Münîrî's fourth muamma describes a heart that has not come to itself even once in the beloved's reign; the edition gives its solution as "Said".
Münîrî's fifth muamma shows kings bowing before a fresh sapling in the garden of sovereignty; the edition gives its solution as "Sultan Bayezid".
The Persian muamma among Münîrî's seventeen tells of endless tears turning into a sea of blood; the edition gives its solution as the name "Şükrî".
Münîrî's seventh muamma is a Persian couplet asking the beloved to cast the veil from her moon-like face; the edition gives its solution as "Seydî".
Münîrî's eighth muamma tells of a heart that passes the lips, reaches the locks and from one becomes two; the edition gives its solution as "Dede".
Münîrî's ninth muamma is a Persian couplet of a drinker asking the saki for a drop; the edition gives its solution as "Hamza" without showing how.
Münîrî's tenth muamma tells of a heart made captive by a cypress-tall beloved; the edition gives its solution as "Ahmed Bey", and it closes the Ü manuscript.
Münîrî's eleventh muamma tells of a lover drinking his heart's blood for one sip from the ruby cup of the lip; the edition gives its solution as "Mehemmed".
Münîrî's twelfth muamma calls the candle-bright beloved of Çigil to the dead poet's grave; the edition gives its solution as "Murad". It is missing from Ü.
Münîrî's thirteenth muamma is built of sun, moon, zodiac sign and Müşteri, the heart being both buyer and planet; the edition gives its solution as "Seyfî".
Münîrî's fourteenth muamma is a brief scene in which a mountain echoes the lover's complaint to his beloved; the edition gives its solution as "Îsâ".
Münîrî's fifteenth muamma is a lover showing his pearl-scattering eyes to the beloved who asks how he fares; the edition gives its solution as "Hüsam".
Münîrî's sixteenth muamma says that drops of tears are pearls but no one knows their worth; the edition gives its solution as the name "İskender".
Münîrî's last muamma tells of a lover whose waist bends from not seeing the crescent brow of his full-moon beloved; the edition gives its solution as "Kemal".
Münîrî's first müfred is a short piece of advice to himself: whoever wants an imperishable treasure must take contentment as his treasure and let the world go.
Münîrî's second müfred advises holding on to love until death, since everyone is forgiven in his own craft; it ends on the old verb "yarlıgamak".
Münîrî's third müfred is a single couplet saying that without contentment a person is never satisfied, even if all of his gear is made of red gold.
Münîrî's fourth müfred is a two-couplet piece, printed under the müfred heading, that counsels surrender to God and freedom from rancour and envy.
Münîrî's fifth müfred counsels against giving one's heart to the world: whoever inclines to its honey has chosen its poison too. The nûş and nîş play stands out.
Münîrî's sixth müfred opens with the same couplet as the fifth, but instead of the world's honey it names the honey of the beloved's ruby lip and its sting.
In Münîrî's seventh müfred the beggar-lover longs for union and asks to be called "my dog", resting his request on the saying "no one has enough of honour".
In Münîrî's eighth müfred the lover, having begged from door to door through the world, comes as a last resort to the door of the "king of beauties".
In Münîrî's last müfred the stranger-lover thinks nothing of dying on the beloved's path, even unseen by her, for he gave up his head long ago.
Münîrî's two-couplet Persian chronogram on the musalla built by Bayezid II carries the note "Sene 889" (1484) in the edition and is the last poem of the divan.
The opening couplets of the hijra narrative in Münîrî's verse life of the Prophet: a prelude on separation, the Companions' emigration and Satan at the council of Dâru'n-Nedve.
The second part of Münîrî's hijra narrative: Gabriel's warning, Ali in the Prophet's bed, Abû Bakr's preparations, the escape from the house and the road from Hira to Thawr.
The cave of Thawr in Münîrî's hijra narrative: the snake that bites Abû Bakr, the doves and spider at the entrance, the baffled idolaters, the wall opening on the sea and a na't.
The last part of Münîrî's hijra narrative: Surâqa's pursuit, the miracles in Umm Ma‘bad's tent, her portrait of the Prophet, the arrival in Medina and the building of the mosque.
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