Sâhib's ghazal with the refrain "olmaz da n'olur": advice never to set foot in state office, grief that rises and falls like the tide, and a pen-name couplet that follows the way of Nâbî.
The crescent bending before it is full, prophets made of the earth of good manners, the sword of truth never sheathed: a ghazal on humility that ends with a boast over Nevâyî.
A ghazal with the refrain "lezîz" (delicious) in which union, the beloved's curse, her lips and her speech are all called sweeter than sugar, palude and the water of Kevser.
Adlî's five-couplet ghazal found only in the T manuscript, moving from a sound-woven opening to a parrot struck dumb and a lover who dashes the flask of his honour.
Münîrî's only murabba, in seven stanzas; its verses on the cupbearer, spring, the gathering and a prayer for the king each close with a refrain imitating the ney.
Basîrî's ghazal that makes the beloved king of beauty: a sun that bows before her, a golden face rubbed on the touchstone, the calligrapher who erased Majnun and a kiss as halva money.
Kara Fazlî's last kaside, thirty-five couplets opening with a praise of knowledge and praising Hᵛâce-i Şân, thought to be the Gülşenî sheikh Zarîfî Hasan Efendi.
Harîmî's ghazal rhyming in "-âb": a heart thirsty in the sea of love, prayer at the niche of the brow, an eye that has seen the divine light and a soul surrendered to love's butcher.
Mustafa Vâzıh's only ghazal ending in the letter ṭı: tears of blood, a rose garden ringed with thorns and a closing couplet on daring to answer the verse of Hazret-i Rif‘at.
The opening couplet of Tokatlı Nûrî's semai in the Merzifon Cönkü: the laughing rose that no longer begrudges the nightingale's sighs; original text, English prose and commentary.
Kul Hüseyin's nefes with the refrain "I wonder why they look down on this path": fourteen quatrains naming the Twelve Imams one by one in answer to those who scorn the Alevi path.
Derviş Edna's nefes stirred by a word from the "felicitous Hünkâr": being a Kamber before the sultan, Ahmed-i Gazi who will set the world right, the coming Mahdi and Zülfikar.
Those who drift from master to master, those who say there is none, and the likeness of Rûmî and Şems: on seekers who waver and whose aspiration is low.
Refîkî's ghazal in the language of the money-changer: a pupil that honours bread and salt, a sky leaning on a staff of sighs, moles as dots, and a hard heart as touchstone.
A ghazal likening the tavern to Paradise: houri-faced tavern boys, a courtyard smelling of spring on every side, the murky-hearted Sufi kept out and a dregs-drinker raised to intercessor.
A letter tied to a stone, Samandıra set on fire for a feigned retreat and Gazi Rahman climbing the wall on a rope: the taking of Aydos in five couplets.
A ghazal saying the tongue cannot suffice to praise God: the Prophet's prayer "lâ uhsî senâen", images of Qaf and the Anka, riddles and abjad, and incapacity as praise.
Sâhib's ghazal with the refrain "yazar" (writes): couplets laid out like a letter, a fief of paper villages, an eye that becomes a Kahramannâme, and Majnun naked in love's bathhouse.
Cûdî's ghazal that dissects human nature: a satire spoken as "we", the pun on hades and havâdis, the verses on the best of forms and the lowest of the low, malice, envy and greed.
A five-couplet ghazal with the refrain "yakdılar" (they burned) that plays on the many senses of burning: the lover's soul, the beauty's candle, the tulip's brand and the interpreter-tongue.
Adlî's seven-couplet ghazal on the refrain "enîs" (companion), pairing nightingale and rose, camphor and pepper, seeking the purpose of kingship in the beloved's company.
Münîrî's only Persian tahmis, expanding a ghazal by Hâfız of Shiraz into five-line stanzas; the last two lines of every stanza are Hâfız's own couplet.
Basîrî's ghazal on the refrain "were there not": ney and wine as companions, no union without parting as no spring without winter, Majnun's encampment and the scroll of life.
Harîmî's ghazal with the refrain "-uma": a beloved guarded from friends, a shadow that comes only on sunny days, a spider web bound on a wound and verse that seizes the world like the sun.
Mustafa Vâzıh's only ghazal ending in the letter ayn: the beloved's beauty is a ghazal, the collar its matla and the dagger its makta, and poets write murabba‘s for a youth.
The opening couplet of Tokatlı Nûrî's divan in the Merzifon Cönkü: an invitation to an outing and the enigmatic çifteler; original text, English prose and commentary.
Kul Hüseyin's poem of counsel to a hoca: "do you know the place where God is a guest?", the four gates, the law on the tongue and the order in the soul, and a heart's wound made to ache.
Derviş Edna's nefes "in this present world it is better to be mute": keeping one's secret from the people of the age, sharing the state of the saints, and the hidden people of truth.
Five counsels with the refrain “etmek gerek”: need laid before God, throne and crown left like İbrâhim b. Edhem, the command to be upright, the master as physician.
Advice to trample a wheel that is both sky and spindle, a dawn that tore its collar for jealousy of a shirt, and a beloved kneaded with spirit: a Refîkî ghazal on Nizâmî's model.
A Sufi ghazal on the tavern's safe station and its kindly elder: an age without companions, the drowned man who cannot know the sea, the hypocrite Sufi and the path of annihilation.
Six couplets ending with the pen name Âşıkî, in which Âşıkpaşazâde says he began writing his history at eighty-six, on the day Bayezid II set out on his campaign to Moldavia.
The poet asks for the calamity of love to grow rather than fade, wants his body pierced like a reed flute, and calls Hamza and Husayn to his funeral prayer.
Sâhib's ghazal on the down: a copy full of errors, down that tunes the face like the pegs of an instrument, a joke on "bedel-i iştimâl", a fortune that sets like the afternoon sun.
The night of youth and nightly revels meet in one family of words; songs see youth off mournfully, excuses that made the rosebud laugh are recalled, and hands reach to the past.
A six-couplet ghazal with the plural refrain "-lar", the complaint of a poet left behind in the city heat while her friends go to the highlands, set beside the Lâdik panegyrics.
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