Mihrî Hatun's seventeen-couplet kaside that opens with a spring scene and greets Prince Ahmed's festival, playing on the words "mihr" and "dem" around her pen name.
Adlî's ghazal on the refrain "salup", turning sighs and tears into the legendary horses Şebdîz and Gülgûn and tears into the Pleiades, with English prose and commentary.
Münîrî's eight-couplet Persian kaside for Hazrat Ali recalls Khaybar, Düldül and Zülfikâr, and in the end the poet counts himself the slave of Kanber.
Hubbî Hatun's ghazal with the refrain "of the warriors": five couplets showing warriors as lovers whose salve is their own blood, who drink from Kawthar, with a reproach to the Sufi.
A couplet of Sâfî (Cezerî Kasım Paşa) ending in the proverb "the ground has ears": likening sun and moon to the beloved's beauty would shame her, and the sky is set against the earth.
Basîrî's ghazal on the lover caught between friend and foe: squirrel fur of furnace ash, a hut of sorrows lit by sighs, the tavern of unity and a frenzy that would make Majnun sane.
Müeyyedzâde Abdurrahman Çelebi's Persian matla likening the beloved's invisible mouth to the secrets of the unseen; one manuscript of Sehî says it was presented to Selim I.
Gelibolulu Sürûrî's matla cited by Latîfî, Kınalızâde and Beyânî: the kiss that gives back the life the lover paid for it, and a jest on a lip kissed for nothing.
Kara Fazlî's forty-five-couplet maktel kaside with the refrain "Yā Ḥüseyn", praising Hüseyin, calling all of nature to mourn him and praying by the twelve imams.
Tâcîzâde Sa'dî Çelebi's Arabic fragment from Hayrü'l-ahlâm likening the gardens of Amasya to paradise and its nightingales to the morning breeze, as quoted by Hüsameddin.
Kadı Burhaneddin's ghazal couplet naming Sivas with Shiraz: if the beloved has turned the poet into a Sa'di, he may well make the capital Sivas a land of Shiraz.
Abdurrahman Kâmil Efendi's ghazal "Dil yine bir şeh-levendiñ ‘aşḳına sevdâlıdır": seven couplets portraying a beauty with dark-blue eyes, tughra brows and a heart branded like a tulip.
A Persian couplet by Selîmî: on the day of battle the debate of love is held with the tongue of the sword, and talk at the start of every matter is for children.
A pain that turns away both Plato and Lokman: Fedâî Baba's koşma with the redif "within", built on images of medicine and ending with Hüseyin's Karbala pain.
Edâyî's Persian-Arabic couplet written to be engraved on the seal of Kaya Bey of Amasya: the pun on seal and love, the play on Kaya as rock, and the inscription carved in stone.
Harîmî's ghazal set in a wine gathering: silver cups that turn affairs to gold, tavern dust as alchemy, a lover who refuses the water of life and combs that scatter the locks.
An opening couplet three tezkires assign to Kâmî, Şeyh Cemâl's nephew: though nothing equals the lofty cypress, true beauty is the one who rests on the arm like a falcon.
Mustafa Vâzıh's ghazal to a schoolboy beloved: the proverb about those who smile to your face, the idiom "tasselled calamity" and the contrast of grace and heaviness.
Nigârî's four-line piece presenting the pavilion of Nigâr as a refuge served by sultans and placing the battlements of the Throne of God at its foot.
The couplet Melîhî recited drunk at Tahtelkale: praise of rose-coloured wine, a curse on the boza and hemp he had tried in his days of repentance, and a story ending before Mehmed II.
The âşık's twelve-quatrain pilgrimage deyiş to the lodge of Pîrî Baba: Hacı Bektaş and Balım Sultan, the Kandil, the Twelve Imams and an arrival dated 1341.
The first couplet of Eyüb Sabrî's semai in the Merzifon Cönkü: the poet asking whether the grief he suffers is his alone or the lot written for every human being.
The opening couplet of Erzurumlu Emrah's divan in the Merzifon Cönkü: the fairy-faced, angel-featured fairest of the fair; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: separation written by the pen of eternity and the torn garment of love; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: that God cannot be known without sacrifice on His path; original text, English prose and commentary.
The opening couplet of Ârif's ghazal in the Merzifon Cönkü: a penitent come bareheaded to the court of God; original text, English prose and commentary.
The first quatrain of a divan by Âşık Ömer in the Merzifon Cönkü: a beloved with hair like Leylâ's, a nightingale tongue and hyacinth locks, and a heart weeping blood from longing.
Sıdkî Baba's deyiş of the pen name: a poem of devotion that tells the change from Pervane to Sıdkı as a moment of guidance, recalling the Hand of God, the ninety thousand words and Farhad.
Kul Hüseyin's crane semah, collected and sung by Zülfü Livaneli: the crane from Baghdad with a date in its beak, the desert of Karbala and "tarry, my crane, let us go to the pir".
Derviş Edna's three-quatrain nefes of separation: a letter he had written for him, the wound growing in his breast, and a beloved who may or may not come to his grave.
A heart hanged from the beloved's hair throws its crown to the sky and finds its ascension: Hallâc's gallows in Ehlî's matla, and death in love as a rising.
Five couplets of Refîkî's kaside with the refrain berş, reviling an opium paste and at last praising its first effect: taverns preferred, the surgeon of death and a royal decree.
The bathhouse ghazal given to Rûhî in a single copy of Sehî: a silver-bodied beauty entering the bath, praise limb by limb, the refrain güzel and the copyist's note behind it.
A couplet by Remzî Çelebi recorded in one manuscript of Âşık Çelebi as an answer to Hayâlî: the world, showing one face to the lover and another to rivals, is a hypocrite.
The Prophet as manifest sun, Joseph helpless before him, the word “‘alâ” turning five times in one line, and a riddle opened only to the people of reality.
A ghazal that looks for hope in a new place in every couplet: a lover who will not give up despite the rival, the pearl diver, April rain and a play on the pen name and God's "avn".
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