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.
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.
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.
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.
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.
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.
Münîrî plays on "hürmet" as respect and as prohibition, ascribes the forbiddenness of wine to its imitation of the ruby lip, and finds a resurrection in the beloved's stature.
Münîrî seeks a way to rub his face on the threshold, kisses the beloved's dog's footprint by moonlight, rejoices at the arrowhead in his heart and weeps blood once salt tears are gone.
Münîrî likens the beloved's face to a harvest of roses, turns the other beauties into gleaners of that harvest, and, weary of the world's thorns, chooses the furnace over the garden.
Münîrî writes of an arm that will not wind round his neck like a sword-belt, a candle that deserves its tongue cut, a dark mole casting pepper into fire, and the candle of Çigil.
In this plain ghazal Münîrî tells of fate's bow strung like the brow, the love he once mocked now befalling him, the quarter that is paradise, and a hidden burning that cannot stay hidden.
In the last of his Turkish ghazals Münîrî tells of a lip that could teach the Messiah miraculous speech, the proverb of the single hand, and his poetry heard across the inhabited world.
In Münîrî's first tuyugh the lover seized by love has no patience left, and the finger of imagination holds the beloved's strand of hair until the day of reckoning.
In Münîrî's only tuyugh in a different metre, love makes the lover mad, turns his state into a tale and, with light from the candle of beauty, makes his heart a moth.
In Münîrî's tuyugh with the refrain "dil", the helpless heart finds no remedy for its pain, and the wound from the arrow of the beloved's glance is one no salve can heal.
In Münîrî's tuyugh with the refrain "göñül", the heart plundered in the land of love is both prosperous and ruined, and visits its owner only now and then as a guest.
In Münîrî's tuyugh with the refrain "olur", without the beloved the tear becomes a ruby and the liver bloody water, until the bloody tear floods the land of the heart.
In Münîrî's tuyugh with the refrain "bulmadum", separation has no end and pain no limit; the lover reaches the guidance of the face only through the unbelief of the hair.
In Münîrî's tuyugh with the refrain "degül", neither cypress nor rose matches the beloved; seeing her lofty stature, the heart says it is no stature (bâlâ) but an affliction (belâ).
In Münîrî's tuyugh with the refrain "‘ışḳ", the dizzy lover is left headless and disordered, until the beloved's green down comes like Hızır before love's flood rises over him.
In Münîrî's Persian tuyugh, whoever is ruined by love's cup gains a bad name, and the poet prays that no one be, like him, parted from the beloved's hair and without patience.
In Münîrî's second Persian tuyugh, pain becomes the heart's companion and affliction the soul's friend, and the lover weeps because he is far from the wound of the glance.
In Münîrî's garden tuyugh, the beloved's beauty is the orchard of the world and her locks the basil of spirits, while the heart is that rose garden's nightingale of a thousand songs.
In Münîrî's tuyugh punning on "gül-zâr" and "gül zârî", thousands of nightingales and roses lament for the beloved's cheeks, and the lover is the nightingale sick from the thorn.
In Münîrî's tuyugh with the refrain "gözlerüñ", the beloved's eyes are a merciless Turk who orders the glance, "Come on, at once", to lay waste the realm of the heart.
In Münîrî's tuyugh with the refrain "-yuz", the lovers admire the basil-like down, are a sacrifice to the bow-brows, and are left distraught and dizzy by the curling lock.
In Münîrî's tuyugh built on the language of calligraphy, the moles are the dot of cîm in "cemâl", and as script without dots is imperfect, so is the down without the mole.
In Münîrî's tuyugh of the eyelash and the arrow, the beloved's eyelash guides the arrow of fate, and the poet praises her as an archer who never misses when she shoots.
In Münîrî's tuyugh rhyming on "-ūsına", the sorcerous glance keeps the lover from the beloved's locks, and the festival crescent in heaven's arch cannot reach her crescent brow.
In Münîrî's tuyugh rhyming on "-īn", the beloved's brow shines like Venus, and Gabriel calls amen from the Sidra to every prayer the lover makes for her stature.
In Münîrî's tuyugh of the curling lock, the coiled hair throws the world into confusion like the lover's heart, and the beloved binds every heart with a single hair.
In Münîrî's tuyugh with the refrain "ḳadüñ", the beloved's lofty stature rises in the soul's rose garden, raises a doomsday and stands without equal in the world.
Münîrî's last tuyugh speaks a piece of wisdom: one who does not worry over the world is free of grief, and fortunate is he whose glass of honour is struck by the stone of zeal.
Münîrî's first muamma is a single couplet built on the beloved's dagger-drawing glance; the edition gives its solution as the name "Ali Bey".
Münîrî's second muamma is a single couplet saying the rosebud cannot be one with the beloved's mouth; the edition gives its solution as "Mehemmed".
Münîrî's third muamma is a single couplet on the eye that turns into a sea from longing for pearl-like teeth; the edition gives its solution as "Hüseyin".
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