The famous two couplets of Müeyyedzâde Abdurrahman Çelebi cited in four biographical anthologies: an invitation to wine against the Sufi's water, and Kınalızâde's charge against Hayâlî.
Two couplets of Gelibolulu Sürûrî cited in four anthologies: the heart that darkens the world with sighs to avoid seeing rivals, and the beloved who keeps people awake so none dreams of him.
Zârî's couplet teasing silver-bodied beauties and bankrupt lovers: the double sense of sîm as silver skin and silver coin, the word zelle-bend and a jest from everyday life.
Ahmedî's ghazal with the refrain "ey dost": cruelty from the beloved counted as faithfulness and pain as cure, the eye as a pearl diver, and a double meaning on "âşinâ".
Kadı Burhaneddin's tuyugh naming Timur and Toktamış: a ruler who submits to what was written in pre-eternity and trusts in God defies the great powers of his age.
A Persian couplet by Selîmî: his only regret, having sought kingship far from the dust of the beloved's door, and the contrast of dust and royal splendour.
Book learning and hidden knowledge set apart: Fedâî Baba's three-quatrain koşma on the "ilm-i câvidan", the spiritual guide and the hatt-ı istivâ.
The joint ghazal Mustafa Vâzıh composed with the grandson of Âkif of Amasya, inspector of the Holy Cities: a beloved swaying in a mosque, tears like a fountain.
Edâyî's couplet of complaint against the heavens: Mercury granting fortune to the ignorant and the butcher throwing meat to a dog; the double sense of tîr, arrow and planet.
Cûdî's kaside on Merzifon and its continuation: the praying mountain, Tavşan Mountain as a kneeling camel, the lovesick clouds, Kara Mustafa Pasha's water and the mosque of his youth.
A Persian chronogram ascribed to Kemalpaşazâde for his teacher Molla Lütfî, executed on a charge of heresy: the words "ve-le-kad mâte şehîd" give the year 900.
Harîmî's ghazal with the refrain "ile bahs̱": a rose that cannot rival the beloved, an infidel rival, a lover who takes the field like Rüstem and poetry a thousand divans cannot describe.
Two couplets Kınalızâde and Beyânî assign to Zeyrekzâde Ânî: eyes shedding blood in separation, Judas-tree blossoms strewn on a gathering of grief, irises coaxing a rosebud.
Latîfî's quotation from Kâmî's lost Yûsuf u Züleyhâ describing horses that roll up the road like a scroll, swim like birds, run like gazelles and break a bird's wing.
The verse letter Seyfî of Sinop sent to his son Nûh, a student in Istanbul: short rhymed counsels on zeal for learning, Persian, prayer and a good name, and the state of its text.
A twenty-one-couplet poem bearing Makâmî's name, added to one manuscript of Mihrî Hatun's divan: praise of Mihrî, a lover dead of love and the Makâlî-Makâmî attribution debate.
Three couplets surviving from a ghazal by Nelmî with the refrain "âleme": a Sufi-coloured view of love that sees every beauty in the world as the reflection of one beloved.
The quatrain in syllabic metre that Hüsameddin found "very poignant": the voice of a lover left without will from calling on Nigâr, the name behind Nigârî's pen name.
The kıta in which the old Melîhî explains why he walked home without his stick when drunk: two staffs, one of wood and one of pomegranate-red wine, and a witty play on body and spirit.
Senâyî's pen-name couplet: only a master money-changer knows the assay of verse, and no common man grasps a refined meaning; read alongside Âşık Çelebi's harsh verdict.
A couplet from Edirneli Nazmî's chronogram on the deaths of Prince Mustafa and his son: an event never to be forgotten, spoken of on every tongue until the Last Day.
Fragments of Sirâcî's eulogy for Prince Mustafa: a prince worthy of the throne, betrayal, a command sent to the beys of Anatolia, and the vizier who annulled it.
A well-known deyiş with the refrain "incinir mi": the friend's road travelled with love, man as the greatest Mushaf, the nightingale and rose, and the state that cannot be hurt.
The opening couplet of Eyüb Sabrî's ghazal in the Merzifon Cönkü: the lover crowned with calamity the moment he loved the moon-faced beloved, and the crown-calamity contrast.
The couplet from Hilmî Dede's satire on his rival Hacı Bayramzâde Sıdkı Efendi that spread among the people: the man who pokes his nose into everything and the ducks.
A ghazal published a year before the death of Hüsameddin, author of the History of Amasya: a reproach addressed to the city he gave his life to, as if to a beloved.
The opening couplet of Erzurumlu Emrah's divan in the Merzifon Cönkü: a longing not for wine but for the tavern and its gathering; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: the wine of parting, swallowing blood and a question put to fate; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: a confession of not knowing before the transient world; original text, English prose and commentary.
The opening couplet of Ârif's divan in the Merzifon Cönkü: a life never once freed from grief; original text, English prose and literary commentary.
The opening couplet of Yesârî's Kalenderî in the Merzifon Cönkü: the endurance of a fallen servant and the refrain efendim; original text, English prose and commentary.
The first quatrain of a koşma by Dertli preserved in the Merzifon Cönkü: an ill-starred servant whose road fell into darkness reproaches God for the world's hardship and cruelty.
The first quatrain of a divan by Âşık Ömer in the Merzifon Cönkü: a lover cries out to his friends that bloodthirsty robbers have taken his rose-faced, dagger-wearing beloved.
The first quatrain of a koşma by Gevherî preserved in the Merzifon Cönkü: a lover who tests himself, a heart weary of a fickle beloved, and an illusion seen too late.
Dervişoğlu's reproachful love deyiş with the redif "dilber": a sorrowful beloved, rivals blocking the way and a quatrain that brings Edna, Fakır and Biçare together.
Sıdkî Baba's deyiş of exile under the pen name Pervane: the cup of separation, eight months of longing, ordeals fulfilled and a young dervish asking his friends' blessing to return.
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