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Part 1, Chapter 4
Themes
Key
LitCharts assigns a color and icon to each theme in The Satanic Verses, which you can use to track the themes throughout the work.
The Fallibility of Prophets
Immigration and Identity
Religion and Blasphemy
Racial Prejudice and Xenophobia
Metamorphosis and Identity
Summary
Analysis
As Gibreel falls from the sky, vivid, prophetic visions flood his mind. He first witnesses Shaitan (the Arabic word for Satan) cast out from the sky. Shaitan desperately tries to grasp the highest tree, the lote-tree, as he falls, but he misses and plummets downward. Despite the fall, Shaitan survives and begins singing soft, seductive verses. His daughters—Lat, Manat, and Uzza—accompany him, giggling behind their hands at Gibreel. They hint at a trick planned for him and the “businessman” on the hill.
Every other part of the novel is entirely dedicated to Gibreel’s visions, which are retellings of religious and historical events. It is Rushdie’s retelling of these events that made the novel so controversial for reasons that will become clear. Like the first chapter of the novel, this chapter begins with a fall, in this case, the fall of Shaitan, who has been cast out of Paradise. Like Gibreel and Saladin, Shaitan sings as he falls.
Themes
The vision shifts to another story where Gibreel, as the archangel, reveals the spring of Zamzam to Hagar, the Egyptian servant. Abandoned by the prophet Ibrahim with their child Ismail in the desert, Hagar desperately searches for water. Gibreel shows her the cool spring waters of Zamzam, which save her and her son. Later, Gibreel again reveals its location to Muttalib, the grandfather of the “businessman.”
These allusions refer to significant events in Islamic tradition. The spring of Zamzam is a holy well in Mecca, which, according to Islamic belief, was revealed by the archangel Gabriel (Gibreel) to Hagar, the mother of Ismail, when she was desperately searching for water to save her son. This event is part of the story of Prophet Ibrahim (Abraham) leaving Hagar and Ismail in the desert. Later, the spring was rediscovered by Abd al-Muttalib, the grandfather of the Prophet Muhammad. In this novel, Gibreel seems to be both the archangel Gabriel and the character that the reader already knows.
Themes
The vision focuses on this “businessman,” who becomes the central figure in Gibreel’s dream. Known as Mahound, the businessman climbs Cone Mountain, which rises near the sand-built city of Jahilia. As Mahound climbs the mountain, Gibreel watches him and becomes aware of himself sleeping and dreaming. Panic grows within Gibreel as he realizes that he might be losing his sanity.
Here, Rushdie changes a few naming conventions, but readers with knowledge of the Islamic faith will recognize the figures the narrative represents here. Mahound is a clear stand-in for Muhammad, while Jahilia is Rushdie’s version of Mecca. Notably, for many Muslims, the depiction of the Prophet in visual art, literature, or other forms is a sensitive subject, especially if it is perceived as disrespectful or derogatory.
Themes
Meanwhile, Karim Abu Simbel, a wealthy and powerful man, walks through the streets of Jahilia during the feast of Ibrahim, a religious festival. The city buzzes with activity, its sand structures appearing almost miraculous in their transformation from shifting dunes to solid, permanent buildings. Abu Simbel, a key figure in Jahilia, controls much of the city’s wealth through his ownership of the temples and his influence over the council of merchants.
Unlike many other characters in Gibreel’s visions, Karim Abu Simbel comes from Rushdie’s imagination—he is not a reworking of an Islamic figure. Here, Simbel is depicted as a powerful figurehead who controls Jahilia, which, at the moment, is a polytheistic city. This would make him the enemy of Mahound, who is seeking to spread the word of Allah.
Themes
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As he moves through the festival, Abu Simbel encounters a young, arrogant poet named Baal. Baal, notorious in Jahilia for his sharp tongue and satirical verses, faces accusations of having an affair with Abu Simbel’s wife, Hind. Abu Simbel drags Baal to the temple of the goddess Lat, located at the city’s southern gate. Inside the temple, Abu Simbel beats Baal and commands him to write a satirical poem mocking Mahound and his followers—Salman, Khalid, and Bilal. Abu Simbel reveres Lat as a powerful goddess, equal and opposite to Allah, the god that Mahound preaches about.
