His little son Sâfî reciting the Qur'an at home, the melodies in his thin, mournful voice, and a listening that gives life to his father's soul.
A grave with as many visitors as the Mevlid, an author no one passes without a Fâtiha, and birds as reciters: a quatrain outside the metre on the Mevlid and its author.
An eye made bright by the beloved's reflected face, a heart turned rose garden, and lashes in rows around the child seated in the pupil: a Persian quatrain on the eye.
An envious company of poets, the fair-minded poet who, like poetry, finds no buyers, and the counsel to probe the thought behind smooth words: on poets, outside the metre.
A nature that mirrors God's lights, bright enough to show a mote like the sun: a praise with the refrain "your nature", whose addressee is not named.
A new version of an earlier Persian quatrain: a heart turned rose garden, a kiss set on the eye, and a pupil, the "merdümek", trembling at the heat of the lip.
The decision not to be in an anthology of poets while alive, faces he would not see at the Resurrection, and a play on meş'ar, ma'şer and mahşer.
A heart eager enough for love, an end to passion for the black forelock, the past washed clean with a soft tear, and the judgement of a good ending: repentance.
Ear and sound, eye and light, nose and scent, a God who makes blessing precious through blessing, and appetite created before food: harmony in creation.
A song lyric for a lovely-eyed girl who weeps because she is not loved: a consolation listing, with the refrain "let weep", those who ought to weep instead.
A political kıta with the refrain "beware": a warning not to trust other nations or to surrender weapons even under a sworn promise, voiced in the polemical language of its time.
A chest like an old bellows, a patient who wants white milk instead of black tar, and a cure from the nomad milkman of the upper fortress: a kıta improvised for a cough.
Reasonable words that cannot shake his steadfastness, "by God, I am a believer", and certain knowledge from "God said, the Prophet said": faith against the naturalists.
Those who say "Cûdî, recite a poem", a poet who would like such imagination, and every fancy he touches taking on the shape of truth: his own idea of poetry.
The people of autumn, let them weep, the people of spring, let them laugh, and spring people as ever-fresh divine signs whose meaning all creation explains.
Logic and sound reason buried in the lodge, a baba whose words poison the simple, compound ignorance, and refuge "from the sheikh and the devil": a satire.
Greetings of morning, evening and good time, words recalling the French "soir" and "mon cher", and a line in Arabic script that could not be read: a half-legible jest.
Relative being that is in truth non-existent, oppressor and oppressed undone in the absolute, and a sea not blamed for its colliding waves: on relative existence.
The sea of necessary being, colliding contingent waves, waves that expound the sea, and the verse "He is not questioned about what He does": the sea image explained.
The secret of "wherever you turn" in every manifestation, a sea of "You shall never see Me", and two views of sun and spirit: a ghazal with the refrain "peydâ".
In the comet's own voice: an ellipse round the sun, a broom of light, a sky turning like a Mevlevî lodge, God's boundless sea, and an ark coming to rest on Mount Cûdî.
A gravestone as the stone-turned pleasure of a bridal chamber, death as the parents' pity, every death a martyrdom, and the meaning of the Fâtiha: his own epitaph.
A believer who entered a hundred thousand shapes, a superstition travelling from India to Rûm, and the answer of an earth born of the sun: a Persian satire on transmigration.
An Adam not one in making and deed, but two men, one perfect in reason and the other too base to be counted human: an Arabic nazire to al-Ma'arrî's "Adams".
A second man made of leftover clay who, with no letter "b" left for his head, becomes "father of evil" instead of "father of mankind": wit from "man is two".
A translation of a kıta ascribed to 'Alî and eleven quatrains on fortune: mountains begging mercy, a thousand drinks that are one wine, and a poet cross with destiny.
A silent nature like Joseph in the well, a glance descending like Gabriel, the refrain "what are you, Besîm", and an apology for late replies: a letter in verse.
A world-conquering pen, lines like Leylâ's tresses, a thought that hooks the sun in the sea of unity, and the proverb of the Pleiades and the beggar: praise of a poet.
An angel-faced company that puts the rouge of joy on life, a rose scented with chastity, and a mother's breath that makes her child either light or Abû Lahab's flame.
The kaside "Tezyîf-i Züyûf" against Bektashism as a historical document: the baseless charges of late Ottoman Sunni polemic, the cap-and-dissimulation pun, and the debate on the orders.
Cûdî's two-couplet satire aimed at Bektashi dervishes: an attempt to set them apart from Hacı Bektaş Velî, and a prejudiced polemic that mocks the ban on hare's meat.
Cûdî's answer to those who call prostration to Adam the secret of the path: Qur'an 2:34 addressed to the angels alone, mankind not yet existing, and the restriction in "to the angels".
Cûdî's kıta continuing the debate on prostration to Adam: the worshippers of the Messiah, Jesus as a perfect man, a Prophet who never asked for prostration, and "you are children of Muslims".
Cûdî's kıta linking Sheikh Bedreddin's revolt with Shah Ismail: Börklüce Mustafa and Torlak Kemal, a seed sown a century before, and an objection to the historians.
Cûdî's polemical kıta on the clear and the ambiguous verses: a method that explains away clear rulings and makes veiled verses a plaything of fancy, with Qur'an 3:7 behind it.
Cûdî's quatrain to those who raise the master and 'Alî to the divine attributes: the counsel to call on God, the Living and Self-Subsisting, and a gentler second ending noted by the copyist.
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