Satanic Verses Research Articles

Religion and responsibility in international relations: Thatcher, Mahathir, and The Satanic Verses

Abstract The crisis over Salman Rushdie’s novel The Satanic Verses exposed the contrasting ways Western and Muslim actors understand the place of religion in international order and the responsibilities of states in religious controversies. No other Muslim national leader supported Ayatollah Khomeini’s call for Rushdie’s death in 1989, but many Muslims expressed anger and disbelief that Britain and Western powers could not restrict a book that caused so much international disturbance. This paper seeks to understand this discord through the overlapping but conflicted language games of Western and Muslim national leaders. It analyses a previously unreported exchange of letters between British prime minister Margaret Thatcher and Malaysian prime minister Mahathir Mohamad, along with other recently released archival material from the diplomatic crisis. These letters reflected different unwritten rules informing the actors’ understandings and practices of international order, despite their shared acceptance of the sovereignty of national states. For Mahathir, the Western world was itself a religious identity, and its collective propagation of The Satanic Verses compounded a religious insult to the Muslim world. But Thatcher and other British actors did not see religious identities, especially their own, as basic elements of international relations, instead reasserting the secular primacy of national states.

Ghostly Thinking and Fictional Dwelling: Heidegger’s Philosophy of Nature and Rushdie’s The Satanic Verses

ABSTRACT This article analyzes the connections between ghost fantasy and the meditation on dwelling in Salman Rushdie’s 1988 novel The Satanic Verses, which explores migration and human intimacy with the natural environment. I argue that the novel helps clarify and develop Martin Heidegger’s philosophy of nature, which associates thinking and dwelling with the ghostly. As a communicative device, fictionality plays an important role in both writers’ exploration of the rootless condition of modern society, influencing their understanding of essence, truth, and value. I contend that a conversation between Heidegger and Rushdie discloses how contemporary literary fiction can contribute to a dynamic interpretation of the human-nature relationship, which embraces mystery and challenges mechanistic theoretical frameworks.

The translator and the scapegoat: On mimetic desire and intercultural mediation

In the summer of 1993, several poets and musicians, many of Alevi descent, were staying at the Madımak hotel in Sivas (Turkey) for a festival. One of the hotel guests was Aziz Nesin, a Turkish author who had controversially announced a translation of Salman Rushdie’s The Satanic Verses, a book widely condemned for its alleged blasphemy. On July 2, a large crowd marched on the hotel after Friday prayers and set it on fire. Thirty-seven people were killed, and many others wounded. This article discusses the case of Nesin and his connection to what is known as the Sivas massacre. Our study of this event seeks to examine the multilayered relationship between acts of intercultural mediation and outbursts of collective violence. We argue that this relationship can be clarified by drawing on the work of René Girard, whose writings on scapegoating and sacrificial violence survey the multifaceted interaction between human aggression and imitation. We introduce Girard’s work and consider the assumptions behind it in the light of previous work on translation, narrative and conflict. Against this theoretical background, our discussion of the Sivas massacre in relation to the Satanic Verses seeks to contribute to a better understanding of the role of agents of translation as potential catalysts as well as victims of collective violence.A synopsis of this article can be found here.

Cross-Cultural Influences in The Satanic Verses

The novel The Satanic Verses focuses on the cross-cultural influences and delves into the complexities of cultural hybridity by exploring the collision and blending of diverse traditions, identities, and belief systems. The narrative follows the intertwined lives of two Indian expatriates, Gibreel Farishta and Saladin Chamcha, who survive a terrorist attack on their flight from Bombay to London. Following the miraculous survival, the characters experience a series of surreal and fantastical transformations, blurring the lines between reality and myth. Rushdie's novel is renowned for its exploration of cultural syncretism, where elements of Eastern and Western cultures converge and coalesce. The characters navigate between different cultural landscapes, grappling with questions of identity, belonging, and the clash of civilizations. The narrative traverses various historical and geographical contexts, including India, Britain, and the Islamic world, highlighting the interconnectedness and fluidity of cultural boundaries. Central to the novel is the concept of hybridity, where characters embody multiple cultural identities and negotiate the complexities of their hybrid existence. Through vivid imagery, intricate storytelling, and linguistic experimentation, Rushdie depicts the rich tapestry of cultural influences shaping the characters' lives and experiences. The novel challenges essentialist notions of cultural purity and celebrates the dynamic interplay between diverse cultural traditions. Furthermore, the text explores the impact of colonialism, migration, and globalization on cultural formations, illustrating how power dynamics shape cultural exchanges and encounters. Rushdie critiques the hegemony of dominant cultural narratives and emphasizes the importance of embracing pluralism and diversity in contemporary societies. Overall, "The Satanic Verses" serves as a provocative and illuminating exploration of cross-cultural influences, offering profound insights into the complexities of cultural identity, hybridity, and the ever-evolving nature of human experience in an increasingly interconnected world.

