Nigârî's ghazal recalling his native Bergüşad, the Hekeri river and his beloved in Karabağ: the pain of exile, an allusion to Jacob and the voice of Azerbaijani Turkish.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: a lover begging pardon from a just and gracious lord; original text, English prose and commentary.
Sıdkî Baba's deyiş of devotion with the redif "senindir": Salman at the door, banners and sacrifices, kettledrum and reed flute, a master called pole of poles, and a life offered.
Kul Hüseyin's deyiş sung with fervour in the gatherings of Gaziler Ovacığı: the cup from Hacı Bektaş, Selman's bowl and "you drink, my lord, and give me some too".
Derviş Edna's nefes on the joy of visiting his pir: a plea to Balım Sultan, Ali as master of the realm, a waist girded from Kızıl Deli and a pledge reaching back to Elest.
The lover's resolve to stay in the beloved's street, tied to fortune and to God's will: salmazsa and almazsa in Ehlî's matla, and Beyânî's wish to die at her door.
Admitting a seeker to the Naqshbandi-Khalidi path: istihare, the remembrance of God's name, the five subtle centres and negation and affirmation, in six couplets.
The opening couplet Latîfî quotes as "inimitable" from Sürûrî's book on rhetoric, the Bahrü'l-maârif: a turtle-dove caught in the snare of hair, of uncertain attribution.
Faith is the heart's assent and works are no part of it: Sa‘dī Çelebi also takes up "a believer, if God wills" and whether the blessed may become wretched.
A short-metre ghazal given to Refîkî in the Mecma'u'n-Nezâ'ir and to Fakîrî in the Pervâne Bey Mecmuası: a crown and kohl of dust, a glass that tells, and two pen-name couplets.
A ghazal in which every couplet turns one thing into another: pearl teeth and ruby lip, a lover made sultan by a half-spoken "my slave", Avicenna's Canon and the kanun zither.
Four couplets on Köse Mihal's daughter's wedding, where the tekfurs plotted against Osman Gazi and the tekfur of Bilecik conceived the idea of a wedding trap.
Sâhib's poem on Mahmud I shooting a bird from a hundred and fifty paces at the Gülhâne Pavilion: a gold-inlaid musket and a hit read as an omen of Tahmasb Kulı Khan's death.
Cûdî's ghazal with the refrain "I tell you": a promise of speech always tied to a condition, the talisman of the hidden treasure, and a face read like a verse of scripture.
A 29-couplet elifname in which every couplet begins with a letter of the Arabic alphabet, Mihrî Hatun's poem of passion for the beloved with Mansur, Kaaba and architect images.
Adlî's five-couplet ghazal on the refrain "telh" (bitter), tracing each face of love's bitterness, whose opening line has a rhyme problem in the manuscripts.
Münîrî's tree-shaped Persian kaside of twenty-three couplets for Bayezid II, in which the words of the trunk couplet sprout again in twenty-two branches.
Basîrî's ghazal whose opening couplet Âşık Çelebi also quotes: a sorcerer's arrow and bow, a cheek the sun envies, a ney that cannot keep up and sun and moon bowing as to Joseph.
Kara Fazlî's thirty-five-couplet kaside of holy war on Prince Mustafa setting out against the Kızılbaş by the sultan's command, praising him as "a second Rüstem".
Kadı Burhaneddin's ghazal couplet likening the pain of love to a distilling workshop: the beloved's eyes turn the liver's blood to water by the heart's fire.
The surviving quatrain in which Fedâî Baba calls Amasya "our home province" and, with the refrain "our wish is Hubuyar Sultan", voices his longing for a saint's threshold.
Harîmî's ghazal rhyming in "-âne": Şîrîn reduced to a tale in Hüsrev's gathering, a lover who outdoes the moth and a house of the heart that robs the tavern of its worth.
Mustafa Vâzıh's ghazal in which a single dot turns mercy into trouble: lashes like coral-tipped swords, a mole immune to venom and a muezzin beloved calling the iqāma.
Nigârî's ghazal with the refrain "olmayan bilmez": love, separation and truth can be known only by those who live them, with allusions to Leylâ, Ferhad and al-Hallaj.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: the rose garden gone with autumn and the forlorn nightingale; original text, English prose and commentary.
Sıdkî Baba's deyiş of welcome with the refrain "sen sefa geldin": a çelebi guest in whose face the 114 suras are hidden, who floods houses with light and is hailed as king of Khorasan.
Kul Hüseyin's nefes opening "I too have seen three beauties in this world": God, Muhammad and Ali, a pir like a gazelle, evil words like a March blizzard and a ruined world.
Derviş Edna's poem of counsel, "come, take my counsel, brother": the mill that carried water will not turn, Ali's secret, the Fatiha and Yasin, the companion death reveals.
A fairy who would be the soul if less cruel and the beloved if fair in her torment: degrees of cân and cânân in Ehlî's matla, and two senses of the word hele.
A ghazal praising the path to the new disciple: a Naqshbandi way that never leaves the law, walks by the four schools and rests on companionship, and Shah Bahâ.
The last couplet Latîfî chose from Sürûrî: a rose-skinned beloved in an iris-coloured robe, so that whoever looks at him gathers fresh rose and iris together.
Why prophets are sent, a piece of reasoning on their number, angels, revealed books, the bodily ascension and the marvels of the saints, in Sa‘dī Çelebi's Arabic couplets.
A couplet that spells 'ad' from alif and dâl, a master who taught the letter of injustice and a feast at the crescent brow, in a Refîkî ghazal opening 'feryâd feryâd'.
An eight-couplet ghazal telling the beloved's walk in the garden like a royal procession: narcissi watching the road, box trees standing at attention and two seas of the eyes.
Four couplets on the wedding of the tekfur of Bilecik at Çakırbınarı, the gazis hidden among bales of felt, and the taking of Bilecik, then of Yarhisar and İnegöl.
Sâhib's poem on Mahmud I shooting a bird in flight at the Bahâriye Pavilion: the idiom "what kind of bird are you", Rustam's eye-piercing arrow and a double chronogram.
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