CELT ISLAM
17-03-07, 11:40 AM
Why Music Is Not Haram [ Forbidden ]
Why Music Is Not Haram { Forbidden }
The Almighty has created man with the best physical and intellectual abilities. Desires for beauty and stateliness of thought and practice are found in his nature. He is well-disposed to choose good to the exclusion of evil, and prefer piety to sinfulness. He professes virtues of love, fidelity, truth, purity, justice and equality, and shuns hatred, falsehood, injustice and inequity. He yearns for enlightenment and shuns ignorance; he goes for fragrance and evades fetidness; he craves for beauty and dislikes ugliness. All cultural advancement and progress in civilization, in fact, owes itself to this very natural desire in man for beauty and grandeur. Every small step he has taken for advancement testifies to his inclination towards the best.
He needed nutrition for his growth for which he could have done with brambles and potherbs, but he innovated a variety of delicious foods as an essential part of his meals. His sense of modesty required that he cover his private parts, for which he could have wrapped himself up in sackcloth, but he went for silk, brocade and satin. He needed shelter. Caves, tents or huts scattering through forests and deserts could have satisfied this need, and yet he chose to build cities and bejewelled them with magnificent palaces. In social life, he needed an effective means of communication. But he did not feel content with simple signs and symbols or even a plain discourse; instead he coined such eloquent styles of expression that language developed into poetry and literature.
The history of mankind - in the realm of social and cultural progress - sufficiently evidences the fact that in his very nature, man longs for beauty and grandeur in all activities that emanate from him. His physical and psychological senses, and their necessary characteristics, mirror his interest in beauty. Therefore, we see that his appreciation for the ambience of life and its vivid images drives him to decorate his surroundings. His command on expressing himself leads him to take ordinary words, and develop their rhyme and meanings into poetry. This is because of his appreciation for a beautiful voice that he infuses passion in his utterances and uses the high and low pitches in composing enchanting musical tones. His yearning to hear pleasing sounds draws him towards the captivating resonance in his environment and forces him to invent musical instruments to master and reproduce these sounds. Music is nothing but the manifestation of his beauty of utterance and taste for pleasing sounds. Therefore, music satisfies his want of beauty and affords him an opportunity to delight his innerself. <SPAN style="FONT-SIZE: 8pt; FONT-FAMILY: Verdana; mso-bidi-font-size: 12.0pt"> We can conclude from this narrative the following points:
· The Mother of the believers, 'A'ishah (rta), was listening to songs on 'Id day.
· The songs were being sung in the residence of the Holy Prophet (sws).
· A professional singer was performing.3 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn3#_ftn3)
· The song was not a hymn to God; rather a relic of a war fought before the advent of Islam.
· The mother of the believers did not stop listening to the song even after the Holy Prophet had arrived.
· The Holy Prophet (sws) did not forbid her from listening to the song.
· He did not stop the female singers either.
· He himself was not attracted to the performance but he must have heard the song as he could hear Abu Bakr's comments.
· Abu Bakr (rta) condemned the practice at first sight and declared that these were satanic instruments.
· When he tried to stop the singers and censure the listeners, the Holy Prophet (sws) stopped him from doing so.
The report evidently proves that the Holy Prophet (sws) allowed singing music during religious festivals. This is evidenced by the fact that Holy Prophet's (sws) wife enjoyed singing and music. Although Abu Bakr (rta) tried to stop the function, the Holy Prophet (sws) did not interfere with it, and let the performers and the audience enjoy themselves. Therefore, in light of this evidence we can conclude that music can justifiably be considered allowable in Islam.
