Kara Fazlî's response to his teacher Zâtî with the redif "olur": a moon-face unseen for a year, a drunkard turned lamp, a forelock like Gabriel and grass become tongues.
In this short-lined ghazal Münîrî rhymes on "em" as both "suck" and "remedy", and writes of tears that dry the heart and a lip that outshines the cup of Jamshid.
Prince Bayezid's five-couplet ghazal in the short remel pattern: down and mole on the cheek, a mouth that may or may not exist and a waist beyond imagination.
Kara Fazlî's ghazal with the redif "-um var": a lover made king by his servitude, a tongue that stirs like a bell's clapper, old age in youth, and a falcon of the placeless realm.
In this ghazal of counsel Münîrî writes of a contrary star and a juggling heaven that blindfolds man, calls to unity in a Persian couplet and recalls David turning iron to wax.
Prince Bayezid's ghazal with the redif "gönül" making the heart the home of the 'Anqâ; it ends with the couplet Kılıç cites on the transience of crown and throne.
Kara Fazlî's ghazal with the redif "-den ṣor": ask Farhad, not Khusraw, about love's calamity; a tulip like a bloody shroud, spring like Irem, and dust that heals the eye.
In this libertine ghazal Münîrî rates service at the tavern as kingship, warns against the unripe fruit of a gilded garden and pictures an eye bringing water from a hundred streams.
Prince Bayezid's nazire to Cem Sultan's ghazal "Kâse-i ömri", absent from the divan and taken from the Pervâne Bey Mecmuası: long hope, gazelle and ghazal.
Kara Fazlî's response to Hayâlî with the redif "bilmezler": a beloved present everywhere yet sought far away, a lip that revives like Jesus, a nightingale the deaf cannot know.
Münîrî likens the beloved's stature to the Tûbâ tree and builds a pun on kāmet, stature and the call to prayer, as an imam cries out that the Resurrection has risen.
One of Prince Bayezid's ten ghazals with the redif "benüm": the sun of beauty's sky, the Hümâ at the summit of disdain, a pun on arrow and bow and a face like an autumn leaf.
Kara Fazlî's response to Fuzûlî with the redif "-ı var": Farhad, who has only a name in love's craft, a fortress of pain that withstands the cannon of sighs, and a retreat in the tavern.
Drawing on verses from the suras al-Rum and Ya Sin, Münîrî presents spring as the dead world raised to life, and through the rose warns against trusting this five-day world.
Prince Bayezid's ghazal sharing a redif and a whole line with the ninety-first ghazal: the swaying cypress, the flowing soul and the shah of the heart's throne.
Kara Fazlî's ghazal noted for its plain Turkish: a heart captive to the tress, whoever loves Leyla becoming Majnun, a tress preparing a night raid, and tears that will become the Oxus.
Münîrî likens bloody tears to pomegranate seeds in a bowl, turns the rosebud into a scribe rolling a scroll, and plays on kâh, which means both palace and straw.
Prince Bayezid's ghazal with the redif "benüm": an opening line of heart epithets, a nightingale in the rose garden and lines shared with ghazal 90.
Kara Fazlî's ghazal with the redif "yazmışlar": a cheek written on a rose petal, an eyebrow like a tughra on a patent, teeth strung as verse and hair written in an anthology.
Münîrî likens the eyebrow to a gold-inlaid sword and the tress to a knot that binds the tongue, bringing an untimely guest and a profit-and-loss partnership into the poem.
Prince Bayezid's ghazal with the refrain "bilmen n'eyleyem": a lament in which every couplet ends with the same helpless question, a nightingale among thorns.
The single surviving couplet of a Kara Fazlî ghazal whose first couplets are lost: a lover who fears death no more than Khidr, the beloved's lip his water of life.
In this ghazal with the refrain "speech", Münîrî has the invisible mouth speak with the tongue of the unseen and plays on the mīm of ‘adem, the word for nonexistence.
Prince Bayezid's ghazal with the redif "benüm": the poet addresses a letter dyed with bloody tears, calls himself the Hüsrev of love and finds his words rindâne.
Kara Fazlî's ghazal with the redif "uyur", its first couplets lost: a heart asleep with the dogs of the beloved's street, a languid eye sleeping on a sun-face, and dawn.
Münîrî calls a beloved named Sinan the Joseph of the Egypt of beauty, likens his chin dimple to the well of Canaan and alludes to the crier's call over the hidden cup.
Prince Bayezid's ghazal to a beloved swaying in the lands of Rûm, written from the land of separation; it ends by offering the pearl of poetry to a shah who knows speech.
Kara Fazlî's spring ghazal with the redif "zemānıdur", its last couplets lost: no time for sobriety, a tulip holding a goblet, a teasing rind, and wine as the cure of sorrow.
In this plain-spoken ghazal in a short metre Münîrî reproaches a faithless beloved, asks the giver of pain for a cure and likens union to a feast day that should go unspoken.
Prince Bayezid's nazire to the ghazal his father Süleyman, as Muhibbî, wrote for his mother Hürrem Sultan: a catalogue of the beloved that ends with an ant.
Kara Fazlî's two-couplet ghazal whose last couplets are lost: a rival showing the beloved gold, a musician stroking his tambourine for a tip, and a tress that hangs the lover.
Münîrî likens the tress falling on the cheek to a moon eclipsed by day, gives the morning breeze a reason for stealing footprint dust and ends with a sun seen at night.
Prince Bayezid's ghazal with the redif "benüm": a khan to visit the house of sorrows, the smoke of sighs painting the world sky-blue and a legend of love on every tongue.
Kara Fazlî's two-couplet ghazal whose last couplets are lost: a fickle beloved who talks with others everywhere, a world booming with jealous sighs, and pupils drowned in blood.
Münîrî rhymes on yakın in three different senses, likens union to a feast of sacrifice and the lovers' blood to henna, and turns the tress into a girdle worn like a rosary.
Prince Bayezid's ghazal to a beloved he has long not seen, praised as the Hüsrev of the realm of poetry, closing with a prayer for fortune until the Resurrection.
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