Lajais LA G O S STATE JO U R N A L O F A R A B IC & ISLAM IC STU D IES Vol. 1, No. 1, January 2025 ISSN 2476-8146 A publication of the Nigerian Association of Teachers of Arabic & Islamic Studies (NATAIS) Lagos State Branch UNIV ERSIT Y O F IB ADAN L IB RARY Lajais Lagos State Journal of Arabic & Islamic Studies © 2025 Vol. 1, No. 1, January 2025 ISSN 2 4 7 6 -8 1 4 6 IM! Design, layout & production: F REE E N T E R P R I S E P U B L I S H E R S , L A G O S HEAD OFFICE: 45, Thomas Salako Street, Ogba, Lagos. ^+234.814.1211.670 E3free.ent.publishers@gmail.com UNIV ERSIT Y O F IB ADAN L IB RARY mailto:E3free.ent.publishers@gmail.com C O N T EN T S 2 3 4 5- 6 7 8 9 10 11 12 1 Challenges of Teaching, Leaming and Application of Al-Farä’id in Lagos and Oyo States, Nigeria: An Exposition— Busari, Jamiu Muhammad, PhD / Abdulsalam, Mikail Kolawole, PhD & Adeoye, Tawaliu Oriowo, P h D .........l Rethinking Shari'ah Legal Concept of Sadd Adh-Dharä’ as a Right-Based Approach to Curb the Menace of Banditry in Nigeria— Adegoke, Kazeem Adekunle, PhD / Oloke, Muritala A, PhD.................................................... 28 Sustaining Peace and Development: An Exposition of Reasons and Purposes for Qur’anic Admonitions— Paramole, Kabir Olawale, PhD / Shehu, Tijani Olawale.......................................................................................................... 41 The Role of Agriculture in the Economic Development of Nigeria and the Sunnah Practice— Abdul-Raheem, Bashir PhD / Boladale, Sodiq Babafemi, PhD.................................................................................................................. 55 Perception Engineering in Nigerian Politics: An Islamic Viewpoint— Adedeji Luqman Lekan, PhD / Abass, Aremu Rahman, P h D ........................ ........ 70 Mixed Perceptions on Shari'ah in Nigeria, A Multireligious Nation— Adeleke, R.S., P h D .............................................. 79 An Islamic Perspective on the Cost-Benefit Analysis of Gambling in Nigeria— Sanni, Mubarak O.................................................................. 93 Nigeria’s Potentiality in International Haläl Food Industry: An Analysis— Situ, Waheed Adeyemi, PhD / Odeniyi, Ismael Kolawole, PhD / Teliat, Yunus Olusina PhD....................................................................................................116 Towards Understanding the Islamic Concept of Rights: A Comprehensive Exposition— Lawal, Manzoor A. / Akanni, Akeem A, P hD ..................... 139 An Expository Study of Angels in Islam and the Perception of Muslims on the Syncretic and Heretical Beliefs in Ruh al-Quds (Holy Spirit)— Adeoye, Tawaliu Oriowo, PhD & Busari, Jamiu Muhammad, PhD.......................... 155 Towards a Perfect Qur’anic Recitation in Islamic Worship: An Assessment of Tajwld. Competence of Muslims in Ijebu-Ode— Ibrahim, Toyib, Biodun, PhD & Adetunji, Jelilat Ronke.............................................................................. 179 Of Love Theory and Love Poetry in Arabic Sufi Literature: An Exploration of al-Shushturi Sufi’s Ecstasy as a Paradigm— Ade tunji, Izzudeen, PhD .. 193 13 »Jl*v Ajil j ü l kjjia flL i ^ l Cj LjAvjJI (ijtjLn y / ^ i) "01 >11 ^ — Shittu, Morufudeen Adeniyi, PhD......................................................... 219 UNIV ERSIT Y O F IB ADAN L IB RARY > 193 < Of Love Theory and Love Poetry in Arabic Sufi Literature: An Exploration of al-Shushturi Sufi’s Ecstasy as a Paradigm Adetunji, Izzudeen, PhD ABSTRACT Love, in Arabic term denotes hubb, iskiq, gariimah, wudd and hawaa. It semantically has more than thirty Arabic words denoting the same meaning.1 It has been a symbolic Interactive expression o f feeling that has possessed quantum significance and values over the passage o f time in both animate and inanimate beings. Extant research works on love poetry have been carried out by researchers on its quantum purposes and effects in the socio-cultural, anthropological physiological, psychological, religious and socio-linguistic and literary arena, in both Arabic and westem literary works. However, there has been sparse attention on the exploration o f the love theory and love poetry in Arabic Sufi literature, which has created the gaps to befilled by this research. Therefore, this paper aims to explore the love theory in the love poetry o f Arabic Sufi literature, using Al- Shushturi Sufi’s Ecstasy as a paradigm. Before delving into the main discussion, the contrastive discourse between the concept oflove theory and love poetry would be examined. Likewise, the concept o f Sufism and ecstasy shall be discussed. Al- Shushturi’s biographical account and scholarship including the review and literary analysis o f his Sufi’s poetries would be treated. i. Hubb- Mahabba-Miqa-Ra’fa- Wudd-Sababa-Khulla-Kalaf-Sabwa-Hanin-Shawq- Ishtiyaq-Baabal-Jami'i- Hawa-'Ishiq-Shaqaf-Wala’- Tatayyum-Walah-Hiyam-Wajd-Jawa- Karb-Ka’aba- Shajw- Ghamra-Jaza’- Khilaba-Suhd-Gamra and etc. See Stefan Leader: The Semantics of Love: Conflict, Sublimation and Experience in Arabic Discourse. Pg42. UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | Vol. 1 /1, JAN. 2025 Keywords:. love theory, love poetry, Arabic sufi literature, shushturi. ecstasy INTRODUCTION Lo v e is r e g a r d e d a s i n d is s o l u b l y r e l a t e d t o Co d e s , w h i c h s e r v e to structure both the communication and experience of the emotion. It involves the attachment of different values by different societies, cultures, eras and natures.2 The creation of Adam and Hawau on the surface, does not only feature them as the first created being, but as husband and wife roped with the communication of profane love. Since then, the level at which the term “love” echoes and perturbs the globe cannot be underestimated as it has become a chant, slang, term that has great effects not only in the socio-cul- tural and religious life but in the anthropological and physiological arena espe- cially from the ninth to fourteenth Century when it expanded from being a “pro­ fane” idea to a significant “theory.” The evolution of Islamic Sufism in Islamic mediaeval period has led to the witness of different mystical term, enchantment, slogans, slangs and ecstasy by the mystics (sufis) in their oral communication, interactions, and expressions of divine love to Allah and prophet Muhammad. This is featured in many Sufi literature books and compendiums. Arabic discourse, through the nexus link binding Sufism with Islam which the unconscious state of Sufis in expressing their divine love to