Fedâî Baba's koşma with the refrain "in truth the Kaaba is the face of man": a poem that gives each rite of pilgrimage an inner meaning and seeks the Kaaba in man.
Mustafa Vâzıh's playful dialogue ghazal: a beloved who flees like a gazelle of Khitai, the double meaning of "şeh lā", envious wine and a trembling cypress.
Two couplets by Edâyî found together in three anthologies: the eyebrow as the crescent in the sky of beauty, and the shaved down likened to a Celâlî rebel rising in Rûm.
The ghazal Cûdî spoke in Mecnun's voice on seeing the Ferhad Mountain in Amasya: the mountain is Ferhad's, the desert Mecnun's; bride-price, halva and affliction, and Bîsütun.
The matla Kemalpaşazâde recited extempore to Çandarlı İbrâhim Paşa, who rejoiced at Göde Ahmed's death: the incident told by Âşık Çelebi and a friendship from the Amasya palace.
Three couplets from al-Mutanabbi's Lamiyya on the captivity of Konstantin, son of the Byzantine commander; an event Hüsameddin set at Amasya and the Marash question.
Harîmî's ghazal in which collyrium, violet and narcissus are humbled before the beloved: a flask that bows in prostration and a lover whose scars look like a leopard skin.
Two couplets recorded only by Âşık Çelebi: sound play aimed at the rival, the bitter water of tears, and the blind narcissus and deaf rose that imitate the beloved's eye and ear.
Latîfî's quotation from Kâmî's lost Yûsuf u Züleyhâ describing Zuleikha: hair black as unbelief, crescent brows, an elif for a nose and a moon wearing a black shawl for her.
Seyfî of Sinop's satirical couplet on the judgeship of Ağlasun going to Abdülhay: the town's name read as "let them weep" and the living-dead contrast hidden in the judge's name.
Three couplets of a Makâmî ghazal quoted by Sehî: a preacher in the mosque unashamed to buy wine from the taverns for the fair ones, seeking fame among the libertines.
Two couplets on the unity of God preserved by Hüsameddin from a ghazal Nelmî wrote in his last years, describing God as at once hidden and manifest.
The couplets Hüsameddin cites as Nigârî's ecstatic utterances: a claim to be peerless in love, with allusions to al-Hallaj's "Ene'l-Hak" and Moses' plea "Rabbi erinî".
Melîhî's opening couplet quoted in four tezkires and the second couplet preserved by Sehî: a censer burning in pity, a candle weeping blood and a pun on the double sense of "uzandı".
Senâyî's opening couplet built on the word "hâl": the invisible dot on the lip, a beauty spot on the face and a heart as dishevelled as the locks; a small, deft perfect pun.
A couplet and a line from Edirneli Nazmî's petition to Prince Mustafa: a former servant's request to be taken back into service and the words "forgive my fault or take my head".
Sirâcî's third elegy for Prince Mustafa: a seven-stanza murabba with the refrain "Sultan Mustafa has departed for the hereafter", and the sultan's heedless trust in enemies.
An âşık standing at the dâr on Balım Sultan's path: the wish to behold Sultan Cemal, çelebi of Hacı Bektaş, and a deyiş of devotion to Ali and Pir Balım Sultan.
The opening couplet of Eyüb Sabrî's kalenderî in the Merzifon Cönkü: a lover asking the beloved to lessen her cruelty, sometimes to promise and sometimes to be coy.
Hilmî Dede's kıt'a satirising the tithe officer Saraczâde Mehmed Yaşar Efendi: the beast living under God's bounty, the devil living till Judgement Day and the name pun.
Hüsameddin's improvised tahmis on the "bir değilse de" ghazal of the Amasyan grand vizier Rüşdî: the unity of opposites and two pen names meeting in one stanza.
The first quatrain of Erzurumlu Emrah's koşma in the Merzifon Cönkü: the cruelty of the fair and a heart too timid to plead; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: fire left to the moth and a lover sated with the water of union; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: ease in the abode of affliction and paradise hoped for through sin; original text, English prose and commentary.
The first stanza of Himmetî's semai in the Merzifon Cönkü: beauty veiled by God and the plea of a wretched lover; original text, English prose and commentary.
The opening couplet of Ârif's divan in the Merzifon Cönkü: captivating tresses and sorcerous glances; original text, English prose and commentary.
The opening couplet of Yesârî's semai in the Merzifon Cönkü: a hand cut off from the beloved's skirt and a withering bud; original text, English prose and commentary.
The first quatrain of a koşma by Dertli preserved in the Merzifon Cönkü: the black-lashed, pen-browed beloved, a remembrance never off the tongue, and a forlorn head.
The first quatrain of a divan by Âşık Ömer in the Merzifon Cönkü: questions to a heart that will plunge into love's sea, be tossed by fate and fade in the wind of death.
Gevherî's chain quatrain preserved in the Merzifon Cönkü: the nightingale who knows the rose's worth, the heart that cannot know its own, and the lover who does.
The opening couplet of Bâkî's ghazal preserved in the Merzifon Cönkü: Venus lays down her instrument to hear the melody the lover's heart plays on the harp of grief.
Dervişoğlu's deyiş of counsel with the refrain "Her daim bu yola çalışmalıdır": the minstrel as God's herald, Ali's path, nightingales singing for Hüseyin and Khidr's company.
Sıdkî Baba's deyiş of counsel with the redif "-maz imiş": tireless lovers, a bow strung to a true master, the court one cannot reach empty-handed, and the lamp lit from the Ahl al-Bayt.
Kul Hasan's lament in the voice of a father who lost five children: the Giver taking back His trust, Khidr who never came, Fate tearing down the nest and the earth asked to be gentle.
The first quatrain of Fethî's koşma of counsel in the Merzifon Cönkü: the world as a faithless lover who deceives with her finery and keeps a secret paramour.
In two Persian couplets that Âşık Çelebi gives to Hayâtî, the lover becomes the dust of the beloved's road and the earth beneath the paw of the dog at her door.
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