Preserved only in the Vatican manuscript, this plain-spoken ghazal by Münîrî treats the courage to bear the glance's arrow, love as capital and a pillar made of twigs.
In this ghazal Münîrî plays on hezār as nightingale and thousand, hears weeping in the flask's gurgle and makes ḳıl serve as both a hair and a command.
In this ghazal with the refrain "-malu degül", Münîrî lays down the rules of the drinking party, launches the boat of the cup on a sea of wine and refuses to trade his name for piety.
Münîrî likens the beloved's face to a Qur'an-copy and the tresses to Gabriel, reads mole, tress and brow as the letters cīm, dāl and rā, and closes with a turn towards God.
Münîrî brings "gül" into the rhyme three times, as the rose and as the command "laugh", and a ghazal that opens with the rose closes with a lover burned to ash in love's fire.
Münîrî writes of a crescent granted a warrant for resembling the beloved's brow, an augury from the Hindu of the tresses, and a beloved who takes a dog of a rival as friend.
Münîrî likens union to the joy of finding wealth, reads the mole on the cheek as the dot of a script, and describes the fancy of the lip through a proverb about honey.
Münîrî likens the beloved's eye, mouth, brow and tresses to letters; in each couplet the letters spell the rhyme words cedel, amel, remel, asel and ecel.
Münîrî likens the tear to a courier and the lip to a table sent down from heaven, and depicts an ill-tempered ascetic and a lover who gives himself to the beloved's dog.
Münîrî compares the tear that will not look back at the pupil of the eye to the Day of Judgement, and the tear that fails to reach the threshold to a traveller gone astray.
In this ghazal with the refrain "degül" Münîrî depicts an ascetic indifferent to the grain of the mole, the rival's question, and an old lover who has given his heart to a youth.
Münîrî opens this ghazal with a pun on hem-dem and depicts a rosebud binding its aching head, rose-water from the nightingale's eye, and a chin dimple that is no Zamzam.
Münîrî's eyelash rules a table in bloody tears on the yellowed face; the threshold cures a headache, and the poet asks the absent beloved to come at least to his funeral.
Münîrî calls beauty the light of God, likens the hair to a wick for the wound, and says that remembering the rose-like face turns the fire of Abraham into a rose garden.
Münîrî describes a stature and lip that shame the cypress and the rosebud, a heart still thirsty for ruby, and himself as a moth circling the candle of Çigil.
Münîrî welcomes the beloved back from a campaign as king and sun of fortune, and writes of his turn at the mill of the heavens and the sackcloth of grief given by love.
Münîrî makes all who see the beloved cry out "God is most great", likens union and separation to antidote and poison, and reads the eyebrows as a tughra that ends lovers.
In this ghazal with the refrain "gözlerüm" Münîrî uses the word both as an address to the beloved and for his own eyes, which grow four from watching the road to his cottage.
Münîrî plays on the idiom "to see the day", counts his tears as peerless pearls, and holds that fine speech and a sound disposition suffice a poet who has no gold.
In this ghazal with the refrain "eyledüm", Münîrî turns his tears to an ocean and his heart to a ruin, refutes a slander with two witnesses and lets grief plunder his heart.
Münîrî's ghazal that makes the smoke of sighs a banner, hopes for a scrap of a dog's horse-cloth and belittles mastery of sword and pen, a clue to the poet's own career.
In this spring ghazal Münîrî turns the rose garden into a state: the rose is sultan, pays dues and issues decrees, the iris keeps the ledger and the narcissus collects alms.
In this ghazal with the refrain "itdüm" Münîrî stakes his soul in the market of love; a pun on revān, the eye's shop and a losing bargain for a single kiss stand out.
In this ghazal with the refrain "I could not tell", Münîrî's lover bows to the niche instead of the horseshoe, rusts the mirror of a face with sighs and rubs his face on a threshold.
Münîrî opens this ghazal with the feast, likens an eyebrow to an old man leaning on a staff, turns arrowheads into windowpanes and pictures his stature through elif and lām.
In this spring ghazal Münîrî rhymes on müdām in two senses, makes the violet the rose's envoy and keeps to the rose's company despite the proverb on those who are bound.
In this short-lined ghazal Münîrî rhymes on "em" as both "suck" and "remedy", and writes of tears that dry the heart and a lip that outshines the cup of Jamshid.
In this ghazal of counsel Münîrî writes of a contrary star and a juggling heaven that blindfolds man, calls to unity in a Persian couplet and recalls David turning iron to wax.
In this libertine ghazal Münîrî rates service at the tavern as kingship, warns against the unripe fruit of a gilded garden and pictures an eye bringing water from a hundred streams.
Münîrî likens the beloved's stature to the Tûbâ tree and builds a pun on kāmet, stature and the call to prayer, as an imam cries out that the Resurrection has risen.
Drawing on verses from the suras al-Rum and Ya Sin, Münîrî presents spring as the dead world raised to life, and through the rose warns against trusting this five-day world.
Münîrî likens bloody tears to pomegranate seeds in a bowl, turns the rosebud into a scribe rolling a scroll, and plays on kâh, which means both palace and straw.
Münîrî likens the eyebrow to a gold-inlaid sword and the tress to a knot that binds the tongue, bringing an untimely guest and a profit-and-loss partnership into the poem.
In this ghazal with the refrain "speech", Münîrî has the invisible mouth speak with the tongue of the unseen and plays on the mīm of ‘adem, the word for nonexistence.
Münîrî calls a beloved named Sinan the Joseph of the Egypt of beauty, likens his chin dimple to the well of Canaan and alludes to the crier's call over the hidden cup.
In this plain-spoken ghazal in a short metre Münîrî reproaches a faithless beloved, asks the giver of pain for a cure and likens union to a feast day that should go unspoken.
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