The following narrative also deals with the issue:
Umm-i-Salamah narrates: A slave girl belonging to Hassan Ibn Thabit (rta) came to us on 'Id al Fitr. Her hair was unkempt and she carried a tambourine and was singing [some song]. Umm-i-Salamah rebuked her. But the Holy Prophet (sws) said to her: 'Ummi-i-Salamah, let her [sing and rejoice]. Certainly every nation has an 'Id and this day is our 'Id'. (Mu'jam Al-Kabir, No: 558)
ii. Music on Wedding Ceremonies
Narrates Ibn 'Abbas: 'A'ishah (rta) arranged the marriage of a close Ansari girl. The Holy Prophet (sws) also came to attend the ceremony. He inquired from the people: 'Have you sent forth the bride?' 'Yes', they replied. 'Did you send any singer with her?' He asked. 'A'ishah (rta) replied in the negative. The Holy Prophet (sws) then remarked: 'The Ansar cherish singing. It would be better that you sent along with her a singer who would sing' 4 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn4#_ftn4)
'We have come to you; we have joined you. Peace be upon us. Peace be upon you.' 5 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn5#_ftn5) (Ibn Majah, No: 1900)
The narrative delineates the following points:
· The way the Holy Prophet (sws) inquired about singing and playing music on this occasion reveals that it was customary for the Arabs to send a singer with the bride when sent to join the bridegroom.
· The Holy Prophet (sws) was not pleased to hear that the custom was abandoned on that occasion.
· He encouraged people to adhere to the custom.
· He suggested some couplets to be recited on such occasions though he did not sing them.
· He referred to the characteristics of the Ansar and did not express his disapproval of the same.
The narrative proves that the Holy Prophet (sws) approved of singing and playing music on marriage ceremonies. Some other versions of the narrative reveal that the Prophet (sws) noticed that there was no singing or music being played in the house where the marriage ceremony was being conducted. He felt strange and inquired about the reason. Consider the following text of the narrative:
'A'ishah (rta)reports: An Ansari girl lived under my guardianship and I arranged her marriage. The Holy Prophet (sws) came to my house on the day she was married and did not hear any songs or any other joyful activities. [Observing this] he asked of me: 'Did you people sing to her or not?' 'This is the tribe of the Ansar who like singing,' he added. (Ibn Hibban, No: 5875)
iii. Use of Music on Joyous Occasions
Ibn 'A'ishah narrates: When the Holy Prophet (sws) came to Madinah, the women and the children started singing: 'The Moon has risen upon us from the hillocks of Wida'. We owe gratitude [to God] as long as those who call God continue doing so. O Prophet (sws) you have brought a religion that is worthy to be followed'. 6 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn6#_ftn6)
Narrates Anas Ibn Malik: [Having entered the city], the Holy Prophet (sws) passed through a certain part of the town. Suddenly some slave girls appeared singing on the Daff the following ditty: 'We are the slave girls of Bani Najjar. 7 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn7#_ftn7) How lucky! This day the Holy Prophet (sws) has come to be our neighbor'. At this the Holy Prophet (sws) remarked: 'God knows that I love you people' 8 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn8#_ftn8) (Ibn Majah, No: 1899)
These narratives deal with the Holy Prophet's arrival in Madinah after his migration from Makkah. Their content can be summarized in the following points:
· The Holy Prophet's arrival in Madinah was an extremely joyous occasion.
· People expressed their joy by singing joyous songs.
· Slave girls were also from among the singers.
· They had musical instruments to play with their songs.
· The Holy Prophet (sws) and the Companions (rta) heard these songs but they did not express their disapproval.
· The Holy Prophet (sws) expressed his love and kindness for singing women.
These and other similar narratives sufficiently prove that when the Holy Prophet (sws) reached Madinah after his migration from Makkah, he received a warm welcome. The city had a festive appearance. Every one was filled with joy on the Holy Prophet's arrival. Women, slave girls, singing women and children expressed their joy by singing welcome songs and playing the Daff. The Holy Prophet (sws) appreciated this. Therefore, one cannot deny the fact that the Holy Prophet (sws) sanctioned celebrating joyous occasion by singing melodies using musical instruments.
iv. Use of Music during Travels:
Narrates Salama Ibn Al-Akwa': 'We set off for Khaybar in the company of the Holy Prophet (sws) at night. A man from the group said to 'Amir: 'O 'Amir, would not you let us hear your poetry?' 'Amir who was a Hida poet got down and started reciting for the people [the following verses]: 'O God, were not it for your guidance, we could not have been able to offer the Salah and pay the Zakah. So please forgive our sins that [we have committed] and the ones we may commit in future. We are ready to offer our lives for your cause. Grant us perseverance when faced [with the enemy] and pour down your mercy upon us. [We are the people] who refuse to surrender when the enemy challenges us to fight. And [we leave them] to cry for help against us'.
