A five-couplet ghazal with the refrain “baña”: a poet whom no one calls human in his mirror, the cloak of poverty, the pilgrim's garment as shroud and a burning love.
Forty-two couplets, the longest section: the contemplations of oneness, withness and nearness, the greater and highest sainthood, annihilation and the four journeys.
An eight-couplet ghazal with the refrain “-ilen”: a love that speech, writing, law and exegesis cannot hold, the limit of remembrance and rabıta as the beloved's eyebrow.
The ghazal in which the poet names his master İsmet: kingship through poverty, a head laid at the threshold like İbrâhim b. Edhem, and turning from all to God.
The section on dying before death: annihilation and abiding, the descent from ascent back among the people, and the most perfect saint who seems most ignorant.
The second kaside to the saints: saints as treasuries, divers and mirrors, criticism of imitators, and a prayer for the sake of İsmet, Nakşibend and Geylânî.
The section on the masters and the sheikh's treatise: the lineage from the Prophet to Mustafa İsmet, praise of Mevlânâ Hâlid and Abdullah Mekkî, and the Risâle-i Kudsiyye.
A Persian eulogy of Mustafa İsmet Efendi: the double sense of the refrain “‘İṣmet”, the sheikh as moonlight and God's sword, the realm of Süleyman and the lineage.
A chronogram on the death of Mustafa İsmet Efendi in 1289: a sheikh likened to Bistâmî, nearness from the chapter of the Star, a disciple's grief and the date line.
A ghazal with the refrain “etdim” addressed to Mustafa İsmet: the motif of turning to the true faith through love, rabıta as the eyebrow-mihrab, and blame as honour.
A ghazal of devotion to Mustafa İsmet: the master's word before the world, a secret kept from ascetics, and the master's tomb as the greatest House instead of Mecca.
A six-couplet ghazal with the refrain “var sînede”: a wound from the lashes, untold longing, loathing for the adviser, and one king, İsmet, in the heart as in one land.
A supplication within the mesnevî: a confession seeking pardon, a prayer that “this treatise be complete”, and prayer for İsmet and his son Bahâeddîn, dead at sixteen.
A chronogram on the death of Şeyhzâde Abdullah Bahâeddîn in 1292: couplets in the dead youth's voice, İsmet's lodge and the question of the young man's identity.
A six-couplet ghazal with the refrain “aġlarız”: the disciples' shared longing amid the section on contemplation, a hidden wound, a jealous rival and a barefoot poet.
The ghazal “suited to this station” in the section on contemplation: a lover calling the morning breeze, a servant sold for a stamp and a poet unmoved by the gallows.
A ten-couplet ghazal rhyming in negative verbs: not every cap is a master, love as God's sword, a weight Mount Kaf cannot lift, and the verdict on Mecnun.
The single couplet closing the section on contemplation: the mill of the heavens whose ruin brings no sorrow to a dervish who has not a single grain in it.
The book's only ghazal in the ahreb metre: hold to one road, become a master through the masters, and a couplet that opens the pen name as a mirror.
The section in which the author introduces himself: a declaration of humility from a poet who says he never studied, never completed the Qur'an and wrote a poor hand.
The book's last Turkish ghazal: a confession made heavier by repetition, then repentance, and a turning from both worlds to take refuge in God.
The section that says why the book was written: prayers for İsmet, his son Abdullah Bahâ and the poet's parents, his coming to Amasya under command, the book's aim.
The two-couplet chronogram on the book's completion: a keepsake for the brethren, the phrase “mir'ât dedim târîḫ” and a correction of the Gregorian date for 1296.
The book's last poem: a work promising grace to the reader and love to the traveller, holding a ready answer for the denier, and ending “Read Âdâbü'l-müeddeb”.
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