مجله مطالعات ایرانی (Feb 2019)
The Symbolization of Heaven in the Persian Essays of Sohrevardi
Abstract
. Introduction The world after death is among the key images described in different religious texts. The religious and literary functions of this world have created a twofold image which tries to receive the primary, fundamental religious descriptions on the one hand, and to take a fantastic form by entering the realm in the literature which has "imagination" as its main branch. By transducing this superficial layer and making use of different symbols, the mystics have also provided different interpretations. As such, symbols would be a special means for them with its huge semantic repertoires and the ability to transform according to the minds of their addressees. The current paper aims at examining the symbols related to Heaven and Paradise in seven essays of Shahab ad-Din Suhrawardi and finding an answer to the following question: How does Suhrawardi symbolize Heaven and Paradise in these essays and how far do these symbols go, meaning-wise? 2. Methodology This paper tries to explore the symbols related to Paradise and Heaven in seven Persian essays of Suhrawardi with a descriptive-analytic approach. To do so, the essays have been thoroughly read and the respective symbols have been extracted. On the other hand, the semantic function roots of these symbols in several other texts are explored in order to compare the Suhrawardi's symbols with other universal ones. It is argued that juxtaposing these symbols from different sources would not only help us better understand Suhrawardi and his ingenious views, it is also useful in interpreting those symbols. 3. Discussion The exploration of the seven essays reveals that Suhrawardi has incorporated three important symbols, i.e. Tree, Bird, and Fountain, along with other symbols, such as Mountain and Mirror. The use of Fountain as a symbol could be seen in the Moones al-Oshaq (and Safir-e Simorq essays. The symbol of Bird is used in four forms: Peacock, Lapwing, Roc, and Hawk. Peacock is used in Loqat-e Mooran, Lapwing in Safir-e Simorq and Loqat-e Mooran, Hawk in Aql-e Sork, and Roc in Aql-e Sork, Avaz-e Par-e Jebrail, and Safir-e Simorq. The symbol of Tree is also used in three different senses in Aql-e Sork, Moones al-Oshaq, Loqat-e Mooran, and Fi Halat al-Tofooliah. 4. Conclusion The current analyses show that Suhrawardi has established his thoughts on the Descension and the suffering of being away from Heaven. As he views it, the Descension was not a result of the deceive of the Devil and the collusion of Snake and Peacock, but the will of the primordial gardener himself, or the decoy of the hunter of destiny. Although Suhrawardi does not allude to the Hell as opposed to the Heaven, his contrast of the affluent Heaven, as opposed to the miserable sublunary world, would clearly bring to the mind an opposition between the miserable Mundane and the utopian Paradise. In symbolizing the Heaven, Suhrawardi has incorporated symbols of Tree, the Sun, Bird (Roc, Hawk, Lapwing, and Peacock), and Fountain. The Tree is a symbol of divine nature, the Sun a symbol of the pure mind, and the Fountain a symbol of ever-streaming spring of Heaven, which is, in turn, a symbol of knowledge, wisdom and eternity. The Peacock in these essays is a symbol of Gabriel or the Tenth Intellect. The concept of spirit is reflected in three symbols: Lapwing, Hawk, and Peacock.
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