Figânî İshak Çelebi, an Amasya poet of Torumtay descent, was slandered over his epic satirising the Shiites and hanged on Prince Ahmed's order in 1507.
The Arabic odes, chancery letters, verse creed, praise of Amasya in Hayrü'l-ahlâm and surviving Turkish couplets of Tâcîzâde Sa'dî Çelebi of Amasya.
Münîrî, chancellor to Prince Ahmed in Amasya, left a divan, a translation of Mihr ü Müşterî and a vast verse life of the Prophet; this article presents his works and published poems.
The twenty-couplet tevhid with the redif "lâ ilâhe illallâh" that opens Mihrî Hatun's divan, with a couplet-by-couplet English version, figures of speech and manuscript notes.
Four couplets from Âb-ı Hayat, a verse treatise by the Amasya-born council secretary Hızrî, saying the work was founded in Amasya and praying for its people.
The eleven-couplet supplication that opens the divan of Sultan Bayezid II (Adlî), built on the refrain "befits", on servitude, fear and hope, and his pen name.
The forty-nine-couplet poem in mixed Turkish and Persian that opens Münîrî's divan: praise of God, the four elements, the twelve imams and a plea for mercy.
The ghazal with the refrain "it" quoted in every anthology that gives Zeyneb Hatun an entry: a response to Şeyhî, a prayer couplet, Khidr and Alexander, and a debated close.
Edip Tâcî's most quoted opening couplet and the second couplet preserved by Latîfî: a dark night, serpent-like locks, and the rose and tulip that burn the lover.
Tâcîzâde Sa'dî Çelebi's opening couplet repeated in four anthologies: if only there were no heart in the world, or at least one that did not incline to every beauty.
Ten couplets from the opening of Hubbî Hatun's lost mesnevi Cemşîd ü Hurşîd, preserved by Âşık Çelebi: death, the wish for a lasting work and a woman poet in feminine adjectives.
Âfitâbî's eight-couplet ghazal, linked by Âşık Çelebi to his passion for a youth named Çerâğ: a pun on fairy and comb, the hair-thin waist, the sun seeking the moon.
The thirty-one-couplet kaside to Hüseyin that opens the divan of Cezerî Kasım Paşa (Sâfî): praise, the mourning of all nature for Karbala, and a plea for intercession.
The ghazal that opens Basîrî's Turkish poems: a lover befriended by gazelles like Majnun, mountains that moan with his cries, and the black day brought by locks that hide the face.
The seventeen-couplet tevhid that opens Kara Fazlî's divan, describing through images of sparrow, rider and caravan how reason fails to grasp the essence of God.
The six-couplet ghazal Müeyyedzâde Abdurrahman Çelebi (Hâtemî) wrote in reply to a letter from Prince Ahmed, governor of Amasya, praising the letter stroke by stroke.
Gelibolulu Sürûrî's verse reply to Gubârî, who had reproached him for becoming tutor to Prince Mustafa: the poet's own defence of his years as the prince's teacher in Amasya.
Cenânî's opening couplet preserved in the tezkires: a call to spend this age happily while opportunity allows, resting on the paronomasia of "devrânı" and "devr ânı".
Zârî's opening couplet preserved by Latîfî: the reversed logic of a libertine whose limbs fail him without pure wine and whose reason returns only when drunk, and the foot-cup pun.
Prince Mustafa's ghazal with the redif "gibi" from Kınalızâde's tezkire: rising by descending like the sun and water, the needle of Jesus, and the drop and the sea.
A couplet Mecdî quotes from Ahmedî's İskendernâme: a question of counsel on where man comes from, where he returns and the purpose of his coming into this world.
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 opening couplet Latîfî counted as Hızrî's finest: the yellowed face amid the tears likened to an autumn leaf fallen into water, and the contrast of rose and autumn.
Kadı Burhaneddin's ghazal couplet naming Amasya as an example of plunder: the beloved's image coming at night is wished for as a raid upon the lover's soul.
The mesnevi that opens Abdurrahman Kâmil Efendi's Divançe: nineteen couplets on the basmala, praise of God, blessings on the Prophet and loyalty to the Sunni path.
Selîmî's Persian ghazal listing his conquests: a map of victories from Istanbul to Iran, Egypt and India, with chess and coinage images of the sultan-poet.
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".
The ghazal that opens the Dîvânçe of Kara Müftîzâde Mustafa Vâzıh: a complaint against fortune, ribs like ruled paper and a star of destiny whose light is darkness.
The opening couplet of the kaside Edâyî presented to Prince Mustafa, which made him secretary of the divan: the mole on the beloved's lip as a wound in the heart's tulip.
Çeşmî's quatrain preserved by Hüsameddin: a lament of ever-weeping eyes whose last line, "Figânî rose to the heavens", mourns the poet hanged in Amasya in 1507.
Âbî's answer, in the voice of water, to his fire-named friend Âzerî: however sharp fire may be it goes out in water, and even a thunderbolt strikes no more there.
Âzerî's quatrain boasting in the voice of fire: the foundation of the world is his essence and the world is lit by his light; the first half of his verse duel with Âbî.
The ghazal Cûdî wished to have on his gravestone: the reckoning, at seventy-three, of a life that drank no cup but poetry, begged from no one and grew deep as a sea without overflowing.
Kemalpaşazâde's Persian praise of Amasya in his Ottoman history: a paradise above the Nile, a river like Salsabil, water wheels turning like the heavens and the Merzifon plain.
Five couplets from al-Mutanabbi's Jimiyya kaside for Sayf al-Dawla, including the line "we have visited Samandu" that Hüsameddin linked with the Ziyâre quarter of Amasya.
The ghazal that opens the Dîvânçe of Prince Korkut, pen name Harîmî: the returning fire of love, the ledger of fame thrown into the sea and the drunken lover who cannot keep a secret.
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