Senâyî's opening couplet kept only by Âşık Çelebi: down that rusts the mirror of the cheek, a sun that makes no peace with shadow and a moon face that needs no ornament.
A deyiş of the vow with the refrain "inşallah": the 124,000 prophets, dying before death, coming to this inn three or five times, the Elest assembly and those who came from Yemen.
The opening couplet of Eyüb Sabrî's ghazal in the Merzifon Cönkü: beauty told through its effect, changing the state of all who see it and striking their tongues mute.
The opening couplet of Erzurumlu Emrah's Kalenderî in the Merzifon Cönkü: a prayer for union with the beloved of the intoxicated eyes; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: the cypress-tall sultan of beauty and his maddening eyes; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: the house of the heart torn down by man and rebuilt by God; original text, English prose and commentary.
The opening couplet of Ârif's Güfte in the Merzifon Cönkü: a sovereign who left as commander of the army of Islam; original text, English prose and commentary.
The first stanza of Dertli's müseddes in the Merzifon Cönkü: a lover who rends his collar, becomes an abdal and sacrifices himself on love's path; a possible Kerbelâ elegy.
Two couplets of Âşık Ömer's prayer gazel in the Merzifon Cönkü: an appeal to God, for the love of the Prophet, not to be dependent on men, the unjust and ignorant, or enemies.
Sıdkî Baba's deyiş under the pen name Kul Pervane: a greeting from the beloved, the nightingale in the Friend's garden, the abdal's cloak and the cloak of reputation thrown off.
Kul Hüseyin's answer to Molla Hasan's questions: the zealot's washing, the rite that cleanses the believer, Adam's substance, the four gates and the questioning in the grave.
Derviş Edna's farewell nefes with the refrain "let us go, farewell, brothers": the swift horse of love, those who keep their secret, and the Friend who waits beyond.
The four-couplet piece in praise of income by Siyâbî, tailor of Merzifon: gain as the source of generosity and a craftsman's advice built on a chain of ocean, cloud and rain.
Ehlî's couplet found in three sources: the turmoil a cypress-statured beloved raises in the garden, the words kıyâmet, kıyâm and kâmet, and textual variants.
A letter puzzle that splits âftâb, the sun, into âfet and âb: cheek, down and water beneath a cloud in two couplets by Cevherî, read with the old script in mind.
Şeyhî's response to Kınalızâde's ghazal with the refrain altında: a brow like a letter, dust beneath a horse's hoof, skin hurt by a rose petal and the juggler of the sky.
Sıdkı Mustafa Pasha's closing couplet with his pen name: a poet who would gallop in the arena of verse, a mind's steed tied to union, and two opposite readings.
In the three couplets Kınalızâde quotes in a row, the refrain "benden yana" turns to a new sense each time, until even the lover's own heart takes the beloved's side.
In this jesting kıt'a on the Jewish physician brought to his sickbed, Rûhî Fâzıl Çelebi joins yellow headgear to yellow bile; the poem also carries the prejudice of its age.
Sülûkî recited this autumn kaside on coming to Âşık Çelebi; in its eleven surviving couplets autumn is a merchant pouring out gold and a yellow leaf a keepsake for a patron.
Two couplets in which the lover carries stones with Ferhad for the palace of love and, painted beside the beloved, cannot be told from Leylâ and Mecnun; found only in Âlî.
A na't turned into a litany by a long Arabic refrain: allusions to the chapters of Victory and the Sun and the levlâk hadith, a shamed pen and a plea for intercession.
Naming Edirne, Bursa and Kaplıca, this dream ghazal credited to Murad II tells of a lover revived by a lip, a silver cypress and a sultan made captive by beauty.
A ghazal on how hard everything in love is: reaching the beloved's door, plunging into a sea of tears, giving her up; and a warning against the world's old hag.
The prayer with which Âşıkpaşazâde opens his chronicle: five couplets addressed to the God who makes being out of nothing, hides faults and shows His beauty to the heart.
Sâhib's chronogram on Hasan Pasha's conquest of Sinjar: praise that shrinks the heroes of the Shahnameh, a grammatical pun on "mâ" and "sıla", and the date "Gazâ-i Hasan".
The poem of praise that opens Cûdî's divan: the pen in prostration, the sea praising wave by wave, every delight of the soul tied to divine praise, and praise that grows with wonder.
Mihrî Hatun's twenty-couplet muvaşşah (acrostic) kaside for Prince Ahmed, whose couplet initials spell the prayer "Sultan Ahmed edâmallâhu ömrehû".
Adlî's ghazal opening in Paradise: the morning breeze welcomed by Rıdvan, a plane tree raised in prayer, reed flute and harp, and a lover who calls the beloved his soul.
Münîrî's forty-six-couplet Persian kaside of admonition opens by likening heaven to a juggler, dwells on the transience of the world and ends with contentment.
Couplets with Hubbî Hatun's pen name from the holy-war poems of İmâdü'l-cihâd, with the "age of Khan Selim" couplet that dates the work to Selim II's reign: seven couplets together.
A couplet of Sâfî (Cezerî Kasım Paşa) quoted by Latîfî: the dog-born rival came and went at the beloved's gathering, and no one even asked him "are you a dog or a man?"
Basîrî's ghazal with the refrain "see": the lover who shows Leylâ in the beloved and Majnun in himself, lips with the Messiah's breath and a Sufi close calling the eye of insight awake.
Kara Fazlî's thirty-five-couplet mystical kaside urging the soul beyond selfhood to unity and listing in order the ten conditions of the path, from surrender to patience.
Müeyyedzâde Abdurrahman Çelebi's sixteen-couplet Persian kaside with the refrain "dagger", presented to Bayezid II and called by Âşık Çelebi the proof of his conquest of eloquence.
Gelibolulu Sürûrî's matla reading a cloud covering the sun as the hiding of the sky's sun so that the sun-faced beloved might remain without equal in the world.
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