Works
Lama’at or Divine Flashes is the best known of ‘Iraqi's writings and was written during his time in what is now present day Turkey. A part of the ‘language of love’ genre within Sufi writing, it takes an interesting view on how one view the world. Unlike others before him ‘Iraqi viewed the world as a mirror which reflected God's Names and Qualities and not as a "veil" which must be lifted. According to (the late) Baljit Singh Ph.D an Indian Persian scholar and translator of SWANEH of Ahmad Ghazali and Iraqi's LAMMAT (The Flashes), "The style of Lammat is a simple, dignified, fluent & rich with Qur'anic verses and Arabic sentences. Its theme is ‘Divine Love’ and is written in the fashion of the Swaneh of Ahmad Ghazali. Iraqi explains in the Lammat, Ibn Arabi's Sufism through the love symbology." He quotes from Saed Nafisi's ‘Introduction’ to the ‘Kullyat Iraqi’-‘Generally it is accepted that Iraqi wrote Lammat following the ideas of Ibn Arabi, but Iraqi himself says differently . He writes in the beginning of the Lammat that he has written this book in the manner of ‘Swaneh’ of Ahmad Ghazali.’ Baljit Singh further refers to Dr Nasrullah Pourjavadi, a scholar on Ahmad Ghazali and writes, "It was Ahmad Ghazali who first of all saw the Divine as love and founded the Sufi Metaphysics of Love. Iraqi is said to have united Ahmad Ghazali to Ibn Arabi through his LAMMAT."
‘Ushshaq-namah (عشاقنامه) was, according to legend, written during ‘Iraqi's time in service to Shaykh and is dedicated to Shamsuddin Juwayni the vizier. While it has been attributed to 'Iraqi, it is almost definitely not his.
Read more about this topic: Fakhr-al-Din Iraqi
Famous quotes containing the word works:
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
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“They commonly celebrate those beaches only which have a hotel on them, not those which have a humane house alone. But I wished to see that seashore where man’s works are wrecks; to put up at the true Atlantic House, where the ocean is land-lord as well as sea-lord, and comes ashore without a wharf for the landing; where the crumbling land is the only invalid, or at best is but dry land, and that is all you can say of it.”
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“In doing good, we are generally cold, and languid, and sluggish; and of all things afraid of being too much in the right. But the works of malice and injustice are quite in another style. They are finished with a bold, masterly hand; touched as they are with the spirit of those vehement passions that call forth all our energies, whenever we oppress and persecute..”
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