Music and its related... in Islam - Different Approaches
THE PROOFS OF THE SHARIAH
Even those who have not pursued higher Deeni Ilm are
perfectly aware that the Structure of Islam’s Shariah rests on
Four Fundamental Sources or Proof which are: Kitaabullaah
(the Qur’aan Majeed), Sunnah of Rasulullah (sallallahu
alayhi wasallam), Ijma’ (Consensus) of the Ummah’s
Authorities, and Qiyaas (the Shariah’s process of Analogical
Deduction) for the formulation of Ahkaam –laws – on the
basis of inviolable Qur’aanic and Hadith principles-Usool.
Besides these Four fundamental Sources of Law, the
Shariah does not recognize any other institution, personality
or system in its formulation of Ahkaam. It thus excludes
from its Evidences of Law the kashf/ilhaam (Divine
Inspiration and Intuition) of the Auliya and the opinions of
any personality which conflicts with the Ahkaam which have
been formulated on the sacred foundations of the Four
Fundamental Sources of the Shariah. An issue which is
structured on any one of these inviolable Sources of the
Shariah comes with its attribute of immutability. It has the
full force of the Shariah and is binding on Muslims. Any act
which cannot be substantiated on the basis of the Four Proofs
(Dalaail-e-Ar-ba-ah) is beyond the ambit of the Shariah.
Shar’i status cannot be claimed for such an opinion, view,
theory or practice.
In a discussion related to the Shariah, it is essential to bear
in mind the Basis of the Ahkaam. If it is desired to ascertain
the Islamic credibility of a claim or an opinion, it is
imperative to invoke the Standard of the Dalaail-e-Ar-ba-ah.
Any attempt to prove validity for an opinion or concept on a
basis which is outside the confines of the Four Proofs of the
Shariah, is an unprincipled endeavour. The resultant opinion
will not enjoy Shar’i validity irrespective of its overt and
superficial beauty and appeal to emotion and even intellect.
On the contrary, if an act is securely structured on any of
the Four Sources of the Shariah, it will enjoy inviolability. It
______ _____ __ _
______ __ _ ___ ____ _____
SAUTUSH SHAITAAN
2
will be said to be an immutable Hukm of Islam regardless of
any ostensible clash with reason. Islam is the product of
Divine Revelation (Wahi), not of man’s reason and intellect.
In the formulation of Ahkaam on the basis of Qiyaas, the
Muslim has to incumbently fetter his reasoning and intellect
to the limits of the Four Sources of the Shariah. Islam does
not permit unbridled operation of reasoning. The Qur’aan
ordains that our reasoning be restricted to operate within the
parameters of Allah’s Law which is an Edifice structured on
the foundations of Dalaail-e-Ar-ba-ah – The Four
Fundamental Sources of the Shariah.
THE QUESTION OF MUSIC AND
SINGING
Islam with all its Ahkaam – the Shariah – is more than
fourteen centuries old. Islam was not handed to the Ummah
as an ambiguous concept to be interpreted by each successive
generation to suit the whims and fancies of the wildly
fluctuating vagaries of the nafs. The further we journey from
the age of Nubuwwat, the greater is the degree of
degeneration and corruption. The process of moral and
intellectual decadence as evidenced by history is undoubtedly
incremental. Allah Ta’ala has not allowed His Inviolable
Shariah to suffer a process of degeneration in the way man’s
morals have suffered. The purity of the Shariah has been
maintained throughout the long corridor of Islam’s history.
The Qur’aan guarantees this purity:
“Verily, We have revealed The Thikr (the Qur’aan—Allah’s
Law) and, verily We are its Protectors.”
Every law, teaching, belief, custom and practice of Islam
enjoy a sacred antiquity which is linked to Rasulullah
(sallallahu alayhi wasallam) by an unbroken Chain of
SAUTUSH SHAITAAN
3
narration which has been reliably and authentically
transmitted from one generation to the other. And so on will
the process be perpetuated until the Last Day. Any idea
which is bereft of this peculiar attribute of antiquity is not
Islam. It is not part of the Inviolable Shariah. It will not be an
immutable Hukm of Allah Ta’ala.
Any person who questions the validity of a Shar’i
injunction which enjoys the antiquity linked to Rasulullah
(sallallahu alayhi wasallam), does so at the peril of scuttling
his Imaan. When Allah and His Rasool have issued a verdict,
everything besides such Divine ruling is kufr. Declaring this
Fatwa, the Qur’aan Majeed states:
“Then We have established you on a Shariah with
regards to (all) affairs (of life). Therefore, follow it (the
Divine Shariah). And, do not follow the vain desires of those
who know not.”
Since there is absolutely no scope for a re-interpretation of
the Shariah’s prohibition of music and musical instruments,
or for any law of Islam, those who venture attempts
motivated by the desire to abrogate the fourteen century
Shar’i ban on the voice and instruments of shaitaan, are in
fact renouncing their Imaan. Refutation of even a single item
on which Allah and His Rasool have issued their verdict is
kufr – kufr which expels its proponent from the fold of Islam.
THE ARGUMENTS OF THE
MODERNIST JUHHAAL
Within the ranks of some ignoramuses (juhhaal) and
deviant modernists there has developed the satanic idea of
music being permissible in Islam. In addition to the
modernist deviates, there are also the grave-worshippers
(Qabar Pujaaris) who legalize music and musical
instruments. In their qawwaali (supposedly religious singing)
SAUTUSH SHAITAAN
4
sessions which usually commence after Isha and end at Fajr,
they have dagga-smoking qawwaals (singers) to sing songs
with shaitaan in attendance, blowing his filthy froth into their
nostrils according to the Hadith. It is precisely for this
shaitaani intoxication that the participants in qawwaali, after
having polluted their hearts and minds with the vulgarity of
shaitaan throughout the night, will disperse at the Call of the
Athaan and slip into bed without performing Fajr Salaat. This
is standard procedure. The intoxication of the satanic music
of the fussaaq has provided a licence for the flagrant neglect
of Fajr Salaat.
At the other extreme of this spectrum we find the
modernist juhhaal who ardently and arduously labour to find
justification for modern Western and Asian music of all
brands and varieties. In their sojourn of gratification of the
lowly rebellious nafs, the modernist deviates proffer in
general some practices of some Auliya, and some of the
writings of Imaam Ghazaali (rahmatullah alayh) in particular
as their grounds for their assumed permissibility of the
satanic practice of music decreed haraam by Allah Azza Wa
Jal.
Before we present the Proofs of the Shariah, it is proper to
firstly demolish and neutralize the figments of imagination
which the juhhaal present as their basis for their fallacious
theory of permissibility of music and musical instruments.
After dispensation and dismissal of their baatil
argumentation, we shall, Insha’Allah, present the
incontrovertible Dalaail (Proofs) of the Shariah (Qur’aan and
Sunnah), which will seal the coffin of the fallacy tendered by
the modernists and the grave-worshippers.
SAUTUSH SHAITAAN
121
CONCLUSION
The simple, straightforward fatwa on the question of music
and singing is what the Qur’aan and the Sunnah proclaim.
Casting aside the plethora of arguments, differences and
technicalities, the unambiguous Ruling of Kitaabullah and
the Sunnah of the Rasool is:
• Music and singing are lahwul Hadeeth (futile
falsehood), zoor (falsehood / deception) and sautus
shaitaan (the voice of shaitaan). (Qur’aan)
• Music and singing are the voice of shaitaan. It
germinates nifaaq (hypocrisy) in the heart. It was
invented by shaitaan. Allah Ta’ala awarded it to
shaitaan at the time of his expulsion from the
heavens. Rasulullah (sallallahu alayhi wasallam) was
sent specially to destroy musical instruments. It will
be a powerful tool of entrapment of Dajjaal.
(Ahaadith)
“And on us is only to deliver
the clear Message (of
Allah).”
(Qur’aan)
SAUTUSH SHAITAAN
120
(2) The duff is permitted by the Shaafi Math-hab for
marriage occasions provided that it is not used as an
instrument of lewd music as is the general practice. It is
primarily an instrument of announcing the marriage. But no
one uses the duff in our environment. In our societies the duff
no longer exists. The modern-day musical drums are not the
duff mentioned in the Hadith.
(3) Public singing for an audience, even without music and
even if the song is not immoral, is haraam.
(4) Singing to oneself without instruments is permissible
provided it does not become a habit nor is much time
squandered in it.
(5) Singing which has become an occupation is not
permissible. Such unlawful singing is the feature of nazamsinging
which the satanic radio stations run by misguided
Muslims have introduced. It is not permissible to listen to the
radio-qaseedahs on account of it having become an
occupation, and also because of the haraam kuffaar musical
tones which accompany the futility of nazams. The English
nazams are particularly evil and haraam due to the kuffaar
style and tune of the singing.
One of the most effective tools of enticement which
Dajjaal will offer will be music and singing with which he
will lure, entrap and destroy people in the cauldron of kufr he
will boil for them.
“And, when they (the Mu’mineen) pass by
laghw (futility and haraam), they pass with
noble dignity (never participating therein).”
(Qur’aan)
SAUTUSH SHAITAAN
5
THE STATEMENTS AND PRACTICES
OF SOME AULIYA
In their laborious and ludicrous efforts to bolster their
baseless idea, the ignoramuses and the deviant modernists
have not been able to provide a Shar’i basis structured on the
Four Sources of the Shariah for their view. They have relied
primarily on the practice and statements of some Auliya and
on some Hadith narrations which pertain to exceptions and
abrogated practices, not to the general law and rule
pertaining to music and musical instruments.
Should it be momentarily conceded that some Auliya
centuries after Rasulullah (sallallahu alayhi wasallam), had
condoned music and musical instruments, the simple and
straightforward response is that such statements of the Auliya
which are in conflict with any of the teachings of the Shariah
should be set aside. A suitable interpretation has to be
tendered for such conflicting acts and practices which have
been attributed to some of the Auliya so that these august
personalities are not accused of being in disharmony with the
Shariah.
In reality the illustrious Auliya are not in conflict with the
Shariah. They were embodiments of the Sunnah. In fact, they
were the epitomes of the Beautiful Example (Uswah-e-
Hasanah) of Rasulullah (sallallahu alayhi wasallam).
However, certain of their utterances and practices were
constrained by spiritual conditions, ecstasies and ailments.
These statements and practices which are ostensibly in
conflict with the Shariah have to be imperatively scaled on
the criterion of the Qur’aan and Sunnah in the light of
Dalaail-e-Ar-ba-ah. The ecstatical utterances and practices
of some Auliya do not constitute Daleel in the Shariah.
