Kara Fazlî's ghazal with the redif "-lara": rivers stretching tongues to the seas, a play on Layla and lament, the fresh rose, an eyebrow like the letter rā and a falcon above the anka.
In this ghazal Münîrî teases the ascetic by saying the preacher's cold words have turned the mosque into an icehouse, and speaks of a journey within the city of the heart.
Prince Bayezid's ghazal of pardon with the refrain "afv"; Kılıç holds it was written in Iran, the pardoning shah of its last couplet being Tahmasb and the padishah Süleyman.
Kara Fazlî's ghazal with the redif "-lara" on the same ground as the preceding one: an army of tears raiding the seas, Majnun's lament, a pun on brow and wound, crows and anka.
In this spring ghazal Münîrî plays on çeng (harp) and ceng (war) to describe a drinking party and the war of separation, and brings the beloved to his hut of sorrows.
Prince Bayezid's short ghazal setting the words renc and genc against each other: a beauty not even Rıdvan would hide, a patience beyond Ferhad's and a soul as thin as a hair.
Kara Fazlî's double-rhymed ghazal praised by Latîfî: from beloved to beloved, moth to moth, tavern to tavern, and the chain of tresses handed down from Majnun to Fazlî.
In this ghazal Münîrî plays on hezâr as both thousand and nightingale, and portrays a rose kneaded from blood, a rose-king scattering gold and a penniless nightingale.
Prince Bayezid's ghazal with the refrain "üzre": tulips on Mecnun's grave, a brow and eye like the letter nûn, and two bridges, one over the Aras and one over the Oxus.
Three surviving couplets of a ghazal by Kara Fazlî with the redif "-la": a poet revived by the king's breath, a promise recalled, a call to keep faith and a prayer for long life.
In this ghazal Münîrî portrays a mounted beauty riding in anger, tears watched like stars in a sea of sorrow, and a moon reduced to a single section beside beauty's mushaf.
Prince Bayezid's ghazal that opens with the picture of a spring gathering: a rose holding a cup, dew like wine, a drunken narcissus eye and a lover's warning about the burden of sin.
Kara Fazlî's ghazal from the tehniyet-nâme celebrating Ahmed Çelebi's appointment as treasurer of the timars of Rumelia in 954 (1547): your fortune and your honour have come.
In this ghazal with the refrain üzre, Münîrî sets the dust of the beloved's door upon his eye and likens her face, covered by her curl, to the sun eclipsed in daytime.
Prince Bayezid's ghazal of a lover whose sigh would burn the sun and moon like moths, who would not take world sovereignty without the beloved and who prays over his own death.
Kara Fazlî's ghazal with the redif "degül mi": a heart that burns like a moth, a drunken glance, treasure hidden in the ruin of the heart, a boasting comb and the tavern.
In this ghazal Münîrî likens the beloved's cap to a sign of the zodiac and her cheek to a lucky star, questions the dawn breeze's cold breath, and calls her mole a lucky slave.
Prince Bayezid's ghazal of the gathering: wine that brings rose-garden delight even in winter, superfluous musicians and a charmer who snatches the heart as amber snatches straw.
Kara Fazlî's response poem to Muhibbî rhyming in "-āfī": a play on pure, rank, delight and Sufi, alif and lâm, Mount Kaf and the letter kâf, and the money-changer of verse.
In this ghazal Münîrî shows his tear, raised like a dear child, turned beggar, the water of Zemzem sinking into the ground for shame, and a fame that spreads over the seven climes.
Prince Bayezid's ghazal with the refrain "üzre": a mole like a fly on sugar, a lip that reaches the dying lover like Khidr, and the submission of "upon my eyes and head".
Three double-rhymed couplets by Kara Fazlî preserved in Latîfî's tezkire: a lover mad with love and a beloved fair with beauty, the equals of Majnun and Layla, and a wish to meet.
In this ghazal Münîrî describes the uproar a drunken eye brings to the realm of the heart, a beloved who values two worlds less than a mustard seed, and a sigh that lights the sky.
Prince Bayezid's ghazal on a moon-faced beloved seen in a city: a beauty with no equal in Samarkand or Bukhara, and a lip with the breath of Jesus that refuses to heal.
In this ghazal Münîrî counsels friendship with grief, calls for living in the moment with "dem bu demdür", and says a hair catches on his pen as he writes the beloved's fine traits.
A single couplet by Kara Fazlî preserved in Latîfî's tezkire: the hyperbole of a lover who wishes for a hundred thousand eyes to gaze upon the beloved every moment.
Prince Bayezid's ghazal of a lover who missed the feast of union; Kılıç places it among the poems awaiting the padishah's mercy, and its reed-flute couplet raised a Mevlevi question.
Quoting "nefaḫtü fīh" from the sura al-Hijr, Münîrî defends the life-giving lip of the beloved against the jurist, and blesses the realm of contentment in an Arabic line.
Kara Fazlî's punning ghazal preserved by Âşık Çelebi: the Black Sea and the Mediterranean, a servant and a sea, a face yellow as wheat and an arrow planted in the breast.
Prince Bayezid's ghazal with the refrain "eyle" that likens the beloved's brow to the crescent of the feast; a feast without union and pearls of verse offered to a heedless charmer.
In this ghazal Münîrî speaks of a window from heart to heart, the soul's bird choking on the smoke of sighs, and the human eye that only a handful of earth can fill.
A couplet by Kara Fazlî preserved in the tezkires of Riyâzî and Kâfzâde: the lover asks whether cruelty has an end, and the beloved answers that the end will be his death.
Prince Bayezid's ghazal with the refrain "do not forget": a lover in the guise of nightingale, Jacob and Alexander, in what Kılıç reads as a plea probably addressed to Süleyman.
In this ghazal Münîrî shows the heart that, like a startled bird, never returns to its nest, a tear like wine filtered through charcoal, and a plane tree whose hands are cut off.
A single couplet by Kara Fazlî preserved by Riyâzî: the motes in the sunlight at the beloved's window are taken as a ladder set up by the sun to reach the moon-faced one.
Prince Bayezid's ghazal of a lover coming to the beloved's threshold in a bloody shroud: a pain no letter can convey, Joseph's shirt and the one word that would open the heart's eyes.
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