The Arabic kıt‘a in İnepazarlızâde İsmâil Hakkı's treatise Müzekkiretü'l-Evkâf: of uncertain authorship, praise addressed to the Prophet or to Sultan Abdülmecid.
Two couplets by Eşref Abdurrahman Efendi likening the world to a garden: a gardener of time whose spring and autumn please no one and an arrow that startles the heart's bird.
The song text the Amasya calligrapher Emnî wrote for Abdülkâdir-i Geylânî after joining the Kadiri order: a name repeated in every line and the poet's counsel to himself.
The famous ghazal that, according to Riyâzî, circulated under another Ümîdî's name but belonged to Receb Ümîdî of Merzifon: arrow lashes, bow brows, night visions and a Kaaba.
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".
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.
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 one surviving couplet of Harîmî Abdullah Çelebi: a lover made captive by the heavens who chooses to take the road of calamity, calling it the way to the beloved's door.
Hıfzî Abdurrahman Efendi's ghazal with the refrain "olmaz mı", saved from Abdî's lost tezkire: lines split by internal rhyme, a lover as petitioner and Hıfzî in separation.
The Persian-Arabic na't of Yûsufefendizâde Abdullah Hilmî Efendi, quoted by Müstakimzâde as set to music: Arabic-script text, its reading and the refrain "seyyidinâ Mustafâ".
Dervîş Mehmed Çelebi's Persian ghazal for a handsome barber: images of mirror, comb and shop, the mirror passed from hand to hand, and the simile of mirror and anvil.
The ghazal of Pîrî Mehmed Pasha (Remzî) most quoted by the anthologies: the water of life, an ascetic leaning on his rosary and eyebrows likened to an imperial monogram.
The four-couplet ghazal of Sânî, the young poet remembered for his beauty: tears like dew on the eyelashes, arrows counted as balm and a last couplet on man's single breath.
The opening couplet Siyâbî, tailor of Merzifon, composed as a nazire to Necâtî: the candle and moth image turned into a question of naming, with pervâne rhymed on yâ ne.
The only couplet left by Câmî Ahmed Efendi, judge of Amasya: the beloved's arrows lodged in the body turning every bone into a lamp, and the two meanings of the word tîr.
Four couplets from the kaside Ca'fer Efendi of Zara presented in 961 to Muzaffer Efendi, new judge of Amasya: praise that plays on the names Ca'fer-i Sâdık and Ca'fer-i Tayyâr.
Kara Hâfız's famous nazire to a ghazal of Şeyhî: the tavern door found open, the morning cup, Noah's long life and an adviser answered with the phrase sincere repentance.
The only ghazal opening of Zekâî preserved by Latîfî: a couplet reproaching a gathering that lacks a moon-faced cupbearer and a sweet-voiced musician.
Rahîmî's ghazal fragment on the rusted mirror of the heart, Alexander's mirror and the cup of Jamshid: Kınalızâde's two couplets and the third added by Hüsameddin.
The Karbala elegy with the refrain "weeps today" that Resûl Sâmi improvised in Najaf on a day of Muharram while joining the mourning of Iranian pilgrims.
Resîm's ghazal with the refrain "I have become", preserved from Abdî Efendi's anthology: a lover in exile longing for a greeting, his jealousy and his final retreat into seclusion.
Nine couplets from Emîrî's kaside for Bayezid II: praise that unites the sultan and the Sufi Bâyezîd-i Bistâmî in one name, and the differences between the anthologies.
Ehlî's kıta to the chief judge Bostanzâde when the judgeship of Gelibolu went to another, and the reply in verse: a play on ehl and nâ-ehl built on his pen name.
Two couplets from the ghazal Cevherî wrote for Pîrûze, the youth he loved: a turquoise gravestone, a lover who denies the down on the face, and the story behind them.
Bâyezîd Halîfe's famous matla that puts the unity of being into one couplet: divine beauty seen in the beautiful, Latîfî's explanation and its tie to Câmî.
Bahâeddîn Mehmed Efendi's couplet likening the training of the self to an untrained falcon: a hunting image in the language of the Sufi orders and a teacher's voice.
The only couplet left from Shaykh Niyâzî's lost divan of a thousand ghazals: the eyebrow as hâcib, both brow and doorkeeper, guarding a garden of beauty with two thieves in its lap.
The first couplet Şeyhî chose for Kınalızâde's anthology: a lover who treats standing at the beloved's threshold as a rank, the words kıyam and makam, and a musical echo.
Three couplets from the kasides Sıdkı Mustafa Pasha presented to Kaptan Yusuf Pasha: a cypress in the garden of state, elixir in a threshold's dust, a world-revealing mirror.
Siyâmî Ali Efendi's response to a ghazal by Hızır Efendizâde Mehmed Efendi: a lover refusing the usual comparisons, a judge who will not flatter, and poverty kept hidden.
The Arabic verse signature Ümm-i Veledzâde Abdülazîz Efendi wrote beneath a court document as judge of Manisa: the document's soundness, its truth and his name in three couplets.
Three couplets of Müeyyedzâde Abdî preserved by Âşık Çelebi: a lover binding the mouth of a speaking wound, Ferhad against granite, and moles outshining the sky.
Two Arabic couplets found in the en-Nevâkıd manuscript Emrullah Efendi copied, not confirmed as his: glory inherited from forefathers and a lineage in the hands of the wicked.
Rif'at Mehmed Efendi Gürcüzâde's only ghazal reached Hüsameddin through Kilisli Rıfat's copy from an Istanbul anthology; its opening couplet has a gossiping decanter.
Refîkî's opening couplet preserved by Latîfî, Kınalızâde and Hüsameddin: a tulip-cheeked beauty with roses in her hair, the two senses of âl and the dish of beauty.
The opening couplet of Rûhî Fâzıl Çelebi, who died young, preserved by Latîfî and Kınalızâde: empty eye and heart, a soul full of an image, a beloved in the fourth heaven.
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