Cevherî's matla found in three sources: the tiny mouth that teaches lovers the science of concealment, and how the readings ihfâ and ahfâ turn wit into Sufi verse.
The conceit of candle and moth tied to Sufism: in Bahâeddîn Mehmed Efendi's couplet the heart's fire is capital for salvation, and the word tut reads two ways.
A couplet left from a kaside by Şeyhî: the patron's generosity turns a drop into a sea and his wrath a sea into a drop, a reversal built on the words katre and derya.
Sıdkı Mustafa Pasha's couplet likening the beloved's lip to Jamshid's cup and her cheek to Alexander's mirror, and praying that the rival may not look into them.
A four-couplet Arabic piece attributed to Emrullah Efendi: do not trust the world, the ship of patience, the verse on Noah's ark and a last couplet taken from Bânet Suâd.
When the beloved goes walking with the rival the lover's soul cannot settle; Hüsameddin mistook this opening couplet of Refîkî's for the refrain of his famous tercî'-bend.
Rûhî Fâzıl Çelebi says the fire of love outlasts death and will scorch the grave if the rent in the breast is not sewn up; Hüsameddin reads the couplet differently.
In this kıt'a describing the first down on a face in the language of calligraphy, Sülûkî uses the word gubâr for both dust and a fine script.
The poem with the refrain "'Osmân" that follows Osman Gazi's election as bey and praises him as the warrior who girded on the sword of faith and became the key to the gate of Islam.
A ghazal of renouncing the world that Kınalızâde gives to Türâbî and Latîfî ends with his own pen name: two couplets, textual variants and the trace of a confused attribution.
Sebâtî's seven-couplet chronogram on the death in 1303 of his sheikh Mîr Hamza Nigârî, "the sun of the constellation of saints", with the year hidden in its last line.
The opening couplet Latîfî praised as Remzî's own invention: the gathering a sugar field, red wine a parrot, the cup a nest and the bubble on the wine an egg.
A catechism in verse: thirty-two didactic couplets on God's essence and attributes, on submission to destiny and on the vision of God in the hereafter.
An opening couplet recorded only by Sehî Beg, spoken by Murad II on the spur of the moment: a gathering where harps play, a dancer dances and the pavilion shakes.
A lover searching for a way to be heard: the ant that cannot reach Solomon, the candle weeping in the gathering and a torn collar that shows the wound of parting.
Sâhib's na‘t that opens with a wine gathering: the rebuke of ascetic reason, the need for intercession, the shadowless body and Qur'anic phrases woven into praise.
Niyâzî's opening couplet: the moon-faced beloved who won the lovers' hearts yesterday and the poet hurt at being forgotten; the play on "hâtır" in two idioms.
Mihrî Hatun's thirty-two-couplet kaside praising Bayezid II as the sun and asking his protection from Amasya, found in the divan copy that bears his seal.
A 55-couplet mesnevi in the form of a letter of separation, written in 1892 by Abdurrahman Kâmil Efendi in the village where he went to rebuild Şeyh Şâdî's tomb.
Bayezid II's (Adlî) seven-couplet praise of the Prophet Muhammad, with the levlâk allusion, the comparison with Joseph and a play on his pen name and justice.
Münîrî's seventy-one-couplet na‘t in mixed Turkish and Persian: allusions to the Ascension and miracles, two openings, the four caliphs, a nazire to Ahmed Paşa.
The only surviving Persian couplet by Zeyneb Hatun: the long hair lays its head at the beloved's feet because it loves the beloved's stature, in its forms in Latîfî and Âlî.
The only complete ghazal by Edip Tâcî: an eight-couplet response to Şeyhî, written on the same model as Mihrî Hatun and Necâtî; a garden face, a drunken eye, the Hüseynî mode.
Tâcîzâde Sa'dî Çelebi's opening couplet that competes with Mecnun: the lover shut in the corner of separation is madder than Mecnun roaming the desert.
The comparison of prayer from Hubbî Hatun's mesnevi quoted by three anthologies: four couplets likening prayer to Joseph and the poet to the woman who came to buy him with yarn.
The opening couplet the anthologies always call Âfitâbî's most famous: a tooth mark on the apple of the beloved's chin, the peach image and two readings of one word.
Sâfî's (Cezerî Kasım Paşa) five-couplet ghazal of the morning of union and morning wine: heart and tongue, Joseph, Job and Noah, and the rose season against the ascetic.
Basîrî's ghazal on the refrain "itmez": a mouth that takes the lover's soul and denies it, cruelty worse than a rival's, fortune that withholds the beloved and eyes scattering pearls.
Kara Fazlî's na't that opens with an Arabic couplet, praises the Prophet as padishah of the realm of prophethood and alludes to the poet's own epithet with "yüzi ḳara".
Müeyyedzâde Abdurrahman Çelebi's ghazal with the refrain "see", preserved in a poetry miscellany: the beloved entering the bath, the parrot before the mirror and the crescent lover.
Gelibolulu Sürûrî's barbed reply to Gubârî, who claimed his poem could have no equal: a response couplet that began the quarrel later continued over Sürûrî's tutorship in Amasya.
Zârî's matla for a youth in a golden üsküf cap, recorded by Latîfî, Kınalızâde and Hüsameddin: a headdress that glitters with images of moon, sun and candle.
Ahmedî's ghazal from the Mecma'ü'n-Nezâ'ir: the fire of love, the candle and the moth, form against meaning, and a last couplet that names the poet through the Qur'anic verse on Abraham.
Kadı Burhaneddin's tuyugh naming Amasya and Niksar: beside an ambition that roams the two worlds, the cities of rival emirates appear as small targets.
A nine-couplet mesnevi by Abdurrahman Kâmil Efendi in which the beloved answers the lover's letter: the address "Ḫâcecigim", a promise of union and a closing play on the pen name.
Two couplets from a Persian ghazal by Yavuz Sultan Selim: the beloved's threshold valued above the throne of Caesar and Kāvūs, and a victory credited to God.
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