Chapter on the Audition of Voices and Melodies.
The Apostle said, “Beautify your voices by reading the Koran aloud;” and God hath said, “God addeth unto His creatures what He pleaseth” (Kor. xxxv, 1), meaning, as the commentators think, a beautiful voice; and the Apostle said, “Whoso wishes to hear the voice of David, let him listen to the voice of Abú Músá al-Ash`arí.” It is stated in well-known traditions that the inhabitants of Paradise enjoy audition, for there comes forth from every tree a different voice and melody. When diverse sounds are mingled together, the natural temperament experiences a great delight. This sort of audition is common to all living creatures, because the spirit is subtle, and there is a subtlety in sounds, so that when they are heard the spirit inclines to that which is homogeneous with itself. Physicians and those philosophers who claim to possess a profound knowledge of the truth have discussed this subject at large and have written books on musical harmony. The results of their invention are manifest to-day in the musical instruments which have been contrived for the sake of exciting passion and procuring amusement and pleasure, in accord with Satan, and so skilfully that (as the story is told) one day, when Isḥáq of Mawṣil[[189]] was playing in a garden, a nightingale, enraptured with the music, broke off its song in order to listen, and dropped dead from the bough. I have heard many tales of this kind, but my only purpose is to mention the theory that the temperaments of all living creatures are composed of sounds and melodies blended and harmonized. Ibráhím Khawwáṣ says: “Once I came to an Arab tribe and alighted at the hospitable abode of one of their chiefs. I saw a negro lying, shackled and chained, at the tent door in the heat of the sun. I felt pity for him and resolved to intercede with the chief on his behalf. When food was brought for my entertainment I refused to eat, knowing that nothing grieves an Arab more than this. The chief asked me why I refused, and I answered that I hoped his generosity would grant me a boon. He begged me to eat, assuring me that all he possessed was mine. ‘I do not want your wealth,' I said, ‘but pardon this slave for my sake.’ ‘First hear what his offence was,’ the chief replied, ‘then remove his chains. This slave is a camel-driver, and he has a sweet voice. I sent him with a few camels to my estates, to fetch me some corn. He put a double load on every camel and chanted so sweetly on the way that the camels ran at full speed. They returned hither in a short time, and as soon as he unloaded them they died one after another.’ ‘O prince,’ I cried in astonishment, ‘a nobleman like you does not speak falsely, but I wish for some evidence of this tale.’ While we talked a number of camels were brought from the desert to the wells, that they might drink. The chief inquired how long they had gone without water. ‘Three days,’ was the reply. He then commanded the slave to chant. The camels became so occupied in listening to his song that they would not drink a mouthful of water, and suddenly they turned and fled, one by one, and dispersed in the desert. The chieftain released the slave and pardoned him for my sake.”
We often see, for example, how camels and asses are affected with delight when their drivers trill an air. In Khurásán and `Iráq it is the custom for hunters, when hunting deer (áhú) at night, to beat on a basin of brass (ṭashtí) in order that the deer may stand still, listening to the sound, and thus be caught. And in India, as is well known, some people go out to the open country and sing and make a tinkling sound, on hearing which the deer approach; then the hunters encircle them and sing, until the deer are lulled to sleep by the delightful melody and are easily captured. The same effect is manifest in young children who cease crying in the cradle when a tune is sung to them, and listen to the tune. Physicians say of such a child that he is sensible and will be clever when he grows up. On the death of one of the ancient kings of Persia his ministers wished to enthrone his son, who was a child two years old. Buzurjmihr,[[190]] on being consulted, said: “Very good, but we must make trial whether he is sensible,” and ordered singers to sing to him. The child was stirred with emotion and began to shake his arms and legs. Buzurjmihr declared that this was a hopeful sign and consented to his succession. Anyone who says that he finds no pleasure in sounds and melodies and music is either a liar and a hypocrite or he is not in his right senses, and is outside of the category of men and beasts. Those who prohibit music do so in order that they may keep the Divine commandment, but theologians are agreed that it is permissible to hear musical instruments if they are not used for diversion, and if the mind is not led to wickedness through hearing them. Many traditions are cited in support of this view. Thus, it is related that `Á´isha said: “A slave-girl was singing in my house when `Umar asked leave to enter. As soon as she heard his step she ran away. He came in and the Apostle smiled. ‘O Apostle of God,’ cried `Umar, ‘what hath made thee smile?’ The Apostle answered, ‘A slave-girl was singing here, but she ran away as soon as she heard thy step.’ ‘I will not depart,’ said `Umar, ‘until I hear what the Apostle heard.’ So the Apostle called the girl back and she began to sing, the Apostle listening to her.” Many of the Companions have related similar traditions, which Abú `Abd al-Raḥmán al-Sulamí has collected in his Kitáb al-Samá`[[191]]; and he has pronounced such audition to be permissible. In practising audition, however, the Ṣúfí Shaykhs desire, not permissibility as the vulgar do, but spiritual advantages. Licence is proper for beasts, but men who are subject to the obligations of religion ought to seek spiritual benefit from their actions. Once, when I was at Merv, one of the leaders of the Ahl-i ḥadíth[[192]] and the most celebrated of them all said to me: “I have composed a work on the permissibility of audition.” I replied: “It is a great calamity to religion that the Imám should have made lawful an amusement which is the root of all immorality.” “If you do not hold it to be lawful,” said he, “why do you practise it?” I answered: “Its lawfulness depends on circumstances and cannot be asserted absolutely: if audition produces a lawful effect on the mind, then it is lawful; it is unlawful if the effect is unlawful, and permissible if the effect is permissible.”
Chapter on the Principles of Audition.
You must know that the principles of audition vary with the variety of temperaments, just as there are different desires in various hearts, and it is tyranny to lay down one law for all. Auditors (mustami`án) may be divided into two classes: (1) those who hear the spiritual meaning, (2) those who hear the material sound. There are good and evil results in each case. Listening to sweet sounds produces an effervescence (ghalayán) of the substance moulded in Man: true (ḥaqq) if the substance be true, false (báṭil) if the substance be false. When the stuff of a man’s temperament is evil, that which he hears will be evil too. The whole of this topic is illustrated by the story of David, whom God made His vicegerent and gave him a sweet voice and caused his throat to be a melodious pipe, so that wild beasts and birds came from mountain and plain to hear him, and the water ceased to flow and the birds fell from the air. It is related that during a month’s space the people who were gathered round him in the desert ate no food, and the children neither wept nor asked for milk; and whenever the folk departed it was found that many had died of the rapture that seized them as they listened to his voice: one time, it is said, the tale of the dead amounted to seven hundred maidens and twelve thousand old men. Then God, wishing to separate those who listened to the voice and followed their temperament from the followers of the truth (ahl-i ḥaqq) who listened to the spiritual reality, permitted Iblís to work his will and display his wiles. Iblís fashioned a mandoline and a flute and took up a station opposite to the place where David was singing. David’s audience became divided into two parties: the blest and the damned. Those who were destined to damnation lent ear to the music of Iblís, while those who were destined to felicity remained listening to the voice of David. The spiritualists (ahl-i ma`ní) were conscious of nothing except David’s voice, for they saw God alone; if they heard the Devil’s music, they regarded it as a temptation proceeding from God, and if they heard David’s voice, they recognized it as being a direction from God; wherefore they abandoned all things that are merely subsidiary and saw both right and wrong as they really are. When a man has audition of this kind, whatever he hears is lawful to him. Some impostors, however, say that their audition is contrary to the reality. This is absurd, for the perfection of saintship consists in seeing everything as it really is, that the vision may be right; if you see otherwise, the vision is wrong. The Apostle said: “O God, let us see things as they are.” Similarly, right audition consists in hearing everything as it is in quality and predicament. The reason why men are seduced and their passions excited by musical instruments is that they hear unreally: if their audition corresponded with the reality, they would escape from all evil consequences. The people of error heard the word of God, and their error waxed greater than before. Some of them quoted “The eyes attain not unto Him” (Kor. vi, 103) as a demonstration that there shall be no vision of God; some cited “Then He settled Himself on the throne” (Kor. vii, 52) to prove that position and direction may be affirmed of Him; and some argued that God actually “comes”, since He has said, “And thy Lord shall come and the angels rank by rank” (Kor. lxxxix, 23). Inasmuch as error was implanted in their minds, it profited them nothing to hear the Word of God. The Unitarian, on the other hand, when he peruses a poem, regards the Creator of the poet’s nature and the Disposer of his thoughts, and drawing an admonition therefrom, sees in the act an evidence of the Agent. Thus he finds the right way even in falsehood, while those whom we have mentioned above lose the way in the midst of truth.
