This excerpt is taken from Sheikh Irshad-ul-Haq Asri's book Islam and the Criticism of Ishraq on Music.
Our kind one states with great confidence: that until the Ahl al-I'tisam refute the following points, our argument remains valid.
① Sayyida Aisha (may Allah be pleased with her) listened to singing. ② The Prophet ﷺ did not forbid Sayyida from listening to singing. ③ When Sayyidna Abu Bakr (may Allah be pleased with him) tried to stop Sayyida from listening to singing, the Prophet ﷺ forbade him from stopping her.
If they want to refute these points, they should pause for a moment and consider that refuting them could be interpreted by some as denying the Hadith.
Reference: (Ishraq: p. 29 March 2006)
Although the enlightened ones, if they pondered, would find answers to these "points" in our statements. We have already explained what is meant by "singing" in the narration and who was the singer, and that it was the day of Eid, which is why the Prophet Muhammad ﷺ permitted it. But despite this clarification, if they say that they want an answer, then in response, it is enough to say:
If you yourself do not wish, there are a thousand excuses.
The Ahl al-I'tisam, by the grace and bounty of Allah Almighty, accept this hadith in the same manner as the scholars of hadith and the jurists have accepted it. Imam Bukhari, may Allah have mercy on him, established a [باب الحراب والدرق يوم العيد اور باب سنة العيدين لأ هل الإ سلام] chapter on this very hadith, and the subtle manner in which he pointed to the reality of the issue can be seen in detail in Fath al-Bari. The commentator of Sahih Muslim, Allama Nawawi, may Allah have mercy on him, established this chapter which represents the scholars of hadith and jurists. [فصل في جواز لعب الجوارى الصغار وغنائهن وضربهن بالدف يوم العيدين] (that is) this section is about the permissibility of little girls playing, singing, and beating the daf on the days of the two Eids. Amir Ala al-Din al-Farsi has titled this narration as follows:
[ذكر البيان بأن الغناء الذي وصفناه إنما كان ذٰلك أشعارا قيلت في أيام الجاهلية فكانوا ينشدونها ويذكرون تلك الأيام دون الغناء الذي يكون بغزل يقرب سخط اللٰه جل وعلا من قائله]
Reference: (Al-Ihsan bi Tartib Sahih Ibn Hibban: p. 549 vol. 7)
Imam Bayhaqi, may Allah have mercy on him, established a chapter on this very hadith as follows:
[باب الرجل لا ينسب نفسه إلى الغناء لا يؤتى لذٰلك ولا يأتي عليه وإنما يعرف بأنه يطرب في الحال فيترنم فيها]
Reference: (Al-Sunan al-Kubra: p. 224 vol. 10)
Consider carefully: What do these noble Imams say? Is it not that this singing is such that a respectable person does not prefer it for himself, it is not a cause of Allah's displeasure, the singers were young girls, and the day was also Eid. The Salaf understood this meaning from this hadith, and بحمدللہ Ahl al-I'tisam also understand it this way. The denial of the authentic hadith is being done by the people of illumination, who, due to their own intellectual distortion, declare the authentic hadith of Bukhari and Muslim weak and disconnected. This is called:
The thief scolds the constable.
Therefore, the denial of the authentic hadith here also falls upon the people of Ishraq (illumination), just as previously they have boldly denied the hadiths of stoning, the hadiths of the descent of Jesus (peace be upon him), etc. The denial of the authenticity of [قالت وليستا بمغنيتين] has also, Mashallah, come from them. Before the people of Ishraq, no scholar among the scholars of the Ummah denied its authenticity; even Hafiz Ibn Hazm (may Allah have mercy on him) could not deny its authenticity.
Reference: (المحلى: ص62 ج9)
Judge fairly, who is the denier of the authentic hadith?What is meant by the words [جاريتان تغنیان] in the hadith of Hazrat Aisha رضي الله عنها? The people of Ishraq insist that it means professional female singers. Firstly, it was stated that in Sahih Bukhari and Muslim, it is explicitly mentioned from Sayyida Aisha رضي الله عنها herself that they were not professional female singers. After this clarification from Sayyida Siddiqah رضي الله عنها, there is no need for linguistic subtleties, but the people of Ishraq found a solution by denying the explanation of [قالت:وليستا بمغنيتين]. What is the position of this denial? Dear readers have already come to know its reality.
