The only Arabic poem in Prince Korkut's Dîvânçe: two couplets on a heart sick with love that refuses a physician, and a stranger who comes begging to the beloved.
The whole of a Refîkî ghazal whose opening couplet the tezkires quote: roses added to the dish of beauty, cups endowed to tavern riffraff, and eye, mouth and brow spelling 'life'.
A ghazal with the refrain "idelüm" (let us) calling friends to the tavern: serving the Magian elder, climbing from the wine jar to Sinai, a "cup" for the dry ascetic and wine as a mirror.
Five couplets on reason, patience and anger, in the chapter where Murad Han, after his brother's death, crosses to Rumelia, takes Banatoz, Çorlu and Misini and burns Bırgoz.
Here Nigârî says that desire for the beloved wrote his divan, does not shrink from challenging Örfî of Shiraz, and counts himself the Majnun of the Leylâ of his age.
Sâhib's ghazal on the tools of writing: the pen as the tongue of thought, the inkwell as a kohl box, the ruling board as a ladder, word and meaning as body and soul.
An idler who takes idleness for honey, poses as a sage and laughs at the world behind a bolted door; facing him, His Excellency Effort, who tells him his shirt is a shroud.
Mihrî Hatun's five-couplet ghazal on a lover who falls from the beloved's eye through the rivals' gossip, on lovers stoning the unbelieving rival, and on boundless cruelty.
Adlî's seven-couplet ghazal stands out for allusions to Ferhad and Joseph, a brow likened to a sultan's tuğra and a slave of love who is sultan in the land of Rum.
Münîrî's ghazal woven of Arabic, Persian and Turkish lines; the ardent lover does not die, blessed is he who dies for love, and the beloved says "silence".
Basîrî's jesting couplet dismissing the citron with a bawdy comparison when lemons and bitter oranges are at hand: a congruence of fruit names and a gathering's wit.
The first single couplet at the end of Harîmî's Dîvânçe: a brief declaration of devotion by a lover who has turned his face to a valiant king since love appeared in his heart.
Mustafa Vâzıh's ghazal complaining of an infidel beloved to Jesus: a candle turned to wax, the lead of heaven's dome melting and a pun on the maqta where pens are cut.
Kul Hüseyin's incomplete three-quatrain nefes: saints patient under trial, Abraham cast into the fire, Joseph in prison, Ali stabbed and Hüseyin martyred at Karbala.
A five-couplet ghazal with the refrain “‘âşıḳān”: lovers whom the people think mad but who are wisest, patient, grateful and travelling with God.
Refîkî's second nazire on Hayâlî's model: a bravo to the painter of the beloved's face, the proverb of what is written, lashes that sweep the threshold, and a sigh to dry up the seas.
Another ghazal of invitation with the refrain "olalum" (let us be): to bloom like roses at union, become Cem on Kâvus's throne, grow intimate with the grape's daughter, and be men.
Raiding by night from a small fort on the Maritsa, Hacı İlbegi traps the tekfur of Dimetoka and takes the town while Gazi Evrenez takes Keşan: four couplets.
A ghazal playing on "Müşterî" as both Jupiter and buyer: the reason for giving one's soul to the beloved, the breath of Jesus, a sacrifice at the Kaaba and pain that becomes a cure.
Kevkeb is both the star of fortune and a mole; reproach is excused as the raving of fever, and longing for dawn is laid to the length of the night, on "-ümdendür".
Cûdî's Kudûmiyye with the refrain "you have a place above my head": a müseddes of welcome, a guest who may be patron or beloved, pupils at the window, and flowers opening along the road.
Mihrî Hatun's question-and-answer ghazal with the redif "ol didüm be-ser": the beloved's ever heavier demands, and the lover's unchanging reply, "on my head".
Adlî's seven-couplet ghazal paints a face of hyacinth, jasmine and rose, with the musk of Khotan, a fairy in a ruin and grass on a grave that becomes a tongue.
Münîrî's Persian ghazal in which he presents himself as a wine-drinking rind; homelessness is his honour, liver's blood his wine and sighs his companions.
Basîrî's opening couplet to a tailor's son: a double entendre between a piece of the soul and a piece of cloth, the uncertain word "gök" and a lover turning round and round.
Mustafa Vâzıh's ghazal for a boatman's son: images of sails, boats and the bottomless sea, sayings from popular speech and traces of the localising trend.
The single couplet that closes Harîmî's Dîvânçe: a poppy turned into a bareheaded abdal by longing for the beloved's lips, the couplet Sehî's anthology also gives first.
A twenty-quatrain deyiş of religious law attributed to Kul Hüseyin: verses on ablution, prayer, fasting and alms asking "tell me, let us see", and a story about the kadı of Gümüş.
The section on regard for miracles and unveilings: inner states as a test, saints who lost sainthood through selfhood, and the duty of keeping an unveiling hidden.
Adam and the grain in the snare of a mole, a lucky comb and a lover who taught the moth to burn, in a nazire on the model of Hafî, an unlettered shoemaker.
A ghazal of transformations: a street turned tulip bed by tears, a lover leaving home like musk, a tomb built from stones of cruelty and a heart's church adorned with idols.
Four couplets after Lala Şahin routs the infidels before Edirne, the tekfur flees down the Maritsa by boat to Enez and Edirne surrenders to Murad Han in 761 (1360).
The beloved calls the burned-out lover "raw"; from this injustice the ghazal moves to public disgrace and to counting it a favour to be cursed by name, to spite the rival.
Sâhib's ghazal with the refrain "kalmışdur": virtues left only in rose, cup, chess and backgammon, the heart as a barber's mirror, a raw silver-and-amber image.
The minaret that serves five times a day yet stands outside argues with the pulpit used once a week; the conceit of the crooked stair yields a lesson that puts good manners above service.
Mihrî Hatun's eight-couplet ghazal with the redif "-dan çıḳar"; in the closing couplet she recalls her lineage through a double entendre on her father's pen name Belâyî and "belâ".
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