Almighty God whom they always referred to as (beloved one), had depicted love as a Statement of conflict between passion and rules of reasonable and socially approved behaviour. The conflict occurred as a result of contradictory stance; emotional attachment becoming more intense as the beloved is absented by adverse circumstances; inspiring intellectual, aesthet- ic and spiritual experience. Also, it depicts love as an emotional, intellectual and social phenomenon. According to Antaki’s syntax, love is a sentence which Starts with the pronoun of the first person and ends with its annihilation. As a chain of States of minds, love entails fixation i.e. the inability to perceive per- fection outside of the objects of adoration. When the lover becomes totally ab- sorbed by his desire, none of the usual treatments offer remedy. All sensations seem to be related illusively to the beloved. Permanent unrest unreliably takes 2. Stefan Leader: The Semantics of Love: Conflict, Sublimation and Experience in Arabic Discourse. 41 > 194 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1/1, JAN. 2025 rossession of the Äshiq as the beloved seems dearer than one’s own life and ieath is better than the reality as life and love become incompatible.3 However, some different types of love which have great purposes to this pa­ rier would be enumerated and briefly discussed for research purposes. Among them are: ordinary love, ardent love, profane love, sublime love, passionate love, etc. • . Ordinary love (hubb): is a love not binding on chain or contract but mere feelings and affections. •. Ardent love (‘ishiq): is a voluntary affection and exercise nourished by exposing oneself repeatedly to the initial Stimulus and cultivated by an inspired imagination which refuses to acknowledge the complexities of reality. It prevails over reason and is offen shown, in its most simplistic form, as an affliction and misfortune. It develops to voluntary exercise, relying solely on the lover’s deliberate acceptance of a paradoxical Situation where he cannot renounce his affective attachment knowing that a Union with his friend is unattainable. When the lover no longer relies on a positive response, this kind of love becomes a selfless and morally refined stance based upon the emotional experience of ardour (wajd).4 In sublime love, love is recognized as a driving force, encouraging and inspiring, as the lover aims to win the object of his desire and please him. Love demands active engagement and results from some sort of sensitivity and cannot afflict the dull person. Thus, it remains a futile effort.5 Passionate love is depicted as an unconditional devotion to the beloved in spite of all hindrances. This experience entails suffering and often causes the lovers’ deaths.6 Profane love corresponds with ascetic exercise of the mystic’s love of God.7 3. Tazyin al-Aswaq bi tafsir ashwaq al 'Ushsaq. ed. Aiman ‘Abd al-Jabbar al-Buhairi. Vol i,Cairo, pg 52. A lso, see :Stefan Leader: The Semantics of Love: Conflict, Sublimation and Experience in Arabic Discourse. Pg46 4. Ibid.: pg 52-59 5. Ibid. 6. Ibid. 7. English dictionary > 195 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 LOVE THEORY IN ARABIC AND WESTERN LITERARY DISCOURSE Love and theory are two separate entities, which connote different ideas and meanings. The word “theory” means a description of an event or System that is considered to be accurate.8 It is a coherent Statement or set of ideas that ex- plains observed facts or phenomena and correctly predicts new facts or phe- nomena not previously observed, or which sets out the laws and principles of something known or observed; a hypothesis confirmed by observation, experi- ment, etc.9 The term “theory” is used in Western scholarship and was employed by Goldzihar, Ritter and Gruebaum in modern literary discourse10 *. In Arabic lit- erary discourse, the term denotes “ Aj>kj j.e. nazariyyah, which means theory, notion, be judged etc. Hellimut Ritter stated different words which denote naz­ ariyyah as speculation, discussion, or theoretical discussions.u In this paper, the term “theory” entails two ideas. First, it encompasses a discussion of love’s nature, essence, names, causes, varieties and differences. Second, it involves the Ahwal of the lovers, their cases, circumstance, Situation, and moods as well as states of the poet to express love to his beloved one. In western analytical views, love theories can refer to several psychological and sociological theories. There are four types of love described in philosophy as agape, phileo, storge, and eros. Agape is a type of unconditional love that is less common in society but more apparent between individuals and their god. Phileo is a love used to describe friendship between individuals. This love is commonly seen between friends in public, especially as displays of warm ges- tures. Storge is another type of love that is expressed through parenting. While eros is romantic love which was forbidden in early society and is still forbidden in some societies today.12 These different types of love are expressed differently based on culture. However, in individual experience, love is generally perceived as an intrinsic national state triggered by certain Stimuli and accompanied by pleasant or unpleasant desirable and undesirable effects.13 In literary Arabic discourse, three stages led to the development of Arabic 8. Lois Anta Giffen : love poetry and love theory in mediaeval Arabic literature, pg lio-m 9. Ibid. 123 10. Ibid. 141 n, Ibid., pg 108-112. 12. https://wikipedia.org./wiki/arabic love poetry. 