The ghazal with the refrain "olam gibi" that Ahdî assigns to Zeyrekzâde Ânî: the sura Smoke drawn in a Qur'an augury, the letter lâm in a fortune and a passion ending in the lasso.
The first couplet of Kâmî's lost mesnevi Yûsuf u Züleyhâ, recorded by Âşık Çelebi: a pen that opens with God's name and writes the heading of love atop every letter.
Şikârî's opening and closing couplets preserved by Âşık Çelebi: a heart drawn to the learned rather than the grain, and a poet begging a kiss like a dervish with his bowl.
The reproachful muhammes stanza Derûnî-i Sânî wrote at Prince Selim's door: a dervish whose heart-city lies ruined gives the world away to the ambitious, and is expelled.
Seyfî of Sinop's ghazal with the refrain "your eyebrow", kept in three tezkires: a brow drawn like a bow, lashes as arrows and a brow bent double for love of an eye.
The ghazal Makâmî sent to Mihrî Hatun at Prince Ahmed's court in Amasya: sun and moon, a lock like the sultan's nişancı, a pun on mihr and Mihrî, and her reply.
The only surviving couplet of Abdürrahîm-i Rûmî, Zeyniyye sheikh of Merzifon: a plain prayer of repentance for errors committed knowingly and unknowingly, built on antithesis.
Nelmî's ghazal with the refrain "etdim seni", written extempore when he fell in love with his teacher's son: a lover who claims the beloved's beauty as his own work.
The seven-stanza müseddes Gelibolulu Mustafa Âlî wrote as sanjak governor of Amasya: the complaints of a poet who likens himself to a falcon, and a refrain praising Amasya.
The ghazal with the refrain "ne ‘aceb" that Nigârî wrote in a carriage on his way into exile from Merzifon: reproach for a saviour who never came, prophets' stories and a final repentance.
Three couplets of a ghazal by Melîhî preserved by Latîfî: the heart cursing the eye, the beloved's face read through the suras of Light and Smoke, and variants in the tezkires.
A Persian couplet by Nakkaş Şahkulu under the pen name Penâhî: a painter's boast that belittles the legendary Mânî and claims to be the true Mânî who unveils meanings.
Two couplets by Zamânî preserved by Âşık Çelebi: a heart fallen into the chain of locks and the well of the chin, and onlookers who mistake the lover leading his rivals for a segban.
Two couplets by Senâyî kept by Kınalızâde: a lip whose trace even the geomancer-astrologer cannot find, and the people of love who keep naming the beloved even when beheaded.
Fünûnî's elegy for Prince Mustafa: reproach of the heavens, the "deceitful woman" double meaning, the death scene from the march to Karaman to the tent, and the sultan.
Rahmî of Bursa's five-stanza terkib-i bend for Prince Mustafa: transience, the treasury sealed with a cord, the image of Karbala, and a closing stanza of prayer for the sultan.
Edirneli Nazmî's fifty-couplet terkib-i bend for Prince Mustafa: the pun on time and wind, a mourning without reproach, and a prayer for long life for Bayezid and Selim.
Müdâmî's elegy for Prince Mustafa: seven stanzas with the refrain "he obeyed the shah and sacrificed his head and life", Joseph, Job and Jacob, and a mother's mourning.
Sâmî's seven-stanza muaşşer for Prince Mustafa: the refrain "what became of Mustafa, what have you done, O my sultan", a jibe at the pen name Muhibbî, and innocence.
Nisâyî's first elegy for Prince Mustafa: a reproach to the sultan in the refrain "O pitiless shah", the poisoned cup, the allusion to Hallâc-ı Mansûr and the two Mustafas.
Hasbî's elegy for Prince Mustafa: seven stanzas with the refrain "Âh Sultân Mustafâ eyvâh Sultân Mustafâ", the mourning of the universe, and a stanza shared with Kâdirî.
Mu'înî's seventy-seven-couplet terkib-i bend for Prince Mustafa: the forged letters, the prince in white walking to the tent, a lament with the refrain dirîğ, and a chronogram.
Selîmî's seven-stanza murabba for Prince Mustafa: the refrain "falcon among princes", a coffin in Karaman, the huma bird and a life given on the sultan's path.
Kâdirî's elegy for Prince Mustafa: eleven stanzas that begin as müsemmen and go on as murabba, the mourning of all creation, a stanza shared with Hasbî, and Karbala.
Hayâlî-i Gülşenî's twenty-stanza elegy in the voice of Prince Mustafa: the refrain "what can I do, you have slain me, my sultan", and wordplay on alif and devlet.
Sirâcî's mütekerrir muhammes for Prince Mustafa with the redif "yansun": a wish that the sultan may regret his deed, and a calamity unknown before in the house of Osman.
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.
The chronogram Hicâbî presented to Seyyid Gâlib Mehmed Pasha on his visit in 1230: name and Named, the ascents of Hallâc and Jesus, and a date drawn from the pasha's name.
The Amasya ghazal Remzî sent by letter to Emrî Efendi after a one-day visit in 1936: the mosques, the Yeşilırmak, the water wheels, the apples and Governor Tal‘at.
Eyüb Sabrî's ghazal counting what love has taken away: the broken glass of piety, Mecnun's desert, the lover with no daylight left and Sabrî whose patience is gone.
Gazi Hıfzî's ghazal to a sorrowful beloved: a face like a sun that never sets, the pupil of the eye that becomes a beauty spot, and the poet urging himself to write.
Hilmî Dede's didactic ghazal asking the purpose of worldly attachment: a guest's stay of a day or two, wealth that builds no fountain or bridge, a soul given to the beloved.
The only surviving ghazal of the grand vizier Şirvânîzâde Mehmed Rüşdü Pasha, signed Rüşdî and kept in Fatîn's tezkire: union and separation, earth and sky made one in rapture.
Hüsameddin's tahmis, written in Nelmî's voice, on the ghazal of the poet who drowned himself in the Yeşilırmak: separation, the Karbala of grief and a suicide foretold.
The only ghazal attributed to Mehmed I: five couplets that ask God for help though the world be hostile, recall the four caliphs and urge never turning from the enemy.
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.
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