Five couplets with the refrain "şerh eylemez" on a hidden state of the heart that no tongue or interpreter can explain, in a ghazal ascribed to Murad II.
The book's first na't: the Prophet first in creation and last to be sent, the new moon of Muharrem in a dark night, and a poet who leaves his wish unspoken.
A couplet by Remzî asking a stone-hearted beloved to "build" his heart, turning a Turkish idiom into an image of building: a structure raised without heart cannot last.
Six couplets with the refrain "'Osmân" written for the first Friday sermon read in Osman Gazi's name at Karacahisar: lineage, holy war, justice and a state proclaimed for all eternity.
Sülûkî's opening couplet preserved only by Hüsameddin: a heart made drunk by the memory of the cup of the beloved's lips, turning to wine in the house of love's sorrow.
Rûhî Fâzıl Çelebi's opening couplet likening a lock of hair to a wick and the face to a sun that burns without one, Latîfî's reply, and Hüsameddin's merging of the two.
Refîkî's satirical couplet complaining of the mud of Edirne and the famous reply of Sâgarî of Edirne likening him to Satan: an exchange on the two senses of âb u gil.
Sıdkı Mustafa Pasha's opening couplet drawing from the world's transience a call to pass the cup in the fields, and the double reading of ayak as cup and foot.
Şeyhî's opening couplet found in both Kınalızâde and Hüsameddin: a drinker who says wine seems forbidden again, the beloved's ruby lip, and the drop denied by both.
Cevherî's couplet that addresses a beloved in images of light and ends in advice: the terms mantık and hikmet and two readings of the warning against the commons.
Two couplets from Ehlî's ghazal with the refrain eline: a head laid on the path and refused, the idiom of taking one's head and going, lovers like the poor at a king's hand.
Siyâbî's couplet on the lover who runs on the beloved's road and cannot mend himself: the verbs yilmek, oñmak and oñarmak, a proverb on haste and a tailor's work of mending.
Âşık Çelebi has Hayâtî recite this couplet as he boards ship for Egypt: casting his heart to the open sea, the traveller leaves his affairs first to the shah, then to God.
Hilmî Dede's rhymed answer to those who asked his age: ninety, ten short of a hundred, the remaining ten to be granted by God, and an age at odds with the register.
The first couplet of Eyüb Sabrî's aruz semai in the Merzifon Cönkü: the poet advising his heart to love the pearl of the age, the laughing rose in the garden of beauty.
Two couplets by Senâyî in Kınalızâde and Beyânî: locks like a zunnar belt, a fiery cheek, a sigh equal to unbelief and heel-iron prints mistaken for eyebrows on the lover's face.
Melîhî's answer to Mehmed II, who asked why his teeth had fallen out: stones thrown at a lover who whetted his teeth for moon-faced lips, and a jest on the idiom "to whet one's teeth".
Nigârî's couplet telling the physician not to ask the cause of his pain: a secret of love that cannot be disclosed, and a line Hüsameddin cites as an example.
The ghazal with the refrain "aglasun" that Nelmî gave Hüsameddin at their last meeting: a complaint woven from the wine of grief, the Karbala of sorrow and the fire of longing.
Mustafa Vâzıh's ghazal opening with an image of coffee and sweets: a double meaning on "ḳanda", the sword of the eyebrow and the black mark against the evil eye.
The ghazal the Türk Edebiyatı İsimler Sözlüğü assigns to Seyfî of Sinop: a brow that grants safety like a tuğra, hair cast like a sipahi's lasso, and an uncertain attribution.
The camels of Kâmî's lost Yûsuf u Züleyhâ: humps like mountains, pillarless bodies hauling Mount Bîsütun and a nature likened to the contented and the generous.
Harîmî's ghazal with the refrain "yeter": locks that afflict the head, the arrow of a glance as fate, passion worn as crown and robe, and God's help against the rival.
Kemalpaşazâde's Persian kıt‘a from the preface of the Nigâristân: a boasting poem ranking his own work above Sa‘dî's Gulistan and Jami's Baharistan.
Edâyî's opening couplet built on a pun: the lover who finds the world-adorning beloved not by searching the world but within his own soul; the play on cihân-ârâ and cihân arayı.
A Persian couplet by Selîmî: a heart that refuses the kingdom of the world offered to it and accepts only the pain of love, a choice voiced by a real sultan.
Kadı Burhaneddin's tuyugh of wisdom on worldly life: the world is a passage through which all who come pass on, yet for the foremost in valour it is capital.
Ahmedî's ghazal from the Mecma'ü'n-Nezâ'ir: cruelty taken as grace, the mouth as a point, the bent stature of the violet, and the play on âlem and alem.
Zârî's matla on the wound that waits for the beloved's arrow as a balm, and Latîfî's response poem on the same phrase "red-mouthed": images of arrow, wound and rosebud.
Two playful couplets by Gelibolulu Sürûrî with the refrain "has grown": the beloved now beyond his father's control, and the torn collar grown wide enough to pass him through in adoption.
Müeyyedzâde Abdurrahman Çelebi's three-couplet kıt‘a preserved only in Latîfî: the ever-turning wheel of heaven, the changeableness of the world and the counsel not to miss the moment.
Kara Fazlî's fifty-seven-couplet na't using the words "şütür" (camel) and "ḥücre" (cell) in every line, moving from counsel to longing for a journey to the Prophet's cell.
Basîrî's ghazal on the refrain "variken": a lover who never leaves the shade of his cypress-tall master, burns like rue seed in the fire and prefers love's counsel to the counsellor's.
Three couplets of Kasım Paşa (Sâfî) quoted by Sehî in the Heşt-Bihişt: a cypress that bears a rose, a lock on the cheek, and a saying warning against locks with a thousand tongues.
A couplet of Âfitâbî preserved only by Âşık Çelebi: a letter written as if by a bewitched pen, whose heading makes everyone who sees it fall in love.
Hubbî Hatun's ghazal with the refrain "holy war" in İmâdü'l-cihâd: five couplets that carry love poetry's rose garden and light into the praise of war, an example of her "manly" voice.
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