13. K.S. Vikor, Sufi Brotherhoods in Africa, in The History of Islam in Africa, Levizion and Pouwells (eds.), Athens, Ohio University Press, p.i > 196 < UNIV ERSIT Y O F IB ADAN L IB RARY https://wikipedia.org./wiki/arabic LAJA1S— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 love theory. These stages feil between the ninth to nineteenth centuries with the emergence of some exponent scholars, llterati, and critics, who devoted their precious engagements and times in studying and researching critically and stylistically on this theory from the Arabs' publication outlets. The first stage started in the ninth to eleventh centuries, and shows the greatest variety in form of Arabic literary renditions and emphasis as shown in the works of Jahiz (“Risalati T Ishiqwa ‘n -Nisä’ (essay on love and woman), and the risalat al-Qiyan (essay on singing slave girls), Muhammad bn Däud (kitab al-Zahra (the book of the flower), Marzubani (Kitabar-Riyyad: the book of gar- den) and Kitabal-Mutayamim (the book of those enslaved by love), etc. The second stage falls between the twelfth to the fourteenth centuries, with emphasis on the clarity in form and contents in Arabic literary discourse. In this stage, there are more tendencies in the form and content than the previ- ous works. The forms of all the books were well treated and there was clarity in the content of the text. Raudatal-Ashiq wa Nuzhat al-Wamiq: “the garden of the passionate lover and the promenade of the tender lover” and Mawazil aVa'aal-Ahbab wa Nuzhatul-Albab (the camping places of the dearest ones and the garden of hearth) of Shihab ad-Din Sulaiman al-Kisai are examples. The third stage called super anthology focuses on reworking the contents of the writings of the preceding period. It falls between the fifteenth to sev- enteenth centuries. They are in the straight Adab tradition of love theory and are more in the character of compilations than anything written previously. It avoids the controversial issues of Jahiz, mghutal and ibn Qayyim among oth- ers14' Therefore, Arabic tradition in the wake of modernity has focused on the expression of sublime love both in the context of profane relationships and spiritual love of God. LOVE POETRY IN ARABIC LITERARY DISCOURSE Since the pre-Islamic era, the love theme has been a predominantly topical theme in poetic concepts of Arabic literary texts. It is a channel of expression and communication both verbally and symbolically between lovers. It is an at- tempt at expressing minds, feelings and affections to the woman an individual is in love with. Quantum factors led to the influx of love themes in the Arabi- an Peninsula, amongst them are; the desert environment, the nomadic lifestyle 14. .James .T.M. (1974): Hispano Arabic poetry: A Student Anthology, University of California Press, Berkeley, Los Angeles, London 1974, pg xvii > 197 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 tnd the need for constant travel. These contributed to a poetic Vision that fo- :uses on absence, departure, lack, and nostalgia. In the majority of the love po- ems, the beloved is absent. Memories of her belong to the past, and fnture en- counters are dependent on the dictates of fate.15 These contextual illustrations later led to what we refer to in Arabic literature as gkazal. Ghazal, has historically been one of the most populär themes of Arabic po­ etic form, originating in Arabian Peninsula around the 7Ü1 Century, as a form of amatory poem or ode.16 It deals often with topics of spiritual and romantic love and may be understood as a poetic expression of both the pain of loss or Sepa­ ration from the beloved and the beauty of love in spite of that pain. It is a short poem consisting of rhyming Couplets, called bayt. Most ghazals have between seven and twelve bayts. For a poem to be considered a true ghazal, it must have no fewer than five Couplets.17 Topically, the ghazal’s focuses also changed, from nostalgic reminiscences of the homeland and loved ones, to romantic or erotic themes. These included sub-genres with themes of courtly love (ucLhari), eroti- cism (hisst), homoeroticism (mudhakkar), and a highly stylized introduction to a larger poem (tamhidi).'8' Ghazal is always written from the point of view of the unrequited love whose beloved is portrayed as unattainable. Most often, either the beloved has not returned the poet’s love or returns it without sincerity or the societal cir- cumstances do not allow it. The lover is aware and resigned to this fate but con- tinues loving nonetheless. The lyrical impetus of the poem derives from this tension. Representations of the lover’s powerlessness to resist his feelings of­ ten include lyrically exaggerated violence. The beloved’s power to captivate the Speaker may be represented in extended metaphors about the “arrows of his eyes,” or by referring to the beloved as an assassin or a killer.19 Based on this, Al-Khalil summarized the Steps taken by Love poetry in Ara­ bic literary renditions thus: The theme of love has been present in the Arabic poetic tradition since the earliest poems committed to written form. The bulk of the love poetry that has been preserved were composed by male poets and express love and admira- 15. https://wikipedia.org./wiki/arabic love poetry. 16. Ibid. 17. Ibid. 18. Ibid. 19. Ibid. > 198 < UNIV ERSIT Y O F IB ADAN L IB RARY https://wikipedia.org./wiki/arabic LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 tion for women. The earliest Arabic poems reveal distinctly different attitudes to the theme of love. Düring the Islamic period, this desert-inspired approach to love was adapted md transformed into a Strand of love poetry called ‘Udhri, named for the tribe :o which the poet Jamil, one of its best-known poets belongs. ‘Udhri poetry be- .ongs to a courtly love tradition, and indeed many scholars have suggested it as a precedent to the development of a similar Strand in Western literatures dur- :ng the middle Ages. The early centuries of recorded Arabic poetry are replete with collections of poetry written by ‘Udhri poets, all of whom are known by a name that incorporates their beloveds: Jamil Buthaynah, Majnün Laylä, Ku- thayyir' Azzah. The story of Majnün in particular became the subject of folklor- ic narratives and other artistic media, such as miniature painting, drama, and song. Alongside this attitude to love in early poetry, however, there is in the Mu'al- laqah of Imru’ al-Qays a much different one, in which the poet’s persona is en- gaged in encounters with the fair sex that are considerably different: One day I entered ‘Unayzah’s camel-litter: 'Dänin you!” she protested, “You’ll force me to dismount.” The litter kept swaying all the while. “You have hobbled my camel, Imru’ al-Qays," she said, “so dismount now!” With the passage of time, elements from these two Strands were blended into a unified tradition of the Arabic love poem (Ghazal). Images from the ‘Udhri repertoire were particularly favoured by the Sufi poets in their mystical verses. Al-Bashshäri bn Burd’s diwan contains love poems of both types, but it is once again Abü Nuwäs who makes major innovative contributions. His love poetry affords insight into the tolerant approach of Abbasid society to varying sexuali- ties, as his verses refer to relationships with both women and men. Genres of Zajal and Muwashshah that originated in Muslim Spain had love as their primary theme. Offen biending both ‘Umari and ‘Udhri themes with songs and populär poems in Romance dialects, they present a blend of images and motifs that are representative of the cultural environment in which they were created. Unlike some of the other genres already mentioned, ghazal has remained populär into the modern period. While the romantic movement in the early > 199 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1/1, JAN. 2025 20th Century provided an impetus for many poets, the quest for new identities in post-independence societies and, in particular, the increasing prominence of works by women produced significant change in Arabic love poetry.20 SUFISM AS A PRISTINE ASPECT OF ISLAM Sufism known as tasawwuf and Islamic mysticism in both Arabic and English terms respectively, is etymologically caused by diverse opinions among the Ara- bo-Islamic Scholars. Itis viewedfrom Safä which m eans“purity,”21 Süf ( c_i ameans wool,22 Ahl al-SuffaU .