The one poem of the satirist Nihâd Bey to reach us: a ghazal that adds the poet's own voice, weeping on the mountain of affliction, to Ferhad's tears in the hills.
Saîd Sîret Bey's spring ghazal preserved in Fatîn's tezkire: spring snatched away by fate's polo stick, returning in shame, the chained madman and the pen name in the fourth couplet.
Two couplets that Sehî quotes from Mevlânâ Türâbî: a soul trembling with the refrain "dir dir ditrer", a curl scattered on the cheek and a shadow on running water.
Turâbî's kıta for Hüftâdî Ahmed Bey, a governor of Georgian origin: couplets playing on "seventy" and the nickname "Yüzoğlu" that turn praise into a giant crying out at a fly.
The six-couplet mesnevi passage in which Âşıkpaşazâde says he is eighty-six and explains why he set out to write the legends of the House of Osman.
The Persian verse rules of Halîmî's treatise on paronomasia: complete, defective, augmented, repeated, compound, end-varied and script cinas, with his commentary's examples.
Praising a silver-bodied beauty, this couplet seems to tie the pen name Sîmî to the Gümüşlüzâde family name; Hüsameddin is unsure whether it is by Sîmî or about him.
In the couplet Deli Seyfî Bey of Amasya never stopped repeating, the speaker likens himself to Ferhad; Hüsameddin does not say whether the words were his own.
Four couplets of Sülûkî's ghazal with the refrain beni, scattered across three anthologies: love's brands as a patched cloak, a red-hot moon and a play on two ascetics.
The opening couplet of Rûhî Fâzıl Çelebi, who died young, preserved by Latîfî and Kınalızâde: empty eye and heart, a soul full of an image, a beloved in the fourth heaven.
Refîkî's opening couplet preserved by Latîfî, Kınalızâde and Hüsameddin: a tulip-cheeked beauty with roses in her hair, the two senses of âl and the dish of beauty.
Rif'at Mehmed Efendi Gürcüzâde's only ghazal reached Hüsameddin through Kilisli Rıfat's copy from an Istanbul anthology; its opening couplet has a gossiping decanter.
Two Arabic couplets found in the en-Nevâkıd manuscript Emrullah Efendi copied, not confirmed as his: glory inherited from forefathers and a lineage in the hands of the wicked.
Three couplets of Müeyyedzâde Abdî preserved by Âşık Çelebi: a lover binding the mouth of a speaking wound, Ferhad against granite, and moles outshining the sky.
The Arabic verse signature Ümm-i Veledzâde Abdülazîz Efendi wrote beneath a court document as judge of Manisa: the document's soundness, its truth and his name in three couplets.
Siyâmî Ali Efendi's response to a ghazal by Hızır Efendizâde Mehmed Efendi: a lover refusing the usual comparisons, a judge who will not flatter, and poverty kept hidden.
Three couplets from the kasides Sıdkı Mustafa Pasha presented to Kaptan Yusuf Pasha: a cypress in the garden of state, elixir in a threshold's dust, a world-revealing mirror.
The first couplet Şeyhî chose for Kınalızâde's anthology: a lover who treats standing at the beloved's threshold as a rank, the words kıyam and makam, and a musical echo.
The only couplet left from Shaykh Niyâzî's lost divan of a thousand ghazals: the eyebrow as hâcib, both brow and doorkeeper, guarding a garden of beauty with two thieves in its lap.
Bâyezîd Halîfe's famous matla that puts the unity of being into one couplet: divine beauty seen in the beautiful, Latîfî's explanation and its tie to Câmî.
Two couplets from the ghazal Cevherî wrote for Pîrûze, the youth he loved: a turquoise gravestone, a lover who denies the down on the face, and the story behind them.
Ehlî's kıta to the chief judge Bostanzâde when the judgeship of Gelibolu went to another, and the reply in verse: a play on ehl and nâ-ehl built on his pen name.
Nine couplets from Emîrî's kaside for Bayezid II: praise that unites the sultan and the Sufi Bâyezîd-i Bistâmî in one name, and the differences between the anthologies.
Resîm's ghazal with the refrain "I have become", preserved from Abdî Efendi's anthology: a lover in exile longing for a greeting, his jealousy and his final retreat into seclusion.
Rahîmî's ghazal fragment on the rusted mirror of the heart, Alexander's mirror and the cup of Jamshid: Kınalızâde's two couplets and the third added by Hüsameddin.
The only ghazal opening of Zekâî preserved by Latîfî: a couplet reproaching a gathering that lacks a moon-faced cupbearer and a sweet-voiced musician.
Kara Hâfız's famous nazire to a ghazal of Şeyhî: the tavern door found open, the morning cup, Noah's long life and an adviser answered with the phrase sincere repentance.
Four couplets from the kaside Ca'fer Efendi of Zara presented in 961 to Muzaffer Efendi, new judge of Amasya: praise that plays on the names Ca'fer-i Sâdık and Ca'fer-i Tayyâr.
The only couplet left by Câmî Ahmed Efendi, judge of Amasya: the beloved's arrows lodged in the body turning every bone into a lamp, and the two meanings of the word tîr.
The opening couplet Siyâbî, tailor of Merzifon, composed as a nazire to Necâtî: the candle and moth image turned into a question of naming, with pervâne rhymed on yâ ne.
The four-couplet ghazal of Sânî, the young poet remembered for his beauty: tears like dew on the eyelashes, arrows counted as balm and a last couplet on man's single breath.
The ghazal of Pîrî Mehmed Pasha (Remzî) most quoted by the anthologies: the water of life, an ascetic leaning on his rosary and eyebrows likened to an imperial monogram.
Dervîş Mehmed Çelebi's Persian ghazal for a handsome barber: images of mirror, comb and shop, the mirror passed from hand to hand, and the simile of mirror and anvil.
The Persian-Arabic na't of Yûsufefendizâde Abdullah Hilmî Efendi, quoted by Müstakimzâde as set to music: Arabic-script text, its reading and the refrain "seyyidinâ Mustafâ".
Hıfzî Abdurrahman Efendi's ghazal with the refrain "olmaz mı", saved from Abdî's lost tezkire: lines split by internal rhyme, a lover as petitioner and Hıfzî in separation.
The one surviving couplet of Harîmî Abdullah Çelebi: a lover made captive by the heavens who chooses to take the road of calamity, calling it the way to the beloved's door.
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