Three couplets from al-Mutanabbi's Lamiyya on the captivity of Konstantin, son of the Byzantine commander; an event Hüsameddin set at Amasya and the Marash question.
The matla Kemalpaşazâde recited extempore to Çandarlı İbrâhim Paşa, who rejoiced at Göde Ahmed's death: the incident told by Âşık Çelebi and a friendship from the Amasya palace.
Two couplets by Edâyî found together in three anthologies: the eyebrow as the crescent in the sky of beauty, and the shaved down likened to a Celâlî rebel rising in Rûm.
Mustafa Vâzıh's playful dialogue ghazal: a beloved who flees like a gazelle of Khitai, the double meaning of "şeh lā", envious wine and a trembling cypress.
Two couplets from a Persian ghazal by Yavuz Sultan Selim: the beloved's threshold valued above the throne of Caesar and Kāvūs, and a victory credited to God.
Kadı Burhaneddin's tuyugh naming Amasya and Niksar: beside an ambition that roams the two worlds, the cities of rival emirates appear as small targets.
Ahmedî's ghazal from the Mecma'ü'n-Nezâ'ir: the fire of love, the candle and the moth, form against meaning, and a last couplet that names the poet through the Qur'anic verse on Abraham.
Zârî's matla for a youth in a golden üsküf cap, recorded by Latîfî, Kınalızâde and Hüsameddin: a headdress that glitters with images of moon, sun and candle.
Gelibolulu Sürûrî's barbed reply to Gubârî, who claimed his poem could have no equal: a response couplet that began the quarrel later continued over Sürûrî's tutorship in Amasya.
Müeyyedzâde Abdurrahman Çelebi's ghazal with the refrain "see", preserved in a poetry miscellany: the beloved entering the bath, the parrot before the mirror and the crescent lover.
Kara Fazlî's na't that opens with an Arabic couplet, praises the Prophet as padishah of the realm of prophethood and alludes to the poet's own epithet with "yüzi ḳara".
Basîrî's ghazal on the refrain "itmez": a mouth that takes the lover's soul and denies it, cruelty worse than a rival's, fortune that withholds the beloved and eyes scattering pearls.
Sâfî's (Cezerî Kasım Paşa) five-couplet ghazal of the morning of union and morning wine: heart and tongue, Joseph, Job and Noah, and the rose season against the ascetic.
The opening couplet the anthologies always call Âfitâbî's most famous: a tooth mark on the apple of the beloved's chin, the peach image and two readings of one word.
The comparison of prayer from Hubbî Hatun's mesnevi quoted by three anthologies: four couplets likening prayer to Joseph and the poet to the woman who came to buy him with yarn.
Tâcîzâde Sa'dî Çelebi's opening couplet that competes with Mecnun: the lover shut in the corner of separation is madder than Mecnun roaming the desert.
The only complete ghazal by Edip Tâcî: an eight-couplet response to Şeyhî, written on the same model as Mihrî Hatun and Necâtî; a garden face, a drunken eye, the Hüseynî mode.
The only surviving Persian couplet by Zeyneb Hatun: the long hair lays its head at the beloved's feet because it loves the beloved's stature, in its forms in Latîfî and Âlî.
Münîrî's seventy-one-couplet na‘t in mixed Turkish and Persian: allusions to the Ascension and miracles, two openings, the four caliphs, a nazire to Ahmed Paşa.
Bayezid II's (Adlî) seven-couplet praise of the Prophet Muhammad, with the levlâk allusion, the comparison with Joseph and a play on his pen name and justice.
Niyâzî's opening couplet on the rival: a man who enters the garden of union and reaches for unripe fruit, and the double sense of the idiom "tama'-ı hâm".
Sâhib's na‘t in a short metre: "two bows' length" as the target of the Ascension's arrow, a sandal that crowns the Throne, a robe of levlâk and a poet among the needy.
A ghazal whose first six couplets run like a single conditional sentence: it lists all the lover's ordeals and ends with Avnî refusing to trade her street for the world's throne.
A ghazal signed Murâdî and attributed to Murad II: a lover busy only with the beloved, a drop of water vanishing on fire, and the image of the compass and its point.
The section on the Reality of Muhammad, telling of creation from love and from the light of Muhammad, with the mirror image and closing couplets on love.
A two-couplet ghazal fragment comparing the beloved to a rose-bodied cypress and the lover to its shadow, with a signature couplet playing on "Remzî" as keeper of secrets.
Âşıkpaşazâde's three couplets announcing the conquest of İnegöl in 699 (1299-1300): the town taken, the warriors' booty, the land of unbelief laid waste and Osman's arrival.
The archer's feat of piercing glass with one arrow becomes the beloved's glance in this couplet by Sülûkî; Beyânî and Kınalızâde give it with one small difference.
In this opening couplet by Rûhî Fâzıl Çelebi the sun and moon, which roam the whole sky every day, become fickle beauties who may be forgiven for imitating the beloved's face.
The only surviving couplet of Refîkî's Persian verse, written as a response to Emîr Hüsrev-i Dihlevî, tells of a lover who leaves the roses for a jasmine-scented street.
A three-couplet ghazal fragment by Sıdkı Mustafa Pasha: hope in a faithless promise, a moon that casts no shadow, tears that drown the world and a mote facing the sun.
Şeyhî's opening couplet with the refrain ölümlüsi: a lover who joins the thousands of love-sick men ready to die for a rose-faced beloved, and the two readings of its second line.
A heart that reads the beloved's face like a copy of the Qur'an: locks and cheek, west and east in Cevherî's couplet, and the allusion to a verse of sura Rahmân.
A lover who answers the beloved's offer of a hand to kiss with "Which hand?": the language of ceremony in Ehlî's couplet and a coy question hinting at the lip.
Siyâbî's short couplet built on the words er, merd and cömerd: a saying of advice that looks for the gain of manliness in generosity, its meaning not wholly certain.
Pîrî Mehmed Pasha's question-and-answer couplet: the beloved turns the lover's praise of her lovely eyes back on him, with the same words, as the charge of eyeing beauties.
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