Lichfield Cathedral, Islamic Mysticism, The Conference of the Birds, and Music as a Path to God
“Dear hoopoe, welcome! You will be our guide; It was on you King Solomon relied. To carry secret messages between. His court and distant Sheba’s lovely queen. He knew your language and you knew his heart — “The Conference of the Birds, Farid Ud-Din Attar (1145–1220)
Introduction
In this article, we explore parallels between the theory of music and the spirituality of Islamic mysticism, known as Sufism. In particular, we look at the musical intervals of union, the perfect fifth and the octave. It is an extension of our original article on this topic, where we explored the geometry of the gothic Lichfield Cathedral in the UK and how the structure of music can come from this. By synthesizing the two, we figuratively found the “Ark of the Covenant” and its symbolism with the most central parts of the soul.
Unison in Islam (Wahdat al-Wujud)
This spiritual correspondence can be explained through the following aspects:
Tawhid (Oneness of God)
Quran, Surah Maryam (19:65) “Lord of the heavens and the earth and whatever is between them — so worship Him and have patience for His worship. Do you know of any similarity to Him?”
The unison in music embodies the Sufi belief in Tawhid, the essential unity of God. Just as multiple notes come together to create a singular sound in unison, the multitude of creation coalesces into the oneness of the divine essence. Tawhid is an infinite noun derived from the Arabic verb “wahhada”.
The Arabic verb “وَحَّدَ” (wahhada) comes from the trilateral root “و ح د” (w-h-d), which conveys the concept of oneness or unity. The verb “wahhada” means “to make one,” “to unify,” or “to consolidate.” It is derived from the same root as the term “توحيد” (tawhid).
In classical Arabic, the verb “wahhada” and its various derivations have been used to express the idea of unifying or consolidating elements into one cohesive entity. This concept has been applied in various contexts, including religion, politics, and society. In the context of Islamic theology, “wahhada” is directly related to the core principle of tawhid. Tawhid emphasizes the belief in the absolute oneness and indivisibility of God, which is a fundamental tenet of Islam.
Throughout history, the concept of unity has played a crucial role in shaping the Arab and Islamic worlds. For example, during the early years of Islam, Prophet Muhammad (peace be upon him) sought to “wahhada” the Arab tribes by uniting them under the banner of Islam. This unity enabled the Muslim community to expand and spread the message of Islam beyond the Arabian Peninsula.
In Arabic grammar, the verb “wahhada” is a Form II verb, characterized by the doubling of the middle consonant of the root. We explored parallels between doubling and the patriarch Abraham in the root article for this piece. Form II verbs in Arabic often indicate an intensified or causative meaning, which is the case with “wahhada”, as it implies causing or bringing about unity.
Dhikr (Remembrance)
Quran, Surah Al-Baqarah (2:152) “So remember Me; I will remember you. And be grateful to Me and do not deny Me.”
Unison in music can be likened to the Sufi practice of Dhikr, a form of Islamic meditation where devotees repeat divine names or phrases in a rhythmic manner to focus their hearts on the divine presence. It is central to Sufism, and each name or phrase is typically accompanied by a specific posture, breathing technique and movement. It can be formed in solitude or as a collective group and sometimes using a set of prayer beads. In these cases, the individual elements dissolve into a harmonious whole, leading to a heightened awareness of divine unity.
The Quran frequently refers to itself and other scriptures and prophecies as a “reminder / dhikra”.
Fana (Annihilation of self)
Quran, Surah Al-Rehman (26–27:165) “All things in creation suffer annihilation and there remains the face of the Lord in its majesty and bounty.”
The blending of distinct musical elements into a single pitch in unison symbolizes the Sufi concept of Fana, the annihilation of the individual self in the presence of the divine. As the separate identities of the musical notes vanish in unison, so too does the ego dissolve in the experience of divine unity.
Fana means “to die before one dies” and is a concept that has been highlighted by Sufi mystics. We see this concept below, in parallels between the musical octave and the Seven Valleys from the “Conference of the Birds”, as the final step in the soul’s search for God. It is also seen not as a final point in a journey but rather the realisation of a new reality and a renewed spirit in the search for a yet higher/inner reality.
In his book, Ain-ul-Faqr, Sultan Bahoo gives his interpretation of Fana: “Initially I was four, then became three, afterwards two and when I got out of Doi (being two), I became one with Allah.”