Ahkaam are not structured on the practices, utterances, kashf
and ilhaam (intuition and inspirations) of the Auliya. If any
SAUTUSH SHAITAAN
6
of these are in conflict with the Ahkaam of the Shariah, they
have to be compulsorily set aside. They may not be cited as a
basis for permissibility or prohibition, least of all as a basis
for abrogation of the clear-cut commands of the Qur’aan and
Sunnah.
Every Muslim with a semblance of intelligence, provided
that Imaan is intact, will understand that the kashf / ilhaam,
dreams, acts and argumentation of some Auliya, which
conflict with the Shariah do not override the Qur’aan and
Sunnah. On the contrary, the opposite is the verdict. The
Shariah overrides the former. It is therefore palpable
nonsense to cite in justification of music and musical
instruments, the Sama (religious singing) practices of some
Auliya, and the arguments of Imaam Ghazaali (rahmatullah
alayh) who had opined the permissibility of the flute and the
drum albeit with some stringent conditions. While Imaam
Ghazaali (rahmatullah alayh) has presented an extremely
narrow and limited permissibility for just two instruments –
the flute and the drum – he does not believe in the blanket
permissibility of music and musical instruments. In fact,
neither he nor any of the Auliya without a single exception,
has ever ventured total permissibility for all musical
instruments and all singing be it without the accompaniment
of musical instruments.
It is essential that it be reiterated that Imaam Ghazaali’s
limited permissibility and the Sama’ of some Auliya are in
conflict with the Ijma’ (Consensus) of the Fuqaha of Islam.
The Fuqaha were the authorities of the Shariah. For Daleel, it
is imperative to cite the Fuqaha, not the Auliya wrapped in
ecstasy. Stating this fact, Hadhrat Shah Waliyullah
Muhaddith Dehlwi (rahmatullah alayh) says:
“You (the proponents of music/singing) adhere to the
arguments of the Ush-Shaaq (Divine Lovers) who are
overwhelmed by ecstacy. The talk of the Ush-Shaaq should
SAUTUSH SHAITAAN
119
THE WAY IN A CONFLICT
In any conflict between the practices and statements of the
Auliya centuries after Rasulullah (sallallahu alayhi
wasallam), and the Shariah, the way is not to present
arguments in favour of the view which is in conflict with the
well-known and well-established decrees of the Shariah. The
way is to refer to the Qur’aan and the Sunnah. If the practices
of the Auliya are in conflict with these primary sources of
Islam, they shall be set aside. The Shariah cannot be set
aside. The pronouncements of Rasulullah (sallallahu alayhi
wasallam) cannot be set aside for the sake of upholding the
practices of others regardless of their rank, piety and
knowledge. And, of vital importance is the fact that to
understand the Qur’aan and Sunnah correctly, there is no
alternative other than the Aimmah-e-Mujtahideen whose
word is final and binding.
These illustrious authorities have informed the Ummah
that Rasulullah (sallallahu alayhi wasallam) said:
“I have been sent to destroy musical instruments.”
This, then terminates the discussion and clears the confusion.
May Allah Ta’ala safeguard the Imaan of all Mu’mineen and
save us from the snares and ploys of Iblees, and from the evil
which lurks in our nafs.
THE SUMMARY OF THIS DISCUSSION
For the guidance and benefit of Muslims, we present here the
ruling of the Shariah on music and singing.
(1) All musical instruments are haraam, including the duff.
SAUTUSH SHAITAAN
118
THE FINAL WORD
The final word to clinch this controversy and discussion is
the directive of the Qur’aan and the unambiguous
pronouncements of prohibition made by Rasulullah
(sallallahu alayhi wasallam). Deviates with their deceptive
arguments have attempted to postulate a conflict between the
verbal statements of Rasulullah (sallallahu alayhi wasallam)
and certain of his practical acts. Thus, they are at pains in
labouring and harping on a few isolated incidents in which
the duff was used on an impromptu basis by little girls and
some females. At the same time they conveniently, with
much dishonestly and deception, ignore the unambiguous
and explicit commands of Rasulullah (sallallahu alayhi
wasallam) emphatically prohibiting music and singing.
They ignorantly and satanically strive to negate
Rasulullah’s utterances and directives with certain of his own
acts which have a valid explanation for reconciliation, thus
obviating the kufr conclusion of conflict between the words
and deeds of the Rasool. Muslims – those who are truly
Muslims – have no difficulty in understanding that they have
to act in accordance with the commands of Rasulullah
(sallallahu alayhi wasallam) which were issued for adoption
and observance by the Ummah at large.
It is kufr for example to claim that every Muslim has the
right to marry more than four wives because this was the
practical example of the Nabi (sallallahu alayhi wasallam).
Such a claim is totally untenable, and no one will accord it
a responsive ear. The Qur’aanic ruling is explicit and
emphatic: “Whatever the Rasool gives to you, adhere to it
firmly, and whatever he forbids you, abstain from it.” A
Muslim does not produce rational arguments, narrational
arguments and the views of pious men who appeared
centuries after the advent of the Nabi (sallallahu alayhi
wasallam) to refute and negate the very teachings, commands
and prohibitions of the Rasool.
SAUTUSH SHAITAAN
7
be wrapped up (set aside), not narrated (as proof).”
(Tafheemaatul Ilaahiyyah)
Commenting on this issue, Hadhrat Sayyid Ahmad Kabir
Rifaai’ (rahmatullah alayh) said:
“What are you saying? You say that Haarith said so;
Baayazid said so; Mansur said so. Before venturing such
statements, say: Imaam Shaafi said so; Imaam Maalik said
so; Imaam Ahmad said so; Imaam Abu Hanifah said so. The
statements of Baayazid Bustaami and Haarith cannot elevate
you nor denigrate you. Imaam Shaafi and Imaam Maalik,
with their rulings shows the Path of Salvation and indicates
the success of the Law (of Allah Ta’ala).”
(Al-Bunyaanul Mushayyaid).
Hakimul Ummat Maulana Ashraf Ali Thaanvi
(rahmatullah alayh) commented:
“The function of the Muhadditheen is narration (of
Hadith) while that of the Fuqaha is formulation and
elaboration of the Law.”
The Fuqaha are the Physicians of the Ummat. They are
extremely far-sighted. They understand the basis and purpose
of the Ahkaam. They penetrate to the depth of the Ahaadith,
extract the true illat (rationale) of the commands and
prohibitions. Then they extend the law of prohibition
wherever they detect the presence or the development of
fitnah (corruption). They therefore prohibit all forms of
singing be it without musical instruments in order to close
the avenue of future corruption and moral turpitude.
Hence, in any clash of opinion between the Muhadditheen
and the Fuqaha, the word of the latter takes precedence. It is
the verdict of the Fuqaha which is final and binding.
Even in the echelons of the Ulama of the Shariah, the
illustrious Imaam Ghazaali (rahmatullah alayh) falls in the
Fourth Category. Above him there are three categories of
superior Fuqaha. He is a pure Muqallid whose opinions
SAUTUSH SHAITAAN
8
cannot be tendered in negation of the consensus of the
Fuqaha of Islam.
After conceding the Ijma’ of the Fuqaha of the Four Math-
habs on the prohibition of music and musical instruments,
Imaam Ghazaali (rahmatullah alayh) proceeds to argue
exceptional cases of permissibility. In his argument he does
not negate the general rule of prohibition. Rather, he presents
a case of permissibility for certain exceptions such as divine
songs to engender spiritual ecstasy. However, it has to be
reiterated that even his case for limited permissibility is
untenable in view of the conflict with the Ijma’ of the Fuqaha
which represents the Shariah’s position from the age of the
Sahaabah as the evidence will later establish, Insha’Allah.
The ignoramuses and modernist deviates being slaves of
lust and inordinate carnal passion, plying their trade of self-
gratification, believing themselves to be on par with the
Auliya, cite such seemingly un-Islamic practices of the
Auliya as daleel (proof) for the haraam practices which they
(the ignoramuses and modernist deviates) have innovated.
Among the evil practices which they have originated at the
instigation of shaitaan are music and musical instruments.
Inspite of the entire Ummah being fully aware of the
irrefutable prohibition of music – a prohibition which has
come down in the Ummah these 14 centuries – inspite of the
sacred antiquity which this prohibition enjoys, the
ignoramuses are endeavouring to create the impression that
the Shariah has all along allowed music and singing with the
accompaniment of musical instruments. But they have
hopelessly failed to provide a solid basis from Dalaail-e-
Arba-ah for their fallacious contention. Insha’Allah, in this
treatise we shall substantiate the Divine Prohibition of music
and musical instruments on the basis of the Proofs of the
Shariah.
SAUTUSH SHAITAAN
117
RATIONAL ARGUMENTS
In substantiation for the claim of permissibility of the voice
of shaitaan, rational arguments are also presented. It should
be well-understood that Islam is the product of Wahi
(Revelation of Allah), delivered to the Sahaabah by the Naql
(Narration) of Rasulullah (sallallahu alayhi wasallam). This
divinely revealed Islam was then transmitted down the
centuries to posterity by way of reliable and authentic Naql,
not by way of Aql (reason/intellect).
Aql has its confined limits of operation in matters of the
Deen. But, it is kufr to employ Aql and rational arguments to
override what has been established by reliable and authentic
Naql which is the very foundation of this Deen’s
authenticity. This was the fundamental and fatal blunder
which the philosophers had committed. In their fanciful
flights of imagination they had made Deen subordinate to
Aql. In so doing they plunged into the never-ending abyss of
kufr. The subordination of Naql to Aql for verification,
authenticity and acceptance is plain kufr.
Irrespective of whatever appeal any rational argument may
exercise, the criterion of its acceptance or rejection is Wahi
and the Shariah to which Wahi gave rise. Rational arguments
cannot be presented in refutation of the rulings of Islam
established and evidenced by authentic Naql (Narration).
The prohibition of music and singing is the
pronouncement of the Qur’aan and Rasulullah (sallallahu
alayhi wasallam). These pronouncements and decrees of the
Shariah – of the Qur’aan and Sunnah – may not be refuted
with rational arguments. Anyone who is dissatisfied with the
Islam which has reached us via the authentic channels of
Naql, should take his route out of Islam and either join some
other religion of kufr or create for himself a new religion of
falsehood.
SAUTUSH SHAITAAN
116
greatest authorities of the Shariah – the Aimmah-e-
Mujtahideen – brought these very same Ahaadith as the basis
for their rulings.
The Aimmah-e-Mujtahideen surpasses the later
Muhadditheen in the knowledge of Hadith and formulation
of Law based on the Qur’aan and Sunnah. While the rulings
of the Fuqaha in general, and the Aimmah-e-Mujtahideen in
particular, are binding on the Muhadditheen, the latter have
no jurisdiction, no authority and no superiority over the
Aimmah Mujtahideen.
