“We lay veils upon their hearts lest they understand it…”
Many years ago in my youth when I meet my Spiritual Teacher, I heard someone ask him what were his favorite movies, to my surprise he said:
“I love those movies, about Sinbad the Sailor, Ali Baba, The thief of Bagdad, and that type of movies.”
I was floored, an avid movie fan at the time I couldn’t figure out a man of his Spiritual realization would care for such cheese B movies made on the fifties, and sixties, with second rate actors like Steve Reeves, and other perhaps more memorable, like Douglas Fairbanks earlier and many others, since Hollywood love for the exotic, an adventures has been a cash cow, and every so many years they bring to the screen the tales of the Arabian Nights in a new form, with little, or any artistic relevance, .
At another occasion I heard him express the same opinion, fortunately someone asked him why he loved such movies, his answer made me realize he didn’t care too much for the artistic side of the movies as for the stories themselves, without giving too much explanations he said:
“The spiritual symbolism of those stories is great, like the seven gates, the seven voyages, the magic carpets, lamps, the Genies. etc. And the trials of the soul has to go through in order to find the treasure.”
It was until many years later that I read The Arabian Nights, and I had to agree with my Teacher.
Brief Official History
One Thousand and One Nights (Arabic: كتاب ألف ليلة وليلةKitāb alf laylah wa-laylah) is a collection of West and South Asian stories and folk tales compiled in Arabic during the Islamic Golden Age. It is often known in English as the Arabian Nights, from the first English language edition (1706), which rendered the title as The Arabian Nights’ Entertainment.
The work was collected over many centuries by various authors, translators and scholars across West, Central, South Asia and North Africa. The tales themselves trace their roots back to ancient and medieval Arabic, Persian, Indian, Egyptian and Mesopotamian folklore and literature. In particular, many tales were originally folk stories from the Caliphate era, while others, especially the frame story, are most probably drawn from the Pahlavi Persian work Hazār Afsān (Persian: هزار افسان, lit. A Thousand Tales) which in turn relied partly on Indian elements.
What is common throughout all the editions of the Nights is the initial frame story of the ruler Shahryār (from Persian: شهريار, meaning “king” or “sovereign”) and his wife Scheherazade (from Persian: شهرزاد, possibly meaning “of noble lineage”) and the framing device incorporated throughout the tales themselves. The stories proceed from this original tale; some are framed within other tales, while others begin and end of their own accord. Some editions contain only a few hundred nights, while others include 1,001 or more.
Some of the stories of The Nights, particularly “Aladdin’s Wonderful Lamp”, “Ali Baba and the Forty Thieves” and “The Seven Voyages of Sinbad the Sailor”, while almost certainly genuine Middle Eastern folk tales, were not part of The Nights in Arabic versions, but were added into the collection by Antoine Galland and other European translators. The innovative and rich poetry and poetic speeches, chants, songs, lamentations, hymns, beseeching, praising, pleading, riddles and annotations provided by Scheherazade or her story characters are unique to the Arabic version of the book. Some are as short as one line, while others go for tens of lines.
The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, burlesques and various forms of erotica. Numerous stories depict Jinns, Ghouls, Apes, sorcerers, magicians, and legendary places, which are often intermingled with real people and geography, not always rationally; common protagonists include the historical Abbasid caliph Harun al-Rashid, his Grand Vizier, Jafar al-Barmaki, and his alleged court poet Abu Nuwas, despite the fact that these figures lived some 200 years after the fall of the Sassanid Empire in which the frame tale of Scheherazade is set. Sometimes a character in Scheherazade’s tale will begin telling other characters a story of his own, and that story may have another one told within it, resulting in a richly layered narrative texture.
The history of the Nights is extremely complex and modern scholars have made many attempts to untangle the story of how the collection as it currently exists came about. Robert Irwin summarizes their findings: “In the 1880s and 1890s a lot of work was done on the Nights by the scholar Zotenberg and others, in the course of which a consensus view of the history of the text emerged. Most scholars agreed that the Nights was a composite work and that the earliest tales in it came from India and Persia. At some time, probably in the early 8th century, these tales were translated into Arabic under the title Alf Layla, or ‘The Thousand Nights’. This collection then formed the basis of The Thousand and One Nights. The original core of stories was quite small. Then, in Iraq in the ninth or tenth century, this original core had Arab stories added to it – among them some tales about the Caliph Harun al-Rashid. Also, perhaps from the tenth century onwards, previously independent sagas and story cycles were added to the compilation. Then, from the thirteenth century onwards, a further layer of stories was added in Syria and Egypt, many of these showing a preoccupation with sex, magic or low life. In the early modern period yet more stories were added to the Egyptian collections so as to swell the bulk of the text sufficiently to bring its length up to the full 1,001 nights of storytelling promised by the book’s title.”
