Written to a ghazal of Sultan Bayezid II (Adlî) on 'olmaz': the treasure of union, no torment in paradise, a sleepless eye and a heart roasted on the hearth of pain.
A second ghazal of lovers speaking as "we": collars torn at the sight of the bud-lipped beloved, a love made an epic like the Tale of Hamza, a stature open as a flag, the mouth's secret.
The tekfur of Bursa gives up his fortress through Köse Mihal for thirty thousand florins and leaves dressed in sackcloth: a scene told in three couplets.
Nigârî does not define passion; he gives it titles instead: painter, calligrapher, commander, alchemist, prophet, and at last the hand of Ali that opened the gate of Khaybar.
Morning defeats the army of Şâm, a white rose outshines the stars, the sun performs the işrak prayer, and in this ghazal on "subh" the lover's eye is lit by the cheek.
Love begins with Eve and Adam: love that will not beg for bread, men and women circling the heart, the circle of remembrance, the finger of witness and the shortest road to perfection.
A story-like ghazal with a long refrain and internal rhymes that tells, within one day, the coming and going of a rosebud-lipped, rose-cheeked beauty.
Adlî's six-couplet ghazal of curls, candle, cypress and rose; in its makta the sultan-poet ties the reach of his command to a tuğra drawn from the beloved's eyebrow.
Münîrî's tree-shaped (müşeccer) kaside for Prince Ahmed; a trunk and fourteen branches praise the prince, repeating the words "Rūḥ-ı ‘ālemdür".
Basîrî's ghazal asking for the alms of beauty: a lover begging a kiss, a heart longing to be a moth, a burnt body even dogs refuse and a breast turned into an archery range.
Kara Fazlî's forty-three-couplet autumn kaside for Prince Selim, with a nesib on autumn's ruin of the garden, a ghazal-like interlude and praise of his justice.
Harîmî's ghazal built like a catalogue of beauty: mole and locks as Zanzibari and Indian, eye and glance as trickster and sorcerer, a beloved rising like a star of fortune and the cry "Hû".
Mustafa Vâzıh's ghazal of spring and the drinking party: friendship with the beloved's dogs, spring bloodletting, a daring comb and a beloved who says "the pen knows".
The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: a heart lamenting amid the delight of the pleasure-seekers; original text, English prose and commentary.
Kul Hüseyin's deyiş calling his musahip İbrahim Derviş, "come to our land, come wandering", and the legend of the distant companion hearing the call and arriving at Keçiköy.
Derviş Edna's nefes "my city is Muhammad, my market is Ali": Mecnun wandering for Leyla, the writing on the brow, and grapes pressed in the square of the Forty.
A Persian couplet in the section on the pledge to a master: praise of the reasoning dervish, superiority given to the one who always worships God, an uncertain reading.
Refîkî's ten-couplet ghazal with the redif 'olmaz': the ihram before the sanctuary of union, the reed flute as companion, and stature, tress and mouth spelling 'âdem'.
A ghazal whose refrain is the beloved's name, Veyis: for Veyis, sultan of the heart's throne for years, tears become wine and the liver a kebab when he comes as a guest for one night.
Bursa surrenders to Orhan in 726 (1326), the tekfur's treasure is shared among the gazis and the vizier Saroz explains why the fortress was given up; six couplets follow.
A seven-couplet ghazal opening each couplet with "O beauty": the wine of charm that burns and gladdens the lover, a meaning beyond words, and the form of the pen name.
Sâhib's ghazal on patience and time: grapes that turn to wine in the jar, an eyebrow-bow slackened by the years, a ripened cypress bearing fruit, and a pen that bows as it writes a name.
Cûdî's four-couplet incomplete ghazal: a chorus of gossip speaking through the refrain "they said", the cure that lies in union, refuge in the mischief-maker, and "a little longer".
A cry of "meded" (help) from a lover brought to the edge of death by separation; a five-couplet nazire by Mihrî to a ghazal of Necâtî Bey in the same metre and refrain.
Adlî's seven-couplet ghazal on the refrain "henüz"; its second couplet, on the palace of the heart, is disputed, as Âşık Çelebi and Âlî give it to Mahmud Paşa (Adnî).
Münîrî's festival kaside for Prince Ahmed; the crescent at the end of Ramadan becomes a key, a sickle, a skiff and a horseshoe before turning to the prince.
Basîrî's ghazal on the refrain "both": a poet disgraced by love, nightingale and moth, mansion and ruin grown narrow, the ascetic's snare and a tavern full of God's light.
Kara Fazlî's thirty-four-couplet kaside of praise from the tehniyetname he wrote for Ahmed Çelebi on his appointment as defterdar of the tımars of Rumelia in 954 (1547).
Harîmî's ghazal built in the language of calligraphy: down written on the lips, the basmala of the Mahzenü'l-esrâr, a sunburst on a wall and a name the scribe of tears writes on every wall.
The longest ghazal in Mustafa Vâzıh's Dîvânçe: with the refrain "elmās" it links dagger, cup, censer, the splitting of the moon and the beloved's ruby lip in jeweller's images.
The opening couplet of Tokatlı Nûrî's Kalenderî in the Merzifon Cönkü: a nightingale with no rose or branch, a lover with no refuge; original text, English prose and commentary.
Kul Hüseyin's semah-nefes with the refrain "come, my faith and my religion, Hasan Hüseyin": a life lost at Yezid's hands, a martyr sent away thirsty, a lion guarding the body forty days.
Derviş Edna's nefes of devotion to his guide Kul Fakir: "my tongue speaks by your command", a breast fired in love's forge, a dervish who reached his beloved like Selman.
The second ghazal to Amasya, opening “do not think I bring you harm”: a sheikh who brings prayer, charged to mark granite-hard hearts with the pen of love.
A reveller's ghazal opening on the pun between 'evbâşlaruz biz' and 'ev başlaruz biz', with a sip worth more than Jamshid's cup, joy grafted on grief and lashes that sweep the threshold.
A ghazal whose refrain "olmış" (has become) reports changes: eyelids bobbing as bubbles in a pool of tears, locks turned eagle, a Sufi who allows secret drinking, a rival dog at the door.
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