Basîrî's ghazal with the refrain "a rose is enough", opening with his most quoted couplet: a proverb about the gnostic, roses of bloody tears, and the readings "half" and "my beloved".
Münîrî's forty-three-couplet Persian kaside for Bayezid II, a response to Selmân and Zahîr, with an inner ghazal that splits an opening couplet by Hâfız in two.
Adlî's seven-couplet ghazal that gives its refrain "dürüst" a new sense in every couplet and sets the calligrapher Yâkût's reyhânî script against the down on the beloved's cheek.
Sâhib's chronogram for Süleyman Efendi, deputy judge of Ruha: the kadı's "fine substitute", signatures like rows of worshippers, and a seal likened to the seal of Solomon.
Three couplets advising cunning towards the enemy, at the end of the chapter in which Osman Gazi wins the trust of the infidels of Bilecik by defending their rights at the Eskişehir market.
A ghazal whose redif "düşer" (falls) wanders through seven senses: a silk carpet of autumn leaves, a lover haunted by his shadow, decree and tughra, and sun and moon fallen into water.
Refîkî's ghazal likening the lover, far from homeland and beloved, to a nightingale far from the rose garden: a warning to the beloved at the mirror, and wrath as a share.
A chain of "ve lā" describing God by what He is not, and the believers' vision of Him in the hereafter: nine couplets of Sa‘dī Çelebi's creed, with translation.
A feast-day witticism Âşık Çelebi preserved from his teacher: whoever sees the beloved's face and kisses his hand gains three feasts in one day, through a pun on sa‘īd and se ‘īd.
The Prophet as a treasury of secrets, the pun between perfections and deficient tools, the language of state of earth and heaven, and the plea that binds the na'ts.
A lover who launches the ship of his heart on the ocean and gives all to the wind: in Ehlî's couplet the idea of wind runs through ber-bâd, rûzgâr and bâdâbâd.
The opening couplet of a naat by Nigârî with the refrain "Muhammeddir", describing the Prophet's beauty through the turning heavens, the Moon, Leylâ and Mecnun.
The only Persian ghazal in Mustafa Vâzıh's Dîvânçe: five couplets with the refrain "this too shall pass" on the transience of pain, beauty and worldly grief, translated.
Harîmî's ghazal in the letter sîn: the fire of Abraham and the breath of Jesus, the inspector of the market of love, a caravan tying on its litter and a sheikh who counsels silence.
Edâyî's couplet of the drop rained from the cloud of love and the peerless pearl in the oyster of the world; the April rain belief, and the irony of Âlî's verdict on the poet.
Kadı Burhaneddin's couplet contrasting prayer niche and battlefield: the Sufi's wish is prayer, the valiant man's desire is the field; the voice of a warrior sultan-poet.
The Arabic quatrain Müeyyedzâde Abdurrahman Çelebi wrote as kazasker to endorse a scholar's treatise, preserved in Arabic script in Hüsameddin's History of Amasya.
Kara Fazlî's forty-nine-couplet second sûriyye, in which an angel announces the princes' circumcision feast, its banquet and fireworks, followed by praise of Süleyman.
Basîrî's ghazal that opens with two wishes: to see the beloved and not the rival, an Indian mole stranded in Rum, a helpless physician, an all-tongue nightingale and a world-burning sigh.
Münîrî's fifty-seven-couplet spring kaside for Bayezid II opens with a dawn wind breathing like the Messiah and a rose like the fire of Moses, then praises the sultan.
Adlî's ghazal on the refrain "abes", casting the rival as crow and dog and the ascetic as a fox shunning the moon, and calling a cure futile to one used to pain, in English.
Sâhib's chronogram on the first down on the face of Hattî Mustafa Çelebi: a rampart around the city of beauty, China conquering Rum, and a beard like the Kaaba's veil.
Guided by Köse Mihal, the gazis cross the Sakarya to Göynük, Tarakçı Yenicesi and Gül-Falanoz and return with booty but no captives; four couplets follow the raid.
A ghazal for a black-clad Frankish beauty: the knot of the zünnar girdle, the life-giving way of Jesus, and the famous last couplet "You are king of Istanbul, he is king of Galata".
In this second nazire on Ulvî's model, which calls the lover parted from the beloved the true stranger, the rose's coyness and the nightingale's pleading stand beside the ascetic's mantle and the lover's cross.
Decree and the servant's choice, capacity that comes with the act, the appointed term and provision, with the poet's own warning to his soul, in Sa‘dī Çelebi's verse creed.
The couplet inscribed on Gelibolulu Sürûrî's gravestone in Kasımpaşa, wishing that whoever passes his grave with a prayer may pass on to Paradise with faith.
A na't in the language of a love ghazal: eyebrows as mihrab and qibla, the cheek as place of prostration, a face recalling the chapters of the Morning and the Sun.
A lover who trades his life for one curse from the beloved: in Ehlî's couplet love turns into a bargain, with the market phrase al da sun and a curse counted as a favour.
Nigârî's kıt‘a describing his poems as a divine gift and a casket of musk his followers carried on their heads, and the story of the reverence shown to his divan.
Mustafa Vâzıh's four-couplet ghazal with the refrain "leẕīẕ" (delicious): food with lemon, talk with a beloved from Istanbul, a curse that feels like a greeting.
Harîmî's short ghazal in the letter 'ayn: the nightingale's farewell to the rose, a beauty that lends light to the sun, lips that keep a secret and a pearl of verse cheapened by plenty.
Kadı Burhaneddin's tuyugh of raging lions and a double sword cut by lightning, following old Turkic expressions such as "kağan aslan" and "koş kılıç".
Kara Fazlî's thirty-seven-couplet kaside on his appointment as secretary of Prince Mustafa's council in Amasya after 1543, celebrating his fortune and praising the prince.
Basîrî's ghazal that opens with a prayer: an alif stature and madda brow in the Qur'an of beauty, eyelashes damming a flood of tears, Khidr's life in a breath and felt over a royal robe.
Münîrî's forty-one-couplet kaside for Bayezid II likens the sultan's gate to the Kaaba and says that reaching it once earns the merit of a thousand pilgrimages.
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