Secondly, in addition to certain Dhaeef narrations on the
question of music and singing, there are a number of higher
categories of Ahaadith such as Saheeh and Hasan which
constitute the basis on which the prohibition is structured.
Thirdly, it is a principle of Hadith accepted by all
authorities that when a Dhaeef Hadith is supported by several
different Asaaneed (Chains of Narration), its category is
elevated, and the quality of dhu’f is negated. But the juhala
do not understand the working of the principles of Hadith
due to their compound ignorance.
This unprincipled and ludicrous method of argumentation
by the modernist deviates represents an acknowledgement of
their profound ignorance of the branches of the Shariah’s
Knowledge. Sound, qualified and authoritative Ilm of the
Deen cannot be acquired from a self-study of English
translations which are the limits of the sources of the
modernists. They no not whether they are moving forwards
or backwards. Imaam Ghazaali (rahmatullah alayh) has aptly
summed up their intellectual derangement with his comment:
“Complete blindness is better than oblique vision.”
SAUTUSH SHAITAAN
9
THE MODERNIST ATTITUDE
The modernist deviates are professed antagonists of
Taqleed. They do not attach themselves to any Math-hab or
Imaam. They consider themselves to be capable and qualified
to formulate the rules of the Shariah on the basis of their
opinions of deception. A queer and distinctly dishonest
attitude of these modernist juhhaal is to scurry into the folds
of Taqleed whenever they seek ‘proofs’ for their fallacies.
They latch onto the errors and obscure views of just any
Aalim, Wali or Faqeeh if they are able to squeeze any capital
out for substantiating their theories of baatil.
Being ignorant of the Knowledge of the Shariah, they are
constrained to resort to Taqleed of obscure views and
opinions which are in contradiction of the Ijma’ of the
Ummah. Displaying this selective brand of Taqleed, the
modernists resort to a downright dishonest Taqleed of Imaam
Ghazaali (rahmatullah alayh) in their attempt to ‘prove’ the
permissibility of music and musical instruments. While they
reject every aspect of Imaam Ghazaali’s ta’leem on all other
issues of the Shariah, which militates against their opinions,
they are rapid in expressing their Taqleed of his view on
singing and music.
They further distort his opinion of restrictive permissibility
and present it as a basis for their claim of blanket permission
for all types of music and musical instruments, a position
which Imaam Ghazaali (rahmatullah alayh) never
propagated.
The modernist deviates are extremely selective in their
Taqleed of Imaam Ghazaali (rahmatullah alayh) in particular,
and in general of the other Auliya from whose statements
they labour to eke out confirmation for their fallacious
theories. For the modernists, Imaam Ghazaali (rahmatullah
alayh) has importance in only the issue of music. As far as
the entire Shariah is concerned, other than the exception of
SAUTUSH SHAITAAN
10
singing and music, Imaam Ghazaali (rahmatullah alayh) is
lumped into the same category of orthodoxy which the
modernist deviates dispose and deprecate with a vehemence
pleasing to only shaitaan and heretics.
Consider Imaam Ghazaali’s position on astronomy and
related science. In his view, it is not permissible for all and
sundry to learn astronomy. He labels astronomy as futile and
trivial. He regards only limited astronomy for a select few to
be permissible – such astronomy which is necessary for
navigation and finding direction in the land and sea.
He argues that astronomy is guesswork and blameworthy.
He propagates the truth of the Hadith that it is better to
remain ignorant of some branches of learning. This is a
position which is unpalatable to the modernist palate soured
by mental corruption. He therefore advocates: “Do not
indulge in such sciences which the Shariah brands as
useless.”
Imaam Ghazaali (rahmatullah alayh) propagates the
prohibition of eating food from tables. He advocates eating
on the ground as the Sunnah. Eating on tables is bid’ah
according to Imaam Ghazaali (rahmatullah alayh)
He avers that it is an innovation to use soap and to eat to
one’s heart’s content even though he does not brand these as
haraam. Nevertheless, this is the position which he adopts.
The modernists who have made a selective Taqleed of
Imaam Ghazaali, should henceforth refrain from the
utilization of all soap, soap powders and detergents.
“Lick your fingers after eating” commands Imaam
Ghazaali. This practice is detestable to the modernist juhhaal
who have western kuffaar masters to serve and appease. It is
practice viewed with revulsion by the western intellectual
masters of the modernist deviates prowling in the shadows of
the community, hence they will not make Taqleed of Imaam
Ghazaali in this practice of the Sunnah.
SAUTUSH SHAITAAN
115
Aimmah-e-Mujtahideen and the Fuqaha in general of all ages
right from the inception of Islam, and ignoring or concealing
the rulings of prohibitions issued by these very Auliya is pure
chicanery, fraud and deception perpetrated at the peril of
jettisoning Imaan from the heart. The attitude of the
modernist deviates is well-portrayed in the following
Qur’aanic aayat:
“What! Do you believe in a part of
the Kitaab and commit kufr with a
part?”
***************************
THE DECEPTION OF DHAEEF
AHAADITH
A ploy of deception employed by modernist deviates who
themselves are entirely ignorant of the principles governing
the Ilm (Knowledge) of Hadith, is their fallacious claim that
the Ahaadith which prohibit music and singing are Dhaeef.
While the term, Dhaeef is of technical import in the
Knowledge of Hadith, it is stupidly construed in a literal
sense.
The ignoramuses labour to mislead and confuse unwary
and ignorant laypeople with the manifestly false averment of
Dhaeef meaning literally ‘weak’ and unreliable Ahaadith
which have to be discarded into the waste. They reason like
the jaahil who says that the terms, Bachelor of Arts, for
example, refer to an unmarried male who engages in some
form of art work.
Although dhaeef literally means ‘weak’, it never means
that Ahaadith classified into this category are wholly unfit in
the process of production of evidence and substantiation for a
claim, rule or teaching. It suffices for the Ummah that the
SAUTUSH SHAITAAN
114
practice restricted to small groups of elite Auliya. It was a
practice reserved exclusively for the elite who themselves
had to adhere to many conditions before they were allowed
to participate in sama’.
It is the heights of folly and pure shaitaaniyat to cite the
sama’ which was introduced by some Auliya exclusively for
treating certain spiritual conditions of those who had gained
lofty heights in the spiritual realm. as a basis for the
wholesale legalization of music and singing for all and
sundry, for the masses lost and drowned in carnal lust—fisq
and fujoor –vice and immorality.
Sama’ of the Auliya was never intended by the illustrious
purified Souls to be a nafsaani past-time activity for the
masses to derive sensual pleasure, to wile away the time and
to find freedom for the expression of their carnal passions
which the voice of shaitaan inflames.
Those who display the immoral audacity of citing Imaam
Ghazaali (rahmatullah alayh) and other Auliya in their bid to
legalize music and singing, should extricate themselves from
their web of self-deception and shaitaani entrapment by
stating:
a. The clear rulings of these self-same Auliya banning
sama’ for the public at large.
b. The numerous stringent conditions attendant to the
permissibility which some Auliya have issued
regarding sama’.
c. The Taubah (Repentance) and retraction made by
the highest-ranking Auliya on the question of
sama’.
Citation of the statements of the Auliya for extracting capital
and substantiation for views which are in diametric conflict
with the unambiguous pronouncements of prohibition made
by Rasulullah (sallallahu alayhi wasallam), the Shaabah, the
SAUTUSH SHAITAAN
11
Regarding the issue of gender equality which these modernist
juhhaal propagate, Imaam Ghazaali (rahmatullah alayh) said:
“Don’t sport with the wife so much that she loses fear thereby
ruining her conduct…..Strike some sort of fear in her mind
when she commits evil…There is blessing in opposing women…
He who becomes a slave of women is ruined… If a husband acts
in accordance with the wishes of his wife, he becomes her
slave…The right of the husband is that the wife should follow
him and he should not follow her… Evils and deficient
intelligence are salient in women…. Fear the harms of women
because they do not call towards goodness….”
The views of Imaam Ghazaali on Purdah are undoubtedly
chagrin to the modernists. In short, Imaam Ghazaali
(rahmatullah alayh) is an orthodox Muslim, a ‘fanatic’ like the
Molwis except for some latitude on the issue of singing and two
musical instruments, the duff and the flute, which he opined to
be permissible in certain circumstances with certain restrictive
conditions.
The modernist deviates have absolutely no licence to cite
Imaam Ghazaali (rahmatullah alayh) in substantiation of their
corruption. There is no affinity between Imaam Ghazaali and
the views of kufr which constitute the religion of the deviates.
Their selective ‘Taqleed’ of Imaam Ghazaali, viz., in only the
issue of music and singing, displays the bankruptcy of their
morality and the total untenability of their theory of
permissibility for which they have miserably failed to discover
any proof from the Sources of the Shariah.
The clinching argument in this debate pertaining to Imaam
Ghazaali’s view is that since his view is in conflict with the
Ijma’ of the Four Math-habs, it is devoid of substance. It has to
be incumbently set aside. A conflicting opinion which
developed many centuries after the Sahaabah and the Fuqaha of
Khairul Quroon (The First three pious ages of Islam), is not the
Fatwa of the Shariah. It is the erroneous opinion of an
individual. It has been said: “Every Aalim slips” just like every
good horse slips and falls.
SAUTUSH SHAITAAN
12
THE ARGUMENTS OF THE
LEGALIZERS
(1) The following Hadith is presented in favour of
permissibility of music:
“Aishah (radhiyallahu anha) narrates: Rasulullah
(sallallahu alayhi wasallam) came to me while two girls
were singing the song of the battle of Buaath. He laid down
on the bed, and turned his face away. Abu Bakr
(radhiyallahu anhu) entered. Rebuking me, he said: ‘The
song of shaitaan by the Nabi (sallallahu alayhi wasallam)!’
Rasulullah (sallallahu alayhi wasallam) turning towards Abu
Bakr, said: ‘Leave them’. When Abu Bakr had entered, I
made a sign to the two girls, and they left. It was the day of
Eid.”
In another similar narration, Rasulullah (sallallahu alayhi
wasallam) had commented: “O Abu Bakr! Verily, every
nation has an Eid. This (today) is our Eid.”
A study of this Hadith brings to light the following facts:
(1) The two girls were minors. The term jaariyataan
which Hadhrat Aishah (radhiyallahu anha) uses to describe
the girls confirms that the girls were minors (na-baaligh).
(2) The girls were singing a war song.
(3) Hadhrat Abu Bakr (radhiyallahu anhu) had sternly
rebuked Hadhrat Aishah (radhiyallahu anha) for allowing the
two minor girls to sing even the war song.
(4) The singing was without any musical instruments.
(5) Rasulullah (sallallahu alayhi wasallam) stated an
exception, viz., the Day of Eid.
