In the thought system of Said Nursi, there is a unique Islamic interpretation of classical dialectics. In the works of the Master, oppositions function through the principle of complementarity rather than conflict. Particularly in the Risale-i Nur collection, he systematically demonstrates how seemingly opposing concepts such as matter-spirit, reason-heart, and world-Hereafter are parts of a whole.
“Human beings’ boundless ambitions and desires are a sign that they are not ordinary creatures. As Mevlana says: ‘You are like a drop in the boundless sea, but within that drop is the entire ocean.’ The world is too narrow and transient to satisfy these endless desires.”
“There is a place, I know it;
Everything can be said;
I’ve come quite close, I hear it;
But I cannot explain it.”
- Orhan Veli
M. NEDİM HAZAR | COMMENTARY
The TV series LOST begins with the crash of Oceanic 815 over the Pacific Ocean and follows the passengers’ struggle for survival on a mysterious island. The island has its own unique features (time travel, the source of immortality, electromagnetic properties), its protectors (Jacob and the Man in Black), a native group known as “The Others,” scientific research groups such as the Dharma Initiative, the characters’ pasts (flashbacks) and futures (flash-forwards), all combining to form a complex mythology. Over six seasons, the relationships between the island and the characters unfold through the themes of good vs. evil, and the conflict between belief and science.
The series finale actually reveals that the entire story revolves around the “object of desire.” After the characters die, they meet in an “intermediate state” and together “move forward.” This finale emphasizes that beyond life and death, time and space, humanity’s true desire is “unity” and “eternity.” Just like Said Nursi’s words: “I am mortal, I do not desire what is mortal. I am weak, I do not desire what is weak… I desire, but I desire an eternal companion,” the characters in LOST are also searching for eternity beyond mortality.
This approach of the series has deep parallels with Lacan’s famous concept of the “object of desire.” As Gazali said, “The body is on the earth, but the soul is in the sky,” and the characters of LOST live this dialectic. Their physical adventure on the island (body) is actually a reflection of their spiritual journey (soul). The point they reach in the finale aligns with Ibn Arabi’s concept of the “Perfect Human” (Insan-i Kamil); the characters can only reach truth by coming together and completing each other. From this perspective, LOST can be read as a modern Sufi narrative.
Let’s look at another work of art before we proceed with our main topic.
As is well known, the Matrix series tells the story of Neo, who realizes that the world ruled by artificial intelligence is actually a simulation, and his fight to free humanity from this virtual slavery. Neo’s journey as the “Chosen One,” the resistance of the last humans in Zion, programs that are the key to the system like the Architect and the Oracle, and ultimately Neo’s self-sacrifice to make peace with the machines, are central to the narrative. In the final film, Matrix Resurrections, it is revealed that Neo’s bond with Trinity forms the foundation of the entire system.
What The Matrix essentially conveys is, as Said Nursi points out, the human inability to be content with the “mortal” and the longing for the “eternal.” The virtual reality in The Matrix is like the “other than God” in Imam Rabbani’s words, which is a veil. Neo’s awakening and search for truth are a modern reflection of Gazali’s idea that “The human body is on the earth, but the soul is in the sky.” The existential crisis that a person faces after being freed from the simulation in The Matrix mirrors the maturation process in Ibn Arabi’s concept of the “Perfect Human.”
Neo’s journey as the “Chosen One” is a symbolic representation of humanity’s eternal search for truth. Rejecting the comfort of the Matrix and choosing reality, even if painful, is in line with Said Nursi’s words: “I am mortal, I do not desire what is mortal,” pointing to a direction from the temporary and deceptive to the true and eternal. Neo’s relationship with Trinity reflects the truth that “The heart is only satisfied with the eternal.” In this context, The Matrix can be read as a Sufi allegory adapted to the modern age, representing the journey of the modern human seeking the object of desire.
The relationship between Trinity and Neo at the heart of the system recalls Mevlana’s words: “You are like a drop in the boundless sea, but within that drop is the entire ocean.” Their unity represents infinity within finiteness, unity within multiplicity. The revelation of this truth in the final film is the culmination of the Sufi subtext that has been present from the beginning of the series. Neo and Trinity’s ability to rewrite the system’s code symbolizes the transformative power of the human connection to the divine truth, as in Hallaj Mansur’s saying, “I am the Truth.”
