Münîrî likens the tress falling on the cheek to a moon eclipsed by day, gives the morning breeze a reason for stealing footprint dust and ends with a sun seen at night.
Münîrî rhymes on yakın in three different senses, likens union to a feast of sacrifice and the lovers' blood to henna, and turns the tress into a girdle worn like a rosary.
Münîrî likens the tear-filled eye to a whirlpool, welcomes the arrow wound that comes from the beloved and joins the down on the cheek to the saying that what is written befalls one.
Münîrî has the troop of the beloved's image pass slowly through a tear-filled eye, recalls the nightingale dying for a week-long rose and joins gazing and reasoning in one word.
Münîrî brings the battle with the glance from knife to spear, shows grief stopping the spring of tears at its source and reads a death at dawn as the sign of an auspicious day.
Münîrî calls the man who forbids wine a stone, sees the black mole on a white cheek as an Abyssinian king come down into Rum and blames the rose season for his return to the tavern.
In this ghazal with the refrain "içün" Münîrî sets the beloved's lip above honey and sugar, plays on the word ney, speaks of oath and expiation and comes begging like a dervish.
Münîrî likens the weeping eye to an upturned wine bottle, has Mount Bîsütûn grieve for Ferhad and gives the harp, the reed flute and the organ the voices of suffering lovers.
Münîrî likens the heart to a parrot caged in the beloved's locks, dreams of burning the angels' register of his sins with his sigh, and compares lip and teeth to a ruby ring.
In this short ghazal Münîrî shows the beloved's image as a guest lodged in the eye and a troop of horsemen in the breast, playing on "vech-i hasen" as fair face and fair way.
In this ghazal with the refrain "deminden" Münîrî plays on "dem" as companion, moment, breath and dawn, and likens his heart, called mad, to the dervish abdals of Rum.
In this ghazal close to everyday speech Münîrî shows a mad heart that forgets yesterday's arrow, a preacher who may not keep his word, and a lover who finds the sun on earth.
In this ghazal Münîrî ties a curse formula, the reciting of spells, the Qur'anic verse on the spirit as God's command and a proverb about asking the way to the beloved's lip.
In this ghazal Münîrî portrays an elm that dares to imitate the beloved's stature, a chin like an orange, a shirt trembling in the wind and a lover rising in a bloody shroud.
Münîrî closes the lines of this ghazal with Arabic phrases from the Qur'an, rebuking his scheming self with verses of al-Baqara and likening the heart to paradise.
Münîrî wrote this ghazal for the eye ailment of Prince Ahmed, tracing the redness, watering and dimness of his eye to fine poetic causes and closing with a prayer against the evil eye.
In this ghazal with the refrain "-dan" Münîrî likens the mole before the eye to a thief begging mercy of the executioner and measures himself against Ferhad in giving his life.
In this ghazal Münîrî makes Chinese musk, the pearl and the famed painting of China yield to the beloved's beauty, and plays on mihr, Venus and Jupiter in the closing couplet.
Münîrî shows the heart as a child who finishes the ABC of love and opens a section of the Qur'an of beauty, the tear as a beggar at the door and the musk-pod put to shame.
In this ghazal with the refrain "içün" Münîrî shows a lover washed in blood by the eye's pupil, a collar mended with a hair, and a comb asked not to sharpen its teeth on the locks.
Münîrî opens this ghazal with a quotation from the sura Fatir, "He has taken grief away", puns on the name Hasen and grief, and shows tulips growing from Ferhad's tears.
In this ghazal Münîrî presents the beloved's two locks as a dwelling that unties the difficulty of both worlds, and plays subtly on the words hand and people, mole and state.
In this spring ghazal Münîrî calls the rose season a faithless turn of watch, draws the tulip as a culprit come to beg pardon with a shroud about its neck, and the heart as a net.
In this ghazal Münîrî turns the beloved's face into a garden heaped with hyacinth and rose, makes clouds a coat of mail against the sigh's arrow and the rose garden one with the furnace.
Münîrî builds every couplet of this ghazal on the eye; the eye becomes a flower pot, the eyelashes a fly whisk, and the tearful eye a mine holding a ruby of Badakhshan.
In this ghazal Münîrî presents the beloved's face as a qibla and the lip as a bud opened by the dawn breeze, and says that the world is lit not by sun and moon but by the face's reflection.
Münîrî wrote this ghazal for Koyun Baba, a Kalenderi dervish of Osmancık; with the refrain "Koyun" he praises the saint as the lion of saints and shepherd of the Abdals of Rum.
In this short-metre ghazal Münîrî plays on the rhymes āhū and āh o, has the gazelle-eyed beloved strike like a lion, and turns the proverb "speak of the dog" against the rival.
In this ghazal Münîrî likens the sword of the glance to the water a parched patient begs for, turns a proverb on nature against the ascetic, and seeks honour in the dust of the path.
In this ghazal Münîrî likens the ring of the locks to the ring of the Haram, the dark locks to a night walker who frightens sleep away, and himself to a turtledove still crying "kû kû".
In this ghazal with the refrain "benefşe" Münîrî explains the violet's bunches, its bent neck, its low growth and its colour by graceful reasons tied to the beloved.
In this ghazal Münîrî treats the pupil as a heart's window blackened by sighs, desire for a mole as Adam's sin, and the ruby lip's bloodshed as a case the judge needs no witness for.
In this ghazal with the refrain "üstine" Münîrî likens the down to writing set on water by magic, the brow to light descending on the Night of Power, and the locks to Gabriel's wing.
In this ghazal Münîrî envies the fortune of the beloved's dark forelock, clings to his ring of hair at the Last Judgement, and likens the eye to a narcissus sheltering in the brow's shade.
In this drinking ghazal Münîrî describes wine whose feet blister as it runs to the beloved's lip, a talking flask, and a moon-faced guest who lights the gathering.
In this ghazal Münîrî describes a curl like a knot tied on water by magic, eyelashes writing in red ink, and a heart burning like a candle in the mihrab of the eyebrow.
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