Deathless Youth (Lawh-i-Ghulámu'l-Khuld), Tablet of the Wondrous Maiden (Húr-i-'Ujáb), Tablet of the Holy Mariner (Lawh-i-Malláhu'l-Quds) (all written in the Baghdad period 1856–63), the Súrih of the Pen (Súriy-i-Qalam; c. 1865) and the Tablet of the Vision (Lawh-i-Ruʼyá; 1873). Hatcher and Hemmat interpret the different occurrences of the Maid of Heaven throughout the writings of Bahá'u'lláh as the gradual unveiling of the station of Bahá'u'lláh. Sours describes parallels with Sophia, the personification of Wisdom in the Wisdom literature in the Bible. John Walbridge categorized her appearance under four themes: 'the maiden revealed' as the personification of the spirit of God, 'the maiden in love' as a bride personifying his coming revelation, 'the maiden heartbroken' in sorrow and grief over impending exile and of internal and external enemies, and 'the maiden afterwards' representing healing of spiritual wounds and the increasing tranquility of Bahá'u'lláh's later years. The Guardian of the Baháʼí Faith, Shoghi Effendi, compares the Maid of Heaven with the Holy Spirit as manifested in the Burning Bush of Moses, the Dove to Jesus, the angel Gabriel to Muhammad. Further, Farshid Kazemi discusses links with the Zoroastrian Daena. Effendi wrote about the Maiden in God Passes By: "He lauded the names and attributes of His Creator, extolled the glories and mysteries of His own Revelation, sang the praises of that Maiden that personified the Spirit of God within Him". See also Houri Notes References Hatcher, John S.; Hemmat, Amrollah; Hemmat, Ehsanollah (2019). Bahá’u’lláh’s Symbolic Use of the Veiled Ḥúríyyih. Journal of Bahá'í Studies 29 (3). History of the Bahá'í Faith Islamic architecture History of Tehran