52 pages • 1 hour read
Salman RushdieA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The characters in The Satanic Verses struggle constantly with feelings of guilt and sin. Saladin, for example, is ashamed of his ethnicity and strives to be accepted by white English culture. Gibreel struggles with the shame of the hurt he has caused other people, such as Rekha Merchant, but he insists that he does not feel affected by these memories. Whether consciously or unconsciously, the characters feel sullied by their actions and seek purification and absolution, and the competing elements of fire and water symbolize these ideas. In the fire scene, Gibreel and Saladin are thrown from a burning plane and plummet toward a large body of water. The fire above them obliterates their previous identities, and they begin anew once they plunge into the baptismal English Channel. The bomb on the plane and the English Channel cannot purify the two men, but they fixate on fire and water as symbols of purification and absolution for the remainder of the novel.
Gibreel craves absolution of his guilt without the need for admission and atonement. Gibreel's refusal to acknowledge his role in Rekha Merchant's death or the pain he has caused other people begins to fester inside him. He experiences vivid dreams in which he plays the role of the archangel Gibreel; these dreams eventually bleed into his waking life. Gibreel—under the effects of heavy medication—suffers from a mental breakdown. He wanders through London with a trumpet, breathing fire on to all the buildings he sees. This symbolic act of self-destruction is a quest for purification: Gibreel burns everything to the ground rather than take responsibility for his own mistakes.
In Gibreel’s visions, water is also a purifying force. The confrontation between the Imam and Al-Lat is framed as a fight between the forces of water and fire. The Imam orders Gibreel to kill Al-Lat and to purify the city of Desh with the water that is symbolically contained within him. Similarly, Ayesha leads a group of pilgrims to Mecca to atone for their sins and to save Mishal. At the end of the pilgrimage, however, Ayesha can only lead the pilgrims into the sea to drown. This act of purification is as destructive and deadly as Gibreel setting fire to the city of London. In Gibreel's mind, fire and water both symbolize purification, but this purification can only be reached through destruction. Gibreel’s failure to acknowledge the destructive qualities of fire and water symbolizes his own self-destructive nature.
Saladin's father Changez Chamchawala owns an old oil lamp. He refers to it as his magic lamp and keeps it in an office in his home. In The Arabian Nights (a collection of Middle Eastern folk stories), a magic lamp contained a genie that granted three wishes to whomever rubbed the lamp. In The Satanic Verses, Changez's lamp does not contain a genie. However, Changez's knowledge of the magic lamp illustrates that he is aware of the folk story, and he makes references to the genie. The lamp is a symbol of the blurred lines between fact and fiction in a world where mythology and magic are real and commonplace.
Whenever Saladin thinks about his strained relationship with his father, he recalls the lamp and its important place within his memories. When Saladin refuses to return home to India, Changez initially withholds the lamp from Saladin in his will to express his displeasure, just as he withholds his paternal affection. However, once Saladin returns to India and repairs his bond with his terminally ill father, Changez leaves Saladin the lamp in his will. After Changez's death, Saladin receives the lamp in a cathartic moment; possession of the lamp equates to possession of his father's love. The reunion between father and son is the true magic of the lamp.
However, the story of the lamp does not end with Changez's death. Gibreel visits Saladin in a distraught state and, as he confesses his failures to Saladin, he absentmindedly rubs the magic lamp. The gesture symbolizes Gibreel’s desperation for a magic solution—such as a genie who grants wishes—to resolve the multitude of problems he has created for himself. However, inside the lamp is a gun instead of a genie. Gibreel finds the gun inside, and when the police come to arrest him, he shoots himself0. The magic lamp grants Gibreel's wish, giving him a tragic agency over his own life. Gibreel believes that the only way for him to regain control of his life is by ending it. As in the folk stories, every wish that the magic lamp grants comes at a cost.
In the novel, mountains are symbols of separation. Ascending a mountain is an act of strength that limits access and elevates certain individuals above others. Those at the top of the mountain look down (in a literal and figurative sense) on those below them. As such, mountains perform an important role in separating groups from one another and elevating individuals to positions of power over others. Mahound's rise to power supports this idea.
Mahound visits the archangel Gibreel at the top of Cone Mountain, outside the town of Jahilia. Up on the mountain top, Mahound is literally placed above the other members of the town. His experiences at the top of the mountain distinguish him and impart on him a special knowledge that he uses to found his religion, Submission. He is trusted with the word of God and armed with this knowledge, therefore, he raises himself up into a position of influence and power. Mahound climbs the mountain as a man but descends the mountain as a prophet. Each successive trip consecrates his power as he makes the symbolic journey between humanity at the foot of the mountain and the divine at the top of the mountain.
Alleluia is a professional mountaineer who undertakes a similarly spiritual journey. Like Mahound, she ascends the mountain as one person and is transformed by the descent. Alleluia's experiences at the top of Mount Everest are less spiritual and more physical: She did not wear an oxygen tank during her ascent and wonders whether the lack of air affected her brain, while also dealing with the fallen arches that make walking a struggle. Alleluia the mountaineer has symbolically reached her peak. She has climbed Mount Everest and has no more mountains left to conquer. The mountain is a symbol of both her greatest triumph and the feeling of hollowness that she encountered after her descent.
By Salman Rushdie