Three couplets on the setting of the sun of life, in the chapter where the Conqueror crosses into Anatolia in 886 and dies at the hour of afternoon prayer on the meadow of Maldepe.
A heart eager enough for love, an end to passion for the black forelock, the past washed clean with a soft tear, and the judgement of a good ending: repentance.
A cupbearer rubai about a morning breeze that does not come: saba as confidant of secrets and the beloved's messenger, a cheek casting fire without pause and a rhyme announcing re.
Tresses like a musk chain on a silver lamp: a brow that takes the sick eye into its lap, a stature-arrow fletched with tresses, two beauties "making one mouth" and a witch.
Mihrî Hatun's ghazal with the refrain "unutma" (do not forget), in which the lover begs the beloved to remember the torn collar, the ruined heart and a promise, and finally Mihrî.
Münîrî's Persian ghazal on the refrain "ġonca": a rosebud that bears a trace of the beloved's lip, seals its mouth on a secret, scatters an offering, and opens in blood.
Six couplets signed Âşıkî, in the chapter where at the Conqueror's death Bayezid holds "the throne of Eretna" and Cem "the throne of Yunan", and Keklik Mustafa carries the news to Bayezid.
Ear and sound, eye and light, nose and scent, a God who makes blessing precious through blessing, and appetite created before food: harmony in creation.
A cupbearer rubai that counts spring the noblest of the four seasons: the time of revelry, a tavern scattered like largesse, and a quatrain without heading.
A beloved who delights in the lover's blood as a child delights in a coloured house: an eye rhyme on "hoş", a liver turned quiver, a gold-clad candle and a response to Kâsım Paşa.
Mihrî Hatun's ghazal with the refrain "üstine," framed by the candle-and-moth image, which mocks the judge, mufti, teacher and ascetic before beauty.
Münîrî's Persian ghazal on the refrain "müje": the lover's eyelashes become a fiery needle, the broom of Paradise, rose thorns and the wings of the eye, a bird in flight.
Four couplets on yielding to what fate has written, in the chapter where, urged by the Karaman faction, Cem comes to Bursa and rules as sovereign, as lying astrologers had foretold.
A song lyric for a lovely-eyed girl who weeps because she is not loved: a consolation listing, with the refrain "let weep", those who ought to weep instead.
A defence of poetry opening the re section: the hadith "some poetry is wisdom", poets' hearts as God's treasury of secrets, a stone thrown at the Kaaba and the best of mankind.
The refrain "it turns out" gives each couplet the surprise of a discovery: the old lover finds his fortune young, solves a mouth the size of a hair's tip and reads long tresses as long life.
Mihrî Hatun's nazire to Necâtî with the refrain "ile"; in the last couplet she calls herself a beggar and Necâtî a king, acknowledging the master's superiority.
Münîrî's Persian ghazal on "ez-müje", found only in the Vienna copy: tears that run like a waterwheel, rubies set in a yellow face, lashes as butcher's hooks, and sleeplessness.
Two couplets where Cem, back from Mecca, marches on Ankara with Kasım Beg of Karaman, a scouting party of the Amasya troops kills the governor who deserted to him, and Cem takes to the sea.
A political kıta with the refrain "beware": a warning not to trust other nations or to surrender weapons even under a sworn promise, voiced in the polemical language of its time.
The praise poem whose opening couplet "Felek ser-geşte-i zülf-i mutarrâ" Hüsameddin quoted: a beauty that makes Joseph its prey, a rind copying the tughra, and teberrâ with tevellâ.
Here the rhymes are almost all plain Turkish words: diş, kiriş, ḳamış, ḳış. The bud whets teeth of dew, and a sugar thief has a reed driven into his finger.
Mihrî Hatun's ghazal of a sea voyage and exile, about casting grief into the sea and setting sail, which Mehmet Arslan links to a possible stay in Istanbul.
Münîrî's Persian ghazal on the refrain "būse": a kiss that grants life yet stirs fear, blood money, a face kissed like the Qur'an, the sun kissing the ground, and tears on a footprint.
Three couplets on the gazis' spoils, where Bayezid II, his campaign put off, has the Danube forts his father had razed rebuilt and garrisoned.
A chest like an old bellows, a patient who wants white milk instead of black tar, and a cure from the nomad milkman of the upper fortress: a kıta improvised for a cough.
A ghazal of a poet whose very nature is metrical: mevzûn as shapely and as measured, a treasure inside mahzûn, the hidden-treasure hadith, and Nigârî as a concealed pearl.
Câfer Çelebi applies the Arabic proverb "the storyteller does not love the storyteller" to preacher and singer, and likens the beloved's mole to a sura written on a lentil.
Mihrî Hatun's ghazal of praise with the refrain "içinde," honouring the beloved's stature, cheek and lip and asking that Mihrî be written first in the book of love.
Münîrî's Persian ghazal on short rhymes: a face yellowed like a quince or made fine, a brand set on the wound, the bowstring's "zih", and a love that knows neither great nor small.
Five couplets signed Âşıkî on Bayezid II's taking of Kilia and Akkerman in 889, just before the closing note of 26 Receb 890 that ends the S manuscript.
Reasonable words that cannot shake his steadfastness, "by God, I am a believer", and certain knowledge from "God said, the Prophet said": faith against the naturalists.
A poet who begins by refusing wine and ends as tavern-keeper, an old head still wanting wine, speech without letters and a surrender that asks nothing.
Every rhyme ends in the Arabic letter ḍād, a narrow list to choose from; the brevity of the rose season becomes a warning, and mouth and waist a dispute over what exists.
Mihrî Hatun's ghazal with the refrain "aşkına" pleads with the beloved through the story of Joseph, the road to the Kaaba and the dervish lodge, and ends by asking for a quick death.
Münîrî's Persian ghazal that ends in praise of Bayezid II: an army of tears, down no land can hold, the witness of two lips, and two couplets of praise after the pen name.
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