The Mystical aspect of some of the Tales
What western writers and Scholars had put little effort to study, or to show, is the Mystical aspect of some of the tales like Ali Baba and the 40 Thieves, The Seven Voyages of Sinbad, and other tales, of the Arabian Nights, not surprising since early in the History of the Western discovery of Oriental texts, and their translation in to Western languages, specially coming from Islamic countries, there was an emphasis to demystify them, and rendered naked from their true link to Islam, making them profane stories with no connection to their roots in Islam, denying their Mystical origin, and castrating them from their true Symbolic meaning, and the facto making them in a Historical context, children’s stories, material for movie adventures, or at best medieval Oriental legends, of little interest for the contemporary reader! When they posses a rich vein of Mystic knowledge, that goes beyond a moral tale. A few Western readers had glimpsed beyond the common Western trite characterization, and the materialistic, unimaginative, or biased mind of scholars.
The Italian filmmaker Pier Paolo Pasolini observed:
“Every tale in The Thousand and One Nights begins with an ‘appearance of destiny’ which manifests itself through an anomaly, and one anomaly always generates another. So a chain of anomalies is set up. And the more logical, tightly knit, essential this chain is, the more beautiful the tale. By ‘beautiful’ I mean vital, absorbing and exhilarating. The chain of anomalies always tends to lead back to normality. The end of every tale in The One Thousand and One Nights consists of a ‘disappearance’ of destiny, which sinks back to the somnolence of daily life … The protagonist of the stories is in fact destiny itself.”
Foreshadowing is the self-fulfilling prophecy, which dates back to the story of Krishna in ancient Sanskrit literature. A variation of this device is the self-fulfilling dream, which dates back to medieval Arabic literature. Several tales in the One Thousand and One Nights use this device to foreshadow what is going to happen, as a special form of literary prolepsis. A notable example is “The Ruined Man who Became Rich Again through a Dream”, in which a man is told in his dream to leave his native city of Baghdad and travel to Cairo, where he will discover the whereabouts of some hidden treasure. The man travels there and experiences misfortune, ending up in jail, where he tells his dream to a police officer. The officer mocks the idea of foreboding dreams and tells the protagonist that he himself had a dream about a house with a courtyard and fountain in Baghdad where treasure is buried under the fountain. The man recognizes the place as his own house and, after he is released from jail, he returns home and digs up the treasure. In other words, the foreboding dream not only predicted the future, but the dream was the cause of its prediction coming true. To the aware individual it will be useless to explain the rich Spiritual meaning of this story, to those thick of understanding, is easy to point out that there is no need to look for richness outside of us,True richness lays at the heart of our Being, not outside of us.
Story of the Blind Baba-Abdalla, and Ali Baba
The owner of eighty camels runs in to a dervish, who offer him a treasure for his help, but greed consumed his heart, and ended in misfortune. Here I show the always secret place that is full of precious jewels of all kind and plenty of gold.
“I did what I was bid, and rejoined the dervish, whom I found trying to kindle a fire out of some dry wood. As soon as it was alight, he threw on it a handful of perfumes, and pronounced a few words that I did not understand, and immediately a thick column of smoke rose high into the air. He separated the smoke into two columns, and then I saw a rock, which stood like a pillar between the two mountains, slowly open, and a splendid palace appear within.
But, Commander of the Faithful, the love of gold had taken such possession of my heart, that I could not even stop to examine the riches, but fell upon the first pile of gold within my reach and began to heap it into a sack that I had brought with me.
The dervish likewise set to work, but I soon noticed that he confined himself to collecting precious stones, and I felt I should be wise to follow his example. At length the camels were loaded with as much as they could carry, and nothing remained but to seal up the treasure, and go our ways.
Before, however, this was done, the dervish went up to a great golden vase, beautifully chased, and took from it a small wooden box, which he hid in the bosom of his dress, merely saying that it contained a special kind of ointment. Then he once more kindled the fire, threw on the perfume, and murmured the unknown spell, and the rock closed, and stood whole as before.”
