Kara Fazlî's five-couplet response poem to Nizâmî of Karaman: tresses fanning the fire of the cheek, the cage of the breast, the rose banquet, the true dawn and the pointing thorn.
Kara Fazlî's response poem with the redif "peydā" to Tabîbî of Plovdiv: down as smoke from the candle of power, a sorcerer glance, the Judas tree and the tiger of eloquence.
Kara Fazlî's five-couplet ghazal with the redif "-den peydā": a sigh that topples the heavens, a lip made of sugar, the arrow of fate and the proverb "a man is raised by a man".
Kara Fazlî's ghazal with Arabic lines: a cypress stature above the Sidra tree, glances tied to the verse "You did not throw", a healing mouth and a prayer for long life.
Kara Fazlî's five-couplet ghazal with the redif "-dan cüdā": a lover who calls on death rather than live apart, a play on alif and nun, the unbelief of the hair, the sultan's door.
Kara Fazlî's five-couplet ghazal without a redif: a destitute shah of love whose drum is his breast and army his tears, the lamenting reed and the moon and fish as witnesses.
Kara Fazlî's five-couplet ghazal in a short remel metre: the lover who stakes his head, the candle and the moth, a beloved who curses kindly, a remedy refused and Rizvan's envy.
Kara Fazlî's five-couplet ghazal in rich rhyme: a lover who rejects paradise, the letter of beauty written by the Scribe of pre-eternity, wine and secrets, the fairy and the madman.
Kara Fazlî's five-couplet ghazal in rich rhyme: consent to the arrows of destiny, cruelty as the due of beauty, a threshold above paradise and Ali's valour against the rival.
Kara Fazlî's five-couplet ghazal with the redif "aña": a lover who is the dervish of a youth, a dal-shaped brand, a robe of bloody tears, hyacinths and the upright alif.
Kara Fazlî's five-couplet ghazal with the redif "-e oldum mübtelā": reason, thought, patience and heart all gone, a stature raising doomsday, Layla's hair and a lover dried like a comb.
Kara Fazlî's five-couplet ghazal with the redif "-um fedā": soul, faith, eye, bones and blood offered to a lip with the Messiah's breath, unbelieving tresses and a dagger.
Kara Fazlî's two-couplet ghazal whose opening couplets are lost: a libertine's logic that makes drinking the blood of wine lawful, and the saying that dawn prayers are answered.
Kara Fazlî's three-couplet ghazal whose end is lost: a heart that never says "no", the body as a borrowed garment, swimming in the sea of love and a couplet repeated from Ghazal 26.
Kara Fazlî's three-couplet ghazal whose end is lost: a fourfold "this", a double entendre on "em" as medicine and as "suck", and the law of a beloved who drinks blood.
Kara Fazlî's five-couplet ghazal with the redif "mest": a heart twice drunk on eye and lip, a thousand drunkards, a pun on "merdüm" and Fazlî lying in a corner of the tavern.
Kara Fazlî's seven-couplet ghazal with the redif "-ı dürüst": one word with a new sense in each couplet, an unbelieving glance, a crooked cypress, a toothless lover, torn rosebuds.
Kara Fazlî's five-couplet ghazal in rich rhyme: speech that checkmates the water of life, Khidr and Jesus, an eyelash pen and an eye inkwell, and the thought that beauty is fleeting.
Kara Fazlî's five-couplet ghazal to the Sufi: delight and purity, the daughter of the vine, the shattered mirror of the heart and an heir left with nothing but the moisture of tears.
Kara Fazlî's five-couplet ghazal against the Sufis: the harlot world, man and coward, a double entendre on square and triangle, and Fazlî as the one hero on the field of love.
Kara Fazlî's five-couplet ghazal with the redif "baḥs̱": astronomers debating the sun, lovers quarrelling like the people of the book, and a wine gathering with no room for Kevser.
Kara Fazlî's short ghazal with the redif "el-ġıyās̱": a five-couplet cry for help against a blood-shedding eye, a glance that whets its sword and an amber-scented tress.
Kara Fazlî's response poem to Ahmed Paşa with the redif "elinden el-ġıyās̱": endless cruelty, an eye that betrays the secret, a forelock that trips the heart, a burning breast.
Kara Fazlî's ghazal with the redif "ile baḫs̱": the Oxus competing with tears, sugar disputing with the lip, musk shamed by the tress, and the forgotten idiom "kelle geçmek".
Kara Fazlî's five-couplet ghazal in rich rhyme: the beggar of love who asks nothing of Dârâ, pain as the remedy, a heart broken like glass and musk that loses its value.
Kara Fazlî's response poem to Revânî with the redif "gördüñ mi hīç": taverns, ruins full of treasure, madmen like Mecnun and moths slain by the candle's dagger.
Kara Fazlî's three-couplet ghazal whose last couplets are lost: a lamp with a golden crown, a beloved whose mole is worth Anatolia's tribute, and the counsel to seize the moment.
Kara Fazlî's response poem to Resmî with the redif "telḫ" (bitter): sugar turned bitter, sweet bitter words, a sour-faced Sufi and tears that make the waters salty.
Kara Fazlî's response poem to İshak Çelebi with the redif "-den leẕīẕ": lips sweeter than Kevser, the heart as a sugar-loving parrot, and a curse more delicious than sugar.
Kara Fazlî's ghazal with the redif "-dan kim ḳaçar": pure delight urged on the Sufi, a beloved paired with rivals, a life-giving lip, and loyalty under the sword of cruelty.
Kara Fazlî's ghazal with the redif "-um var": two scars burning like lamps in the lodge of grief, two full cups, one face in both worlds and a place at the beloved's door.
Kara Fazlî's ghazal with the redif "yaġar" (rains): tears falling when the west wind blows, blood and fire raining from the sky, life raining from the lip, pearls from the April cloud.
Kara Fazlî's ghazal with the redif "-dür": sorcerer tresses spreading a prayer rug on water, down as a guest from China, the unbelieving tress, and Fazlî the "subtle" poet.
Kara Fazlî's ghazal of counsel with the redif "idegör": a cry that makes Venus envious, a head in the sky and a face in the dust, the antidote of contentment, a mirror-like heart.
Kara Fazlî's ghazal with the redif "-dür": a rosebud who wears red and plays tricks, a cypress bending to the wind, jealous hyacinths and a lover who is neglected.
Kara Fazlî's ghazal with the redif "durur": the world as a halting place for a day or two, eyes like two cups of blood, a bed in the tavern and a poet with a clear brow.
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