Baqa (Abiding in God)
Quran, Surah Al-Hadid (57:4) “He it is who created the heavens and the earth in six days, and then established Himself on the throne. He knows all that enters the earth and all that comes out of it, and all that comes down from the sky and all that goes up to it. And He is with you wherever you are. Allah sees all that you do.”
The resolution and stability of the unison interval symbolize the Sufi concept of Baqa (which literally means “permanency”, the state of abiding in God after the dissolution of the self. As the unison interval sustains and supports the harmony of the musical piece, so does the experience of Baqa provide the foundation for the spiritual seeker’s ongoing connection with the divine.
Baga in Sufism is akin to “Nirvana” in Buddhism, “Salvation” in Christianity and “Mukhti” in Hinduism, according to Inayat Khan (1882–1927), an Indian professor of musicology and pioneer of the transmission of Sufism to the West.
Ishq (Divine Love)
Quran, Surah Al-Anfal (8:63) “And brought together their hearts. If you had spent all that is in the earth, you could not have brought their hearts together; but Allah brought them together. Indeed, He is Exalted in Might and Wise.”
Unison in music evokes the intensity and intimacy of Ishq, the divine love that permeates the heart of the Sufi mystic. As the sounds merge into a single pitch, they reflect the unity and interdependence of the lover and the beloved, the soul and the divine. Ishq often denotes the deep, all-consuming love for Allah (God) that drives one to seek closeness and union with the divine.
Ishq is Arabic, meaning “love” or “passion” but it does not appear in the Quran. It is derived from the verbal root ašaq, “to stick, to cleave to,” and connected to the noun ʿašaqah, which denotes a kind of ivy. Ishq refers to the irresistible desire to obtain possession of the beloved (ma‘shuq), expressing a deficiency that the lover (‘āshiq) must remedy in order to reach perfection (kamāl).
Perfect Fifth
In the mystical language of Sufism, the concept of the perfect fifth interval in music reflects the spiritual idea of harmony, balance, and the interconnectedness of creation.
The perfect fifth, a pleasing and consonant interval that spans five diatonic scale degrees, symbolizes the balance between the divine and human realms, as well as the complementary relationship between the inner and outer aspects of life.
This spiritual correspondence can be explored through the following aspects:
Insan al-Kamil (The Perfect Human)
The perfect fifth interval represents the Sufi concept of Insan al-Kamil, the perfect human who embodies the balance and harmony of divine attributes. Just as the perfect fifth creates a sense of resolution and stability in music, the perfect human embodies the equilibrium between the divine and human natures.
Tariqa (The Path)
The journey between the two notes of a perfect fifth interval symbolizes the Sufi Tariqa, or spiritual path, that leads the seeker from the mundane to the divine. The ascending motion from the lower note to the higher note reflects the transformative journey of the soul toward spiritual realization and enlightenment.
Haqiqa (Divine Reality)
The consonance of the perfect fifth signifies the Sufi concept of Haqiqa, the divine reality that underlies all creation. As the perfect fifth resonates harmoniously, it symbolizes the fundamental unity and interconnectedness of all things, which emanate from the same divine source.
Maqam (Spiritual Station)
The perfect fifth’s two distinct notes represent the Sufi concept of Maqam, the spiritual stations that a seeker passes through on the path to God. The lower note signifies the starting point, while the higher note represents the attainment of spiritual realization. The harmonious relationship between these two notes mirrors the balance and progression that characterize the seeker’s journey.
Muraqaba (Spiritual Contemplation)
The perfect fifth can be seen as an embodiment of Muraqaba, a Sufi practice of spiritual contemplation aimed at fostering a deeper awareness of the divine presence. As the perfect fifth interval creates a sense of balance and harmony, it encourages the listener to attune to the subtle vibrations of the divine that permeate all of creation.
In these ways, the concept of the perfect fifth interval in music serves as an evocative metaphor for the harmony, balance, and interconnectedness that underpin the spiritual journey of the Sufi mystic, reflecting the soul’s quest for divine unity and the transformative experiences encountered along the path.
The Spiritual Odyssey: The Conference of the Birds, The Seven Valleys and the Octave
Quran, Surah An — Nami (27:16) “And Solomon was David’s heir, and he said, “Men, we have been taught the speech of the birds, and we have been given of everything; surely this is indeed the manifest bounty.”