In this semantic context, it has been mentioned that the term "Jariya" is generally applied to a girl and an underage girl. The commentators of Hadith have also understood it this way, as we have mentioned with references from Allama Aini, Allama Nawawi, Sheikh al-Islam Ibn Taymiyyah, Hafiz Ibn Jawzi, and Hafiz Ibn Qayyim, may Allah have mercy on them. However, the people of Ishraq (illumination) say that in Lisan al-Arab and other sources, "Jariya" refers to a young woman. We do not at all deny that the term "Jariya" can also be applied to a young woman. But if the same meanings of "Jariya" are taken as those quoted by the people of Ishraq from the lexicons, then why do they not say that the term "Jariya" is applied only to a young woman? If they do not agree with that, then what is the benefit of those references? Can they deny that in the lexicon, the term "Jariya" is also applied to an underage girl? Allama Tahir Patni has clearly written that [الجارية من النساء من لم تبلغ الحلم] Jariya refers to a woman who has not reached puberty.
Reference: (Majma' al-Bihar: p.191 vol.1)
We have already written this with reference to Allama Aini. The commentators of Hadith have taken the same meaning from "Jariya." That is why it is said that the term "Jariya" generally applies to an underage girl. In the lexicon, when a word has two or more meanings, the context determines the intended meaning. We have already presented with references that Sheikh al-Islam Ibn Taymiyyah, Hafiz Ibn Jawzi, Allama Aini, Hafiz Ibn Qayyim, and Allama An-Nawawi, may Allah have mercy on them, take "Jariya" here to mean a صغيرة السن girl. However, the people of Ishraq (illumination) say:
① The verb تغنیان has been used for "Jariyatan," which means: that both of them were singing and they were maidservants.
② In the narration, the commentary of Sayyiduna Abu Bakr, may Allah be pleased with him, from "Mazmar ash-Shaytan 'Inda an-Nabi ﷺ" gives the impression that the singing girls were not children.
③ In one narration, instead of "Jariyatan," the word "Qaynatān" is used, which means a female singer or a singing maidservant.
④ Hafiz Ibn Hajar, may Allah have mercy on him, has also identified these slave girls based on some narrations. In summary
Reference: (Ishraq: pp. 32, 34. March 2006)
The explanation of these matters is in the following order.
① ،،تغنیان،، What was meant by singing and the singing of the Arabs? This will be discussed in its proper place later.
Consider here: Is singing necessarily linked to slave girls? And is the singing of girls not considered singing?
② The girls who were singing were not only singing but also playing the daf (tambourine). Sayyiduna Abu Bakr رضي الله عنه declared it a satanic instrument based on the actual act. The Prophet ﷺ did not say: Abu Bakr! It is not appropriate for you to call it a satanic instrument; rather, he overlooked the girls' joyful act because it was Eid. How much interest did you ﷺ have in it? You lay down on the bed and turned your blessed face away. In one narration, it is mentioned that you covered yourself with a sheet. How distant is this disinterest of yours from the perception of the people of Ishraq that you enjoy singing and music. You did not forbid it because it was the day of Eid and because of the girls' act of happiness; if you had adopted the stance of Siddiq Akbar رضي الله عنه, then even on Eid, such expressions of joy would not have been permissible.
③ The discussion on the meaning of قینۃ comes later; the summary is that in the narration, ،قینہ، is used in the sense of continuation, not in the sense of a professional female singer.
