The lover's complaint in the refrain "baña" (to me): he reaps only grief from the world's field, Adam weeps, poison meets antidote and prayer turns to the brow's niche.
The matla Latîfî and Kınalızâde give to Murad II: a lover who knows it is not his place to ask for a kiss leaves his wish to the insight of the one who understands.
The book's first ghazal: lovers drunk on the wine of the primordial covenant, dervishes withdrawn to ruins, burning moths and the poet as a pearl diver.
An opening couplet by Remzî, quoted by Kınalızâde and Beyânî, in which the stones of cruelty fall on the head of the lover who ignored the warnings, rhyming stone with head.
The seven-couplet poem that, after Osman Gazi's dream, addresses "my son" and with the refrain "senüñdür" counts out victory, sovereignty and world dominion one by one.
Sülûkî's couplet turning the tale of candle and moth into a union inside the lantern: the glass shade as one shirt, pleasure instead of burning, and an indirect wish.
Rûhî Fâzıl Çelebi's couplet on the moon that oversteps its bounds to rival the beloved's cheek: the double senses of hadd and dâyire, and an explanation of the moon's spots.
Refîkî's opening couplet on the lover who wastes into a crescent thinking of the brow: the rhyme of hilâl and hayâl, the motif of thinness and Hüsameddin's variant.
Two couplets by Sıdkı Mustafa Pasha with the refrain -yi gör: cups going round in the rose season, wine that turns a man into a nightingale, and the reed flute.
The opening couplet of a kaside by Şeyhî: before the life-giving speech of the man praised even the Messiah, who raised the dead, falls silent; a couplet built on the word rûh.
A lover who burns a thousand and one black brands on his body for the beloved's black beauty spot: black brand and white face in Cevherî's matla.
Ehlî's couplet saying that thieves seize the high offices while the honest go empty-handed: the play on doğru and uğru and the poet's own disappointments in office.
Emîrî's ghazal with his pen name, kept whole by Âşık Çelebi: a life that is a single moment, envy among the learned, the blood of two brothers and a city of sheikhs.
Four couplets of a ghazal with the refrain "like me": the candle of the night of grief, cups of the heart's blood, the arrow of the bow-browed beloved and the arrows of blame.
Three couplets from the verse preface of Zekâî's lost book of model letters: greeting, prayer, praise and longing likened to the dawn breeze, the rose and the nightingale.
Siyâbî's opening couplet found in three sources: the elif cuts a lover opened on his breast likened to cypresses, his burn scars to roses, and pain turned into a fresh garden.
A couplet surviving from a lost kaside by Sânî: an address to the gardener comparing the scentless cypress with the musk-scented beloved and playing on scent in the word bûdur.
Pîrî Mehmed Pasha's opening couplet jealous of the sun: the play on gün and günlemek, the candle lighting the gathering and a beauty sought in the sky but found on earth.
Dervîş Mehmed Çelebi's Turkish couplets with the refrain "yaḳam": the brand of love, the candle of the night of separation, Mecnun's lamp and a rose garden set on fire.
A name riddle on Hasan by Eşref, commentator of Câmî's treatise on riddles: hyacinth locks, down like the edge of a meadow and teeth like the pearls of Aden.
Edîb of Lâdik's opening couplet likening love to a flaming plume on the rose of the heart and to the ornament of a turban of madness; possibly a second matla of one ghazal.
In two Persian couplets that Âşık Çelebi gives to Hayâtî, the lover becomes the dust of the beloved's road and the earth beneath the paw of the dog at her door.
The opening couplet of Bâkî's ghazal preserved in the Merzifon Cönkü: Venus lays down her instrument to hear the melody the lover's heart plays on the harp of grief.
Hilmî Dede's kıt'a satirising the tithe officer Saraczâde Mehmed Yaşar Efendi: the beast living under God's bounty, the devil living till Judgement Day and the name pun.
The opening couplet of Eyüb Sabrî's kalenderî in the Merzifon Cönkü: a lover asking the beloved to lessen her cruelty, sometimes to promise and sometimes to be coy.
Sirâcî's third elegy for Prince Mustafa: a seven-stanza murabba with the refrain "Sultan Mustafa has departed for the hereafter", and the sultan's heedless trust in enemies.
A couplet and a line from Edirneli Nazmî's petition to Prince Mustafa: a former servant's request to be taken back into service and the words "forgive my fault or take my head".
Senâyî's opening couplet built on the word "hâl": the invisible dot on the lip, a beauty spot on the face and a heart as dishevelled as the locks; a small, deft perfect pun.
Melîhî's opening couplet quoted in four tezkires and the second couplet preserved by Sehî: a censer burning in pity, a candle weeping blood and a pun on the double sense of "uzandı".
The couplets Hüsameddin cites as Nigârî's ecstatic utterances: a claim to be peerless in love, with allusions to al-Hallaj's "Ene'l-Hak" and Moses' plea "Rabbi erinî".
Two couplets on the unity of God preserved by Hüsameddin from a ghazal Nelmî wrote in his last years, describing God as at once hidden and manifest.
Three couplets of a Makâmî ghazal quoted by Sehî: a preacher in the mosque unashamed to buy wine from the taverns for the fair ones, seeking fame among the libertines.
Seyfî of Sinop's satirical couplet on the judgeship of Ağlasun going to Abdülhay: the town's name read as "let them weep" and the living-dead contrast hidden in the judge's name.
Latîfî's quotation from Kâmî's lost Yûsuf u Züleyhâ describing Zuleikha: hair black as unbelief, crescent brows, an elif for a nose and a moon wearing a black shawl for her.
Two couplets recorded only by Âşık Çelebi: sound play aimed at the rival, the bitter water of tears, and the blind narcissus and deaf rose that imitate the beloved's eye and ear.
Harîmî's ghazal in which collyrium, violet and narcissus are humbled before the beloved: a flask that bows in prostration and a lover whose scars look like a leopard skin.
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