Münîrî of Amasya, chancellor of Prince Ahmed: his literary character, works and the poems of his divan.
Münîrî, chancellor to Prince Ahmed in Amasya, left a divan, a translation of Mihr ü Müşterî and a vast verse life of the Prophet; this article presents his works and published poems.
The forty-nine-couplet poem in mixed Turkish and Persian that opens Münîrî's divan: praise of God, the four elements, the twelve imams and a plea for mercy.
The only tevhid kaside in Münîrî's divan: forty-four couplets in mixed Turkish and Persian, opening in Arabic, on reason's helplessness before God's power.
Münîrî's seventy-one-couplet na‘t in mixed Turkish and Persian: allusions to the Ascension and miracles, two openings, the four caliphs, a nazire to Ahmed Paşa.
Münîrî's twenty-five-couplet Persian poem in praise of the Prophet, a response to Selmân-ı Sâvecî, describing his station through images of light, shadow and elixir.
Münîrî's six-stanza terci-bend in praise of the Prophet, each stanza led into its refrain couplet by nightingales, angels, the poet or a voice from the unseen.
Münîrî's forty-couplet Karbala elegy for Hasan and Hüseyin opens with a reproach to the wheel of heaven and draws all of nature, from Euphrates to sun, into mourning.
Münîrî's forty-six-couplet Persian kaside of admonition opens by likening heaven to a juggler, dwells on the transience of the world and ends with contentment.
Münîrî's forty-eight-couplet Turkish kaside of admonition opens with counsel on a fleeting world, turns midway to praise of the Prophet and ends asking intercession.
Münîrî's eight-couplet Persian kaside for Hazrat Ali recalls Khaybar, Düldül and Zülfikâr, and in the end the poet counts himself the slave of Kanber.
Münîrî's thirty-couplet Persian festival kaside for Bayezid II; every couplet ends in the redif "‘īd", and the festival comes and goes at the sultan's door like a person.
Münîrî's twenty-four-couplet Persian eulogy of Bayezid II opens with a brow like the festival crescent and praises the sultan as huma bird, Sidre tree and second Ali.
Münîrî's forty-three-couplet Persian kaside for Bayezid II, a response to Selmân and Zahîr, with an inner ghazal that splits an opening couplet by Hâfız in two.
Münîrî's fifty-seven-couplet spring kaside for Bayezid II opens with a dawn wind breathing like the Messiah and a rose like the fire of Moses, then praises the sultan.
Münîrî's forty-one-couplet kaside for Bayezid II likens the sultan's gate to the Kaaba and says that reaching it once earns the merit of a thousand pilgrimages.
Münîrî's forty-two-couplet kaside for Bayezid II opens as a ghazal to the beloved, turns to praise by naming the sultan by his pen name Adlî, and lauds his sword and arrow.
Münîrî's forty-five-couplet Turkish kaside for Bayezid II, a response to Ahmed Paşa that moves from the beloved to the sultan and sets the planets in his service.
Münîrî's tree-shaped Persian kaside of twenty-three couplets for Bayezid II, in which the words of the trunk couplet sprout again in twenty-two branches.
Münîrî's fifty-eight-couplet kaside for Bayezid II with the refrain "narcissus"; the spring flower becomes first the beloved's eye, then a servant at the sultan's court.
Münîrî's fifty-nine-couplet Persian kaside for Bayezid II; answering Zahîr's praise of Kızıl Arslan, the Anatolian poet claims that Persian will give him his due.
Münîrî's 101-couplet kaside for Bayezid II with the refrain "sun"; a response to Atâyî and Ahmed Paşa in which the sun is first a prophet, then the sultan's doorkeeper.
Münîrî's eleven-couplet kaside for Bayezid II on his resolve to wage holy war; angels share the news, the sky dyes itself with dawn's henna, and the poet sends prayers.
Münîrî's sixty-four-couplet kaside for Bayezid II with the refrain "morning"; the dawn that conquers the land of night ends as a servant at the sultan's threshold.
Münîrî's sixty-one-couplet spring kaside for Prince Ahmed, a response to Ahmed Paşa, in which the garden becomes a drinking party and the stars serve the prince.
Münîrî's sixty-one-couplet kaside for Prince Ahmed with the refrain "rose"; the sultan of the rose opens its register and comes to bow in the dust of the prince's road.
Münîrî's forty-two-couplet Persian kaside for Prince Ahmed with the refrain "rosebud"; the bud plays Joseph, horseman and plaintiff, and ends as the title of his divan.
Münîrî's forty-two-couplet Persian kaside for Prince Ahmed; after an inner ghazal he likens himself to a Hassân beside the prince who bears the Prophet's name.
Münîrî's forty-one-couplet Persian kaside for Prince Ahmed with the refrain "nihād"; Ersoy calls it a response to Selmân and Zahîr, and the poet names both at the end.
Münîrî's eighty-one-couplet mesnevi on an outing to Lâdik with Prince Ahmed; the road, the lake and Akdağ are described in couplets woven with puns.
Münîrî's thirty-couplet kaside for Prince Ahmed; in this response to Ahmed Paşa the heavenly bodies become servants waiting at the prince's threshold.
Münîrî's tree-shaped (müşeccer) kaside for Prince Ahmed; a trunk and fourteen branches praise the prince, repeating the words "Rūḥ-ı ‘ālemdür".
Münîrî's festival kaside for Prince Ahmed; the crescent at the end of Ramadan becomes a key, a sickle, a skiff and a horseshoe before turning to the prince.
Münîrî's fifty-four-couplet elegy for his children Ali and Ferah, who died within a week in 887 (1482-83); it opens with complaint and closes in prayer.
Münîrî's five-stanza love terci-bend; its Turkish and Persian stanzas meet in one refrain couplet: for lovers the sorrow of love is gain enough in both worlds.
Münîrî's only murabba, in seven stanzas; its verses on the cupbearer, spring, the gathering and a prayer for the king each close with a refrain imitating the ney.
Münîrî's only Persian tahmis, expanding a ghazal by Hâfız of Shiraz into five-line stanzas; the last two lines of every stanza are Hâfız's own couplet.
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