Kara Fazlî's five-stanza murabba of exile with the refrain "Kimse yā Rab olmasun yār u diyārından cüdā", joining separation from the beloved and from home.
Kara Fazlî's five-stanza murabba of supplication with the refrain "Yā İlāhī sen ḫalāṣ it bu belālardan beni", lamenting his fortune and the beloved's "God willing".
Kara Fazlî's six-stanza murabba of complaint with the refrain "Hey ne ẓālimsin elüñden dād u feryād iy felek", accusing the sphere of giving his beloved to his foes.
Kara Fazlî's five-stanza murabba with the refrain "Hercāyi güzel sevmeyeyin tevbeler olsun", renewing in every stanza a vow to give up fickle beauties he cannot forget.
Kara Fazlî's five-stanza murabba of regret with the refrain "Kāş ezelden olmayaydı āşinālıḳlar begüm", wishing that a love begun in eternity had never begun.
Kara Fazlî's five-stanza murabba with the refrain "Ṣabra ṭāḳat ḳalmadı terk-i diyār ister göñül": with patience spent, the lover resolves on the other remedy, leaving home.
Kara Fazlî's five-stanza murabba with the refrain "Göñlüm ārām eylemez ṭaġlara düşmemdür hemān", a lover taking to the mountains in the footsteps of Ferhad and Mecnun.
Kara Fazlî's five-stanza murabba of praise for Derviş Bâlî, one of the famous beauties of his day, woven from images of the dervish lodge, the abdal and the Işık.
Kara Fazlî's five-stanza murabba for the tailor beauty Memî Şâh, built on images of collar, skirt, iron, shears and cloth from the tailor's shop.
Kara Fazlî's five-stanza murabba for the barber beauty Hasan Bâlî, built on shaving, the mirror, the razor and the double meaning of "bringing one's work to a head".
Kara Fazlî's five-stanza murabba of supplication to the tailor beauty Memî Şâh, with the refrain "Ben ḳuluña merḥamet eyle Memī Şāh'um benüm" and Leyla and Mecnun.
Kara Fazlî's five-stanza murabba praising Alî Bâlî, a famous beauty of his day, with the play "a‘lā ‘Alī", flower comparisons and the motif of the Resurrection.
Kara Fazlî's seven-stanza murabba of praise and separation for a beauty named Hasan, with punning stanzas and an allusion to Hasan, Hüseyin and Yezid.
Kara Fazlî's five-stanza murabba in praise of a beauty named Ömer, building a congruence of images from the names Ömer, Osman, Abu Bakr and Muhammad.
Kara Fazlî's seven-stanza murabba for a beauty named Süleyman Bâlî, alluding to Solomon through images of the wind, the ant, and the men and jinn he ruled.
The last of Kara Fazlî's three murabbas for the tailor beauty Memî Şâh: a life-giving lip like the Messiah's, a life-taking glance, and the irony of servant and shah.
Kara Fazlî's five-stanza murabba of praise and plea for silver-bodied Muslî, opening with Joseph and a feast day turned into Jacob's house of sorrow.
Kara Fazlî's five-stanza prayer murabba for a beauty named Ramazan, a double entendre carrying the crescent, the fast, the Night of Power and the feast to the beloved.
Kara Fazlî's five-stanza murabba pleading with a beauty named Hasan Bâlî as "my lord", woven from images of a ring, a green robe, pistachio satin and the pen.
Kara Fazlî's lilting five-stanza murabba of praise for crescent-browed Mahmud, newly appeared in the city, built from images of full moon, sun, mote and sugar.
Kara Fazlî's ironic seven-stanza murabba praising Muslî Şâh as a fountain of generosity in the language of lodge and palace, a gate open to all but the poet.
Kara Fazlî's six-stanza wine murabba, its opening lost, celebrating the end of the fast and the feast arriving with spring: the crescent cup, Hızır, the water of life.
Kara Fazlî's five-stanza murabba of longing, recalling scattered gatherings of friends, dawn roses, others' merriment and a dream, with the refrain "añdum aġladum".
Kara Fazlî's five-stanza murabba searching for a lost beloved by asking the lords for news, cited by Özkat for its plain speech, with allusions to Mecnun and Jacob.
Kara Fazlî's nine-stanza murabba sung in the voice of Prince Mustafa's circle of poets in Amasya, with the refrain "Sāḳiyā ṣun cāmı Sulṭān Muṣṭafālīlerdenüz".
Kara Fazlî, Prince Mustafa's divan secretary in Amasya, wrote this eleven-stanza murabba elegy with the refrain "Meded begler meded" on the prince's killing in 1553.
Kara Fazlî's only eight-stanza murabba, a mystical call to break the ties of the world and become a wandering dervish, with the refrain "Gel ḳalender olalum".
Kara Fazlî's seven-stanza muhammes on the refrain "Gördüñ zemāne uymadı uy sen zemāneye", popular in the sixteenth century, counselling submission to the world's ways.
Kara Fazlî's five-stanza tahmis on Necâtî's ghazal with the redif "ṣandılar", headed "Naẓīre-i Fażlī" in the manuscript: Cem's cup, Mary, and a garden in mourning.
Kara Fazlî's five-stanza tahmis on a ghazal with the redif "aldum" by Zâtî, whom he counted his master: birds of the hunt, patent and coin, a fortress, a market of hearts.
Kara Fazlî's five-stanza tahmis on Âhî's ghazal with the redif "olsa": a picture of spring, a pun on waist and lap, the emerald palace of the sky, a wish to flee.
Kara Fazlî's six-stanza müseddes with Arabic lines, praising beauty in the language of the Qur'an, the basmala and prayer: the orphan pearl, Khitai musk and a game of letters.
Kara Fazlî's nine-stanza müseddes elegy with the refrain "ḥayf", written in 955 (1548) for Mahmud, the young son of Sun'ullah Beg, vizier of Prince Mustafa.
Kara Fazlî's incomplete müseddes, of which one stanza and two lines survive: a love poem of scales and Joseph that Özkat likens to Yunus Emre's "bana seni gerek seni".
Kara Fazlî's seven-stanza muaşşer with the refrain "Āferīn iy iftiḫār-ı Āl-i 'Os̱mān āferīn", praising Prince Mustafa's justice, bounty and likeness to the four caliphs.
Kara Fazlî's three-stanza terkib-bend elegy for Prince Mustafa: a reproach to heaven, praise of the prince and a lament, recorded right after a copy of Gül ü Bülbül.
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