“The Conference of the Birds” by is perhaps the most classic Sufi poem by the Sufi poet Farid ud-Din Attar. Farid ud-Din Attar, more commonly known as Attar of Nishapur or simply Attar, was a Sufi poet who wrote a collection of poems in the philosophical tradition of Islamic mysticism. He came from a family of pharmacists in what is now Iran, and inspired the younger, more famous, poet, Rumi, who lived in the same region.
This Persian poem that narrates the journey of a group of birds seeking the legendary Simorgh, a mythical bird symbolizing the divine. They meet to discuss who they should appoint as their King, and this discussion proves to be very difficult. A wise bird amongst them, a hoopoe, tells them of the Simorgh who lives far away and that they must go and find him and that the Simporgh will be their King. The arduous journey consists of passing through seven valleys, each representing a stage in the spiritual path.
During the conversation, many of the birds make excuses as to why they cannot go on this journey. Hundreds of birds set off on the journey, but in the end, only 30 of the birds find Simorgh. However, when they are admitted to the place of the Simorgh, they do not find a majestic bird but find themselves looking into a reflection and seeing themselves. There is a pun in Persian here in that Simorgh actually means Si Morgh, literally “thirty birds”, and they realise that they are the Simorgh.
In the realm of Islamic mysticism, known as Sufism, the musical octave resonates with the divine vibrations that emanate from the ineffable essence of Allah. This celestial harmony reflects the soul’s journey along the path of spiritual awakening as it seeks unity with the Divine through the transformative power of love and surrender.
The seven notes within an octave echo the Seven Valleys, the spiritual stages that guide the seeker’s ascent towards the ultimate communion with Allah. Each note embodies a sacred station, weaving a melodious tapestry that mirrors the soul’s progression through the realms of divine knowledge, love, and annihilation.
The first note & The Valley of Search
“The Valley of Search demands that the traveler cast aside the familiar, embracing instead the vast and uncharted realm of divine love.”
The Valley of Search is crucial to the spiritual journey as it marks the beginning of the seeker’s quest for knowledge, truth, and self-discovery. In this valley, the seeker embarks on a journey of introspection, questioning their beliefs, desires, and attachments while developing a deep longing to know the divine. It is a stage of awakening, where the seeker becomes aware of their spiritual nature and starts to question the purpose of their existence.
The Valley of Search demands persistence, courage, and dedication, as the seeker is faced with numerous challenges, trials, and obstacles on their path. It is in this valley that the seeker must cultivate patience, resilience, and determination to overcome these challenges and continue their journey.
One of the primary lessons of The Valley of Search is the importance of letting go of preconceived notions, attachments, and worldly desires. The seeker must be willing to shed their past identity, beliefs, and attachments to embark on the spiritual path with an open heart and mind. This process of unlearning and surrendering is essential for the seeker to make space for new experiences, wisdom, and spiritual growth.
As the seeker progresses through the Valley of Search, they begin to develop a more profound understanding of the divine and their connection to it. This heightened awareness fuels their desire to continue the journey, seeking deeper knowledge and spiritual growth in the subsequent valleys.
The second note & The Valley of Love
“Love’s ecstasy is a raging storm, sweeping away all sense and reason, leaving only the boundless ocean of the heart.”
The Valley of Love signifies the stage of the spiritual journey where the seeker experiences an intense longing and passionate love for the divine. This love transcends reason, logic, and conventional wisdom, consuming the seeker’s heart and setting it ablaze with a desire to be united with the divine. The love experienced in this valley is not limited to the worldly understanding of love but is a mystical, divine love that is all-encompassing and transcendent.
In the Valley of Love, the seeker willingly surrenders their ego, attachments, and sense of self to the all-consuming fire of divine love. This self-surrender is a necessary step in the spiritual journey, as it allows the seeker to let go of their worldly desires and attachments, making space for the divine presence to fill their heart.
The challenges and trials in the Valley of Love are centred around the seeker’s ability to maintain their intense love for the divine while navigating the temptations and distractions of the material world. The seeker must learn to balance their love for the divine with their worldly duties and responsibilities, ensuring that their love for the divine does not wane or become diluted.
As the seeker progresses through the Valley of Love, their heart becomes a vessel for divine love, and they begin to see the divine in all aspects of creation. This experience of love leads to a deeper understanding of the interconnectedness of all life and the unity of existence.
