Şeyhî's opening couplet found in both Kınalızâde and Hüsameddin: a drinker who says wine seems forbidden again, the beloved's ruby lip, and the drop denied by both.
Sıdkı Mustafa Pasha's opening couplet drawing from the world's transience a call to pass the cup in the fields, and the double reading of ayak as cup and foot.
Refîkî's satirical couplet complaining of the mud of Edirne and the famous reply of Sâgarî of Edirne likening him to Satan: an exchange on the two senses of âb u gil.
Rûhî Fâzıl Çelebi's opening couplet likening a lock of hair to a wick and the face to a sun that burns without one, Latîfî's reply, and Hüsameddin's merging of the two.
Sülûkî's opening couplet preserved only by Hüsameddin: a heart made drunk by the memory of the cup of the beloved's lips, turning to wine in the house of love's sorrow.
Six couplets with the refrain "'Osmân" written for the first Friday sermon read in Osman Gazi's name at Karacahisar: lineage, holy war, justice and a state proclaimed for all eternity.
A couplet by Remzî asking a stone-hearted beloved to "build" his heart, turning a Turkish idiom into an image of building: a structure raised without heart cannot last.
The book's first na't: the Prophet first in creation and last to be sent, the new moon of Muharrem in a dark night, and a poet who leaves his wish unspoken.
Five couplets with the refrain "şerh eylemez" on a hidden state of the heart that no tongue or interpreter can explain, in a ghazal ascribed to Murad II.
Every couplet ends on wine in this ghazal of spring and the tavern: wine like the lip, a gathering lit by the cupbearer's face and Avnî robbed of his cash while lying drunk.
Sâhib's kaside on the Sinjar campaign of Hasan Pasha, governor of Baghdad: good news that builds a pavilion in the heart, Rustam and Farhad, Karbala's revenge and a chronogram.
Mihrî Hatun's eighteen-couplet eulogy for Prince Ahmed, built on rose, hyacinth, tulip and nightingale conceits and closing with prayers for his long life.
Adlî's ghazal with the refrain "to me": friends turned enemies, a mountain weeping for the lover, the sun hidden behind a cloud of locks and the bîzâr / bâzâr wordplay.
Münîrî's forty-couplet Karbala elegy for Hasan and Hüseyin opens with a reproach to the wheel of heaven and draws all of nature, from Euphrates to sun, into mourning.
A response to Necâtî kept in the Pervâne Bey Mecmuası under the name "Sa'dî Çelebi Efendi": a body cracked by tears and a lover whose only visitor is death.
Hubbî Hatun's three-couplet mesnevi in İmâdü'l-cihâd: a short poem of counsel that calls holy war the Prophet's craft and counts those who love the world's show as blind.
A two-couplet admonition that Hüsameddin attributes to Âfitâbî and no other source preserves: a call to wake from heedlessness and the image of the five-times nevbet.
The opening couplet of Sâfî (Cezerî Kasım Paşa) quoted by Latîfî, Kınalızâde and Beyânî: warm against cold, strewing against opening, and a rose that can be read two ways.
Basîrî's ghazal of the free-spirited rind: a heart burning with the night's candles, company in the tavern with those who lost all, a prayer for incurable pain and blame chosen over safety.
Kara Fazlî's twenty-three-couplet kaside of counsel on the transience of the world, set out in contrasts such as palace and grave, sable fur and shroud.
The story of how Müeyyedzâde Abdurrahman Çelebi named to Selim I, in a single couplet, the authors of an anonymous paper accusing him of siding with Prince Ahmed.
Gelibolulu Sürûrî's couplet reading the halo around the moon as a protective circle drawn by prayer, in which the moon takes refuge from the beloved's bewitching eye.
Two Arabic couplets Hüsameddin attributes to al-Mutanabbi, praising a town that gathers every beauty, ringed by heights whose horizons are pointed like the moon.
Two couplets Ahmedî gave as an example of tevşîh in his treatise Bedâyi'u's-sihr: its red letters yield a hidden couplet with the poet's name, and its opening words removed, a rubai.
Kadı Burhaneddin's tuyugh naming Syria and Rum: the words of a ruler who is iron to the enemy and wax to the friend, and the trace of his alliance with Barquq and Bayezid.
Abdurrahman Kâmil Efendi's elif-nâme: a kaside in which each line begins with a letter of the Arabic alphabet, setting the twenty-nine letters from elif to ye in a plea to the beloved.
Two couplets from a Persian ghazal by Selîmî: an opening couplet making his dispersal on campaign serve the gathering of hearts, and the conquest of the realm of time.
Fedâî Baba's eulogy of Ali: five quatrains of praise woven with al-Aliyy al-A'la, Hal ata, la fata, the voice in the crane and the four gates and forty stations.
A sigh that tours the nine heavens without finding the beloved: a couplet given by Hüsameddin to Edâyî Receb Bey and by Kınalızâde to Kazzâz Bekir Edâyî of Istanbul.
Kemalpaşazâde's famous kıt‘a built on the pun "sakla malı / saklamalı": advice to guard one's wealth and a satire on an age in which even perfection has turned into wealth.
Harîmî's ghazal that opens with the rose and thorn motif: a treasure of love in the chest of the breast, an abdal sleeping by the furnace and a poet like a falcon never short of prey.
A couplet in mesnevi form quoted by Âşık Çelebi from Kâmî: reason, whose word fails in the court of love, is likened to a dismissed judge, the poet's own profession.
The only ghazal in the mütekarib metre in Mustafa Vâzıh's Dîvânçe: Arabic rhymes "mā-meżā" and "mā-cerā", a Persian couplet and locks spilling from under a fez.
The joint ghazal with the refrain "aşk" that Nelmî and Sabrî wrote by composing couplets in turn: divine unity, the inability to comprehend, and the ineffable station of love.
Nigârî's couplet on the huma of the heart roaming alone in the desert of love: a comparison with the Anka and a pun built on two meanings of the word "tek".
The libertine couplet Latîfî says was always on Melîhî's lips: drink wine, live pleasantly, break no hearts, for the Generous One's work is generosity; a creed of uncertain authorship.
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