Kul Hüseyin's düvaz-ı imam with the refrain "if you speak to me, speak of Ali": ten quatrains praising Ali and the Twelve Imams, whose first line was not found in the field.
Derviş Edna's nefes on the order of the cem: the guide as shepherd and the seeker as sheep, the disciple who hides his sin, a warning against gossip, and the age of the Antichrist.
Ehlî's couplet describing the beloved's waist and lip as secrets neither poets nor saints can solve: the question whether ehli is his pen name or a refrain.
A ghazal in the shared voice of the disciples: the master as the greatest miracle, criticism of miracle-seekers, the saying on poverty and the pun on deficient tools.
Wiping over socks and date-wine, the outward sense of scripture, attitudes that lead to unbelief, signs of the Hour, man and angel: the miscellany of Sa‘dī Çelebi's creed.
A belt that knows the unseen and so finds the invisible waist, tears named rain like a nickname from the sky, and a straight word: Refîkî's nazire on Şeyhî's model.
A four-couplet ghazal missing its opening couplet: stature and resurrection, the soul returning with the sword of the glance, and a rose season shorter than a month.
Five couplets of the second piece under the same heading, on Bilecik and Yarhisar passing to Osman Gazi and defending Osman's ruse against the tekfurs' treachery.
The only muhammes in Sâhib's divan: a poem of warning that reminds the beloved of the transience of beauty, turning the face into a Kaaba and the eyebrow into a ruined mihrab.
A friend nearer than the jugular vein, the window of a dark house, reason that robs the road: this ghazal tells of love opened by the huma bird and ends on a goal never chosen.
An 11-couplet ghazal that opens by reproaching the beloved for favouring the rival, woven from images of the book of beauty, rayhani script, polo and the festival crescent.
Adlî's ghazal on the refrain "var" about the pain of love and the danger in the beloved's beauty, which runs from four to eight couplets depending on the manuscript.
Münîrî's 101-couplet kaside for Bayezid II with the refrain "sun"; a response to Atâyî and Ahmed Paşa in which the sun is first a prophet, then the sultan's doorkeeper.
Basîrî's ghazal on the refrain "knows": the beloved as shah of the heart, a sun-face only sun and moon can know, guests lodged in the lover's eye and speech only the wakeful grasp.
Kara Fazlî's kaside for the Feast of Ramadan, which describes the crescent in a chain of images, praises Prince Mustafa and voices the hope of his accession.
Kadı Burhaneddin's tuyugh likening the beloved's eyes to Baghdad's tricksters and lips to Anatolia's wine-sellers: a beauty each of whose graces builds this world.
Fedâî Baba's reproachful quatrain: even if he worked miracles, scattered pearls from his mouth and flew to heaven, people would not believe him and would call him a sorcerer.
Harîmî's ghazal in the letter lâm: a lover lost like a camel in rut, a soul awaiting union under the sign of Aries and a last couplet that joins the poet's pen name to the Kaaba's precinct.
Mustafa Vâzıh's ghazal built on the repetition "some … some": a beloved who destroys his lovers one by one with glance, lash and sword, and a heart that sizzles.
Nigârî's opening couplet likening the corner of unity to a school for the seeker and love to the water that raises a sapling: the link between love and unity.
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: a sorrow that grows from one to a thousand when told; original text, English prose and commentary.
Sıdkî Baba's deyiş with the refrain "bilmem ne haldir": winter and mist barring a dervish's road to the Friend, the heart's caravan that never left, and the passes of the Yıldız Mountain.
Kul Hüseyin's poem to his just Hünkâr: "cure this pain before it takes us", the feuding reconciled on the holiday, a beloved awaited at the grave and a last wish.
Derviş Edna's Karbala lament: the army of unbelief rank on rank, Hür crossing to Hüseyin's side, the women carried off to Damascus, seventy-three wounds, and "think of Karbala, be patient".
The disciple's daily order of remembrance: fifteen requests for forgiveness, rabıta, two cycles of prayer, five thousand “Allah” and the stages of annihilation.
The conclusion of Sa‘dī Çelebi's Arabic verse creed: counsel to the soul, praise of the work, a prayer line that gives the date 893 by abjad, and blessings.
Refîkî's reveller's ghazal: the ship of the body sinking in a sea of wine, wine that wipes the dust of grief, a languid-eyed cupbearer and a curse on those who will not burn.
A short ghazal in the mütekârib metre built on questions: are these tears or blood, can the sea scatter pearls like the eye, is it the beloved or fate that torments Avnî?
Osman Gazi questions the market toll, fixes it at two akçe a load and orders that a timar pass to the holder's son; eight couplets close the chapter on his law.
The ghazal that opens Sâhib's ghazal section: an unlucky lover who sees a mirage in the sea and whose wine turns to water, the merit of a smile, and rosewater from a cheek.
The kanun of love that is both law and zither, a harmony no makam contains, the soul's song sung in the body's letters: a ghazal woven of musical terms that ends on a broken rhythm.
One of Mihrî's best-known ghazals: she tells the faithless beloved who smiles at everyone to "go", and in the end consoles herself with the thought that the world is wide.
Adlî's six-couplet ghazal that ranks a beloved beggar above a king, woven with backgammon terms and a play on his pen name in "‘adl ü zulm", justice and injustice.
Münîrî's eleven-couplet kaside for Bayezid II on his resolve to wage holy war; angels share the news, the sky dyes itself with dawn's henna, and the poet sends prayers.
Basîrî's ghazal in which the world that is a rose garden to others is a prison to him: a rosary of bloody tears, a cry against the infidel eye and a kiss priced at a soul.
Kara Fazlî's thirty-seven-couplet kaside that opens with the pilgrimage and the Feast of Sacrifice, plays on musical modes and praises Prince Mustafa above all princes.
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