Four couplets of Sülûkî's ghazal with the refrain beni, scattered across three anthologies: love's brands as a patched cloak, a red-hot moon and a play on two ascetics.
In the couplet Deli Seyfî Bey of Amasya never stopped repeating, the speaker likens himself to Ferhad; Hüsameddin does not say whether the words were his own.
Praising a silver-bodied beauty, this couplet seems to tie the pen name Sîmî to the Gümüşlüzâde family name; Hüsameddin is unsure whether it is by Sîmî or about him.
The Persian verse rules of Halîmî's treatise on paronomasia: complete, defective, augmented, repeated, compound, end-varied and script cinas, with his commentary's examples.
The six-couplet mesnevi passage in which Âşıkpaşazâde says he is eighty-six and explains why he set out to write the legends of the House of Osman.
Turâbî's kıta for Hüftâdî Ahmed Bey, a governor of Georgian origin: couplets playing on "seventy" and the nickname "Yüzoğlu" that turn praise into a giant crying out at a fly.
Two couplets that Sehî quotes from Mevlânâ Türâbî: a soul trembling with the refrain "dir dir ditrer", a curl scattered on the cheek and a shadow on running water.
Saîd Sîret Bey's spring ghazal preserved in Fatîn's tezkire: spring snatched away by fate's polo stick, returning in shame, the chained madman and the pen name in the fourth couplet.
The one poem of the satirist Nihâd Bey to reach us: a ghazal that adds the poet's own voice, weeping on the mountain of affliction, to Ferhad's tears in the hills.
The judge of Mihaliç, sent back from Selim I's gathering, lays all the misfortune on the bad character of İshak Çelebi of Üsküp: a joking couplet and its âfâk-İshak rhyme.
Şevkî's kıta for a beauty of the Seyyid lineage: the Prophet's light on a face, the blessing it calls forth, and the curly down that scribbles over the black draft of the hair.
The only surviving couplet of Ârifî Ahmed Pasha: the believer who will not bow to the crowd, like the minaret that does not bend in the wind, and the two senses of "kâmet".
Kara Müftü İsmâil Hâtif Efendi's chronogram for the birth of his son Mustafa Vâzıh in 1177, hiding the year in the words "cānım oġlum"; his only surviving couplet.
Sebâtî's ten-couplet elegy on the death in 1291 of Nigârî's son Sirâceddin, naming him through the word "lamp" and hiding the year in the words "bî-cân ey dirîġ".
A four-couplet ghazal fragment by Remzî gathered from the tezkires: wine and grief couplets whose second line closes with a Qur'anic verse and which praise a vanishing mouth.
The one ghazal left from Sârım's lost divan: a body wasted into a reed pen, eyebrows inscribed on a banner's finial and a juggling sky that hides the moon and sun.
The twenty-eight couplets that open the book after the basmala: praise of God, of the Prophet as the “mirror of the essence”, the four caliphs and all the Companions.
Two couplets that Sehî, Latîfî and Kınalızâde give to Murad II: a ghazal opening that asks for yesterday's wine and music and ties the joy of the gathering to death.
The opening ghazal of Avnî's divan: five couplets praising a beloved whose face is the Eid crescent, hair the Night Journey, glance Moses' hand and lip Jesus' breath.
The prayer that opens the Sâhib Divanı: release from lovelock, eyebrow, down and beauty mark, a pun on Āl-i ‘Abā and the red rose, and a plea not to be mute on Judgement Day.
A couplet playing on the pen names Kelâmî, Sükûtî and Bezmî: speech is spoken, silence bestows gold, ringing too has its wealth; a witticism from Şâmî Mustafa Bey's gathering.
Niyâzî Abdürrahîm Efendi's only ghazal, preserved by Kınalızâde: a spring garden of hyacinth and rose, the heart's ship on an ocean of grief, and a kiss lost to the wind.
The couplet Müeyyedzâde Abdülhay Efendi spoke on being sent to Diyarbekir by Süleyman: "kazâ" as both fate and judgeship, and a judge's lament on going to Black Amid.
The mosque ghazal ascribed to Celîlî: an imam who turns his back to the mihrab at the sight of the beloved, eyebrow and prayer niche, and a reproach to those who worship for show.
Mihrî Hatun's muvaşşah kaside for Bayezid II, whose couplet initials spell the sultan's name and a prayer for him, with the redif "salṭanat" and its historical setting.
A seven-stanza müseddes by Gelibolulu Âlî, written during his brief governorship of Amasya in 1595, praising the city as a home of princes and a gathering place of saints.
Bayezid II's (Adlî) hymn on God's unity with the refrain "look": seven couplets on nature reviving in spring, trees standing at prayer and a preaching nightingale.
The only tevhid kaside in Münîrî's divan: forty-four couplets in mixed Turkish and Persian, opening in Arabic, on reason's helplessness before God's power.
Zeyneb Hatun's two-couplet kıt‘a preserved only by Sehî: the beloved's face as a verse of the Sura of Joseph, with beauty and love, cruelty and patience growing without end.
The one couplet of wisdom ascribed to Edip Tâcî: no affair reaches its end unless human planning agrees with divine decree, with Latîfî's commentary on it.
Tâcîzâde Sa'dî Çelebi's opening couplet preserved only by Sehî Beg: a drinking party whose night is brighter than day, and a wine cup whose lamp is lit from the sun.
Seven couplets from Hubbî Hatun's lost mesnevi: an inner dialogue that turns the formula of women "deficient in reason" to her advantage, saying criticism shames the critic.
Three couplets from the kaside Âfitâbî wrote after his removal from Prince Bayezid's circle: the eyelash's arrow, an arrow fallen short and a warning to the wheel of fate.
Sâfî's (Cezerî Kasım Paşa) seven-couplet ghazal with the refrain "to you": a sunless moon, sighs that move stones, crooked locks that lead straight, a beauty that enslaves sultans.
Basîrî's ghazal on the lover left neither well nor sick: rose and bud, the morning breeze jealous of the poet who kissed the beloved's footprint, and a lesson that maddens the wise.
Kara Fazlî's fifteen-couplet kaside of praise that lists the attributes and names of God and, in a mystical couplet of reversed words, tells how all being comes from Him.
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