^U Ĵa I) “the people of the Suffah or the bench,”23 and etc, while its Practitioners are referred to as “Sufiyyu” , i.e. Sufist).24 Its definition as “Islamic mysticism,” is due to its mystical expres- sion of the interiorization and intensification of Islamic faith and practice. It is also identified as practices, texts, materials sites and lifestyles that are uniquely specific to religious traditions, as well as historical and geographical moments of their origin.25 The basis of Islamic mysticism is rooted in the yearning of human spirit for communion with God which prepares the needs of individuals who want to ex- perience God personally and makes them ready for the tasks.26' This could be deduced from the well-known hadith ai- Qudsl in which Allah addresses proph- et Muhammad thus: My servant draws might with nothing more dear to me with supererogatory works, so that I may love him. For if I love him I am the ear by which he hears, the eye by which he sees, the hand by which he takes and the leg by which he walks.27 Historically, Islamic Sufism emerged in the early period of Islam in Hijaz, which 20. https://en.www.wikipedia.org/wiki/sufism. 21. Ibid. 22. Ibid. 23. Ibid. 24. Ibid. 25. R. Farrin, 2011, Ecstasy, In "Abundance from the Desert, Classical Arabic Poetry, Syracuse University Press, p. 228. 26. Ibid. 27. Hadith Qudsi retrieved from http://honeyfortheheart.wordpress.com/hadith-38-imam- al-nawawis-4ohadith/hadith-38-myservant-draws-near-to-me/f4 > 200 < UNIV ERSIT Y O F IB ADAN L IB RARY https://en.www.wikipedia.org/wiki/sufism http://honeyfortheheart.wordpress.com/hadith-38-imam-al-nawawis-4ohadith/hadith-38-myservant-draws-near-to-me/f4 http://honeyfortheheart.wordpress.com/hadith-38-imam-al-nawawis-4ohadith/hadith-38-myservant-draws-near-to-me/f4 LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 predates some sectarian order that emerged in Islam. One of the ulterior mo- tives and rationale for Sufism is to create a direct contact between the servant and Almighty Allah through spirituality, evolved total submissiveness, suppli- cations, meditations, purity, dedication and by striving to take the regulär prac- tice of the religion to the “supererogatory level” through simultaneously “fulfill- ing the obligatory.”28 Sufism is regarded as a Science of the soul that has always been an integral part of Orthodox Islam.29 In his Al-Risala al-Safadiyya, ihn Taymiyyah describes the Sufis as those who belong to the path of the Sunnah and represent it in their teachings and writings. As a mystic and ascetic aspect of Islam, it is considered as the part of Islamic teaching that deals with the purification of the inner seif. By focusing on the more spiritual aspects of religion, Sufis strive to obtain direct experience of God by making use of “intuitive and emotional faculties” that one must be trained to use.3° It is of no doubt that Islamic Sufism has played a major role in the wide- spread of Islam globally as the rise of Islamic civilization coincides strongly with the spread of Sufi philosophy in Islam. The spread of Sufism has been con­ sidered a definitive factor in the spread of Islam, and in the creation of integral- ly Islamic cultures, especially in Africa and Asia.31 Many Sufi Orders emerged in Islam as a result of expansion of Islam and Islamic propagation and evangelism, which made many Sufi Shaykhs estab- lish these Orders and name them after themselves. Among them are; Yisäwi- yyah (Ahmad al-Yisäwi, d. 1166), Qädririyyah (Abdul Qädir al-Jayläni, d. 1168), Suhrawardiyyah (al-Shurawardi, d. 1168), Rifä’iyyah (Ahmad al-Rifä’i d. 1182) 1511 Century, Chistiyyah (Mu’inud-Din Chisti, d. 1236) India, awläwiyyah - Merlev- is (Jalahud-Din ar-Rumi, d. 1258), Shädhiliyyah (Abdul Hassan ash-Shädhili, d. 1258 from Rya’yyati), Badawiyyah (Ahmad al-Badawi, d. 12760 Egypt - Africa), Naqshabandiyyah (Muhammad Bahä’d - Din al Naqshabandi d. 1389), Tijäni- yyah (Ahmad al-Tijani, d. 1815), etc. 28. K.D. Loevy (2012), The Poetics of Embodiment in Islamic Mystical Philosophy, a thesis submitted to the Faculty of the Graduate School, in partial fulfilment of the requirements for the degree of Master in Arts, Vanderbilt University, p.t 29. Ibid. 30. Ibid. 31. Ibid. > 2 0 1 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 AN OVERVIEW OF ARABIC SUFI LITERATURE Arabic Sufi literature is a presentation of literary works of Arabic Sufi Scholars, comprising both prose and poetry, with expression from the hearts, filled with love, affection, feelings and emotions, and vast experience of the Sufi Saints and their urge to meet their beloved. Sufi poets take different modes in express- ing their love to their beloved. At times, they take Almighty Allah (the creator) as their beloved after severe spiritual experiments and ecstasy or Prophet Mu­ hammad as their beloved through eulogising in what is known as (.Al-Madaih al-Nabawiyah) or the poems of eulogies to the prophet Muhammad (May peace be upon him), which was an addition to the Art of eulogy (fann-ii-madhe) in Ar­ abic literature. Also, they at times take their Shaykh or master as their beloved. Arabic Sufi literature consists of literary genres developed and engaged in by mystics through various trends and periods.32 They employed literary genres to achieve highest level of knowledge.33 Also, they employ the use of symbolic language to express their feelings and interpret their discourse. Their commu- nication in such discourse is characterized by their knowledge of Sufi symbol- ism and terminology which are known as tasawwuf professional register.34 Badmus opined that Arabic Sufi literature developed and evolved into an independent branch of Arabic literature, which according