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Sunday, 27 May 2018



We cannot understand Al-Quran unless we know in which format it is written. The narratives of the book Quran are not separate stories; they are portrayals linked in an anthropomorphic theophany format. Because of theophany writing style of the book Quran; it looks like that the God is literally talking to human beings through his messengers. The narrations or structure of the 114 chapter book is similar to that of script writing of Aesop's fables, where we have many roles represented by depicting personified characters just for the sake of conveying a much vibrant message than the characters of the story itself. The book Quran portrays the internal conversation between senses of our own system of consciousness and this conversation is presented by portraying different characters as examples [misaal] which has to be deduced [Qasas] by understanding the crux of the parable.

Many parables such as Mahabharata, Ramayana, Old Testament and the Quran are written in the theophany format. Notable manifestation of theological characters that is tangible to the human senses is called theophany. The beauty of the book Quran is every character has a meaning and significance that can be felt and witnessed by our senses. In fact all the epics of ancient era are based on such format, where characters of the script are brought to life in order to relate meaningful experiences to the senses.

‘Shikwa Jawab e Shikwa of Allama Iqbal in Urdu is the best example of theophany format. The author is neither Allah nor the complainant; still the author is portraying it as if Allah and the complainant are talking to each other directly by writing the poem in 1st and 2nd person.

In Quranic sense Rabb [Consciousness] is portrayed as an amphitheater, while Nafs is the lower stage [fi alardh] of consciousness where different senses personified as characters of the inherent script [Al-Kitab], perform in order to keep the theater alive. Lower consciousness is our real living place 

 A real actor is one who focuses on his own script [Al-Kitab] in the act to his best potential without copying other actors, so as to uplift his nafs to the higher consciousness [Al-Samawat]. The entire problem starts when one fails to identify his own script [Al-Kitab] and tries to emulate other actors. Everyone has their own role to play; adapting others role is the biggest injustice to the self.

The parabolic Adam’s biggest mistake was that he did not listen to the signs [ayaat] of his own Consciousness [Rabb] and was tempted by Satan’s Ayaat, thus he was out of the game or got disconnected from the knowledge of his Rabb [Jannah].

The innate vibrant script provokes man to recognize, remember, follow and listen to the voices of his inherent messengers and act accordingly if he want to remain connected with the script of his Rabb..

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