On the Creation of Muhammad: the first-created light, the prophets and books that heralded him, Qur'anic allusions and a poet calling himself a worthless mirror.
An opening couplet by Remzî in Latîfî: the lover meant to offer his heart like an apple, but a stranger got there first; a play on "el" as both hand and stranger.
Likening a fickle beauty's faithfulness to a month's pay gone before mid-week, Rûhî Fâzıl Çelebi takes his simile from the daily life of the madrasa world.
Nine couplets survive of the tercî'-bend on the times that everyone knew by heart in the sixteenth century, and in them Refîkî takes open aim at the gate of bribery.
Ehlî's matla that counsels the heart to patience and then undoes the comfort: the time the wheel of heaven needs to turn, and the eternal life union would require.
The opening couplet of Eyüb Sabrî's prayer-like kalenderî in the Merzifon Cönkü: the plea to God of a servant who cannot reach salvation and falls into the whirlpool of sin.
Melîhî's couplet defending wine against the ascetic: an unveiling no forty-day retreats of a thousand years could reach, the flowing seven cups and a libertine reply in Sufi terms.
Nigârî's couplet on the bird of the heart caught in the beloved's forelock: the conceit of the tresses as a snare and the play of sound between turra and tarrâr.
Mustafa Vâzıh's drinking-party ghazal with the refrain "at": hare's-blood wine, a beloved from Crete and Chios, dance, scattered locks and gold coins on the brow.
Kâmî's three-couplet ghazal quoted by Latîfî: Joseph's beauty on the beloved's face, Jacob's suffering recited of the poet, and a sun rising from a sea of tears.
Harîmî's ghazal rhyming on "dağlar": the wounds on the breast become crows on a ruin, tears become rushing water and the brands become the red pavilions of the king of love.
The couplet Edâyî presented to Şerîfezâde Mehmed Çelebi, which won him a post in the Imperial Council: a double entendre uniting his dead master and new patron through two names.
A Persian opening couplet by Selîmî: the lover as king of the realms of pain, with affliction for refuge and boundless grief for an army, love told as a reign.
Kadı Burhaneddin's ghazal couplet on his native city: the wish to make a river of tears and turn Kayseri into Baghdad, and the likeness of the Tigris and Kızılırmak.
Couplets Âşık Çelebi gives to Tâcîzâde Sa'dî and Kınalızâde to the mufti Sa'dî Çelebi: a scholar's reproach for not marrying a chief judge's daughter.
Gelibolulu Sürûrî's single-couplet matla voicing, in plain Turkish close to everyday speech, the wish that the beloved embraced in a dream might be found in one's arms on waking.
Müeyyedzâde Abdurrahman Çelebi's response poem to the Persian matla of Bayezid II: feathered arrows lodged in the lover's heart that become birds dancing over his grave.
Kara Fazlî's thirty-five-couplet mystical kaside with the redif "-sındayuz", in which dervishes answer the ascetic and portray lovers who set no value on the world.
Basîrî's ghazal woven from common sayings: a rival like a dog that swallowed a needle, a physician who gives headaches, a justified nightingale and a Majnun no counsel can cure.
An opening couplet of Sâfî (Cezerî Kasım Paşa) in Latîfî: a fairy beauty at whose sight a single sigh of the angels would set every heaven on fire, and the rhyme of angel and sphere.
The couplet Hubbî Hatun is said to have spoken against the gossip about her: a bearing that has gone in and out of a thousand languid eyes yet stays straight as a kohl stick.
Münîrî's forty-eight-couplet Turkish kaside of admonition opens with counsel on a fleeting world, turns midway to praise of the Prophet and ends asking intercession.
A five-couplet ghazal by Bayezid II, writing as Adlî, in which he would trade kingship for one breath of service to the king of beauties and the sultan's title for a dervish cloak.
Sâhib's chronogram for the Ferahâbâd Palace built by Maktûlzâde Ali Pasha in Urfa: pavilions, a fiery bathhouse, a pun on halvet and Halveti, and a double chronogram.
Four couplets, each ending with the refrain "Allahu ekber", spoken after the battle in which Osman Gazi defeated Kalanoz and his brother Saru Yatı fell as a martyr.
A ghazal that looks for hope in a new place in every couplet: a lover who will not give up despite the rival, the pearl diver, April rain and a play on the pen name and God's "avn".
The Prophet as manifest sun, Joseph helpless before him, the word “‘alâ” turning five times in one line, and a riddle opened only to the people of reality.
A couplet by Remzî Çelebi recorded in one manuscript of Âşık Çelebi as an answer to Hayâlî: the world, showing one face to the lover and another to rivals, is a hypocrite.
The bathhouse ghazal given to Rûhî in a single copy of Sehî: a silver-bodied beauty entering the bath, praise limb by limb, the refrain güzel and the copyist's note behind it.
Five couplets of Refîkî's kaside with the refrain berş, reviling an opium paste and at last praising its first effect: taverns preferred, the surgeon of death and a royal decree.
A heart hanged from the beloved's hair throws its crown to the sky and finds its ascension: Hallâc's gallows in Ehlî's matla, and death in love as a rising.
The first couplet of Eyüb Sabrî's semai in the Merzifon Cönkü: the poet asking whether the grief he suffers is his alone or the lot written for every human being.
The couplet Melîhî recited drunk at Tahtelkale: praise of rose-coloured wine, a curse on the boza and hemp he had tried in his days of repentance, and a story ending before Mehmed II.
Nigârî's four-line piece presenting the pavilion of Nigâr as a refuge served by sultans and placing the battlements of the Throne of God at its foot.
Mustafa Vâzıh's ghazal to a schoolboy beloved: the proverb about those who smile to your face, the idiom "tasselled calamity" and the contrast of grace and heaviness.
An opening couplet three tezkires assign to Kâmî, Şeyh Cemâl's nephew: though nothing equals the lofty cypress, true beauty is the one who rests on the arm like a falcon.
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