The bulk of contemporary scholarship on Mahsati, one of the earliest female poets of New Persian, is found in two books: Fritz Meier’s Die schöne Mahsatī (1963) and Mu‘in ad-Din Mehrābi’s Mahsati-ye ganjeh’i (1994). Each contains a detailed overview of biographical information on the poet, followed by a divān of the poet’s work compiled from a range of 12th- to 19th-century sources. Since these works were published, however, two additional sources containing information on the poet and examples of her work have come to light. The first is the Safineh-ye Tabriz, a manuscript that emerged in the mid-1990s and was published in facsimile form in 2003. The Safineh includes an anthology of quatrains containing 21 poems attributed to Mahsati, at least six of which are previously unattested. A second source, Fakhri Heravi’s Javāher al-‘ajā’eb, appears to have been overlooked by Meier and Mehrābi. This 16th-century work is the first known encyclopedia of female Persian poets, and a short biographical entry on Mahsati is found at the head of the book’s catalogue of poets. My paper examines these new sources for Mahsati and rethinks assumptions about the poet and her impact on the quatrain tradition. I translate the new quatrains in the Safineh and Heravi’s biographical entry on the poet into English, using this material as a jumping-off point to examine unresolved historical issues related to the poet’s life. I demonstrate that biographical sources on Mahsati are informed by two distinct bodies of legend and argue that the poet of the historical record may be an amalgamation of two women whose identities became fused in popular imagination. In addition, I draw on Sunil Sharma’s study of female poets in the Safineh and examine the implications of the fact that a significant number of extant, early quatrains are attributed to women (which is not the case for other forms of classical Persian poetry). These women’s contributions, particularly those of Mahsati, require a new framework for thinking about poetic voice and the persona of the lover in the quatrain and perhaps more broadly.