The Holy Prophet asked: 'Who is that signer?' They replied: ''Amir bin Al-Akwa''. 'God bless him', prayed the Holy Prophet (sws) 9 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn9#_ftn9). (Bukhari, No: 3960)
We learn from the narrative that:
· The Companions were along with the Holy Prophet (sws) on his way to Khaybar.
· Some of the Companions requested 'Amir (rta) to sing from his Hida (i.e. song sung primarily to drive camels, which correspond to their walk). He complied with the request and began his recitation with such a loud voice that the Holy Prophet (sws) could hear him.
· The Holy Prophet (sws) inquired about the singer approvingly.
· Since he had recited good verses the Holy Prophet (sws) prayed for him.
Hida is a form of the desert poetry. The verses in this kind of poetry are rhymed corresponding to the pace of the footsteps of the camels. Ancient Arab camel drivers would sing this kind of poetry while travelling through the desert. Though the primary purpose of this singing was to encourage the camels to walk speedily yet the camel drivers themselves enjoyed it a lot. Many Hadith narratives refer to this practice of the time and evidently prove that the Holy Prophet (sws) and his Companions would enjoy this kind of poetry.
According to other narratives on the same subject, the Holy Prophet (sws) had appointed Anjashah, who had a very pleasing voice, to serve as a Hadi (i.e. camel driver) during his travels in the desert. During one of the travels, the camels started to pace very quickly affected by the sweetness of his sound. The Holy Prophet (sws) stopped him lovingly from singing Hida. He asked the singer not to force the beasts to walk at a faster pace so that female riders do not fall down. 'Anas Ibn Malik reports:
The Holy Prophet had a Had, Anjashah. He had a very sweet sound. [During one of his journeys] the Holy Prophet (sws) said to him: 'Slow down, Anjashah, lest you should break the delicate goblets. Qatadah explained that the Prophet (sws) was referring to delicate women. (Bukhari, No: 5857)
According to the scholars Hida' definitely is a type of singing. Dr. Jawwad Ali writes:
Hida is of the oldest type of singing in Arabia that was specifically used during travels and is still used in contemporary Bedouin society. Besides, since the Hida songs suit sorrowful situation, this type of singing was used in mourning etc. as well. The Holy Prophet (sws) got a Hida singer appointed for him called Al-Barra' Ibn Malik Ibn Nadar Al-Ansari who would drive camels for male riders. Another Had of his was Anjashah who had a very melodious tone. He was a black slave of the Holy Prophet (sws) who was employed to serve as a Had for the camels of the wives of the Holy Prophet (sws). 10 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn10#_ftn10)
He further writes:
Al-Hida' actually is the singing used among the desert dwellers … this kind of singing corresponds with the tones cherished by the desert dwellers and also with their simple and natural mourning songs that please the nomadic tastes of these Bedouins. 11 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn11#_ftn11)
Ibn Khaldun writes in his book, Muqaddamah, that the basic purpose of Hida was not only to please the caravan members but also to urge the camels to proceed faster.
This feeling of joy is even found in speechless animals not to mention humans. Therefore we see that the camels respond to the Hida of the riders, and the horses are affected by the whistles and shrill sounds. We already know that animals receive effects of the songs if they are rhythmical, and correspond to the rules governing the art of music. 12 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn12#_ftn12)
v. Musical Instruments
Narrates Rabi', daughter of Mu'wwadh: On the occasion of my transfer to my husband's home after marriage, the Holy Prophet (sws) came to visit us and sat down on my bed just as you [the next narrator] are sitting before me now. Some slave girls were beating the Daff and singing in lamentation of their forefathers who had been killed during the battle of Badr. Then one of the girls sang: 'Among us is the Prophet (sws) who knows even what will happen in coming days'. At this, the Holy Prophet (sws) said: 'Do not say this, but go on singing. 13 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn13#_ftn13) (Bukhari, No: 3779)
We learn from the narrative that:
· The Holy Prophet (sws) attended a marriage ceremony where some slave girls were singing.