Let me clarify from the start, this series has no relevance to contemporary issues.
The passage I quoted at the beginning, which expresses the feeling the late poet could not convey, is magnificently described by Hazreti Pir: “I am mortal, I do not desire what is mortal. I am weak, I do not desire what is weak. I have surrendered my soul to the Most Merciful, I do not desire anything else. I desire, but I desire an eternal companion. I am a particle, but I desire the eternal sun. I am nothing, but I desire all of existence.” (Words, 26th Word, Conclusion)
First, it is crucial to understand a concept closely.
This concept: Dialectic.
Dialectic, as one of the oldest methods in the history of thought, refers to the process of the interaction of two opposing ideas or conditions, leading to the birth of a new synthesis. This method, whose foundations were laid in the dialogues of Socrates and Plato in Ancient Greece, became systematic with Hegel and was brought into the social dimension with Marx. Simply put, this process proceeds through thesis (an idea), antithesis (opposing idea), and synthesis (compromise/new idea), and is based on the unity and struggle of opposites.
Dialectic, which also holds an important place in Islamic thought, operates through dual concepts such as zahir-batin (exoteric-esoteric), sharia-hakikat (law-truth), and kasrat-wahdat (multiplicity-unity), aiming to bring these concepts together in a higher truth. Used in many fields today, from academic debates to philosophical analysis, social theories to problem-solving methods, this approach enables the resolution of apparent contradictions at a higher understanding. For example, contradictions like “Man is both free and determined by fate” can be better comprehended through a dialectical approach.
The dialectical method in Said Nursi’s writings is always a hidden and unique theme.
Let’s explore:
As I said, in Said Nursi’s thought system, there is a unique Islamic interpretation of classical dialectics. In his works, oppositions work through the principle of complementarity rather than conflict. Particularly in the Risale-i Nur collection, Nursi systematically demonstrates how seemingly opposed concepts such as matter-spirit, reason-heart, and world-Hereafter are parts of a whole. Even in the most fundamental matters, the narrative technique used by Hazreti Pir involves opposites and the wisdom distilled from the conflicts arising from them.
Nursi’s most prominent dialectical approach is seen in the bridge he builds between modern science and religious truths. In “Mektubat” and “Lem’alar,” he does not conflict the data of positive sciences (thesis) with the truths of revelation (antithesis); rather, he shows that they are two different readings of a higher truth (synthesis). For example, he interprets the movement of subatomic particles as a manifestation of God’s divine power.
Another notable dialectical approach in “Sözler” is seen in his teachings on the purification of the self. Nursi interprets the relationship between human weakness (thesis) and God’s power (antithesis) as the perfection of servitude (synthesis). This approach is particularly evident in the “Thirtieth Word,” where the dialectical relationship between the human void and God’s infinite power is presented as the key to reaching the highest station of knowledge.
In “İşarat-ül İ’caz,” Nursi’s exegesis methodology also exhibits a dialectical structure. The connection he makes between the exoteric meanings (thesis) and the esoteric/indicative meanings (antithesis) of verses reveals the multi-layered meaning of the Qur’an (synthesis). This approach represents a modern interpretation of the classical exegesis tradition.
In “Mesnevi-i Nuriye,” Nursi constructs a metaphysical system through the dialectic of existence and non-existence. Starting from the proposition that existence is absolute good and non-existence is absolute evil, he connects visible contradictions in the universe to a higher wisdom. This approach offers unique solutions, especially in issues of fate and theodicy (a term derived from the Greek words “theos” (God) and “dike” (justice)).
When dealing with the dialectic of faith and disbelief, Nursi presents an original approach. Instead of presenting disbelief as a fixed and unchanging stance, he treats it as a form of ignorance that is temporary, and which can be transformed through the expansion of knowledge and the illumination of the heart. This idea is closely related to the concept of “self-purification” in Sufism.
Finally, let us take a step back and acknowledge that Said Nursi’s philosophy of dialectic is, at its core, about bringing the apparent contradictions between our human experience and divine reality into a harmonious whole.
So, in conclusion, the greatest challenge for the human heart is this: how to balance the desires of the self with the desires of the soul. This challenge is the very essence of existence. Whether in the intellectual works of Lacan, the metaphysical writings of Arabi, or the cinematic universes of Lost and The Matrix, the story is the same: humanity is forever yearning for the one thing that can never be obtained from this world: eternity.
