Cûdî's quatrain defining "the man of God": a hero who cuts off self-interest and recompense, a work founded on strengthening religion, and a hope whose soul is the community's good.
Cûdî's Arabic poem as the plea of a dervish on foot to the mounted men of God: saints whose trace he follows, the well of error, and a crescent waiting for light from suns.
The corrected second version of Cûdî's Arabic poem of entreaty: guides of the caravans, provision of piety and load of sins, a camel left behind, the caravan song, and shelter among tents.
Cûdî's kaside turning a night's gazing into a spiritual ascension: the play of rank and well, the spirit as a fallen star, a night brighter than day, the Refref of a sigh, and the semâ of the worlds.
Cûdî's ghazal on speech and spirit: the inner face of the world unseen until love's eye opens, noble speech born of a generous spirit, a man revealed by his word, and a call to the summit of speech.
Cûdî's ghazal with the refrain "from heart to heart": the soul's wordless converse, Mansûr's secret of the gallows, telescope lenses for righteous hearts, and a word like revelation.
Cûdî's ghazal looking back on his youth: a life lived like a poem, the Eve of the world showing her daughters as "virgin meanings", a warrant of retirement from love, and love's fire gone out.
Cûdî's muhammes "The Poet": a poet who wanders alone but is never alone, speaking waterfalls and birds, a glance that interprets the universe, a trilingual stanza, and a heart struck dumb by love.
Cûdî's muhammes "Allegory", turning a moonlit sea into an allegory: moonlight as Muhammad, a road of light as the Sharia, the sea of unity, a silver cypress, and countless worlds drowned in light.
Cûdî's quatrains turning the water cycle into a tale of searching: a cloud seeking its beloved, a stream running to the sea, a sea asking its origin, and a note made on a train in 1904.
Cûdî's "Railway Train", written on a train in the Vardar plain in 1904: a train at full speed, his little son Sâfî saying the telegraph poles are running backwards, and villagers waving.
Cûdî's mesnevi of a train journey through the Vardar plain: crops with poppies, blue mountains that wake and darken, a tunnel, the old troubles of caravan days, and a call to ride the railway.
Cûdî's müstezat on the modern shopping street, "The Market": the latest fashion, shop windows, a crowd strolling like fairies, deceptive adornment, and a warning to the bird of fancy.
Cûdî's kıta starting from a young girl's ornaments: a tiara clad in light, a golden lock, a gleam that is not diamond but the frozen light of a glance, and a spirit long familiar with houris.
Cûdî's kıta on appearance and essence: a flower that looks beautiful from afar and pleasant close up, but when it opens fully reveals nettles, and the bitter meaning in a word.
Cûdî's ghazal "Prayer" with the refrain "God is greatest": Sufi meanings given to takbir, standing, bowing, prostration and sitting, bowing heavens, annihilation and subsistence.
Cûdî's ghazal telling life and death in terms of chemistry and grammar: a compound dissolved, wine turned to vinegar, man become a weak letter, and the sword of the spirit drawn from its sheath.
Cûdî's ghazal mixed with jest: a poet who plunges into a sea of honey in a dream, a honey-lipped lying beloved, a dark cave, and headstrong fortune brought to heel in a dream.
Cûdî's fable mesnevi of the silkworm and the spider: a spider claiming to be Euclid's teacher, the cave of Thawr, the verse of the frailest of houses, and the silk garments of paradise.
Cûdî's poem praising bees as a model of civilization: poet bees with tambour wings, a king who is an English queen, the orderly hive city, the sura al-Nahl, and man who steals the honey.
Cûdî's ecstatic ghazal "Şatahât": a poet to whom no mote is a stranger, the heavens as his snare, the stars as his moths, the sun as his cup, and "whatever you see is my tale".
Cûdî's poem on the way of Abraham: star, moon and sun that set, Pharaoh and Nimrod who said "I am the most high", Âzer before the idols, and the oneness of God witnessed by reason.
Cûdî's poem on the common root of religions: a first revelation imprinted in nature and reason, the call to a common word in Qur'an 3:64, and a bleak verdict on religions turned into interests.
Cûdî's kaside on the Macedonian town of Karaferye (Veria): a town like a young girl on the bed of coquetry, green mountains, waterfalls, the place chosen by Hızır, and a climate of inspiration.
The polemical kaside "Tevârî-i Tevrât" on the Torah as a historical document: a critique of superstition, the theological debate on alteration, the six days, and baseless prejudice.
Cûdî's Arabic couplet added to a poem by al-Ma'arrî and his Turkish translation of the whole: "either reason but no religion, or religion but no reason", and the third class he added.
Cûdî's poem on the Russo-Japanese War of 1904-1905: a history of the weapon from cave to cannon, the cost of war, a Russian admiral who meant to hook Korea, and a satire on hollow Muscovy.
Cûdî's tahmis on a ghazal by Nâilî-i Cedîd: diamonds in an earring, the dawn of pre-eternity at an earlobe, a beloved above Leylâ and Züleyha, and the joyless cup drunk alone.
Cûdî's nazire ghazal on Nâilî's ghazal: an earring like the quarter moon, Venus hanging from the crescent, a face that is a copy of the Qur'an on the shoulder's stand, and surging passions.
Cûdî's ghazal on the kinds of beauty: a glance like a gazelle and a wink that startles, hair like night's curtain on the sun, a body like a bouquet, and the different beauties of Kays and Ferhad.
Cûdî's ghazal with the refrain "listens": poetry as interpreter of the pre-eternal covenant, a drunken angel, a call to prayer of unity for the divided, and love's chaste song heard by all.
Cûdî's kıta on the mismatch between literature and life: authors who create imaginary people who neither eat nor drink, angelic heroes, and the ill-mannered, ill-faced figures outside.
Cûdî's münacat: a servant who wishes to stay hidden in God's knowledge, the curtain of a whitening beard, hope tied to mercy rather than deeds, and a heart asking to be woken before death.
Cûdî's spring ghazal on the nightingale and the rose: spring's beak reaching to the rose's mouth, a nightingale voicing the rose's silent laughter, delight in the thorn bed, and a combing breeze.
Cûdî's sceptical kıta on children and offspring: children raised for the calamity of the times, begetting from nature's compulsion not love, marriage before witnesses, and tribal rivalry.
Cûdî's frank kıta of counsel to young men: boys sowing on the ground a seed whose worth they do not know, the simile of a gun that goes off before aim, and a teacher's warning.
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