④ Undoubtedly, Hafiz Ibn Hajar, based on some narrations, has interpreted "Jariatan" here as slave girls. However, this point is debatable because the explanation of [ليستا بمغنيتين] given by himself is evidence that if they were indeed slave girls, then they certainly were not professionals. As for some narrations, it should be noted that:
Firstly: They mentioned in Al-Tabarani from the narration of Hazrat Umm Salamah (may Allah be pleased with her) that she was the slave girl of Hazrat Hassan bin Thabit (may Allah be pleased with him). This narration is mentioned in
Reference: Al-Tabarani Al-Kabeer (p. 264 vol. 23, no: 558)
. However, one of its narrators, Al-Wazi' bin Nafi', is very weak. Allama Haithami (may Allah have mercy on him) mentioned this same narration in
Reference: Majma' al-Zawaid (p. 206 vol. 2)
and said: Al-Wazi' is abandoned. Hafiz Ibn Hajar (may Allah have mercy on him) himself gave a detailed account of him in
Reference: Lisan al-Mizan (p. 213 vol. 6)
and did not transmit even the slightest word of authentication; rather, at the end, he also quoted that [قال الحاکم و غیرہ روی أحادیث موضوعة] Imam Hakim (may Allah have mercy on him) and others said that he narrates fabricated hadiths. Therefore, when his narrator is abandoned, judge fairly whether it is correct to use this as evidence? We have already given a detailed critique of this narration, to which the people of Ishraq have given no response.Secondly: Hafiz Ibn Hajar, may Allah have mercy on him, wrote regarding Al-Arba'in lil-Sulami that they were the maidservants of Abdullah bin Salam. However, he did not mention any chain of narration for this. This narration is also not noteworthy because the one whom Hafiz himself considers to have authentic chains of narration, this narration is against him.
Thirdly: Hafiz Ibn Hajar, may Allah have mercy on him, mentioned in this regard from Ibn Abi al-Dunya that in the narration from Hisham from Faleeh, there was a singing woman named Hammama and her companion. In one place, Hafiz Sahib considered its chain authentic, and in another place, he considered it good, as also mentioned in Ishraq. But consider that Faleeh bin Sulaiman explicitly states this, about whom Hafiz Ibn Hajar, may Allah have mercy on him, said that he is truthful but makes many mistakes.
Reference: (Taqreeb: p. 418)
We are surprised that the scholars of insight do not accept the statement narrated by the trustworthy and reliable narrator Abu Usama Hamad bin Usama from Hisham, لیستا بمغنيتین, but they readily accept the narration of a less reliable narrator like Faleeh from Hisham. Therefore, when the chain of transmission itself is not reliable, what is the point of using these narrations as evidence? Then, even if it is accepted that it was Hamama or Zainab, what is the proof that this act was after puberty? And were they not maidservants before puberty? Moreover, the matter of sending a singer at the time of marriage is different, which does not necessarily mean that the same singers came to the house of Sayyida Siddiqa (may Allah be pleased with her) on the day of Eid.
From our explanation, it becomes clear that جاریتان does not mean taking adult maidservants and considering them professional singers based on any strong evidence.
In the same narration of Hazrat Sayyida Aisha (may Allah be pleased with her), the words [عندھا قینتان تغنیان] appear, from which the scholars of Ishraq state that it refers to professional female singers. In this context, it was argued that defining the meaning of Qainah as a professional female singer is incorrect. When this foundation itself is flawed, how can they be considered professional female singers? Now, when they admit that the meaning of this word is simply a slave girl.
Reference: (Ishraq: p.37)
Then how is it correct to define the meaning of قینتان as a professional female singer? Especially when the hadith explicitly states that they were not both professional female singers. The lexicographers, while explaining the meaning of Qainah and mentioning this narration, also pointed towards the same meaning that Qainah means a slave girl, whether she sings or not. In fact, the meaning of Qainah is [ماشطة، مغنية، جارية] even someone who adopts a profession is called Qain. Accordingly, Allama Al-Khattabi (may Allah have mercy on him) says:
[القينة الماشطة والقينة المغنية والقينة الجارية وكل صانع عند العرب قين] (غریب الحدیث: ص775 ج2)
If in a hadith ،،قینتان،، appears in one place and ،،جاریتان،، in another, there is no fundamental difference between the two. It will not be without interest to note here that the people of Ishraq consider the most "organized" text to be that of Abu al-Aswad, and they regard Hisham's narration as disconnected and mursal, and this is so that they may find an excuse to deny the phrase __ARABIC_24. However, in the next step, they forget that the word ARABIC_25__ is also in the same manner of Hisham. If Hisham's narration is not accepted by the people of Ishraq, then how was the word Qintan proven correct? And how was it correct to interpret the meaning of Jaritan as a professional singer based on the same disconnected narration?