to al-Khatabi include different phases. Some of which are: ■ ist phase: This phase spanned between 100 and 200 A.H. Sufi poetry appeared in forms of imitation which usually contain few lines. Famous poet of this period is Rabiah al-Adawiyyah.35 ■ 2nd Phase: This took place between the third and fourth centuries after Hijrah. It was the stage of renaissance and growth. Notable poets of this period include Abu Turab Askari bn at Husayn at-Takhshabiyy (245AH), Abu Hamzah at Kurasaniyy, Al Mutanabbi and Sharif ar Ridaa among others.36 32. S. Kemal, 1989. Philosophy and Theory in Arabic Poetics,In Journal of Arabic Literature, 2,2:128, retrieved from www.jstor.org/stable/4183198, accessed 19/02/19:08:43 33. R. Farrin, 2011, Ecstasy, In “Abundance from the Desert, Classical Arabic Poetry, Syracuse University Press, p. 233 34. Ibid. 233 35. Badmus, Murtada Adegboyega (2023): Sufi Ecstasy In Shaykh Ibrahim Salih Al- Husayni’s Poetry, Seminar paper at the Department of Arabic and Islamic Studies, University of Ibadan, in March, 2023. pg 13 36. Z. Holladay (2008), Poetry and Ritual: The Physical Expression of Homoerotic Imagery > 202 < UNIV ERSIT Y O F IB ADAN L IB RARY http://www.jstor.org/stable/4183198 LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 ■ 3rd Phase: Between 5th and 6th Century after Hijrah. The period heralded themes such as ecstasy, panegyric of the prophet, and longing to visit Islamic holy sites. Persian Sufi literature began simultaneously at this period with the emergence of poets like Ma'ruf al-Balkhi and Al-Bastl. Notable Sufi poets of this period are As-Sahr Ward (857A.D) Abdul Qadir Al-Jaylanin, al-Bari, and others.37 ■ 4th Phase: The fourth phase of Sufi literature in Arabic coincided with the 7th Century Hijrah. It was the time of its full development and notable poets of this era include Ibn al-Farid (632 A.D), Jallaludin Ar- Rumi, Ibu Arabi (638 A.D), al-Bussayriyy (695 A.D) and Ibn'Ata’allah Iskandariyy and others.38 ■ 5th Phase: This period extends from the 8th Century Hijrah tili date. The poets of this period are Ash-Sha‘rani, An Nablusi and others.39 ECSTASY (WAJD) IN SUFISM The word “ecstasy” denotes “Wajd” in Arabic. It has other lexicon meanings like 'to find’ ‘obtain, experience’, suffer, etc.40 In Sufism, it is a concept relating to the Sciences of mystical States (ilmal-Ahwäl), which leverages on traditional rep- ertoire of samä’ by the Sufis that constitutes an aesthetics of spiritual savour (dhawq) that is apprehended by the spiritual heart as the seat of gnosis.41 It is a state of an intense emotion perceived or experienced by Sufis which goes be- yond rational thought and self-control.42 It is just one of the components of the in sama, a thesis submitted to the Department of Religious Studies, College of Arts and Sciences, in partial fulfilment of die requirements for the degree of Masters of Arts, University of South Florida, p.i retrieved from http://scholarcommons.usf.edu/etd on 20/06/2018,4:26 pm 37. Ibid., p.3 38. K. Atif (2009), p.13 39. Atif (2014), Contentment, Satisfaction and Good-Pleasure: Rida in early Sufi Moral Psychology, In Studies in Religion, Vol.i:g, p.13. retrieved from sr.sagepub.com on.... 40. A. Atiqah (2014), Malamih as-Sufiyyah fi Shi’r Sallah Abdis Sabur, B.A. long essay, Dept. of Arabic Language and Literature, Abubakr Balqayid University, Telmecen, Algeria, p.12 41. Badmus, Murtada Adegboyega (2023): Sufi Ecstasy In Shaykh Ibrahim Salih Al- Husayni’s Poetry, Seminar paper at the Department of Arabic and Islamic Studies, University of Ibadan, in March, 2023. pg 6 42. K.D. Loevy (2012), The Poetics of Embodiment in Islamic Mystical Philosophy, a thesis submitted to the Faculty of the Graduate School, in partial fulfilment of the > 203 < UNIV ERSIT Y O F IB ADAN L IB RARY http://scholarcommons.usf.edu/etd LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 metaphors that are used to understand bacchanalian poetries, using a kind of drunkards’ lexicon and key terms such as wine, wine cups, cub bearers, intoxi- cation, rapture and ecstasy.43 In Arabic theoretical Sufi discourse, Wajd is a symbolic representation of a heart sparkling by intoxicated wine of the goblet of the heart. The mystic im- bibes the rapture of meditation on the divine attributes such as beauty, knowl- edge, omniscience, which leads to ecstatic experiences.44 Abu Said al-Kharräz(d.277/8goor286/8g9)opinedon ecstasy in his Kitäbas- Sifät where he analysed the experience of qurb (proximity and nearness to Al­ lah) in which he describes the various maqämät (stages) to be traversed by the mystics before they can attain the degree of ecstasy. Kharräz, therefore, opines that wajd or ecstasy is the first stage experienced by those who have realised nearness to Allah by describing the signs of ecstatic as: a kind of concentration of attention with intense self-observation (muräqa- bah) accompanied by quietude of one’s bodily limbs in immobility. Therein one searches for God without experiencing much fluctuation of mental im- agery during contemplation (khatarät al-mushähadah) eidier allowing one­ self to be moved by the initial flashes of intuitional consciousness. It is a flight into solitude and isolation as one is filled with the hands of his pleasurable de- lights, resting in him after undergoing the disturbances of multiplicity of ways and means in seeking to practise emulation (of die prophets and in the end it is finding intimacy in Him through compliance with His words when he will relieve them of their bürden Q7U57 and the loads diey bear.45 Badmus made a critique on the above quotation that what Karräz cited as wajd is not really focused on 'ecstasy’ but rather an ‘in-stasy’. This is because, wajd is essentially a communication with oneself and not exit from oneself, and it should be a meditation to find (wajada) the word of God within and become requirements for the degree of Master in Arts, Vanderbilt University, p.4 43. Badmus, Murtada Adegboyega (2023): Sufi Ecstasy In Shaykh Ibrahim Salih Al- Husayni’s Poetry, Seminar paper at the Department of Arabic and Islamic Studies, University of Ibadan, in March, 2023. pg 6 44. Lewisohn, 2014, Principles and Philosophy of Ecstasy In L. Lewisohn (ed.), Tlie Philosophy of Ecstasy, Rumi and the Sufi Tradition, World Wisdom, Inc. p. 36 45. K.D. Loevy (2012), The Poetics of Embodiment in Islamic Mystical Philosophy, a thesis submitted to the Faculty of the Graduate School, in partial fulfilment of the requirements for the degree of Master in Arts, Vanderbilt University, p.8 > 204 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 delighted.46 The in-stasy notion of wajd rather than been an ecstasy is equally alluded to by other leading Sufi scholars of the Baghdad school like Abu Bakr ShiblT (d. 334/945) and Abu’l Husayn an-Nüri (d.295/907). Lewisohn, Lonis Mas- signon in his comment on Hallaj's teaching on Sufism observed that “behind every ecstasy, as well as every action, he means to see only one to whom he is bound, who enrapt Manfil Wajdi Mawjud. God, who from ecstasy, continues to draw close to him.’’47 AL SHUSHTURI’S HISTORICAL BACKGROUND He is Abu-1- Hassan ‘Ali bin Abdullah an-Numairi al-Fasi, popularly known as Al-Shushturi, a mystic, poet, philosopher, jurist and trader, born at Shushtar, a village in the Ash Valley in the west of Andalusy, near Guadix, northwest of Gra­ nada, Spain. 