Sâhib's chronogram for the Hüseynâbâd pavilion built by Hüseyin Agha in Urfa: the names Hasan and Husayn, Husayn Bayqara, a pun on "kusur" and a painted ceiling.
Four couplets on leaving a good or bad name, spoken after the Seljuk sultan Alâeddin defeated the Tatars who had burned Ereğli and the place came to be called "Taşak Yazısı".
A ghazal in which the roses on the cheek turn the heart into a nightingale: pains earned as profit in love's market, a knot of locks the breeze cannot untie, candles lit by wine.
Refîkî's ghazal with the redif 'saña': an opening that splits 'delükanlu' into 'mad' and 'bloody', a tress that tells all, and a note naming him a companion of Selim I.
The second section of Sa‘dī Çelebi's verse creed refutes the Sophists, counts three ways of knowledge, rejects inspiration, and defines atom, accident and body.
A mesnevî section that praises the Prophet as the only road to God and then turns, in reproaches beginning “Ey …”, on traitors to the law and deniers of the sheikhs.
A beloved who wins over the rivals but never considers the lover's feelings, in Ehlî's plainest matla: the idioms of winning a heart and of having feelings.
The couplet Melîhî improvised after a beauty slapped him: a jest that takes the blood from his nose as penalty for the wine he drank without the beloved's lip, on a Turkish idiom.
Nigârî's short couplet that calls separation the hell of lovers and says that even in that hell the thought of union makes the heart rejoice.
An opening couplet on contentment that Sehî assigns to Kâmî of Karaman and Âşık Çelebi and Beyânî to Kâmî Efendi of Edirne: shun silver and take no one's tears as the oyster does.
Harîmî's ghazal with the refrain "olmaz": musk that imitates the mole, a cheek like the garden of paradise, a face where night never falls and a street where no lover may be tormented.
An opening couplet Gelibolulu Âlî quoted from Edâyî: the lover asks his eye to wet his grave with tears so the beloved's hem gathers no dust; the dispute of Âlî and Hüsameddin.
Mustafa Vâzıh's ghazal with the refrain "sen misin Ṣāliḥ": questions put to a beauty named Sâlih, feigned ignorance and a mufti's word "istidlâl".
Kadı Burhaneddin's ghazal couplet on the conquest of the castle of Simâlu: the pun between its name and "sîmâlu" (fair-faced) binds the victory to the beloved's beauty.
Kara Fazlî's forty-three-couplet kaside of praise on Süleyman's eastern campaign against the Kızılbaş, its military band and cannon, and the Rumelian beylerbeyi Ali.
The quatrain of praise in the preface of the Bahrü'l-maârif, completed by Gelibolulu Sürûrî in Amasya for Prince Mustafa: the four caliphs' virtues gathered in the Prophet's namesake.
Müeyyedzâde Abdurrahman Çelebi's Persian spring matla preserved only in Kınalızâde: the season not to be spent without the beloved and the call to pick roses from the branch of life.
Basîrî's ghazal that counts the beloved's torments as favours: a realm of being grown narrow, a sky that gives poison for cure, grief on Majnun's throne and a poem that burns the divan.
The kıt'a Sâfî (Cezerî Kasım Paşa) wrote to ask a commander for a horse after his own died on campaign, woven with chess terms: vizier, pawn, bishop, knight, check and mate.
Münîrî's twenty-four-couplet Persian eulogy of Bayezid II opens with a brow like the festival crescent and praises the sultan as huma bird, Sidre tree and second Ali.
Adlî's five-couplet ghazal equating a kiss on the beloved's foot with rule of the world, calling her street his homeland and mocking the ascetic leaving the tavern.
Sâhib's short chronogram for Muhammad, steward of Hasan Pasha, governor of Baghdad: a riddle on the letters of the name and brief praise defended with "mâ kalle ve dell".
Justice and generosity as Osman's law: five couplets closing the chapter in which Sultan Alâeddin sends a banner and the nevbet, and the custom of standing for it is explained.
A short ghazal fed by wedding and royal customs: the cloud of the lashes scatters pearls at the beloved's feet, and the yellowed face becomes a gold carpet for her image.
In this nazire ghazal the heart is a mirror and the brow's reflection a burnisher; satin is left to the new moon, the sky becomes a shadow lantern, and the bond holds.
The power that reddens the rose and scents the musk: Sa‘dī Çelebi sets out God's existence and attributes in Arabic verse and defends the eternity of the Qur'an.
The plea for intercession of a poet standing as a beggar at the Prophet's door, his face darkened by sin, in fear of hell: the shortest and most personal na't.
Ehlî's couplet about a beloved who first knows the lover and then says "I do not know him": a scene of hearsay in the reportative mood and variants in three sources.
Nigârî's opening couplet with the refrain "feth": secrets open with the key of love and locked doors with a brimming cup, playing on the two meanings of mihr.
Mustafa Vâzıh's ghazal built on proofs and comparisons: light shown by darkness, spoilage on wine, a drop of ink fallen from the pen and the astrologer's pun on "ay".
Harîmî's ghazal with the refrain "-dan geçemez": a beloved who will not give up cruelty, a heart that cannot get past arrow and bow, a hypocrite rival and a couplet of the four elements.
An opening couplet Gelibolulu Âlî quoted from Edâyî, preserved in TEİS: a parallel between the cup of love stirring the lovers' gathering and the drunken eye dazing the world.
Kadı Burhaneddin's ghazal couplet pairing Anatolia and Turkestan with the beloved's face and eye: a heart at home in the land of Rum that still longs for its roots.
Kara Fazlî's fifty-couplet sûriyye describing a palace wedding at the Hippodrome, with jugglers, sugar figures, a banquet and fireworks, and praising Sultan Süleyman.
Gelibolulu Sürûrî's pen-name couplet: a jest on the idiom "to eat grief", saying that the poet who spent all he had on the beloved's road will leave his heir nothing but sorrow.
Müeyyedzâde Abdurrahman Çelebi's Persian ta‘miye chronogram on the death of a notable, in which the year is found by subtracting one from the words "huld-i berîn".
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