Opening with a spring wine gathering, this ghazal with the refrain "hoş görelüm" turns to the rose and thorn, the lover offering her soul, and the beloved calling Mihrî her dog.
Adlî's seven-couplet ghazal: the lover's head as a ball for a polo-stick tress, fire and pomegranate, the shamed sea and mine, and counsel to summon oppressors to justice.
Münîrî's Persian ghazal ending in an Arabic line: in the rose season no one fears the inspector, buds tear their collars, and tears wash all but the beloved from the heart's tablet.
Kara Fazlî's seven-stanza muhammes on the refrain "Gördüñ zemāne uymadı uy sen zemāneye", popular in the sixteenth century, counselling submission to the world's ways.
Envy at the root of mischief: Murad lays Karaman waste, its lord sends his wife and vizier Sürûr to beg pardon, and the author blames Ottoman harshness on Karaman.
The third ghazal with the refrain "görgeç": a zealot rejoicing at soup, a dog clinging to a morsel, bowing to the dreg-drinkers, a moth running to light, and a beggar before the king.
Motes as letters of the Maker's meaning, a different meaning in each species, and man as the "kevn-i câmi'" who gathers the attributes: the book of the universe.
A ghazal with the refrain "they called" that gives its verdicts from others' mouths: a pen name likened to Şeyhî, Leylâ and Mecnûn, a blind ascetic and eye rhymes in Arabic script.
The almanac looks ahead and the chronicles look back; in a ghazal that draws counsel from objects come the alchemist's crucible, upstart branches and a chronogram line at the beloved's feet.
A ghazal with the refrain "el yudum" in which the lover who has seen the beloved gives up the water of life, the cypress, the ocean, pearl and coral, and finally life itself.
Adlî's seven-couplet ghazal: the double sense of mihr, pearls and verse without value, a tress that ruins the ambergris market, the salamander, and kingship through servitude.
Münîrî's Persian ghazal on the refrain "gül" (rose): the meadow spreads green satin for the rose, buds hang red amulets on her, yet without the beloved's face the rose is fire.
Kara Fazlî's five-stanza tahmis on Necâtî's ghazal with the redif "ṣandılar", headed "Naẓīre-i Fażlī" in the manuscript: Cem's cup, Mary, and a garden in mourning.
Good sons and bad: Murad seats his son Mehmed on the throne in his own lifetime, and the despot's sons imprisoned in Tokat are blinded and sent back to their father.
Training the self told in palace language: tribute withheld by an unafraid servant, a lamp that cannot burn its moth unburned, the heart's flask, and a tree that is a sigh.
Specificity and pairing, the search for specification in the absolute, and the harsh verdict that only Islam knows the attributes: a quatrain of kalâm on God's attributes.
A ghazal with the refrain "belt": a jealous halo belting the moon, a sash that outshines Gemini's belt, a belt that stakes all it has and a lover bent into its ring.
An eye wet with pearls of tears is like the mouth of a seven-year-old who has cut his teeth; a mirror that steals images, checkmate on the board, a head held to the stone.
Mihrî Hatun's ghazal with the refrain "iki gözüm" tells of a world darkened when the beloved's sun-like face is hidden, eyes turned fountains, and the transience of beauty.
Adlî's five-couplet ghazal: the bird of the heart in the rose garden, a moon-faced beloved cruel as the heavens, weeping mountains, a dry ascetic, and counsel against the world.
Münîrî's Persian ghazal on the refrain "dil" (heart): even the Anka is lean prey for the falcon of the curls, the heart bears a hundred tulip scars, and no soul can keep its secret.
Kara Fazlî's five-stanza tahmis on a ghazal with the redif "aldum" by Zâtî, whom he counted his master: birds of the hunt, patent and coin, a fortress, a market of hearts.
Praise of the dynasty after Varna (848): the Hungarian king falls from his horse and is beheaded, Turahan Beg is freed from Tokat and Murad takes the throne again.
A ghazal with the refrain "have you ever seen": questions to the sphere, Husayn of Karbala as the measure of calamity, no king or beggar without sorrow, and why çim ghazals stand under cim.
Longing for the happy time with no trace of a family, and fortune that turned its wheel and drew the idle man into its arms: the first of the marriage quatrains.
A response on Hafî's ground with the refrain "pâreler": wounds that weep blood for the lover, gold against a farthing, longing inside a bubble and black-blanketed hyacinths.
Two lips merge like two letters of one kind in assimilation: a madrasa-trained poet tells of a kiss through a rule of grammar, and a Damascus caravan sets out for Aleppo.
Mihrî Hatun's ghazal with the refrain "başum", addressed to her own head, tells of a nature kneaded with tears, stones of reproach and an ending in which death is deliverance.
Adlî's seven-couplet ghazal with the refrain "upon": a sigh that brands the moon, arrows that become stars in the sky's shield, tears strung like rubies, and the eyelash as fate.
Münîrî's Persian ghazal without refrain: separation is a dark night, a thousand-year breath equals one moment of union, and the poet bearing love's burden is like man in the Trust verse.
Kara Fazlî's five-stanza tahmis on Âhî's ghazal with the redif "olsa": a picture of spring, a pun on waist and lap, the emerald palace of the sky, a wish to flee.
The author's line, Yahya, Selman, Âşık, Muhlis and İlyas, named in couplets on the second Kosovo (852), where he says he slew an infidel and won a horse.
A rubai forbidding the cupbearer to say "would that" and "perhaps": the Arabic particles leyte and le‘alle, a lover without Khidr's life or Noah's span, morning wine and the passage to hâ.
A flock of troubles wave upon wave, troops marched towards detachment, and a poet married to the world by a contract made in his absence: a satirical quatrain.
A model poem in Nazmî answered by Necâtî and Süleyman: a sick, slow breeze, the idiom "a draught of water", joined brows and buds like sealed letters.
Kanun, kemençe and bow-hairs that lend each other an ear make a whole consort in one line; the pen's prostrations of forgetfulness and two-faced paper share the ghazal.
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