The third note rings with The Valley of Knowledge
“In this valley, the seeker’s quest for knowledge is unceasing, for every discovery leads to new mysteries and deeper understanding.”
The Valley of Knowledge signifies the stage of the spiritual journey where the seeker delves into the deeper realms of understanding, seeking divine wisdom and knowledge. In this valley, the seeker moves beyond the limitations of conventional wisdom, logic, and reason to explore the mysteries of the divine. This pursuit of knowledge is driven by the seeker’s love and longing for the divine, which has been kindled in the previous Valley of Love.
In the Valley of Knowledge, the seeker is confronted with various challenges and tests, which help them refine their understanding and discernment. They must learn to distinguish between true wisdom and mere information, between divine guidance and their own ego-driven desires. The seeker must also cultivate humility, recognizing that the knowledge they acquire is a gift from the divine and not a result of their own efforts alone.
As the seeker progresses through the Valley of Knowledge, they come to understand that knowledge alone is not sufficient for spiritual growth. While knowledge is essential for discerning the divine mysteries, it must be accompanied by action and transformation. The seeker must strive to integrate the knowledge they acquire into their daily life, embodying the divine wisdom and allowing it to transform their character and actions.
The Valley of Knowledge also emphasizes the importance of recognizing the limitations of human understanding. While the seeker is encouraged to delve into the mysteries of the divine, they must remain aware that the ultimate nature of the divine transcends human comprehension. This awareness fosters humility and deepens the seeker’s reliance on divine guidance.
The fourth note reverberates with The Valley of Detachment
“The seeker in the Valley of Detachment is like a bird that has escaped its cage, finding refuge in the boundless expanse of the sky.”
The Valley of Detachment signifies the stage of the spiritual journey where the seeker learns to let go of their attachments, desires, and worldly concerns, focusing solely on their connection with the divine. In this valley, the seeker begins to understand the transient nature of the material world and the importance of prioritizing their spiritual growth and connection with the divine over worldly pursuits.
In the Valley of Detachment, the seeker is faced with the challenge of relinquishing their attachments to the things that distract them from their spiritual path. This includes not only material possessions but also relationships, social status, and even their own thoughts and emotions. The seeker must learn to let go of the need for approval, validation, and security, trusting in the divine’s guidance and support.
As the seeker progresses through the Valley of Detachment, they begin to experience a sense of freedom and inner peace that comes from releasing their attachments and surrendering to the divine will. This detachment allows the seeker to develop a deeper connection with the divine, as they are no longer distracted by the desires and concerns of the material world.
The Valley of Detachment also emphasizes the importance of maintaining a balance between detachment and engagement in the world. While the seeker is encouraged to let go of their attachments and worldly concerns, they must also recognize their responsibility to be of service to others and contribute to the betterment of the world. True detachment is not an escape from the world but rather a state of inner freedom that enables the seeker to engage in the world with love, wisdom, and compassion.
The fifth note intones The Valley of Unity
“In the Valley of Unity, the heart becomes a mirror, reflecting the divine light that unites all creation in a single, radiant tapestry.”
The Valley of Unity signifies the stage of the spiritual journey where the seeker begins to perceive the underlying unity of all creation and the interconnectedness of all things. In this valley, the seeker comes to understand that everything in existence is a manifestation of the divine and that the apparent distinctions and separations between things are merely illusions.
In the Valley of Unity, the seeker is challenged to let go of their habitual ways of seeing and thinking, which are rooted in the perception of duality and separation. They must learn to see beyond the apparent differences and recognize the divine essence that permeates all things. This requires the cultivation of a new way of perceiving and understanding reality, one that is based on the recognition of unity and oneness.
As the seeker progresses through the Valley of Unity, they begin to experience a profound sense of interconnectedness and unity with all of creation. This realization of oneness allows the seeker to develop a greater sense of empathy, compassion, and love for all beings, as they recognize that all are part of the same divine essence.
The Valley of Unity also emphasizes the importance of integrating this realization of unity into the seeker’s daily life and actions. The seeker must not only recognize the oneness of all things but also strive to embody this understanding in their interactions with others and their approach to the world. This includes treating all beings with love and compassion, recognizing the divine presence within each individual, and working towards the betterment of the world.
The sixth note resounds with the Valley of Wonderment
“As the seeker delves deeper into the Valley of Wonderment, they come to realize that the more they learn of the divine, the more there is yet to discover.”