Of course because his bottomless greed and not listening to the warnings, he ended blind not only morally but physically.
“Miserable dervish!” I shrieked, “so it is true after all! Into what a bottomless pit has my lust after gold plunged me. Ah, now that my eyes are closed they are really opened. I know that all my sufferings are caused by myself alone! But, good brother, you, who are so kind and charitable, and know the secrets of such vast learning, have you nothing that will give me back my sight?
“Unhappy man,” replied the dervish, “it is not my fault that this has befallen you, but it is a just chastisement. The blindness of your heart has wrought the blindness of your body. Yes, I have secrets; that you have seen in the short time that we have known each other. But I have none that will give you back your sight. You have proved yourself unworthy of the riches that were given you. Now they have passed into my hands, whence they will flow into the hands of others less greedy and ungrateful than you.”
Is this a Spiritual lesson, or what? The usual elements in the story that are so common to the many other stories in the 1001 Arabian Nights, like Ali Baba and the Forty thieves, it is this Secrets Caves, Underground Vaults, Hidden Palaces where it can only by access by special secret words like:
“Open Sesame” (Arabic إفتح يا سمسم iftaḥ ya simsim ‘open, O sesame’) is a magical phrase in the story of “Ali Baba and the Forty Thieves” in One Thousand and One Nights. It opens the mouth of a cave in which forty thieves have hidden a treasure; “Hemasas Nepo” was the original phrase to re-seal the cave, but in recent stories, it was “Close Sesame.“
This secret caves, rich hidden palaces,or enclosures, were inexhaustible wealth abounds, are allegories for the Human Heart, but like in Ali baba’s tale forty thieves jealously guarded the cave, ready to kill any intruder, just like the passions of an impure heart are ready to commit mayhem, and guide the person to an unfortunate end. Only those possessing a pure and kind heart can have access.
Surah Yasin 9. And We have put a barrier before them, and a barrier behind them, and We have covered them up, so that they cannot see.
Thus according to the Holy Qur’an, the hearts are:
• Alive (to guidance)
• Dead (absence of Tawheed)
• Hard (obstinate in disbelief)
• Soft (in remembrance of Allah)
• Pure (free of materialism, empty for Allah)
• Impure (polytheism, disbelief)
• Diseased (un-Godly)
• Sealed (will not receive Truth)
• Pious (God conscious)
• Veiled (from guidance)
• Open (to truth)
• Blossom (become enlightened)
• United (with the believers)
• One heart in each person (it contains either Allah or the world)
Ali Baba’s brother whose heart was veiled, and deceased with greed and forgetfulness, is caught in the cave by the forty thieves.
Ali Baba brings the body of his death brother home, where he entrusts Morgiana, a clever slave-girl in Cassim’s household, with the task of making others believe that Cassim has died a natural death. First, Morgiana purchases medicines from an apothecary, telling him that Cassim is gravely ill. Then, she finds an old Tailor known as Baba Mustafa whom she pays, blindfolds, and leads to Cassim’s house. There, overnight, the Tailor stitches the pieces of Cassim’s body back together, so that no one will be suspicious. Ali Baba and his family are able to give Cassim a proper burial without anyone asking awkward questions.
Morgiana keep fooling the thieves with clever ruses so they could not get a hold of Ali Baba, and she finally dispatch the forty thieves, and later the chief of the thieves, that with cunning had found his way in to Ali Baba’s house, and planed to kill him, now why a simple slave girl would take the stage, and be the protagonist of the story, rather than Ali Baba?
The slave girl represent Ali Baba’s soul that is totally at his service, and rejecting the vices that afflict the heart and passions represented by the thieves she triumph over them, and it is rewarded in the end and brought in to the family.
