Dervîş Mehmed Çelebi's Turkish couplet likening the world to an old hag: an oath, the idiom of showing someone the way out, and the true man who renounces the world.
Twenty-four couplets that Safâyî took from Eşref Abdurrahman Efendi's kaside on the zerrîn for Damad İbrâhim Pasha: a spring flower, Âsaf's garden and gold illumination.
Edîb of Lâdik's ghazal with the redif "let it appear": a breast like a crystal mirror, the light of Sinai, a house of mourning turned to a feast and lions that look like ants.
The line Kınalızâde puts in Hayâtî's mouth: the words "my patience is spent" of a poet who had spent his fortune for love, marking his move from Istanbul to the Hejaz.
The couplet from Hilmî Dede's satire on his rival Hacı Bayramzâde Sıdkı Efendi that spread among the people: the man who pokes his nose into everything and the ducks.
The opening couplet of Eyüb Sabrî's ghazal in the Merzifon Cönkü: the lover crowned with calamity the moment he loved the moon-faced beloved, and the crown-calamity contrast.
Fragments of Sirâcî's eulogy for Prince Mustafa: a prince worthy of the throne, betrayal, a command sent to the beys of Anatolia, and the vizier who annulled it.
A couplet from Edirneli Nazmî's chronogram on the deaths of Prince Mustafa and his son: an event never to be forgotten, spoken of on every tongue until the Last Day.
Senâyî's pen-name couplet: only a master money-changer knows the assay of verse, and no common man grasps a refined meaning; read alongside Âşık Çelebi's harsh verdict.
The kıta in which the old Melîhî explains why he walked home without his stick when drunk: two staffs, one of wood and one of pomegranate-red wine, and a witty play on body and spirit.
The quatrain in syllabic metre that Hüsameddin found "very poignant": the voice of a lover left without will from calling on Nigâr, the name behind Nigârî's pen name.
Three couplets surviving from a ghazal by Nelmî with the refrain "âleme": a Sufi-coloured view of love that sees every beauty in the world as the reflection of one beloved.
A twenty-one-couplet poem bearing Makâmî's name, added to one manuscript of Mihrî Hatun's divan: praise of Mihrî, a lover dead of love and the Makâlî-Makâmî attribution debate.
The verse letter Seyfî of Sinop sent to his son Nûh, a student in Istanbul: short rhymed counsels on zeal for learning, Persian, prayer and a good name, and the state of its text.
Latîfî's quotation from Kâmî's lost Yûsuf u Züleyhâ describing horses that roll up the road like a scroll, swim like birds, run like gazelles and break a bird's wing.
Two couplets Kınalızâde and Beyânî assign to Zeyrekzâde Ânî: eyes shedding blood in separation, Judas-tree blossoms strewn on a gathering of grief, irises coaxing a rosebud.
Harîmî's ghazal with the refrain "ile bahs̱": a rose that cannot rival the beloved, an infidel rival, a lover who takes the field like Rüstem and poetry a thousand divans cannot describe.
A Persian chronogram ascribed to Kemalpaşazâde for his teacher Molla Lütfî, executed on a charge of heresy: the words "ve-le-kad mâte şehîd" give the year 900.
Edâyî's couplet of complaint against the heavens: Mercury granting fortune to the ignorant and the butcher throwing meat to a dog; the double sense of tîr, arrow and planet.
The joint ghazal Mustafa Vâzıh composed with the grandson of Âkif of Amasya, inspector of the Holy Cities: a beloved swaying in a mosque, tears like a fountain.
A Persian couplet by Selîmî: his only regret, having sought kingship far from the dust of the beloved's door, and the contrast of dust and royal splendour.
Kadı Burhaneddin's tuyugh naming Timur and Toktamış: a ruler who submits to what was written in pre-eternity and trusts in God defies the great powers of his age.
Ahmedî's ghazal with the refrain "ey dost": cruelty from the beloved counted as faithfulness and pain as cure, the eye as a pearl diver, and a double meaning on "âşinâ".
Zârî's couplet teasing silver-bodied beauties and bankrupt lovers: the double sense of sîm as silver skin and silver coin, the word zelle-bend and a jest from everyday life.
Two couplets of Gelibolulu Sürûrî cited in four anthologies: the heart that darkens the world with sighs to avoid seeing rivals, and the beloved who keeps people awake so none dreams of him.
The famous two couplets of Müeyyedzâde Abdurrahman Çelebi cited in four biographical anthologies: an invitation to wine against the Sufi's water, and Kınalızâde's charge against Hayâlî.
Kara Fazlî's second na't of fifteen couplets, praising the Prophet as the cause of creation and the direction of prayer, and asking for intercession with allusions to Jesus.
Basîrî's ghazal counting the calamities stirred up by the beloved's down and mole: lost patience and strength, untold arrow wounds, a sigh that rings the sky's bowl and the last soul.
Sâfî's (Cezerî Kasım Paşa) ghazal with the refrain "why should it be": hyacinth hair, two kings over a ruined heart, sun and moon as mirror-bearers, fate arriving like the down.
Âfitâbî's couplet built on the reed flute and the house: the heart's fire is known from the breath like the ney, a merry house from the sound within; a fine use of a proverb.
Descriptive couplets from Hubbî Hatun's lost mesnevi kept by the anthologies: a morning that raises a golden canopy, water writing a verse of mercy, an armoured sea, love's alchemy.
Tâcîzâde Sa'dî Çelebi's single couplet mocking the legendary lovers: what do Ferhad and Mecnun know of love, one a mountain man, the other a madman of the desert.
Münîrî's twenty-five-couplet Persian poem in praise of the Prophet, a response to Selmân-ı Sâvecî, describing his station through images of light, shadow and elixir.
The first Turkish ghazal in Adlî's divan: seven couplets on the bow-browed beloved, the arrow of the lashes, love from pre-eternity and the script of Divine Power.
Sâhib's kaside on the Sinjar campaign of Hasan Pasha, governor of Baghdad: good news that builds a pavilion in the heart, Rustam and Farhad, Karbala's revenge and a chronogram.
Every couplet ends on wine in this ghazal of spring and the tavern: wine like the lip, a gathering lit by the cupbearer's face and Avnî robbed of his cash while lying drunk.
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