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Art. I.—Emotional Religion in Islām as affected by Music and Singing Being a Translation of a Book of the Iḥyā ‘Ulūm ad-Dīn of al-Ghazzālī with Analysis, Annotation, and Appendices.

Published online by Cambridge University Press:  15 March 2011

Duncan B. MacDonald
Affiliation:
Hartford, Conn.

Extract

We have now given the rule of the first stage concerning understanding what is heard and applying it; and also the rule of the second stage concerning the ecstasy which is encountered in the heart; so let us now give what of it oozes to the outside, consisting of cries and weeping and movements and rending of clothes, etc. So we say

Type
Original Communications
Copyright
Copyright © The Royal Asiatic Society 1902

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References

page 2 note 1 Tarīqa; see note in Life, p. 89.

page 3 note 1 Sahl at-Tustarī; see note 1 on p. 252 (1901).

page 4 note 1 Qa⊡⊡t; on the professional qu⊡⊡ā⊡ and the practice of qa⊡⊡, see Goldziher in ZDMG., xxyiii, p. 320.

page 4 note 2 Joel, ii, 13; Moses is a bad shot even lor a Muslim, but the whole thing is a good example of Oriental incuriosity.

page 5 note 1 Abū-l-Qāsim Ibrāhīm b. Muḥammad an-Na⊡rābādhī; d. 369. Al-Qush., p. 36 ; Lawāqīḥ, i, p. 97.

page 5 note 2 Abū 'Amr Ismā'īl b. Najīd; d. 366. Al-Qush., p. 36.

page 6 note 1 Abū-l-Ḥusayn (so the SM.) Muḥammad b. Aḥmad; d. 387. See Ibu Khall., iii, pp. 21 f.

page 6 note 2 Ibn Sālim ; see note 3 on p. 203 (April, 1901).

page 8 note 1 Here al-Ghazzālī and those like him appear to be opposed to simple ascetics. Such ascetics are incapable of higher spiritual life and gain nothing by music and singing; they do not belong to “the people of the heart.” Further, they are opposed to recreation and light things generally ; not seeing what may be got from them, they consider them vain.

page 8 note 2 ✓ZFN. It means in the first instance ‘to kick or push with the leg,’ and there is a tradition of Fāṭima that she used to do this to al-Ḥasan in the sense of ‘dance to him.’ The tradition runs, Kānat tazfinu lil-Ḥasan; and Lane, Lexicon, 1237c, so translates it. But in the Lisan, xvii, p. 58, 1. 13, it is explained with turaqqi⊡uhu, i.e. ‘she would dandle him,’ that is, make him dance or leap (nazzathu) in her lap. See on this latter sense of ZFN Goldziher in the Wiener Zeitschrift, ii, 164 ft.; he there equates raqqa⊡a with zaffana (in the II stem), but I cannot find in the lexicons anyihing but the I.

page 8 note 3 Ibna Ḥamza b. ‘Abd al-Muṭṭalib; see an-Naw., p. 867, and Ibn Qut., p. 60, 1. 14.

page 8 note 4 For Ja'far see an-Naw., pp. 192 ff., and note 7 on p. 203 ; and for Zayd, pp. 260 ff.

page 10 note 1 The khirqa means first a rag or scrap of cloth, and secondly the mantle of a darwīsh. It seems to be applied to the mantle as made up of such shreds patched together. The tearing up and distributing is to distribute the blessing that is supposed to cleave to them from having been worn by someone in an especially blessed state. So the garments of saints acquire miraculous powers ; compare Elijah's mantle.

page 10 note 2 The SM. describes the kirbās as a rough thick garment. But that is not at all suitable here, and the other and common meaning of kitbās, a piece of cotton cloth, is much better. See Lane, sub voce, and especially the Lisān, viii, pp. 78 f., where a tradition is quoted speaking of a qamīs, or shirt, made of karābīs, the plural of kirbās.

page 10 note 3 As a garment the kirbās is Persian, and we have probably here a Persian custom. I know nothing of it, and the SM., of course, gives no explanation. But compare the seizing, tearing to pieces, and distribution of the pieces of the jubba of the khaṭib who pronounces the khuṭba. at the Mi'raj festival in modern Mecca. It is described by Snouck-Hurgronje in his Mekka, ii, pp. 71 f. He refers to the Berlin Zeitschrijt für Ethnologie, 1888, p. 112, where u is described how the Riff Arabs similarly tear to pieces the burnūs of the Sulṭān.

page 11 note 1 On not rising; to meet visitors as a sunna, of. the lite of 'Alī b. Maymūn in ZDMG., xxviii, p. 300. 'Alī refused to rise to meet anyone, as he was a zealous upholder of sumna in all details.

page 12 note 1 The sense apparently is that the dancer in an ecstasy (wajd) is light and brisk in his movements, but he who is trying to bring on an ecstasy (mulawājid) is heavy and clumsy. The sincerity of the mutawājid can only be judged by the insight of those present.

page 13 note 1 The often quoted saying of Abū Sa'īd al-Kharrāz ; see on him note 2 on p. 713 (1901).

page 13 note 2 This phrase generally implies some grain of doubt in the mind of its user as to the correctness of what he has just said. But the SM. notes that here it is used lit-tabarruk, for the sake of gaining a blessing, i.e., al-Ghazzālī had no doubt as to the truth of his conclusion, but added the formula on general principles.

page 20 note 1 D. 656 : ZDMG., vii, 13 ff. ; lii, 557, note. He was a native of Shādhila in North Africa, and founded the Shādhilīya order of darwīshes.

page 22 note 1 Al-khayrāt al-ḥisān fi manāqib al-Tmām Abī Ḥanīfa, by Ibn Hajar al-Haytamī, p. 4 of ed. of Cairo, 1304. See also Life, p. 106.