The Rushdie Affair and the Politics of Multicultural Britain

Abstract It is more than thirty years since Ayatollah Khomeini, the supreme leader of Iran, issued a fatwa (religious decree) calling for the execution of the British-Indian novelist Salman Rushdie, whose third novel, The Satanic Verses, was published in 1988. But the ‘Rushdie Affair’ has yet to be subject to a sustained analysis by historians. Journalists and political scientists continue to focus on the fatwa, despite the fact the protests against the novel in Britain – where The Satanic Verses is primarily set – predated Khomeini’s decree by two months. This article fills this lacuna by shifting attention onto the emergence of the campaign against The Satanic Verses in Britain and in Bradford especially, where a copy of Rushdie’s ‘blasphemous’ novel was infamously burnt by Muslim protestors. It shows how an earlier set of campaigns fought in Bradford by Muslim activists paved the way for the city to become a key site of protest against both Rushdie and his novel. The protests that greeted The Satanic Verses were shaped by the contradictory nature of Britain’s emergence as a multicultural society, I argue, and the political complexities thrown up by the hybridized milieu Rushdie had sought to use his fiction to evoke.

D.H. Lawrence’s <i>Lady Chatterley’s Lover</i> and the legal overreach in its ban: A study of the implications for law and literature

On the one hand, the Age of Enlightenment in Europe triggered off scientific discoveries and technological innovations. Science and Technology became yardsticks for progress in the world. This led to industrialization and the subsequent commodification and annihilation of emotion, spiritual and even sexual life of humankind; on the other hand, in the far East, Iran for example, there is radicalization of religious life and preference of religious life over emotional and sensual life. In Europe, the intellectual life became privileged over the emotional and intuitive life, human relations degenerated so much so that even families grew apart from themselves. Writers as D.H. Lawrence felt the need to draw our attention to the havoc being wreaked on human relations; while Rushdie felt outraged by deification of a man he considered sexually perverse. D.H. Lawrence achieves his aim through the text, Lady Chatterley’s Lover, which was adjudged by the law as pornographic and was, therefore, banned; while Salman Rushdie also achieves his through his The Satanic Verses, which was rather adjudged blasphemous and was also banned with Fatwa placed on the head of the writer. The objective of this paper was to examine aspects of the narrative as lawyers or judges would examine cases to see how Lady Chatterley’s Lover yielded to obscenity to warrant it being banned as well as to understand why the prosecutors failed and why the work was later unbanned. It examined also The Satanic Verses to also see how it yielded to blasphemy and to understand why it was not banned in Western Countries. It is hoped that this study would help in further understanding the relationship between Law and literature. The methodology deployed was textual data analysis; and it was concluded that the determining of justice in law involves interpretation just as interpretation is needed in the pursuit of meaning in the text; and that legal briefs as well as judgments are in themselves narratives just as literature is. Finally is it was concluded that law will eternally be deconstructive in the pursuit truth or fact just as literature the pursuit of meaning in literature will depend on the eternal deconstructive process.

IDENTITATE ȘI ADEVĂR LA SALMAN RUSHDIE

The paper analyzes the signs of the age of the spirit in the work The Satanic Verses, by Salman Rushdie, with a particular emphasis on the membranes of identity, the truth and the spiritual experiences through which the characters of this work are led. From the perspective of the multiple layers of meanings, in other words, from the perspective of the membranes of understanding, the world in Rushdie's sense is a set of dream membranes and reality membranes, of membranes of good and membranes of evil, which intertwine, sometimes it moves in harmony, sometimes in dissonance, but in which there is always room for love.

