Münîrî builds every couplet of this ghazal on the sounds "dil eme" and "dileme"; the beloved's lip becomes the heart's remedy, and the lover feeds on his liver's blood.
A couplet by Kara Fazlî preserved by Riyâzî and Kâfzâde: the beloved's cheek is red rose enough for lovers, so the nightingale is told to forget the rose of the garden.
Prince Bayezid's ghazal on love at first sight: a mad heart chained with the beloved's locks, a lover who teaches the moth to burn, and a comb allowed to touch the hair.
Münîrî plays in this ghazal on "âl" as guile, lineage and red; he describes the guile of black eyes, the fall of the heart's fortress and the twilight reddened by bloody tears.
Two couplets by Kara Fazlî preserved by Riyâzî: blood shed from the point of the dagger and the tips of the tresses, a heart torn by separation and a plea for the salve of union.
Prince Bayezid's ghazal with the refrain "ile", set in the frame of physician and lovesick patient: a wound no ointment heals, the cup of Cem and a beloved with the breath of Jesus.
Münîrî brings together yas (mourning), Yâsîn and yā (bow) in one cluster of sounds, speaking of a forelock dressed in black and lovers who die before the Yâsîn is read.
A single couplet by Kara Fazlî preserved by Riyâzî: the lover's tears, shed in memory of the beloved's cheek, turn the mountain to meadow, the meadow to garden, the garden to flowers.
Prince Bayezid's ghazal with the refrain "one day and one night": a lover who has not seen the beloved for a single day, searches the world for her and counts a day of union as paradise.
In this ghazal Münîrî shows a lover seeking a dream about repenting of the ruby cup, a heart turned to stone, and the mocking reply he gets when he asks for sugar against a hangover.
A single couplet by Kara Fazlî preserved by Kâfzâde: the heart hurt by the arrows of the bow-browed beloved is excused with the proverb "kindness pricks a man".
Prince Bayezid's ghazal with the refrain "within": a salamander in fire, a ship sunk in tears, a heart turned to dust and a love that would keep him company in the grave.
In this ghazal Münîrî speaks of a mole steeped in the water of life yet thirsting for blood, rosebuds amazed at torn collars, and verse that pours pearls onto his divan.
A single couplet by Kara Fazlî preserved by Kâfzâde: the spheres revolving one upon another and the moving sun are pictured as a quarrel over the beauty of the moon-faced beloved.
Prince Bayezid's ghazal in the language of sovereignty: Arab hair ruling as sultan in Rum, an ant army setting out to play Solomon and distant shahs ready to die as doorkeepers.
Münîrî plays in this ghazal on yarın (tomorrow) and yār (beloved), likening the lip to a parrot with sugar and the green down to a court deed recording a confession.
A single couplet by Kara Fazlî preserved by Kâfzâde: the beloved, addressed as king, is warned not to shed lovers' blood unjustly, for that blood will not stay on the ground.
Prince Bayezid's ghazal with the refrain "for the love of": poison and heart's blood drunk for the beloved, a lover who has left his work, and a kiss asked "for the love of the Creator".
In this ghazal Münîrî shows an eye that would make a salve from the dust of the beloved's road, and silences the gossips with the proverb "the dog barks, the caravan moves on".
A single couplet by Kara Fazlî preserved by Kâfzâde: the lover asks the beloved to cleave his head in two with the sword and make it an instrument for the band of grief.
Prince Bayezid's ghazal likening the heart to a sea and tears to pearls cast on the shore: a soul lost in the curls of the locks, rust wiped from the mirror and sighs that burn the sky.
Münîrî opens this ghazal with a pun on wound and split, and speaks of glances shooting at a sparrow, fate blackening black earth with black blood, and a candle on the night of union.
A single couplet by Kara Fazlî preserved by Kâfzâde: whoever would escape the arrow of grief is advised not to stand facing anyone like a target, a counsel of seclusion.
Prince Bayezid's ghazal on a heart mad for the beloved's hair and a soul that is the moth of her cheek: a love that eclipses Ferhad and Şirin, an image hidden as treasure in the heart.
Münîrî likens roses to the fire of Moses and arrowheads in the liver to rosebuds, speaks to the golden belt at the beloved's waist and laments skill without fortune.
A single couplet by Kara Fazlî preserved in Tuhfe-i Nâilî: the lover, warned that the beloved would stone him with cruelty, says plainly that all they said has befallen him.
Prince Bayezid's ghazal in which every couplet ends in a question: a mouth like the jewel box of Aden, lips that may or may not exist, and news asked of the morning breeze.
Münîrî likens the green down to Hızır reaching the water of life, the fairy's plumes to a hümâ spreading its wings over Solomon, and a tress on the cheek to a hyacinth's shadow.
Prince Bayezid's ghazal with the refrain "itdi": a glance whose arrow is a kindness and whose dagger is a cure, and Şâhî, shah of a free realm, made a slave by the fair.
In this ghazal Münîrî commends the heart caught in the tress to God, and speaks of arrows turned to cypresses shading his tomb and a kiss asked as the alms due on beauty.
Prince Bayezid's ghazal with the refrain "has come", opening in joy: a voice heard in a dream, a desire-granting shah who says "let me bring him to his wish", and a union awaited.
Münîrî tells of a life used up in separation and a crooked sky, likens the lover to the ney with its wounded breast, and says union comes by God's gift, not by reason.
Prince Bayezid's ghazal reproaching a shah who has turned to oppression: an unheard lament, a heart broken by the pickaxe of separation, Ferhad and Şirin, and an ascetic's lost litanies.
In this short ghazal Münîrî rhymes "kılca" both as "a hair's worth" and "thin as a hair", and with a pun on heart and tongue urges the lover to keep walking the road of love.
Prince Bayezid's ghazal with the refrain "I gave my heart": a lover surrendering to a beloved with a sorcerer's glance, lasso-like locks, a candle cheek and a blood-shedding eye.
In this ghazal Münîrî joins "derdine" and "derdi ne" in the rhyme, likens his tears to children running after a mad heart, and opens his pain to a fellow sufferer.
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