(6) Hadhrat Aishah (radhiyallahu anha) terminated the
singing of the girls on the reprimand of her father, hence she
indicated to the girls to depart.
SAUTUSH SHAITAAN
113
Someone once criticized Hadhrat Naseerabaadi for his
indulgence in sama’. In response he said: “It is better than
sitting and indulging in gheebat (back-biting).” Hadhrat Amr
Ibn Bajeed (rahmatullah alayh) and the other Ikhwaan
(Brethren) of Tareeqat (the Spiritual Path) commented: “O
Abul Qaasim! You have truly drifted far (from rectitude). A
single error of sama’ is worse than years of making gheebat
of people. In a slip made during sama’, an extremely
ludicrous idea is attributed to Allah Ta’ala. In this there are
many sins. One is an explicit fabrication made against Allah
Ta’ala, viz., He has bestowed to me a certain spiritual state
whilst in reality this is not the case. Fabricating a lie against
Allah Ta’ala is a colossal sin. Another such sin is to cast the
audience into deception for gaining their confidence.
Deception is khiyaanat (dishonesty, abuse of trust)……”
In Farhul Ismaa’ it is mentioned that Hadhrat Junaid
Baghdaadi (rahmatullah alayh) said that sama’ is strictly
haraam for the masses because their nafs is alive.
Hakimul Ummat comments: From this, two vital
conditions are conspicuous:
(1) That the nafs should be dead.
(2) That the people of sama’ should be from among the
elite, i.e. the Auliya of lofty spiritual status.
This achievement is dependent on two essentials:
(a) To an expert in the knowledge of the Shariah.
(b) To be an Aarif of Ilm-e-Haqeeqat (Spiritual
Knowledge).
These facts have been extracted from Ihyaaul Uloom and
Awaariful Ma-aarif by Hakimul Ummat Hadhrat Maulana
Ashraf Ali Thaanvi (rahmatullah alayh).
The unprejudiced, fair-minded seeker of the truth will
realise that the sama’ of some of the Auliya was a spiritual
SAUTUSH SHAITAAN
112
THE ONE WHO LISTENS TO SAMA’
According to those true Auliya who participated in sama’
without musical instruments, there are stringent conditions
for this permissibility. Hadhrat Shaikh Abu Abdur Rahmaan
Salmi (rahmatullah alayh) said:
“It is essential for those who listen to sama’ that their
hearts be alive and their nafs dead. Sama’ is not permissible
for him whose heart is dead and nafs alive.”
Commenting on this statement, Hakimul Ummat says:
“From the predominance of attributes will it be understood
whether the heart and nafs are alive or dead. The life-giving
attributes of the heart are Ilm (knowledge of the Deen),
Yaqeen (unshakeable faith), Shukr (gratitude), Sabr
(patience), Thikr (Remembrance of Allah), Khashiyat (Fear
for Allah), Muhabbat (love, Taadhu’ (humility), Ikhlaas
(sincerity), etc. The attributes of the nafs are shahwat (lust),
ghadab (anger), kibr (pride), bughdh (malice), jaah (love of
fame), hasad (envy), etc.
Everyone is able to understand whose heart is alive and
nafs dead, and whose heart is dead and nafs alive. One
should with justice decide whether the conditions of
permissibility to listen to sama’ exist in one or not.”
THE SPIRITUAL DANGERS OF SAMA’
Hadhrat Naseer aabaadi (rahmatullah alayh) was an ardent
votary of sama’. By sama’ here is not meant the haraam
qawwaali functions which the people of bid’ah organise to
entertain their inordinate nafs. The sama’ of Hadhrat Naseer
aabaadi was the sama’ to which applied all the stringent
conditions stipulated by the Auliya.
SAUTUSH SHAITAAN
13
(7) Rasulullah (sallallahu alayhi wasallam) made no
attempt to encourage her to continue listening to the singing
of the two little girls.
(8) The departure of the two girls was most significant.
(9) Inspite of Rasulullah (sallallahu alayhi wasallam)
having said: ‘Leave them.’, they had stopped their singing
after hearing Hadhrat Abu Bakr’s rebuke. No one had made
an attempt for the continuation of the singing.
From the aforementioned facts it will be clear to an
intelligent Muslim concerned with the truth that singing in
general, even without the accompaniment of instruments,
was deprecated and not considered lawful. It was precisely
for this reason that Hadhrat Abu Bakr (radhiyallahu anhu)
had expressed surprise and reprimanded his daughter,
Hadhrat Aishah (radhiyallahu anha). Inspite of the two girls
being minor and the singing being an impromptu act inside
the home where there was no audience, Hadhrat Abu Bakr
(radhiyallahu anhu) described it as ‘the song / music of
shaitaan’ notwithstanding that it was a war song.
It goes without saying that music, musical instruments and
singing were time-immemorial practices which existed
among the Arabs in the times of Jaahiliyyah (the pre-Islam
times of ignorance). What then had impelled Hadhrat Abu
Bakr (radhiyallahu anhu) to brand the singing of the two little
girls as being the song/music of shaitaan? Why did he
express such surprise when he heard the singing in the house
of the Nabi (sallallahu alayhi wasallam)? Why did he rebuke
Hadhrat Aishah (radhiyallahu anha) if music and singing was
permissible? After all, they were singing an ‘innocent’ war
song in the privacy of home where there was no danger of
fitnah.
It is conspicuously clear that Hadhrat Abu Bakr
(radhiyallahu anhu) must have been aware of the prohibition,
hence his surprise and rebuke. If there had not existed
prohibition, his surprise and rebuke would have been
SAUTUSH SHAITAAN
14
uncalled for, meaningless and futile. Since he was quite
aware of the prohibition, he expressed surprise, and
reprimanded Hadhrat Aishah (radhiyallahu anha), who in
turn put a stop to the singing of the little girls, and ordered
them to leave inspite of the fact that Rasulullah (sallallahu
alayhi wasallam) had not objected. In view of her father’s
reprimand and reminding her that such singing was in reality
the voice of shaitaan, Hadhrat Aishah (radhiyallahu anha)
deemed it prudent to terminate the singing and order the girls
to leave. Her attention was drawn to the original law of
prohibition which overshadowed the permission obtained as
a concession for the Day of Eid.
Furthermore, Rasulullah (sallallahu alayhi wasallam), with
his silence, approved of the action of Hadhrat Aishah
(radhiyallahu anha), i.e. stopping the singing and indicating
to the girls to leave. He did not encourage Hadhrat Aishah
(radhiyallahu anha) to continue listening to the singing nor
did he express any surprise or make any comment when she
quietly indicated to the girls to leave. He did not criticize the
termination of the singing.
Rasulullah’s explicit reference to the Day of Eid implies
that an exception has been made to the general rule of
prohibition. If the statement is not taken as an exception, it
would be meaningless to say: “It is our Eid today.”
The aforementioned factors testify amply for the
prohibition of even singing without the accompaniment of
musical instruments. The conclusion stemming from this
Hadith is manifest: An exception to the general rule was
made on the Day of Eid for the impromptu singing of a war
song by two little girls inside the home. This Hadith is a
conspicuous affirmation for the general prohibition of music
and even singing, even if the songs are not of an evil or
immoral nature.
SAUTUSH SHAITAAN
111
Imaam Bukhaari narrated that Rasulullah (sallallahu alayhi
wasallam) said: “There will appear in my Ummah such
people who will legalize silk, liquor and musical
instruments.”
Tirmizi narrated from Yahya Bin Saeed that Rasulullah
(sallallahu alayhi wasallam) said: “When my Ummah
perpetrated 15 acts, calamities will settle on them.” Among
these are musical instruments and singing girls.
Bazzaaz, Muqaddasi, Ibn Mardawiyyah, Abu Nuaim and
Baihqi (rahmatullah alayhim) narrated that Rasulullah
(sallallahu alayhi wasallam) said: “Two sounds are mal-oon
(accursed) in both this world and the Aakhirah: the sound
(voice) at the time of singing, and the sound of wailing
(screaming) at the time of calamity.”
It is recorded in Tahmatut Muhdaat that Qais Bin Sa’d Bin
Ubaadah (radhiyallahu anhu) narrated that Rasulullah
(sallallahu alayhi wasallam) said: “Undoubtedly, my Rabb
has made haraam liquor, gambling and musical
instruments.”
Ibn Abbaas (radhiyallahu anhu) said: “The duff is haraam
and musical instruments are haraam.” (Baihqi)
In Mishkaat is recorded the narration of Baihqi who
reports that Jaabir (radhiyallahu anhu) said that Rasulullah
(sallallahu alayhi wasallam) said: “Singing germinates
hypocrisy (nifaaq) in the heart in the same way as water
causes plants to grow.”
Besides these Ahaadith, there are many more narrations
which explicitly forbid music and singing.
SAUTUSH SHAITAAN
110
opinion that the duff is permissible on marriage occasions.
There is therefore just no valid basis for legalizing music and
singing – the “voice of shaitaan”, according to Rasulullah
(sallallahu alayhi wasallam) and the Sahaabah.
SINGING AND THE AHAADITH
Hadhrat Maulana Ashraf Ali Thaanvi (rahmatullah alayh)
states in his dissertation on sama’:
“From the narrations (of Hadith), prohibition appears to be
clear. Tirmizi and Ibn Maajah narrating from Abu Umaamah
said that Rasulullah (sallallahu alayhi wasallam) prohibited
buying and selling slave girls who were singers and said that
their price is haraam, and their singing is haraam.
Baihqi narrated that Abu Hurairah (radhiyallahu anhu) said
that Rasulullah (sallallahu alayhi wasallam) said: “Do not
buy and sell slave girls who are singers. Do not teach them
(singing). There is no goodness in their trade. Their price is
haraam”
Ibn Ani Dunya, Tabrani and Ibn Mardawiyyah narrate
from Abu Umaamah (radhiyallahu anhu) that Rasulullah
(sallallahu alayhi wasallam) said: “I take oath by That Being
Who has sent me with the True Deen: When a man raises his
voice with singing, Allah Ta’ala appoints two shaitaans over
him. They mount onto his shoulders and strike their feet
against his breast until he maintains silence.”
Ibn Abi Dunya in Zamm-e-Malaahi, and Baihqi in Sunan,
narrate that Ibn Mas’ud (radhiyallahu anhu) said that
Rasulullah (sallallahu alayhi wasallam) said: “Singing
germinates hypocrisy in the heart just as water causes
vegetables to grow.”
These narrations pertain to singing without musical
instruments. Most dalaail establish the hurmat (prohibition)
of musical instruments.
SAUTUSH SHAITAAN
15
Precisely for this reason have the Fuqaha of all Math-habs
explicitly decreed that singing even without instruments is
prohibited.
