The only Persian ghazal in Mustafa Vâzıh's Dîvânçe: five couplets with the refrain "this too shall pass" on the transience of pain, beauty and worldly grief, translated.
The opening couplet of a naat by Nigârî with the refrain "Muhammeddir", describing the Prophet's beauty through the turning heavens, the Moon, Leylâ and Mecnun.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a mad and ruined heart longing for freedom and union; original text, English prose and commentary.
Sıdkî Baba's deyiş of counsel with the redif "kapısına": recognising the guide, standing at the dâr like Mansur, the four gates, Iblis who fled the prostration, and the Hünkâr's line.
The four-quatrain variant of Kul Hüseyin's "Dalgam yeğin derya gibi": a wave diving into the ocean, a frowning beloved and the camel walking ahead of a thousand-strong caravan.
Derviş Edna's lament and plea to Imam Hüseyin: blood boiling at Karbala, Mother Fadime's grief, Şimir's malice and the refrain "Imam Hüseyin must make us rejoice".
A lover who launches the ship of his heart on the ocean and gives all to the wind: in Ehlî's couplet the idea of wind runs through ber-bâd, rûzgâr and bâdâbâd.
The Prophet as a treasury of secrets, the pun between perfections and deficient tools, the language of state of earth and heaven, and the plea that binds the na'ts.
A feast-day witticism Âşık Çelebi preserved from his teacher: whoever sees the beloved's face and kisses his hand gains three feasts in one day, through a pun on sa‘īd and se ‘īd.
A chain of "ve lā" describing God by what He is not, and the believers' vision of Him in the hereafter: nine couplets of Sa‘dī Çelebi's creed, with translation.
Refîkî's ghazal likening the lover, far from homeland and beloved, to a nightingale far from the rose garden: a warning to the beloved at the mirror, and wrath as a share.
A ghazal whose redif "düşer" (falls) wanders through seven senses: a silk carpet of autumn leaves, a lover haunted by his shadow, decree and tughra, and sun and moon fallen into water.
Three couplets advising cunning towards the enemy, at the end of the chapter in which Osman Gazi wins the trust of the infidels of Bilecik by defending their rights at the Eskişehir market.
Sâhib's chronogram for Süleyman Efendi, deputy judge of Ruha: the kadı's "fine substitute", signatures like rows of worshippers, and a seal likened to the seal of Solomon.
In this ghazal to the beloved of truth, beauty is its own proof; the sky becomes a gold-threaded kaftan, Paradise's trees a branch in a finger, and wonder the end of knowledge.
Mihrî Hatun's 34-couplet kaside to Şeh Süleymân: praise opening in the voice of a beloved, Shahnameh heroes, Solomon allusions and a prayer for a winter festival.
Adlî's ghazal on the refrain "muhtâc", preferring the sight of the beloved to paradise and the dust at her door to its palace, and ending with the dervish's need of the king.
Münîrî's forty-one-couplet kaside for Bayezid II likens the sultan's gate to the Kaaba and says that reaching it once earns the merit of a thousand pilgrimages.
Basîrî's ghazal that opens with a prayer: an alif stature and madda brow in the Qur'an of beauty, eyelashes damming a flood of tears, Khidr's life in a breath and felt over a royal robe.
Kara Fazlî's thirty-seven-couplet kaside on his appointment as secretary of Prince Mustafa's council in Amasya after 1543, celebrating his fortune and praising the prince.
Kadı Burhaneddin's tuyugh of raging lions and a double sword cut by lightning, following old Turkic expressions such as "kağan aslan" and "koş kılıç".
Abdurrahman Kâmil Efendi's three-couplet incomplete ghazal: the heart lit by the beloved's gracious glance and a servant who refuses to be freed and finds perfection in service.
A nefes that reads the human face through the twelve imams: Fedâî Baba's short poem giving eyes, lips, brows and forehead to the imams and calling the face Umm al-Kitab.
Harîmî's short ghazal in the letter 'ayn: the nightingale's farewell to the rose, a beauty that lends light to the sun, lips that keep a secret and a pearl of verse cheapened by plenty.
Mustafa Vâzıh's four-couplet ghazal with the refrain "leẕīẕ" (delicious): food with lemon, talk with a beloved from Istanbul, a curse that feels like a greeting.
Nigârî's kıt‘a describing his poems as a divine gift and a casket of musk his followers carried on their heads, and the story of the reverence shown to his divan.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a lover weary of life, tears of blood and a plea for fairness; original text, English prose and commentary.
Sıdkî Baba's deyiş of counsel built on proverb-like questions: secrets and the unmanly, gold and the miser, games with a lion and racing the Anka, an ethics of whom to avoid.
A semah handed down under Kul Hüseyin's name but also said by some sources to belong to Hüseyin Fevzi Efendi: a poem of parting with the refrain "neither forget me nor I you".
Derviş Edna's eight-syllable nefes "Düldül'ün yeli mi ola": a wind blowing from divine power, the tanbur of fellowship, the coming of the Mahdi, and his answer to those who call him mad.
A lover who trades his life for one curse from the beloved: in Ehlî's couplet love turns into a bargain, with the market phrase al da sun and a curse counted as a favour.
A na't in the language of a love ghazal: eyebrows as mihrab and qibla, the cheek as place of prostration, a face recalling the chapters of the Morning and the Sun.
The couplet inscribed on Gelibolulu Sürûrî's gravestone in Kasımpaşa, wishing that whoever passes his grave with a prayer may pass on to Paradise with faith.
Decree and the servant's choice, capacity that comes with the act, the appointed term and provision, with the poet's own warning to his soul, in Sa‘dī Çelebi's verse creed.
In this second nazire on Ulvî's model, which calls the lover parted from the beloved the true stranger, the rose's coyness and the nightingale's pleading stand beside the ascetic's mantle and the lover's cross.
A ghazal for a black-clad Frankish beauty: the knot of the zünnar girdle, the life-giving way of Jesus, and the famous last couplet "You are king of Istanbul, he is king of Galata".
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