This is a translation into English blank verse of the great Sufi poet Ibn al-Farid's "Wine Ode" or "Wine-Song" (al-Khamriyyah). Translator Martin Lings renders what is perhaps Ibn al-Farid's most famous poem into a highly poetic English, though without rhyme. Lings sparingly adds some notes, which are very useful, to help modern readers understand the allegory of wine and mystical attraction to God, and the symbols often used in Sufi poetry.

The poetry of Nizam Al-Din Mahmud Da‘i Shirazi, often called Shāh Dā‘ī is due more attention, as the translation of his "Tale of the Fish" demonstrates. A biography of the poet is followed in the article by some illumination of his thought, which closely follows that of Ibn ‘Arabi, and some commentary of the mystical poem "Tale of the Fish". The poem reveals the poet's beauty of language, even in translation, as well as a facility with using allegory to bring life to profound metaphysical truths.

This poem, translated from Arabic to English, from the great Algerian freedom-fighter and Sufi, the Amir ‘Abd al-Qadir, is not overtly spiritual, but is a good example of traditional Arab and Muslim poetry showing reverence for the virile life of the nomad and his closeness to and intense awareness of the beauty and power of nature.

Schuon examines at multiple levels the traditional Sufi ternary of Fear-Love-Knowledge as the three dimensions or stations of the Sufi path. They are viewed in universal terms, applicable to the human being in general, and as "vocational" tendencies for various spiritual temperments, and then as successive degrees in a seeker's spiritual development.

The message of Muhammad can be described in terms of two key elements: a Law of conduct which governs all Muslims, and a contemplative Path by which one achieves spiritual union with God. It is this Path which constitutes Sufism, the mystical dimension of Islam. Throughout the course of this introductory overview, Victor Danner discusses Sufism’s relationship to Islam as a whole, the function of the Sufi master, and the many attempts by Muslims and non-Muslims alike to marginalize its practice throughout the world.

Despite the widely held belief that music is forbidden in Islam, further investigation of Islamic culture will reveal numerous historical examples of music used as a means of spiritual practice. This article seeks to clarify what forms of music are permitted in Islam and to illuminate the effects of music on the human soul. As shown here, music has the potential to be either an aid or a hindrance to one’s spiritual growth – the determining factors are the condition of man in relation to his passions and his awareness of his primordial nature.

Prof. Austin says that the main argument of his talk, which was transcribed for this article, "is that Islam, despite its obvious sharing with other religious traditions in its expression of the basic human experience of God and the cosmos, has something peculiarly its own to say and contribute on this question. Also, that any proper understanding of this particular view depends upon a proper translation and interpretation of certain key words in the Qur’an concerned with the nature of Man and his function."

For centuries, the poems of Rūmī have remained one of the most influential forces within the Sufi tradition. The son of an accomplished Sufi practitioner, Rūmī became highly skilled in the fields of philsophy, Quaranic science, and the various exoteric sciences before taking an interest in Sufism himself. He became initiated into Sufism at the age of twenty-five and composed nearly sixty-thousand verses throughout the course of his lifetime. Seyyed Hossein Nasr explores several of the themes found throughout Rūmī's work and provides historical information regarding the life and the influence of this spiritual master.

Within both Eastern and Western philosophical traditions, there exist schools of thought which, while not exclusively rationalist, utilize reason and logic in the context of intuitively realized metaphysical truth. Throughout its development, Islamic philosophy was influenced by many of these philosophical schools. Comparative study of these different traditions together with historical study can reveal their influence more completely than would be possible by using the historical approach alone. It can also benefit practicing Muslims by introducting them to philosophical perspectives outside of modern, humanistic modes of thought which seem to dominate current discussion. Furthermore, comparative philosophy will enrich Western understanding of Islamic doctrine.

An act of contrition attributed to revered Sufi practitioner Abu Madyan with a brief historical introduction by R. W. Austin.

Schuon’s treatment of the Sunnah (“ways of acting, customs and examples of Muhammad…[which are] precedents [that] constitute the norm, at all levels, of Moslem life”) notes that the Sunnah “comprises several dimensions: physical, moral, social, spiritual, and others besides,” and then focuses upon an inner Sunnah. As is his custom, the author addresses all these dimensions and then turns special attention to those of the most elevated spiritual value. He shows that “the spiritual Sunnah, concerning the ‘remembrance of God’ (dhikr) and the principles of the ‘journey’… is very parsimonious as regards what is truly essential in it. Basically, it contains all the [prophetic] traditions referring to the relationship between God and man.…” Schuon notes that there is “another domain which must be rigorously distinguished from this spiritual Sunnah, although it may sometimes seem to overlap with it, and this is the moral Sunnah.” He helps the reader separate the two, which are often confused, and enables the reader to discover what is most universal and essential in the Sunnah of the Prophet of Islam.

Music has a unique place among the traditional arts because unlike the visual arts, it lacks material form, thus enabling man to forget his earthly body and recall the original state of being which preceded it. The ability to forget one’s self is essential in order to perform traditional Persian music. Nasr analyses the various aspect of this music, showing how they each help to bring about a spiritual ascent that is characteristic of Sufi practice. He also relates performance of traditional music to the concept of the neverending “spiritual concert” to which the perfect gnostic is always listening.

