In this ghazal by Münîrî with the refrain "olsa gerek", separation bends the lover like a bow, and the hidden fire in his breast at last reveals his secret to the world.
Prince Bayezid's ghazal reproaching a shah who sends his servant no letter; Kılıç cites its opening couplet as the voice of a son awaiting his father's reply.
Kara Fazlî's response poem to İshak Çelebi with the redif "-den leẕīẕ": lips sweeter than Kevser, the heart as a sugar-loving parrot, and a curse more delicious than sugar.
Münîrî speaks to his heart in this ghazal: seeking guidance in the light of a face, it is caught in the unbelief of tresses and betrays its "meşreb" by praising a lip like wine.
Prince Bayezid's ghazal with the redif "isterüz" that sets love aside and seeks renown: the aspiration of Alexander, Solomon's seal and the wish to rule with justice.
Kara Fazlî's ghazal with the redif "-dan kim ḳaçar": pure delight urged on the Sufi, a beloved paired with rivals, a life-giving lip, and loyalty under the sword of cruelty.
Münîrî's unrefrained ghazal brings together the drunken beloved with cup in hand, purification by tears and love's fire, the exaltation of humble earth and sighs that rise to the angels.
Prince Bayezid's ghazal with the redif "olmaz": a heart flowing to the beloved with its tears, a stature bent by the bow of cruelty and a consolation that nothing lasts.
Kara Fazlî's ghazal with the redif "-um var": two scars burning like lamps in the lodge of grief, two full cups, one face in both worlds and a place at the beloved's door.
Münîrî writes here of a sigh that could burn the sky, salty words from a sweet lip, a rival whom no touchstone can assay, and eyes like two cruel Turks sharing one ruin.
Prince Bayezid's ghazal with the redif "bilürüz": the beloved's door as the Kaaba, an answer to the city's sheikh, Solomon and the ant, and sovereignty as an empty quarrel.
Kara Fazlî's ghazal with the redif "yaġar" (rains): tears falling when the west wind blows, blood and fire raining from the sky, life raining from the lip, pearls from the April cloud.
In this short-metre ghazal Münîrî puns on the rhymes "berk" and "terk", bringing the segmented dervish cap and the renunciation of the world together in a single word.
Prince Bayezid's ghazal with the redif "olmışuz", opening in a dervish's voice: the heart refined in the crucible, the lodge of love and the lover struck mute.
Kara Fazlî's ghazal with the redif "-dür": sorcerer tresses spreading a prayer rug on water, down as a guest from China, the unbelieving tress, and Fazlî the "subtle" poet.
Preserved only in the Vatican manuscript, this plain-spoken ghazal by Münîrî treats the courage to bear the glance's arrow, love as capital and a pillar made of twigs.
Prince Bayezid's ghazal opening with rancour towards the world: the broken mirror of the heart, a grain of shame on the threshing floor and an old fortune lost.
Prince Bayezid's ghazal with the refrain "itmez": the falcon of the heart hooded with grief and tied by separation, the sword that pierces the shield of patience, hidden sorrow.
Kara Fazlî's ghazal of counsel with the redif "idegör": a cry that makes Venus envious, a head in the sky and a face in the dust, the antidote of contentment, a mirror-like heart.
In this ghazal Münîrî plays on hezār as nightingale and thousand, hears weeping in the flask's gurgle and makes ḳıl serve as both a hair and a command.
Prince Bayezid's ghazal spoken in the voice of "we": the lord of the land of nothingness, soldiers of calamity at his door, the sura of Ihlâs on the cheek and a sultan who forgets.
Kara Fazlî's ghazal with the redif "-dür": a rosebud who wears red and plays tricks, a cypress bending to the wind, jealous hyacinths and a lover who is neglected.
In this ghazal with the refrain "-malu degül", Münîrî lays down the rules of the drinking party, launches the boat of the cup on a sea of wine and refuses to trade his name for piety.
Prince Bayezid's nazire to Şeyhî with the refrain "istemez": a portrait of the contented man who rejects the pavilion, the feast, the water of life and the sultan's robe of honour.
Kara Fazlî's ghazal with the redif "durur": the world as a halting place for a day or two, eyes like two cups of blood, a bed in the tavern and a poet with a clear brow.
Münîrî likens the beloved's face to a Qur'an-copy and the tresses to Gabriel, reads mole, tress and brow as the letters cīm, dāl and rā, and closes with a turn towards God.
Prince Bayezid's ghazal rhyming in "-es": the soul's bird in the cage of hair, the thorn beside the rosebud, the fly on the lip's wine and a morsel and cloak preferred to crown and throne.
Kara Fazlî's five-couplet ghazal in rich rhyme: separation from beloved and homeland, the passion of the tress, the lover at the feet of the tavern elder, a rose beside a thorn.
Münîrî brings "gül" into the rhyme three times, as the rose and as the command "laugh", and a ghazal that opens with the rose closes with a lover burned to ash in love's fire.
Prince Bayezid's poem of four couplets recorded in the manuscript as an "unfinished ghazal": the lover who sees the world as a cage, the Jesus-breathed beloved and the fly on honey.
Kara Fazlî's yek-âhenk ghazal with the redif "bulunur": a rose without equal in the garden of the world, the heart's nightingale, cypress stature and hyacinth tresses in plain Turkish.
Münîrî writes of a crescent granted a warrant for resembling the beloved's brow, an augury from the Hindu of the tresses, and a beloved who takes a dog of a rival as friend.
Prince Bayezid's third ghazal rhyming in "-es": a lover who has never laughed, a fly giving its life for honey, a cup going round in the rose season and a plea to the padishah.
Kara Fazlî's ghazal with the redif "-lar": a tress that cuts off heads when it begins its tricks, tulip-like wounds, tears that redden the dawn and eyes like highway robbers.
Münîrî likens union to the joy of finding wealth, reads the mole on the cheek as the dot of a script, and describes the fancy of the lip through a proverb about honey.
Prince Bayezid's ghazal with the refrain "eylemiş": forelock and glance joining hands, beauty drawn in Joseph's form, the Allotter of Pre-eternity and its twin, ghazal 68.
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