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.
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.
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