The Valley of Wonderment signifies the stage of the spiritual journey where the seeker becomes increasingly aware of the vastness, complexity, and beauty of the divine mysteries. In this valley, the seeker experiences awe and wonder at the magnificence of creation and the infinite manifestations of the divine. This sense of wonderment serves as a catalyst for the seeker to delve even deeper into their spiritual journey, seeking to uncover and understand the divine mysteries that lie beyond the realm of human comprehension.
In the Valley of Wonderment, the seeker is challenged to maintain a sense of humility and reverence in the face of the divine mysteries. They must recognize that, despite their progress on the spiritual path, there will always be aspects of the divine that remain beyond their grasp. The seeker must learn to accept and embrace the limitations of their understanding, while continuing to strive for a deeper connection with the divine.
As the seeker progresses through the Valley of Wonderment, they begin to develop a greater appreciation for the diversity, beauty, and complexity of the divine manifestations. This awareness fosters a sense of gratitude, love, and devotion towards the divine, deepening the seeker’s connection with the divine presence.
The Valley of Wonderment also emphasizes the importance of maintaining a sense of curiosity, openness, and receptivity as the seeker explores the divine mysteries. The seeker must remain open to new insights, experiences, and perspectives, allowing their understanding of the divine to continue to evolve and expand.
The seventh note, akin to the Valley of Poverty and Annihilation,
“The seeker who reaches the Valley of Annihilation is like a moth consumed by the flame, losing itself in the all-encompassing light of the divine.”
The Valley of Poverty and Annihilation signifies the stage of the spiritual journey where the seeker experiences a complete dissolution of their ego and sense of self, merging with the divine essence. In this valley, the seeker realizes that their true identity is not the individual self but the divine presence that underlies all of creation. This realization leads to a state of spiritual poverty, where the seeker acknowledges their utter dependence on the divine and their own nothingness in comparison to the infinite divine reality.
In the Valley of Poverty and Annihilation, the seeker is challenged to let go of their remaining attachments to the individual self, including their identity, desires, and ambitions. They must relinquish any remnants of pride, self-importance, and ego-driven motivations, surrendering completely to the divine will. This process of self-annihilation may be experienced as a kind of spiritual death, as the seeker lets go of everything they once believed defined them.
As the seeker progresses through the Valley of Poverty and Annihilation, they experience a profound sense of unity with the divine, as their individual self dissolves into the divine essence. This state of annihilation is not a loss, but rather a merging with the infinite and eternal reality of the divine. The seeker becomes a pure vessel for the divine presence, allowing the divine light to shine through them without obstruction.
The Valley of Poverty and Annihilation also emphasizes the importance of selflessness and service in the seeker’s spiritual journey. As the seeker merges with the divine, they recognize their interconnectedness with all of creation and their responsibility to serve others and contribute to the betterment of the world. This selfless service is a natural expression of the seeker’s love for the divine and their recognition of the divine presence within all beings.
As the octave culminates in the eighth note
“The Valley of Annihilation is the ultimate destination of the spiritual journey, where the seeker’s heart is consumed by the boundless love of the Beloved, and all that remains is the eternal embrace of the divine.”
The eighth note embodies the mystical reunion of the soul with Allah (or the next octave of the spiritual quest, beginning with a new search for a reunion of the soul with Allah with a new view of reality), the harmonious merging of the finite and infinite that is the ultimate goal of the Sufi’s journey.
Thus, the musical octave, in the language of Islamic mysticism, unveils a celestial symphony of divine love, an auditory reflection of the soul’s passage through the Seven Valleys towards the sublime union with the Divine, the Eternal Beloved, and the Source of all beauty and harmony.
Connections with the Geometry of Lichfield Cathedral
The seven valleys of the “Conference of the Birds” can be seen to parallel an octave or the seven octaves of the Nave in Lichfield Cathedral (the eight octave/bay is considered a porch, known as the endonarthex).
In terms of the number 30 (the birds which reach the “Simorgh”) also has a connection to the geometry of one of the Platonic solids, specifically the icosahedron and dodecahedron, which are duals of each other.
The Icosahedron
The icosahedron is one of the five Platonic solids, which are convex polyhedra with congruent polygonal faces, the same number of faces meeting at each vertex, and each angle between adjacent faces being equal.