A renowned scholar of Arabic and Sufism, Victor Danner, applies an historical and linguistic approach to illustrate various aspects of Sufism, the esoteric domain of Islam. The terms "Sufi" and its derivative, "Sufism," have for many years enticed scholars to offer a variety of opinions that, ultimately, tend to elucidate little other than one's powers of speculation. In this essay Danner sums up the research and tells a fascinating story of the development of the term and of Islamic mysticism. Danner's thesis centers around the point that the term "Sufi" came into use "because of the readaptation that the Islamic tradition had to make in view of a decline that threatened its spiritual bases." Thus, a return to the original interiorizing spirit of Islam was employed to neutralize centuries of exteriorizing ritual and dogma, and this through the return to the simple purity of the symbol of the wearing of wool ("suf" in Arabic).

Seyyed Hossein Nasr begins this essay with the observation that "it was in the destiny of Islam as the last religion of the present humanity to integrate into its intellectual and spiritual universe all the elements of the knowledge and wisdom of earlier traditions that were in accordance with it unitary perspective." Islam's tendency and, one might add, mission to integrate earlier religious figures, sciences, and traditional thought into its own system, includes the field of philosophy. However, while much attention has been given to the influence of ancient Graeco-Alexandrian elements of thought upon Islamic philosophy, the ancient Iranian elements have largely been neglected. Through a survey of these latter influences and the history of the development of Islamic philosophy, Dr. Nasr addresses this imbalance and convincingly shows that the particular genius of Persian "intellection" has cast an indelible and unique character upon centuries of Islamic thought.

Dr. Ralph (W.J.) Austin presents sixty-four selected sayings from the Hikam of the great Sufi shaykh Ibn ‘Atā’ Allāh al-Iskandarī (d. 1309). Austin himself has translated these sayings of spiritual counsel intended for the Shaykh's disciples. He comments that the Shaykh's Hikam "must rank among the finest works of spiritual counsel, not only in Islam, but in the world." The importance of Ibn ‘Atā’ Allāh's book is well known in Sufi studies, but it should have a general appeal because, as Austin writes, "the central theme of the Hikam is undoubtedly the continuous and all-pervading contemplation or consciousness of God." This is clear in the well-chosen verses translated and selected for this essay.

Seyyed Hossein Nasr examines the Zoroastrian and Islamic traditions within the context of the history of Persia. Nasr notes that "although these traditions are of different nature and structure, they are related most of all by the fact that they are authentic traditions and not something else, that is, they are messages from the world of the spirit differing in their outward form but united in their inner essence." Thus, while many forms will be different in the two traditions, underlying principles will often found to be similar. In this essay, Nasr is primarily concerned with some "basic doctrines and themes which have appeared in one form or another in the religion, mysticism and philosophy of Persia throughout its history and which characterize the intellectual and spiritual life of the Persians in their totality." He surveys those doctrines and themes to show how they have formed an essential part of the overall Persian spiritual worldview.

In this article author Michel Valsan uses the recent French translation of Un Saint Musulman du Vingtième Siècle: Le Cheikh al-‘Alawī (A Sufi Saint of the Twentieth Century: Shaikh Ahmad al-Alawi) by Martin Lings, to discuss the life of its subject, the influential Algerian Sufi master, Shaikh Ahmed al' Alawi. Vâlsan focuses upon the "initiatic function" of the Shaikh as illustrated through some of the many visions that disciples had of him along with the prophetic presence of Jesus, who plays an important role in certain aspects of esoteric Islam.

Using the Arabic language as the tool for his case study, Burckhardt explores its influence on Islamic art and spirituality. The nomadic life of the Arabs contributed to the consistency of the Arab language because it is when a culture settles into one place that its language becomes attached to things and institutions and therefore finds its decay. He describes Arab linguistically as having an “auditive intuition”. It is based in active association, instead of static imagery. This relates to Islamic art as it is manifested by images and calligraphy that evoke rhythm and movement and stories that are formed from logic and rhetoric instead of the sedentary nature of a statue or a painting of a different culture and language. All of these things contribute to illustrating the spiritual nature of Islam in its incantations and litanies and Burckhardt uses these observations to draw conclusions regarding the theology and practice of the Islamic faith.

In reviewing this book, Seyyed Hossein Nasr gives high praise to the translator, stating that "serious students of Sufism…must be…grateful for [Titus Burckhardt's] having turned to this much lesser known category of Sufi writings consisting of letters, addresses and table-talks of Sufi masters, an excellent example of which is found in these letters of Shaikh ad-Darqawi. Dr. Nasr notes that these letters from a renowned Sufi master deal less with doctrine and more with "concrete problems and questions of the spiritual life and are often answers to specific questions posed by disciples. Hence they represent a precious treasury of instructions that are of value particularly to those who aspire to walk upon the path of realization and whose interest in Sufism and the spiritual life in general is more practical than theoretical." Since its initial publication, this book has become a classic of Sufi studies.