· Singing was not stopped on his arrival.
· The singers used the Daff with their singing.
· The Holy Prophet (sws) heard them [this is evident from the fact that he stopped them from uttering certain words.]
· He however ordered them to continue with what they were singing before.
This effectively proves that the Holy Prophet (sws) did not impose any restriction on using the Daff, a common musical instrument used in that society. Keeping in view the information we received through the above mentioned narratives we can conclude that Arabs of the times of the Holy Prophet (sws) would use musical instrument to accompany their singing on joyous occasions. This has been done in the presence of the Holy Prophet (sws) to which he did not object. Some other narratives even tell us that the Holy Prophet (sws) even ordered the people to use musical instruments at the occasion of marriage.
The Holy Prophet (sws) said: 'the only thing that distinguishes the allowable act (i.e. Nikah) from the forbidden one (fornication) is the beat of the tambourine and open declaration of the Nikah. 14 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn14#_ftn14) (Ibn Majah, No: 1896)
The Daff no doubt is an old musical instrument to be played by hand, which remained in use from ancient times. In this regard, Dr. Jawwad 'Ali writes:
The Daff is one of the most well known primitive musical instruments. It is used to express joy and high spirit. Women also play it. The Arabs would commonly use it on their most joyous occasions. When the Holy Prophet (sws) reached Madinah he was welcomed with the singing of songs and playing of the Daff. Usually, the Arabs would use it on joyful ceremonies like weddings, and would sing songs along with it. 15 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn15#_ftn15)
The Bible also contains references to the Daff as a musical instrument at various occasions. One of the Urdu Bible dictionaries, Qamus Al-Kitab, defines the instrument thus:
It was a kind of narrow hoop musical instrument which was held in [one] hand and played It was used to create rhythm while singing and dancing. It would offer much cheerfulness in celebrations and processions. 16 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn16#_ftn16)
[B]vi. Art of Music
Narrates Sa'ib Ibn Yazid: A woman came to the Holy Prophet (sws). He asked 'A'ishah (rta): 'Do you know her?' 'No, O Prophet (sws) of God' she replied. 'This is the female professional singer of such and such tribe. Do you want her to sing to you?' So the woman sang for her. 17 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn17#_ftn17) (Bayhaqi,No: 8940)
We learn from the narrative:
· A woman connected with the art of music 18 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn18#_ftn18) came to the Holy Prophet (sws).
· She expressed her desire to sing to 'A'ishah (rta)
· The Holy Prophet (sws) did not express dislike for this nor did he rebuke her.
· He introduced her to 'A'ishah (rta).
· With the permission from the Holy Prophet (sws), the singer sang to 'A'ishah (rta).
The narrative evidences that the Holy Prophet (sws) did not consider singing evil in its nature. Had it been the case he would have hindered the woman from doing so or at least he would not have allow 'A'ishah (rta) to listen to her song. Some other narratives tell us that such professional singers and dancers, both men and women, were common among the Arabs of that time, and the Holy Prophet (sws) did not deem it undesirable to enjoy their performance.
Consider the following narratives:
Narrates 'A'ishah (rta): The Holy Prophet (sws) was present among us when suddenly we heard children creating noise. The Holy Prophet (sws) stood up. [We found out] that a black slave woman was dancing encircled by children. The Holy Prophet (sws) [called me] saying: ''A'ishah (rta), come and watch'. I came [to him] placed my chin over the Prophet's shoulders and watched through the space between his shoulders and head. The Holy Prophet (sws) asked many times: 'Have you not got enough of it?' In order to know how he cares for me I continued replying in the negative. Meanwhile 'Umar (rta) came and the gathering disbursed [seeing him]. At this the Holy Prophet commented: 'I see that the devils from among the Jinn and the humans have fled at 'Umar arrival.' 19 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn19#_ftn19) (Tirmidhi, No: 3691)
Abdullah Ibn Buridah narrates on the authority of his father: The Holy Prophet (sws) returned from some of his military expeditions. A black slave girl approached him and said: 'I had vowed to beat the Daff before you if God brought you back unhurt'. The Holy Prophet replied: 'If you have, then proceed'. She started beating the Daff. Meanwhile Abu Bakr (rta) came and she continued beating it. Later when 'Umar (rta) came she covered her instrument under herself as soon as she saw him. At this the Holy Prophet (sws) commented: ''Umar, even Satan fears you'. (Bayhaqi, No: 19888)
The overall situation depicted in the above narratives makes it clear that the word 'Habshiyyah' and 'Jariyyah Sawda'u' connote professional singer slave-girl. For it would not be possible for a common lady to perform before the general public.
