The reproachful muhammes stanza Derûnî-i Sânî wrote at Prince Selim's door: a dervish whose heart-city lies ruined gives the world away to the ambitious, and is expelled.
Şikârî's opening and closing couplets preserved by Âşık Çelebi: a heart drawn to the learned rather than the grain, and a poet begging a kiss like a dervish with his bowl.
The first couplet of Kâmî's lost mesnevi Yûsuf u Züleyhâ, recorded by Âşık Çelebi: a pen that opens with God's name and writes the heading of love atop every letter.
The ghazal with the refrain "olam gibi" that Ahdî assigns to Zeyrekzâde Ânî: the sura Smoke drawn in a Qur'an augury, the letter lâm in a fortune and a passion ending in the lasso.
The ghazal that opens the Dîvânçe of Prince Korkut, pen name Harîmî: the returning fire of love, the ledger of fame thrown into the sea and the drunken lover who cannot keep a secret.
Five couplets from al-Mutanabbi's Jimiyya kaside for Sayf al-Dawla, including the line "we have visited Samandu" that Hüsameddin linked with the Ziyâre quarter of Amasya.
Kemalpaşazâde's Persian praise of Amasya in his Ottoman history: a paradise above the Nile, a river like Salsabil, water wheels turning like the heavens and the Merzifon plain.
Âzerî's quatrain boasting in the voice of fire: the foundation of the world is his essence and the world is lit by his light; the first half of his verse duel with Âbî.
Âbî's answer, in the voice of water, to his fire-named friend Âzerî: however sharp fire may be it goes out in water, and even a thunderbolt strikes no more there.
Çeşmî's quatrain preserved by Hüsameddin: a lament of ever-weeping eyes whose last line, "Figânî rose to the heavens", mourns the poet hanged in Amasya in 1507.
The opening couplet of the kaside Edâyî presented to Prince Mustafa, which made him secretary of the divan: the mole on the beloved's lip as a wound in the heart's tulip.
The ghazal that opens the Dîvânçe of Kara Müftîzâde Mustafa Vâzıh: a complaint against fortune, ribs like ruled paper and a star of destiny whose light is darkness.
Selîmî's Persian ghazal listing his conquests: a map of victories from Istanbul to Iran, Egypt and India, with chess and coinage images of the sultan-poet.
Kadı Burhaneddin's ghazal couplet naming Amasya as an example of plunder: the beloved's image coming at night is wished for as a raid upon the lover's soul.
The opening couplet Latîfî counted as Hızrî's finest: the yellowed face amid the tears likened to an autumn leaf fallen into water, and the contrast of rose and autumn.
A couplet Mecdî quotes from Ahmedî's İskendernâme: a question of counsel on where man comes from, where he returns and the purpose of his coming into this world.
Prince Mustafa's ghazal with the redif "gibi" from Kınalızâde's tezkire: rising by descending like the sun and water, the needle of Jesus, and the drop and the sea.
Zârî's opening couplet preserved by Latîfî: the reversed logic of a libertine whose limbs fail him without pure wine and whose reason returns only when drunk, and the foot-cup pun.
Cenânî's opening couplet preserved in the tezkires: a call to spend this age happily while opportunity allows, resting on the paronomasia of "devrânı" and "devr ânı".
Gelibolulu Sürûrî's verse reply to Gubârî, who had reproached him for becoming tutor to Prince Mustafa: the poet's own defence of his years as the prince's teacher in Amasya.
The six-couplet ghazal Müeyyedzâde Abdurrahman Çelebi (Hâtemî) wrote in reply to a letter from Prince Ahmed, governor of Amasya, praising the letter stroke by stroke.
The seventeen-couplet tevhid that opens Kara Fazlî's divan, describing through images of sparrow, rider and caravan how reason fails to grasp the essence of God.
The ghazal that opens Basîrî's Turkish poems: a lover befriended by gazelles like Majnun, mountains that moan with his cries, and the black day brought by locks that hide the face.
The thirty-one-couplet kaside to Hüseyin that opens the divan of Cezerî Kasım Paşa (Sâfî): praise, the mourning of all nature for Karbala, and a plea for intercession.
Âfitâbî's eight-couplet ghazal, linked by Âşık Çelebi to his passion for a youth named Çerâğ: a pun on fairy and comb, the hair-thin waist, the sun seeking the moon.
Ten couplets from the opening of Hubbî Hatun's lost mesnevi Cemşîd ü Hurşîd, preserved by Âşık Çelebi: death, the wish for a lasting work and a woman poet in feminine adjectives.
Tâcîzâde Sa'dî Çelebi's opening couplet repeated in four anthologies: if only there were no heart in the world, or at least one that did not incline to every beauty.
Edip Tâcî's most quoted opening couplet and the second couplet preserved by Latîfî: a dark night, serpent-like locks, and the rose and tulip that burn the lover.
The ghazal with the refrain "it" quoted in every anthology that gives Zeyneb Hatun an entry: a response to Şeyhî, a prayer couplet, Khidr and Alexander, and a debated close.
The forty-nine-couplet poem in mixed Turkish and Persian that opens Münîrî's divan: praise of God, the four elements, the twelve imams and a plea for mercy.
The eleven-couplet supplication that opens the divan of Sultan Bayezid II (Adlî), built on the refrain "befits", on servitude, fear and hope, and his pen name.
Niyâzî's opening couplet: the moon-faced beloved who won the lovers' hearts yesterday and the poet hurt at being forgotten; the play on "hâtır" in two idioms.
Sâhib's na‘t that opens with a wine gathering: the rebuke of ascetic reason, the need for intercession, the shadowless body and Qur'anic phrases woven into praise.
A lover searching for a way to be heard: the ant that cannot reach Solomon, the candle weeping in the gathering and a torn collar that shows the wound of parting.
An opening couplet recorded only by Sehî Beg, spoken by Murad II on the spur of the moment: a gathering where harps play, a dancer dances and the pavilion shakes.
A catechism in verse: thirty-two didactic couplets on God's essence and attributes, on submission to destiny and on the vision of God in the hereafter.
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