In this syllabic ghazal wine is the vine's daughter and mihr both sun and love, and the sayyid poet counts his salty speech and excess of love an inheritance from the Prophet.
Münîrî's Sufi ghazal: the mirror of attributes reflecting the light of the Essence, passing away from self, a prostration older than Kaaba and Somnath, a mustard-seed universe.
Prince Bayezid's murabba with the refrain "again I have fallen into the pain of separation": longing to serve a padishah on the throne of felicity and a farewell prayer.
A ground poem to which Kemalpaşazâde and Necâtî wrote responses: down accused as a forged script, a heart of steel, lovers drawn on one page like Leylâ and Mecnun, design and destiny.
A strand of hair becomes a lute string, a tear turns telltale and love's lesson begins at night; past the pen name, Hafez of Shiraz is made nurse to the poet's child of verse.
Münîrî's ghazal of the bewitching eye: an eye that plunders the heart, lips that give signs, a ruined realm restored by a sultan, ablution in blood and a kiss worth more than Samarkand.
Prince Bayezid's murabba with the refrain "watch for me, I have died, O my fair lord": love begun with a glance, a breast holed like a reed flute, the moth and a broken heart.
If the lover weeps, his tears will wash away the kohl of dust, so he will not weep. The rhymes sound like Turkish past-tense verbs, and the word "gerd" returns in two senses.
The refrain "var" counts wounds and sugar like an inventory of wealth, the poet reminds a questioning master of his skill in proving God, and Hafez becomes his measure.
Münîrî's ghazal of the image as guest: an image never to be let go, a pun on sick-visit and custom, a crescent raising its finger in assent and birth whose root is death.
Prince Bayezid's eight-stanza murabba with the refrain "O my bey, O my padishah, O my fair lord"; Filiz Kılıç cites its first stanza as an example of Şâhî's sincerity.
Prince Bayezid's murabba with the refrain "O base, faithless wheel of heaven, I cry out against you": water turning to dust, roses to chaff and a complaint against fate.
A ghazal built on a mouth that hides from its creditors: flies swarming on other beauties' lips, an eglantine turned to thorns, a shirt that draws the beloved in, and Nizâmî's ground.
A poem of longing built on a past tense of habits now ended: the beloved would ask after him with half a smile and half a glance, and now the poet asks where that time went.
Münîrî's ghazal to a beauty named "‘İṣmet", or to chastity itself: a fate from pre-eternity, retreat in the heart, dust as collyrium, seventy-two nations and a prayer of mercy.
Prince Bayezid's murabba with the refrain "O my eye, weep blood; O heart, sigh and cry out": a meadow like a dungeon, an imagined feast and exile from a padishah's door.
The lover swears by the dust of the beloved's feet, and that dust is also what the oath is about. In this fourth ghazal on "yours", shooting stars are the fiery arrows of sighs.
The poet's nature is pregnant with a child of verse; Moses' story of the fire seen on a dark night is turned around, and to the lover who says "Erinî" the beloved appears.
Münîrî's mixed Turkish-Persian ghazal: a drunkard of the banquet of Alast, a line cast into the sea of the heart, Solomon and the ant, arrows sunk to the nock and a fly in honey.
Prince Bayezid's seven-stanza murabba with the refrain "all that is left for me is to take to the mountains": Mecnun, the madman, the moth and repeated set phrases.
A funeral testament with the refrain "when one dies": a lover with no one left to mourn him, a corpse washed in rose water and shrouded in tulips, a rival's mockery, a martyr of love.
The refrain "ağlar" sets the eye, the minstrel and a lost caravan's master weeping; the beloved is a vengeful Rustam, and past the pen name the fire of Karbala rises.
Münîrî's ghazal on the proverb "the answer to a fool is silence": the Ever-Living, ruby lips, tresses that swallow the heart as the fish swallowed Jonah, and a grassless grave.
Prince Bayezid's nine-stanza murabba with the refrain "my heart's comforter, in every state my partner in sorrow": tears like the Ceyhun, sun and mote, Ferhad and the rebab.
The opening ends on the Arabic saying "like inclines to like": the cypress leans to the stature it resembles. People come to watch the lover's tears as Egyptians watched the Nile in flood.
On seeing the poet the ascetic gives up idolatry and becomes his new convert; the rind found his faith in the tavern, the jar never empties, and love is the poet's fame.
Münîrî's ghazal with the refrain "ey dost": a beauty who upsets the world, a lock that steals hearts, tears shed to save a sword's temper, the moth, and the Sura of the Sun.
Prince Bayezid's murabba with the refrain "my heart-stealer, peace of my soul, my padishah, come hither": a call to the sun of sovereignty and being sent into exile.
A ghazal with the refrain "ruby" whose opening is almost identical to one by Mesîhî: a ruby blushing with shame, ruby tears on thorn-lashes, a stone coloured by the sun, a heart that breaks.
When God's voice comes from a carpenter's saw and a church bell the poet dances; "Lâ taknatû" is heard from the cup, and sweet speech is an inheritance from Fatima's line.
A ghazal with the refrain "dürüst", attributed to Münîrî only in anthologies: down like a decree, a judge's deed, a lock's secret faith, and teeth like the Pleiades.
Prince Bayezid's murabba with the refrain "my friend, you are young; do not make bloodshed your law"; Filiz Kılıç counts it among poems of counsel to the padishah.
A spring ghazal that turns "to the knowing one a sign is enough" into "a single rose is enough": sidelong glances, hot-blooded wine and a raw cup, and a hyacinth in mourning black.
A return to the story of Sinai: a manifestation that shatters mountains, a lover who fears majesty, a six-door bewilderment and a beloved whose pardon grows with every cup.
Münîrî's ghazal with the refrain "bahs", also copied into the Câmi‘u'n-nezâ'ir of 1512: a dispute over the lip, the knotty problems of a lock, and a heart that silences the lover.
Prince Bayezid's murabba with the refrain "come, come, O my soul, or else your absence will destroy me": Mecnun and Ferhad, the roasted heart, rose and laughter, and an oath.
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