The word 'Qaynah' in the above mentioned narrative from Sunan Al-Bayhaqi connotes a professional female singer. The context does not permit any other explanation. Besides, it is a known fact that in the Arabic language the word has been used as a term for a professional female singer. The author of Lisan Al-'Arab writes, 'and the word 'Qaynah' means female slave singer.' 20 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn20#_ftn20)
Black male and female slaves excelled in the art of dancing and music. Many narratives provide sufficient evidence that they exhibited their skill in the presence of the Holy Prophet (sws) at numerous occasions and he did not condemn it.
vii. Dance
Anas (rta) narrates: Black slaves were dancing in front of the Messenger (sws) of God and sang the following words: 'Muhammad (sws) is a pious person'. The Holy Prophet (sws) [did not understand their utterances] and asked what they were saying. The people replied: 'they say that Muhammad (sws) is a pious person'. (Ahmad, No: 12562)
We learn from the narrative that:
· Some black slaves were dancing in the presence of the Holy Prophet (sws).
· They were singing the praise of the Holy Prophet (sws).
· The Holy Prophet (sws) did not stop them from doing so.
· He was interested in their performance. This is revealed by his question about their utterances.
The Hadith literature contains enough evidence to the fact that professional dancers from among the Abyssinian slaves used to perform before the Arabs. The nobles of Arabia would not consider enjoying such performances as undesirable. Therefore they would invite such artists to perform on their festive occasions. Dr Jawwad 'Ali writes:
The Abyssinians were famous for their love of dancing. The people of Makkah and of other territories of Hijaz would call upon them to perform their special dances and sing songs whenever they would hold joyous ceremonies like marriage, circumcision and other similar festive occasions. 21 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn21#_ftn21)
Many Hadith narratives show that 'A'ishah (rta) enjoyed the dancing feast of the Abyssinian slaves along with the Holy Prophet (sws).
Narrates 'A'ishah (rta): Once on an 'Id day the Abyssinian slaves came and started dancing in the mosque. The Holy Prophet (sws) called me. I placed my head on the Holy Prophet's shoulder and started watching their performance. [The Holy Prophet did not stop me] until I myself got tired of watching them and turned away. (Muslim, No: 892)
viii. The Prophet's Praise for a Melodious Voice
Narrates Abu Musa: The Holy Prophet (sws) [heard him recite the Holy Qur'an] and commented: 'O Abu Musa, you have been given one of the musical wind-instruments of the nation of David'.
The narrative tells us:
· The Holy Prophet (sws) liked reciting the Qur'an in sweet sound.
· He rendered it analogous to using musical instruments.
· He appreciated the musical instruments used by people of David (sws).
This markedly shows that the Holy Prophet (sws) liked melodious utterances. The words of the narrative shows that the reason the Holy Prophet (sws) praised Abu Musa's recitation was the sweetness of his voice. Obviously, this sweetness of sound should always be considered a desirable thing; not only this sweetness will be enjoyed while reciting the Holy Qur'an but also other poetry, for example, poetical compositions in praise of God and exalting Him and in expressing other good subjects or poetry. In all these things, a beautiful voice should be equally considered a virtue. The art of music and singing is nothing but rhythmical melodious themes. There is no doubt that the principles of reciting the Qur'an beautifully are different from the ones used in common musical notes. However, this is equally true that the treble and bass and beauty and delicacy of utterance are elements common in the Qur'anic recitation and other types of singing. Seen in this perspective, both arts have a common trait of some sort.
