The four-couplet ghazal Âşık Çelebi gives under Tâcîzâde Sa'dî Çelebi: a moon face, a nightingale scattering the rose's ledgers, eyebrows swimming in bloody tears.
Kadı Burhaneddin's ghazal couplet beginning "I am a Turk and you a Tatar": a challenge telling Timur to keep off Anatolia, and its double face in the language of the ghazal.
Abdurrahman Kâmil Efendi's muhammes with the refrain "Bir mü'es̱s̱ir nüsḫadır kim nâmı anıñ sîm ü zer": a mocking look at beauties who yield to gold and silver.
A Persian couplet by Selîmî: the poetic reason why the beloved's shedding of his blood is a kindness, the threshold cleansed of dust, and a royal title for the beloved.
A poet walking through the house of the body: Fedâî Baba's koşma built on the caged nightingale, the turning mill, the seven-headed dragon and the lion's cub.
Edâyî's couplet of the drinking party: as beauties arrive, the men of pleasure adorn their bodies with alif-shaped wounds, and the redif yer yer binds two separate scenes.
Kemalpaşazâde's two couplets on learning and lineage: a bey's son keeps his rank though unlettered, while a scholar's son who stays ignorant had better never been born.
Harîmî's ghazal whose opening the biographers called a "famous opening couplet": foot-dust as collyrium, a breast sown with love and a lover whose only companion is his sigh.
A couplet in mesnevi form quoted by Âşık Çelebi from Kâmî: the pen, unable to write the secret of grief, is likened to a narrow gutter into which no ocean can fit.
Mustafa Vâzıh's ghazal cited as an example of the Nedîm manner: a shy youth invited for a stroll, a moon-face going to the rival and a light wine from Chios.
Nigârî's couplet in which the heart prostrates itself on the dust of the beloved's feet: a likening that casts the tresses as a commander and the heart as a bondsman.
Melîhî's couplet addressed to a Sufi: pure wine too gives its "hâl", the cup in the gathering is not empty, and the libertine's answer to Şeyh Rûşenî's offer of the wine of love.
A plea in eight-syllable lines with the refrain "beni": the âşık calls to the caravan going to the Şah, longing like a bee parted from honey and a nightingale from the rose.
The opening couplet of Eyüb Sabrî's kalenderî in the Merzifon Cönkü: the beloved as a playful angel in human form, without equal anywhere in the world.
The opening couplet of Erzurumlu Emrah's ghazal in the Merzifon Cönkü: sorrow entrusted to the dawn breeze and a lamenting letter; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a prayer against the evil eye and a moon face praised with a verse; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: the flickering candle of guidance and the gleaming sword of the sharia; original text, English prose and commentary.
The first stanza of Ârif's Güfte in the Merzifon Cönkü: spring, the nightingale and a bud peeping from a green turban; original text, English prose and commentary.
The first quatrain of a divan by Âşık Ömer in the Merzifon Cönkü: a lover who has not laughed since giving his heart, will not learn, and leaves the beloved to God instead of cursing.
Sıdkî Baba's deyiş of thanks that sums up his life: the cup of love drunk in a dream in 1293, forty-seven years of service, Feyzullah Çelebi's favour and the name Sıdkı given by Cemaleddin.
Kul Hüseyin's poem of welcome to Hacı Bektaş Velî: the refrain "sage of sages, pir, welcome", lips of sugar, teeth of pearl and the Hünkâr who came from Khorasan.
Derviş Edna's nine-quatrain nefes on the end of time: the world reborn seven times, the coming of the Mahdi, the sun a mile above, the scale of judgement and the Twelve Imams.
The pain of love takes the place of the lover's speaking soul: the philosophical term nefs-i nâtıka in Ehlî's couplet, speech and the speaking soul, a learned poet's wit.
The tercî-i bend Sıdkı Mustafa Pasha wrote when Kara Mustafa Pasha dismissed and exiled him: the refrain on pride befitting God alone and the vanished kings of old.
Refîkî's seven-couplet ghazal with his pen name, preserved in Nazmî of Edirne's anthology: brigand eyes, dust wiped away by tears and a land conquered by the arrow of a sigh.
Two couplets Rûhî Fâzıl Çelebi composed for a friend leaving on pilgrimage: the occasion told by Sehî, a lover moaning like a caravan bell and a moon that moves off with the caravan.
Five surviving couplets of Sülûkî's şehrengiz: the student Ömer praised through the textbooks Mutavval and Mukhtasar, the sheikh's son Mehmed, and the question of which city.
An opening couplet by Remzî linking the beloved's sugary lips to the phrase "nebâten hasenâ" in the sura Âl 'Imran, playing on nebât as both plant and rock sugar.
A poet devoting his honour to the Prophet, a prophet informed of his community as a child, and an ending of daily festivals: seven couplets on the refrain “saña”.
A garden ghazal that hangs its images "şâh şâh", branch by branch: hyacinth locks, moles like peppercorns, a nightingale memorising the bud's letter and an amulet for a sigh.
The last eleven couplets of the opening mesnevi of Âşıkpaşazâde's chronicle: his aim, his claim that his line was born with the Ottoman house, and the turn to chapter one.
Sâhib's poem on a promise of favour from Hasan Pasha, rhyming in "-et geldi": the end of waiting, a pen turned sugar cane, and a poet who admits the rhyme has run dry.
Seven couplets after the poem of praise, in which the servant calls himself a handful of earth; images of lustre and pearl end in the wish that his work not be despised by the ignorant.
Mihrî Hatun's thirty-two-couplet kaside with the redif "şekil", praising Prince Ahmed as the beloved of a ghazal, with English prose and commentary.
A five-couplet ghazal by Bayezid II, writing as Adlî, in which he would trade kingship for one breath of service to the king of beauties and the sultan's title for a dervish cloak.
Münîrî's forty-eight-couplet Turkish kaside of admonition opens with counsel on a fleeting world, turns midway to praise of the Prophet and ends asking intercession.
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