Kara Fazlî's seven-stanza terkib-bend elegy on the death in 950 (1543) of his first master, Prince Mehmed: an allusion to sura al-Rahmân, the cosmos called to mourn, and a prayer.
Kara Fazlî's chronogram with the line "İclāl ü 'ömr bāḳī", written in Amasya in 957 (1550) when a teacher was appointed for Prince Mustafa's son Mehmed.
Kara Fazlî's chronogram on Behrâm of Prince Mustafa's Amasya retinue becoming sword-bearer in 957 (1550), playing on his name, which means the planet Mars.
Kara Fazlî's chronogram celebrating with the line "Aḥmedā yümn-ile olduñ defterī" Ahmed Çelebi's appointment in 954 (1547) as defterdar of the timars of Rumelia.
Kara Fazlî's seven-couplet chronogram recording the banquet given on Mount Taşan in 958 (1551) by the vizier Mîr Yahyâ in honour of Prince Mustafa.
Kara Fazlî's eleven-couplet chronogram on Sinan Bey, secretary of the salaried horsemen of the Left Division, rising in 954 (1547) to secretary of the Zümre-i evvel.
![Chronogram 6 — Çü Ṣun‘ullāh [E]mīr’üñ oġlı Maḥmūd](https://amasya05.com/storage/posts/pk6Q9uJa9eseW6aTb6bB0FnQ.webp)
Kara Fazlî's two-couplet chronogram with the prayer "Yirin nūr eylesün" on the death in 955 (1548) of Mahmud, son of Sun'ullah Beg, vizier of Prince Mustafa.
Kara Fazlî's three-couplet chronogram on the death in 955 (1548) of Mahmud, son of Prince Mustafa's vizier Sun'ullah Beg, built on the double sense of "Maḳām-ı Maḥmūd".
Kara Fazlî's two-couplet Persian chronogram on the death in 955 (1548) of Mahmud, son of Sun'ullah Beg, vizier of Prince Mustafa: the Arabic-script text and its reading.
Kara Fazlî's Arabic-Persian mülemma ghazal on divine unity: God as the First, the Last, the Manifest and the Hidden, the letter elif and the hidden treasure.
Kara Fazlî's cupbearer ghazal opening with an Arabic line: the cup of guidance, a heart cleansed by the cup of unity, the Uşşak melody and the face that endures.
Kara Fazlî's mülemma ghazal in Turkish, Arabic and Persian lines: a rind who will not renounce wine, the sleepless lover, unity brighter than the sun and a secret kept.
Kara Fazlî's trilingual mülemma ghazal: the Tuba tree enslaved to a cypress-statured beloved, a door circled like the Kaaba, a bewildered lover and the poet's boast.
Kara Fazlî's five-couplet ghazal with the redif "-lıḳ baña", built on the opposition of profligate and sheikh: the faithful dawn, wine as physician, the sinner's plea.
Kara Fazlî's seven-couplet ghazal in the mütekarib metre with the redif "saña", reproaching an indifferent beloved: dream and encounter, candle and moth, shunning and devotion.
Kara Fazlî's five-couplet ghazal with the redif "saña": the sun casting shade on the moon, a kiss not bought with the soul alone, sweet life for milk, speech as adornment.
Kara Fazlî's five-couplet response poem with the redif "aña" to Atâ's ghazal, answered by 54 poets: prayer for an insult, the falcon arrow, the astonished inkstand, sacrifice.
Kara Fazlî's longest ghazal, eleven couplets complaining that ignorant men in office are praised as poets while true poets go unheard, naming Hassan, Sahban and Bakil.
Kara Fazlî's five-couplet ghazal with the redif "āşinā": a beloved acquainted only with strangers, the paradox of becoming a stranger to be known, pearl and sea, sun and mote.
Kara Fazlî's five-couplet ghazal of separation with the redif "baña": hyacinths in mourning, a gathering Cem would envy, and "âdem" spelled from alif, dal and mim.
Kara Fazlî's ghazal of spring and wine, with the couplet "ṣūfī delü olma" that Özkat cites for the poet's profligate stance and Plain Turkish, and a praise built on "igen".
Kara Fazlî's five-couplet ghazal with the redif "baña": a lip above the wine of paradise, Özkat's example of leff ü neşr in morning and evening, and the beloved's dog.
Kara Fazlî's five-couplet ghazal with the redif "saña": wine from the liver's blood, lock and mole as snare and bait, a gazelle tame to the rival dog, and a play on "iti".
Kara Fazlî's seven-couplet ghazal with the redif "ṣafā": the couplet of ṣuffe, ṣaf, ṣūfī and ṣāfī that Özkat cites for iştikak, a pun on cānā ne and cānāne, and conquest.
Kara Fazlî's five-couplet ghazal with the redif "-dan vefā": no faithfulness from lock, time or sword, the proverb of the sharp sword, and a pun on "ḳandan u ḳandan".
Kara Fazlî's five-couplet ghazal with the redif "oldı baña": the lover as shah with grief for his army, an arch for prostration, and calling a forelock musk as a disgrace.
Kara Fazlî's five-couplet ghazal with the redif "gedā": the padishah of the realm of beauty and the beggar at the threshold, a plain Turkish reproach and a question.
Kara Fazlî's five-couplet response poem with the redif "saña" to a ghazal by Revânî: the candle of the gathering, the robe of coquetry and the nightingale in love.
Kara Fazlî's five-couplet ghazal with the redif "-dan cüdā": a corpse parted from its soul, a drop torn from the ocean, the unbelief of the forelock and a dog's life.
Kara Fazlî's seven-couplet ghazal addressed to the cupbearer, with the redif "-dan sāḳiyā": an earthen body, Jamshid's cup, weeping blood and love drunk in pre-eternity.
Kara Fazlî's five-couplet ghazal without a redif: a sea that vies with tears, a beloved gentle to others and stone to the lover, and a pun on quince, peach and apple.
Kara Fazlî's seven-couplet wine ghazal with the redif "peydā": a heart lost in the valley of grief, the bubble and longing, the rust on the heart's mirror and a new ghazal.
Kara Fazlî's five-couplet ghazal of comparisons with the redif "-dür gūyiyā": a robe turned shroud, a presumptuous parrot, jasmine and salamander, and the musk of Khotan.
Kara Fazlî's seven-couplet ghazal with the redif "-e belā": a pun in the opening couplet, grief and tears, tresses as a headache, Joseph's beauty and the fading esteem for poetry.
Kara Fazlî's five-couplet ghazal naming his master Zâtî: a lover who calls his sacrifice a feast, gossip like a plague, the hurrying east wind and the favour of Zâtî.
Kara Fazlî's five-couplet response poem with the redif "saña" to a ghazal by Hızrî: a cupbearer who serves blood, a heart that loses patience, a young blade and sorcerer eyes.
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