Furthermore, the narrative approves of the musical instruments of David (sws). Thus the Holy Prophet (sws) recognized Biblical accounts regarding David (sws) and his followers about their use of music and musical instruments in singing the praises of God. That is the reason the great exegetes of the Qur'an have recorded this Hadith narrative in connection with the Qur'anic verses dealing with David's praises of God. While commenting on verse 79 of Surah Anbiya, the celebrated commentator of the Qur'an, Ibn Kathir writes:
And this was because of his reciting the Psalms in a melodious voice. When he would sing it the birds would stop in the air and sang in response to David; so did the mountains. It is for this reason that when the Holy Prophet (sws) passed Abu Musa Ash'ari (rta), when he was offering his night prayer, he stopped and listened to his recitation for he had a very beautiful voice. The Holy Prophet (sws) said: 'Indeed he (Abu Musa) has been bestowed one of the musical instruments of the people of David (sws)'. Hearing this, Abu Musa said: 'Had I known that he [the Holy Prophet] was listening, I would have pleased him more'. Abu 'Uthman Nahdi says that he did not find any drum, flute or a reed sound more pleasing than the voice of Abu Musa. 22 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftn22#_ftn22)
Therefore it may safely be concluded that the Holy Prophet (sws) believed in the fact that David (sws) had a melodious voice.
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REFERENCES:
1 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref1#_ftnref1). War fought between the two tribes of the Ansar, namely Aws and Khazraj, before the advent of Islam.
2 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref2#_ftnref2). This Hadith is Sahih (authentic).
3 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref3#_ftnref3). The word 'Jariyah' used in the narrative is usually taken to mean young girls. Although the word connotes young girls in certain contexts but there is little room to accept it as such. In this context, the word connotes a slave woman who is a professional singer and well known for her profession. This is evidently proved by the context in which the word is used here, and by the fact that another version of the same narrative has the word 'Qaynah' ( i.e. a professional female singer) has been used instead of Jariyah. The text of the narrative follows:
'A'ishah (rta) narrates that once Abu Bakr (rta) came to her on the day of 'Id Al-Fitr or 'Id Al-Adha in the presence of the Prophet (sws). There were two female singers with her, singing the songs which the Ansar had sung on the day of Bu'ath. Abu Bakr remarked twice: the 'Why these satanic instruments?' The Prophet heard him and said to him: 'Let them sing. Every nation has an 'Id and this day is our 'Id'. (Bukhari, No: 3716)
4 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref4#_ftnref4). In Bukhari, the narrative has been worded thus:
'A'ishah (rta) reported that once she married a woman to an Ansari man. The Prophet (sws) said: 'O 'A'ishah, what is it that there is no singing and playing whereas the Ansar take delight in this'. (No: 4867)
5 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref5#_ftnref5). This Hadith is Hasan.
6 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref6#_ftnref6). 'Ali Ibn Burhan al-Din Halbi, Al-Sirah Al-Halbiyyah fi Sirah Al-Amin, 1st ed., vol. 2, (Beruit: Dar Al-Marifah, 1400 AH), pp. 234-5
7 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref7#_ftnref7). It would not be correct to translate the word 'Jawari' as young girls. Some other version of the narrative has the word 'Qaynat' (a woman who is a professional singer) instead of 'Jawari'.
Anas Ibn Malik narrates that when the Prophet (sws) passed by a clan of Bani Najjar, he noticed some slave girls were singing on Daff: 'We are the singers of Bani Najjar. We are lucky enough to have the Prophet (sws) as our neighbour today'. Then the Prophet (sws) said: 'God knows that my heart feels affection for you people'. (Al-Mu'jam Al-Saghir, No: 78)
8 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref8#_ftnref8). This Hadith is Sahih (i.e. authentic).