On the necessity of self-control, the Glorious Qur’an says:
وَ أَمَّا مَنْ خافَ مَقامَ رَبِّهِ وَ نَهَى النَّفْسَ عَنِ الْهَوى فَإِنَّ الْجَنَّةَ هِيَ الْمَأْوى
And as for him who fears to stand in the presence of his Lordand forbids his own soul from its whims and caprices then surely Paradise is the abode. (79:40 & 41)
يا داوُدُ إِنَّا جَعَلْناكَ خَليفَةً فِي الْأَرْضِ فَاحْكُمْ بَيْنَ النَّاسِ بِالْحَقِّ وَ لا تَتَّبِعِ الْهَوى فَيُضِلَّكَ عَنْ سَبيلِ اللَّهِ إِنَّ الَّذينَ يَضِلُّونَ عَنْ سَبيلِ اللَّهِ لَهُمْ عَذابٌ شَديدٌ بِما نَسُوا يَوْمَ الْحِسابِ
O David! …do not follow the whims of your own soul for they will lead you astray from God’s path. (38:26)
يا أَيُّهَا الَّذينَ آمَنُوا كُونُوا قَوَّامينَ بِالْقِسْطِ شُهَداءَ لِلَّهِ وَ لَوْ عَلى أَنْفُسِكُمْ أَوِ الْوالِدَيْنِ وَ الْأَقْرَبينَ إِنْ يَكُنْ غَنِيًّا أَوْ فَقيراً فَاللَّهُ أَوْلى بِهِما فَلا تَتَّبِعُوا الْهَوى أَنْ تَعْدِلُوا وَ إِنْ تَلْوُوا أَوْ تُعْرِضُوا فَإِنَّ اللَّهَ كانَ بِما تَعْمَلُونَ خَبيراً
O you who have faith! Be maintainers of justice and witnesses for the sake of God, even if it should be against yourselves or [your] parents and near relatives, and whether it be [someone] rich or poor, for God has a greater right over them. So do not follow [your] desires, lest you should be unfair, and if you distort [the testimony] or disregard [it], God is indeed well aware of what you do. (4:135)
وَ الشَّمْسِ وَ ضُحاها وَ الْقَمَرِ إِذا تَلاها وَ النَّهارِ إِذا جَلاَّها وَ اللَّيْلِ إِذا يَغْشاها وَ السَّماءِ وَ ما بَناها وَ الْأَرْضِ وَ ما طَحاها وَ نَفْسٍ وَ ما سَوَّاها فَأَلْهَمَها فُجُورَها وَ تَقْواها قَدْ أَفْلَحَ مَنْ زَكَّاها وَ قَدْ خابَ مَنْ دَسَّاها
I swear by the sun and its brilliance and the moon when it follows the sun and the day when it makes manifest the sun (and her beauty) and the night when it covers the sun and the heaven and Him who made it and the earth and Him who extended it and the soul and Him who made it perfect, then He inspired it to understand what is right and wrong for it. He will indeed be successful who purifies it and he will indeed fail whoever pollutes and corrupts it. (91:1-10)
Purification of the soul is a prerequisite for closeness to God. Indeed, the whole point of morality and spirituality is to purify one’s soul. It is only then that the soul starts shining, receiving and reflecting utmost radiation and light from God. If we want to meet God, Who is the Most Pure, then we need to achieve purity. It is impossible to be polluted and then try to go towards God.
The Seven Voyages of Sinbad
While Burton and other Western translators have grouped the Sinbad stories within the tales of Scheherazade in the Arabian Nights, they apparently originated quite independently from that story-cycle and modern translations by Arab scholars often do not include the stories of Sinbador several other of the Arabian Nights that have become familiar to Western audiences. However this is no doubt an Islamic story. The Persian name Sindbad (“Lord of the Sindh River”) hints at a Persian origin. The oldest texts of the cycle are however in Arabic, and no ancient or medieval Persian version has survived. The story as we have it is specifically set during the rule of the Abbasid Caliphate and particularly highlights the reign of Harun al-Rashid. The name Sindbad indicates the name of the Indus River(Sindhu). The Sindhi Sailors, who became famous due to their skills in navigation, geography and languages may very well have inspired the stories of Sindbad the Sailor. Sindh is actually mentioned in the story of the Third Voyage: (“And thence we fared on to the land of Sind, where also we bought and sold”).
Like the 1001 Nights the Sinbad story-cycle has a frame story, which goes as follows: in the days of Haroun al-Rashid, Caliph of Baghdad, a poor porter (one who carries goods for others in the market and throughout the city) pauses to rest on a bench outside the gate of a rich merchant’s house, where he complains to Allah about the injustice of a world which allows the rich to live in ease while he must toil and yet remain poor. The owner of the house hears, and sends for the porter, and it is found they are both named Sinbad. The rich Sinbad tells the poor Sinbad that he became wealthy, “by Fortune and Fate”, in the course of seven wondrous voyages, which he then proceeds to relate.
It is alleged with some justice that the Seven voyages shares a lot in common with the Odyssey of Homer, the Arabs knew well the Greek antiquity, and no doubt borrowed elements of the Odyssey, since it is also a Symbolic tale of the soul to reach home.