608/1212.48 He started his youthful age in his hometown where he received education from the renowned scholars of note, and was well versed and grounded in dif­ ferent genres of Arabo-Islamic scholarship, such as, Science of Quran, Sharia, Hadith, Jurisprudence and its principles, Arabic literature, grammar, exegesis, etc. He is very eloquent in Quranic recitation and knowledgeable in interpret- ing and analyzing the Quranic exegesis. Shushturi’s Sojoum in Arabo-Islamic scholarship did not hinder his inter- est in business transactions, as he later became a renowned trader, who trav- elled far in networking his business activities. This gave him quantum oppor- tunities to visit many countries, such as; Tunisia, Algeria, Damascus, Morocco, Egypt, Saudi Arabia where he performed hajj and created a link between him and many scholars whom he gained immensely from their wealth of scholar­ ship and wisdom as well as Sufi Order, such as: Shazilliyyah order in Cairo, and Suhrawardi order in Morocco.49 His exposure to Sufism has eamed him great fame and worldly recogni- tions, not only as a disciple of a particular order but as a master, leader, mystic, 46. Badmus, Murtada Adegboyega (2023): Sufi Ecstasy In Shaykh Ibrahim Salih Al- Husayni’s Poetry, Seminar paper at the Department of Arabic and Islainic Studies, University of Ibadan, in March, 2023. Pg 7. 47. K.D. Loevy (2012), The Poetics of Embodiment in Islamic Mystical Philosophy, a thesis submitted to the Faculty of the Graduate School, in partial fulfilment of the requirements for the degree of Master in Arts, Vanderbilt University, p.8 48. https://wikipedia.org/wiki/shushuturi 49. Ibid. > 205 < UNIV ERSIT Y O F IB ADAN L IB RARY https://wikipedia.org/wiki/shushuturi LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 ascetic, ecstatic, and beloved to his creator, who was ordained with enchant- ment of different zikr (glorification of Allah), and composed many Arabic po­ etries on Sufism and treaties in expressing his divine and sublime love to Al- mighty Allah, whom he always referred to as “beloved,”50 He finally settled at Cairo where he became a devotee of the Sufi master, Ihn Sabi’in, who was four years younger than him and was widely respected at that time. They first met in Algeria when in their thirties. He was influenced by the great Sufi Master, ihn Arabi, although he sometimes expressed criticism of the complicated nature of his teachings, preferring simpler explanations. Al-Shushturi’s intellectual exponent and scholarship were well acknowl- edged by all and sundry, tili he was known as Arus-l-Fuqahah, and a poet per excellent, who was very versed in the composition of Arabic poetries, swinging between conventional and new meters and ödes such as Muwashah and Zajal.51 Shushturi was the first Sufi poet to use the Zajal metre in Sufi ecstatic ex- pression, as was Ihn Araby who was the first Sufi poet to use Muwashaha to ex­ press Sufism. He is best known by posterity for his poetry, which was designed to be sung in songs employing simple mono-rhymes to praise God with every- day musical idiom, which won wide recognition beyond the hundreds of disci- ples in his own Shushtariyya group.52 Many verses of al-Shushtari’s poetry (62 short poems called "Tawshih") were identified in the classical Andalusian mu- sic that is today sung in North Africa as well as other parts of the Greater Mid­ dle East. Al-Shushturi’s true legacy lives on in the hearts of men who still sing his po­ ems and celebrate his memory. In the delta of Egypt, followers of the Shashilli- yyah Order still recite his Zajal, while in Tunisia his words are sung to the tones of a musical instrument bearing his narne, “Al-Shushturiyyah.” In Morocco, his songs are a common denominator to several Sufi celebration and in Spain, he is regarded as a trendsetter in Andalusia literature and is better known as “The juggler of love.”53 Most of his poems are in forms of Qasidahs, Gazals, Qit’as, Muwashaha, Zajal. He died in Dimyati in northern Europe and was buried in 668/1269. 50. 207 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1/1, JAN. 2025 i. Arabic Poetic Version with the topic “You are my Ultimate Joy54 511 t j 0 4 Y IjJ 4-iikj t- *1 f* A j - k a lib I , Jä Cj -aä. Yj j — J— ̂ Y j ^ J -f?-J uJj- __ 11 LuiV' LS-̂Y ^ 54. Shushuturi, Diwan,cd. Ali Samt’ arx-Nashshar (Alexandria, i960) pp. 245-248 > 208 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1/1, JAN. 2025 Translation: 1. You are Ultimate Joy This is the one we love - he loves me through choice. From all eternity he loved my essence - in his house I dwell. There is nothing that can make me leave him, there being no house for another. Everything is manifest to me from him, be it so-called evil or good, All things come to me from him, whether in the mosque or in the monastery. I am one, never two - yet in this matter in perplexity: From stone water springs out before you, while within a rock the water is fire. I am one, he is one - how can we ever be two? He is the adored, I the adorer - from that come two opposites. He is the contemplated; I the contemplator - which of us is bringing twoness? When we two are one, it’s a union that makes non-compatibility disappear, We are hidden in this world and the next, in a place of rank and repose. Beware of seeking something outside - you won’t find a thing elsewhere existing. Not an atom can leave you - all things are within you existing. You are ultimate joy: you the examiner separating good from bad, 1 the one being tested Being is one: all of it is through you and in you manifesting its effects. The gold of your essence is multi leaved - within your interior lies the Standard of purity. You confined one, pay attention to your