9 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref9#_ftnref9). This Hadith is Sahih (i.e. authentic)
10 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref10#_ftnref10). Dr Jawwad 'Ali, Al-Mufassal fi Tarikh Al-'Arab Qabl Al-Islam, 2nd ed., vol. 5, (Baghdad: Maktabah Al-Nahdah, 1978), p. 116
11 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref11#_ftnref11). Dr Jawwad 'Ali, Al-Mufassal fi Tarikh Al-'Arab Qabl Al-Islam, 2nd ed., vol. 5, (Baghdad: Maktabah Al-Nahdah, 1978), p. 117
12 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref12#_ftnref12). Ibn Khaldun, Muqaddamah, 1st ed., (Beirut: Mu'assasah Al-'Alami li Al-Matbu'at), pp. 258
13 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref13#_ftnref13). This Hadith is Sahih (i.e. authentic).
14 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref14#_ftnref14). Secret marriage contract is not considered valid in the Islamic Shari'ah. Thus open declaration of the marriage is one of the basic requirements for the validity of a Nikah. That is why the Prophet (sws) rendered it desirable to beat the Daff on this occasion during his time. Consider the following narrative:
'Ali (rta) narrates: 'Once the Holy Prophet (sws) and his Companions passed the tribe of Bani Zariq. He heard singing sounds and music. 'What is this?' he inquired. People replied: 'Messenger of God, the Nikah of such and such [person is being conducted]'. 'His religiosity now reaches the zenith' said the Prophet (sws). 'This is the prescribed way of Nikah. Neither adultery nor secret marriage is allowed until one hears the sound of the Daff or watches the smoke rising. Husayn said: 'I was also informed by 'Amr Ibn Yahya Al-Mazani that the Prophet would disapprove of secret marriage [and would not accept it] until the Daff was played'. (Bayhaqi, No: 14477)
The Prophet (sws) held it necessary for the Arabs of his time to use the Daff to announce the wedding considering the prevailing custom and cultural traditions of the Arabs of that time. In current times, the purpose can be met through any other available means.
15 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref15#_ftnref15). Dr Jawwad 'Ali, Al-Mufassal fi Tarikh Al-'Arab Qabl Al-Islam, 2nd ed., vol. 5, (Baghdad: Maktabah Al-Nahdah, 1978), p. 108
16 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref16#_ftnref16). F.S. Khayrullah, Qamus Al-Kitab, 5th ed., (Lahore: Masihi Kutub Khanah, 1993), p. 978
17 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref17#_ftnref17). This Hadith is Sahih (i.e. authentic).
18 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref18#_ftnref18). Here the word Qaynah has been used which stands for a professional female singer.
19 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref19#_ftnref19). Some people present this narrative to prove that the art of music is evil in nature. They base their argument on the prophetic saying, 'I see that Satan from among the Jinn and the humans have fled when 'Umar arrived'. They claim that the Prophet (sws) related music with Satan and thus expressed his dislike for it. We understand that the sentence is only expressive of sarcasm, which he used to express the harshness of 'Umar's disposition. If the words are taken in their literal meaning then one wonders what explanation is to be given for the presence of the Prophet (sws), 'A'ishah (rta) and Abu Bakr (rta).
20 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref20#_ftnref20). This is the well acknowledged meaning of the word. The word has been used in this implication before and after the advent of Islam. Imra' Al-Qays says:
(No worry if I have grown sorrowful. How many delicate singing slave girls did I employ on playing a Kiran. They had such musical instruments in their hands which on being stirred by the hands gave heavy sound that spread through the whole band of troops.)
21 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref21#_ftnref21). Dr Jawwad 'Ali, Al-Mufassal fi Tarikh Al-'Arab Qabl Al-Islam, 2nd ed., vol. 5, (Baghdad: Maktabah Al-Nahdah, 1978), p. 122
22 (http://www.renaissance.com.pk/Aprefl2y5.htm#_ftnref22#_ftnref22). Ibn Kathir, Tafsir, vol. 3, (Lahore: Amjad Academy, 1982), p. 187
Um Abdullah
23-03-07, 06:56 AM
can we stop this please.
so if she is shia?
we should be making dawah, discuss with her, listen to what she has to say and discuss with her, show her evidance.
we are not going to benefit from pushing away every shia from this forum, many are laymen.
we need to remember that our main purpose is to do dawah to others, whether shia or anyone else.
as long as she uses adab in her disucussions, and everyone else, then just let her post, and reply to her questions, or discuss with her the things you disagree with.
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