The opening couplet of a ghazal recorded under the name Feyzî in the Merzifon Cönkü: true accomplishment lies in finding a wise guide and reaching meaning.
The first stanza of Bezmî's müseddes in the Merzifon Cönkü: a grieving beloved, rivals behind a barricade, moles like pepper and a sugared neck never kissed.
The first quatrain of Gedâyî's koşma in the Merzifon Cönkü: the tears of a lover burning in the fire of separation and his plea to a stone-hearted beloved.
The first quatrain of Fethî of Merzifon's koşma in the Merzifon Cönkü: a beloved who leaves her ring as a keepsake, a plea for fairness, and torment as gain.
The first quatrain of Mahsûnî's koşma in the Merzifon Cönkü: a bow-browed beloved with a face like a rose, the charge of faithlessness and a lover made a laughing-stock.
The first two couplets of Âşık Mustafa's ghazal in the Merzifon Cönkü: long waiting, a bow-browed beloved and a hüma bird lost between earth and sky.
Five lines from the semai of the poet read as Filib in the Merzifon Cönkü: a beloved black of brow and eye, stars around a moon face and the fear of parting.
The first quatrain of Erzurumlu Emrah's koşma in the Merzifon Cönkü: a reproachful beloved, a fate that favours another and the lover's cry; original text, English prose and commentary.
Kul Hüseyin's fifteen-syllable prayer: a dervish watching the beloved's road at dawn, the fear of sin and the plea "take my hand, O Muhammad, do not let us weep at the Judgement".
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: news begged from the dawn winds and musk-scented locks; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: a world not worth an akçe and satin that wears out; original text, English prose and commentary.
The opening couplet of Himmetî's divan in the Merzifon Cönkü: a fairy-faced beauty greeted with bârekallah and praise; original text, English prose and commentary.
The pen-name quatrain behind Elçin's view that Gevherî's name was Mehmed: the confidant of love, the endless pain of separation and the forlorn servant bowing to the beloved.
The opening couplet of Ârif's Güfte in the Merzifon Cönkü: a couplet of good wishes, possibly a feast-day greeting; original text, English prose and commentary.
The opening couplet of Yesârî's semai in the Merzifon Cönkü: a dialogue of lover and beloved in the I said, she said form; original text, English prose and commentary.
Derviş Edna's nefes on the journey of a dervish who "lost his lamb": the scale of judgement, the twelve gates, and the testament of an âşık who "reads the white, not the black".
The first quatrain of a koşma by Dertli preserved in the Merzifon Cönkü: aşıks gathered in one place to contest, faithful hearts drunk since Elest, and love's hidden secret.
The first quatrain of a divan by Âşık Ömer in the Merzifon Cönkü: the face of the king of the fair is likened to the suras al-Qadr and al-Rahman, and the lover reads verses in it.
Esrarî's deyiş "Gidiyor" on Cemalettin Çelebi's departure for the front in 1331 (1915): a war poem told through Zülfikar, the banner of tawhid and Karbala imagery.
Dervişoğlu's three-quatrain deyiş of the cem: the voice of a zakir who calls the souls to the station of unity, seeks a salve for broken hearts and keeps to his beloved's trace.
The voice of a gnostic who finds everything within himself: Fedâî Baba's koşma with the redif "I found within my self", Adam's names and the Hurufi line.
A love deyiş with the refrain "dilber": Bektashi images that see the basmala in the brows and verses in the eyes, the lion-clawed beloved and the hour of union.
Sıdkî Baba's deyiş with the redif "eriştik şükür": a poem of thanks reaching from seven letters to one dot, alif and be, the opening of the book of truth and the two senses of Feyzullah.
Kul Hasan's dialogue with a ruin: a deyiş in which a place deserted since Noah's time tells of its prayer niche, its four-spouted fountains, its inns and the brides it gave away.
The first quatrain of the koşma printed under Bezmî's name in the Merzifon Cönkü: bow brows, gazelle eyes, a lover maddened like Mecnun, and a Cezbî problem.
Gedâyî's playful koşma in the Merzifon Cönkü: pimples on the face of a beloved hailed as the rose of the world's garden, and tulips that weep blood.
The first quatrain of Fethî's koşma to Gülfadik, a beauty of Merzifon: a lament swelling like a nightingale's, the sea of love and a fire burning to Judgement Day.
The first quatrain of Erzurumlu Emrah's koşma in the Merzifon Cönkü: the cruelty of the fair and a heart too timid to plead; original text, English prose and commentary.
Kul Hüseyin's düvaz-ı imam with the refrain "for the love of God the One, Muhammad and Ali": a sinner at the dar, the threshold of the Forty and pardon asked of each Imam.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: fire left to the moth and a lover sated with the water of union; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: ease in the abode of affliction and paradise hoped for through sin; original text, English prose and commentary.
The first stanza of Himmetî's semai in the Merzifon Cönkü: beauty veiled by God and the plea of a wretched lover; original text, English prose and commentary.
The opening couplet of Ârif's divan in the Merzifon Cönkü: captivating tresses and sorcerous glances; original text, English prose and commentary.
The opening couplet of Yesârî's semai in the Merzifon Cönkü: a hand cut off from the beloved's skirt and a withering bud; original text, English prose and commentary.
The first quatrain of a koşma by Dertli preserved in the Merzifon Cönkü: the black-lashed, pen-browed beloved, a remembrance never off the tongue, and a forlorn head.
Derviş Edna's nefes on his devotion to the path of the Friend: the waist girded on the Day of Elest, the rival's dagger and the belief in changing "a thousand and one garments".
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