spirit - you are, there is no-one other than you. You are he, the reality, whether still or in movement. You are your own secret and your own public - there is no good but your own goodness. LITERARY APPRAISAL This poem establishes the direct nexus and interrelation between the poet and his beloved one (Almighty Allah). It shows that the level of their love is beyond what anyone can quantify or measure. The love between them is beyond ordi- nary as it is a profane, passionate and sublime one, because the mind and soul of both of them have become one. The poet sees nothing more than his beloved one, who loves him by choice in the absence of any other external conditions that might be attached to it. He further explains that there is no one who could > 209 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 be loved by him like his beloved öne and nothing can make him leave him, be- cause He is the best companion and friend. The poem expresses the belief that everything comes from the divine source, be it perceived as good or evil, and that the essence of the seif reflects that divine essence. The poet advises against seeking fulfilment elsewhere, as all that is sought is within oneself. This self-discovery is presented as the key to understanding and manifesting the limitless potential within. The imagery of water and fire within a rock symbolizes the enigmatic na- ture of the union between the lover and the beloved, where seemingly contra- dictory elements merge harmoniously. The mention of letters and the Alif (the first letter of the Arabic alphabet) signifies the essence from which all exist- ence manifests, encouraging the reader to look beyond the superficial manifes- tations and recognize the underlying unity. Overall, the poetry portrays a deep sense of spiritual awakening and the re- alization of one’s identity with the divine. It explores the themes of unity, love, self-discovery, and the all-encompassing nature of existence, inviting readers to contemplate their innermost being and its connection to the universe. This is a typical picture of Sufi’s ecstasy as displayed by Al-Shushturi. The love theory has vividly prevailed in this Sufi love poetry, which showcases the profane love of the poet to his beloved. That is why the poet claimed that the two souls (i.e. his soul and beloved's soul) are in love in different forms and have become one. 2. Another example titled: My beloved has visited me'55 S-W------- ^ ^ ^ L j ------h- ÜJ__ Jäjil Jä__ je. J ____ c. ____ _ (je U__C.J - — V L ^ ij (_̂ ij öj------A-olji---------------* t̂ \ j 55. Ibid., pp. 89-91 > 210 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 01 kjl Cj_ ^ Ox. 1̂ j ___ iiij OiL_____üäJ jUkjiVl jj!__i* ^ jj> jliilj -üj j j j i_i--------ic j j i -----L j OU ^UJ— a. j j »i— «i» «-lj5 ! <>>J J b " j i UA1 üj- iL « ^ k L j j^ l l___ a]| IÄ ( j l j J)A=kJl ^ ( -3 J =k J____ £ C _ J /yujüj C_jJ)jaÜ __C- 1 __aj] L_JJj (Jj 4_i3 Ci aä J 0----^ u ij----^ ^ --- 1 , ^ - i j v -----S-1 er)------- Ä i. ^ Ut £ll Ajj Cj— äjll t-----^=ij (^lil jb=o. Ji j - Translation: 1. My beloved has visited me and my moments have becoine sweet. My beloved listened to me. 2. And forgave all my sins, despite the apy’s wrath. 3. The goal of my hope visited me and (all) harm caused. He gave news of the Union 4. A nd was present in m y presence w hile the cup w ent around and I achieved my hopes. 5. We drank and our breaths were sweetened witli a permitted wine. 6. Fill my cup, for in it are my lofty pleasures, so that, 1 may drink it up, 0 you who understand! 7. My beloved is my (sole) joy and the niche (holding a lamp), ever present with me, close at hand. 8. O for his liquor! 0 for his wine! 0 for the wine seller! 0 for the joy! O for the sorig. 9. Among gardens in which flowers have opened and shone for us. > 211 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | Vol. 1 /1, JAN. 2025 10. While the birds in the tree pulpits deliver sennons among us! 11. And he filled my glasses and cups, but not with (the juice) of grapes or of raisins! 12. O Fellow drinkers, understand well my allusions, my hour is wondrous indeed! 13. How fine was tliat wine, how clear that drink was in a happy place! 14. Let me drink and love my beloved every new day! 15. It is the fool who teils me to repent when I am most certainly on the right path. 16. In loving beauties, I have wasted my life and exhausted all branches of knowledge. 17. My full moon visited me in the pitch-black darkness of night and no eye saw him. 18. He illuminated my lodging and my courtyards that I almost lost my mind. 19. He rested in my rest and in my moments, ever present, never absent. 20. In my act, I give my soul to him whom I love desperately. 21. And who was present in my presence, present in my joy while the joy was illuminated by him. LITERARY APPRAISAL This poetic composition reflects a profound expression of love and devotion to the beloved, with themes of spiritual union, joy, and the pursuit of pleasures. The verses create a vivid and emotionally charged portrayal of the speaker’s in- timate relationship with their beloved. Here’s an appraisal of the poem: The poem begins by celebrating the Visitation of the beloved, which brings sweetness, joy, mercy to the speaker's moments and forgiveness for their sins, despite external challenges. The union with the beloved is portrayed as a goal ruiniled, and in their presence, the speaker’s hopes are realized, The use of wine as a metaphor for divine ecstasy and spiritual bliss enhances the theme of Un­ ion and celebration. The imagery of tho cup and permitted wine symbolizes the permissible delights and joys that come from the beloved. It conveys the idea of indulging in spiritual pleasures and elevating one’s soul through this divine connection. The repeated emphasis on the beloved being the source of joy and happiness in the speaker’s life is a testament to the depth of their love and de­ votion. The imagery of the niche holding a lamp signifies the constant presence of the beloved as a guiding light in the speaker’s life. The poem also addresses societal norms and expectations, as the Speaker \ 2 U i UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 rejects calls for repentance, confident in their chosen path of love and spiritual connection. There is a sense of contentment and pride in following this unique path, and the Speaker asserts their self-awareness and knowledge of their own journey. The verses express a profound sense of surrender, dedication, loyalty and Submission to the beloved. The act of giving their soul to the beloved sig- nifies the complete devotion and selflessness of the speaker’s love. Throughout the poem, the use of metaphors and vivid imagery creates a captivating and emotionally charged atmosphere. The expressions of longing, illumination, and intimacy with the beloved evoke a deep sense of spiritual fulfilment and joy. In conclusion, this poem has aptly shown the level of Sufi ecstasy of Al-Shushturi to his beloved one. It is of no doubt that he has passed a different level of spiritual experimentation, torment, suffering and total Submission to the will of Almighty Allah, which makes him desist fully from seeking worldly materials or personal engagement with creatures than his beloved. 