The first of Münîrî's Persian ghazals, a poem of the gathering urging the cupbearer not to waste the rose season: the rind, raw wine and the nightingale.
Münîrî's Persian nazire to Hâfız invites him from the Rüknâbâd and Musallâ of Shiraz to the square of Amasya, praising the city as an earthly Paradise.
Münîrî's Persian ghazal whose every line ends in the refrain "cüdā", "apart": parting from the heart, homeland, life and the rose garden in five couplets.
Münîrî's Persian ghazal in a short metre: the beloved's stature is a calamity, the glance a ruin, the mouth unseen; the lover rises like a mote to the sun.
Münîrî's Persian ghazal with the refrain "merā": the sinless beloved kills and revives with a glance, and the lover asks to be counted among his dogs.
Münîrî's Persian ghazal with the refrain "mā-rā": the heart's parrot caged by the locks, a lentil from Abraham's table, and a lover burned by one spark.
Münîrî's short Persian ghazal rhyming in "-ālā": asked whether it has a mouth, the beloved answers "lā lā", "no, no", and the same sound shifts meaning.
Münîrî's Persian ghazal opening with a dawn "welcome" from the unseen; the lover seeks the crescent that ends his fast of grief in the beloved's eyebrow.
Münîrî's macaronic ghazal mixing Arabic, Persian and Turkish lines; the sky becomes a sea of the lover's tears and the stars turn into bubbles upon it.
Münîrî's libertine Persian ghazal counted as a response to Hâfız; the cupbearer's arrival ruins vows of repentance and the burning heart smells of kebab.
Münîrî's Persian ghazal that opens with the fire of the valley of Ayman and ends with Ferhad and Şîrîn; Ferhad dug mountains, the lover digs out his life.
Münîrî's Persian ghazal counted as a response to Hâfız; the eyebrow shows lovers the qibla, and the heart reads the beloved's silence as consent to a kiss.
Münîrî's Persian ghazal that reads the beloved's face as a tablet of script, the mole as the dot of God's pen and the cheek's down as an anthology of beauty.
Münîrî's Persian ghazal woven of tavern imagery; the pupil of the eye joins the drinking party, and the lost heart hides in the beloved's pistachio mouth.
Münîrî's Persian ghazal turning the blood of the liver first into jewels of tears, then into tulips in the meadow; without the beloved, roses bring a headache.
Münîrî's Persian ghazal counted as a response to Hâfız and ending with a prayer for Bayezid II; the mole is a black slave and the tavern corner a lodge.
Münîrî's short-metre Persian ghazal; the heart loses its way in the locks, falls like Joseph into the well of the chin, and the lover's hand stays short.
Münîrî's Persian ghazal with the refrain girift, counted as a response to Hâfız; the dawn breeze stirs the lock and brings threshold dust as a keepsake.
Münîrî's ghazal woven of Arabic, Persian and Turkish lines; the ardent lover does not die, blessed is he who dies for love, and the beloved says "silence".
Münîrî's Persian ghazal in which he presents himself as a wine-drinking rind; homelessness is his honour, liver's blood his wine and sighs his companions.
Münîrî's Persian ghazal that makes the tavern elder's slave the sultan of both worlds; the poet's pearl-scattering words become an earring in the beloved's ear.
Münîrî's Persian ghazal of a heart made drunk at the feast of elest; the glass of good name breaks, lost Joseph is found, and wax trees cannot match the beloved.
Münîrî's Persian response to Hâfız: the eyelash arrow pierces pearls in the night, the eye sweeps the beloved's road for years, and the poem ends on "goft u şinoft".
Münîrî's Persian ghazal in which the dust of the beloved's road crowns kings; the ascetic misses the tavern's secret, and the tale grows long in the lock.
Münîrî's Persian response to Hâfız: no repenting of wine in the rose season, harp and rebab play, the world is a mirage, and unkindred company is torment.
Münîrî's Persian ghazal in which Kevser thirsts for the beloved's lip; one heart is better than a thousand Kaabas, and the threshold is the greater pilgrimage.
Münîrî's Persian ghazal that makes the ruined heart home to the beloved's treasure; the arrow wound is a laughing bud, and smoke lights the hut of sorrows.
Münîrî's Persian ghazal that has no use for miracles while the tavern and the cup remain; the beloved's waist is a hair and the beauty a book to be read.
Münîrî's Persian ghazal that makes the beloved a sovereign of beauty in whose name the sermon is read; the heart circles the beloved's street like the Kaaba.
Münîrî's Persian ghazal of a beloved who is a newly opened rose and a bouquet in himself; because of Hayrî, famous in the city, every quarter is full of lovers.
Münîrî's Persian ghazal that uses the refrain "girifteest" in a new sense in each couplet; the heart takes a riverbank on the cheek, and tears take the beloved's road.
Münîrî's Persian ghazal on the refrain "rīḫt" (poured): tears pour rubies and pearls, the eye pours like a water wheel, and the dagger pours julep into the heart.
Münîrî's Persian ghazal of the beloved as a candle of manifestation burning in a corner of the heart; the pen name plays on "münīr", bright, in the last couplet.
Münîrî's Persian response to Hâfız: the unbelief of the lock is the lover's religion, thorns turn to flowers, and his ghazals are the candle of the libertines.
Münîrî's Persian ghazal on the refrain "ne-reft" (did not go): the lancet of the lashes never leaves the wound, and longing stays like the dervish's thought of begging.
Münîrî's Persian ghazal on the refrain "est": a summons to the spring gathering, wine and Zamzam shamed by the lip, a pun on key and Key, and the beggar above kings.
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