Baal is another one of Rushdie’s fictional creations who, in part, stands in for Rushdie himself. Baal is ordered to write poems that mock the teachings of Mahound, just as Rushdie is writing a novel that is critical of Islam. Notably, unlike Baal, Rushdie, who was born into a Muslim family, is not necessarily condemning Islam, but he is certainly critiquing it. The nature of this critique becomes increasingly clear (and harsh) as the novel progresses.
Themes
Afterward, Abu Simbel relaxes in his palace with his many concubines, contemplating Mahound’s growing influence. Although he cares little about Hind’s affair with Baal, he recognizes the significant threat that Mahound’s teachings pose to the established order in Jahilia. Abu Simbel devises a plan to turn Jahilia into a city of vice, dominated by gambling, prostitution, and other forms of revelry. He intends to profit from these vices, maintaining his control over the city’s wealth and power. Meanwhile, Baal begins crafting his satirical poem, using his sharp wit to ridicule Mahound and his followers. His verses aim to undermine Mahound’s credibility and make his message seem foolish to the people of Jahilia.
Abu Simbel’s plan to turn Jahilia into a city of vice reflects his attempt to maintain control through moral corruption and diversion. His indifference to his wife’s affair with Baal indicates his priority: maintaining power. Baal’s satirical poem demonstrates the power of art and satire to subvert and challenge authority, even (and perhaps especially) religious authority. By mocking Mahound, Baal aims to undermine his credibility, while maintaining the status quo.
Themes
While Baal writes his poem, Mahound grapples with a critical decision. Abu Simbel approaches him with an offer: if Mahound agrees to incorporate the three local goddesses—Lat, Uzza, and Manat—into his monotheistic faith, he will gain official recognition in Jahilia and a seat on the city’s governing council. This offer presents Mahound with a dilemma, as accepting the offer would mean compromising the core belief of his faith, which asserts that there is only one God, Allah. However, it would also provide protection for his followers in a city that is growing increasingly hostile toward them.
Simbel’s offer to incorporate the three local goddesses into Mahound’s monotheistic faith tests his devotion to his core beliefs. The tension here lies in the choice between pragmatism (gaining safety for his followers) and ideological purity, which raises questions about the nature of religious belief.
Themes
Mahound consults his closest followers, who unanimously urge him to reject the offer. They view it as a trap designed to weaken their movement and betray the purity of their message. Hamza, Mahound’s uncle, advises him to seek guidance from the archangel Gibreel. He suggests that Mahound climb Cone Mountain once more to receive the answers he seeks.
This moment emphasizes the communal aspect of Mahound’s decision-making process. The group’s unanimous rejection of Abu Simbel’s offer reinforces the idea that faith must remain uncompromised.
Themes
As Hamza suggests, Mahound ascends Cone Mountain to seek Gibreel’s guidance. Upon reaching the summit, he enters a state of deep prayer and meditation, calling upon Gibreel for help. Gibreel, however, struggles with the dual roles he plays in the vision—as both the divine messenger and a participant in Mahound’s inner conflict. Mahound, desperate for clarity, asks Gibreel whether he should accept Abu Simbel’s offer. He voices his concerns about the impact this decision will have on his followers and the integrity of his message.
Here, Rushdie delves into the spiritual and psychological tension within Mahound and Gibreel. Gibreel’s dual role as both a divine messenger and a participant in Mahound’s inner conflict complicates the idea of clear divine communication. The ambiguity in Gibreel’s silence suggests a larger commentary on the uncertainty of divine will and prophetic authenticity, as there is a difficulty in distinguishing divine truth from personal experience.
