Ahmedî, author of the first İskendernâme in Turkish: his Amasya origin according to Hüsameddin, his years with Şâdgeldi Pasha and Çelebi Mehmed, his works and his death in Amasya.
Zârî Mehmed Çelebi of the Tokatîzâde family, secretary in Prince Mustafa's Amasya divan: his handwriting, his wine parties, his fate after the prince's death and five couplets.
Rıdvanzâde Cenânî, secretary and keeper of the registers at Prince Ahmed's divan in Amasya, pupil of Münîrî and famed calligrapher: his life, execution and surviving verse.
The full text of Taşlıcalı Yahya's seven-stanza terkib-i bend on Prince Mustafa, Amasya's sanjak governor killed in 1553, with an English rendering and commentary.
Born in Amasya, Selim I (Selim the Grim) wrote a Persian divan as Selîmî; this covers its editions, the Amasya manuscript, the biographers' verdicts and his poems with translations.
The surviving poems of Prince Mustafa, who wrote as Muhlisî, and the poets of his Amasya court, from Zârî, Senâyî, Zamânî and Şikârî to Edâyî and Emânî.
The poetry of Prince Korkut, born in Amasya and writing as Harîmî: his Arabic works, his lost divan and surviving divançe, the biographers' verdicts and his poems.
The single-copy divan of the poet-sultan Kadı Burhaneddin of Sivas, his ghazals and tuyughs, its editions, and the traces his wars with Amasya's emirs left in his verse.
Abdî Efendi, professor of the Abdullah Paşa madrasa, compiled a tezkire of the poets of Amasya from 1591 to 1671; it was lost in a fire, and only a few of its poems survive.
The poetry of the Amasya-born kadıasker Müeyyedzâde Abdurrahman Çelebi (Hâtemî): a Persian dagger kaside for Bayezid II, a letter ghazal for Prince Ahmed and couplets kept in the tezkires.
The poetry of Gelibolulu Sürûrî, Prince Mustafa's tutor in Amasya: his praise of the prince in the Bahrü'l-maârif, his verse reply to Gubârî and couplets preserved in the tezkires.
The poetry of Kara Fazlî, Prince Mustafa's divan secretary in Amasya: the mesnevi Gül ü Bülbül, kasides for the prince, chronograms for his court, the Lâdik ghazal and elegies.
The poetry of Cezerî Kasım Paşa, Prince Bayezid's treasurer in Amasya and later vizier, under the pen name Sâfî: his mastery of proverbs, his unique divan and the surviving couplets.
The poetry of Hubbî Hatun, from a family of Amasya and companion to Selim II: fragments of her lost mesnevi Cemşîd ü Hurşîd, the holy-war poems of İmâdü'l-cihâd and the biographers' praise.
The witty poet Basîrî, who came from Herat to Istanbul: his Turkish and Persian verse, his jests, Hüsameddin's account of him as a man of Amasya, and his surviving poems.
Âfitâbî joined Prince Bayezid's circle in Amasya, was removed from it and ended his life preaching in retreat: his lost divan, his place in the anthologies and his surviving poems.
The lost divan presented to Mehmed II, the Amasya-Kastamonu debate, the verdicts of the biographers and the surviving poems of the fifteenth-century poet Zeyneb Hatun.
Figânî İshak Çelebi, an Amasya poet of Torumtay descent, was slandered over his epic satirising the Shiites and hanged on Prince Ahmed's order in 1507.
The surviving couplets, lost letters and disputed life of Tâcî Bey, munshi, calligrapher and defterdar to Prince Bayezid in Amasya and father of the Tâcîzâde brothers.
The Arabic odes, chancery letters, verse creed, praise of Amasya in Hayrü'l-ahlâm and surviving Turkish couplets of Tâcîzâde Sa'dî Çelebi of Amasya.
Münîrî, chancellor to Prince Ahmed in Amasya, left a divan, a translation of Mihr ü Müşterî and a vast verse life of the Prophet; this article presents his works and published poems.
The mosque ghazal ascribed to Celîlî: an imam who turns his back to the mihrab at the sight of the beloved, eyebrow and prayer niche, and a reproach to those who worship for show.
The couplet Müeyyedzâde Abdülhay Efendi spoke on being sent to Diyarbekir by Süleyman: "kazâ" as both fate and judgeship, and a judge's lament on going to Black Amid.
Niyâzî Abdürrahîm Efendi's only ghazal, preserved by Kınalızâde: a spring garden of hyacinth and rose, the heart's ship on an ocean of grief, and a kiss lost to the wind.
A couplet playing on the pen names Kelâmî, Sükûtî and Bezmî: speech is spoken, silence bestows gold, ringing too has its wealth; a witticism from Şâmî Mustafa Bey's gathering.
The prayer that opens the Sâhib Divanı: release from lovelock, eyebrow, down and beauty mark, a pun on Āl-i ‘Abā and the red rose, and a plea not to be mute on Judgement Day.
The opening ghazal of Avnî's divan: five couplets praising a beloved whose face is the Eid crescent, hair the Night Journey, glance Moses' hand and lip Jesus' breath.
Two couplets that Sehî, Latîfî and Kınalızâde give to Murad II: a ghazal opening that asks for yesterday's wine and music and ties the joy of the gathering to death.
The twenty-eight couplets that open the book after the basmala: praise of God, of the Prophet as the “mirror of the essence”, the four caliphs and all the Companions.
The one ghazal left from Sârım's lost divan: a body wasted into a reed pen, eyebrows inscribed on a banner's finial and a juggling sky that hides the moon and sun.
A four-couplet ghazal fragment by Remzî gathered from the tezkires: wine and grief couplets whose second line closes with a Qur'anic verse and which praise a vanishing mouth.
Sebâtî's ten-couplet elegy on the death in 1291 of Nigârî's son Sirâceddin, naming him through the word "lamp" and hiding the year in the words "bî-cân ey dirîġ".
Kara Müftü İsmâil Hâtif Efendi's chronogram for the birth of his son Mustafa Vâzıh in 1177, hiding the year in the words "cānım oġlum"; his only surviving couplet.
The only surviving couplet of Ârifî Ahmed Pasha: the believer who will not bow to the crowd, like the minaret that does not bend in the wind, and the two senses of "kâmet".
Şevkî's kıta for a beauty of the Seyyid lineage: the Prophet's light on a face, the blessing it calls forth, and the curly down that scribbles over the black draft of the hair.
The judge of Mihaliç, sent back from Selim I's gathering, lays all the misfortune on the bad character of İshak Çelebi of Üsküp: a joking couplet and its âfâk-İshak rhyme.
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