Zârî's matla on the wound that waits for the beloved's arrow as a balm, and Latîfî's response poem on the same phrase "red-mouthed": images of arrow, wound and rosebud.
Ahmedî's ghazal from the Mecma'ü'n-Nezâ'ir: cruelty taken as grace, the mouth as a point, the bent stature of the violet, and the play on âlem and alem.
Kadı Burhaneddin's tuyugh of wisdom on worldly life: the world is a passage through which all who come pass on, yet for the foremost in valour it is capital.
Abdurrahman Kâmil Efendi's fifteen-couplet kaside in two different metres: the virtues of a learned, eloquent beauty praised with references to Fuzûlî and Nef'î.
A Persian couplet by Selîmî: a heart that refuses the kingdom of the world offered to it and accepts only the pain of love, a choice voiced by a real sultan.
A poem of hidden knowledge woven with letter and number symbolism: Fedâî Baba's lesson beginning with Alif, the seven verses of the Fatiha and 28 letters.
Edâyî's opening couplet built on a pun: the lover who finds the world-adorning beloved not by searching the world but within his own soul; the play on cihân-ârâ and cihân arayı.
Cûdî's 43-couplet aruz translation of Lamartine's "Le Lac": the lover who begs the bird of time to hold its wing, the memory of the lake, and French Romanticism in the language of the divan.
Kemalpaşazâde's Persian kıt‘a from the preface of the Nigâristân: a boasting poem ranking his own work above Sa‘dî's Gulistan and Jami's Baharistan.
Harîmî's ghazal with the refrain "yeter": locks that afflict the head, the arrow of a glance as fate, passion worn as crown and robe, and God's help against the rival.
The camels of Kâmî's lost Yûsuf u Züleyhâ: humps like mountains, pillarless bodies hauling Mount Bîsütun and a nature likened to the contented and the generous.
The ghazal the Türk Edebiyatı İsimler Sözlüğü assigns to Seyfî of Sinop: a brow that grants safety like a tuğra, hair cast like a sipahi's lasso, and an uncertain attribution.
Mustafa Vâzıh's ghazal opening with an image of coffee and sweets: a double meaning on "ḳanda", the sword of the eyebrow and the black mark against the evil eye.
The ghazal with the refrain "aglasun" that Nelmî gave Hüsameddin at their last meeting: a complaint woven from the wine of grief, the Karbala of sorrow and the fire of longing.
Nigârî's couplet telling the physician not to ask the cause of his pain: a secret of love that cannot be disclosed, and a line Hüsameddin cites as an example.
Melîhî's answer to Mehmed II, who asked why his teeth had fallen out: stones thrown at a lover who whetted his teeth for moon-faced lips, and a jest on the idiom "to whet one's teeth".
Two couplets by Senâyî in Kınalızâde and Beyânî: locks like a zunnar belt, a fiery cheek, a sigh equal to unbelief and heel-iron prints mistaken for eyebrows on the lover's face.
A short reproach in eight-syllable lines with the refrain "neyleyim neyleyim": a beloved who does not keep faith, failing limbs, and a grave dug in the Friend's village.
The first couplet of Eyüb Sabrî's aruz semai in the Merzifon Cönkü: the poet advising his heart to love the pearl of the age, the laughing rose in the garden of beauty.
Hilmî Dede's rhymed answer to those who asked his age: ninety, ten short of a hundred, the remaining ten to be granted by God, and an age at odds with the register.
The opening couplet of Erzurumlu Emrah's semai in the Merzifon Cönkü: an inner self burning in love's fire and the soul caged like a bird; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: love as misfortune and calamity, and an angel-natured youth; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: God who knows all that comes and every deed of His servant; original text, English prose and commentary.
The opening couplet of Ârif's Güfte in the Merzifon Cönkü: a beloved who grew from a child into a cypress; original text, English prose and commentary.
The first quatrain of a koşma by Dertli preserved in the Merzifon Cönkü: hearts burning like moths in the dark night and roses blushing at the nightingale's cry.
The first two lines of a poem by Âşık Ömer in the Merzifon Cönkü: a lover who asks to see the beloved's beauty and to pluck a rose from a cheek opened rose upon rose.
Dervişoğlu's deyiş of counsel to the heart: a heart that thinks itself wise, a secret told to the ignorant, a stream crossed instead of the ocean, and the inn of this world.
Sıdkî Baba's devriye: the soul issuing from the light of Muhammad and Ali, roaming as sea, rain, nightingale, Adam and Majnun, and arriving through the cem of the Forty at Hacı Bektaş.
The first quatrain of Fethî's koşma to Gülfadik, young beauty of the town of Merzifon: olive eyes, a wish to be her sacrifice and a love poem rooted in place.
Âşık Çelebi has Hayâtî recite this couplet as he boards ship for Egypt: casting his heart to the open sea, the traveller leaves his affairs first to the shah, then to God.
The nefes "Anda hasıl oldu güruhu naci", bearing the pen name Kul Himmet but also credited locally to Kul Hüseyin: known as the answer to a question Kul Hüseyin posed.
Derviş Edna's nefes with the refrain "one Fatiha and three İhlâs": a dervish seeking the essence of the Qur'an in its letters, the ninety thousand words and the verses of the Fatiha.
Siyâbî's couplet on the lover who runs on the beloved's road and cannot mend himself: the verbs yilmek, oñmak and oñarmak, a proverb on haste and a tailor's work of mending.
Two couplets from Ehlî's ghazal with the refrain eline: a head laid on the path and refused, the idiom of taking one's head and going, lovers like the poor at a king's hand.
Cevherî's couplet that addresses a beloved in images of light and ends in advice: the terms mantık and hikmet and two readings of the warning against the commons.
Bahâeddîn Mehmed Efendi's couplet on a God-given love and the hoopoe's cry: the reading of the word sebük and the possibility that bahâ is the poet's pen name.
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