Light does not pass, night does not break, the cypress gives no shade: in this ghazal the soul lies in nature's grave, the friend is no friend of the cave, and the beloved stays aloof.
The five-couplet love ghazal with the redif "olmaya" that opens the ghazal section of Mihrî Hatun's divan: the beloved's uniqueness, musk and amber, the lover's burning heart.
Adlî's five-couplet ghazal that casts the beloved as a hunter and the hair as a lasso, in which the sultan-poet calls himself "oñmaduk levend", a good-for-nothing youth.
Münîrî's fifty-eight-couplet kaside for Bayezid II with the refrain "narcissus"; the spring flower becomes first the beloved's eye, then a servant at the sultan's court.
Basîrî's ghazal that makes the lover the elder of love in the lodge of pain: torn skirt and collar, brands like Solomon's seal, a sigh for a staff and coral beads of blood.
Kara Fazlî's thirty-four-couplet kaside with the redif "‘adl", praising Prince Mustafa's justice in a chain of metaphors and ending with the poet's plea against his fortune.
Kadı Burhaneddin's tuyugh carrying a call to war against the Mamluks: God knows the cure, and if arrow and sword are used in sincerity the rock of Egypt will be torn out.
The surviving quatrain in which Fedâî Baba names his town Amasya and his native village Ebemü (Yassıçal), praising its spring streams and the rushing flood of Dive.
Harîmî's ghazal with the refrain "itsem gerek": a lover running to the beloved like the dawn wind, a huma bird to be hunted like a gnat and a resolve to reach asceticism through blame.
Mustafa Vâzıh's tavern ghazal with the refrain "mı var": a call for arrack, gourd and jug, the saying "Is there a madman in the bathhouse" and a lover blind to the well.
The stanza of Nigârî's terci‘-bend known for the line "Sana Kur'an dimese ben sana insân dimezem": a naat for the Prophet by a poet who likens himself to Hassan.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: nightingales drunk on the wine of Elest and divine love; original text, English prose and commentary.
Sıdkî Baba's declaration of the path with the redif "gözleriz": allegiance to the Hünkâr's line, Balım Sultan's secret, the light passed from loins to loins, the crow and the nightingale.
A farewell deyiş collected as Kul Hüseyin's: the refrain "let the souls who love us not weep", the shroud, the Yasin and a plea to Hüseyin Gazi; a "Derviş Ali" also speaks in it.
Derviş Edna's four-quatrain nefes of repentance: faith in God's precepts, standing firm in goodness, and the refrain "whoever keeps the sultan in his heart is not hurt".
Two couplets from Ehlî's ghazal with the refrain düşdi: the fire of love falling into the heart, and a lover who lays his plea before the beloved in a bath cubicle.
Conduct before the master, point by point: silence, no extra prayers, counting the sheikh's error one's own fault and ranking him above even Ibn Arabî.
Two couplets recorded by Sehî in 1538: Sürûrî's ghazal fragment putting in their place the moon that vies with the beloved's face and the rival who plays the pasha.
The order of the four caliphs, the thirty-year caliphate, the imam's duties and conditions, and the rejection of a hidden imam: Sa‘dī Çelebi's verse creed on the imamate.
Refîkî's second ghazal rhyming in '-âd' on the same model: provisions from the liver, the sanctuary of union, Khusraw and Farhad, and deference to the master who spoke first.
The ghazal that opens "I became the slave of a king whose beggar is the world": a sultan-poet enslaved, mornings that are feast days and evenings that are the Night of Power.
Lülüfer Hatun, the Yarhisar bride given to Orhan and mother of Murad Han and Süleyman Paşa, praised in six couplets beginning "Zihî devlet ki Hatun buldı Hak'dan".
Sâhib's second chronogram for Hattî: the youth who masters forty years of calligraphy in a short time turns to the "hatt" of his face; a riddle of Hasan from Şehbâ to Damascus.
Cûdî's philosophical ghazal with the refrain "the world to me": against the permanence of the cosmic order, the indivisible atom, the philosophers' search, and "amâ", blindness.
A five-couplet ghazal with the redif "ise ancak ola" that takes the beloved as the sole owner of every beauty and returns to its opening line in the last couplet.
Adlî's seven-couplet ghazal likening the curls to a chain and the heart to a madman; its attribution is disputed, as Latîfî gives the opening couplet to Mehmed II (Avnî).
Münîrî's fifty-nine-couplet Persian kaside for Bayezid II; answering Zahîr's praise of Kızıl Arslan, the Anatolian poet claims that Persian will give him his due.
Basîrî's ghazal built on Nevruz: a feast that comes to all but the lover, a square where tears keep the dust down, a sigh that lights the night and a poet burning like a candle.
Kara Fazlî's twenty-nine-couplet kaside praising Prince Mustafa's four-year-old son Prince Mehmed with proverbs and wordplay and praying for his long life.
Kadı Burhaneddin's tuyugh measuring joy by Baghdad: hearts freed from sorrow are gladdened, and the world honoured by his name turns into a city like Baghdad.
The quatrain in which Fedâî Baba tells how the saints gave him his pen name in a dream: the bade tradition, the "sincere heart", the saint's gaze and the meaning of Fedâî.
Harîmî's ghazal rhyming in "-en": jasmine skin that cheapens the rose, a lion-felling gazelle, an Indian mole that brands the breast and a lover who comes with his shroud around his neck.
Mustafa Vâzıh's ghazal with the refrain "olmuş yatur": a lover martyred by the sword of a glance, a sheikh turned disciple and a poet smitten by the beauties of Sultan Bayezid.
Nigârî's three eight-syllable quatrains: a plain folk utterance explaining the cause of separation through the caged nightingale, the faithful gardener and the hunter.
The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: plays on devran, the realm of locks and the steed of coquetry; original text, English prose and commentary.
Sıdkî Baba's düvaz-ı imam: a poem that names the Twelve Imams in order from Hasan to the Mahdi and prays with the refrain "do not part us from the perfect human being".
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