İbrâhim Cûdî of Merzifon (1850-1931), teacher, deputy for Amasya and poet: his life, his single-copy divan, the Great War kaside and his Amasya poems.
İbrâhim Cûdî, born in Merzifon, schooled in Amasya, teacher in Salonica and Istanbul and deputy for Amasya: Hüsameddin's record, his life, his single-copy divan and his poems.
The ghazal Cûdî wished to have on his gravestone: the reckoning, at seventy-three, of a life that drank no cup but poetry, begged from no one and grew deep as a sea without overflowing.
The 78-couplet kaside "Harb-i Umûmî" that Cûdî wrote out in his own hand in 1915 for Hüsameddin: the law of fire and of war, Russia, England and the First World War.
The ghazal Cûdî spoke in Mecnun's voice on seeing the Ferhad Mountain in Amasya: the mountain is Ferhad's, the desert Mecnun's; bride-price, halva and affliction, and Bîsütun.
Cûdî's kaside on Merzifon and its continuation: the praying mountain, Tavşan Mountain as a kneeling camel, the lovesick clouds, Kara Mustafa Pasha's water and the mosque of his youth.
Cûdî's 43-couplet aruz translation of Lamartine's "Le Lac": the lover who begs the bird of time to hold its wing, the memory of the lake, and French Romanticism in the language of the divan.
The poem of praise that opens Cûdî's divan: the pen in prostration, the sea praising wave by wave, every delight of the soul tied to divine praise, and praise that grows with wonder.
Seven couplets after the poem of praise, in which the servant calls himself a handful of earth; images of lustre and pearl end in the wish that his work not be despised by the ignorant.
The Milky Way a rosary, solar systems a sigh; order is defended against chance, the earth says "Lâ ilâhe" and the heavens "illallah". Hey'et-i Âlem, the divan's refrain müseddes.
A na't in which the poet speaks his own name instead of his pen name: the night of the Ascension, sandals pressed to the heart of the heavens, and forgiveness asked for Abraham's sake.
Cûdî's Karbala elegy with the refrain "has gone out": the extinguished candle, Nimrod's fire, the Muharram crescent, the Euphrates, and the Flood letting go of Mount Cûdî.
A tevhid in which Arabic and Turkish lines alternate: the essence where reason stops, "kemislihî", the Subtle One hidden in His manifestation, and wordplay on kindness and evil.
Cûdî's supplication with the refrain "to me", resting on the idea of annihilation: praise from me and bounty from you, candidacy for nonbeing, and the shame of saying "I".
In this ghazal to the beloved of truth, beauty is its own proof; the sky becomes a gold-threaded kaftan, Paradise's trees a branch in a finger, and wonder the end of knowledge.
In this nazire to Fuzûlî, opening with an Arabic line, love is both sea and dough; motes draw one another, no soul lives in the airless house of the heart, and "aşk olsun" reads two ways.
A wine whose bubbles are planets, youth set against the sheikh, an Arabic line recalling al-Ghazâlî: Cûdî tells of the wine of being in the sea of the bound and the absolute.
Cûdî's ghazal with the refrain "I tell you": a promise of speech always tied to a condition, the talisman of the hidden treasure, and a face read like a verse of scripture.
Light does not pass, night does not break, the cypress gives no shade: in this ghazal the soul lies in nature's grave, the friend is no friend of the cave, and the beloved stays aloof.
Cûdî's philosophical ghazal with the refrain "the world to me": against the permanence of the cosmic order, the indivisible atom, the philosophers' search, and "amâ", blindness.
A friend nearer than the jugular vein, the window of a dark house, reason that robs the road: this ghazal tells of love opened by the huma bird and ends on a goal never chosen.
The kanun of love that is both law and zither, a harmony no makam contains, the soul's song sung in the body's letters: a ghazal woven of musical terms that ends on a broken rhythm.
Lustre from the molten essence of the soul, wine transformed, the finger of choice; the prayer against the evil eye, left unsaid lest it hide her, is this alchemical ghazal's conceit.
Cûdî's ghazal that turns nature into a tavern: a broken cup and inherited wine, a life that sums to zero, the sun as a cup, stars as a chandelier, the stream as musician, trees as books.
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.
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