We had mentioned in this regard that in the narrations from Urwah, the word "Jaritaan" appears in the reports of Abu al-Aswad, Hisham, and Ibn Shihab al-Zuhri. However, in the narration of Shu'bah from Hisham, the word "Qintaan" is used, which is referenced by the scholars of Ishraq in
Reference: Sahih Bukhari (No: 3716)
. In Shu'bah's narration, there is also a doubt expressed whether it was the day of Eid al-Fitr or Eid al-Adha. Whereas in Zuhri's narration, there is no such doubt; it mentions the days of Mina, that is, Eid al-Adha. In fact, in
Reference: Musnad Ahmad (p. 99, vol. 6)
, the narration of Shu'bah also uses the word "Jaritaan." Therefore, if in some places in Shu'bah's narration the word "Qintaan" appears, its meaning is also "Jaritaan," and among the Arabs, it is well known that "Qinah" means flowing. The scholars of Ishraq have never accepted this straightforward explanation, and in response, they say:Question: Does this doubt weaken the narration or create any ambiguity in the meaning of "Qintaan"? This doubt is also mentioned in the narration of Musnad Ahmad.
Reference: (Ishraq: pp. 38-39, March 2006)
Dear readers! Please consider that it was stated about "Jaritaan" that it necessarily means "bondmaids" who were known as expert singers. The strongest evidence for this is that in the other narration, the words "Qintaan" have been mentioned. When the meaning of "Jaritaan" as expert singers is primarily based on the word "Qintaan," it was also mentioned that this narration is from Shu'bah on the authority of Hisham. There is also hesitation in the determination of the day in this chain. Just as this hesitation and ambiguity are removed by other narrations, similarly, the hesitation regarding these words is also removed by other narrations. Especially when the word "Jaritaan" itself appears in the same chain from Shu'bah on the authority of Hisham. And "Qinah" means "Jariyah" (bondmaid), as we have quoted from Allama Khatabi. When this strongest evidence itself is proven weak, then how can the meaning of "Jariyah" necessarily be taken as expert female singers in fairness?
Rather, now the scholars of Ishraq consider the narration of Hisham bin Urwah to be completely disconnected and mursal, and the word Qintan is also in Hisham's narration. If the sentence of [لیستا بمغنیتین] is not correct and is disconnected, then how can the word Qintan be correct? There is a denial in one narration of Hisham and insistence in the other; if this is not the example of [تلک إذاً قسمة ضیزی], then what is it?
Similarly, the statement of the scholars of Ishraq that the meaning of Qinah is to enslave and the meaning of Jariyah is also not a singer but to enslave, then what is the strength of the argument made to interpret Jaritan as meaning little girls;
Reference: (Ishraq: 35)
but the scholars of Ishraq did not consider that when they said: that the well-known and understood meaning of Qinah is a professional singer, it was explained that actually the meaning of Qinah is a slave girl whether she sings or not. It is not correct to take this to mean a professional singer, especially since Sayyida Aisha (may Allah be pleased with her) herself clarified that they were not singers. After that, to interpret it as a professional singer is not just. Therefore, when the basis for taking Jariyah to mean a professional singer (the word Qinah) itself is weak, there is no objection to interpreting Jariyah as little girls.Mr. Ghamidi and his circle, while explaining the meaning of Qinah, wrote that its known and common meaning is a professional female singer.
Reference: (Ishraq: p.27, March 2004)
Regarding this, it was stated that Imam Laith said that the common people say that القینة means a female singer. This is not the opinion of the Arabs. The people of Ishraq found this very unpleasant and, in their arrogance of scholarly superiority, said that after reading this, it is difficult to decide whether to consider it a mark of their knowledge or honesty. The people of Al-I'tisam have probably forgotten that the dictionary they referred to is not of any foreign language but of the Arabic language. The term "common people" here is not of Urdu but Arabic, and its reference is also to the common people of Arabia. In summary
Reference: (Ishraq: p.37, June 2006)
In the heart and mind of this incapable person, there is no concept of بحمدللہ scholarly excellence; despite all his weaknesses, this service of defending Hadith is merely the result of Allah Subhanahu wa Ta'ala's grace. Otherwise, his own condition is such that it is not in his destiny to achieve excellence; even in imperfection, he did not become perfect in sorrow. If Imam Laith has narrated this from the common people: [القينة المغنية], then the same statement has been narrated by Abu Amr from some people; his words are: [وبعض الناس يظن القينة المغنية الخاصة ]
Reference: (Lisan al-Arab: p.232 vol.17)
That some people believe that Qinah specifically refers to a female singer, and this is also the opinion of the masters of illumination. That is why they say that the known and understood meaning of Qinah is a professional female singer. The issue to ponder is that according to Imam Laith, may Allah have mercy on him, this is the opinion of the common people, and according to Imam Abu Amr, it is the opinion of some people. What is their own view regarding this opinion? Imam Abu Amr explicitly stated afterwards [قال وليس كذلك] Abu Amr said it is not like that. Whether they are the common people or some, according to the people of illumination, they are all Arabs. So when their statement was refuted, how did their opinion become accepted? If the people of illumination had reflected, there would have been no need for such lengthy explanation. The common people are also the common people of the Arabs. The lexicographers are not the intended ones, and in every language, the matter is not of the common people; the experts and masters of that language are accepted.