Comprehending the risk throughout a literary-geocritical approach. Rushdie's <i>The</i> <i>Satanic Verses</i> as evidence and an opportunity in investigating risk scenarios

<abstract> <p>This paper aimed to demonstrate the correlation, a hidden, intricate, interplay, between the conception of risk and the fluid nature of society during the eras of migratory relocations as portrayed in Salman Rushdie's literary masterpiece, <italic>The Satanic Verses</italic>. The general premise found in this paper was that risk is based on the following logical axiom: Risk is mathematically unpredictable, something that goes beyond the human capability of discernment or probabilistic prevision. This blank space that separates reality from its potentiality is the risk. Thus, in migratory relocation, the risk consists of the unknowability of what could happen the second after having passed a line. It is the border of what is known. Rushdie's work offers profound insights into the ways in which individuals navigate the turbulent waters of a rapidly changing world, where cultural, social, and political paradigms constantly shift. In the first part of this work, we will present the main topics related to risk. Rushdie's work underlines the central role that storytelling and narrative play in navigating the complexities of a fluid society. The characters in Rushdie's novel employ storytelling as a means of understanding and asserting their own identities, thereby confronting the inherent risk of being silenced or marginalized in a world dominated by shifting power dynamics. In conclusion, Salman Rushdie's <italic>The Satanic Verses</italic> provides a rich tapestry of narratives that not only explore the conception of risk in a fluid society but also challenge readers to contemplate the intricate interplay of identity, culture, and faith in an ever-changing world. This works serve as a testament to the power of literature to engage with contemporary issues, transcending boundaries, and sparking critical conversations. Through his vivid characters and daring narratives, Rushdie invites readers to grapple with the aims and main issues of our time: the quest for self-identity, the inevitability of risk, and the enduring need for storytelling as a means of understanding and shaping our rapidly evolving society.</p> </abstract>

Reconstructing Postcolonial Identity: A Comparative Analysis of Cultural Hybridity in Salman Rushdie’s Novels with a Focus on the South Asian Context

Salman Rushdie’s novels, including Midnight’s Children, The Satanic Verses, and The Ground Beneath Her Feet, offer profound insights into postcolonial identity in South Asia. This analysis explores the themes of cultural hybridity, religious transformation, and globalization, revealing the complex nature of identity negotiation in a postcolonial context. Beginning with an overview of postcolonial identity and the significance of cultural hybridity, the analysis focuses on Midnight’s Children, illustrating characters navigating the synthesis of diverse cultural elements in post-independence India. The theme of cultural hybridity becomes a lens for understanding the shifting nature of identities in the wake of historical changes. The Satanic Verses extends the examination to religious hybridity, revealing the transformative impact of religious experiences on individual and societal identities. The novel becomes a profound exploration of the intersections between religion, identity, and cultural conflict within the South Asian context. In The Ground Beneath Her Feet, the analysis delves into globalization and cultural fusion as transformative forces shaping South Asian identity. Characters navigate the tension between local traditions and global influences, offering a nuanced representation of South Asian identity in a transnational world. Within the South Asian context, the analysis scrutinizes cultural diversity, the impact of colonialism, and Rushdie’s nuanced representation of identity. The novels become a literary mirror reflecting the kaleidoscope of cultures, languages, and histories that define South Asia, challenging stereotypes and embracing the fluid, hybrid nature of postcolonial identities. Salman Rushdie’s novels contribute significantly to the discourse on postcolonial identity. Themes of cultural hybridity, religious transformation, and globalization collectively offer a profound exploration of the complexities inherent in identity formation in the postcolonial era. This comparative analysis invites readers to navigate the intricate terrain of postcolonial identities, transcending boundaries and embracing the richness of a world shaped by diverse cultural influences.

Humour and Sadness in Postcolonial Novel: Emotional Ambivalence in Early Anglo-Indian Novels

The deployment of humour and sadness together in postcolonial literature invites im- portant discussions on ambivalence. These two juxtaposing themes in postcolonial nov- els reflect not only the cultural clashes effectively, but also the emotional ambivalence of the characters. While the use of humour and sadness turns the anti-colonial novels into sub-historical texts, the tragi-comedy created in this context provides an opportunity to view history from an individual perspective and re-interpret it. This can be observed within the early novels of Salman Rushdie, particularly in Shame, Midnight’s Children, and The Satanic Verses, Hanif Kureishi and Arundhati Roy. The excerpts taken from these novels indicate that the cultural clashes occurred by the confrontation of Eastern and Western cul- tures inevitably bring humour and sadness together. Yet, the occurrence of these juxtaposing uses of humour and sadness reveals an emotional ambivalence as well as cultural ambiva- lence of the main sub-continental characters in these works. This paper, therefore, argues that colonial practices, as represented in Rushdie, Kureishi and Roy’s novels in question, function to create a juxtapositional unity of humour and sadness that create the emotional ambivalence of colonial subjects who are not only hybridized culturally but also trauma- tized individually.

