Sâhib's chronogram for Ali Pasha's pool pavilion: praise that finds the garden of Iram an inadequate comparison, a pavilion like a waterside mansion, and its dating line.
Cûdî's Karbala elegy with the refrain "has gone out": the extinguished candle, Nimrod's fire, the Muharram crescent, the Euphrates, and the Flood letting go of Mount Cûdî.
Mihrî Hatun's twenty-one-couplet festival kaside for Prince Ahmed, which also spells his name through a letter omen, with English prose and commentary.
Adlî's five-couplet ghazal equating a kiss on the beloved's foot with rule of the world, calling her street his homeland and mocking the ascetic leaving the tavern.
Münîrî's twenty-four-couplet Persian eulogy of Bayezid II opens with a brow like the festival crescent and praises the sultan as huma bird, Sidre tree and second Ali.
The kıt'a Sâfî (Cezerî Kasım Paşa) wrote to ask a commander for a horse after his own died on campaign, woven with chess terms: vizier, pawn, bishop, knight, check and mate.
Basîrî's ghazal that counts the beloved's torments as favours: a realm of being grown narrow, a sky that gives poison for cure, grief on Majnun's throne and a poem that burns the divan.
Müeyyedzâde Abdurrahman Çelebi's Persian spring matla preserved only in Kınalızâde: the season not to be spent without the beloved and the call to pick roses from the branch of life.
The quatrain of praise in the preface of the Bahrü'l-maârif, completed by Gelibolulu Sürûrî in Amasya for Prince Mustafa: the four caliphs' virtues gathered in the Prophet's namesake.
Kara Fazlî's forty-three-couplet kaside of praise on Süleyman's eastern campaign against the Kızılbaş, its military band and cannon, and the Rumelian beylerbeyi Ali.
Kadı Burhaneddin's ghazal couplet on the conquest of the castle of Simâlu: the pun between its name and "sîmâlu" (fair-faced) binds the victory to the beloved's beauty.
Abdurrahman Kâmil Efendi's ghazal with the refrain "görmüş": a lover who met torment while hoping for faithfulness complains of fate, beloved and rival, and ends by urging patience.
A declaration of faith on behalf of a community: Fedâî Baba's ghazal with the redif "-danız", naming tevellâ, teberrâ, the vow, the saved sect and the Ja'fari school.
Mustafa Vâzıh's ghazal with the refrain "sen misin Ṣāliḥ": questions put to a beauty named Sâlih, feigned ignorance and a mufti's word "istidlâl".
An opening couplet Gelibolulu Âlî quoted from Edâyî: the lover asks his eye to wet his grave with tears so the beloved's hem gathers no dust; the dispute of Âlî and Hüsameddin.
Harîmî's ghazal with the refrain "olmaz": musk that imitates the mole, a cheek like the garden of paradise, a face where night never falls and a street where no lover may be tormented.
An opening couplet on contentment that Sehî assigns to Kâmî of Karaman and Âşık Çelebi and Beyânî to Kâmî Efendi of Edirne: shun silver and take no one's tears as the oyster does.
Nigârî's short couplet that calls separation the hell of lovers and says that even in that hell the thought of union makes the heart rejoice.
The couplet Melîhî improvised after a beauty slapped him: a jest that takes the blood from his nose as penalty for the wine he drank without the beloved's lip, on a Turkish idiom.
A deyiş of counsel with the refrain "getirir": the brave man who keeps his secret, shunning companions without a path, each bringing his own fire to hell, and the power of sweet words.
The opening couplet of Erzurumlu Emrah's Kalenderî in the Merzifon Cönkü: the pun on perî-şân and perîşân and dishevelled locks; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: the pun on bensiz and beňsiz, and the cypress-tall beloved; original text, English prose and commentary.
The opening couplet of Ârif's semai in the Merzifon Cönkü: thanks for rising from a sickbed; original text, English prose and literary commentary.
Sıdkî Baba's short deyiş with the refrain "eğlenme tez gel": devotees awaiting a master gone abroad, burning breasts and a lover weeping like Jacob for his Joseph of Canaan.
Kul Hüseyin's poem of welcome with the refrain "welcome to us, brother guest": a heart fallen into fellowship, news from the fair Shah, the rivals and the secret to be kept.
Derviş Edna's nefes portraying the world as an inn and man as a guest in it: the substance set on the Day of Elest, the master's counsel and the account to be given in the grave.
A beloved who wins over the rivals but never considers the lover's feelings, in Ehlî's plainest matla: the idioms of winning a heart and of having feelings.
A mesnevî section that praises the Prophet as the only road to God and then turns, in reproaches beginning “Ey …”, on traitors to the law and deniers of the sheikhs.
The second section of Sa‘dī Çelebi's verse creed refutes the Sophists, counts three ways of knowledge, rejects inspiration, and defines atom, accident and body.
Refîkî's ghazal with the redif 'saña': an opening that splits 'delükanlu' into 'mad' and 'bloody', a tress that tells all, and a note naming him a companion of Selim I.
A ghazal in which the roses on the cheek turn the heart into a nightingale: pains earned as profit in love's market, a knot of locks the breeze cannot untie, candles lit by wine.
Four couplets on leaving a good or bad name, spoken after the Seljuk sultan Alâeddin defeated the Tatars who had burned Ereğli and the place came to be called "Taşak Yazısı".
Sâhib's chronogram for the Hüseynâbâd pavilion built by Hüseyin Agha in Urfa: the names Hasan and Husayn, Husayn Bayqara, a pun on "kusur" and a painted ceiling.
A tevhid in which Arabic and Turkish lines alternate: the essence where reason stops, "kemislihî", the Subtle One hidden in His manifestation, and wordplay on kindness and evil.
Mihrî Hatun's twenty-eight-couplet spring kaside for Prince Ahmed's festival, every couplet ending in the redif "gül" (rose), with English prose and commentary.
Adlî's seven-couplet ghazal that gives its refrain "dürüst" a new sense in every couplet and sets the calligrapher Yâkût's reyhânî script against the down on the beloved's cheek.
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