The connoisseur of speech, new beloved, this is the error here
Imam Abu Ubaid (may Allah have mercy on him) wrote an entire book in which the common people oppose the Arabic language. Its name is __ARABIC_33. Similarly, Abu Al-Jarrah also wrote an entire chapter on the same topic ARABIC_34__. After this, we do not feel the need to point out such mistakes of the common people. The public, after all, are the public, not the Imams. Therefore, we stated that our reformists have misled the common people by using their statements as evidence, and this is the absolute truth. Getting upset over this is not wisdom.
One of the arrows from the quiver of the people of Ishraq regarding the meaning of Qinah is that in Al-I'tisam, it is written about the hadith of Hazrat Abu Imamah (may Allah be pleased with him) that the Messenger of Allah ﷺ said: [لا تبيعوا القينات ولا تشتروهن ولا تعلموهن] Do not buy or sell singers, nor train them in music.
Reference: (Ishraq: pp. 37-38)
The pen is like a finger with teeth, what should be written about it?
In other words, they want to say that the meaning of Qinah here in Al-I'tisam is "singer."
Firstly: It is asked whether the people of I'tisam have used this narration as evidence? Certainly not, for in I'tisam itself it is explicitly stated that this narration is weak because Ubaidullah bin Zahr, his teacher Ali bin Zaid, and then his teacher Qasim bin Abdul Rahman are all consecutively weak narrators. If we were to use this as evidence, the matter would be somewhat reasonable. وإلا فلا
Secondly: We have refuted the commonly known meaning of "Qinah" as "singer" and stated that its original application is for a continuous (ongoing) meaning, whether it is a singer or not. Therefore, following the context of the speech and the statements of the commentators, here we have taken the meaning as "singer," and any objection to this is merely for the sake of embellishment. The commentator of Tirmidhi writes:
[القينات بفتح القاف وسكون التحتية في الصحاح القين الأمة مغنية كانت أو غيرها قال التوربشتي وفي الحديث يراد بها المغنية لأنها إذا لم تكن مغنية فلا وجه للنهي عن بيعها وشراءها]
In Al-Qainat, the letter 'Q' has a fathah and the 'Ya' is sakin. In Al-Sihah by Al-Jawhari, Qain means a maidservant, whether she is a singer or not. Allama Al-Turabishti has said that here in the hadith, "singer" is meant because if she were not a singer, there would be no reason to prohibit her buying and selling.
Reference: (Tuhfat al-Ahwadhi: p259 vol.2)
Therefore, the meaning of Al-Qainat here is singers, for the same reason and cause of singing, but considering Jaritan as Qainat and then assigning the well-known and understood meaning of Qinah as a professional female singer is not correct, as we have already explained. والحمدللہ علی ذلک
In the same hadith of Hazrat Aisha Siddiqah (RA), the word تغنیان is used, which Mr. Ghamidi and the Ahl-e-Ishraq have interpreted to mean that two female singers (servant girls) were singing songs of the Battle of Baaath. We argued that here the meaning is to recite verses related to the Battle of Baaath. Ghina, which means singing, song, and singing in melody, is not the intended meaning. Because, firstly, the Arabs used to call the recitation of poetry in a loud and beautiful voice ghina, and it has been shown with references that this is the meaning understood by the lexicographers and the commentators of hadith in this hadith. But the Ahl-e-Ishraq, following the footsteps of the orientalists, are eager to introduce a new Islam. Therefore, they could never accept this fact. Hence, they are compelled to interpret ghina as any kind of music and listening. Accordingly, they write:
First objection and its answer:
The first question is: on what basis is it said that Tughniyan means that she was reciting poetry in a simple voice? Who gave us or you the authority to alter the established meaning, application, and reference of a term and assign it new meanings? In Islamic literature, a rare example of this is Mr. Parvez and his predecessors, who discovered meanings of Arabic words and styles that neither the Arabic language nor any other language has been ready to accept. Consider this! Is your effort in defining the meaning of Ghina of a similar nature? After that, they quoted the meanings of Ghina from Lisan al-Arab, Al-Sihah, Al-Mu'jam al-Wasit, etc., as music and singing songs.
