Münîrî likens the beloved's mole to the grain that led Adam astray, his stitched wounds to a patched dervish cloak, and the sweat on her face to dew kept upon the sun.
Münîrî counts his tears both beggars and orphans in the beloved's quarter and recalls the command of Sura al-Duha not to oppress the orphan nor rebuff the one who asks.
Münîrî puns on murğ-zâr and murğ-ı zâr, likens the lock to the chamberlain of beauty's realm, and surrounds the martyred lover's grave with sword-leaved irises.
Münîrî tells of the miracle of the cypress stature that shows the Resurrection, counts the candle's burning a penalty, and plants the smoke of his heart as a banner.
Münîrî sets the rose against the beloved's cheek, plays on "hezâr" as both a thousand and the nightingale, and likens his yellowed face to a gold tablet on which tears write.
Münîrî depicts a heart chained by the knot of a curl, a lover who refuses the water of immortality, and a love written on his forehead before the Tablet and the Pen.
Münîrî prefers a forelock that outdoes ambergris to the musk of Khotan, calls the curl a firm rope, makes cypress and elm slaves to the beloved, and longs to see the candle.
Münîrî builds a full pun on "gül zârı" and "gül-zâr", teases the ascetic with the tavern's secret, and urges staking one's soul for a waist as thin as a hair.
Münîrî likens his yellowed face to amber that draws straw and the beloved's tiny mouth to a mote seen in sunlight, building every rhyme on abstract nouns ending in "-iyyet".
Using Turkish rhymes such as kötek, yürek, bezek, etek and bebek, Münîrî speaks of the rival's beating, the cold breath of death and the beloved's unadorned beauty.
Münîrî plays on Muhammed and Muhammedî, and on Muhammedî and Ahmedî, and sets the one bound to the curl against the one who strips himself of worldly ties.
Münîrî likens the rings of the curl to armour worn against the arrow of the glance, works the girih and zırıh rhyme, and ties the down on the cheek to Khidr's greening breath.
Münîrî likens the face veiled by the curl to the moon eclipsed by day and the bound joints of the reed flute to bandaged fractures, using short rhymes close to popular speech.
Münîrî compares his own art of the ghazal with Mevlânâ's Mesnevi, likens the beloved's words to the Pahlavi tongue, and links the crescent eyebrow to the new moon.
Münîrî turns the sun to dust before the beloved's beauty, makes the moon both buyer and planet through "müşteri", and has the curl's royal plume shade the gardens of paradise.
In this seven-couplet ghazal Münîrî makes the cypress-stature's shadow a lover through "üftâde", likens the beloved to a cap-tilted bandit Turk and calls him to the hut of sorrows.
Münîrî likens the curl to the snake guarding the treasure of beauty, counts love's calamities whose names he never heard, and sees the stars as blisters raised by his burning sigh.
In this ghazal with the refrain "like", Münîrî sets the heavens alight with his sigh, likens the glances to a comb that pierces the heart, and remains a moth round the candle after death.
In this ghazal with the refrain "like", Münîrî makes the eye the door of the heart and likens the hoofprint to a mihrab, tears to water-wheel jars, and a tear to trembling quicksilver.
In this ghazal Münîrî likens the mole to the grain of bait that traps the heart's bird, shows an elif-like stature bending the lover into a dâl, and puns on "al" as trick and red.
Prince Bayezid's Persian ghazal, held to be a nazire to Hâfız: it speaks of severing Tahmasb's head and taking Samarkand and Bukhara, and reached the shah, says Solakzâde.
Münîrî plays on the verb "bitmek" as to end and to sprout, refuses to give up the beloved despite the down on the face, and says even the dog of the street has forgotten him.
Prince Bayezid's Persian ghazal with the refrain "nîst": the tale of Khosrow and Shirin becomes the poet's own story, eyelashes comb the beloved's tresses and love demands a ghazal.
In this ghazal Münîrî makes the tress lâm and dâl and the brow nûn to spell "ledün", swells his tears from a flood into the Ceyhun, and turns the lover's yellow face into gold.
Prince Bayezid's Persian ghazal with the refrain "nîst": the afflicted want no cure, the lover no water of life, and the closing couplet plays on the word "ân", indefinable charm.
Münîrî makes the lover's liver-blood a feast for the glance, turns tress and brow into lâm and nûn to spell "len terânî", and shows the lover ground to henna-like flour in the mill.
Prince Bayezid's Persian ghazal with the refrain "şod": tresses that tread on the Mushaf of the face, a crescent turned full moon and a lover moaning like the nightingale.
In this plain-spoken ghazal Münîrî speaks of the lover who ate his blood money before dying, the glass heart smashed by stone, and blames Hacı Bektaş's curse for his failure.
Prince Bayezid's Persian ghazal with the refrain "heme dânend": the trace of a face in the rose, a scent in Khotan musk and the passion for black hair; now everyone knows of this love.
Münîrî puns on Hüseyn and Hüseynî, likens his tears to the "two kulle" of pure water known from Islamic law, and counts the soul an interest-free loan from the beloved's lip.
Prince Bayezid's Persian ghazal with the refrain "üftâd": hair tangled by sighs, tears poured like Zamzam around the Kaaba of the street and a warning about the cup of Jamshid.
Münîrî values the twofold tress at the price of China and Khitai, plays on the nightingale's "berg ü nevâ" and the poor lover's livelihood, and calls the soul a cheap price for a kiss.
Prince Bayezid's Persian prayer ghazal with the refrain "şod": a sin past all bounds, a world laid low by wrath, a hand from the well of sin and the hope of leaving rebellion.
Münîrî calls for pure wine in the season of the rose and tells of a beauty veiled from the ascetic in light, a pierced reed flute that sets the harp moaning, and a sea of tears.
Prince Bayezid's Persian prayer ghazal, almost a twin of Persian Ghazal 7: guilt beyond number, a heart pressed like a bud, a face red as a tulip and a closing word of thanks.
Münîrî writes of a lip that withholds the fountain of life, the brand left by the mole on the heart, a mouth so small it is "nothing", and bloody tears as the heart's tulip garden.
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