3. Another example titled: My Beloved has Manifested in my Heart, He Nev- er Disappeared56 ^ J - ^ CA" A 1 A X k ... L W \ \ — ^ t i U u , - k \ -5 C * J X _ d j i n j l n ü » _____ ____________J aSO- ^ J ij* L>----- ^ l sj '--------- X ^ l CT“ -All CjjL j ^ e r1 j a j OA- I L_L_ J13 Lh LS---- _C- , -___ J— _ £ j L _ ii j U ^______ ll 1________ii . - / 1 >___ AI Äi___ , , . 1 nl <;,J ,11 l - ,1 A“1-— j j____i u__ a j __La Lj Ä j l l £Jj ---- i------- 213 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1/1, JAN. 2025 "TI ->■ 11 vj _ _ a L j U 1 ̂ _̂_'l y »11 ^ ya J ______ üb________ ii dl____ ! _____ £ J V j ___ 1! j - A=JJJ l J — 4 S5- ^ 4 0- ^*11 jJ__ ad dl___ J l jAj_ V 1----«_Sj-----------1 -------- 3 ij* l l j j ------k l l j j i . — £ j ^ ^ 4 j ______ LaJl (J__ la-al_1 «_:_____ x_J JA---- J J --------- — «-=»J -«1 « j i j l l 1 L° fl I l , - < nü . ^ M11 L1 \ i«l 1 «11< All 1 J J A— V» J--------^4 > j j A__La. dl_______ llc. X-L -jjl t * > 214 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1 /1, JAN. 2025 20. Em bark on the path, reaching w ithout fatigue. 21. Draw near swiftly, to the presence o f the beloved. 22. You w ill be granted the attire o f honour and distinction. 23. A pproach the beloved Company, to the benevolent dwelling. 24. Clim b the levels o f glory and be adorned. 25. You w ill see wonders, that words can’t describe and etc LITERARY APPRAISAL The text seems to be a complex and metaphorical piece, touching on themes of love, longing, mysticism, and personal transformation. The imagery of the be­ loved manifesting within one’s heart, the biending of wine and perfume, and the Idea of presence yet absence all allude to a profound inner experience. The progression from unveiling meanings to shattering vessels could symbolise a jTn inlCy öf Spiritual revrlnt ion and shedding of external attachments. The tise of Layla's imagery, a well-known flgnre in Arabian literature repre- sentlng unattainable love, adds depth to the explorätion of desire and striving for the ineffable. The call to ascend to higher stations and approach the beloved Company suggests an aspiration towards a transcendent state. The text also touches on patience, the inward journey, and the coneeal- ment of one’s inner world. The emphasis on maintaining secrecy and wisdom highlights the delicacy of the inner path and the need for discretion. Overall, this text appears to be a contemplative and spiritually-oriented composition that uses rieh imagery and symbolism to convey the themes of self-discovery, longing, and transformation. CONCLUSION This paper has investigated terms that have been symbolically proven in Ar- abic Sufi literature on the theory between love and Arabic Sufi literature. Ap- parently, love signifies a quantum factor in the production of Arabic Sufi litera­ ture from the second Century tili date. The level at which the Sufis express their feelings, affections and love is beyond ordinary but is a profane, passionate and sublime one as they exercise rigorous experience in the Islamic mystical so- journ in Order to win the heart of their beloved. Shushuturi, a scholar of note, a poet par excellence, a renowned Sufi and seal of intelligentsias, has aptly contributed to the development of Islamic Su- fism through his Scholarship and Sufi evangelization. His intellectual exponent and scholarship were well acknowledged by all and sundry, tili he was titled: ‘Ams-l-Fuqahah. He was very versed in the composition of Arabic poetries, > 215 < UNIV ERSIT Y O F IB ADAN L IB RARY LAJAIS— LAGOS STATE JOURNAL OF ARABIC & ISLAMIC STUDIES | VOl. 1/1, JAN. 2025 swinging between conventional and new metres and ödes such as Muwashah and Zajal. Shushturi’s Sufi Ecstasy Poetry reflects a profound exploration of the divine and spiritual connection between him and his beloved after going through a rigorous spiritual experience. Most of his Sufi poetry establishes the unity and oneness with the beloved, representing the ultimate joy experienced through divine love. However, the use of wine in most of his poetry as a metaphor for divine ecstasy and spiritual bliss enhances the theme of union and celebra- tion. The imagery of the cup and permitted wine symbolizes the permissible delights and joys that come from the beloved. It conveys the idea of indulging in spiritual pleasures and elevating one’s soul through this divine connection. REFERENCES. 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(ND ), Sufi Brotherhoods in Africa, in The History of Islam in Africa, Levizion and Pouwells (eds.), Athens, Ohio University Press. Stefan Leader (2011): The Semantics of Love: Conflict, Sublimation and Experience in Arabic Discourse. Akademie Verlag. Journals Kemal (1989). Philosophy and Theory in Arabic Poetics, In Journal of Arabic Literature, 2,2:128, retrieved from www.jstor.org/stable/4183198, accessed 19/02/19:08:43 Muhammad Abdul Kareem Yaseen 2020): Sufism between the moderation of the ancient and superficialities of the modems: Abu Al-Hassan Al-Shutari’s Poetic Philosophy. Pal Arch’s journal of Archaelogy of Egypt, Egyptology.ISSN:i567-2i4. Hawash Abdul Qadr (2002): At-Tajribat-ul-Shi’riya Inda Shushturi: Dirasatun Uslubiyatun fi Muwashahat-l-Madhi -n-Nabawy. C jba-i' y 4_m3 y A Auil j J JÜC- AjjfcLill A jjsÜ ll Vol. 06, Number 02, Contemporary Studies in a Bi-Annual Open Access International Double - Blind Journal (ASJP), University of Tissemsilt, Algeria. 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Websites https://wikipedia.org./wiki/arabic love poetry https://wikipedia.org/wiki/shushuturi https://en.www.wikipedia.org/wiki/sufism > 217 < UNIV ERSIT Y O F IB ADAN L IB RARY http://www.jstor.org/stable/4183198 http://www.onelittleangel.com/wisdom/ https://wikipedia.org./wiki/arabic https://wikipedia.org/wiki/shushuturi https://en.www.wikipedia.org/wiki/sufism