Reference: (Ishraq: pp. 39-40, March 2006)
Dear readers! Undoubtedly, no one has the right to define the meaning of any word; بحمدللہ this insolence was not committed by this incompetent person. Consider what has been quoted from Lisan al-Arab and other books, and what the commentators of Hadith have explained—can the people of illumination say anything in this regard? Regarding the reference to Lisan al-Arab where it is stated that the meaning of الغناء (al-ghina) is سماع (listening to music). Is it possible that their keen observation missed the line written just before in the same book that [كلما من رفع صوته ووالاه فصوته عند العرب غناء]
That which produces a loud voice and makes it beautiful and desirable is considered ghina by the Arabs.
[وفي حديث عائشة رضي الله عنها وعندي جاريتان تغنيان بغناء بعاث أي تنشدان الأشعار التي قيلت يوم بعاث وهو حرب كانت بين الأنصار ولم ترد الغناء المعروف بين أهل اللهو واللعب]
And in the Hadith of Hazrat Aisha (may Allah be pleased with her), it is mentioned that two slave girls of Baath used to sing poetry for me, meaning the meaning of تغنیان (taghniyan) is that they recited poetry which was said on the day of the Battle of Baath, and the Battle of Baath was fought between the Ansar (Aws and Khazraj). This ghina is not the one known among the people of amusement and play.
Reference: (Lisan al-Arab: p. 374, vol. 19)
Rather, we have already stated that this very point was mentioned by Allama Ibn Athir, may Allah have mercy on him, in
Reference: Al-Nihaya (p. 392, vol. 3)
. The same has been stated by Allama Ibn Rajab, may Allah have mercy on him, Allama Ayni, may Allah have mercy on him, and Hafiz Ibn Hajar, may Allah have mercy on him. Moreover, the clarification of Sayyida Aisha, may Allah be pleased with her, that [لیستا بمغنیتین] they were not both singers, also supports this that they used to recite poetry in the simple manner of the Arabs, not in the style of the singers. Furthermore, Allama Al-Kurmani, may Allah have mercy on him, has written:[أي ليس الغناء عادة لهما ولا هما معروفتان به، قال القاضي عياض أي ليستا ممن تغنى بعادة المغنيات من التشويق والهوى ولا ممن اتخذه صنعة وكسبا]
That [لیستا بمغنیتین] means that singing was not their habit nor were they known for it; Qadi Iyad said that they did not sing in the manner of the female singers.
Reference: (Sharh Al-Kurmani: p. 62, vol. 6)
Therefore, if the meaning of Tughniyan is that this incompetent person recited poetry in a simple manner, then بحمدللہ the same meaning has been given by the lexicographers and commentators of Hadith for this Hadith. The people of Ishraq, like Mr. Parvez, are concerned with laying out a new framework away from the Salaf of the Ummah, and according to their own "Sunnah," they only rely on the lexicon, without considering the stance the Salaf took regarding the various interpretations of the lexicon. The people of Ishraq are nurturing this Parvezian thought. Our words that she was reciting poetry in a simple voice caused a misunderstanding among the people of Ishraq. If they had considered what we wrote under the topic of Ghina and the people of Arabia, they would certainly have avoided heated speech. By "simple voice," we mean reciting poetry in a good voice, different from the style of singers. As we have quoted from Allama Ibn Athir, Allama Ibn Manzur, Hafiz Ibn Hajar, Allama Ayni (may Allah have mercy on them), reciting in a good voice is what we meant. Ignoring this, the misunderstanding they had from the words "simple voice" is exactly like the interpretation of Ghina in lexicon books as "Sama‘."