Themes
Gibreel, feeling the weight of Mahound’s dilemma and his own uncertainty, stays silent. He listens to Mahound’s pleas but cannot provide the clear guidance that Mahound seeks. Eventually, Mahound experiences a vision where Gibreel speaks, but the voice does not seem entirely to be Gibreel’s. The message conveyed in the vision appears to offer a compromise, allowing the goddesses to be incorporated into the faith. Mahound, feeling uncertain, decides to share these new verses with his followers.
This paragraph introduces the controversial “Satanic verses,” which suggest that divine revelation may carry ambiguity and error. Mahound’s decision to share these verses with his followers reveals his desperation for guidance but also his susceptibility to doubt. The verses challenge the foundation of his monotheistic message, but Mahound decides to share them anyway.
Themes
After returning to Jahilia, Mahound shares the verses that seemed to come from Gibreel, which endorse the inclusion of the goddesses Lat, Uzza, and Manat. His followers, who did not expect such a result, are shocked. That night, Mahound’s followers face an ambush. With Hamza’s help, they fend off their attackers, killing two of Hind’s brothers in the process. Unable to sleep, Mahound wanders through the city, troubled by the recent events. He eventually collapses and awakens in Hind’s house. There, Mahound and Hind have a tense conversation about religion and the future of Jahilia. Hind insists that the conflict between Allah and the other gods will not end in a truce but will lead to inevitable conflict. Mahound, thinking he has made a mistake, decides he must consult Gibreel again. Shortly after he leaves, Hind learns of her brothers’ deaths, and she vows revenge upon Mahound and his followers.
The deaths of Hind’s brothers show how ideological battles can turn into personal wars. The stakes shift from theological purity to raw, human revenge. This isn’t just about belief anymore—it’s about blood and power, with both sides digging in deeper.Meanwhile, Mahound’s restless wandering reflects his own internal conflict. He grapples with doubt, not just about the verses, but also about his entire path. Although Mahound wants to find a better way forward for himself and his people, Hind’s vow of revenge all but ensures that Mahound and his followers will have to seek shelter elsewhere, regardless of whether they choose to compromise their beliefs.
Themes
Mahound climbs Cone Mountain again, desperate for clarity. Mahound struggles to understand whether the verses he received came from Allah or from Shaitan. He confronts Gibreel, who still is unsure of his own role in these unfolding events. Their encounter becomes a physical and spiritual wrestling match. Mahound, desperate for answers, grapples with Gibreel, demanding to know the truth. Gibreel, unable to provide a clear answer, fights against Mahound’s intense need for clarity. Eventually, Mahound realizes that the verses did not come from Allah but from Shaitan. Horrified by the deception, Mahound decides to strike the “Satanic verses” from his teachings and reject Abu Simbel’s offer.
Gibreel’s wrestling match with Mahound recalls his encounter with Saladin when both men were falling through the sky. Like that prior scene, this moment represents an instance where both prophet and divine messenger are not sure what is going on. Both Gibreel and Mahound seek clarity, but neither has the power to give the other what he seeks. Ultimately, Mahound receives his answer, only to discover that he almost betrayed his God. However, notably, both answers he received came from Gibreel—neither came from Satan. The fact that Mahound cannot tell the difference between Gibreel, Shaitan, and Allah suggests that he is fallible and perhaps not to be trusted.
Themes
That night, Hind’s men murder Mahound’s wife as an act of revenge. This brutal act forces Mahound and his followers to flee Jahilia. The group gathers their few belongings and departs the city, heading toward the desert. Gibreel, left alone on the mountain, faces his own torment. The goddesses Lat, Uzza, and Manat transform into winged creatures and descend upon him. They claw at his eyes, bite him, and whip him with their hair.
Mahound has to flee Jahilia not because of religious persecution, but because of a personal act of revenge—one that deeply wounds him. As Gibreel’s vision ends, Mahound and his people are in a bad spot. Gibreel, too, has is not doing well: he supposed to be their protector. The success of Hind and the goddesses suggests the forces of evil have prevailed over the forces of good, even though Mahound recanted the Satanic verses.
Themes
