghazal on "şod": tears become a flood seeking the cypress, the gazelle eye's leanest prey is a roaring lion, and the heart leads the circle of madmen.
Kara Fazlî's six-stanza murabba of complaint with the refrain "Hey ne ẓālimsin elüñden dād u feryād iy felek", accusing the sphere of giving his beloved to his foes.
Âkif's ghazal with the refrain "eyler": a complaint against an age that favours the unworthy, a garden where crows are the rose's confidants, and praise of a patron.
Mustafa Vâzıh's incomplete ghazal that keeps asking the beloved "did you learn it from…": elegance from the waist, delicacy from the mouth and cruelty of his own making.
Murad challenges İsfendiyar: having crushed his enemies he disperses his viziers, Amasya goes to his tutor Yörgüç, and İsfendiyar marches on Taraklı Borlu.
A ghazal wishing its poetry to be admired by the people of Shiraz: the city of Hafez and Saadi, the bargain "be at least a little coy", distinction among the mad, and a gathering.
The Sunni creed in four lines: accidents and materials that came into being, the Creator who made them, nothing impossible to His power, and the pun on adîm.
The first of the responses to Ahmedî's "serv-i revân ola": a lover who invests his soul in the beloved's tresses, his reckoning of profit and loss, and a joke on her missing waist.
A ghazal of maxims with hardly any love in it: needle and thread, a window fed by sunlight, fate as the officer who divides an estate, a sieve that parts bran from kernel.
Mihrî Hatun's ghazal of burning images, from kebab and salt in the wound to a lover hard of soul and a closing couplet about a beloved whose owner's name cannot be spoken.
Adlî's ghazal with the refrain "-dan": a heart that expects no mercy from an unjust shah, a bird caught in the hair, a love older than Mecnun and Ferhad, and a cypress that will not bend.
Münîrî's Persian ghazal without refrain: the lover asks the sword for sherbet, his sigh is the smoke of love's fire, grief's harp scratches the soul and he dies at the feast.
Kara Fazlî's five-stanza murabba with the refrain "Hercāyi güzel sevmeyeyin tevbeler olsun", renewing in every stanza a vow to give up fickle beauties he cannot forget.
Âkif's ghazal on toothache: teeth as pearls, pain as a kicking horse, an ache likened to the torment of the grave, and a jest at the poet who did not shun the beloved's honey lip.
Mustafa Vâzıh's two-couplet kıt‘a to a blacksmith beauty: an iron heart that no pickaxe of laments can soften, the apple of the chin and a call to mourn the poet.
The world as a garden of heedlessness: Murad defeats İsfendiyar before Borlu, İsfendiyar offers his daughter for peace, and the paşas are won over with "red florins".
A ghazal with the refrain "O Friend" built on thirst and water: honey-water, a spring-head and a life-giving drop, the unveiled face as the greatest blessing, and a poet scattering pearls.
Nearer than the jugular vein yet thought far through ignorance: a Persian quatrain on knowing that He is in the heart, and on a knowledge that does not turn into sight.
A ghazal that likens the down on the cheek to immortal Khidr and bloody lashes to a painter's brush; an opening Erünsal compares with Ahmed Paşa, and a large group of responses.
The letter elif stays upright whether joined or apart, a model of the beloved's rectitude; road earth sealed by a horseshoe and the counsel to be the son of the moment.
Mihrî Hatun's ghazal of the lock as lasso: a lover bound by black hair, a rival and a sheikh who cannot cure her, and a final garden of rose, cypress and jasmine left behind.
Adlî's five-couplet ghazal with the refrain "-dan": a faithless beauty, a rose to be picked before autumn, Nu‘mân tulips in a wounded breast, and a sultan who would rather be a servant.
Münîrî's Persian ghazal on "resed": the beloved's arrow wound is sweeter than his salve, the dust of his road is collyrium, and his ruby lip pays the blood money.
Kara Fazlî's five-stanza murabba of regret with the refrain "Kāş ezelden olmayaydı āşinālıḳlar begüm", wishing that a love begun in eternity had never begun.
Âkif's ghazal with the refrain "ḳalur gider": the letter of union that never comes, a beloved who stays at the rival's feast, the ascetic stuck in mud and a heart offended until Judgement.
Mustafa Vâzıh's nazm rhymed on everyday words: brand-wounds as a flower pot, beauty spots like flies, a lock as a fly whisk and the heart as a partridge in the bag.
A lord unwilling to be dyed in his own blood: Dracul plunders across Silistra, Murad looses Firuz Beg on Wallachia, and Dracul brings his two sons to the Porte.
A supplication built on "have mercy on my ...": a mad, lonely, placeless and disgraced lover, an aged lala, a moth, and the first line returning at the end.
The creed of the unity of being in brief: the overflowing bounty of being, a robe cut to each capacity, and a fine formula defining creation as the destruction of nonbeing.
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