The predecessors of the Ummah, in the light of various words of this hadith, defined one meaning, but the people of Ishraq, in their intellectual deviation, interpret the word "qina" as a professional female singer. When it was pointed out that in Sahih Bukhari and Muslim there is clarification that she was not a singer, the people of Ishraq realized this and then, out of sincerity, concluded that the authenticity of the hadith should be denied so that the "flute" of the singers continues to play. When they have come forward to encourage bands, musical instruments, and professional male and female singers, how can they understand the meaning of a simple voice?
Second Objection and Its Answer:
The people of Ishraq say:
The second question is: Here, you define the meaning of the verb "ghina" as reciting poetry in a simple voice, but what is the reason that later in the discussions of the Qur'an, you have identified the words "lahw al-hadith" and "samd" with the same verb "ghina" and used music and singing as its synonyms, declaring it false and forbidden?
Reference: (Ishraq: p.40)
Why we do not take تغنیان here in the sense of a singer, rather a professional singer, the respected readers have already understood the reason. As for taking the words لہو الحدیث and Samd in the meaning of singing,
Firstly: We ourselves did not intend these meanings.
Secondly: The context of the speech, especially the background of [يشتری لهو الحديث], clearly indicates that here singing is included in idle talk, and a professional singer is the actual example of this singing. However, the people of Ishraq, even at this point, deviate from the Imams of the Salaf and say that there is no specification of singing here; further discussion on this will come in its proper place in ان شاءاللہ.
Third Objection and Its Answer:
The people of Ishraq further wrote that if Jaritan was simply reciting poetry in plain words and there was nothing of the nature of melody or singing in it, then what is the reason that Sayyiduna Abu Bakr (may Allah be pleased with him) described it as the chant of Satan?
Reference: (Ishraq: p.41)
We have already mentioned this before, and we have just now pointed out the misunderstanding they had regarding reciting poetry in simple words, that due to reciting poetry with the daf (tambourine) in the house of the Prophet ﷺ, Hazrat Sayyiduna Abu Bakr رضي الله عنه called it the chant of Satan, and who denies the fact that the reprehensibility of certain things increases due to the occasion and place. What does the Prophet Muhammad ﷺ not rejecting Hazrat Abu Bakr رضي الله عنه ultimately indicate? The melody, which in Arabic was in the form of hady or nasb, is wrongly called the well-known singing. Hafiz Ibn Hajar رحمه الله clearly stated that the term ghina (singing) applies to a loud voice in which melody is found, which Arabs consider similar to hady and do not regard it as (mughanni) singing
Reference: (Fath al-Bari: p. 442 vol. 2)
, just as those who recite praise and eulogy with melody are not called professional singers.Fourth Objection and Its Answer:
One inquiry from the scholars of Ishraq is that in the narration of Ibn Shihab Zahri, it is mentioned that both were playing the daf. The question is, why was such a musical instrument necessary to recite poetry in a simple voice, which was used to produce the important rhythm (taal) of singing?
Answer: It is stated that since they were not professional singers جاریتان لیستا بمغنیتین, the very idea of them playing the daf with "taal" is utterly flawed. The scholars of Ishraq have previously written that an amateur playing the tabla without rhythm is not music, and even an expert playing the board with rhythm is music.
Reference: (Ishraq: p.80, March 2004)
If this is the reality, then how did the playing of the daf by these non-singers come to be considered music? The question is also very superficial: why was there a need for a musical instrument to recite poetry in a simple voice? Even today, can the girls who sing in a simple voice at weddings and hit the daf or any other vessel with their hands be called professional singers? Why do they choose this musical instrument along with singing? You yourself have written that real musical instruments are effective only when played in a special arrangement.
Reference: (Ishraq Aidan: p.80)
When they were non-singers, and they played the daf, how did it become a special arrangement? And how did the condition of "taal" (rhythm) arise?
