Cûdî's morning poem to Mount Olympus seen from Salonica: the sun's blush on the snowy peak, a white-haired old man diving into the water, the mountain of legends, and the geology of its birth.
Cûdî's sunset poem from the Olympus series: islands, gravestones, lions, crocodiles, a royal table, a ball and a pulpit seen in gilded clouds, and an evening that never repeats itself.
Cûdî's poem from the Olympus series on the red of sunset: the sun drawing back like a restive horse, a flood of blood, a fire on the horizon, and the gulf turned into a salon of red broadcloth.
Cûdî's moonlight poem from the Olympus series: night's Leylâ whitening Kays's fortune, the moon as silver comb and handleless axe, a road of light from Hortaç to Olympus, and sea and air as siblings.
Cûdî's ghazal added as an appendix to his moonlight poem: the moon as an offended beauty, a comb thrown in the sky's face, a brow like dawn under the forelock, and a nightingale learning it by heart.
Cûdî's ghazal on a woman's walk: a motion unlike any other, a stature like a fountain of the water of life, a spring morning laughing in an old man's evening, and a walk in a black wrap.
Cûdî's autobiographical kaside on his madrasa years, "Dakk-ı Müdik": puns on the textbooks, a critique of old philosophy and kalâm, praise of Muslim scholars, and a complaint of lost merit.
Cûdî's kıta addressing Russia over the Dogger Bank incident of 1904: an arrogance too big for the Black Sea, a Russia that scorned the Ottomans, and a power now forced to beg Britain for mercy.
Cûdî's poem on Ramadan through children's eyes: minarets hung with lamps, the mahya, Ramadan pide, peddlers, Karagöz and Hacivat, the sahur drum, and a mother weeping at home.
Cûdî's satirical ghazal on the fasting of grown men: a faster who thinks himself an angel by day, the dragon of hunger at noon, afternoons spent watching the clock, and His Excellency the baklava.
Cûdî's ghazal on singers: singers who gnaw at poetry with fine voices, the singer as "the second ignorant", two blessings rarely met in one person, and the world's table laid by measure.
Cûdî's internally rhymed poem on snowfall: the moon's dust, the shaven sky's hairs, winter's flower, an earth turned milk pudding, a globe that partners the moon, and snow falling like open pages.
Cûdî's Arabic poem with the refrain of the sura al-Rahmân, "which of your Lord's favours will you deny": body and spirit, the worm's sustenance in the rock, and generosity raining on Cûdî.
Cûdî's short satirical kıta "Sefsâfdan": a figure who kisses the cross and wears black wool, the status of the protected subject, and many feast days; its title is left unexplained.
Cûdî's two-couplet witticism on the terms of the dower: prompt and deferred dower, the likeness in writing of dower and seal, and a bride who pledges pearls; its sense is not fully clear.
Cûdî's ghazal on chastity and beauty: a hennaed hand and a greeting from afar, the unplucked apple, only the dual in the book of love, and a chaste gaze that burns the slinking whisperer.
Cûdî's ghazal against the materialists, "The Hiddenness of Manifestness": a God hidden by His brightness, the doctor as a turner who cannot play, "Nature made it", matter and force, and conscience.
Cûdî's ghazal of a chain of causes: war born of the love of money, people dizzied by silver, a violin heard from the harem, a madman claiming to come from the office, and the sea of pre-eternity.
Cûdî's ghazal addressing poetry with the refrain "kisses": fresh verse whose melodies a thousand rose-mouthed ones kiss, words that conquer hearts like Solomon's seal, plagiarists, and a brimming cup.
Cûdî's kıta drawing on al-Ghazâlî: one sun multiplied in the waves, a single Truth behind many-seeming aims, and the lustreless water of the five rivers of sense flowing into the spirit's pool.
The first of Cûdî's three quatrains in praise of al-Ghazâlî: the peerless guide of the world, the epithet Proof of Islam, and a scholar who is both saint and governor in carrying out religion.
The second quatrain of Cûdî's al-Ghazâlî series: the Ihyâ' 'Ulûm al-Dîn as a proof, and the Kîmiyâ-yi Sa'âdat as a treasure whose wealth no rich man can match.
The third quatrain of Cûdî's al-Ghazâlî series: a poet who is the dust of al-Ghazâlî's feet and a stance that prefers him to Ibn 'Arabî in sincerity, humility and the expression of truth.
Cûdî's ghazal seeking an ideal of peerless beauty: a lover who is an example to every beauty but belongs to none, a stature bent like dâl, completion that breeds a thousand lacks, and the impossible.
Cûdî's Turkish-Arabic mülemma ghazal: a beloved who veils, unveils and turns away, the sword of a glance, two hearts that weary together, and a joke on relative pronouns.
Cûdî's ghazal asking where delight is found: not outside but on the inner tablet, not in the view but in the gaze, perhaps in the stillness after death, and in the jug of hiddenness.
Cûdî's debate of verse and prose: prose that writes novels, verse that cleaves the sky, poetry likened to wine, a witticism on the names Nef'î, Fuzûlî and Bâkî, and a last word for writers.
Cûdî's ghazal with the refrain "if it is needed": a beauty that writes poems on the mirror, gardens of paradise seen in a smile, a face that wipes away grief, and a love that explains beauty.
Cûdî's ghazal of wonder, "İstiğrâb": a strange wakefulness, motes that gather and scatter, one Euphrates of ever-changing drops, a double-tracked canal of life, and an essence beyond proof.
Cûdî's ghazal in the voice of a poet past fifty, with the refrain "is left no more": lost sweetness, senses without force, a moon rising like a girl of fourteen, and a ruined house to move out of.
Cûdî's ghazal "Astonishment" at his own being: a poet who opens his eyes and asks "what am I?", abysses crossed since pre-eternity, a joke on Zeyd and 'Amr, the holy breath, and no transmigration.
Cûdî's ghazal "Being": being that fire and light cannot explain, being drawn from its sheath, a universe-book of black pages and letters of light, vagrant forms, and the limit of reason.
Cûdî's ghazal reading creation as a book: a heart asking about the last chapter before saying "alif", the nasal sound of the command "Be!", wonders that answer "Here I am", and a book beyond doubt.
Cûdî's poem telling spirit and body through a classroom: a teacher writing on the blackboard, writing wiped away, meaning kept in memory, the body as swept chalk dust, and the book of creation.
Cûdî's second "Ecstatic Sayings" ghazal: a heart turned sun by the lights of pre-eternity, a self no sphere can hold, a spring tree of stars, an orange sun and bitter-orange moon, and one soul.
Cûdî's ghazal of the ecstatic self: precious dust from the door of the Prophet's Family, a being pounded in love's mortar, a nestless nightingale, Sheba's throne carried to Solomon.
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