Hubbî Hatun's three-couplet mesnevi in İmâdü'l-cihâd: a short poem of counsel that calls holy war the Prophet's craft and counts those who love the world's show as blind.
A response to Necâtî kept in the Pervâne Bey Mecmuası under the name "Sa'dî Çelebi Efendi": a body cracked by tears and a lover whose only visitor is death.
Münîrî's forty-couplet Karbala elegy for Hasan and Hüseyin opens with a reproach to the wheel of heaven and draws all of nature, from Euphrates to sun, into mourning.
Adlî's ghazal with the refrain "to me": friends turned enemies, a mountain weeping for the lover, the sun hidden behind a cloud of locks and the bîzâr / bâzâr wordplay.
Sâhib's poem on a promise of favour from Hasan Pasha, rhyming in "-et geldi": the end of waiting, a pen turned sugar cane, and a poet who admits the rhyme has run dry.
The last eleven couplets of the opening mesnevi of Âşıkpaşazâde's chronicle: his aim, his claim that his line was born with the Ottoman house, and the turn to chapter one.
A garden ghazal that hangs its images "şâh şâh", branch by branch: hyacinth locks, moles like peppercorns, a nightingale memorising the bud's letter and an amulet for a sigh.
A poet devoting his honour to the Prophet, a prophet informed of his community as a child, and an ending of daily festivals: seven couplets on the refrain “saña”.
An opening couplet by Remzî linking the beloved's sugary lips to the phrase "nebâten hasenâ" in the sura Âl 'Imran, playing on nebât as both plant and rock sugar.
Five surviving couplets of Sülûkî's şehrengiz: the student Ömer praised through the textbooks Mutavval and Mukhtasar, the sheikh's son Mehmed, and the question of which city.
Two couplets Rûhî Fâzıl Çelebi composed for a friend leaving on pilgrimage: the occasion told by Sehî, a lover moaning like a caravan bell and a moon that moves off with the caravan.
Refîkî's seven-couplet ghazal with his pen name, preserved in Nazmî of Edirne's anthology: brigand eyes, dust wiped away by tears and a land conquered by the arrow of a sigh.
The tercî-i bend Sıdkı Mustafa Pasha wrote when Kara Mustafa Pasha dismissed and exiled him: the refrain on pride befitting God alone and the vanished kings of old.
The pain of love takes the place of the lover's speaking soul: the philosophical term nefs-i nâtıka in Ehlî's couplet, speech and the speaking soul, a learned poet's wit.
The opening couplet of Eyüb Sabrî's kalenderî in the Merzifon Cönkü: the beloved as a playful angel in human form, without equal anywhere in the world.
Melîhî's couplet addressed to a Sufi: pure wine too gives its "hâl", the cup in the gathering is not empty, and the libertine's answer to Şeyh Rûşenî's offer of the wine of love.
Nigârî's couplet in which the heart prostrates itself on the dust of the beloved's feet: a likening that casts the tresses as a commander and the heart as a bondsman.
Mustafa Vâzıh's ghazal cited as an example of the Nedîm manner: a shy youth invited for a stroll, a moon-face going to the rival and a light wine from Chios.
A couplet in mesnevi form quoted by Âşık Çelebi from Kâmî: the pen, unable to write the secret of grief, is likened to a narrow gutter into which no ocean can fit.
Harîmî's ghazal whose opening the biographers called a "famous opening couplet": foot-dust as collyrium, a breast sown with love and a lover whose only companion is his sigh.
Kemalpaşazâde's two couplets on learning and lineage: a bey's son keeps his rank though unlettered, while a scholar's son who stays ignorant had better never been born.
Edâyî's couplet of the drinking party: as beauties arrive, the men of pleasure adorn their bodies with alif-shaped wounds, and the redif yer yer binds two separate scenes.
A Persian couplet by Selîmî: the poetic reason why the beloved's shedding of his blood is a kindness, the threshold cleansed of dust, and a royal title for the beloved.
Kadı Burhaneddin's ghazal couplet beginning "I am a Turk and you a Tatar": a challenge telling Timur to keep off Anatolia, and its double face in the language of the ghazal.
The four-couplet ghazal Âşık Çelebi gives under Tâcîzâde Sa'dî Çelebi: a moon face, a nightingale scattering the rose's ledgers, eyebrows swimming in bloody tears.
Gelibolulu Sürûrî's matla reading a cloud covering the sun as the hiding of the sky's sun so that the sun-faced beloved might remain without equal in the world.
Müeyyedzâde Abdurrahman Çelebi's sixteen-couplet Persian kaside with the refrain "dagger", presented to Bayezid II and called by Âşık Çelebi the proof of his conquest of eloquence.
Kara Fazlî's thirty-five-couplet mystical kaside urging the soul beyond selfhood to unity and listing in order the ten conditions of the path, from surrender to patience.
Basîrî's ghazal with the refrain "see": the lover who shows Leylâ in the beloved and Majnun in himself, lips with the Messiah's breath and a Sufi close calling the eye of insight awake.
A couplet of Sâfî (Cezerî Kasım Paşa) quoted by Latîfî: the dog-born rival came and went at the beloved's gathering, and no one even asked him "are you a dog or a man?"
Couplets with Hubbî Hatun's pen name from the holy-war poems of İmâdü'l-cihâd, with the "age of Khan Selim" couplet that dates the work to Selim II's reign: seven couplets together.
Münîrî's forty-six-couplet Persian kaside of admonition opens by likening heaven to a juggler, dwells on the transience of the world and ends with contentment.
Adlî's ghazal opening in Paradise: the morning breeze welcomed by Rıdvan, a plane tree raised in prayer, reed flute and harp, and a lover who calls the beloved his soul.
Sâhib's chronogram on Maktûlzâde Ali Pasha's arrival in the city of Abraham's birth: the echo of "coolness and safety" and "Aliyy Azîm", a date that holds the vizier's name.
Osman Gazi's first night raid on İnegöl, the return home and a humble plea to God, in three couplets that end with the prayer "weep, poor Osman".
A ghazal that works like a dictionary: the rose means the cheek, the cypress the stature; clouds are the smoke of sighs, the Pleiades tears; the rival has no place in a poem.
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