tant, for the purpose is to demonstrate the order. Whether the motion is secondary or actual as in the styles of Arabic, from the point of view of the order it is the same.

Secondly: Since the sun is in motion in its resting point in its orbit, its parts of molten gold are in motion too. Its true motion is the seed of its metaphorical movement, mentioned above; indeed, it is its spring.

Thirdly: The sun's travelling through the deserts of the world in its litter or couch, known as its resting place, and with its planets, appears to be required by wisdom, for divine power made everything living and in motion and condemned nothing to absolute motionlessness. His mercy left nothing in absolute idleness, the brother of death and cousin of non-existence, that it should be recorded as such. Hence, the sun is free on condition it complies with the divine law. It can roam, but on condition it does not transgress the freedom of others. Yes, the sun is a desert chieftain who complies with the divine command and in each of its motions carries out the divine will. Yes, just as its motion is actual and essential, so it may be accidental and perceived. Just as it is real, so it may be metaphorical. "Runs its course" (tajrī) illuminates the metaphor. "To its point of rest" (li-mustaqarrin) alludes to the style's vitalising signification.

In Short: The divine aim here is to point out the order and regularity. The order shines like the sun. In accordance with the rule: "Eat the honey and don't ask questions (kuli l-'asal wa lā tasal)," whether it is the sun's motion or the earth's rotation that results in the order, we are not obliged to search out the fundamental cause since it does not spoil the true aim. For example, a lightness is obtained with the alif of qāla (he said). Whatever the original vowel, even if it were kāf (k) instead of wāw (w) it would make no difference. It's still alif and light.

Indication

Basing it on the external sense of sight and the above depictions, I say this: to display a bigoted, literalist, lifeless frigidity is opposed to the warmth and subtlety of eloquence; similarly, it wounds and