![]() ![]() ![]() ![]() The mystic’s utmost goal is to reach fanā (annihilation of the self) and to merge with the Creator, which was portrayed in manifold works by Cohen, such as in the Book of Mercy (1984) or in the songs “Lover, Lover, Lover ” “The Guests ” and “The Window” (among others), and in which it is even supported by the music itself using instruments for the musical accompaniment of sama, a ceremony during which Dervishes perform their whirling dance. During its progress, it receives hāl, which represents spiritual and enlightening moments granted by G-d Himself. ![]() In spite of being a Jew, and a follower and practitioner of the Kabbalah, I would argue that his portrayal of the soul being prepared for final union with G-d is much aligned with the Sufi concept of maqām (spiritual stations), in which the soul, under rigorous religious practices, progresses from one station to another before it is able to realize its Divine existence. The chapter focuses on the singer-songwriter Leonard Cohen and his attitude to Sufism and the employment of key Sufi concepts in his work. ![]()
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