Four couplets, each ending with the refrain "Allahu ekber", spoken after the battle in which Osman Gazi defeated Kalanoz and his brother Saru Yatı fell as a martyr.
Sâhib's chronogram for the Ferahâbâd Palace built by Maktûlzâde Ali Pasha in Urfa: pavilions, a fiery bathhouse, a pun on halvet and Halveti, and a double chronogram.
A na't in which the poet speaks his own name instead of his pen name: the night of the Ascension, sandals pressed to the heart of the heavens, and forgiveness asked for Abraham's sake.
Mihrî Hatun's twenty-couplet kaside for Prince Ahmed, opening with a spring scene and written as a Feast of Sacrifice greeting, with English prose and commentary.
Adlî's seven-couplet ghazal of the rose and nightingale, the prayer niche and the cross, ending with the cup of grief poured for him at the pre-eternal assembly, in English.
Münîrî's thirty-couplet Persian festival kaside for Bayezid II; every couplet ends in the redif "‘īd", and the festival comes and goes at the sultan's door like a person.
A couplet of Sâfî (Cezerî Kasım Paşa) reproaching the moon: the marks on its face, it says, are the shame it earned by imitating the beloved with her beauty spot.
Basîrî's ghazal on the refrain "on seeing": a pale face in saffron, tears in blood, a gardener who loses hope, a heart running to the sword's water and a madman under the moon.
Müeyyedzâde Abdurrahman Çelebi's Persian matla cited in three anthologies: while everyone strolls in a garden with his beloved, the lover stays in the corner of separation with his pain.
Gelibolulu Sürûrî's couplet on the lover who deliberately makes his eye squint so as to see the beloved as two in a single glance, a couplet resting on a playful conceit.
Kara Fazlî's thirty-five-couplet kaside of praise for Sultan Süleyman, with the redif "fetḥ", depicting a city decked out at news of victory and the sultan's battlefields.
Kadı Burhaneddin's ghazal couplet naming the castle of Tokat: morning wine poured in the castle and the wish to reach the dawn in joy, in Özkan's view a trace of victory.
Abdurrahman Kâmil Efendi's ghazal with the refrain "ey göñül ... ‘aşḳ": thirteen couplets defining love, from the tughra written in pre-eternity to the bridge of the figurative.
Three couplets from a Persian ghazal by Selîmî: the king of the army of grief taking tribute from the realm of love, throne and crown as fortune, and distrust of viziers.
A Muharram lament in which all creation weeps for Hüseyin: Fedâî Baba's elegy of five quatrains with the refrain "they moan and weep, crying Ah Hüseyin".
Edâyî's couplet urging the debt of worship between fear and hope: the word recâ that becomes ecr, reward, when read backwards, the two senses of kalb and the echo of his pen name.
Harîmî's ghazal that makes the kopuz lute speak like a suffering lover: wordplay on fret, peg and palate, from the pen of a prince the biographers knew as a musician.
A ghazal fragment four tezkires assign to Kâmî: the nightingale that cannot make the rose listen, no one left to hear love's epic, and an ear that rings when the beloved recalls him.
The only ghazal in Mustafa Vâzıh's Dîvânçe ending in the letter "se": moles likened to fleas, a lip of clotted cream and rhymes built on terms of Islamic law.
Nigârî's couplet presenting the beloved's glances and eye as tyrants thirsting for the lover's blood: the two meanings of the word "susuyor" and the imagery of blood.
The couplet Melîhî addressed to a beauty with a single pearl earring: Müşterî as buyer and as Jupiter, a moon-faced beloved, a pearl like the Pleiades, and the slap that followed.
Kul Fakir's eleven-quatrain deyiş addressed to Mustafa Kemal Paşa: the War of Independence, the end of the sultanate and a folk âşık's Atatürk as a lion with Zülfikar.
The opening couplet of Erzurumlu Emrah's Kalenderî in the Merzifon Cönkü: a heart smitten once more and its wish for union; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: the chain of locks and the garden of life shedding its leaves; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: gnosis and grace, rain and the opening rose; original text, English prose and commentary.
The opening couplet of Ârif's Güfte in the Merzifon Cönkü: a song of welcome with the refrain hoş geldin, safa geldin; original text, English prose and commentary.
Sıdkî Baba's deyiş with the redif "yeter": entering the dervish life through the register of detachment, the cap, the earring and the belt, and the name Sıdkı earned in fourteen years.
Kul Hüseyin's eight-syllable poem with the redif "flows on and goes": a wave like the sea, a frowning beloved, and a prayer like the one camel leading a caravan of a thousand.
Derviş Edna's eight-syllable nefes: a city of light with four gates, seven thrones and three hundred and sixty-six roads, which the dervish at last finds within the human being.
Ehlî's matla saying that all his speech has become the praise of the beloved's lip and beauty spot: the rosebud and the ruby, and the idiom of heart and eye.
The ghazal in Sehî's entry on Mevlânâ Remzî: couplets with the refrain "-dendür" saying the parting comes neither from lover nor beloved but from heaven, and a thorn couplet.
A na't whose every line opens with the question “Var mı bir …” and ends “sen gibi”: sun-like face, cypress stature, a riddle, and a comparison with Ferhad and Mecnun.
The introduction of Tâcîzâde Sa‘dī Çelebi's Arabic verse creed: praise of God, praise of kalām, the poet's own name and a eulogy of Sultan Bayezid, with Arabic text and translation.
A love-pain no physician could cure, the round of the cup and an arrowhead standing in for a rose meet in Refîkî's nazire to Ahmed Paşa's ghazal on 'aña'.
A ghazal whose redif "geçer" (passes) shifts sense in every couplet: death's draught passing for medicine, a rival passing for pious, treasure in ruins and a puzzled beloved.
Where Osman Gazi takes Karacahisar and gives its houses to the gazis, three couplets speak of blessings from God, of eating and feeding others, and of each man's portion.
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