Four couplets signed Âşıkî ending the chapter on the viziers' works, which records that Bayezid Paşa and Hızır Ağaoğlu Mehmed Paşa each built an imaret in Amasya.
The secret of "wherever you turn" in every manifestation, a sea of "You shall never see Me", and two views of sun and spirit: a ghazal with the refrain "peydâ".
Separation acts in every couplet here: it bends the stature into a bow, thins the body to a yellow thread fit to wind round a letter, and proves "I shall die without you" false.
A musk-scented lodging haunted by gazelles and fairies, wine of the tress at night and of the lip at dawn, and a preacher whose knowledge stays merely "nazarî".
Mihrî Hatun's five-couplet ghazal with the refrain "olmaya": a question about a beauty who is never cruel, a hundred thousand hearts on one hair, a plea at the Judgment, a black fortune.
Münîrî's Turkish ghazal: Jesus rising to heaven to see a crescent eyebrow, a yellowed quince, a lofty stature that brings calamity, and the "lā" written by stature and tresses.
Five couplets signed Âşıkî on guests denied food at Ottoman imarets, the excuses of their servants, and inspectors who cut endowment income for the treasury.
In the comet's own voice: an ellipse round the sun, a broom of light, a sky turning like a Mevlevî lodge, God's boundless sea, and an ark coming to rest on Mount Cûdî.
The ghazal opens on the idiom of not looking at one's tears and runs on the refrain "there is no". Zâtî took its second line almost unchanged; the beloved's stature raises doomsday.
A verse from the sura al-An'am is spoken of the unseen mouth of a beloved who comes unveiled from the tavern of the Unseen; the poem ends with the dog of her street.
Mihrî Hatun's ghazal with the refrain "kimseye": a prayer that no one be sigh's companion, the passing turn of beauty, Adam driven from paradise, and a play on Mihr and Mihrî.
Münîrî's get-well ghazal for a ruler struck by fever: a sun that trembles, a morning breeze that flees in fear, and advance atonement for a sinless sovereign.
Four couplets on the viziers' need for zeal for God and the worldly aims of scholars and dervishes who visit them, told from the author's own experience.
A gravestone as the stone-turned pleasure of a bridal chamber, death as the parents' pity, every death a martyrdom, and the meaning of the Fâtiha: his own epitaph.
One of the divan's plainest ghazals: a lover telling the preacher he has no business with him, a play on "ayak" as foot and cup, a lover lower than black earth, and grief that dispels grief.
Colloquial echo-words such as "akçe makçe" mock an alms-collecting preacher in a ghazal close to syllabic measure, where the poet also names his ancestor Ağa Bâlî.
Mihrî Hatun's ghazal of parting with the refrain "giderse": a nightingale sacrificed on the thorn, a lover putting earth on her head and a stone on her breast, and a resolute makta.
Münîrî's Turkish ghazal: a lover no one claims blood money for, death that comes in a breath, a fire-breathing dragon of tresses, and the star Sühâ that vanishes at dawn.
Four couplets on the end of oppression, in the chapter where Murad II dismisses Fazlullah Paşa saying "in our land there are three lawful morsels."
A believer who entered a hundred thousand shapes, a superstition travelling from India to Rûm, and the answer of an earth born of the sun: a Persian satire on transmigration.
The lover is jealous of the beloved even for her shadow and stays away on moonlit nights. The refrain "olıcaḳ" sets a condition in every couplet; the cup is a moon lighting the night.
A lip recalled again and again like twice-refined "kand-i mükerrer", a heart turned Moses asking a single mote of light, and a terse warning not to break the cup.
Mihrî Hatun's ghazal addressed to Hâşimî, the poet-companion of Selim the Grim: a wine gathering, people of perfection sought in the külhan, and a link to Hâşimî's famous "-ânlar ile" rhyme.
Münîrî's Turkish ghazal: a breeze driven mad by touching the tresses, the wind of longing, a lover trampled by twofold tresses, a barking dog and a beggar, and the wind of extinction.
Two couplets in the chapter on the end of sovereigns who hoarded wealth: Timur devoured Yıldırım's treasure, and Sultan Ahmed of Baghdad had his treasure sunk in the Tigris in stone chests.
An Adam not one in making and deed, but two men, one perfect in reason and the other too base to be counted human: an Arabic nazire to al-Ma'arrî's "Adams".
All eleven couplets end in "love", which becomes in turn a sultan, a table, a sea, a scale and a shop; the pen-name couplet calls the repeated word the heading of a letter.
The beloved's cheek is a Qur'an learned by heart, her name the Greatest Name, the dust of her foot red sulphur, and the preacher a snake blinded by an emerald cup.
A five-couplet ghazal with punning rhymes on a heart helplessly drawn to a moon-faced beauty, a rival who comes between them, and a devotion that lasts until the grave.
Münîrî's ghazal of surrender: a lover who holds faithfulness and cruelty alike, a dog-like rival, a cypress-tall beloved and a closing line that says what is past is past.
Three couplets signed Âşıkî on wealth and reckoning: Mirza Şah and İbrahim of Karaman hoarded wealth and perished, for true wealth is what is spent on good.
A second man made of leftover clay who, with no letter "b" left for his head, becomes "father of evil" instead of "father of mankind": wit from "man is two".
Every rhyme is a Turkish reduplication: varaḳ varaḳ, ṭabaḳ ṭabaḳ, ḳabaḳ ḳabaḳ. The anthology of beauty opens leaf by leaf, and a yellow face becomes saffron pudding.
A commander who takes a thousand Khaybars at one stroke, a bond between the chain of the tress and the line of Mîr Hayder, and divine secrets storming the poet.
A seven-couplet ghazal in which a lover drawn to a gazelle-eyed beauty settles accounts with the rival, built on Turkish rhymes such as elik, elek, ilik, sirke and tilki.
Münîrî's ghazal of the lips with the breath of Jesus: lips that revive yet kill, a glance like death's courier, sick eye and sick heart, and a curse called a prayer.
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