Mustafa Vâzıh's tavern ghazal mixing coarse sayings with mystical speech: a wine jug sweating like an old man, coffee that reads "Hû Hak" and the world divorced like a wife.
Mustafa Vâzıh's reproachful tavern ghazal: a drunken beloved scattering fire, a lover who thanks him for treachery, wine and rakı from the tavern elder and a poet struck by a fairy.
Mustafa Vâzıh's ghazal with the refrain "-umdur benim": lips that are half the soul, a glance that wounds and heals, a Noah in a flood of tears and conquests won with Anka tails.
Mustafa Vâzıh's ghazal woven from wishes of "if only I could hold": cup, sweetmeat, brow dye, hennaed hand and Fâris Beg, to be taken by the collar and shown a poem.
The only six-couplet ghazal in Mustafa Vâzıh's Dîvânçe: with the refrain "I do not know, I have not seen" it seeks the beloved's beauty in wine, rose, glass and the Anka.
Mustafa Vâzıh's ghazal mocking a Sufi: two plague sores under one arm and the watermelon proverb, an eye that is a fountain of strife and words that become no one's earring.
Mustafa Vâzıh's ghazal of letter play: the word "soul" written with a cim of locks, an elif of stature and a nun of eyes, rue seed in the fire and a decree for the tuğra of the locks.
Mustafa Vâzıh's ghazal on the beauties of the market: a charming merchant's son, a tooth-pulling barber ready to shave the lovers and strength that fails before an arched brow.
Mustafa Vâzıh's ghazal with the refrain "benefşe": the drooping violet, the eyebrow as the nun in the word "violet" and a time-honoured theme dismissed as "just a purple flower".
Mustafa Vâzıh's ghazal on narrowing eyes: a yellow body like a golden sheath, a glance like a Frankish folding knife, a winking farrier and a rival's plucked beard.
Mustafa Vâzıh's playful ghazal with the refrain "olursa": a pun on bed and bedridden, the proverb of the fish in muddy water, a bathhouse scene and wordplay on tutor and father.
Mustafa Vâzıh's ghazal with the refrain "mashallah": with the phrase that wards off the evil eye he praises the beloved's lip, cheek, gait and the dagger that kills a thousand lovers.
Mustafa Vâzıh's ghazal opening with an allusion to the surah of the Star: an eyebrow like a basmala above beauty spots, the night-mirror belief and a toast to a generous tomorrow.
Mustafa Vâzıh's ghazal woven from prohibitions: an eye dark with kohl by nature, a sounding line in a sea of tears, a child sliding on ice and a curse on a peppercorn.
Mustafa Vâzıh's ghazal with the refrain "n’olsun bu": the candle of the world dressed in red, moths around her, a beloved laughing into the gathering and a sword of grief for Vâzıh alone.
One of the two ghazals Mustafa Vâzıh wrote in the quatrain metre: a stature bent like the letter nun, a Majnun for a forelock, the mill of love and a pun on kemançe and kanun.
Mustafa Vâzıh's ghazal of a night of entertainment: dancing boys whirling like angels, sighs wandering the heavens, rolled-up sleeves and a gold-spotted Damascus fabric.
Mustafa Vâzıh's ghazal on the beloved's beauty spots: horsemen of the Hijaz raiding Rum, Bedouins robbing the pilgrim, a spot at prayer and a healer's black pills.
Mustafa Vâzıh's ghazal complaining of an infidel beloved to Jesus: a candle turned to wax, the lead of heaven's dome melting and a pun on the maqta where pens are cut.
Mustafa Vâzıh's ghazal for a boatman's son: images of sails, boats and the bottomless sea, sayings from popular speech and traces of the localising trend.
Mustafa Vâzıh's ghazal naming Istanbul and Galata: a wine cup come from Badakhshan, a sheikh's son who outwits the devil and the legal term aqwa used as a joke.
Mustafa Vâzıh's ghazal on the beloved's forelock: a crown of black ruby, a magic square written in musk, a lock that marches like Shah Tahmasp, and Khidr and Elijah.
Mustafa Vâzıh's ghazal of water, wine and tears: aqua fortis refining false gold, a soul surrendered on the feast of union, a dagger's tempering and eyes of quicksilver.
Mustafa Vâzıh's ghazal built on the saying "neither the sugar of Damascus nor the face of the Arab": the heart's broken cart, the small mouth and the eyebrow's sword.
Mustafa Vâzıh's ghazal on a glance holding an olive pit and a sword: an eye touring Transoxiana, a waist like a thread of Ferhâr and the small mouth in legal terms.
Mustafa Vâzıh's ghazal naming Amasya as Harşena: eyelashes like spearmen, Tatar beauties, Karakalpak forelocks and tears flowing like the city's rivers.
The kıt‘a that opens the Mukatta‘ât section of Mustafa Vâzıh's Dîvânçe: a heart wailing like a Balyemez cannon, scented tobacco and a beloved who raises doomsday.
Mustafa Vâzıh's incomplete ghazal on a child starting school: a forelock decked with tinsel, ink made from heart's blood, the sī-pāre and Kawthar on the lips.
Mustafa Vâzıh's incomplete ghazal on the beloved's glance: the glance that intoxicates and kills, the bow-shaped brow, the gazelle's eye and repeated oaths and sighs.
Mustafa Vâzıh's incomplete ghazal that keeps asking the beloved "did you learn it from…": elegance from the waist, delicacy from the mouth and cruelty of his own making.
Mustafa Vâzıh's two-couplet kıt‘a to a blacksmith beauty: an iron heart that no pickaxe of laments can soften, the apple of the chin and a call to mourn the poet.
Mustafa Vâzıh's nazm rhymed on everyday words: brand-wounds as a flower pot, beauty spots like flies, a lock as a fly whisk and the heart as a partridge in the bag.
Mustafa Vâzıh's kıt‘a of reproach in everyday speech: a beloved who never asks after the sick heart, the moth and the nightingale, and a poet who is no bought eulogist.
Mustafa Vâzıh's incomplete ghazal with the refrain "red, red": blood from the weeping eye, the beloved's wine-reddened eye, a brow like the letter dāl and a bloodied skirt.
The only Persian nazm in the Mukatta‘ât section of Mustafa Vâzıh's Dîvânçe: a glance like black light, a Leyla awake at night, a golden sunburst and a pearl on a mirror.
Mustafa Vâzıh's three-couplet nazm: moths of grief circling the candle of the soul, a pupil dressed in festive red and a pen whose mouth waters at a lemon chin.
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