The icosahedron has 20 equilateral triangular faces, 12 vertices, and 30 edges. The number 30 represents the total number of edges or line segments connecting the vertices of the icosahedron (6 of these are short and 24 long). In the context of Platonic solids, the number 30 is significant because it defines the geometry and structure of the icosahedron, which is one of the most complex and symmetrical of the five Platonic solids.
In the below image, we can see how the icosahedron can be constructed from three interlocking golden rectangles.
In the below image, we can see in the Crossing of the plan of Lichfield Cathedral that when the Hebrew alphabet progresses from the Lady Chapel, we reach the letter Mem. You will recall from an earlier article that one of the spiritual correlates of this Hebrew letter is “water”. The icosahedron is meant to symbolise the element water in the context of being one of the Platonic solids.
You will also note that if the alphabet progresses from the Nave, then the Hebrew letter Yod falls on the Crossing. This letter can mean the number 10, an open hand (sometimes of God), and two Yods in a row designate one of the 72 names of God, here meaning “Adonai”. As the smallest letter in the Hebrew alphabet, it has much kabbalistic significance attached to it.
It is also referenced by Jesus in the Gospel of Matthew 5:17–18, containing the first portion of the Sermon on the Mount, during the ‘Antithesis of the Law’, when he says, “Do not think that I have come to abolish the Law or the Prophets; I have not come to abolish them but to fulfil them. For truly I tell you, until heaven and earth disappear, not the smallest letter, not the least stroke of a pen, will by any means disappear from the Law until everything is accomplished.”
As the icosahedron can be constructed from three golden rectangles, we are reminded of our earlier discovery that the plan of Lichfield Cathedral is constructed from golden spirals, perhaps to symbolise the structure of the soul, as defined in Jewish doctrine.
This inner structure of the icosahedron of three golden rectangles may therefore symbolise the “reflection” of the inner three parts of the soul with the outer three. Such that …
Outer: Nefesh — Ruach — Neshamah
Inner: Yechidah — Chayah — Neshamah
… and this junction occurs in the Lady Chapel. The geometry of the Lady Chapel may suggest this to us as it contains the statues of ten female biblical figures and also has a vertical ratio of 3:1 when comparing the height of the windows to the stonework panels beneath.
It is also of note that the Chapter House, here representing the Chayah, has an elongated octagonal geometry (with ten sides) and a central pillar with a decagonal pedestal.
The Dodecahedron
The dodecahedron also has 30 edges but with 12 faces and 20 vertices. It is the dual of the icosahedron because it has 20 faces and 12 vertices. In this sense, they are a reflection of each other. They link to the 12 semitones unfolding in the Chancel (Quire and Lady Chapel).
So, the same geometric intuitions made above can also be applied to the dodecahedron. The main difference between the two solids is the shape of the faces, the icosahedron triangles and the dodecahedron pentagons. We intuit that this places the dodecahedron in the Chapter House, symbolising the “crystalisation” or descent of the Spirit of God from Yechidah to Chayah.
The Hebrew Gematria for Chayah is as follows: The Hebrew word “chayah” (חיה) is made up of three letters: Chet (ח), Yud (י), and Hey (ה). Here are the numerical values associated with these letters:
- Chet (ח) — 8
- Yud (י) — 10
- Hey (ה) — 5
Now, to find the gematria for “chayah” (חיה), simply add the numerical values of the individual letters:
8 (Chet) + 10 (Yud) + 5 (Hey) = 23
Resolving this, we get 2+3 = 5
The Platonic Solids also relate to each other as dimensions projecting downwards in the following way; in the same way, they are a reflection or progression of each other: Unity in the tip of the Central Spire; the dodecahedron of the Chapter House; the icosahedron of the Lady Chapel; the tetrahedron of the Quire; the Octahedron of the Transepts (and West Spires); the Cube of the Crossing.
Practical Application
Go to a place where you can hear birdsong. Listen to the birdsong. Try closing your eyes and listening to the birds.
Read a copy of “The Conference of the Birds” by Farid Ud-Din Attar. It is also available as an audiobook.
Dr Nick Stafford
Eye of Heaven — Lichfield Cathedral, a Theory of Everything
“Sometimes too hot the eye of heaven shines” — William Shakespeare, Sonnet 18
This article is pure speculation, and the author claims no truth or originality in any part.
Footnotes
Artificial intelligence was used to write and research aspects of this article.
