A ghazal crying "O Muhammad, O Ali, O Naqshband": a reed flute burning node by node, a tress that binds designs, and a nature praised by Hafez and the poets of Khujand and Kerman.
A ghazal in which the bird of luck nests only in breasts that took the beloved's arrow: a sigh worse than autumn's wind, no life by another's soul, and an idiom of harming a soul.
A five-couplet ghazal by Mihrî Hatun with the refrain "üstine," moving from the idiom "upon my head" through fate and the lover's own epitaph.
Adlî's single-couplet Persian matla, surviving only in manuscript M2: soul-reviving wine from the jar, the double sense of safâ, and a lover leading the jug by the hand.
Münîrî's seven-couplet Persian ghazal: a stream of tears seeking the sea of union, the sword's sherbet, an overflowing jug, and a lover who washes his hands of both worlds.
Five couplets on the "Çıtak", in the chapter where at Otlukbeli Uzun Hasan cries "bring the grey horse" and flees, and later bids his kin never again speak the Ottomans' name.
An eye made bright by the beloved's reflected face, a heart turned rose garden, and lashes in rows around the child seated in the pupil: a Persian quatrain on the eye.
A ghazal rhyming rose with yellow: verd and zerd, a bewilderment taken from the backgammon block şeşder, blood offered by the azure sphere and the fire, water and cold sigh of the heart.
A ghazal that joins the proverb "do good and cast it on the water" to tears: a fruit of union that grows in no common air, a rose deaf to the nightingale, a mouth whose want is poverty.
An eight-couplet ghazal in which Mihrî Hatun calls the heart to a spring outing with beloveds, music and wine, and reminds the reader how short life is.
Adlî's Persian matla cited in the tezkires: smoke from a torn breast that becomes a cloud and weeps over the grave, and the chain of response poems from Necâtî to İbn Kemal.
Münîrî's Persian ghazal on the refrain "-ı ū": the breeze lifting the veil from a rose face, sick lovers past the Yâsin, the ascetic's Paradise, and Me'vâ in a wall's shade.
Five couplets where, after Otlukbeli, the Conqueror turns back without ravaging Uzun Hasan's land, takes Kemah on the way, and dismisses Mahmud Paşa again on entering Constantinople.
An envious company of poets, the fair-minded poet who, like poetry, finds no buyers, and the counsel to probe the thought behind smooth words: on poets, outside the metre.
A rubai with the refrain "delicious, O cupbearer": the word lezîz announcing the letter zâl, a rose-coloured cup, chief of the drunken with one cup and a name that is delicious to speak.
A short ghazal with the refrain "green": right and left turned green by tears, an eye become a stream's edge, green garments for a rose-cheeked one, and green growing on the lover's grave.
A five-couplet ghazal in colloquial tone in which Mihrî Hatun's lover, whose word counts for nothing, voices reproach through the hereafter and the right of salt and bread.
Münîrî's Persian ghazal answering Hâfız: an oath by love's fire, a drinker unafraid of the inspector, tavern sweeping worth more than Cem's cup, and the faint star Sühâ.
Four couplets with the refrain "Ahmed", in the chapter where Gedük Ahmed Paşa sails to Caffa with three hundred ships in 880, takes it by treaty, and seizes the coast forts and Mangup.
A nature that mirrors God's lights, bright enough to show a mote like the sun: a praise with the refrain "your nature", whose addressee is not named.
A rubai with the refrain "more delicious, O cupbearer": the comparative of lezîz, talk sweeter than life, and wandering with the dog at her door preferred to the glory of a ruler.
A ghazal of libertines who speak as "we": tavern-goers, ruffians, painters on water, sweepers with lashes for brooms, and a line that echoes Kâsım Paşa's model almost word for word.
A six-couplet ghazal in which Mihrî Hatun opens separation and a rival's jealousy with a pun on "yaka" and ends in a reproach that her patience is spent.
Münîrî's Persian ghazal on the refrain "-yı ū": a soul given for a glance, death's poison as cure, the world-revealing cup, pure wine denied the Sufi, and dust as kohl.
Three couplets in the chapter where the Conqueror crosses the Danube by ship in 881 into Moldavia, its lord sets his men on foot in a steep pass, and the gazis break his gun carts.
A new version of an earlier Persian quatrain: a heart turned rose garden, a kiss set on the eye, and a pupil, the "merdümek", trembling at the heat of the lip.
The ghazal with the refrain "letter" that opens the zâl section: a letter that never comes, a breeze passing in shame, a pickaxe of sighs and a parrot of poems sent to the falcon of Qaf.
A ghazal likening a street without night to Paradise: a wet-skirted spring cloud, a cypress casting its reflection head down, down like an amulet against fever, and Irem's garden.
A five-couplet ghazal by Mihrî Hatun, quoted by Sehî Beg in his tezkire, that opens with a composite pun as the beloved lifts her veil and says "gör işte."
Münîrî's Persian ghazal on the refrain "ḫāne": a breast turned guesthouse, the eyebrow's bow and the archers' ground, a house worth eight paradises, and a song's miyanhane.
Two couplets in the chapter where Shkodër (İskenderiye of Albania) resists the first siege, is pressed by a siege tower and surrenders by treaty in 883, the Conqueror's last holy war.
The decision not to be in an anthology of poets while alive, faces he would not see at the Resurrection, and a play on meş'ar, ma'şer and mahşer.
Even the poison of abuse tastes sweet: a cry that delights the beloved, a palm-shoot sway and partridge gait, talk like twice-refined sugar and the honey of verse.
A play of light on a garment that looks rose-coloured from the reflection of roses: fire-coloured cloth, fire that burns only what touches it, and a robe half satin, half sackcloth.
A seven-couplet ghazal by Mihrî Hatun bound to the "-ile" sound: a heart-bird caught in the snare, a liver pierced like a reed flute, a nature kneaded with cruelty.
Münîrî's Persian ghazal: a cypress waiting on one foot for the walking beloved, a necklace of tear pearls, a pun on the word "sāde", and beauty the ascetic belittles.
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