Section.
The Shaykhs have uttered many sayings on this subject. Dhu ´l-Nún the Egyptian says: “Audition is a Divine influence (wárid al-ḥaqq) which stirs the heart to seek God: those who listen to it spiritually (ba-ḥaqq) attain unto God (taḥaqqaqa), and those who listen to it sensually (ba-nafs) fall into heresy (tazandaqa).” This venerable Ṣúfí does not mean that audition is the cause of attaining unto God, but he means that the auditor ought to hear the spiritual reality, not the mere sound, and that the Divine influence ought to sink into his heart and stir it up. One who in that audition follows the truth will experience a revelation, whereas one who follows his lower soul (nafs) will be veiled and will have recourse to interpretation (ta´wíl). Zandaqa (heresy) is a Persian word which has been Arabicized. In the Arabic tongue it signifies “interpretation”. Accordingly, the Persians call the commentary on their Book Zand ú Pázand.[[193]] The philologists, wishing to give a name to the descendants of the Magians, called them zindíq on the ground of their assertion that everything stated by the Moslems has an esoteric interpretation, which destroys its external sense. At the present day the Shí`ites of Egypt, who are the remnant of these Magians, make the same assertion. Hence the word zindíq came to be applied to them as a proper name. Dhu ´l-Nún, by using this term, intended to declare that spiritualists in audition penetrate to the reality, while sensualists make a far-fetched interpretation and thereby fall into wickedness. Shiblí says: “Audition is outwardly a temptation (fitnat) and inwardly an admonition (`ibrat): he who knows the mystic sign (ishárat) may lawfully hear the admonition; otherwise, he has invited temptation and exposed himself to calamity,” i.e. audition is calamitous and a source of evil to anyone whose whole heart is not absorbed in the thought of God. Abú `Alí Rúdbárí said, in answer to a man who questioned him concerning audition: “Would that I were rid of it entirely!” because Man is unable to do everything as it ought to be done, and when he fails to do a thing duly he perceives that he has failed and wishes to be rid of it altogether. One of the Shaykhs says: “Audition is that which makes the heart aware of the things in it that produce absence” (má fíhá mina ´l-mughayyibát), so that the effect thereof is to make the heart present with God. Absence (ghaybat) is a most blameworthy quality of the heart. The lover, though absent from his Beloved, must be present with him in heart; if he be absent in heart, his love is gone. My Shaykh said: “Audition is the viaticum of the indigent: one who has reached his journey’s end hath no need of it,” because hearing can perform no function where union is; news is heard of the absent, but hearing is naught when two are face to face. Ḥuṣrí says: “What avails an audition that ceases whenever the person whom thou hearest becomes silent? It is necessary that thy audition should be continuous and uninterrupted.” This saying is a token of the concentration of his thoughts in the field of love. When a man attains so high a degree as this he hears (spiritual truths) from every object in the universe.
Chapter on the various opinions respecting Audition.
The Shaykhs and spiritualists hold different views as to audition. Some say that it is a faculty appertaining to absence, for in contemplation (of God) audition is impossible, inasmuch as the lover who is united with his Beloved fixes his gaze on Him and does not need to listen to him; therefore, audition is a faculty of beginners which they employ, when distracted by forgetfulness, in order to obtain concentration; but one who is already concentrated will inevitably be distracted thereby. Others, again, say that audition is a faculty appertaining to presence (with God), because love demands all; until the whole of the lover is absorbed in the whole of the Beloved, he is deficient in love: therefore, as in union the heart (dil) has love and the soul (sirr) has contemplation and the spirit has union and the body has service, so the ear also must have such a pleasure as the eye derives from seeing. How excellent, though on a frivolous topic, are the words of the poet who declared his love for wine!
“Give me wine to drink and tell me it is wine.