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The polemical kaside "Tevârî-i Tevrât" on the Torah as a historical document: a critique of superstition, the theological debate on alteration, the six days, and baseless prejudice.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.
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.
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