A shadow that is neither accident nor substance, painter and painting changing places, a face changed by years: In Front of the Mirror passes Narcissus to reach the idea of manifestation.
A Sufi ghazal built on the outer and inner worlds: the signs within the self, the primordial covenant, the eternal reality, ethics as return, and birds of the mind dashed on a mirror.
Cûdî's five-couplet spring ghazal: smiling flowers, censers drifting in the air, nature's poem taking form, rhymes from one pattern, and a cycle that ends on the line it began with.
A light sought in vain on the horizons, a sun with neither east nor west, kinds of seeing anatomy cannot record: this ghazal closes on a Paradise that walks on two legs.
Cûdî's ghazal describing a living beauty: the freshness of youth, a smile like a miracle, a beloved who thinks of how to be loved, beauty read as rhetoric, and a moon rising behind a veil.
Drunk at the gathering of sorrow, a lover cries to the cupbearer for help: the soul at the lips awaits a drop of wine, and in Jamshid's cup a proposition stands plain.
Cûdî's ghazal A Melody: a heart opening onto the Preserved Tablet, elements as the ink of God's pen, an observatory telescope that cannot see the soul's frontier, and a nest in strange places.
The book of being that cannot be solved without commentary, weakness that cries the takbir, brothers destroying one another: the first part of Tahayyür ends by blaming poor education.
The second poem of Cûdî's Bewilderment series: caravans of motes, all things passing like lightning, the foaming torrent of time, a chain with hidden ends, and an Arabic close.
An infinity that cannot be named, names as the soul's invention, the sky pointed out as "this", orphan atoms: the last part of the series closes on the black and white of eternity.
For forty-one couplets the world is a shadow-play screen; imagination gives birth to human progress, but also to the love of rank and decoration, the fire of war and inoculation with fancy.
Six stanzas built on "I said, she said": an unopened rosebud, a moon putting on her black veil, a garden entered with leave, and a beloved who turns every praise back to his poetry.
Cûdî's muhammes with the refrain "not to my taste": what the rind dislikes, a moonlit night without wine, eyebrows instead of the mihrab, a pen playing on Moses' miracles, Câmî and Hâfız.
In this sixty-two-couplet rooster poem the rooster is muezzin and head of a family, his robe never out of fashion, his cry "korrrrk"; a debate on the hereafter ends in pessimism.
Soil, water, towns, fortresses and graves are listed through the question "What is?"; then a homeland of rights is built from freedom, zeal, family, inheritance and mutual aid: Vatan.
A beloved whose identity is unknown, the black spot of the heart, a reply to those who deny love for the unknown: the refrain "Severim sevdigim ammā bilemem" returns in every stanza.
Cûdî's Workers' Song translated from French: labourers whose mother and father is poverty, hands that hunt pearls from the waves, brotherhood offered to the idle rich, and God's equal table.
An idler who takes idleness for honey, poses as a sage and laughs at the world behind a bolted door; facing him, His Excellency Effort, who tells him his shirt is a shroud.
Cûdî's Kudûmiyye with the refrain "you have a place above my head": a müseddes of welcome, a guest who may be patron or beloved, pupils at the window, and flowers opening along the road.
The minaret that serves five times a day yet stands outside argues with the pulpit used once a week; the conceit of the crooked stair yields a lesson that puts good manners above service.
Cûdî's mesnevi for children, The Mirror and the Child: a little boy who shows his fist to the child in the mirror, the mother who calms him, and the lesson "the world is like a mirror".
A basil begging the cloud for water in a drought finds, once its prayer is granted, a troop of nettles round it; its complaint is answered in words recalling "He is not questioned".
The humble violet, the rose named by an angel, the mock orange in love with the sun, the daisy and the orange blossom worn by brides speak in turn in an angel's bunch: A Bunch of Flowers.
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.
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