Derviş Edna's plea for help composed in 1327 (1909-1910): a world run wild, jackals lined along the road of the Family of the Prophet, the Hünkâr's banner and "come, my lion Ali".
The book's only rubai: a reply to the Sufi who thinks the saints' spirits dead, God's sword that cuts more than an axe and a remedy kept in a flask.
A ghazal the Pervâne Bey Mecmuası heads 'Refîkî of Amasya': the lot of pre-eternity giving coquetry to beauty and supplication to lovers, a letter, and an upright cypress.
A ghazal spoken in the first person plural: the body turned to dust and swept away by sighs, wine set upon the head, breasts bared to separation's arrows and a threshold equal to heaven.
After the fall of Karatekin the frontier gazis press İznik: Konur Alp raids in Akyazı, Akça Koca towards İzmit, Gazi Rahman beside them, in five couplets.
The ghazal section of the divan begins with this poem, each of whose nine couplets opens "O love"; love is invoked as the source of speech, melody, wine and the path.
Sâhib's sententious ghazal with the refrain "geç" (let go): Joseph who left home to become aziz, carnelian famed once it leaves Yemen, a proverb, and thought milled to flour in the heart.
Riyâ and bûriyâ, hypocrisy and a reed mat: in this satirical ghazal a sheikh's stomach is probed, logic runs in circles, knowledge is an echo, and Mecnun is no different from Kays.
A five-couplet ghazal with the refrain "olmak ne güç" on the weight of separation, built from images of the rosebud, thorn, tulip, drunken eye and crow.
Adlî's ghazal built from the language of the state, with the muhtesib, the unjust king and the army of sorrow, in which the poet asks his viziers for help.
Münîrî's eighty-one-couplet mesnevi on an outing to Lâdik with Prince Ahmed; the road, the lake and Akdağ are described in couplets woven with puns.
Basîrî's ghazal on the refrain "efendi": the plain complaint of a servant who answers curses with prayers, finds no faith even in life and longs for a greeting from his master.
Kara Fazlî's late kaside for Prince Selim, using the words "throne" and "crown" in every one of its forty-two couplets, each time in a new figure.
Harîmî's ghazal with the refrain "şimdengirü": an ear closed to advice, locks that make the musk of Cathay needless and death called to be physician when the healer of souls forgets.
Mustafa Vâzıh's four-couplet ghazal with the refrain "açmış gider": a boat of coquetry under sail, a dragon lock with open jaws and the bird of beauty spreading its wings.
The opening section of Tokatlı Nûrî's Satrancî in the Merzifon Cönkü: a eulogy built from shifting verbal segments; original text, English prose and commentary.
Kul Hüseyin's düvaz-ı imam and plea for help: Abdal Musa roused to wrath, refuge in the Twelve Imams, Zülfikar drying the sea of Najaf, and a plea to Hüseyin Gazi.
Derviş Edna's nefes opening with three rose trees in paradise: turtle-doves and the nightingale, locked doors, accounts rendered, and the wait for the Mahdi.
A ghazal that lists the qualities sought in a master as a row of attributes: not every crowned head is a master, the balance of law and inner path, the lover thought mad.
Refîkî's answer to Hafî's ghazal claiming no beloved is without rivals: no hospital without patients, tears like planets, and the thornless rose of seeing the beloved alone.
A ghazal made of refusals: a lover who will not rebuild his ruined heart, the recluse who shuns fame, and one rich in love's coin who scorns guarding a treasure.
Five couplets spoken as Orhan, having taken Atranoz, camps at Pınarbaşı before Bursa, announcing that Bursa will be taken without bloodshed.
A ghazal whose twelve lines all begin "‘Aşkdandır": love as the beginning and end of existence through sun, moon, bird, fish, sky and Mount Qaf, with Arabic rhymes.
Sâhib's ghazal whose refrain uses the astronomical terms "hazîz" (perigee) and "evc" (apogee): rise and fall in music, in a seal, in the dots of letters, in rank and in fortune.
Cûdî's ghazal with the refrain "appears": three drafts of one ghazal given as 26 couplets in the thesis, Moses' tree, Abraham's fire, the verse "fe-semme", and light from every mote.
A ghazal with the refrain "bulsun ferah" (may it find joy) that sets up a gathering with the beloved's image as guest and a cupbearer, opening on the hair's unbelief and faith.
Adlî's six-couplet ghazal likening the beloved's threshold to a hospital; its makta sets taking a fortress against winning a heart, conquest being easy and love hard.
Münîrî's thirty-couplet kaside for Prince Ahmed; in this response to Ahmed Paşa the heavenly bodies become servants waiting at the prince's threshold.
Basîrî's ghazal in the short hafîf metre: a lover with no star to see the sun-faced beloved, and a self-praising close that claims to have borrowed nothing from any divan.
Kara Fazlî's seventy-one-couplet sûriyye for Prince Selim on the circumcision feast of his son Murad, with its banquet, nahıl, mock galleys and fireworks.
Harîmî's ghazal in the long hezec metre: locks that perfume the horizons, the water of the eye against that of the cheek, a black passion and sleep turned into a dream.
Mustafa Vâzıh's ghazal of a lover who trades his soul for wine: dust taken for the elixir, a Milky Way of tears showing the road to the Kaaba, and a kiss from the beloved.
The opening couplet of Tokatlı Nûrî's ghazal in the Merzifon Cönkü: asking the beloved, physician of the age, for a cure; original text, English prose and commentary.
Kul Hüseyin's three-quatrain plea for help: the pir of Khorasan, Ali who held the gate of Khaybar, Balım Sultan, and Hacı Bektaş Velî who made lifeless walls walk.
Derviş Edna's nefes of counsel with the redif "brings to nothing": a tongue silent before the rival, tyranny turning on itself, pride and dishonest gain.
A section on the necessity of a pledge to a master and on saints still existing: the intermediary before a king, a reply to “there is no master” and the lineage's start.
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