A misty mountain, fields like green prayer rugs spread by angels, a waterfall playing the tambourine, sparrows deaf to the nightingale; the spring tableau asks why perfect beauty hides.
Cûdî's ghazal The Wedding House: a house like a haunted mountain, a playful tambourine player, women singing of victory over men, a bird caught with a bird, little girls, attraction.
The divan's only song, in syllabic metre: a white-handed beauty in a black veil, the warning "this way of walking does the people harm", a face like a clouded sun, a lover crying "aman".
Earth and sky join in a downpour, motes open like ovens, ducks take fright; the müseddes Rain recalls Ibn Arabî's annihilation in water, and all but God flows away.
A mesnevi aimed twenty years earlier at the poets of wine: claim and proof in the language of a court, witnesses from Imru' al-Qays to Ibn al-Fârid, and the call "here is the pen".
Cûdî's poem Waiting: a bride waiting for her husband, the pun "tiz gelin gelin", tears without sediment, and a letter whose telegraph is a strand of hair and whose stamp is an eye.
A crescent with a dim end, martyrs, a hungry soldier on guard on a mountain, a child waiting for his father: in this lament the poet, with no friend of the heart, weeps into his handkerchief.
Muhammed Kâhya's village prayer against the Vatican: gold-embroidered vestments, a church chant like distant thunder, and the pun on tersâ and ters, in a polemic expanded from al-Ma'arrî.
Zenbilli Ali Efendi, praised for his piety, against a cleric who stirred up the crusaders: a harsh polemical kıta built on Illiyyûn and Sijjîn, Tûbâ and zaqqûm.
Cûdî's poem A Resolve Beyond Bounds: Saladin, hinted at as "bringer of welfare to the faith", millions defeated by a handful, an arch of triumph of the heavens, and enemies' witness.
Mocking definitions beginning "civilization means", the debate on women's place in society, and the image of a plucked flower: a four-couplet unfinished ghazal titled "Latîfe".
Cûdî's jest at the decadents titled A Joke: crystal laughter, the jasmine-coloured hour, pink hope, a transparent melody, a green dream, and a warm lip that turns into warm halva.
A mocking dictionary glossing decadent phrases in quotation marks: moonlight, a hint at marriage, and "when the lilacs bloom" and "if the lily kisses" turned into ages.
The Rubâ'iyyât section opens with praise as the divan does, but in Arabic: "the best of masters", the Most High who holds all things, "You are enough for me", and trust in both worlds.
Cûdî's Persian quatrain of supplication: the address "bârî Ḫudâ" repeated three times, a name never parted from heart or tongue, and mercy asked for tomorrow as for today.
In the first Turkish quatrain the servant comes stumbling to the door; his hope rests on the kindness that cures the ills of sin and the power whose one breath made Adam and Eve of earth.
Cûdî's quatrain addressed to the Prophet: the light that gave birth to Adam though it is Adam's son, the basmala of creation's Fâtiha, and the amen at the end of Judgement Day.
Revelation that began on a mountain, the verse "his speech is nothing but revelation", and the earth's firm mountains turned into pulpits: an Arabic quatrain to the Prophet.
The wonder-giving strength in the Prophet's spirit, the question how he bore the Qur'an, and the Arabic praise "well done, may you be blessed": a quatrain on the weight of revelation.
A turning that begins with "veccehtu", surrender and blessings, a beauty sun and moon cannot rival: the last line of this second Arabic quatrain to the Prophet stays unsettled.
Cûdî's quatrain comparing the Qur'an and the Gospel: the Qur'an and hadith counting themselves among the living, and against "Jesus is alive" a legacy with neither Gospel nor man in view.
A poet who is no star-worshipper falls prostrate after reciting "The Star": the verse of prostration in al-Najm, an inimitability that enraptured the Arab notables: the first of the sura quatrains.
Cûdî's second quatrain to the sura al-Najm: the sura as a lamp in the heaven of revelation, an inimitability before which even polytheists bowed, and the believer's duty to prostrate.
The wisdom in a single ashr of al-Baqara would not fit into ten tablets: a play of numbers between the sura at whose coming the Torah fell and the tablets Moses threw down.
Cûdî's quatrain to the sura Tâhâ: a sura whose loftiness inspires wonder, the phrase "the greatest sign", and a soul that rises to the sky as the heavens seem to come down to earth.
Purified pages, the hands of envoy angels, a book touched only by the pure and written with light by noble scribes: an Arabic quatrain in praise of the Mushaf that echoes 'Abasa.
Cûdî's single couplet among the quatrains: the folly of taking refuge with people while the Creator exists, the sound play of hâlık and halk, and a short word of experience on ruin.
The miracle of Jesus opened eyes; the Qur'an, by its eloquence, conquers the eye of the heart: the quatrain to Âl 'Imrân builds the idea of inimitability on an image of the eye.
Cûdî's quatrain to the sura Yâsîn: a light that feeds heart and soul, the hadith of "the heart of the Qur'an", and praise for Gabriel's wing that bore the weight of that heart.
A gift to mankind from the divine realm, the ornament of the Preserved Tablet: in this quatrain to the Qur'an, the book's descent makes the earth the envy of the sky.
Cûdî's single couplet of Turkish and Arabic lines: front and back discovered through faith, and a word of repentance that turns to God and turns its back on all else.
The rows that turn to God and away from people at prayer are carried into the heart: communities within facing God, the ranks of strangers left behind, a heart like a congregation.
Cûdî's Arabic quatrain on death the leveller: kings, prophets, worshippers of God and of Ya'ûq and Yaghûth, a whole humanity teased apart by time like wool and scattered on the earth.
The one who falls into the lap of time weeps, and so does the one who falls from it: greeting and farewell to the world meet in one weeping, and here both comer and goer weep.
Cûdî's quatrain on the three faculties of man: the soul that desires the good, the mind that seeks the true, the senses that look to beauty, and an eye that cannot see without them.
A nightingale of frenzied inspiration, the rose of opening that will not bloom, a crossing of admonition strewn with tears, a soul asked to befriend the heart: every line ends in "weep".
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