A couplet that spells 'ad' from alif and dâl, a master who taught the letter of injustice and a feast at the crescent brow, in a Refîkî ghazal opening 'feryâd feryâd'.
Why prophets are sent, a piece of reasoning on their number, angels, revealed books, the bodily ascension and the marvels of the saints, in Sa‘dī Çelebi's Arabic couplets.
The last couplet Latîfî chose from Sürûrî: a rose-skinned beloved in an iris-coloured robe, so that whoever looks at him gathers fresh rose and iris together.
A ghazal praising the path to the new disciple: a Naqshbandi way that never leaves the law, walks by the four schools and rests on companionship, and Shah Bahâ.
A fairy who would be the soul if less cruel and the beloved if fair in her torment: degrees of cân and cânân in Ehlî's matla, and two senses of the word hele.
Nigârî's ghazal with the refrain "olmayan bilmez": love, separation and truth can be known only by those who live them, with allusions to Leylâ, Ferhad and al-Hallaj.
Mustafa Vâzıh's ghazal in which a single dot turns mercy into trouble: lashes like coral-tipped swords, a mole immune to venom and a muezzin beloved calling the iqāma.
Harîmî's ghazal rhyming in "-âne": Şîrîn reduced to a tale in Hüsrev's gathering, a lover who outdoes the moth and a house of the heart that robs the tavern of its worth.
Kadı Burhaneddin's ghazal couplet likening the pain of love to a distilling workshop: the beloved's eyes turn the liver's blood to water by the heart's fire.
Kara Fazlî's thirty-five-couplet kaside of holy war on Prince Mustafa setting out against the Kızılbaş by the sultan's command, praising him as "a second Rüstem".
Basîrî's ghazal whose opening couplet Âşık Çelebi also quotes: a sorcerer's arrow and bow, a cheek the sun envies, a ney that cannot keep up and sun and moon bowing as to Joseph.
Münîrî's tree-shaped Persian kaside of twenty-three couplets for Bayezid II, in which the words of the trunk couplet sprout again in twenty-two branches.
Adlî's five-couplet ghazal on the refrain "telh" (bitter), tracing each face of love's bitterness, whose opening line has a rhyme problem in the manuscripts.
Sâhib's second chronogram for Hattî: the youth who masters forty years of calligraphy in a short time turns to the "hatt" of his face; a riddle of Hasan from Şehbâ to Damascus.
Lülüfer Hatun, the Yarhisar bride given to Orhan and mother of Murad Han and Süleyman Paşa, praised in six couplets beginning "Zihî devlet ki Hatun buldı Hak'dan".
The ghazal that opens "I became the slave of a king whose beggar is the world": a sultan-poet enslaved, mornings that are feast days and evenings that are the Night of Power.
Refîkî's second ghazal rhyming in '-âd' on the same model: provisions from the liver, the sanctuary of union, Khusraw and Farhad, and deference to the master who spoke first.
The order of the four caliphs, the thirty-year caliphate, the imam's duties and conditions, and the rejection of a hidden imam: Sa‘dī Çelebi's verse creed on the imamate.
Two couplets recorded by Sehî in 1538: Sürûrî's ghazal fragment putting in their place the moon that vies with the beloved's face and the rival who plays the pasha.
Conduct before the master, point by point: silence, no extra prayers, counting the sheikh's error one's own fault and ranking him above even Ibn Arabî.
Two couplets from Ehlî's ghazal with the refrain düşdi: the fire of love falling into the heart, and a lover who lays his plea before the beloved in a bath cubicle.
The stanza of Nigârî's terci‘-bend known for the line "Sana Kur'an dimese ben sana insân dimezem": a naat for the Prophet by a poet who likens himself to Hassan.
Mustafa Vâzıh's tavern ghazal with the refrain "mı var": a call for arrack, gourd and jug, the saying "Is there a madman in the bathhouse" and a lover blind to the well.
Harîmî's ghazal with the refrain "itsem gerek": a lover running to the beloved like the dawn wind, a huma bird to be hunted like a gnat and a resolve to reach asceticism through blame.
Kadı Burhaneddin's tuyugh carrying a call to war against the Mamluks: God knows the cure, and if arrow and sword are used in sincerity the rock of Egypt will be torn out.
Kara Fazlî's thirty-four-couplet kaside with the redif "‘adl", praising Prince Mustafa's justice in a chain of metaphors and ending with the poet's plea against his fortune.
Basîrî's ghazal that makes the lover the elder of love in the lodge of pain: torn skirt and collar, brands like Solomon's seal, a sigh for a staff and coral beads of blood.
Münîrî's fifty-eight-couplet kaside for Bayezid II with the refrain "narcissus"; the spring flower becomes first the beloved's eye, then a servant at the sultan's court.
Adlî's five-couplet ghazal that casts the beloved as a hunter and the hair as a lasso, in which the sultan-poet calls himself "oñmaduk levend", a good-for-nothing youth.
The only muhammes in Sâhib's divan: a poem of warning that reminds the beloved of the transience of beauty, turning the face into a Kaaba and the eyebrow into a ruined mihrab.
Five couplets of the second piece under the same heading, on Bilecik and Yarhisar passing to Osman Gazi and defending Osman's ruse against the tekfurs' treachery.
A four-couplet ghazal missing its opening couplet: stature and resurrection, the soul returning with the sword of the glance, and a rose season shorter than a month.
A belt that knows the unseen and so finds the invisible waist, tears named rain like a nickname from the sky, and a straight word: Refîkî's nazire on Şeyhî's model.
Wiping over socks and date-wine, the outward sense of scripture, attitudes that lead to unbelief, signs of the Hour, man and angel: the miscellany of Sa‘dī Çelebi's creed.
A ghazal in the shared voice of the disciples: the master as the greatest miracle, criticism of miracle-seekers, the saying on poverty and the pun on deficient tools.
Ehlî's couplet describing the beloved's waist and lip as secrets neither poets nor saints can solve: the question whether ehli is his pen name or a refrain.
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