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.
Cûdî's ghazal that sees the heart as the only refuge: a man who is both refugee and refuge, the weapon of patience, the body as armour, non-being as rest, and a poet who wants no showy grave.
Cûdî's ghazal to the gathering of saints: pearl-hunting in the sea of Aden, a wish to befriend all strangers, streams that give up, and a foot slipping from the world of spirits.
Cûdî's kıta greeting the Feast of Sacrifice: a prayer that the morning of fortune be lit by many more like it, the rhyme of forenoon with the feast, and a greeting addressed to everyone.
Cûdî's feast greeting built on the images of the hajj: pilgrims standing at 'Arafat, the cry of "Here I am", and blessed feasts circling the Kaaba of a life caravan after caravan.
The second version of Cûdî's feast greeting: takbirs accompanying the cry of "Here I am", and a feast that circles not the Kaaba of life but the Kaaba of the heart; the two versions compared.
Cûdî's seven-stanza Karbala elegy: the crescent of Muharram turned bloody crown, a call to mourning with the refrain "hush", Hüseyin's martyrdom, anger at Yezid, praise of Muhtasham, and moderation.
Cûdî's elegy in the manner of a ghazal for his son Muhammed Nûrü'l-Hüdâ, who died young: a cup of joy turned to poison, a question to the sky, and a meeting at the Resurrection.
Cûdî's two-couplet kıta left outside the divan: a man who weeps at birth while the world laughs, and the counsel to live so that death is a smile to oneself and mourning to others.
Cûdî's "Book of Asking Forgiveness" with the refrain "other than": a servant with no worship but repentance and no gift but tears, the trembling hand of hope, and borrowed goods taken back by time.
Cûdî's ghazal addressed to the nightingale: the nightingale as interpreter of the tongueless rose, its name hezâr meaning a thousand, a bird calling to prayer like Bilâl, and 'Attâr.
Cûdî's ghazal defining the poet: the poet as reader of creation's secrets, a nature like a crystal lens, harmony learned from birds, and feeling balanced by eloquence.
Cûdî's ghazal with the refrain "sweet": the beloved sweeter than soul, life as tasting perception, reason a drop of the boundless sea, mercy hidden in poisons, and a smile.
Cûdî's ghazal seeking a cure for love: a madness of love that no amulet cures, a lip to be bitten in retaliation for a wound, a lip whose halva is on every tongue, and a servant's wish.
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