In Münîrî's only tuyugh in a different metre, love makes the lover mad, turns his state into a tale and, with light from the candle of beauty, makes his heart a moth.
In Münîrî's tuyugh with the refrain "dil", the helpless heart finds no remedy for its pain, and the wound from the arrow of the beloved's glance is one no salve can heal.
In Münîrî's tuyugh with the refrain "göñül", the heart plundered in the land of love is both prosperous and ruined, and visits its owner only now and then as a guest.
In Münîrî's tuyugh with the refrain "olur", without the beloved the tear becomes a ruby and the liver bloody water, until the bloody tear floods the land of the heart.
In Münîrî's tuyugh with the refrain "bulmadum", separation has no end and pain no limit; the lover reaches the guidance of the face only through the unbelief of the hair.
In Münîrî's tuyugh with the refrain "degül", neither cypress nor rose matches the beloved; seeing her lofty stature, the heart says it is no stature (bâlâ) but an affliction (belâ).
In Münîrî's tuyugh with the refrain "‘ışḳ", the dizzy lover is left headless and disordered, until the beloved's green down comes like Hızır before love's flood rises over him.
In Münîrî's Persian tuyugh, whoever is ruined by love's cup gains a bad name, and the poet prays that no one be, like him, parted from the beloved's hair and without patience.
In Münîrî's second Persian tuyugh, pain becomes the heart's companion and affliction the soul's friend, and the lover weeps because he is far from the wound of the glance.
In Münîrî's garden tuyugh, the beloved's beauty is the orchard of the world and her locks the basil of spirits, while the heart is that rose garden's nightingale of a thousand songs.
In Münîrî's tuyugh punning on "gül-zâr" and "gül zârî", thousands of nightingales and roses lament for the beloved's cheeks, and the lover is the nightingale sick from the thorn.
In Münîrî's tuyugh with the refrain "gözlerüñ", the beloved's eyes are a merciless Turk who orders the glance, "Come on, at once", to lay waste the realm of the heart.
In Münîrî's tuyugh with the refrain "-yuz", the lovers admire the basil-like down, are a sacrifice to the bow-brows, and are left distraught and dizzy by the curling lock.
In Münîrî's tuyugh built on the language of calligraphy, the moles are the dot of cîm in "cemâl", and as script without dots is imperfect, so is the down without the mole.
In Münîrî's tuyugh of the eyelash and the arrow, the beloved's eyelash guides the arrow of fate, and the poet praises her as an archer who never misses when she shoots.
In Münîrî's tuyugh rhyming on "-ūsına", the sorcerous glance keeps the lover from the beloved's locks, and the festival crescent in heaven's arch cannot reach her crescent brow.
In Münîrî's tuyugh rhyming on "-īn", the beloved's brow shines like Venus, and Gabriel calls amen from the Sidra to every prayer the lover makes for her stature.
In Münîrî's tuyugh of the curling lock, the coiled hair throws the world into confusion like the lover's heart, and the beloved binds every heart with a single hair.
In Münîrî's tuyugh with the refrain "ḳadüñ", the beloved's lofty stature rises in the soul's rose garden, raises a doomsday and stands without equal in the world.
Münîrî's last tuyugh speaks a piece of wisdom: one who does not worry over the world is free of grief, and fortunate is he whose glass of honour is struck by the stone of zeal.
Münîrî's first muamma is a single couplet built on the beloved's dagger-drawing glance; the edition gives its solution as the name "Ali Bey".
Münîrî's second muamma is a single couplet saying the rosebud cannot be one with the beloved's mouth; the edition gives its solution as "Mehemmed".
Münîrî's third muamma is a single couplet on the eye that turns into a sea from longing for pearl-like teeth; the edition gives its solution as "Hüseyin".
Münîrî's fourth muamma describes a heart that has not come to itself even once in the beloved's reign; the edition gives its solution as "Said".
Münîrî's fifth muamma shows kings bowing before a fresh sapling in the garden of sovereignty; the edition gives its solution as "Sultan Bayezid".
The Persian muamma among Münîrî's seventeen tells of endless tears turning into a sea of blood; the edition gives its solution as the name "Şükrî".
Münîrî's seventh muamma is a Persian couplet asking the beloved to cast the veil from her moon-like face; the edition gives its solution as "Seydî".
Münîrî's eighth muamma tells of a heart that passes the lips, reaches the locks and from one becomes two; the edition gives its solution as "Dede".
Münîrî's ninth muamma is a Persian couplet of a drinker asking the saki for a drop; the edition gives its solution as "Hamza" without showing how.
Münîrî's tenth muamma tells of a heart made captive by a cypress-tall beloved; the edition gives its solution as "Ahmed Bey", and it closes the Ü manuscript.
Münîrî's eleventh muamma tells of a lover drinking his heart's blood for one sip from the ruby cup of the lip; the edition gives its solution as "Mehemmed".
Münîrî's twelfth muamma calls the candle-bright beloved of Çigil to the dead poet's grave; the edition gives its solution as "Murad". It is missing from Ü.
Münîrî's thirteenth muamma is built of sun, moon, zodiac sign and Müşteri, the heart being both buyer and planet; the edition gives its solution as "Seyfî".
Münîrî's fourteenth muamma is a brief scene in which a mountain echoes the lover's complaint to his beloved; the edition gives its solution as "Îsâ".
Münîrî's fifteenth muamma is a lover showing his pearl-scattering eyes to the beloved who asks how he fares; the edition gives its solution as "Hüsam".
Münîrî's sixteenth muamma says that drops of tears are pearls but no one knows their worth; the edition gives its solution as the name "İskender".
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