The tavern's mufti asked for a hundred-question fatwa on drink: a jest on Ottoman fatwa language, love as kohl, longing as stick, beauty as pot, and servitude as kingship.
Leaves and branches falling into rapture in the morning breeze, nature like a measured poem recited in harmony, and a passion asleep in each leaf as in a rocking cradle.
A response to Ahmed Paşa's "dürüst" ground written alongside Bayezid II and Necâtî: tresses as a polo stick, an elif hidden in the word "cān" and couplets worth a divan.
Mül mül, kulkul, fülfül, düldül, bülbül: rhymed on doubled syllables, the ghazal holds a mole like pepper wrapped in paper and a rose that weeps for the nightingale.
Mihrî Hatun's ghazal of entreaty with the refrain "gitme gel", a nazire to Necâtî's ghazal with the same refrain, built on images of light and darkness in six couplets.
Adlî's short-metre ghazal with the refrain "-dan": hair scented like Chinese musk, rose and nightingale, a hypocritical Sufi, a face asking for grief's stamp, and the compass circle.
Münîrî's Persian ghazal without refrain: a heart weeping blood till dawn has fallen in love, a yellow face is valued like gold, and sighs melt stone but not the beloved's heart.
Kara Fazlî's seven-stanza murabba of praise and separation for a beauty named Hasan, with punning stanzas and an allusion to Hasan, Hüseyin and Yezid.
Mustafa Vâzıh's nazm opening in everyday speech: an ugly Sufi brought to the beloved, the camel saying, a glance like a lancet and a spot in the nūn like Jonah.
On planning: after the Kızılkocaoğulları are killed in Amasya, Yörgüç raids the Turkmen camps around Çorumlu and the question is asked whether these men had sinned.
A cupbearer rubai repeating "‘abes" three times: those who think the moaning of the heart futile, the circling cup and devrân, and the judgement turned back on the scrupulous.
A second mood from the same scene of the morning breeze: branches showing a coy bending and measured movements, and leaves filling with trembling as they kiss.
A ghazal with the refrain "dispute", each couplet a debate: Ahmed Paşa's ground answered by thirty poets, the ant and Solomon, and a violet that loses to the tresses.
Tears like coins laid on a barber's mirror after a shave: carrying an Istanbul shop custom into verse, the ghazal adds a marble breast and a nightingale that spurns the juniper.
Mihrî Hatun's five-couplet ghazal of admiration with the refrain "ne güzel", listing the beloved's cypress stature, rosebud mouth and bow-like eyebrow; found only in manuscript Ü.
Adlî's seven-couplet ghazal of beauty: a lip whose breath raises the dead like Jesus, a face laid out as a garden, the musk of the Khotan gazelle, and a lily that draws its dagger.
Münîrî's Persian ghazal without refrain: Khidr's name is spelled out letter by letter, the beloved roams heart and eye like Khidr on sea and land, and his passing is life's passing.
Kara Fazlî's five-stanza murabba in praise of a beauty named Ömer, building a congruence of images from the names Ömer, Osman, Abu Bakr and Muhammad.
Mustafa Vâzıh's incomplete ghazal on the flooding of Amasya's rivers: waters surging like a lover's eye, a foaming river and bubbles that look like coins.
The last three couplets of the chapter: the Kızılkocaoğulları used to call in the lords of Dulkadır and Karaöylük, and with their removal Amasya found peace.
A cupbearer rubai rhyming on "bahs": talk of the wine of the lips in place of madrasa disputation, honey of the lips as relish, a wish for face-to-face talk, and the passage to se.
Between ascetic and rind: a man who grew harsh when pious and scorned when he chose the rind's way, weary of the fetter that every path imposes, in a Persian quatrain.
A short ghazal on the narrow rhyme "-enc": a treasure guarded by a dragon, mirrors turning into oranges, a chessboard in the night sky and Erünsal's example of question and answer.
The rose smiles on all, the Kaaba draws all into its circuit, the shoe takes all for Hızır; in this "kimi görse" ghazal the bath too strips whoever it sees.
Mihrî Hatun's six-couplet ghazal of reproach to a faithless beloved, notable for its colloquial voice, its oaths and the address "efendüm", with a pun on falling from the eye.
Adlî's five-couplet ghazal with the refrain "without knowing": coquetry and entreaty, the Kaaba of the beloved's street, metaphorical love against the Sufi, and Mahmud and Ayaz.
Münîrî's Persian ghazal on the refrain "diger": no work but love's grief, no lip but the beloved's sugar lip, and the poet's one wish is to see the beloved's face once more.
Kara Fazlî's seven-stanza murabba for a beauty named Süleyman Bâlî, alluding to Solomon through images of the wind, the ant, and the men and jinn he ruled.
Mustafa Vâzıh's incomplete ghazal on the Christian-boy motif: a beauty who corrupts the people's faith, a drawn dagger and wine from a lip that leads to the faith of Jesus.
A hundred years' supplies burned in a night: Haydar Beg of Kocakayası yields to Yörgüç after Tayfur Çelebi, who claimed Elvan Çelebi's line, fires the stores.
Opening the se section, refrain "bahs": no dispute with the wind, the executioner eye, the guiding Magian or the drinkers; a lover of Alast is sought to dispute with zealots.
A scholar's true monument is his work, not his tomb: a visit by a perfect gaze, and a reading worth more than a thousand ignorant men kissing his soil.
A drinking ghazal with the refrain "cup": images running from the crescent in the twilight to the rising sun, from a drunken cup carried hand to hand to a vessel of the lover's dust.
The breast should be split by grief's sword into a cleft, a kâf, and the heart made Mount Kaf for love's Anka; a heart held at A‘râf between hope and fear.
Mihrî Hatun's seven-couplet ghazal with the refrain "-ümden benüm": a question-and-answer scene between lover and beloved, the lasso of the tress and the Mushaf of beauty.
Adlî's six-couplet ghazal on the beloved's hair: a threshold starred with tears, a pearl of sweat on the eyebrow, hair laying ambush for souls, and Gabriel bending over the lip.
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