Kara Fazlî's ghazal with the redif "baġlamış", its first couplets lost: an arm round the beloved's neck like a golden amulet, arched eyebrows, and a down never made fair.
Kara Fazlî's richly rhymed ghazal in "-āṣ": a pupil diving for pearls in a sea of tears, wine that revives like Jesus, love's closed chamber and a heart melted in love's crucible.
Kara Fazlî's ghazal rhyming in "-āṣ": a lover reciting İhlâs at dawn, jealousy of rivals told through an Arabic proverb, the well of the chin and the sea of meaning.
Kara Fazlî's ghazal with the redif "raḳṣ" (dance): a sun that spins when the beloved dances unveiled, a heart leaping like a roast, motes dancing in a grave, a drunk lover.
Kara Fazlî's ghazal of counsel with the redif "-a baṣ": the heart, a falcon, should set foot on the nine heavens, be unbound like Jesus and tread on Afrasiyab like Kay Khusraw.
Kara Fazlî's second ghazal with the redif "-a baṣ": a cypress to be broken, a rose pressed into the dust, an eye that is a ruby stirrup and a musician who heals the afflicted.
Kara Fazlî's short-metred, richly rhymed ghazal: a face like an auspicious omen, expansion of the heart through love, a Sufi at his austerities, and a play on Fudayl ibn Iyad.
Kara Fazlî's ghazal woven of derivations and puns: a candle that shows its cheek and turns away, a rose torn by the wind, counsel to be generous, and a lover bowing to an idol.
Kara Fazlî's richly rhymed ghazal in "-īż": an ascetic troubled by his foot, a beloved at the apogee of beauty, a lover at the perigee, a sincere rind and a single kiss.
Kara Fazlî's ghazal with the redif "there is no place": a love without shore, a whirlpool of tears, a tavern with no room to stand, and a lover at home in neither tavern nor mosque.
Kara Fazlî's mystical ghazal with the redif "-ya baḳ": an eye turned to the mirror of the world, a tulip grown in fire, a barber's white hand and the quarrel of love and reason.
Kara Fazlî's Sufi ghazal with the refrain "‘ışḳ": love present since the command "Be", a Persian couplet defying the ascetic through Lât and Uzzâ, and chess terms.
Kara Fazlî's ghazal with the redif "-a ġarḳ": a lover drowning while he burns, the Noah of the soul lost in the ship of the body, and a closing oath in which the poet names himself Ali.
Kara Fazlî's ghazal with the redif "‘āşıḳ": a body whose every hair is a lover, a martyr of love who wants no shroud, and a famous closing couplet on poems that must burn the reader.
Kara Fazlî's ghazal with the redif "‘āşıḳ" sharing its opening with the preceding one: a sigh that splits the sky, Ferhad and Mount Bîsütun, and a street dearer than paradise.
A ghazal by Kara Fazlî of which a single couplet survives because of a missing page: a lover burning like a candle, smoke rising from his head and a cap made of flame.
Kara Fazlî's mystical ghazal: essence and attributes, God both the same as and other than the universe, the tree in the seed, the necessary and the contingent, and Khidr's lip.
Kara Fazlî's five-couplet ghazal praising Lâdik, north of Amasya, comparing its air, water and greenery to Paradise, a rare example of a poem of place in divan poetry.
Kara Fazlî's ghazal rhyming in "-ūr": a face that made Mount Sinai tremble, a threshold under the Frequented House, Hallâc's bow, music that drowns the Trumpet and a broken cup.
A ghazal by Kara Fazlî with the redif "-ca yigitcik" of which only the opening survives: a fair, graceful and noble young lad called to make merry alone like the rose.
Kara Fazlî's mystical ghazal with the redif "ol": waking from the night of heedlessness, the call to travel light, from desire to the air of love, and existing through nonexistence.
Kara Fazlî's ghazal with the redif "-sı yoḳ degül": a lover who delights in cruelty, a hand stretched out to kill at the festival, and the honey and affliction of love.
Kara Fazlî's short ghazal with the redif "mı degül": a pain that is a remedy, a lofty stature that is worse than the tresses, and curses that the lover counts as prayers.
Kara Fazlî's ghazal with the redif "dil": a lover freed of the world's colours, griefs and states of the heart counted four times over, and a heart that will not call Ferhad a man.
Kara Fazlî's nine-couplet ghazal rhyming in "-ā'il": the beloved praised in Arabic superlatives, word and state, a beauty that needs no proof and a threshold become the Kaaba.
Three surviving couplets of a ghazal by Kara Fazlî with the redif "ol iy göñül": a heart called to become dust, fortune found by giving it up and ease reached through affliction.
Three surviving couplets of a ghazal by Kara Fazlî with the redif "-uñ iy göñül": a beloved befriending rivals, a ship of delight lost in a sea of grief, poisonous tresses.
Kara Fazlî's response poem to Zâtî with the redif "itdüm": a letter erased from the register of being, dark arms round a white neck, a yellowed body spread before a horse.
Kara Fazlî's response poem to Necâtî rhyming in "-el": a hand that never reached stature or tresses, death sought in nonexistence, a stature bent like a polo stick.
Kara Fazlî's ghazal with the redif "çekelüm", probably a response to Muhibbî: the drum of the breast, the banner of the sigh, the divine cup, the bow of love and a drawn sword.
Kara Fazlî's ghazal with the redif "misin nesin", also cited in two tezkires: sun or angel, the wheel of the heavens, the pupil of the eye, a deaf Sufi and words like salt.
Kara Fazlî's ghazal with the redif "-umsın": a beloved who is the soul of the soul, a shadow beneath a swaying cypress, and a weak ant before Solomon on his throne.
Kara Fazlî's ghazal with the redif "ḫaberlerin": the Night of the Journey in the hair, the breath of Jesus in the lip, Majnun waiting, Moses on Sinai and an army of lashes.
Kara Fazlî's ghazal with the redif "-lara": rivers stretching tongues to the seas, a play on Layla and lament, the fresh rose, an eyebrow like the letter rā and a falcon above the anka.
Kara Fazlî's ghazal with the redif "-lara" on the same ground as the preceding one: an army of tears raiding the seas, Majnun's lament, a pun on brow and wound, crows and anka.
Kara Fazlî's double-rhymed ghazal praised by Latîfî: from beloved to beloved, moth to moth, tavern to tavern, and the chain of tresses handed down from Majnun to Fazlî.
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