Mustafa Vâzıh, mufti of Amasya, author of the city's first history and poet: his life, his exile to Lemnos and his Dîvânçe of 118 poems.
Kara Müftîzâde Mustafa Vâzıh, three times mufti of Amasya and three times dismissed, exiled to Lemnos and author of the city's first history: his life, works and Dîvânçe.
The ghazal that opens the Dîvânçe of Kara Müftîzâde Mustafa Vâzıh: a complaint against fortune, ribs like ruled paper and a star of destiny whose light is darkness.
Mustafa Vâzıh's recez ghazal with internal rhymes: a stature that brings doomsday, glances that shed blood, eyebrows and eyes likened to the suras Nûn and Kâfirûn.
![Ghazal 3 — Didim aña ne ḳaçarsıñ gel [ey] āhū-yı Ḫıṭā](https://amasya05.com/storage/gallery/e451c5f77ce2d8766d2c67a0f6158707.webp)
Mustafa Vâzıh's playful dialogue ghazal: a beloved who flees like a gazelle of Khitai, the double meaning of "şeh lā", envious wine and a trembling cypress.
The joint ghazal Mustafa Vâzıh composed with the grandson of Âkif of Amasya, inspector of the Holy Cities: a beloved swaying in a mosque, tears like a fountain.
![Ghazal 5 — Ḫāliñden evvel[ā] lebiñi emdir ey şehā](https://amasya05.com/storage/gallery/5a174783d9162554dd57a7464613f77e.webp)
Mustafa Vâzıh's ghazal opening with an image of coffee and sweets: a double meaning on "ḳanda", the sword of the eyebrow and the black mark against the evil eye.
The only ghazal in the mütekarib metre in Mustafa Vâzıh's Dîvânçe: Arabic rhymes "mā-meżā" and "mā-cerā", a Persian couplet and locks spilling from under a fez.
Mustafa Vâzıh's ghazal cited as an example of the Nedîm manner: a shy youth invited for a stroll, a moon-face going to the rival and a light wine from Chios.
Mustafa Vâzıh's drinking-party ghazal with the refrain "at": hare's-blood wine, a beloved from Crete and Chios, dance, scattered locks and gold coins on the brow.
Mustafa Vâzıh's ghazal to a schoolboy beloved: the proverb about those who smile to your face, the idiom "tasselled calamity" and the contrast of grace and heaviness.
The only ghazal in Mustafa Vâzıh's Dîvânçe ending in the letter "se": moles likened to fleas, a lip of clotted cream and rhymes built on terms of Islamic law.
Mustafa Vâzıh's ghazal with the refrain "sen misin Ṣāliḥ": questions put to a beauty named Sâlih, feigned ignorance and a mufti's word "istidlâl".
Mustafa Vâzıh's ghazal built on proofs and comparisons: light shown by darkness, spoilage on wine, a drop of ink fallen from the pen and the astrologer's pun on "ay".
The only Persian ghazal in Mustafa Vâzıh's Dîvânçe: five couplets with the refrain "this too shall pass" on the transience of pain, beauty and worldly grief, translated.
Mustafa Vâzıh's four-couplet ghazal with the refrain "leẕīẕ" (delicious): food with lemon, talk with a beloved from Istanbul, a curse that feels like a greeting.
Mustafa Vâzıh's ghazal opening with a call to the drunkards: a stony-hearted beloved, Jacob's heart parted from Joseph, the cry "O brothers" and eyebrows like a mihrab.
Mustafa Vâzıh's ghazal whose last couplet challenges a poet called Hafîd to a response poem: long pain, eyes like the sura Kâfirûn and a pun on the word "grandson".
Mustafa Vâzıh's ghazal in which a single dot turns mercy into trouble: lashes like coral-tipped swords, a mole immune to venom and a muezzin beloved calling the iqāma.
Mustafa Vâzıh's tavern ghazal with the refrain "mı var": a call for arrack, gourd and jug, the saying "Is there a madman in the bathhouse" and a lover blind to the well.
Mustafa Vâzıh's ghazal with the refrain "olmuş yatur": a lover martyred by the sword of a glance, a sheikh turned disciple and a poet smitten by the beauties of Sultan Bayezid.
Mustafa Vâzıh's ghazal built on the repetition "some … some": a beloved who destroys his lovers one by one with glance, lash and sword, and a heart that sizzles.
Mustafa Vâzıh's ghazal of questions with the refrain "mi var": rebabs taking up their strings, a world moaning like a kemençe, an idiom of reproach and the heavens' lost tuning.
Mustafa Vâzıh's ghazal that says the same request first in a Persian compound, then in plain Turkish: a loosened sash, a witticism on the dot and pleasure four times over.
Mustafa Vâzıh's ghazal in the language of a madrasa debate: the problem of a hair-thin waist, two beloveds from Istanbul and the provinces, a barber and Birmen wine.
Mustafa Vâzıh's plain ghazal in a short remel pattern: the proverb of the thief in the house, a year of separation, the hospital threshold and a heart that moans like a cymbal.
Mustafa Vâzıh's ghazal with the refrain "dirler": a beloved like a gazelle in self or only in eye, kohl-darkened brows, a "suckling lamb" and a pun on eş'âr and iş'âr.
Mustafa Vâzıh's ghazal to a schoolchild reciting the sura of Joseph: the well of Nakhshab, sweetened coffee for a melancholy temper and ink in a crystal bottle.
Mustafa Vâzıh's ghazal with the refrain "virir": the sick eye and the world of images, a lisping Greek beauty whose mouth holds no dot, and an eyebrow that says "ceffe'l-kalem".
Mustafa Vâzıh's four-couplet ghazal with the refrain "açmış gider": a boat of coquetry under sail, a dragon lock with open jaws and the bird of beauty spreading its wings.
Mustafa Vâzıh's ghazal of a lover who trades his soul for wine: dust taken for the elixir, a Milky Way of tears showing the road to the Kaaba, and a kiss from the beloved.
Mustafa Vâzıh's ghazal of spring and the drinking party: friendship with the beloved's dogs, spring bloodletting, a daring comb and a beloved who says "the pen knows".
The longest ghazal in Mustafa Vâzıh's Dîvânçe: with the refrain "elmās" it links dagger, cup, censer, the splitting of the moon and the beloved's ruby lip in jeweller's images.
Mustafa Vâzıh's ghazal on the beloved's finery: a belt wound round a hair-thin waist, a cypress called a tall fool, a forelock under the fez and henna turned to blood.
Mustafa Vâzıh's ghazal on an armed young rake: reduplicated phrases from spoken Turkish, a drunken night scene and the thief of the glance in the ruined house of the heart.
Mustafa Vâzıh's only ghazal ending in the letter ṭı: tears of blood, a rose garden ringed with thorns and a closing couplet on daring to answer the verse of Hazret-i Rif‘at.
Mustafa Vâzıh's only ghazal ending in the letter ayn: the beloved's beauty is a ghazal, the collar its matla and the dagger its makta, and poets write murabba‘s for a youth.
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