The Gift of Writers in Animating the Past to the Present as Tales of Remembrance: A Comparative Study of Salman Rushdie’s Victory City and Amitav Ghosh’s Jungle Nama

The research focuses on how fantasy is manifested as part of storytelling. Salman Rushdie’s Victory City (2023) and Amitav Ghosh’s Jungle Nama (2021) adopt ancient myths and histories that serve as remembrance tales. Both Rushdie and Ghosh evince a common interest in exploring social issues in their writings through an allegorical form. Rushdie’s Victory City is about the history of the Vijayanagar Empire, one of the most distinguished empires of medieval India (14th century to 16th century). Rushdie submitted his final edits of Victory City before the attack in New York City (Chautauqua) for his controversial novel The Satanic Verses. In the month of August 2022, he was stabbed in public by a youngster. He tweets that there is no freedom for authors to express themselves through writing. So, the research focuses on how fantasy serves as a tool for authors to express their views. His Victory City made him overcome all the negative criticism that he had encountered during the attack. Ghosh’s Jungle Nama also adopts the history of Sundarbans’ Forest goddess, Bon Bibi. Ghosh through his narration blends the myth and history of Bon Bibi who have been worshipped for centuries by the people of Sundarbans. Blending the real and imaginary in both fictions greatly challenges the differentiation between authenticity and fantasy. The supernatural phenomena in these narratives transport the reader from reality as a kind of escapism. During this, the characters in the fiction recall the past events and visions of the future in their present, and these aspects are also explored in the analysis. Victory City and Jungle Nama encounter the experience of mysticism in their narration which embarks on a voyage of difficulties and hindrances in the unreal world. Both these speculative fiction explore the concepts of fantasy and mystery so the theory of Magical Realism is applied to the strange creatures, other worlds, evils, demons, and demi-gods that exist in the fanciful setting which is also discussed.

SIMBOLISME AGAMA DALAM NOVEL THE SATANIC VERSES: PERSPEKTIF SEMIOTIKA FERDINAND DE SAUSSURE

Semiotics is a field of science that examines symbols in an object. The novel The Satanic Verses by Salman Rushdie is the fourth work in the style of magical realism. The purpose of this study was to determine religious symbolism based on the perspective of Ferdinand de Saussure in the novel The Satanic Verses by Salman Rushdie. This research uses a qualitative descriptive research method. The collection of data in the novel The Satanic Verses uses reading and note-taking techniques. Based on the results of the analysis that has been carried out, found seven data on religious symbols were found consisting of Mahoud, Jibril, Abraham, Satanic verses, the use of the names of the Prophet Muhammad's wife (Saudah, Ayesha, Hafsah, Umm Salamah the Makhzumite, Rumlah, Zainab bint Jahsh , Juwairiyah, Rehana the Jew, Safia, Maimunah, Mary the Copt, Zainab bint Khuzaimah). The results of the analysis show that the writer takes an ahistorical figure from the writer's imagination.