Far from being a proof for the legalizers of haraam music,
this Hadith vindicates the general rule of prohibition.
Commenting on this Hadith, Imaam Nawawi (rahmatullah
alayh), states in his Sharh Muslim:
“Qaadhi said: The singing of the two girls was only
a composition of war poetry of vying, bravery and
victory.”
It was an impromptu singing of a good song by two little
girls without musical instruments. Inspite of this, Rasulullah
(sallallahu alayhi wasallam) had turned his back to them,
covering himself with a sheet. According to the authorities of
the Shariah, this attitude indicated his non-participation. He
did not sit as an audience. His silence together with a display
of dissociation implies disinclination towards even songs for
which he had granted permission on happy occasions such as
the Day of Eid and marriages.
Inspite of the concession made for the Day of Eid,
Rasulullah (sallallahu alayhi wasallam) never once permitted
singing to take place at any of his marriages or the marriages
of his daughters although such singing was permitted for the
marriages of others.
The other lesson to be derived from this peculiar attitude
of Nabi-e-Kareem (sallallahu alayhi wasallam) is that this
type of impromptu singing by children in the privacy of the
home on the Day of Eid or on a marriage occasion should be
condoned and not prohibited with vehemence. Hadhrat Abu
Bakr’s initial reaction, reprimand and branding the singing as
the music of shaitaan were constrained by his awareness of
the general rule of prohibition of singing. Rasulullah
cautioned him, hence he maintained silence when he was
made aware of the permissibility of this kind of singing on
the Day of Eid by little girls.
SAUTUSH SHAITAAN
16
Prior to this incident, Hadhrat Abu Bakr and the Sahaabah
were aware that singing and music in general were unlawful
satanic acts, hence his reaction.
Rasulullah’s response to Hadhrat Abu Bakr’s rebuke is
very significant. He did not counter the comments of Hadhrat
Abu Bakr (radhiyallahu anhu). Rasulullah (sallallahu alayhi
wasallam) did not refute the contention of singing being the
music of shaitaan nor did he proclaim it to be permissible. He
merely said that “today is Eid”. In other words, he implied a
bit of leniency and latitude in view of the happiness of the
occasion.
In this Hadith narrated in Bukhaari Shareef, Hadhrat
Aishah (radhiyallahu anha) clarified: “These girls are not
professional singers.” In this statement she unambiguously
declares her abhorrence for music and singing as practised
professionally in all ages. Her statement is noteworthy. Why
did she have to clarify the position of the girls when her
father strongly objected to their singing? The purport of her
clarification was to emphasise the impromptu nature of the
singing of the two little girls.
Another factor of importance is that this particular incident
transpired during Hadhrat Aishah’s childhood days. During
her adulthood, all her statements pertaining to music and
singing are only of prohibition and criticism. It is indeed
absurd to present this childhood incident of Hadhrat Aishah
(radhiyallahu anhu) in substantiation of the fallacy of the
permissibility of music when she herself vehemently
proclaimed the hurmat (illegality) of this satanic act. Her
statements of prohibition cannot be refuted by citing an
incident which had occurred during her childhood days.
True to their dishonesty and deception, the modernist
deviates, while quoting Hadhrat Aishah’s childhood episode,
conveniently bypass her many statements of condemnation of
music and singing made during her adulthood.
The maximum latitude obtainable from this Hadith is:
SAUTUSH SHAITAAN
109
(d) It is not recorded in even any dhaeef Hadith that any
Sahaabi had ordered his Nikah to be announced with the duff
inspite of their awareness of the Hadith permitting the duff as
an instrument to announce a marriage, not for the purpose of
music. The Sahaabah were the devotees of Rasulullah
(sallallahu alayhi wasallam). Yet they did not give practical
expression to the duff Hadith.
(e) Rasulullah (sallallahu alayhi wasallam) had married a
plurality of wives and he had also arranged the performance
of the marriages of his daughters. Not on a single occasion
did he instruct that any of his marriages be announced with
the duff.
The Hadith of Hadhrat Ali (radhiyallahu anhu) clearly
announces the abrogation of even the duff for Nikah
purposes.
In certain kutub of the Ahnaaf, permissibility of the duff is
stated. This is an error and in conflict with the Asal Mathhab
and Zaahirur Riwaayaat.
Hakimul Ummat Maulana Ashraf Ali Thaanvi
(rahmatullah alayh) has presented a wonderful elaboration on
this issue in Imdaadul Fataawa, Vol. 2, from page 278 to
286. It will do the Ulama well to carefully study the dalaail
presented in substantiation of the prohibition of musical
instruments in general, and the duff in particular.
Casting aside all the technical ramifications and
differences regarding the duff, it is essential to bear in mind
that the musical instruments and the singing with these
instruments have absolutely no resemblance with the duff.
Deviates are at rigorous pains in their bid to confuse the
unwary and the ignorant with the duff. But this primitive
instrument has not been cited as a basis for permissibility of
musical instruments by even those Ulama who are of the
SAUTUSH SHAITAAN
108
(8) “Singing, the tambourine, the harp, duff and other
similar instruments are haraam.” (An-Nihaayah)
(9) “Musical instruments, the tambourine, bugle, duff, etc.
are unanimously haraam.” (Ma-la Budda Minhu)
(The above references have been extracted from Imdaadul
Fataawa, Vol. 2)
ABROGATION OF THE DUFF’S
PERMISSIBILITY
It is quite clear from the verdicts of the Mutaqaddimeen
(early) Hanafi Fuqaha that the Asal (actual and original)
Math-hab of the Ahnaaf is the prohibition of the duff even on
marriage occasions. The aforementioned statements from the
authoritative kutub of the Ahnaaf, as well as from other
Hanafi kutub emphatically prohibit the duff.
The Hanafi argument of the abrogation of the permissibility
of the duff is based on the following evidences:
(a) Hadhrat Ali (radhiyallahu anhu) said:
“Verily, Rasulullah (sallallahu alayhi wasallam) forbade
beating of the duff, playing the dhanj and the flute.”
(b) Hadhrat Abu Bakr (radhiyallahu anhu) had branded the
duff ‘the musical instrument of shaitaan’. This was in the
presence of Rasulullah (sallallahu alayhi wasallam) who
maintained silence. He did not criticize Hadhrat Abu Bakr
(radhiyallahu anhu) for this comment.
(c) Rasulullah (sallallahu alayhi wasallam) said about the
lady who was beating the duff, ‘Shaitaan blew into her
nostrils’.
SAUTUSH SHAITAAN
17
Inspite of the general prohibition of singing, an exception
was made for the Day of Eid. Provided that the simplicity
and the conditions of permissibility are observed, this type of
singing without music is permissible, not at all times, but on
the Day of Eid and on occasions of marriage.
(2) “Aamir Bin Sa’d (radhiyallahu anhu) said: On a
marriage occasion I visited Qurzah Bin Ka’b and Abi
Mas’ood Ansaari (radhiyallahu anhumaa). I saw some little
girls singing. I said: ‘Both of you are the Companions of
Rasulullah (sallallahu alayhi wasallam) and of the People of
Badr while this (singing) is happening by you.’ He (Qurzah)
replied: ‘If you wish, then listen together with us, and if you
wish, go! Verily, we have been granted exemption for
amusement on marriage occasions.’” (Mustadrak)
The legalizers of music and musical instruments also
present this Hadith in justification of their haraam musical
activities. The unbiased searcher of the Haqq will not fail to
discern the following salient facts from this Hadith:
(1) Hadhrat Aamir Bin Sa’d (radhiyallahu anhu)
regarded singing unlawful, hence his objection and
surprise.
(2) The other two senior Sahaabah who were present did
not claim singing to be lawful. On the contrary, they
explained that they had been granted this leeway on
marriage occasions.
It should be abundantly clear from this Hadith that the
Sahaabah considered singing to be unlawful. However, the
singing by little children on marriage occasions was
considered to be an exception to the general rule of
prohibition, hence they categorically averred: “We have been
granted exemption on the occasions of marriage.”
SAUTUSH SHAITAAN
18
The singing mentioned in this Hadith was not the type of
lewd, professional singing with musical instruments and
satanic demonstrations, lust and deception. The irrefutable
reality which transpires from this Hadith is that all three
Sahaabah involved in this episode firmly believed in the
general rule of prohibition, hence the one expressed surprise
and consternation while the other two explained the
exception made in view of the special occasion of marriage.
Thus, there is absolutely no basis for the legalization of
haraam music and singing in this Hadith.
(3) Rasulullah (sallallahu alayhi wasallam) said:
“Announce this Nikah; perform it in the Musaajid and beat
the duff (drum) for it.” (Tirmizi)
(4) Rasulullah (sallallahu alayhi wasallam) said:
“The difference between halaal (i.e. Nikah) and haraam (i.e.
zina) is the duff, announcement and rising of the voices.”
These narrations are also cited to justify the haraam music
and singing which is so widely prevalent in this age.
However, there is no basis in these narrations for legalizing
music and singing. In the first narration it is mentioned with
clarity that the purpose of beating the duff is I’laan (to
publicly announce). The purpose is not singing or the
creation of music. The drum used to be beaten to announce
and publicize Nikahs. Public announcement is an essential
feature of Nikah.
The importance of publicly proclaiming a Nikah is
emphasised in the second of these two narrations. In this
narration Rasulullah (sallallahu alayhi wasallam)
differentiates between Nikah and zina (fornication). While
fornication is committed in concealment, Nikah is publicly
and vociferously announced. The use of the duff serves this
purpose admirably. It is for this reason that some Fuqaha
claim that beating the duff on marriage occasions is
SAUTUSH SHAITAAN
107
and moral depravity which are rife on earth in this 21st
century? If even the primitive duff was declared prohibited
by the Shaafi Faqeeh, Maawardi, a thousand years ago
despite the initial permissibility of his Math-hab, what ruling
should be formulated for the wide range of shaitaani musical
instruments of the east and west in today’s libertine world?
THE HANAFI MATH-HAB
The Hanafi position is crystal clear. All musical
instruments including the duff which is used to create music
are haraam.
(1) “Verily all musical instruments are haraam.”
