A ghazal under the pen name Mihrî in a Kütahya miscellany, of uncertain attribution, about a beloved who shows no mercy even when heart and soul are spent and wants gold.
Münîrî's ghazal: a lock embracing the bride of beauty, a ruby lip that reveals secrets like wine, tears riding Gülgûn in an allusion to Khosrow and Shirin, and advice unheeded.
Cûdî's ghazal addressing poetry with the refrain "kisses": fresh verse whose melodies a thousand rose-mouthed ones kiss, words that conquer hearts like Solomon's seal, plagiarists, and a brimming cup.
A ghazal under the pen name Mihrî with the refrain "bilmem" (I do not know), in a Kütahya miscellany: longing, union as a festival, and a last couplet in the beloved's voice.
Münîrî's only ghazal with the refrain "gösterür": the sting of the eyelash arrow, a lover everyone points out, a heart answering with its wound, and the idiom "one thing leads to another".
Cûdî's kıta drawing on al-Ghazâlî: one sun multiplied in the waves, a single Truth behind many-seeming aims, and the lustreless water of the five rivers of sense flowing into the spirit's pool.
A ghazal under the pen name Mihrî with the refrain "gelmez" (does not come): a beloved like a young Anka bird, the corner of grief, and a waiting closed by redd-i matla.
Münîrî's ghazal: a sweet lip speaking bitter words, tears that quench the heart's fire, a rebellious lock whispering evil in the ear, and night tears that turn the earth into the Pleiades.
The first of Cûdî's three quatrains in praise of al-Ghazâlî: the peerless guide of the world, the epithet Proof of Islam, and a scholar who is both saint and governor in carrying out religion.
![Miscellany Ghazal 6 — Kimde var ol ruḫı o çeşm[i] o ḫāl ü ebruv[ān]](https://amasya05.com/storage/gallery/4b72c3731324c09a525a3d8012c6268f.webp)
A ghazal under the pen name Mihrî in a Kütahya miscellany: a beloved bound for Hejaz and Damascus, the beauties of Istanbul, and a couplet cited for Mihrî's Istanbul.
Münîrî's ghazal: a mail-clad lock caging the heart in iron, a heart's house that grows brighter as it is pierced, the pun of rose garden and furnace, and a tomb full of arrowheads.
The second quatrain of Cûdî's al-Ghazâlî series: the Ihyâ' 'Ulûm al-Dîn as a proof, and the Kîmiyâ-yi Sa'âdat as a treasure whose wealth no rich man can match.
A ghazal under the pen name Mihrî with the refrain "yok" (I have none): a list of lacks from the rose garden to the book of parting, with a pun on dust and wind.
Münîrî's ghazal: a hyacinth veil on the cheek, the magic of a glance that lays the world waste, a lip that melts the ruby of Yemen, longing that roasts the breast, and unworthy friends.
The third quatrain of Cûdî's al-Ghazâlî series: a poet who is the dust of al-Ghazâlî's feet and a stance that prefers him to Ibn 'Arabî in sincerity, humility and the expression of truth.
A ghazal under the pen name Mihrî with the refrain "itmiş": union is a free good in the bazaar paid for with life, and a hidden jewel of love echoes a divan couplet.
Münîrî's short-metre ghazal without refrain: a cypress stature above the pine, "Allāhü ekber" in the rhyme, a sugarloaf hanged for imitating a lip, and wet fire against a dry ascetic.
Cûdî's ghazal seeking an ideal of peerless beauty: a lover who is an example to every beauty but belongs to none, a stature bent like dâl, completion that breeds a thousand lacks, and the impossible.
A ghazal under the pen name Mihrî with the refrain "ṣad efsūs" (a hundred pities): lips turned to another, base fortune, rivals, and a thorny rose who breaks her word.
Münîrî's ghazal also found in anthologies of response poems: a beloved served by the sun of the east, a heart drunk till Judgment Day, and the saying that shaving does not make a dervish.
Cûdî's Turkish-Arabic mülemma ghazal: a beloved who veils, unveils and turns away, the sword of a glance, two hearts that weary together, and a joke on relative pronouns.
A praise poem without a pen name, headed "Mihrî-i Rüsvâ" in the miscellany: a tulip-cheeked beloved, the moon of the longest night, a cupbearer and the mole on the heart.
Münîrî's ghazal sharing its rhyme with tg 62: a heart joyful at a rose face and distraught at hyacinth hair, a rosebud puckered by the breeze, and a mole that draws humans like Adam.
Cûdî's ghazal asking where delight is found: not outside but on the inner tablet, not in the view but in the gaze, perhaps in the stillness after death, and in the jug of hiddenness.
A four-couplet miscellany ghazal under the pen name Mihrî whose opening couplet lacks a rhyme, so it may belong with the preceding poem; the poet ends lamenting her disgrace.
Münîrî's ghazal: a fairy-faced beloved no magic can subdue, eyes painting on a tablet of gold, a dream of a lock read as long life, and a lover's face that would sully the path's dust.
Cûdî's debate of verse and prose: prose that writes novels, verse that cleaves the sky, poetry likened to wine, a witticism on the names Nef'î, Fuzûlî and Bâkî, and a last word for writers.
In an anthology ghazal under the pen name Mihrî, the eyebrow is a bow, the lash an arrow and the glance an executioner's sword; down on the cheek is amber-coloured writing.
Münîrî's ghazal with the refrain "getürür": down on the cheek like Khidr, a ruby lip like Solomon's seal, a lock hiding a candle, and a face written in reyhânî script.
Cûdî's ghazal with the refrain "if it is needed": a beauty that writes poems on the mirror, gardens of paradise seen in a smile, a face that wipes away grief, and a love that explains beauty.
A defence ghazal headed "Mihrî-i Mecnûn" in the anthology, with the redif "mıdır"; the lover pleads innocence and petitions the beloved for union as if addressing a sultan.
Münîrî's ghazal with the refrain "ḳaṣd ider": a thirsting heart that seeks the soul, down that tarnishes the soul's mirror, a gazelle eye turned lion, and a lover aiming at Saturn.
Cûdî's ghazal of wonder, "İstiğrâb": a strange wakefulness, motes that gather and scatter, one Euphrates of ever-changing drops, a double-tracked canal of life, and an essence beyond proof.
An anthology ghazal under the pen name Mihrî, of uncertain attribution: seven couplets setting the beloved's radiance, scent and stature above the moon, rose, musk and cypress.
Münîrî's ghazal with the refrain "dem urur": a madman who speaks of the lock's chain, a lock breathing with the breeze, a pun on Khitai and error, and three musical modes.
Cûdî's ghazal in the voice of a poet past fifty, with the refrain "is left no more": lost sweetness, senses without force, a moon rising like a girl of fourteen, and a ruined house to move out of.
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