Three surviving couplets of a ghazal by Kara Fazlî with the redif "-la": a poet revived by the king's breath, a promise recalled, a call to keep faith and a prayer for long life.
Kara Fazlî's ghazal from the tehniyet-nâme celebrating Ahmed Çelebi's appointment as treasurer of the timars of Rumelia in 954 (1547): your fortune and your honour have come.
Kara Fazlî's ghazal with the redif "degül mi": a heart that burns like a moth, a drunken glance, treasure hidden in the ruin of the heart, a boasting comb and the tavern.
Kara Fazlî's response poem to Muhibbî rhyming in "-āfī": a play on pure, rank, delight and Sufi, alif and lâm, Mount Kaf and the letter kâf, and the money-changer of verse.
Three double-rhymed couplets by Kara Fazlî preserved in Latîfî's tezkire: a lover mad with love and a beloved fair with beauty, the equals of Majnun and Layla, and a wish to meet.
A single couplet by Kara Fazlî preserved in Latîfî's tezkire: the hyperbole of a lover who wishes for a hundred thousand eyes to gaze upon the beloved every moment.
Kara Fazlî's punning ghazal preserved by Âşık Çelebi: the Black Sea and the Mediterranean, a servant and a sea, a face yellow as wheat and an arrow planted in the breast.
A couplet by Kara Fazlî preserved in the tezkires of Riyâzî and Kâfzâde: the lover asks whether cruelty has an end, and the beloved answers that the end will be his death.
A single couplet by Kara Fazlî preserved by Riyâzî: the motes in the sunlight at the beloved's window are taken as a ladder set up by the sun to reach the moon-faced one.
A couplet by Kara Fazlî preserved by Riyâzî and Kâfzâde: the beloved's cheek is red rose enough for lovers, so the nightingale is told to forget the rose of the garden.
Two couplets by Kara Fazlî preserved by Riyâzî: blood shed from the point of the dagger and the tips of the tresses, a heart torn by separation and a plea for the salve of union.
A single couplet by Kara Fazlî preserved by Riyâzî: the lover's tears, shed in memory of the beloved's cheek, turn the mountain to meadow, the meadow to garden, the garden to flowers.
A single couplet by Kara Fazlî preserved by Kâfzâde: the heart hurt by the arrows of the bow-browed beloved is excused with the proverb "kindness pricks a man".
A single couplet by Kara Fazlî preserved by Kâfzâde: the spheres revolving one upon another and the moving sun are pictured as a quarrel over the beauty of the moon-faced beloved.
A single couplet by Kara Fazlî preserved by Kâfzâde: the beloved, addressed as king, is warned not to shed lovers' blood unjustly, for that blood will not stay on the ground.
A single couplet by Kara Fazlî preserved by Kâfzâde: the lover asks the beloved to cleave his head in two with the sword and make it an instrument for the band of grief.
A single couplet by Kara Fazlî preserved by Kâfzâde: whoever would escape the arrow of grief is advised not to stand facing anyone like a target, a counsel of seclusion.
A single couplet by Kara Fazlî preserved in Tuhfe-i Nâilî: the lover, warned that the beloved would stone him with cruelty, says plainly that all they said has befallen him.
Kara Fazlî's sixteen-couplet great kıt'a in the manner of a kaside, praising the son of Ebü'l-Fazl with images of the planets and of the realm of verse.
Kara Fazlî's seven-couplet kıt'a praising an unnamed dignitary with images of the tuğra, the mirror and the sea of generosity, adorned with an Arabic prayer.
Kara Fazlî's kıt'a wishing health to a sick youth with the refrain "yaraşur sulṭānum", possibly written, Özkat suggests, during Prince Mehmed's last illness.
Kara Fazlî's kıt'a of welcome greeting a dignitary back from the pilgrimage with "Ḫayr-maḳdem", likening separation to illness and reunion to a physician.
Kara Fazlî's incomplete two-couplet kıt'a asking bounty of a shah he calls a "mine of generosity", arguing that even if he is unworthy, his patron is worthy.
Kara Fazlî's kıt'a, its beginning lost, in which he wins a fairy-like beloved with poetry and ties his tears to the proverb "drop by drop a lake is made".
Kara Fazlî's kıt'a woven from chess terms, likening fate to a chess player and himself to a player robbed of his knight, asking the king for help.
Kara Fazlî's two-couplet kıt'a in which, waiting at a great man's door as his old well-wisher, he asks leave to enter with the refrain "var mıdur".
Kara Fazlî's playful kıt'a recounting talk of sweets, sugared börek and sherbet with Rüstem and Murad at a gathering of friends taking hashish.
Kara Fazlî's two-couplet kıt'a of thanks to a patron, in which the double meanings of "paste" and "esrār" hint at the pleasures of a convivial gathering.
Kara Fazlî's kıt'a portraying himself and his Edirne namesake Fazlî-i Leng as two riders racing in the field of verse, needling his lame rival with the verb "aksadur".
Kara Fazlî's Persian kıt'a likening the unlearned poet to a proud merchant without capital, and the ignorant man's pen name to a kingship without army or subjects.
Kara Fazlî's kıt'a, taken from one of his kasides, separating the poet from the poetaster: the Antichrist and the Prophet are both called Messiah, yet differ.
Kara Fazlî's Persian kıt'a holding that cherishing one's servant is generosity, and that asking after the poet now and then would take nothing from a generous heart.
Kara Fazlî's short kıt'a on the lover's ill luck: a day that lasts a year in separation turns to evening before morning on the day of union.
Kara Fazlî's kıt'a describing in a single sentence the lover who does not know where the beloved dwells, cannot reach the water of union and burns.
Kara Fazlî's satirical kıt'a mocking in ribald language a poet named Riyâzî, who strains to produce a poem and promises gold for a response poem.
Kara Fazlî's two-couplet piece rhymed like a mesnevi, praising the people of perfection by saying that the praise of a picture returns to the painter.
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