Hüsameddin's improvised tahmis on the "bir değilse de" ghazal of the Amasyan grand vizier Rüşdî: the unity of opposites and two pen names meeting in one stanza.
A three-couplet ghazal fragment by Bahâeddîn Mehmed Efendi: the grace of seeing the guide's face, the resolve of the people of God, the heart as God's gaze.
The ghazal Cûdî spoke in Mecnun's voice on seeing the Ferhad Mountain in Amasya: the mountain is Ferhad's, the desert Mecnun's; bride-price, halva and affliction, and Bîsütun.
A ghazal published a year before the death of Hüsameddin, author of the History of Amasya: a reproach addressed to the city he gave his life to, as if to a beloved.
Love that comes from the day of pre-eternity, the transient world and permanence, the pure who long for the light of a cheek: two couplets by Bahâeddîn Mehmed Efendi.
Cûdî's kaside on Merzifon and its continuation: the praying mountain, Tavşan Mountain as a kneeling camel, the lovesick clouds, Kara Mustafa Pasha's water and the mosque of his youth.
Abdurrahman Kâmil Efendi's fifteen-couplet kaside in two different metres: the virtues of a learned, eloquent beauty praised with references to Fuzûlî and Nef'î.
Bahâeddîn Mehmed Efendi's couplet on a God-given love and the hoopoe's cry: the reading of the word sebük and the possibility that bahâ is the poet's pen name.
Cûdî's 43-couplet aruz translation of Lamartine's "Le Lac": the lover who begs the bird of time to hold its wing, the memory of the lake, and French Romanticism in the language of the divan.
Abdurrahman Kâmil Efendi's elif-nâme: a kaside in which each line begins with a letter of the Arabic alphabet, setting the twenty-nine letters from elif to ye in a plea to the beloved.
The poem of praise that opens Cûdî's divan: the pen in prostration, the sea praising wave by wave, every delight of the soul tied to divine praise, and praise that grows with wonder.
Abdurrahman Kâmil Efendi's muhammes with the refrain "Bir mü'es̱s̱ir nüsḫadır kim nâmı anıñ sîm ü zer": a mocking look at beauties who yield to gold and silver.
Seven couplets after the poem of praise, in which the servant calls himself a handful of earth; images of lustre and pearl end in the wish that his work not be despised by the ignorant.
Abdurrahman Kâmil Efendi's müsemmen with the refrain "Çekeyim tîġımı ben kendime kendim urayım": five stanzas of separation that send word by the morning breeze and end in consent to fate.
The Milky Way a rosary, solar systems a sigh; order is defended against chance, the earth says "Lâ ilâhe" and the heavens "illallah". Hey'et-i Âlem, the divan's refrain müseddes.
Abdurrahman Kâmil Efendi's ghazal "Dil yine bir şeh-levendiñ ‘aşḳına sevdâlıdır": seven couplets portraying a beauty with dark-blue eyes, tughra brows and a heart branded like a tulip.
A na't in which the poet speaks his own name instead of his pen name: the night of the Ascension, sandals pressed to the heart of the heavens, and forgiveness asked for Abraham's sake.
Abdurrahman Kâmil Efendi's ghazal with the refrain "ey göñül ... ‘aşḳ": thirteen couplets defining love, from the tughra written in pre-eternity to the bridge of the figurative.
Cûdî's Karbala elegy with the refrain "has gone out": the extinguished candle, Nimrod's fire, the Muharram crescent, the Euphrates, and the Flood letting go of Mount Cûdî.
Abdurrahman Kâmil Efendi's ghazal with the refrain "görmüş": a lover who met torment while hoping for faithfulness complains of fate, beloved and rival, and ends by urging patience.
A tevhid in which Arabic and Turkish lines alternate: the essence where reason stops, "kemislihî", the Subtle One hidden in His manifestation, and wordplay on kindness and evil.
Abdurrahman Kâmil Efendi's ghazal with the refrain "of": five couplets of sighing over separation from the beloved, a life thrown to the wind and the wish for union in the world of meaning.
Cûdî's supplication with the refrain "to me", resting on the idea of annihilation: praise from me and bounty from you, candidacy for nonbeing, and the shame of saying "I".
Abdurrahman Kâmil Efendi's ghazal "Bu ḳadar ḥasrete ṣabr idemezem sulṭânım": thirteen couplets of longing, fear of being forgotten and the claim to be a "master guide of love".
In this ghazal to the beloved of truth, beauty is its own proof; the sky becomes a gold-threaded kaftan, Paradise's trees a branch in a finger, and wonder the end of knowledge.
Abdurrahman Kâmil Efendi's three-couplet incomplete ghazal: the heart lit by the beloved's gracious glance and a servant who refuses to be freed and finds perfection in service.
In this nazire to Fuzûlî, opening with an Arabic line, love is both sea and dough; motes draw one another, no soul lives in the airless house of the heart, and "aşk olsun" reads two ways.
The witty couplet Mecdîzâde Hâfız Kâmil Efendi improvised for Hindîzâde Zühdî, boasting in the courtyard of the Sultan Bayezid Mosque: a play on the names Hindî and Kâmil.
A wine whose bubbles are planets, youth set against the sheikh, an Arabic line recalling al-Ghazâlî: Cûdî tells of the wine of being in the sea of the bound and the absolute.
Cûdî's ghazal with the refrain "I tell you": a promise of speech always tied to a condition, the talisman of the hidden treasure, and a face read like a verse of scripture.
Light does not pass, night does not break, the cypress gives no shade: in this ghazal the soul lies in nature's grave, the friend is no friend of the cave, and the beloved stays aloof.
Cûdî's philosophical ghazal with the refrain "the world to me": against the permanence of the cosmic order, the indivisible atom, the philosophers' search, and "amâ", blindness.
A friend nearer than the jugular vein, the window of a dark house, reason that robs the road: this ghazal tells of love opened by the huma bird and ends on a goal never chosen.
The kanun of love that is both law and zither, a harmony no makam contains, the soul's song sung in the body's letters: a ghazal woven of musical terms that ends on a broken rhythm.
Lustre from the molten essence of the soul, wine transformed, the finger of choice; the prayer against the evil eye, left unsaid lest it hide her, is this alchemical ghazal's conceit.
Cûdî's ghazal that turns nature into a tavern: a broken cup and inherited wine, a life that sums to zero, the sun as a cup, stars as a chandelier, the stream as musician, trees as books.
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