A ghazal that addresses the beloved as "siz": the delight of abasement, a lover's reply to the debate on force without matter, nights like dark Arab girls, and hope made young like Khidr.
The earth rides on an ox, the bells of Palestine are set against the takbir at the Kaaba; young men who know Hugo, Schiller and Shakespeare but not al-Ghazâlî are this harsh satire's target.
Fire rises from bones in the grave, arrowheads from the breast on the dissecting table; in this ghazal the world is the beloved's hospital and the glance a foe in a friend's guise.
Cûdî's ghazal meant to gladden Fuzûlî's spirit: beauty lighting Joseph's prison, the weeping eye turned laughing rose, the mirror that turns away, and every melody turning to a cry.
Riyâ and bûriyâ, hypocrisy and a reed mat: in this satirical ghazal a sheikh's stomach is probed, logic runs in circles, knowledge is an echo, and Mecnun is no different from Kays.
Cûdî's ghazal with the refrain "appears": three drafts of one ghazal given as 26 couplets in the thesis, Moses' tree, Abraham's fire, the verse "fe-semme", and light from every mote.
Love begins with Eve and Adam: love that will not beg for bread, men and women circling the heart, the circle of remembrance, the finger of witness and the shortest road to perfection.
Cûdî's four-couplet incomplete ghazal: a chorus of gossip speaking through the refrain "they said", the cure that lies in union, refuge in the mischief-maker, and "a little longer".
Bewilderment bordering on madness, the sphere as a cart of tremors, the world as a painted square: in this short-metre ghazal to the cupbearer, wine takes the place of reason as guide.
Faithless rosebud mouths, the picture gallery of China, Alexander and Darius, bloody footprints are counted with the refrain "we have seen"; only Şeyh Gâlib's pen has never been matched.
The crescent bending before it is full, prophets made of the earth of good manners, the sword of truth never sheathed: a ghazal on humility that ends with a boast over Nevâyî.
Cûdî's ghazal that dissects human nature: a satire spoken as "we", the pun on hades and havâdis, the verses on the best of forms and the lowest of the low, malice, envy and greed.
The night of youth and nightly revels meet in one family of words; songs see youth off mournfully, excuses that made the rosebud laugh are recalled, and hands reach to the past.
A shadow that is neither accident nor substance, painter and painting changing places, a face changed by years: In Front of the Mirror passes Narcissus to reach the idea of manifestation.
A Sufi ghazal built on the outer and inner worlds: the signs within the self, the primordial covenant, the eternal reality, ethics as return, and birds of the mind dashed on a mirror.
Cûdî's five-couplet spring ghazal: smiling flowers, censers drifting in the air, nature's poem taking form, rhymes from one pattern, and a cycle that ends on the line it began with.
A light sought in vain on the horizons, a sun with neither east nor west, kinds of seeing anatomy cannot record: this ghazal closes on a Paradise that walks on two legs.
Cûdî's ghazal describing a living beauty: the freshness of youth, a smile like a miracle, a beloved who thinks of how to be loved, beauty read as rhetoric, and a moon rising behind a veil.
Drunk at the gathering of sorrow, a lover cries to the cupbearer for help: the soul at the lips awaits a drop of wine, and in Jamshid's cup a proposition stands plain.
Cûdî's ghazal A Melody: a heart opening onto the Preserved Tablet, elements as the ink of God's pen, an observatory telescope that cannot see the soul's frontier, and a nest in strange places.
The book of being that cannot be solved without commentary, weakness that cries the takbir, brothers destroying one another: the first part of Tahayyür ends by blaming poor education.
The second poem of Cûdî's Bewilderment series: caravans of motes, all things passing like lightning, the foaming torrent of time, a chain with hidden ends, and an Arabic close.
An infinity that cannot be named, names as the soul's invention, the sky pointed out as "this", orphan atoms: the last part of the series closes on the black and white of eternity.
For forty-one couplets the world is a shadow-play screen; imagination gives birth to human progress, but also to the love of rank and decoration, the fire of war and inoculation with fancy.
Six stanzas built on "I said, she said": an unopened rosebud, a moon putting on her black veil, a garden entered with leave, and a beloved who turns every praise back to his poetry.
Cûdî's muhammes with the refrain "not to my taste": what the rind dislikes, a moonlit night without wine, eyebrows instead of the mihrab, a pen playing on Moses' miracles, Câmî and Hâfız.
In this sixty-two-couplet rooster poem the rooster is muezzin and head of a family, his robe never out of fashion, his cry "korrrrk"; a debate on the hereafter ends in pessimism.
Soil, water, towns, fortresses and graves are listed through the question "What is?"; then a homeland of rights is built from freedom, zeal, family, inheritance and mutual aid: Vatan.
A beloved whose identity is unknown, the black spot of the heart, a reply to those who deny love for the unknown: the refrain "Severim sevdigim ammā bilemem" returns in every stanza.
Cûdî's Workers' Song translated from French: labourers whose mother and father is poverty, hands that hunt pearls from the waves, brotherhood offered to the idle rich, and God's equal table.
An idler who takes idleness for honey, poses as a sage and laughs at the world behind a bolted door; facing him, His Excellency Effort, who tells him his shirt is a shroud.
Cûdî's Kudûmiyye with the refrain "you have a place above my head": a müseddes of welcome, a guest who may be patron or beloved, pupils at the window, and flowers opening along the road.
The minaret that serves five times a day yet stands outside argues with the pulpit used once a week; the conceit of the crooked stair yields a lesson that puts good manners above service.
Cûdî's mesnevi for children, The Mirror and the Child: a little boy who shows his fist to the child in the mirror, the mother who calms him, and the lesson "the world is like a mirror".
A basil begging the cloud for water in a drought finds, once its prayer is granted, a troop of nettles round it; its complaint is answered in words recalling "He is not questioned".
The humble violet, the rose named by an angel, the mock orange in love with the sun, the daisy and the orange blossom worn by brides speak in turn in an angel's bunch: A Bunch of Flowers.
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