Tâcîzâde Sa'dî Çelebi's response to a ghazal by his brother Câfer Çelebi: five couplets kept in two anthologies, black fortune, a setting sun, kanun, harp and reed flute.
Münîrî's six-stanza terci-bend in praise of the Prophet, each stanza led into its refrain couplet by nightingales, angels, the poet or a voice from the unseen.
A ghazal by Adlî built wholly on the language of calligraphy: the down on the beloved's cheek as şemse, gubâr and reyhânî script, a Gospel sura and Majnun's desert.
Sâhib's chronogram on Hasan Pasha's conquest of Sinjar: praise that shrinks the heroes of the Shahnameh, a grammatical pun on "mâ" and "sıla", and the date "Gazâ-i Hasan".
The prayer with which Âşıkpaşazâde opens his chronicle: five couplets addressed to the God who makes being out of nothing, hides faults and shows His beauty to the heart.
A ghazal on how hard everything in love is: reaching the beloved's door, plunging into a sea of tears, giving her up; and a warning against the world's old hag.
Naming Edirne, Bursa and Kaplıca, this dream ghazal credited to Murad II tells of a lover revived by a lip, a silver cypress and a sultan made captive by beauty.
A na't turned into a litany by a long Arabic refrain: allusions to the chapters of Victory and the Sun and the levlâk hadith, a shamed pen and a plea for intercession.
Two couplets in which the lover carries stones with Ferhad for the palace of love and, painted beside the beloved, cannot be told from Leylâ and Mecnun; found only in Âlî.
Sülûkî recited this autumn kaside on coming to Âşık Çelebi; in its eleven surviving couplets autumn is a merchant pouring out gold and a yellow leaf a keepsake for a patron.
In this jesting kıt'a on the Jewish physician brought to his sickbed, Rûhî Fâzıl Çelebi joins yellow headgear to yellow bile; the poem also carries the prejudice of its age.
In the three couplets Kınalızâde quotes in a row, the refrain "benden yana" turns to a new sense each time, until even the lover's own heart takes the beloved's side.
Sıdkı Mustafa Pasha's closing couplet with his pen name: a poet who would gallop in the arena of verse, a mind's steed tied to union, and two opposite readings.
Şeyhî's response to Kınalızâde's ghazal with the refrain altında: a brow like a letter, dust beneath a horse's hoof, skin hurt by a rose petal and the juggler of the sky.
A letter puzzle that splits âftâb, the sun, into âfet and âb: cheek, down and water beneath a cloud in two couplets by Cevherî, read with the old script in mind.
Ehlî's couplet found in three sources: the turmoil a cypress-statured beloved raises in the garden, the words kıyâmet, kıyâm and kâmet, and textual variants.
The four-couplet piece in praise of income by Siyâbî, tailor of Merzifon: gain as the source of generosity and a craftsman's advice built on a chain of ocean, cloud and rain.
The opening couplet of Eyüb Sabrî's ghazal in the Merzifon Cönkü: beauty told through its effect, changing the state of all who see it and striking their tongues mute.
Senâyî's opening couplet kept only by Âşık Çelebi: down that rusts the mirror of the cheek, a sun that makes no peace with shadow and a moon face that needs no ornament.
The libertine couplet Latîfî says was always on Melîhî's lips: drink wine, live pleasantly, break no hearts, for the Generous One's work is generosity; a creed of uncertain authorship.
Nigârî's couplet on the huma of the heart roaming alone in the desert of love: a comparison with the Anka and a pun built on two meanings of the word "tek".
The joint ghazal with the refrain "aşk" that Nelmî and Sabrî wrote by composing couplets in turn: divine unity, the inability to comprehend, and the ineffable station of love.
The only ghazal in the mütekarib metre in Mustafa Vâzıh's Dîvânçe: Arabic rhymes "mā-meżā" and "mā-cerā", a Persian couplet and locks spilling from under a fez.
A couplet in mesnevi form quoted by Âşık Çelebi from Kâmî: reason, whose word fails in the court of love, is likened to a dismissed judge, the poet's own profession.
Harîmî's ghazal that opens with the rose and thorn motif: a treasure of love in the chest of the breast, an abdal sleeping by the furnace and a poet like a falcon never short of prey.
Kemalpaşazâde's famous kıt‘a built on the pun "sakla malı / saklamalı": advice to guard one's wealth and a satire on an age in which even perfection has turned into wealth.
A sigh that tours the nine heavens without finding the beloved: a couplet given by Hüsameddin to Edâyî Receb Bey and by Kınalızâde to Kazzâz Bekir Edâyî of Istanbul.
Two couplets from a Persian ghazal by Selîmî: an opening couplet making his dispersal on campaign serve the gathering of hearts, and the conquest of the realm of time.
Kadı Burhaneddin's tuyugh naming Syria and Rum: the words of a ruler who is iron to the enemy and wax to the friend, and the trace of his alliance with Barquq and Bayezid.
Two couplets Ahmedî gave as an example of tevşîh in his treatise Bedâyi'u's-sihr: its red letters yield a hidden couplet with the poet's name, and its opening words removed, a rubai.
Gelibolulu Sürûrî's couplet reading the halo around the moon as a protective circle drawn by prayer, in which the moon takes refuge from the beloved's bewitching eye.
The story of how Müeyyedzâde Abdurrahman Çelebi named to Selim I, in a single couplet, the authors of an anonymous paper accusing him of siding with Prince Ahmed.
Kara Fazlî's twenty-three-couplet kaside of counsel on the transience of the world, set out in contrasts such as palace and grave, sable fur and shroud.
Basîrî's ghazal of the free-spirited rind: a heart burning with the night's candles, company in the tavern with those who lost all, a prayer for incurable pain and blame chosen over safety.
The opening couplet of Sâfî (Cezerî Kasım Paşa) quoted by Latîfî, Kınalızâde and Beyânî: warm against cold, strewing against opening, and a rose that can be read two ways.
A two-couplet admonition that Hüsameddin attributes to Âfitâbî and no other source preserves: a call to wake from heedlessness and the image of the five-times nevbet.
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