The couplet Hubbî Hatun is said to have spoken against the gossip about her: a bearing that has gone in and out of a thousand languid eyes yet stays straight as a kohl stick.
An opening couplet of Sâfî (Cezerî Kasım Paşa) in Latîfî: a fairy beauty at whose sight a single sigh of the angels would set every heaven on fire, and the rhyme of angel and sphere.
Basîrî's ghazal woven from common sayings: a rival like a dog that swallowed a needle, a physician who gives headaches, a justified nightingale and a Majnun no counsel can cure.
Kara Fazlî's thirty-five-couplet mystical kaside with the redif "-sındayuz", in which dervishes answer the ascetic and portray lovers who set no value on the world.
Müeyyedzâde Abdurrahman Çelebi's response poem to the Persian matla of Bayezid II: feathered arrows lodged in the lover's heart that become birds dancing over his grave.
Gelibolulu Sürûrî's single-couplet matla voicing, in plain Turkish close to everyday speech, the wish that the beloved embraced in a dream might be found in one's arms on waking.
Couplets Âşık Çelebi gives to Tâcîzâde Sa'dî and Kınalızâde to the mufti Sa'dî Çelebi: a scholar's reproach for not marrying a chief judge's daughter.
Kadı Burhaneddin's ghazal couplet on his native city: the wish to make a river of tears and turn Kayseri into Baghdad, and the likeness of the Tigris and Kızılırmak.
Abdurrahman Kâmil Efendi's müsemmen with the refrain "Çekeyim tîġımı ben kendime kendim urayım": five stanzas of separation that send word by the morning breeze and end in consent to fate.
A Persian opening couplet by Selîmî: the lover as king of the realms of pain, with affliction for refuge and boundless grief for an army, love told as a reign.
An elegy uniting the wound of love and the grief of Karbala: Fedâî Baba on three letters and five dots, the 73 martyrs, the Muharram fast and Kasım's henna.
The couplet Edâyî presented to Şerîfezâde Mehmed Çelebi, which won him a post in the Imperial Council: a double entendre uniting his dead master and new patron through two names.
Harîmî's ghazal rhyming on "dağlar": the wounds on the breast become crows on a ruin, tears become rushing water and the brands become the red pavilions of the king of love.
Kâmî's three-couplet ghazal quoted by Latîfî: Joseph's beauty on the beloved's face, Jacob's suffering recited of the poet, and a sun rising from a sea of tears.
Mustafa Vâzıh's drinking-party ghazal with the refrain "at": hare's-blood wine, a beloved from Crete and Chios, dance, scattered locks and gold coins on the brow.
Nigârî's couplet on the bird of the heart caught in the beloved's forelock: the conceit of the tresses as a snare and the play of sound between turra and tarrâr.
Melîhî's couplet defending wine against the ascetic: an unveiling no forty-day retreats of a thousand years could reach, the flowing seven cups and a libertine reply in Sufi terms.
A deyiş of wisdom with the refrain "var": all that is sought is in man, one who strains a thousand seas from one spring, the vow-breaker barred from the cem, the stone thrower.
The opening couplet of Eyüb Sabrî's prayer-like kalenderî in the Merzifon Cönkü: the plea to God of a servant who cannot reach salvation and falls into the whirlpool of sin.
The opening couplet of Erzurumlu Emrah's ghazal in the Merzifon Cönkü: a hû dost prayer to the Lord who made the universe from light; original text, English prose and commentary.
The opening lines and final quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: advice not to trust the turning world, and the earth that devours us, with commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: not laying waste the hereafter for a day or two of pleasure; original text, English prose and commentary.
The opening couplet of Ârif's Güfte in the Merzifon Cönkü: an evening gathering, the parrot and sugar-cheeked beauties; original text, English prose and commentary.
Six lines of a divan by Âşık Ömer in the Merzifon Cönkü: locks like the letter dâl, the ruined city of the body, brows like a double pistol and praise of the chief of the fair.
Sıdkî Baba's love deyiş with the redif "beni": a beloved whose brows are the basmala, face the House of God and stature an alif, and an oath that only a coffin or exile could break.
Kul Hüseyin's poem spoken by a wounded deer: a plea to the hunter, a mother deer thinking of her young, and the refrain "I listen: a deer moans from the depths of its soul".
Derviş Edna's nefes of devotion, "if they gave me the world I would not part from you": the pir who kneaded his clay, the hazel-eyed beauty, the coffin on a white camel.
Ehlî's matla that counsels the heart to patience and then undoes the comfort: the time the wheel of heaven needs to turn, and the eternal life union would require.
Nine couplets survive of the tercî'-bend on the times that everyone knew by heart in the sixteenth century, and in them Refîkî takes open aim at the gate of bribery.
Likening a fickle beauty's faithfulness to a month's pay gone before mid-week, Rûhî Fâzıl Çelebi takes his simile from the daily life of the madrasa world.
An opening couplet by Remzî in Latîfî: the lover meant to offer his heart like an apple, but a stranger got there first; a play on "el" as both hand and stranger.
On the Creation of Muhammad: the first-created light, the prophets and books that heralded him, Qur'anic allusions and a poet calling himself a worthless mirror.
A ghazal that works like a dictionary: the rose means the cheek, the cypress the stature; clouds are the smoke of sighs, the Pleiades tears; the rival has no place in a poem.
Osman Gazi's first night raid on İnegöl, the return home and a humble plea to God, in three couplets that end with the prayer "weep, poor Osman".
Sâhib's chronogram on Maktûlzâde Ali Pasha's arrival in the city of Abraham's birth: the echo of "coolness and safety" and "Aliyy Azîm", a date that holds the vizier's name.
The Milky Way a rosary, solar systems a sigh; order is defended against chance, the earth says "Lâ ilâhe" and the heavens "illallah". Hey'et-i Âlem, the divan's refrain müseddes.
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