Another question (Hadi and Ghina)
The people of Ishraq further stated that in desert journeys, reciting Hadith in a prolonged manner, known as "Nasb," is one of the various forms of Arab singing. Similarly, classical music, Khayal, Thumri, Ghazal, Geet, Mahiya, Tappa, Qawwali, etc., are forms of singing in the Indian subcontinent. The use of these forms of singing will only be considered frivolous or impermissible if it promotes a non-religious or immoral cause. Hadith will not be permissible merely because it has chosen a form of singing that the Prophet ﷺ expressed approval of. Nor will an obscene song sung with a daf (tambourine) be acceptable solely because it is performed with a musical instrument whose permissibility is mentioned in the Ahadith. Al-Khal
Reference: (Ishraq: pp. 42, 43)
Despite all their intelligence and acumen, the people of Ishraq have here fallen into a confusion of topics or have tried to confuse the readers. Undoubtedly, chanting and reciting poetry in a prolonged manner is considered singing among the Arabs. But did the Arabs designate those who recited poetry in this manner as مُغَنّی (singers) and performers? Hafiz Ibn Hajar, may Allah have mercy on him, explicitly stated:
[إن الغناء يطلق على رفع الصوت وعلى الترنم الذي تسميه العرب نصب ولا يسمى فاعله مغنيا]The term "ghina" (singing) is applied to reciting poetry in a melodious voice with intonation; the Arabs called this "nasb," but they did not call the one who did this a 'mughanni' (singer).
Reference: (Fath al-Bari: p.442 vol.2)
Almost the same point has been made by other gentlemen as well, as we have previously mentioned with references under the topics of singing, the people of Arabia, and music during travel. In school, students recite praise, naats, anthems, supplicatory words, and poetry; you may associate their recitation with any musical mode, but are they considered singers, musicians, or vocalists? And is there any introduction of them in this regard at school? They are indeed naat reciters, but certainly not singers or musicians. Unfortunately, the people of Ishraq did not consider this fundamental difference. That is why they are entangled in such labyrinths.
Obscene songs or obscene poetry are inherently objectionable; singing them with the daf does not justify them. Musical instruments are inherently impermissible; no good speech can be a proof for the permissibility of musical instruments, and the daf is also a musical instrument with bells attached, as we have previously quoted from Hafiz Ibn Hajar, may Allah have mercy on him. Therefore, their lengthy explanations are merely a deception of the story, which in reality holds no weight.
The Ahl al-Ishraq skillfully mentioned a hadith from Sunan al-Kubra by al-Nasa'i and a hadith from Sahih al-Bukhari in which the singing of "Qinah" is mentioned. Based on this, they asked the question: what is the thing that made the same act permissible in one place and impermissible in another? The discussion on the narration from Sunan al-Kubra will come in ان شاءاللہ, in which ultimately the act of Qinah is condemned. As for the narration in Sahih al-Bukhari, it is from Hazrat Ali (may Allah be pleased with him), in which during a gathering of wine drinking, Hazrat Hamza (may Allah be pleased with him) was sung a Qinah, and he cut the humps of the she-camels and tore their bellies. This incident occurred before wine was declared forbidden. The Ahl al-Ishraq say that the association of wine drinking and its consequences removed singing from the realm of permissibility and placed it in the realm of impermissibility.
Reference: (Ishraq: p.42)
The question is: Did the Prophet Muhammad ﷺ issue a ruling on the impermissibility of singing at that occasion? When this is not even established, what rationality is there in considering wine drinking as the original cause merely based on one's conjecture and assumption? Especially when wine was not yet prohibited, the people of illumination and the people of rationalism merely run their intellectual horses, whereas as a result of this very incident, the commentator of Bukhari, Hafiz Ibn Hajar, may Allah have mercy on him, wrote that among the things proven permissible by this hadith are [وجواز الغناء بالمباح من القول وإنشاد الشعر والاستماع من الأمة] the permissibility of singing based on the opinion that it is permissible, and a slave girl reciting poetry and listening to poetry.
Reference: (Fath al-Bari: p.201 vol.6)
Therefore, what the people of illumination have derived from this incident is also absolutely incorrect.
Admission of the Truth
The tradition regarding the permissibility of music on Eid, which the Ahl-e-Ishraq presented from Hazrat Aisha Siddiqah (may Allah be pleased with her), clearly shows the weakness and even distortion of the argument before the honorable readers. Besides the hadith of Hazrat Aisha (may Allah be pleased with her), they also cited a hadith from Hazrat Umm Salamah (may Allah be pleased with her) from Al-Mu'jam Al-Kabir in this context, the weakness of which we have already explained. The silence of the Ahl-e-Ishraq in defending this is evidence that they have acknowledged the validity of our objection.
