Müeyyedzâde Abdurrahman Çelebi's most often cited ghazal: a love poem built on a torn collar, a hem caught on a thorn and the sword of eyelashes, of which three couplets survive.
Gelibolulu Sürûrî's ghazal known for its pen-name couplet, in which the poet whose name means "joyful" says he never smiled; Âşık Çelebi read it as an augury of his teacher's fate.
Cenânî's three-couplet ghazal fragment preserved by Latîfî: reproach to the tearless eye, teasing of the fairy who befriends the rival, and the honour of being called "my dog".
Zârî's couplet teasing whoever gave wine its name: the image of the daughter of the vine, a cursing epithet, the rhyme of harâb and şarâb and two possible readings.
Two couplets preserved in Ahdî's Gülşen-i Şuarâ: hair around the beloved's neck likened to a halo around the moon, and a breast cut to pieces by the sword of grief.
Two couplets from Ahmedî's İskendernâme built on the hedgehog and the sable: spines that guard a life, a softness that spills blood, and the price of sparing an enemy.
The pen-name quatrain behind Elçin's view that Gevherî's name was Mehmed: the confidant of love, the endless pain of separation and the forlorn servant bowing to the beloved.
Four couplets on the virtue of keeping secrets from Hızrî's mesnevi Âb-ı Hayât: the wise set against the ignorant, the pun on "dil" as tongue and heart, and the man of valour.
Kadı Burhaneddin's ghazal couplet likening his heart to Amasya: the beloved's eye lays the heart's city waste, and the image of that same eye could rebuild it.
A seven-couplet mesnevi by Abdurrahman Kâmil Efendi on a beauty who seized his heart while he was giving counsel: cypress stature, brows like Yemeni swords, the madrasa of love.
Selîmî's ghazal of battle: an enemy army stretching from Qaf to Qaf, a sword drawn like the dawn and a heart pure as a sword's mirror, quoted by Latîfî as proof of his valour.
The voice of a gnostic who finds everything within himself: Fedâî Baba's koşma with the redif "I found within my self", Adam's names and the Hurufi line.
Edâyî's opening couplet quoted by Hüsameddin: holding the beloved dear together with her rivals, as one wears the rose with its thorn; idiom, the rose and thorn image, repetition.
Çeşmî's opening couplet comparing the down on the beloved's face to a royal decree and alluding to the "hatt-ı Pâdişâhî" of the calligrapher Pâdişâh Ahmed Çelebi.
A three-couplet poem of self-praise in which the poet offers the thirsty the limpid water of gnosis; whether it belongs to Âbî or to Kelâmî is open to question.
The 78-couplet kaside "Harb-i Umûmî" that Cûdî wrote out in his own hand in 1915 for Hüsameddin: the law of fire and of war, Russia, England and the First World War.
Kemalpaşazâde's Turkish poem praising Amasya and its Sevâdiye quarter: a river like Kawthar, soil fragrant with amber, the pupil of the world's eye and the mole of seven climes.
Âkif's na't from his divan: praise of the sacred law and the Prophet, the battlefield pictured as a rose garden, the four imams, the Şeyhülislam and an orphan's plea.
Al-Mutanabbi's couplet on Sayf al-Dawla encamping in the suburbs of Kharshana; the name Hüsameddin tied to the castle of Amasya, and the Charsianon question.
Harîmî's ghazal of complaint against a faithless beloved: a heart captive to hair black as Leylâ's, foot-dust asked of the breeze and a "welcome" to the sorcerer eye that drinks blood.
Two couplets Âşık Çelebi quotes from Zeyrekzâde Ânî: facial down likened to the evening of death, and the tezkires' favourite pun on the narrow waist before a crystal mountain.
The supplication opening Kâmî's lost Yûsuf u Züleyhâ: five wishes, each tied to a scene of the Joseph story from the well to the throne, and the variants in Latîfî and Âşık Çelebi.
Şikârî's libertine opening couplet, preferring the beloved's street to the palace of paradise and today's heart-stealer to tomorrow's houris, built on a tomorrow-today contrast.
Five couplets of Derûnî-i Sânî's spring kaside answering Âgehî: the garden becomes a sea, flowers sails, the cypress a mast, jasmine the rigging, and the ship of the body runs aground.
The couplet Seyfî of Sinop added to his petition to banish a forger named Tursun: a pun on the name and the verb "let him stay", and the couplets Bayezid II looked forward to.
Makâmî's ghazal, headed "Cevâb-ı Makâmî" in one manuscript of Âşık Çelebi: the hard book of love, a lover with only his life to give, and a rival likened to a donkey's skull.
Mustafa Vâzıh's recez ghazal with internal rhymes: a stature that brings doomsday, glances that shed blood, eyebrows and eyes likened to the suras Nûn and Kâfirûn.
Nelmî's two-couplet kıt‘a addressed to his heart: plain advice that the friend one seeks lies within oneself and that no faithfulness is found among the world's beauties.
Nigârî's four-line satire against the scholars of Amasya: fodder for the preacher, a saddle for the donkey, a morsel for the ascetic, and the targets Hüsameddin names one by one.
Seven couplets from Melîhî's kaside arranged by the letters of the alphabet: the cypress that imitated the beloved, earth and the Pleiades, and a last couplet woven of calligraphy.
The Turkish couplet of the painter Şahkulu, pen name Penâhî: a lover who keeps the wound in his breast like a rose as a beauty's keepsake, his address to his tears, a colour image.
Zamânî's opening couplet found in three tezkires: a heart grown dusty because of the down on the cheek and a world-showing mirror gathering rust as the beloved's beauty fades.
Senâyî's two couplets on sweetness and a stony heart: speech that dazes the sugar-seller, a lip that colours the ruby, and a lover offering his yellowed dust as litharge.
Three couplets surviving from Edirneli Nazmî's qasida in praise of Prince Mustafa: a wish to serve at his door and the hope of conquests from East to West in his reign.
Nisâyî's second elegy for Prince Mustafa: Hürrem Sultan as the "Russian sorceress", a curse on the mufti, the sultan reminded of the hereafter, and a mother's grief.
Hasbî's seven-couplet chronogram on the death of Prince Mustafa: "tokuz yüz altmış" (960), the two texts in Âşık Çelebi and Kınalızâde, and the language of submission.
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