Also the nature of the tales, is repetitive, and Chiasmic in nature, sailors made out to sea were they expect to make a larger fortune of the one they spend on making the trip, they go to unknown regions, were sometimes are shipwrecked by storms and end stranded in a foreign land, or Island, were all kind of vicissitudes are met and deal successfully or that would be the end of it and likely Sinbad would die, but instead, he regains all what he lost, and come back home with more.
Michael Murray writes:
“What is gained by exploration? Knowledge: of market-resources, trading-terrain, of conditions, regions and customs. But also an invaluable network of colleagues and contacts. What is gained is trust, honor and esteem. Wealth is only a metaphor for knowledge: worldly wealth, and spiritual wealth mirror each other in the overall tale.
So what happened to change matters? As you can guess, there is a central voyage where all changes – because, yes, the Seven Voyages of Sinbad, are structured in a ring.Each tale has a repeating pattern of shipwreck, loss, or abandonment; and resolution. This last can come from the restitution of goods/fortune from a previous voyage; or earned honors from the present voyage.Each tale ends as it begins with the merchant safely back home and turning once more to an indulgent lifestyle. Each tale employs a change of circumstances in the middle section – each tale is a complete ring in itself. They all add up to the overall ring of the Seven Voyages.
The changeover, in the fourth tale, is very well marked, and prepared for: it is a death experience. Where before, surviving shipwrecks and other catastrophes had been the case, in the fourth tale he is by custom of the land lowered into the grave pit with his dead wife, and a small supply of food, as well as the grave goods. That he survives is due to his total abasement: he must kill all subsequent burial spouses, and steal their food supplies. He escapes his death-experience by following a carrion-eating animal’s tunnel to a bleak shoreline. He has become that animal almost, crawling on all-fours. He brings out bales of grave goods as loot.
The question being asked here is: what survives when all else is taken away, even one’s life? It is the life of the spirit. The Fourth Voyage sees all shipwrecked, and the survivors drift to an island. Strange wild men take them to their king; he treats them extraordinarily well; Sinbad is wary, however, and soon finds that his fellow men are being fed adulterated food. They lose their wits, eventually grow corpulent on the fare, and are then eaten, by the king and company. Sinbad grows thinner and thinner. They take no interest in him, and he escapes. On the other side of this vast island he meets a gentle people, who take him in. He provides goods for them and becomes very wealthy by making saddles for their horses, for they have none. As written earlier, he marries, is honored by their king, then undergoes the ordeal of the grave pit. The ring here centers around the subject of the bestiality of living solely in the physical body. He must die in the body and mind in order to be reborn as someone worthy of his life: the man must ride the body, and not vice versa.”
The Seven Voyages of Sinbad ultimately represent the travels of the Soul through the seven spheres of Spiritual Knowledge.
In Islam Sura Al-Fatiha (Arabic :سورة الفاتحة), (Sūratul-Fātihah, “The Opener”) is the first chapter of the Qur’an. Its seven verses are a prayer for Allah’s guidance, and stress His Lordship and Mercy.
Arabic: 1.1 بِسْمِ اللّهِ الرَّحْمـَنِ الرَّحِيم
1:2 الْحَمْدُ للّهِ رَبِّ الْعَالَمِين
1:3 الرَّحمـنِ الرَّحِيم
1:4 مَـالِكِ يَوْمِ الدِّين
1:5 إِيَّاك نَعْبُدُ وإِيَّاكَ نَسْتَعِين
1:6 اهدِنَــــا الصِّرَاطَ المُستَقِيم
1:7 صِرَاطَ الَّذِينَ أَنعَمتَ عَلَيهِمْ غَيرِ المَغضُوبِ عَلَيهِمْ وَلاَ الضَّالِّين
Al-Fatiha | 7 verses | The Opening | سورة الفاتحة Sura #1 | Makkah
- Bismillāhi r-raḥmāni r-raḥīm
- Al ḥamdu lillāhi rabbi l-ʿālamīn
- Ar raḥmāni r-raḥīm
- Māliki yawmi d-dīn
- Iyyāka naʿbudu wa iyyāka nastaʿīn
- Ihdinā ṣ-ṣirāṭa al-mustaqīm
- Ṣirāṭa al-laḏīna anʿamta ʿalayhim ġayri l-maġḍūbi ʿalayhim walā ḍ-ḍāllīn
Translation: [Quran 1:1].
