Âsafî Ahmed Bey, descendant of Vizier Firârî Hasan Pasha: an alaybey who deserted a Russian campaign, turned dervish and sang destans in a coffeehouse in Amasya.
Âşık Ahmed Çelebi, called İmâmzâde: son of the imam of the Kocacık Mosque, a seventeenth-century folk and saz poet of Amasya who rose to fame in 1070.
Cihâdî Ahmed Ağa, the Amasya janissary minstrel nicknamed Altıncı, whose destans heartened the troops at Candia and won him the favour of Grand Vizier Fâzıl Ahmed Pasha.
Ali Bâkî Gül, Bektashi poet who served as imam in Harız near Merzifon and died there: his life, divan, mevlid and epics, and the sources that differ on where he was born.
The poetry of Fedâî Baba, Hak âşığı of Yassıçal: the 252-poem divan compiled by Çelebi, the pen name received in a dream, Sufi and Alevi-Bektashi belief, Karbala and Atatürk.
The life and poetry of Gevherî, celebrated minstrel poet of the seventeenth century, and Nihad Çetin's claim linking him to the Gümüş mine and Merzifon, which encyclopedias treat cautiously.
Kul Hüseyin's düvaz-ı imam addressed to Yezid: the names of the Twelve Imams, the reckoning of the Last Day and the refrain "I do not know how you will fare then".
The first quatrain of Erzurumlu Emrah's koşma in the Merzifon Cönkü: the rose and the nightingale, and a lover whose eyes seek only paradise; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a broken pledge, the bow of the brow and the arrows of the lashes; original text, English prose and commentary.
The first quatrain of Nazîf's koşma in the Merzifon Cönkü: the pain of love, fear of exile and a dark-eyed beloved; original text, English prose and commentary.
The first quatrain of Himmetî's koşma in the Merzifon Cönkü: a lover moaning like a forlorn nightingale for an absent beloved; original text, English prose and commentary.
The pen-name quatrain behind Köprülü's view that Gevherî's name was Mustafa: creation from a drop, fate written on the Preserved Tablet, and its bearing on the Gümüş tradition.
The first quatrain of Kerem's koşma in the Merzifon Cönkü: hazel eyes and a lover who burns and weeps; original text, English prose and commentary.
The opening couplet of Firâkî's ghazal in the Merzifon Cönkü: a heart rushing like a flood toward the beloved; original text, English prose and commentary.
The opening couplet of Ârif's Güfte in the Merzifon Cönkü: a fairy-faced beauty who steals reason at first sight; original text, English prose and commentary.
Derviş Edna's nefes likening his spiritual guide to a rose in bloom, to Hür in paradise and to a pir come from Khorasan: a eulogy built on light, wine and the Twelve Imams.
The first quatrain of Yesârî's koşma in the Merzifon Cönkü: a face like embers and the companions of the sultan of hearts; original text, English prose and commentary.
The first quatrain of a koşma by Dertli preserved in the Merzifon Cönkü: a beloved whose moods cannot be read, a heart that dies down and flares up, and love's affliction.
The opening couplet of Şem‘î's poem in the Merzifon Cönkü: a lover who forbids the morning breeze to blow, and locks whose single stirring strand would shake the world.
The first quatrain of a koşma by Âşık Ömer in the Merzifon Cönkü: a lover whose complaint reaches from earth to sky gives the beloved a choice between his ruin and her coquetry.
The first quatrain of Hayrî's poem in the Merzifon Cönkü: true skill as finding a match on love's path, the matchless pearl in wisdom and Darius's fortune in contentment.
Esrarî's praise poem for Feyzullah Çelebi, head of the Hacı Bektaş lodge: the light handed down from eternity, the Twelve Imams and the refrain "Hak Muhammet Ali nuru Feyzullah".
The opening couplet of Visâlî's poem in the Merzifon Cönkü: a voice of longing seeking a vanished youth like a rose sapling and a full moon with the face of a radiant guide.
The first quatrain of Zihnî's koşma in the Merzifon Cönkü: a lover tells the scribe to write and the morning breeze to carry his letter to a delicate beloved without delay.
The first quatrain of Sürûrî's koşma in the Merzifon Cönkü: a lover weary of a moon-faced beloved's torment, whose sigh fails to move her yet passes over Mount Keşiş.
The first two couplets of Serbesî's divânî preserved in the Merzifon Cönkü: the cry of a lover who weeps like Jacob and lies in the dungeon like Joseph.
The opening couplet of the semâî recorded under Berkî(?) in the Merzifon Cönkü: counsel to the heart to be wise and refined, with its problems of reading and authorship.
The opening couplet of the ghazal recorded under Mısrî in the Merzifon Cönkü: a mystical self that is the pearl of the sea of existence and the ruin hiding a treasure.
The first stanza of Zahmî's Karbala elegy in the Merzifon Cönkü: mourning renewed in Muharram, the martyrdom of the king of sainthood and a curse on Shimr and Ibn Muljam.
The opening couplet of Rızâ's ghazal in the Merzifon Cönkü: a lodge couplet calling the Sufi with "Allâh hû yâ hû" to the devran and the meydan, to join the dhikr.
The first quatrain of Âşık Deli's koşma in the Merzifon Cönkü: the plain words of a minstrel who wakes, watches the mist on the mountain top and thanks the Creator.
Dervişoğlu's deyiş of separation with the refrain "Nazlı yarden ayrı düştüm ağladım": the vow of pre-eternity, devotion to a true guide and the word the jeweller sells.
Fedâî Baba's plea to Hızır voiced by travellers trapped by snow on a mountain: the February blizzard and a koşma with the refrain "come to my aid, Hızır".
Sıdkî Baba's love deyiş that opens with the candle and the moth: a lover ready for the gallows like Mansur, the cup of union, the cupbearer of the feast and a resolve made in sincerity.
The three beauties Kul Fakir sees on his wanderings: images of moon, sun and star, dying before death, and an âşık who reads not from paper but from the heart.
Kul Hasan's deyiş with the refrain "Felek bizi gafil buldu avuttu": sultans passing through the inn of the world, the mill of life, the caravan left unready and death's arrow.
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