The Role of Women Characters in the Select Novels of Salman Rushdie

Salman Rushdie, a postmodernist immigrant, is considered as one the greatest novelist of the 20th century. His apt use of magical realism, incorporates mythology, religion, history, fantasy, and humor into the real world. He narrates his life story and relates it to the national history of India. Rushdie uses the magical realist technique to deal about the postcolonial people of India, and various postcolonial issues. His writing focuses on India’s history, politics, and identity as seen through his narrators. There is a blending of fantasy and reality with his fantastical fiction. Salman Rushdie presents women as strong characters to break free from their oppressive roles through his works. He develops strong female characters who face life with great fortitude and strength rather than meek personality. This research article critically investigates the role of women characters in selected novels by the acclaimed author, Salman Rushdie. A corpus of three major works—Midnight’s Children, The Satanic Verses, and Shame—has been selected for detailed analysis. The study aims to illuminate the varying dimensions of women’s representation, their influence, and the evolution of their roles in these narratives, serving as mirrors to the sociopolitical realities of their time. The article applies a combined theoretical framework of feminist literary criticism and postcolonial discourse to unpack the intricate characterizations and their wider implications. Findings reveal that Rushdie’s women characters are often depicted as multi-dimensional, complex individuals who actively influence the plot and resist conforming to traditional roles. They embody strength, resilience, and liberation in the face of cultural, political, and religious adversities, breaking the mold of passive feminine stereotypes. Despite being enmeshed within patriarchal societal structures, these characters often subvert normative constraints, highlighting the intersection of gender, power, and resistance in Rushdie’s novels. Through the use of magical realism, Rushdie juxtaposes reality with the fantastical, further challenging conventional expectations of women in literature. Rushdie’s depiction of women provides significant insights into the complexities of postcolonial feminist identities, societal norms, and cultural heritage. His novels, while being grounded in their specific contexts, resonate on a universal scale, enriching the discourse around the representation of women in literature.

:Bibliophobia: The End and the Beginning of the Book

:<i>Bibliophobia: The End and the Beginning of the Book</i>

Life in Hiding: Censorship Challenges faced by Salman Rushdie and Perumal Murugan

Salman Rushdie and Perumal Murugan have made significant literary contributions to modern Indian Literature. The study focuses on the authors’ post-traumatic mental conditions and societal anxiety. Controversies were prompted by Rushdie’s The Satanic Verses (1988) and Murugan’s One Part Woman (2010). Due to their literary career, the writers were forced to leave their hometowns involuntarily into exile also underwent self-censorship and self-exile. This paper examines the societal worries that the authors experienced regarding the books, which were published after the controversies surrounding their censored and banned works. The study distinguishes the implication of censorship and writers’ freedom of expression in the contemporary era of Indian literature. The diverse mental state of the authors during enforced self-imposed quarantine and global pandemic lockdown are interrogated. The paper focuses on the authors’ physical and psychological problems caused by opposers’ conservative views towards their writings. The paper also details the authors’ resilience amid political, and social pressure.

Magical realism and romance in Asia: Avenuesfor understanding?

The classical Greeks believed that Eros was about erotic love. When we forsake the object of our love, it becomes relegated to the dustbin of memories, which makes it difficult to recover or retrieve. This article discusses how romantic love has been celebrated in works of magical realism in Asia that have evolved to include a range of emotions, political resistance (and questioning state authority and authoritarian personalities), fantasy, delusion, illusion, and fiction. One of the most pronouncedly celebrated works on magical realism was Gabriel GarcaMárquez’sLove in the Time of Cholera(1985) (1), which was about patience, perseverance, and emotional endurance. It is a frequent reminder of the need to preserve the memory of the object of one’s love, as it appears to be the only way to ensure that the dead never die. Three years later, Salman Rushdie’s The Satanic Verses(1988) (2) analyzed censorship and religious violence in India (and Pakistan), but incurred the wrath of religious fundamentalists in Iran. Gabriel Garca Márquez’s work was translated from Spanish to English and another 56languages; it became so influential that many scholars used to believe that magical realism originated from LatinAmerica and from the work of Gabriel Garca Márquez. Others believed that it was from several other Latin Americanscholars, including George Borges. Before Márquez and Borges, western European scholars said that magicalrealism originated in Germany between 1919 and 1933, i.e., the Neue Sachlichkeit (or Post-Expressionist) inter-war years, in the work of art critic and historian Franz Roh. Neue Sachlichkeit represented a new but unsettling depiction of a society devastated by war. But this claim is not entirely accurate, as there are other, much earlier claims. Nevertheless, for purposes of this article, magical realism began in Latin America and Mexico, most notably with the work of Gabriel Garca Márquez, who would eventually win the Nobel Prize for Literature in 1982. This articleis particularly partial to the influences of Márquez’s Love in the Time of Cholera(1985) (1), which pedestalizes the memory of being devoted to the object of first love and the fragility of life. In one sense, the confusion, massacres, and plagues of Márquez’s narrative reveal the decadent human desire to plot, plan, and massacre fellow human beings, as we are naturally driven by a God-given desire to destroy the things that we create. Exactly as Goddoes to man, the article asks us to think about the literature of Asian magical realism in general and of Southeast Asian magical realism in particular. What patterns can be gleaned from a brief survey of how magical realism works in Southeast Asia, and what can those patterns tell us about our strengths and desires within streams of consciousness?