“In the name of Allah, the Entirely Merciful, the Especially Merciful.
All praise and thanks is for to Allah,[The] Creator, Owner, Sustainer of the Worlds.
The Entirely Merciful, The Especially Merciful.
Owner of the Day of Recompense.
You alone do we worship and You alone we seek for help.
Guide us to the Straight Path.
The path of those whom Your blessings are upon, Not of those who You have cursed nor of those who have gone astray.”
Volumes had been wrote about the profound Symbolism of this first Sura.
Ṭawāf (طواف) is one of the Islamic rituals of pilgrimage. During the Hajj and Umrah, Muslims are to circumambulate the Kaaba (most sacred site in Islam) seven times, in a counterclockwise direction. The circling is believed to demonstrate the unity of the believers in the worship of the One God, as they move in harmony together around the Kaaba, while supplicating to Allah.
The Zamzam Well was revealed to Hagar, the second wife of Abraham and mother of Ismail. According to Islamic tradition, she was desperately seeking water for her infant son, but she could not find any, as Mecca is located in a hot dry valley with few sources of water. Muslim traditions say that Hagar ran seven times back and forth in the scorching heat between the two hills of Safa and Marwah, looking for water. Getting thirstier by the second, Ishmael scraped the land with his feet, where suddenly water sprang out. There are other versions of the story involving God sending his Archangel, Gabriel, who kicked the ground with his heel and the water rose.
Stoning of the Devilor stoning of the jamarāt (Arabic: رمي الجمرات) is part of the annual Islamic Hajj pilgrimage to the holy city of Mecca in Saudi Arabia. Muslim pilgrims fling pebbles at three walls, called jamarāt, in the city of Mina just east of Mecca.
When he [Abraham] left Mina and was brought down to (the defile called) al-Aqaba, the Devil appeared to him at Stone-Heap of the Defile. Gabriel said to him: “Pelt him!” so Abraham threw seven stones at him so that he disappeared from him. Then he appeared to him at the Middle Stone-Heap. Gabriel said to him: “Pelt him!” so he pelted him with seven stones so that he disappeared from him. Then he appeared to him at the Little Stone-Heap. Gabriel said to him: “Pelt him!” so he pelted him with seven stones like the little stones for throwing with a sling. So the Devil withdrew from him.
The Isra and Mi’raj (Arabic:الإسراء والمعراج, al-’Isrā’ wal-Mi‘rāj), are the two parts of a Night Journey that, according to Islamic tradition, the Islamic prophet Muhammad took during a single night around the year 621. It has been described as both a physical and spiritual journey to the Seven Heavens. This is so rich in Symbology, and Wisdom that this article scope will not do justice to it , and will have to address at another time in the future.
The Sages teach that seven are the attributes of physicality:
Top and bottom (limits height)
Front and back (limits width)
Left and right (limits depth)
The connecting of the other six
The Symbology of the number seven is so extend and so well known it will be necessary to dedicate a book to it, let’s just mention the seven days of the week, the seven colors, the seven notes of the music scale, the seven days of creation, the seven seals of Revelations, the seven seas, the seven Spiritual centers in Man, that the Hindus call Chakras, etc.
Other common theme is the Genie Invocation Spells or Jinn Invocation formulas Djinns. Like in the story Aladdin or, the wonderful Lamp.
Aladdin is an impoverished young ne’er-do-well in a Chinese town, who is recruited by a sorcerer from the Maghreb, who passes himself off as the brother of Aladdin’s late father Qaseem, convincing Aladdin and his mother of his goodwill by apparently making arrangements to set up the lad as a wealthy merchant. The sorcerer’s real motive is to persuade young Aladdin to retrieve a wonderful oil lamp from a booby-trapped magic cave of wonder. After the sorcerer attempts to double-cross him, Aladdin finds himself trapped in the cave. Fortunately, Aladdin retains a magic ring lent to him by the sorcerer. When he rubs his hands in despair, he inadvertently rubs the ring, and a jinni, or “genie”, appears, who takes him home to his mother. Aladdin is still carrying the lamp, and when his mother tries to clean it, a second, far more powerful genie appears, who is bound to do the bidding of the person holding the lamp. With the aid of the genie of the lamp, Aladdin becomes rich and powerful and marries Princess Badroulbadour, the Emperor’s daughter. The genie builds Aladdin a wonderful palace – far more magnificent than that of the Emperor himself.
