Harîmî's ghazal with the refrain "-dur benüm": a beloved who is life's harvest, a stone of separation that becomes a gravestone, sorrow as an old companion and tears that betray the secret.
Mustafa Vâzıh's ghazal of questions with the refrain "mi var": rebabs taking up their strings, a world moaning like a kemençe, an idiom of reproach and the heavens' lost tuning.
Nigârî's couplet saying that in the tavern of unity everyone is busy with a task of his own and none seeks travel, and the two ways in which it can be read.
The first stanza of Tokatlı Nûrî's Düstûr in the Merzifon Cönkü: a stanza with a refrain and a merciless cypress-like beloved; original text, English prose and commentary.
Sıdkî Baba's crane deyiş: it describes to the cranes a pilgrim road from Hamdullah's post in Amasya through Merzifon, Harız, Çorum, Bozok and Malya to Hacıbektaş.
Kul Hüseyin's nefes with the redif "what does he do if he does not": the straight road of the seeker pledged to the Prophet's Family, Hasan Dede and Veli Sultan, and the counsel of unity.
Derviş Edna's eight-syllable düvaz-ı imam: the names of the Twelve Imams, the blood of Karbala, Selman's bowl at the assembly of the Forty, and the belief that all came from one point.
A praise of the saints, a kaside in name and a ghazal in form: saints devoted to remembrance and hidden from the people, “We are nearer” and Hallâc's “I am the Truth”.
A nazire that carries the word 'yagı' from Necâtî's spring ghazal into its own couplet, with fresh brands in the meadow, a falcon beloved and the nightingale's red royal tent.
The ghazal of a lover who would not take Ferhad as his apprentice: the free cypress, a soul dug out with fingernails, laments echoing on Bîsütûn and the rusted mirror of the heart.
Once the alliance of the tekfurs of Bursa, Adranos, Kestel and Kite is broken and Kite falls, two couplets show Osman as a builder who destroys and rebuilds.
Every couplet closes on "âsâ" (like): the lover turns like a millstone, the beloved is carried like a book, the down is admired like a choice couplet, tears scatter like rosewater.
Lustre from the molten essence of the soul, wine transformed, the finger of choice; the prayer against the evil eye, left unsaid lest it hide her, is this alchemical ghazal's conceit.
A five-couplet ghazal in the voice of a lover laying her condition before a just king, ending with Khidr and Joseph and Zulaykha allusions; it shares its ground with the sixth ghazal.
Adlî's ghazal in which a lover near death gives thanks for one last sight of the beloved and serves his roasted liver to the beloved's image as a guest.
Münîrî's sixty-four-couplet kaside for Bayezid II with the refrain "morning"; the dawn that conquers the land of night ends as a servant at the sultan's threshold.
Basîrî's ghazal on the refrain "you made": a lip flushed with wine, a rā-shaped brow bending the lover into a nūn, Shirin's lips, Leyla's locks and an eye woken from the sleep of mischief.
Kara Fazlî's kaside that praises his dead horse in hyperbolic images, mourns it in the language of chess and asks Prince Mustafa for a new mount.
Harîmî's ghazal with the refrain "-um benüm": a welcome embroidered in blood on the slipper, a moon-faced beloved who walks without a shadow and a lover dancing on the gallows of the locks.
Mustafa Vâzıh's ghazal that says the same request first in a Persian compound, then in plain Turkish: a loosened sash, a witticism on the dot and pleasure four times over.
Nigârî's couplet saying he is outwardly far from the beloved yet near in truth: the contrasts of outward and inward, far and near, evening and dawn.
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: a plea not to be left in the fire of separation; original text, English prose and commentary.
Sıdkî Baba's Karbala elegy: Hüseyin's blood flowing in the desert, Hürr who first opened the field, the seventy-two martyrs, the unbroken line of the Ahl al-Bayt and a twelve-month mourning.
Kul Hüseyin's nefes classed as a "prophecy of the future": ninety thousand saints appearing, the master who will bring justice, Ali taking up the banner, the faith turned into a feast.
Derviş Edna's plea for help with the refrain "do not make your servant weep, forgive him for God's sake": a visit made step by step, a wound awaiting balm, a dervish at the Friend's door.
Counsel to a seeker who has found a perfect master: surrender like a corpse in the washer's hands, conduct even in sleep, extra prayers and a warning in a folk idiom.
Refîkî's reveller's reply to the preacher and the Sufi: goblets that shake the house of piety like cannonballs, shouts that drown advice, and tales other than love's epic.
The wine ghazal whose opening couplet Latîfî quoted as a sample: a lover calling for the cup before autumn, a will that slips away, passing beauty and a fight with the rival.
Two couplets at the end of the chapter in which Osman Gazi has two siege towers built against Bursa, Aktemür's on the side of the hot springs and Balabancuk's on the mountain side.
The judge Sâhib's ghazal with the refrain "da‘vâ" (lawsuit): libertine against ascetic, Zayd and Amr suing by proxy, a pun on target and betrothed, and a claim that falls with the down.
Cûdî's ghazal that turns nature into a tavern: a broken cup and inherited wine, a life that sums to zero, the sun as a cup, stars as a chandelier, the stream as musician, trees as books.
A ghazal in which the lover tells her stony-hearted beloved of unanswered laments, ending with love making Mihrî young like Zulaykha under Joseph's glance.
Adlî's five-couplet ghazal in which the lover's fiery sigh and his tears compete with lightning, the spring cloud, the waters and the mountains.
Münîrî's sixty-one-couplet spring kaside for Prince Ahmed, a response to Ahmed Paşa, in which the garden becomes a drinking party and the stars serve the prince.
Basîrî's ghazal in the hafif metre: a wheel that fills the eye with tears, a street that is a mosque, an eye turned astrolabe, the cheering wine of the lip and liver kebab on lash skewers.
Kara Fazlî's kaside that describes the pilgrimage and the sacrifices in hyperbolic language, praises Prince Mustafa in chess terms and sets a nine-couplet ghazal within.
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