Magical Realism and Romance in Asia: Avenues for Understanding?

The classical Greeks believed that Eros was about erotic love. When we forsake the object of our love, it becomes relegated to the dustbin of memories, which makes it difficult to recover or retrieve. This article discusses how romantic love has been celebrated in works of magical realism in Asia that have evolved to include a range of emotions, political resistance (and questioning state authority and authoritarian personalities), fantasy, delusion, illusion, and fiction. One of the most pronouncedly celebrated works on magical realism was Gabriel Garca Márquez’s Love in the Time of Cholera (1985), which was about patience, perseverance, and emotional endurance. It is a frequent reminder of the need to preserve the memory of the object of one’s love, as it appears to be the only way to ensure that the dead never die. Three years later, Salman Rushdie’s The Satanic Verses (1988) analyzed censorship and religious violence in India (and Pakistan), but incurred the wrath of religious fundamentalists in Iran. Gabriel Garca Márquez’s work was translated from Spanish to English and another 56 languages; it became so influential that many scholars used to believe that magical realism originated from Latin America and from the work of Gabriel Garca Márquez. Others believed that it was from several other Latin American scholars, including George Borges. Before Márquez and Borges, western European scholars said that magical realism originated in Germany between 1919 and 1933, i.e., the Neue Sachlichkeit (or Post-Expressionist) inter-war years, in the work of art critic and historian Franz Roh. Neue Sachlichkeit represented a new but unsettling depiction of a society devastated by war. But this claim is not entirely accurate, as there are other, much earlier claims. Nevertheless, for purposes of this article, magical realism began in Latin America and Mexico, most notably with the work of Gabriel Garca Márquez, who would eventually win the Nobel Prize for Literature in 1982. This article is particularly partial to the influences of Márquez’s Love in the Time of Cholera (1985), which pedestalizes the memory of being devoted to the object of first love and the fragility of life. In one sense, the confusion, massacres, and plagues of Márquez’s narrative reveal the decadent human desire to plot, plan, and massacre fellow human beings, as we are naturally driven by a God-given desire to destroy the things that we create. Exactly as God does to man, the article asks us to think about the literature of Asian magical realism in general and of Southeast Asian magical realism in particular. What patterns can be gleaned from a brief survey of how magical realism works in Southeast Asia, and what can those patterns tell us about our strengths and desires within streams of consciousness

‘The Satanic Verses is the rude contrary of the authoritarian lie’

‘The Satanic Verses is the rude contrary of the authoritarian lie’

The Improbably Long Reach of the Rushdie Fatwa

More than 33 years after Ayatollah Ruhollah Khomeini issued the extraordinary fatwa calling for Salman Rushdie’s death for blaspheming Islam in The Satanic Verses, a Lebanese-American man attacked and badly injured Rushdie in upstate New York. Although the attacker may have drawn some inspiration from Iran’s hostility towards Rushdie, and the attack did coincide with the discovery of Iranian plots to assassinate American officials in retaliation for the killing of Qasem Soleimani, there is no evidence that Iran or any Iranian proxy was involved, and there seemed to be no information about active threats. Iran’s response to the attack was malicious and provocative, but its condemnation of blasphemy is hardly unique or surprising. It is unrealistic for some Western commentators and officials to conclude that Iran’s vendetta against Rushdie means it cannot be trusted to abide by a revived Joint Comprehensive Plan of Action.

KONSEP AYAT-AYAT AL-QUR’AN VIS A VIS AYAT-AYAT SETAN DALAM KAJIAN ‘ULUMUL QUR’AN

This study is aimed at exposing the conception of the verses of the Qur'an vis a vis the Verses of Satan. Salman Rushdie with his work The Satanic Verses (Satanic Verses) once shocked the Islamic world, by trying to counter the belief of Muslims in the sacredness of the verses of the Qur'an. Uniquely, Rushdie's view is actually contained in the treasures of Islam itself, namely the Qissat al-gharānīq (Story of the Crane). Although its validity is doubtful, narrations about Satan's verses have been included in various commentaries, including: Tafsr al-Thabari, Tafsr al-Kasyaf, Tafs Jar Jalalayn and others. They raised the devil's whispering verse (gharānīq) when interpreting verse 52 of surah al-Hajj.