The sorcerer returns and is able to get his hands on the lamp by tricking Aladdin’s wife, who is unaware of the lamp’s importance, by offering to exchange “new lamps for old”. He orders the genie of the lamp to take the palace to his home in the Maghreb. Fortunately, Aladdin retains the magic ring and is able to summon the lesser genie. Although the genie of the ring cannot directly undo any of the magic of the genie of the lamp, he is able to transport Aladdin to Maghreb, and help him recover his wife and the lamp and defeat the sorcerer.
The sorcerer’s more powerful and evil brother tries to destroy Aladdin for killing his brother by disguising himself as an old woman known for her healing powers. Badroulbadour falls for his disguise, and commands the “woman” to stay in her palace in case of any illnesses. Aladdin is warned of this danger by the genie of the lamp and slays the imposter. Everyone lives happily ever after, Aladdin eventually succeeding to his father-in-law’s throne.
Jinns, Genies are also living beings but they are made of fire. Genie or Jinns can be conquered by human beings by special invocations and if the invocation is done properly then after the completion of the Invocation it is possible to conquer the genie of jinns. But they all are one having the same powers and if this power is conquered by any one that person will be a very powerful human being having any type of power to do any thing and every thing. Looking for Genie Invocation spells or formulas for invocation of genies. Jinn invocation is done to conquer jinns. Invocation of jinn is possible by jinn spells or genie spells with talismans or charms. Summoning or invocation of genies, jinns etc requires proper concentration and then invocation of genies (jinns) is possible.
Again a simple tale of a humble orphan boy, and his impoverish mother who rise to power defeating an evil sorcerer, with the help of a Magical ring, and a Magical oil lamp were Genies reside, of course there is not such objects in the literal sense, but the fact is that this treasures are hidden in a secret cave, does not take much to discover the cave as a source of richness and treasures with unlimited possibilities, it is no other than the Heart.
The Heart of the Believer is the House of God
“So the Prophet’s migration from Makkah to Madinah was to pass by a cave. According to the life story of the Prophet , that cave was called the cave of Thawr. It is one day’s distance from Makkah. The Prophet stayed there three days. Why did the Prophet stay in that cave? Why was he unable to continue? The unfolding of the secrets occurred in that cave.
The Prophet was ordered to emigrate from Makkah to Madinah for the purpose of going inside the cave of Thawr where God taught him how to “remember God” (dhikr Allah). It was the first time that the Prophet invoked God in a loud voice. This is a very great Sufi secret indeed.
To emigrate from Makkah to Madinah was very easy for the Prophet. He only had to say, “In the Name of God, the Merciful, the Compassionate,” and he would have been in Madinah as easily as it had been for him to take sand and throw it at the ignorant people’s eyes preventing them from seeing him as he was leaving his house. Or he could have ridden on his horse or camel and reached Madinah in ten to fifteen days. Why did he go to that cave? The ‘Cave of Silence’ as it has been called? Indeed, it is the ‘Cave of Silent Secrets’. Why was the Prophet ordered by God to go to that cave, which is one day’s travel from Makkah, when he had a distance of fifteen days journeying to go?
When the Prophet went into that cave, a spider and a dove came and made a house over the door in order that no one would know what was inside. This is common knowledge. As for the secret, look to love. When love for someone is pure, God will never forget that person. “
“My earth and my heaven do not encompass me, but the heart of My servant who has faith does encompass me.”
There are 5 lata’ifs (subtle points of spiritual Energy), or Maqams (spiritual stations), on
the human heart. These five stations are, in an ascending order:
Qalb (“External Structure of the Heart”)
Sirr as Sirr (“Secret of the Secret”)
Khafa (“Hidden Akha (“Most Hidden”)
أَلَمْ نَشْرَحْ لَكَ صَدْرَكَ
Alam nashrah laka sadraka
Have We not expanded thee thy breast?
وَوَضَعْنَا عَنْكَ وِزْرَكَ
WawadaAAna AAanka wizraka
And removed from thee thy burden
الَّذِي أَنْقَضَ ظَهْرَكَ
Allathee anqada thahraka
The which did gall thy back?
The Arabian Nights in resume contain many tales where we can find numerous hidden symbols for the Spiritual wayfarer, not just simple tales of adventures fit for children, but a call to those who have eyes to see.
[22:46] Did they not roam the earth, then use their minds to understand, and use their ears to hear? Indeed, the real blindness is not the blindness of the eyes, but the blindness of the hearts inside the chests.