(Hidaayah)
(2) “The sound of musical instruments, e.g. playing the
flute, etc. is haraam.” (Bazaaziyah and Ad-Durrul Mukhtaar)
(3) “Listening to the beating of the duff, the flute, etc. is
haraam.” (Shaami)
(4) “Listening to the beating of the duff, flute, singing, etc.
are haraam.” (Sharhun Niqaayah)
(5) “Lahw such as beating the duff and flute, is Makrooh
Tahrimi.” (Abu Makaarim)
(6) “Singing, beating the harp, the duff, the sitar and
tambourine, are haraam. He who legalizes these instruments
will be declared a kaafir.” (Majmuah Fataawa Azeeziyyah)
(7) “Singing, listening to singing, beating the duff and all
kinds of musical instruments are haraam. The legalizer of it
is a kaafir.” (Fataawa Al-Baihqi)
SAUTUSH SHAITAAN
106
The Shaafi permissibility of the duff (not of musical
instruments in general), is also shackled by several
conditions which Allaamah Ibn Hajr Makki (rahmatullah
alayh) explains in his Kaffur Ruaa’. These conditions are:
(1) Only females are permitted to strike the duff on
marriage occasions. It is not permissible for men to beat the
duff. Since beating the duff is exclusively a female act, men
who imitate them are mal-oon (accursed) according to the
Hadith. All the Ahaadith which mention the duff explicitly
state that it was beaten by females, mostly little girls. No
where is it recorded by the Salf-e-Saaliheen that males were
also involved in beating the duff.
(2) There should not be a musical tone in the beating. The
rules of music should not be employed. It should be struck
with the flat of the palm in the style of the Arabs, not with
the finger. In otherwords, it should not be struck to create
music in the way the bid’ati qawwaals and faasiq singers
strike their tablahs and other musical drums.
(3) The duff may be beaten for a short while in a marriage
function.
In view of the fact that all these conditions have
evaporated, the duff in our time is not permissible even
according to the Shaafi’ Math-hab. Stating this verdict,
Haafiz Ibn Hajar Makki (a Shaafi authority) citing Maawardi,
avers: “However, in our age it (the duff) is Makrooh (i.e.
forbidden and sinful) because it leads to ignorance and
villainy.”
Allaamah Ibn Hajar moreover adds that five centuries have
lapsed since Maawardi had declared this prohibition. There is
now (i.e. in Ibn Hajar’s time) greater evil prevalent, hence
the prohibition is emphasised to a greater degree.
After Ibn Hajar, another five hundred years have lapsed. Is
there any difference of opinion on the evil, vice, immorality
SAUTUSH SHAITAAN
19
Masnoon. It is Masnoon for making a public announcement.
It is not Masnoon for the creation of music.
It is conceded that on occasions of marriage, the duff – and
only the duff – may be used by little girls, not adult women,
for impromptu singing. This was the initial ruling. However,
due to the many haraam acts which accompany wedding
ceremonies in these times, the duff including the entire
ceremony are haraam. In fact, the Fuqaha have ruled that it is
no longer permissible for women to attend Walimah feasts.
The initial permissibility of Walimah for women is over-
shadowed by a host of evil factors which render the whole
conglomeration haraam. Just as it is no longer lawful for
women to attend the Musaajid, so too, in fact to a greater
degree is it haraam for them to attend wedding ceremonies
where all the acts of Satanism and carnal lust find free play.
The votaries of music and singing who cite the duff
narrations as a basis for justification are downright dishonest.
While in some primitive Muslim societies in villages in West
Africa where the Maaliki Math-hab predominates, the duff is
struck to announce a marriage, this is no longer the practice
among Muslims in general. Modernist Muslims, especially
the votaries of music and singing, in the western world in
particular, never beat the duff to announce a marriage. It will
be too embarrassing for them to beat a primitive duff. They
have to accord great consideration to the attitudes of their
western kuffaar masters. So while they have in entirety
discarded the duff for announcing a marriage, they
vehemently cling to the duff narrations like dogs cling to
bones, for the sole purpose of justifying their haraam music
and singing.
Rasulullah (sallallahu alayhi wasallam) allowed the duff to
be beat for announcing marriages, but the slaves of shaitaani
music and singing, ignore the purpose stated by Nabi-e-
Kareem (sallallahu alayhi wasallam), and read into the duff
SAUTUSH SHAITAAN
20
narrations permissibility for music and singing – the voices
of shaitaan.
Narrating from Sharhus Sunnah of Imaam Baghawi,
Mullah Ali Qaari says: “Some people have cited this
narration as a basis for sama’ (religious songs). This is
erroneous.” (Mirqaat)
The following appears in Fathul Allaam Sharh Bulooghul
Maraam: “……Hence, beating the duff on marriage
occasions may be Masnoon, but the condition (for this
permissibility) is that there should be no accompanying
haraam act, e.g. singing by an adult strange woman…..In
fact, only the simple way which existed during the time of
Rasulullah (sallallahu alayhi wasallam) is the lawful
manner. The ways which people have innovated afterwards
were not commanded by Rasulullah (sallallahu alayhi
wasallam). Furthermore, in this age (i.e. centuries ago),
along with beating the duff to announce a Nikah, many
haraam acts are perpetrated. For this reason it is haraam to
beat the duff in these times. This prohibition is not because
the duff itself is haraam, but because of the association of
many haraam factors with it.”
According to a principle of the Shariah, any Mubah
(permissible) act which is accompanied by haraam acts
becomes likewise haraam on account of the association with
unlawfulness. In these times, in places where the duff is still
used to announce marriages, a number of haraam factors
accompany the ceremony. The duff-beating has degenerated
into lewd merrymaking in which both men and women
participate. Islam never permits such evil functions.
It is indeed a travesty of the Shariah’s permissibility
pertaining to the duff, to claim that the Hadith sanctions these
haraam functions which prevail today on marriage occasions.
(5) The votaries of music and singing present as grounds
for their contention a narration which purports that
SAUTUSH SHAITAAN
105
in music and singing, leave alone believing it to be
permissible.
Hadhrat Hasan Basri (rahmatullah alayh), who was among
the most senior Taabieen, said: “The duff is not of the Sunnat
of the Muslimeen.” This illustrious Imaam of the Deen was
not ignorant of the permissibility ascribed to the duff by some
Fuqaha, and that even during the time of Rasulullah
(sallallahu alayhi wasallam), this instrument was employed
on marriage occasions. Nevertheless, he emphatically decried
it and proclaimed that it is not the way of the Muslimeen.
The duff was part of the culture of the Arabs from time
immemorial. It did not find its origin in the Sunnah. It was
merely tolerated in special occasions of happiness.
THE SHAAFI PERMISSIBILITY
Even the Shaafis who regard it mubah (permissible, not
Sunnat) on marriage occasions, advocate abstention as the
best course. Hence, Shaikh Suharwardi (rahmatullah alayh),
who was a very senior Shaafi authority as well as the
Founder of the Suharwardiyyah Sufi Order, says in Awaariful
Na-aarif:
“Although there is scope (permissibility) in the Shaafi
Math-hab (on marriage occasions) for the duff and the
shabaabah (primitive reed flute), shunning these two is aula
(best and preferable). It is best to adhere to what is more
cautious and to emerge from khilaaf (difference of opinion).”
The difference referred to here is the explicit prohibition
stated by the Hanafi Math-hab and other Fuqaha. Even
among the Shaafi Fuqaha there are many who claim that the
duff is haraam in functions other than marriage and
circumcision. In Kaffur Ruaa’, Allamah Ibn Hajar Makki
states: “A group of our As-haab (Ulama) say that the duff) is
haraam on occasions other than marriage and
circumcision.”
SAUTUSH SHAITAAN
104
sessions of the modernist deviates and the grave-worshipping
Bid’atis. Yet, they shamelessly claim that they are following
the Auliya’s permissibility. They are in fact levelling a
colossal slander against the Auliya by assigning these august
personalities of Islam into the noxious category of the
fussaaq and fujjaar of this age.
THE TAUBAH OF THE AULIYA
In view of the recognition of the moral and spiritual
dangers inherent in the remedy of sama’ for the masses,
those Auliya who had participated in it had publicly
proclaimed their repentance (Taubah). Thus, it is on
authentic record that illustrious and renowned Auliya such as
Hadhrat Junaid Baghdaadi (rahmatullah alayh) and Hadhrat
Nizaamuddin Sultaanul Auliya (rahmatullah alayh) had
announced their Taubah and had retracted their views on
sama’.
These illustrious Auliya had considered it expedient to
proclaim their repentance. They had foreseen that their sama’
which is medicine for ailments, would later be cited as a
basis for the justification of haraam music and singing. The
indulgent masses would extract unlawful licence for evil and
haraam, hence they were constrained to announce their
Taubah.
There can be absolutely no scope for permissibility of
music and singing when even great Auliya had dissociated
from sama’ in which they had participated. There is a
difference of heaven and hell between sama’ and the music
and singing of the masses – especially of the kuffaar masses
whose acts and antics of fisq and fujoor Muslims have
adopted.
It is only a shaitaani logic which promotes permissibility
of the nafsaani music and singing in vogue. When the
Mashaaikh have even castigated the duff, it does not behove
Muslims who subscribe to the Sunnah to audaciously indulge
SAUTUSH SHAITAAN
21
Rasulullah (sallallahu alayhi wasallam), Hadhrat Aishah
(radhiyallahu anha) and Hadhrat Umar (radhiyallahu anhu)
had listened to a slave woman singing a song.
Firstly, the narration which in fact is a fabrication, does
not mention any musical instruments, not even a duff. At
most, this fabricated narration can confuse the unwary with
regard to singing without instruments. Singing by a ghair
mahram female is haraam according to all Math-habs. This
fabricated narration may not be cited in justification of
singing and listening to the singing of a ghair mahram
female. With regard to the status of this narration Allaamah
Muhammad Taahir (rahmatullah alayh) said: “Khateeb said:
In its isnaad is a disqualified narrator. He used to narrate
nonsensical things. This hadith is baatil (baseless).”
(Tazkaratul Maudhu-aat)
There is no substance in the argument raised on the basis
of this discarded and baseless narration.
(6) It is also argued that a group of women and children
had sung in the presence of Rasulullah (sallallahu alayhi
wasallam) and the Sahaabah, and he did not voice any
objection.
The incident to which reference is made here occurred at
the time of Hijrat (Migration). The folk of Madinah sang in
happiness to welcome the arrival of Rasulullah (sallallahu
alayhi wasallam). This narration may not be cited as a basis
for the permissibility of organized singing even without
music. Nor can it ever be presented by any stretch of
imagination in vindication of music.
Firstly, there is considerable discussion and doubt on the
authenticity of this narration. Secondly, even if its
authenticity is conceded, this episode occurred when Nabi
(sallallahu alayhi wasallam) was entering Madinah on the
occasion of the migration from Makkah. The inhabitants of
Madinah were merely acting according to their custom. It
SAUTUSH SHAITAAN
22
was not a welcoming reception organized by the Sahaabah.
Thirdly, this episode transpired about five years prior to the
promulgation of the laws of hijaab.
