Cûdî's ghazal that sees the heart as the only refuge: a man who is both refugee and refuge, the weapon of patience, the body as armour, non-being as rest, and a poet who wants no showy grave.
Cûdî's ghazal to the gathering of saints: pearl-hunting in the sea of Aden, a wish to befriend all strangers, streams that give up, and a foot slipping from the world of spirits.
Cûdî's kıta greeting the Feast of Sacrifice: a prayer that the morning of fortune be lit by many more like it, the rhyme of forenoon with the feast, and a greeting addressed to everyone.
Cûdî's feast greeting built on the images of the hajj: pilgrims standing at 'Arafat, the cry of "Here I am", and blessed feasts circling the Kaaba of a life caravan after caravan.
The second version of Cûdî's feast greeting: takbirs accompanying the cry of "Here I am", and a feast that circles not the Kaaba of life but the Kaaba of the heart; the two versions compared.
Cûdî's seven-stanza Karbala elegy: the crescent of Muharram turned bloody crown, a call to mourning with the refrain "hush", Hüseyin's martyrdom, anger at Yezid, praise of Muhtasham, and moderation.
Cûdî's elegy in the manner of a ghazal for his son Muhammed Nûrü'l-Hüdâ, who died young: a cup of joy turned to poison, a question to the sky, and a meeting at the Resurrection.
Cûdî's two-couplet kıta left outside the divan: a man who weeps at birth while the world laughs, and the counsel to live so that death is a smile to oneself and mourning to others.
Cûdî's "Book of Asking Forgiveness" with the refrain "other than": a servant with no worship but repentance and no gift but tears, the trembling hand of hope, and borrowed goods taken back by time.
Cûdî's ghazal addressed to the nightingale: the nightingale as interpreter of the tongueless rose, its name hezâr meaning a thousand, a bird calling to prayer like Bilâl, and 'Attâr.
Cûdî's ghazal defining the poet: the poet as reader of creation's secrets, a nature like a crystal lens, harmony learned from birds, and feeling balanced by eloquence.
Cûdî's ghazal with the refrain "sweet": the beloved sweeter than soul, life as tasting perception, reason a drop of the boundless sea, mercy hidden in poisons, and a smile.
Cûdî's ghazal seeking a cure for love: a madness of love that no amulet cures, a lip to be bitten in retaliation for a wound, a lip whose halva is on every tongue, and a servant's wish.
Cûdî's ghazal with the refrain "makes": divine light passing from mind to limbs, man as himself a work, sweet water made of two poisons, and dates ripened by the simoom.
Cûdî's kıta with the refrain "what can it do, O Lord": learning without guidance, the unlettered Prophet, a martyr's banner, and naturalists who read only letters.
Cûdî's farewell ghazal left outside the divan: a rosebud asked to lessen her cruelty, a poet who has drawn the dervish cloak over his head, cruelty like Hajjâj's, and a ruling sought at the madrasa.
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