Reviewed by: The Repose of the Spirits: A Sufi Commentary on the Divine Names by William C. Chittick John Zaleski (bio) The Repose of the Spirits: A Sufi Commentary on the Divine Names William C. Chittick Albany: State University of New York Press, 2019. 708 Pages. William Chittick has brought to an English-speaking audience, in an attractive and fluid translation, an extensive medieval commentary on the divine names and divine love. The Repose of the Spirits (Rawḥ al-arwāḥ), written by Aḥmad Samʿānī (d. 1094/1140), is structured as an exposition of 102 names of God derived from the Qur’an, from Hū (“He”) to al-Ṣabūr (“the Patient”). It represents the earliest Persian example of this genre, numerous Arabic versions of which have been studied by Daniel Gimaret.1 Like the authors of these Arabic commentaries, Samʿānī typically begins his discussion of each divine name by providing a brief definition and by marshalling relevant Qur’anic passages. Yet unlike many of the Arabic commentators, Samʿānī is little concerned with unraveling the etymology of God’s names and unbothered by the theological problem of how creatures can name their transcendent creator. It is, rather, the spiritual significance of God’s names and what they say about the divine-human relationship that interests Samʿānī and has drawn the attention of his translator. The central theme of Samʿānī’s discussion is the mutual love of God and his friends. His discourse is allusive. He speaks in stories, mixes metaphors and images, and switches easily between Persian and Arabic (which constitutes roughly ten percent of the work and is indicated in the translation by being placed in italic font). To illustrate Samʿānī’s approach, the second divine name is Allāh itself, which Samʿānī defines as denoting him who has the power to “innovate and devise” (p. 4). Yet by the end of the chapter, Samʿānī has turned his focus to the love that God devises in the human heart: “Know that in reality, even if God were to send union’s tent and proximity’s dome into hell, the friends of the Garden of the Beginningless, who became drunk on the song of the nightingales of the unseen attraction, would make hellfire into their eyes’ collyrium” (p. 6). Chittick’s translation captures with an appealing rhythm this rush of Sufi technical terms (union, proximity) and imagery (intoxication, the song of the nightingale). The sense that emerges from these images is that of the all-enduring love for the Beloved that animates God’s friends. In many cases, it is easy enough to follow Samʿānī as he draws the strand of a given divine name through the chapter and intertwines it with the central [End Page 102] thread of God’s love. For example, in chapter 82 on the name al-Tawwāb (“the Ever-Turning”), the focus of Samʿānī’s remarks is repentance (tawba), that is, the turning of the human to God, and the prior turning of God to the human that enables this repentance. This mutual conversion, Samʿānī indicates, is the fruit of God’s love; the Qur’anic He turned toward them so that they would turn (Q 9:118) points toward He loves them and they love Him (Q 5:54). In other chapters, however, there does not appear to be a clear connection between the ideas and images invoked by Samʿānī and the meaning of the divine name that launches the chapter. In these cases, as Chittick notes, the discussion of God’s names serves merely as a “pretext for delving into the mysteries of the divine love that permeates the universe” (p. lxi). The primary significance of this work thus lies not in being the earliest Persian commentary on the divine names, but in providing an extended reflection in beautiful prose on the love of God, well before that of the more famous “lovers” of the Persian tradition, such as Rūmī (d. 672/1273) and Ḥāfeẓ (d. 792/1390). In spite of its significance, as well as its survival in several manuscript libraries, Samʿānī’s Repose of the Spirits...
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