Nelmî's two-couplet kıt‘a addressed to his heart: plain advice that the friend one seeks lies within oneself and that no faithfulness is found among the world's beauties.
Mustafa Vâzıh's recez ghazal with internal rhymes: a stature that brings doomsday, glances that shed blood, eyebrows and eyes likened to the suras Nûn and Kâfirûn.
Makâmî's ghazal, headed "Cevâb-ı Makâmî" in one manuscript of Âşık Çelebi: the hard book of love, a lover with only his life to give, and a rival likened to a donkey's skull.
The couplet Seyfî of Sinop added to his petition to banish a forger named Tursun: a pun on the name and the verb "let him stay", and the couplets Bayezid II looked forward to.
Five couplets of Derûnî-i Sânî's spring kaside answering Âgehî: the garden becomes a sea, flowers sails, the cypress a mast, jasmine the rigging, and the ship of the body runs aground.
Şikârî's libertine opening couplet, preferring the beloved's street to the palace of paradise and today's heart-stealer to tomorrow's houris, built on a tomorrow-today contrast.
The supplication opening Kâmî's lost Yûsuf u Züleyhâ: five wishes, each tied to a scene of the Joseph story from the well to the throne, and the variants in Latîfî and Âşık Çelebi.
Two couplets Âşık Çelebi quotes from Zeyrekzâde Ânî: facial down likened to the evening of death, and the tezkires' favourite pun on the narrow waist before a crystal mountain.
Harîmî's ghazal of complaint against a faithless beloved: a heart captive to hair black as Leylâ's, foot-dust asked of the breeze and a "welcome" to the sorcerer eye that drinks blood.
Al-Mutanabbi's couplet on Sayf al-Dawla encamping in the suburbs of Kharshana; the name Hüsameddin tied to the castle of Amasya, and the Charsianon question.
Âkif's na't from his divan: praise of the sacred law and the Prophet, the battlefield pictured as a rose garden, the four imams, the Şeyhülislam and an orphan's plea.
Kemalpaşazâde's Turkish poem praising Amasya and its Sevâdiye quarter: a river like Kawthar, soil fragrant with amber, the pupil of the world's eye and the mole of seven climes.
A three-couplet poem of self-praise in which the poet offers the thirsty the limpid water of gnosis; whether it belongs to Âbî or to Kelâmî is open to question.
Çeşmî's opening couplet comparing the down on the beloved's face to a royal decree and alluding to the "hatt-ı Pâdişâhî" of the calligrapher Pâdişâh Ahmed Çelebi.
Edâyî's opening couplet quoted by Hüsameddin: holding the beloved dear together with her rivals, as one wears the rose with its thorn; idiom, the rose and thorn image, repetition.
Selîmî's ghazal of battle: an enemy army stretching from Qaf to Qaf, a sword drawn like the dawn and a heart pure as a sword's mirror, quoted by Latîfî as proof of his valour.
Kadı Burhaneddin's ghazal couplet likening his heart to Amasya: the beloved's eye lays the heart's city waste, and the image of that same eye could rebuild it.
Four couplets on the virtue of keeping secrets from Hızrî's mesnevi Âb-ı Hayât: the wise set against the ignorant, the pun on "dil" as tongue and heart, and the man of valour.
Two couplets from Ahmedî's İskendernâme built on the hedgehog and the sable: spines that guard a life, a softness that spills blood, and the price of sparing an enemy.
Two couplets preserved in Ahdî's Gülşen-i Şuarâ: hair around the beloved's neck likened to a halo around the moon, and a breast cut to pieces by the sword of grief.
Zârî's couplet teasing whoever gave wine its name: the image of the daughter of the vine, a cursing epithet, the rhyme of harâb and şarâb and two possible readings.
Cenânî's three-couplet ghazal fragment preserved by Latîfî: reproach to the tearless eye, teasing of the fairy who befriends the rival, and the honour of being called "my dog".
Gelibolulu Sürûrî's ghazal known for its pen-name couplet, in which the poet whose name means "joyful" says he never smiled; Âşık Çelebi read it as an augury of his teacher's fate.
Müeyyedzâde Abdurrahman Çelebi's most often cited ghazal: a love poem built on a torn collar, a hem caught on a thorn and the sword of eyelashes, of which three couplets survive.
Kara Fazlî's fifteen-couplet kaside of praise that lists the attributes and names of God and, in a mystical couplet of reversed words, tells how all being comes from Him.
Basîrî's ghazal on the lover left neither well nor sick: rose and bud, the morning breeze jealous of the poet who kissed the beloved's footprint, and a lesson that maddens the wise.
Sâfî's (Cezerî Kasım Paşa) seven-couplet ghazal with the refrain "to you": a sunless moon, sighs that move stones, crooked locks that lead straight, a beauty that enslaves sultans.
Three couplets from the kaside Âfitâbî wrote after his removal from Prince Bayezid's circle: the eyelash's arrow, an arrow fallen short and a warning to the wheel of fate.
Seven couplets from Hubbî Hatun's lost mesnevi: an inner dialogue that turns the formula of women "deficient in reason" to her advantage, saying criticism shames the critic.
Tâcîzâde Sa'dî Çelebi's opening couplet preserved only by Sehî Beg: a drinking party whose night is brighter than day, and a wine cup whose lamp is lit from the sun.
The one couplet of wisdom ascribed to Edip Tâcî: no affair reaches its end unless human planning agrees with divine decree, with Latîfî's commentary on it.
Zeyneb Hatun's two-couplet kıt‘a preserved only by Sehî: the beloved's face as a verse of the Sura of Joseph, with beauty and love, cruelty and patience growing without end.
The only tevhid kaside in Münîrî's divan: forty-four couplets in mixed Turkish and Persian, opening in Arabic, on reason's helplessness before God's power.
Bayezid II's (Adlî) hymn on God's unity with the refrain "look": seven couplets on nature reviving in spring, trees standing at prayer and a preaching nightingale.
Niyâzî's couplet setting his tears against the seas: the surging sea drowns in seas of tears, and the boundless ocean yields to the "göz", both eye and spring.
Sâhib's na‘t of nine couplets: the shadowless Prophet as the leaven of God's shadow on earth, the levlâke hadith, the moon of the Ascension night and a plea for intercession.
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