It is palpably baseless to argue on the basis of this
narration that it is permissible for men to listen to the singing
of ghair mahram females. Not a single authority of the
Shariah from the time of the Sahaabah had ever averred such
permissibility. Nowhere in the Shariah is there any
permissibility for men to sit and listen to the singing of even
one woman, leave alone a group of women. Even without
music such singing is unanimously haraam.
A SUMMARY OF THE NARRATIONS OF
PERMISSIBILITY
If a seeker of the truth is earnestly in the quest of the Haqq
on the issue of singing and music, he should study all the
relevant Qur’aanic aayaat, ahaadith, rulings of the Sahaabah
and of the Fuqaha (Jurists) of all Four Math-habs. He will not
fail in understanding the following conspicuous position of
the Shariah:
• The general rule pertaining to singing and music is
prohibition. The evidence for this prohibition is
overwhelming and unambiguous as will be shown
further on in this treatise, Insha’Allah.
• The Shariah, on the basis of some ahaadith, has made
some exceptions to the general rule of prohibition.
These exceptions are:
(1) Beating the duff on marriage occasions to
announce the Nikah.
(2) Impromptu singing by little children even with
the duff.
(3) Occasional singing by an individual, but
without musical instruments, to banish
SAUTUSH SHAITAAN
103
In any dispute, it is incumbent to refer to the Shariah – to
Allah’s Kitaab, the Sunnah of His Rasool and the Authorities
(Ulul Amr) of this Deen who in the first and highest level are
the Sahaabah, then the Aimmah Mujtahideen and Fuqaha of
Kharul Quroon (the initial Three Noble Ages of Islam). In
regard to this era, Rasulullah (sallallahu alayhi wasallam)
said:
“Honour my Sahaabah, for verily, they are
the best of you; then those after them; then
those after them. Thereafter falsehood will
become prevalent.” (Mishkaat)
It is a hideous misconception tantamount to kufr to subject
the differences of the Auliya and the Ulama to personal
opinion and issue a ‘fatwa’ of jahaalat in appeasement of
hawa (lowly desire). The whole conglomerate of deviates –
modernists and grave-worshippers – is guilty of this capital
crime of believing themselves competent to issue verdicts on
a difference between Imaam Ghazaali (rahmatullah alayh)
and the Ijma’ of the Aimmah-e-Mujtahideen.
Furthermore, the deviates conveniently and stupidly
misinterpret the view of Imaam Ghazaali and other Auliya of
similar view, to extract from their nafs a ‘verdict’ of
permissibility for the gamut of kuffaar music and singing for
the consumption of the masses, the majority of whom are
undoubtedly fussaaq and fujjaar of the worst order.
Let it be clearly understood that there is absolutely no
licence in the permissibility view of sama’ for the licentious
and libertine music and singing to which the masses in this
age are addicted. While the deviates and morons harp on this
extremely restrictive permissibility, they in entirety ignore
very conveniently all the conditions which the Auliya had
stipulated for their limited permissibility. None of those
stringent requirements exist in the haraam music and singing
SAUTUSH SHAITAAN
102
Majeed, and Rasulullah (sallallahu alayhi wasallam) in his
Ahaadith the perfection of the Deen.
THE ARBITRATOR
Who shall arbitrate where a difference prevails among the
Auliya? The true Auliya are all accepted and illustrious
personages of Islam. It is not permissible to criticize them
destructively nor to assign fisq and dhalaal (deviation) to
them. Certain of their utterances and practices which
ostensibly contradict the Shariah have to be accorded
appropriate interpretation to bring them in conformity with
the Shariah. But the Shariah cannever be interpreted to
conform to any practice or statement of any Wali if there is a
conflict.
Some Auliya (a minority) practised sama’ observing very
stringent conditions and confined it to their close associates
of the Spiritual Path. They never advocated it for public
consumption. Their gatherings were not frivolous to derive
nafsaani pleasure and for wiling away the time. Other Auliya
who are in the majority, do not adhere to sama’. They neither
practice it nor regard it permissible.
Now when there prevails such a stark difference among
the Auliya of later times on the issue of sama’, who shall be
the arbitrator? And, which view do the masses of the Ummah
follow? The Qur’aan Majeed issues its unambiguous and
emphatic directive in this regard:
“Then, We have established you on a Shariah
regarding affairs. Therefore, follow it, and do
not follow the lowly desires of those who do
not know.”
“And, if you dispute in anything, then refer it
to Allah, Rasool and the Ulul Amr among you
if indeed you are Mu’mineen.”
SAUTUSH SHAITAAN
23
loneliness, or as admonition (naseehat) or to
kindle bravery in the hearts of people in Jihad.
• If any haraam acts accompany the singing or the duff-
beating, the singing, etc. will also become haraam. In
terms of the principle of the Shariah any permissible
act accompanied by evil or haraam factors becomes
haraam.
• It is haraam for males to listen to the singing of
females and vice versa, even without music. In fact,
the Fuqaha say that it is not permissible for men to
listen to even the beautiful Qur’aan recitation of
young lads.
• Impromptu singing in privacy and listening to the
occasional couple of verses of poetry sung by Ulama
in their lectures are permissible.
• Professional singing and singing organized for public
audiences as prevalent nowadays in functions and in
the harsh blaring and ranting over shaitaani radios
are haraam.
• Devoting considerable time to singing (nazams and
qaseedahs) as has become the norm in these days, is
haraam. Such indulgence in futility which is not
permissible.
• All musical instruments are haraam. The solitary
exception is the duff which is also regulated by
certain strictures already explained in the
aforementioned discussion.
• There exists consensus of the Ummah – the entire
Ahlus Sunnah Wal Jama’ah – on the prohibition of
music and musical instruments.
It is necessary to reiterate that any contrary view which
conflicts with the official and authoritative position of the
Shariah as handed to the Ummah from the time of the
Sahaabah, has to be rejected regardless of the status of the
SAUTUSH SHAITAAN
24
personality propagating such a conflicting opinion. If the one
who advocates permissibility happens to be a reliable Aalim
of the Deen, his view will be attributed to error, or
misunderstanding or a suitable interpretation will be assigned
to it. If such a conflicting view emanates from juhala
(ignoramuses), fussaaq (immoral public sinners), Ahl-e-
Bid’ah (Innovators such as the grave-worshippers) or zindeeq
(heretical) modernists, their opinions will be attributed to
nafsaaniyat and shaitaaniyat. They are the progeny of
shaitaan, hence they propagate his message.
From all the narrations cited by the proponents of music,
there is not a single Hadith which makes even a remote
suggestion of permissibility of musical instruments which are
called mazaameer and ma-aazif. Every Hadith which the
deviates produce, even the fabricated ones, mention only the
duff – the duff which the modernist deviates do not employ
nowadays, neither for music nor for the original purpose
stated by the Ahadith, viz., for announcing a marriage. The
heretics are at pains to legalize all satanic musical
instruments, and for this they have only the duff narrations.
But the untenability of their arguments raised on the basis of
these narrations has already been shown and discussed.
The proponents of music and singing very deviously avoid
all the factors negating permissibility of singing in general—
the factors stemming from the duff narrations. While ignoring
all the salient facts mentioned in these narrations, they select
only the duff and stupidly claim that music is permissible. In
so doing, they come within the scope of the following
Qur’aanic aayat:
“What! Do you believe in part of the Kitaab, and
commit kufr with part (of it)?”
SAUTUSH SHAITAAN
101
their dreams and their miracles. If in the dream or vision of a
Wali, Rasulullah (sallallahu alayhi wasallam) expresses
approval for a specific act of that Wali, this cannot be cited
as daleel in Islam. The directive acquired in the vision or
dream shall be incumbently scaled on the criterion of the
Shariah which is seconded in the Adillah Ar’ba’ah (The Four
Sources of Islam).
If the directive of the vision is in conflict with any of the
principles or teachings of the Shariah it shall be set aside and
given some appropriate interpretation if the person concerned
is a true Wali of Allah Ta’ala. If he is a faasiq, it shall be
rejected and denounced as a shaitaani manipulation. In fact,
shaitaan is quite capable of infiltrating the dreams and
visions of even Auliya. He even manipulates the
interpretation which a Wali gives to his dream. It is for these
reasons that the Shariah does not accord the dreams, visions,
kashf and ilhaam of the Auliya the status of Shar’i daleel.
From the episode of Qaadhi Dhiyaaudden and Sultanul
Auliya (rahmatullah alayhima) the position of the Shariah
becomes abundantly clear. Inspite of the Qaadhi Saheb, who
was a great Aalim of the Deen as well as a Wali of
exceptionally high rank as his act of Rooh-Projection in
pursuit of the Rooh of Sultanul Auliya testifies, being
convinced of the authenticity of Sultanul Auliya and of his
lofty rank by Allah Ta’ala, and of his ability to interact with
the spiritual realm, he (the Qaadhi Saheb) remained
unflinchingly steadfast in the execution of his Waajib duty of
Amr Bil Ma’roof. He was not awed by the miraculous
demonstration of Sultanul Auliya. His concern was the
Shariah as it was handed down to the Ummah by the
Sahaabah.
Islam is not the product of the opinions, practices, visions,
dreams and inspirations of the Auliya who appeared
centuries after Allah Ta’ala had announced in the Qur’aan
SAUTUSH SHAITAAN
100
him that this is my time to meet Allah Ta’ala. At this time I
do no wish to meet a bid’ati.’ In response, Sultanji said: ‘I
am not so disrespectful to come visit Qaadhi Saheb while I
am soiled with bid’ah. I have repented of that bid’ah, hence I
have come. Rasulullah (sallallahu alayhi wasallam) said:
‘The sincere repenter of sins is like one who has no sins.’
When Qaadhi Saheb heard this response, tears flowed
from his eyes. He gave his turban to the assistant, instructing
him to spread it out on the floor and to tell Sultanji to enter
walking on it. The assistant did as commanded. Hadhrat
Sultanji, respectfully picked up the amaamah. Placing it on
his head, he commented: “This is the Turban of the Shariat. I
do not possess the status to set foot on it.’ He then went into
the presence of Qaadhi Saheb who treated Sultanji with
profound respect and honour. Qaadhi Saheb said: ‘Hadhrat!
These are my final moments. Focus on me so that I depart
with Imaan.’ Sultanji cast tawajjuh on Qaadhi Saheb for a
considerable period of time. He stood up to leave. He had not
yet reached the threshold of the door when Qaadhi Saheb
breathed his last.
Overcome with intense grief, Sultanji said: ‘Alas! Today
the Pillar of the Shariah has collapsed.”
(End of Hadhrat Khubullah’s narration)
(Hadhrat Thanvi continues):
“Allah! Allah! Qaadhi Saheb condemned and pursued
Sultanji as long as he was alive. But today, Sultanji is
overcome with grief and crying. He calls Qaadhi Saheb, ‘The
Pillar of the Shariat.’ These were the Men of Allah. Such
was their sincerity. Their love was for the sake of Allah and
they fought for the sake of Allah.”
