Harîmî's ghazal in the letter nûn: a Mecnun heart bound to Leylâ's hair, a soul clinging to the rope of the locks in the chin's well and a pearl pierced by envy.
Mustafa Vâzıh's ghazal in the language of a madrasa debate: the problem of a hair-thin waist, two beloveds from Istanbul and the provinces, a barber and Birmen wine.
Six lines in syllabic metre in which Nigârî expresses love for the Prophet's household: hatred of that lineage, love for it, and the poet's own seyyid descent.
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: a figure praised with ceberût, melekût and the shadow of the hümâ; original text, English prose and commentary.
Kul Hüseyin's three-quatrain poem: the musk-scented roads to the Kaaba, Abraham who built it, Imam Hüseyin, and "what did not remain theirs, will it remain ours".
Derviş Edna's nefes of counsel with the refrain "it seems it does not": God who gives to poor and rich, the carrion of the world, the blind who cannot lead the blind, and Nimrod who hoards.
A ghazal addressing the people of Amasya: a sheikh not hidden yet beyond understanding, who comes as the Lord's appointee and is counted wise or mad by the city.
A ghazal headed 'Refîk' in the Mecma'u'n-Nezâ'ir and 'Refîkî' in the Pervâne: candle and moth, treasure in ruins, dervish caps as goblets and a cup of repentance broken.
The ghazal of a lover bound to a king whose slave is the world's sultan: hair as the Night of Power, separation as Ramadan, a pun on Yusuf and Sinan and Sadi's tale of Sultan Mahmud.
The battle of Koyunhisarı summed up, the martyr Aytoğdı mourned and Yahşı Fakıh named as the source of the legends, in eight couplets signed Âşıkî.
Sâhib's ghazal built on the shapes of letters: a breast torn like "illâ", a collar shaped like "lâ", a forelock like a tughra, and the plague leading the rival to the funeral stone.
A ghazal that addresses the beloved as "siz": the delight of abasement, a lover's reply to the debate on force without matter, nights like dark Arab girls, and hope made young like Khidr.
A short five-couplet ghazal of a lover scorned without knowing her fault, who likens the rival to an accursed dog that deserves a rope round his neck.
Adlî's ghazal on the pain the beloved's eye, curls and cheek bring the lover, the broker of love, and the lover who circles and moans like a water-wheel.
Münîrî's sixty-one-couplet kaside for Prince Ahmed with the refrain "rose"; the sultan of the rose opens its register and comes to bow in the dust of the prince's road.
Basîrî's ghazal that opens with a proverb: a straight cypress no harm can touch, a curl that is the cīm of cemāl, a map of beauty from China to Damascus and gazelles not won by ghazals.
Kara Fazlî's kaside that uses the words sword and pen together in almost every couplet, arguing that the two are inseparable, and praises Prince Mustafa.
Harîmî's ghazal rhyming in "-âb": the change of the qibla, eyes that cannot leave Cem's cup, an ascetic bound to the prayer niche and a lover at the Kaaba's door.
Mustafa Vâzıh's plain ghazal in a short remel pattern: the proverb of the thief in the house, a year of separation, the hospital threshold and a heart that moans like a cymbal.
Nigârî's poem with the refrain "siz bir taraf biz bir taraf": harsh language setting the Prophet's household against the Umayyads, reflecting the Ali-Muâviye dispute in Amasya.
The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: a prayer for divine grace for a heart on the path of love; original text, English prose and commentary.
Kul Hüseyin's reproach of a lover who hears his beloved has given herself to strangers: "if it is true, it has bent my back", the robber on the road and a lover sold for a coin.
Derviş Edna's nefes with the redif "praise be to God": the morsel of divine power from the rose-faced pir, the book opened, the lesson given and the door of eternal knowledge.
The section on uprightness: the teacher who gave remembrance, leave to seek another master if a sheikh leaves the law, signs of the perfect and deputies whose sheikh has died.
Refîkî's nazire to Ahmed Paşa's ghazal with the redif 'yiter': a quarter worth paradise, the beloved's street between Safa and Marwa, and a cup of bloody tears.
The lover speaks as king of the land of love: his realm the desert of grief, his banner a dragon-shaped flame of sighs, his mirror the wine cup, and the ash that keeps his fire his own body.
Five couplets with the refrain "kopdı" showing Osman as a thunderbolt sprung from the line of Gök Alp, after Köse Mihal's conversion and the taking of Lefke, Akhisar and Geyve.
The tughra atop a decree, the title "izzetlü", a meal begun with salt, the basmala and the first rosary bead: Sâhib fills the refrain "ibtidâ" from the customs of his age.
The earth rides on an ox, the bells of Palestine are set against the takbir at the Kaaba; young men who know Hugo, Schiller and Shakespeare but not al-Ghazâlî are this harsh satire's target.
A five-couplet ghazal with the refrain "-lar it" that opens in reproach of cruelty, treats killing the rival as holy war, and answers the beloved's curse from sweet lips with a prayer.
Adlî's ghazal on the refrain "eylediler", which presents the beloved's beauty as a gift of pre-eternity, likens the beloved to Joseph and names him king of the world.
Münîrî's forty-two-couplet Persian kaside for Prince Ahmed with the refrain "rosebud"; the bud plays Joseph, horseman and plaintiff, and ends as the title of his divan.
Basîrî's ghazal of a lover made for affliction: a house of pain with eyes for windows, a heart like a madman in the bath-furnace and a needle forged from an arrowhead to sew the wound.
Kara Fazlî's twenty-nine-couplet kaside that opens with chess terms, describes his scrawny horse in comic language and then asks Prince Mustafa for a new mount.
Harîmî's ghazal rhyming in "-en": the pearl of Aden piercing its breast, Khotan musk falling to the ground, thorns on the Kaaba road turned to roses and a shroud of roses for the lover.
Mustafa Vâzıh's ghazal with the refrain "dirler": a beloved like a gazelle in self or only in eye, kohl-darkened brows, a "suckling lamb" and a pun on eş'âr and iş'âr.
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