Harîmî's ghazal set in a wine gathering: silver cups that turn affairs to gold, tavern dust as alchemy, a lover who refuses the water of life and combs that scatter the locks.
Edâyî's Persian-Arabic couplet written to be engraved on the seal of Kaya Bey of Amasya: the pun on seal and love, the play on Kaya as rock, and the inscription carved in stone.
A Persian couplet by Selîmî: on the day of battle the debate of love is held with the tongue of the sword, and talk at the start of every matter is for children.
Kadı Burhaneddin's ghazal couplet naming Sivas with Shiraz: if the beloved has turned the poet into a Sa'di, he may well make the capital Sivas a land of Shiraz.
Tâcîzâde Sa'dî Çelebi's Arabic fragment from Hayrü'l-ahlâm likening the gardens of Amasya to paradise and its nightingales to the morning breeze, as quoted by Hüsameddin.
Kara Fazlî's forty-five-couplet maktel kaside with the refrain "Yā Ḥüseyn", praising Hüseyin, calling all of nature to mourn him and praying by the twelve imams.
Gelibolulu Sürûrî's matla cited by Latîfî, Kınalızâde and Beyânî: the kiss that gives back the life the lover paid for it, and a jest on a lip kissed for nothing.
Müeyyedzâde Abdurrahman Çelebi's Persian matla likening the beloved's invisible mouth to the secrets of the unseen; one manuscript of Sehî says it was presented to Selim I.
Basîrî's ghazal on the lover caught between friend and foe: squirrel fur of furnace ash, a hut of sorrows lit by sighs, the tavern of unity and a frenzy that would make Majnun sane.
A couplet of Sâfî (Cezerî Kasım Paşa) ending in the proverb "the ground has ears": likening sun and moon to the beloved's beauty would shame her, and the sky is set against the earth.
Hubbî Hatun's ghazal with the refrain "of the warriors": five couplets showing warriors as lovers whose salve is their own blood, who drink from Kawthar, with a reproach to the Sufi.
Münîrî's eight-couplet Persian kaside for Hazrat Ali recalls Khaybar, Düldül and Zülfikâr, and in the end the poet counts himself the slave of Kanber.
Adlî's ghazal on the refrain "salup", turning sighs and tears into the legendary horses Şebdîz and Gülgûn and tears into the Pleiades, with English prose and commentary.
Sâhib's chronogram for Ali Pasha's pool pavilion: praise that finds the garden of Iram an inadequate comparison, a pavilion like a waterside mansion, and its dating line.
Where Osman Gazi takes Karacahisar and gives its houses to the gazis, three couplets speak of blessings from God, of eating and feeding others, and of each man's portion.
A ghazal whose redif "geçer" (passes) shifts sense in every couplet: death's draught passing for medicine, a rival passing for pious, treasure in ruins and a puzzled beloved.
A love-pain no physician could cure, the round of the cup and an arrowhead standing in for a rose meet in Refîkî's nazire to Ahmed Paşa's ghazal on 'aña'.
The introduction of Tâcîzâde Sa‘dī Çelebi's Arabic verse creed: praise of God, praise of kalām, the poet's own name and a eulogy of Sultan Bayezid, with Arabic text and translation.
A na't whose every line opens with the question “Var mı bir …” and ends “sen gibi”: sun-like face, cypress stature, a riddle, and a comparison with Ferhad and Mecnun.
The ghazal in Sehî's entry on Mevlânâ Remzî: couplets with the refrain "-dendür" saying the parting comes neither from lover nor beloved but from heaven, and a thorn couplet.
Ehlî's matla saying that all his speech has become the praise of the beloved's lip and beauty spot: the rosebud and the ruby, and the idiom of heart and eye.
The couplet Melîhî addressed to a beauty with a single pearl earring: Müşterî as buyer and as Jupiter, a moon-faced beloved, a pearl like the Pleiades, and the slap that followed.
Nigârî's couplet presenting the beloved's glances and eye as tyrants thirsting for the lover's blood: the two meanings of the word "susuyor" and the imagery of blood.
The only ghazal in Mustafa Vâzıh's Dîvânçe ending in the letter "se": moles likened to fleas, a lip of clotted cream and rhymes built on terms of Islamic law.
A ghazal fragment four tezkires assign to Kâmî: the nightingale that cannot make the rose listen, no one left to hear love's epic, and an ear that rings when the beloved recalls him.
Harîmî's ghazal that makes the kopuz lute speak like a suffering lover: wordplay on fret, peg and palate, from the pen of a prince the biographers knew as a musician.
Edâyî's couplet urging the debt of worship between fear and hope: the word recâ that becomes ecr, reward, when read backwards, the two senses of kalb and the echo of his pen name.
Three couplets from a Persian ghazal by Selîmî: the king of the army of grief taking tribute from the realm of love, throne and crown as fortune, and distrust of viziers.
Kadı Burhaneddin's ghazal couplet naming the castle of Tokat: morning wine poured in the castle and the wish to reach the dawn in joy, in Özkan's view a trace of victory.
Kara Fazlî's thirty-five-couplet kaside of praise for Sultan Süleyman, with the redif "fetḥ", depicting a city decked out at news of victory and the sultan's battlefields.
Gelibolulu Sürûrî's couplet on the lover who deliberately makes his eye squint so as to see the beloved as two in a single glance, a couplet resting on a playful conceit.
Müeyyedzâde Abdurrahman Çelebi's Persian matla cited in three anthologies: while everyone strolls in a garden with his beloved, the lover stays in the corner of separation with his pain.
Basîrî's ghazal on the refrain "on seeing": a pale face in saffron, tears in blood, a gardener who loses hope, a heart running to the sword's water and a madman under the moon.
A couplet of Sâfî (Cezerî Kasım Paşa) reproaching the moon: the marks on its face, it says, are the shame it earned by imitating the beloved with her beauty spot.
Münîrî's thirty-couplet Persian festival kaside for Bayezid II; every couplet ends in the redif "‘īd", and the festival comes and goes at the sultan's door like a person.
Adlî's seven-couplet ghazal of the rose and nightingale, the prayer niche and the cross, ending with the cup of grief poured for him at the pre-eternal assembly, in English.
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