(End of Hakimul Ummat’s comments)
This episode emphasises the importance and the decisiveness
of the Shariah which overrides the practices of the Auliya,
SAUTUSH SHAITAAN
25
THE EVIDENCE OF THE QUR’AAN
THE FIRST AAYAT
The Qur’aan Majeed states:
“And, among people are those who purchase talks of
futility (lahwal Hadith) thereby misleading (others) without
knowledge from the Path of Allah, and they make of it
(Allah’s Path) a mockery. For such people is the disgraceful
punishment.” (Aayat 6, Surah Luqmaan)
“And, when Our aayaat are recited to them, he turns away
in arrogance as if he did not hear it; as if there are plugs in
his ears. Give him the tidings of a painful punishment.”
(Aayat 7, Surah Luqmaan)
TAFSEER OF THE AAYAT
(1) Ibn Jareer reports that Ibn Abbaas (radhiyallahu anhu)
said: “This aayat was revealed in regard to a man among the
Quraish who had purchased a slave woman who was a
singer (for the purpose of singing).”
It was the practice of a certain enemy of Islam to divert
people from listening to the Qur’aan Majeed with music and
singing. He had purchased a slave woman for this specific
purpose.
The Qur’aan Shareef, in its inimitable eloquence describes
this singing and music with the terms ‘lahwal Hadith’,
bringing within its scope not only music and singing, but all
futile activities such as play and amusement which divert
man’s attention from the purpose of his creation and from the
Thikr of Allah Ta’ala. In addition to the applicability of the
Qur’aanic aayaat to their relevant specific incidents which
occasioned their revelation, the terms employed by the
SAUTUSH SHAITAAN
26
Qur’aan constitute directives for all present and future
exigencies having the same common effect (illat).
In line with this eloquent style and the timeless nature of
the Ahkaam, the Qur’aan brings music and singing within the
ambit of the generical terms, lahwal Hadith. Hence, all futile,
nonsensical and evil acts which divert man from Allah Ta’ala
are ordained haraam by this aayat. Among the acts which
have such a diversionary effect to the highest degree are
music and singing.
Even mubah (initially permissible) acts will become
unlawful if due to excessive indulgence they divert man from
Allah’s remembrance or they induce him to commit futility
and haraam.
(2) Narrating from Abu Salmah (radhiyallahu anhu),
Imaam Baghawi (rahmatullah alayh) states:
“Rasulullah (sallallahu alayhi wasallam) said: ‘It is not
lawful to teach girls to become singers and their price is
haraam. In this regard was revealed the aayat: “And,
among people are those who purchase lahwal Hadith….”
(3) Tirmizi and other Muhadditheen, narrating from Abu
Umaamah (radhiyallahu anhu) said:
“Rasulullah (sallallahu alayhi wasallam) said: ‘Do not sell
singing girls nor purchase them, and do not teach them.
There is no goodness in any trade-dealing in them. The
money thus acquired is haraam….. In this regard was
revealed the aayat: “And among people are those who
purchase lahwal Hadith…”
(4) The eminent Mufassir, Imaam Mujaahid (rahmatullah
alayh) said: “The reference (of lahwal Hadith) is to singing
girls and singers.” In another narration, Hadhrat Mujaahid
(rahmatullah alayh) said:
SAUTUSH SHAITAAN
99
Saheb grabbed his hands and forced him to sit down. Sultanji
stood up in ecstasy a second time, and Qaadhi Saheb again
grabbed him and forced him to sit down. For the third time,
Sultanji stood up in the state of wajd. Qaadhi Saheb attempt
to grab him, but to everyone’s surprise he relented and stood
with folded hands in reverence. For a long while he stood
reverentially. When Sultanji emerged from the ecstasy and
sat down, Qaadhi Saheb too sat down. Then he stood up, and
while leaving the place, he said: ‘I shall return again. These
acts will not compel me to abandon my duty.’
Along the road someone enquired: ‘You had gone to refute
Sultanji. Why did you stand in respect with folded hands in
front of him?’ Qaadhi Saheb said: ‘When he lapsed into wajd
the first time, his rooh (soul) traversed to the first heaven. My
rooh pursued him and I apprehended him. I brought him
back telling him’ Where are you wandering in the heaven?
You have to live here on earth.’ When he went into ecstasy
the second time, his rooh took flight and reached the level
below the Arsh of Allah Ta’ala. I was able to follow him even
to this limit, hence I brought him back. When he lapsed into
wajd the third time, his soul reached the level above the
Arsh. When I attempted to pursue him above the Arsh, the
Malaaikah bearing the Arsh prevented me. They said: ‘This
is not your station. This is the status of only Nizaamuddeen.
Only he is allowed admission above the Arsh. At that time I
stood in respect of the Bearers of the Arsh. I did not stand in
honour of a bid’ati.’’”
(Hadhrat Maulana Ashraf Ali Thaanvi commented),
“Truly this is called firmness. Inspite of being fully aware of
the lofty status of Sultanji, he (Qaadhi Saheb) persisted with
determination to criticize and condemn the act which he
believed to be bid’ah.”
“When the time of Maut of Qaadhi Saheb drew close,
Hadhrat Sultanji came to visit him. The assistant informed
Qaadhi Saheb of Sultanji’s arrival. Qaadhi Saheb said: ‘Tell
SAUTUSH SHAITAAN
98
Dhiyauddeen Sanaami (rahmatullah alayh) was a denier of
sama’. He used to criticize Sultanji.
Once when the Qaadhi Saheb was informed of a sama’
function, he went and remonstrated with Sultanji. Hadhrat
Sultanji said: ‘If I arrange for you to ask Rasulullah
(sallallahu alayhi wasallam), will you then leave me in
peace?’ Qaadhi Saheb said: ‘Yes, arrange so that I may ask
Rasulullah (sallallahu alayhi wasallam).’
The Qaadhi held the firm belief that Sultanji would be able
to arrange for him ziyaarat of Rasulullah (sallallahu alayhi
wasallam). Inspite of holding this belief, he persisted with his
condemnation of evil.
Sultanji (rahmatullah alayh) focussed his gaze intently on
Qaadhi Saheb. As a result of this tasarruf (spiritual action, a
semi-conscious state settled on Qaadhi Sahib. While in this
condition, Rasulullah’s presence in his glittering court was
revealed to Qaadhi Saheb. On seeing Qaadhi Saheb,
Rasulullah (sallallahu alayhi wasallam) enquired: “Why are
you distressing the Faqeer (i.e. Sultanji)?’ Qaadhi Saheb
said: ‘O Rasulullah! I am not aware of the reality of my
present state, whether I am in my senses or not. The
commands of Rasulullah (sallallahu alayhi wasallam) which
reached us via the avenue of reliable narrators during the
state of wakefulness have priority over instruction in this
state (i.e. the trance), hence those commands cannot be
abandoned.’ Rasulullah (sallallahu alayhi wasallam) then
remained silent. (Silence of the Nabi indicates approval. This
is a principle of the Hadith.)
Qaadhi Saheb then emerged from his trance and Hadhrat
Sultanji said: ‘Have you now seen that I had introduced you
to Rasulullah (sallallahu alayhi wasallam) enabling you to
converse with him?’ Qaadhi Saheb responded: ‘And, did you
see that I had given a response?’
The sama’ then began in earnest and wajd (ecstasy)
overcame Sultanji. In this state of wajd, he stood up. Qaadhi
SAUTUSH SHAITAAN
27
“It refers to singing and every play and futility.”
(Ahkaamul Qur’aan)
(5) In an exceptionally stern rebuke for those who indulge
in singing and music, Hadhrat Makhool (rahmatullah alayh)
said: “I do not perform Janaazah Salaat on him (one who
indulges in music and singing) because Allah Ta’ala says (in
the Qur’aan): ‘And, among people are those who purchase
lahwal Hadith…” (Tafseer Mazhari)
(6) Hadhrat Abdullah Ibn Mas’ood (radhiyallahu anhu)
who was a very senior Aalim among the Sahaabah,
explaining this aayat said:
“By Allah! Its meaning is singing.”
(As-Sunanul Kubra of Baihqi)
The same is mentioned in Mustadrak and Tafseer Ibn Jareer.
Imaam Ibn Jareer (rahmatullah alayh) narrates in his Tafseer
that when people asked Hadhrat Ibn Mas’ood (radhiyallahu
anhu) about the meaning of this aayat, he responded:
“It refers to singing. I take oath by The Being besides
Whom there is no deity but He.’ He repeated this statement
thrice.” (Tafseer Ibn Jareer)
(7) Explaining this aayat, Hadhrat Hasan Basri
(rahmatullah alayh) said:
“Verily, lahwal Hadith refers to everything which diverts you
from the ibaadat of Allah and from His remembrance, such
as story-telling during the night, jokes, futility, singing and
similar acts.” (Tafseer Ruhul Ma-aani)
(8) In another narration, Hadhrat Hasan Basri (rahmatullah
alayh) said: “This aayat was revealed in regard to singing
and musical instruments.” (Tafseer Ibn Katheer)
SAUTUSH SHAITAAN
28
(9) Haafiz Ibn Hareer (rahmatullah alayh) states in the
tafseer of this aayat: “It refers to singing and listening to it.”
(10) The eminent Sahaabi, Hadhrat Abdullah Ibn Umar
(radhiyallahu anhu) said: “It means singing.”
(Ighaathatul Luhfaan)
This Qur’aanic aayat which severely criticizes lahwal
Hadith, while it brings all forms of futility and nonsensical
activities within its scope, specifically refers to singing and
music. This is the unanimous tafseer of the authorities of the
Shariah – the Sahaabah, Taabieen and Tab-e-Taabieen.
THE SECOND AAYAT
Allah Ta’ala states in the Qur’aan Majeed:
“They (the Mu’mineen) do not attend zoor. And when they
pass by futility, they pass by with dignity.”
(Surah Furqaan, Aayat 72)
TAFSEER OF THE AAYAT
(1) Commenting on the meaning of this aayat, Hadhrat
Muhammad Bin Hanafi (rahmatullah alayh) said:
“Az-zoor here means singing. Laith said so on the
authority of Mujaahid…………And, az-zoor is baseless talk
and it also applies to baseless acts. Singing is of the greatest
acts of zoor.” (Shawaahidut Tafseer)
(2) Imaam Abu Bakr Jassaas, commenting on this aayat
said: “It has been narrated from Imaam Abu Hanifah
(rahmatullah alayh) that az-zoor is singing.”
THE THIRD AAYAT
Allah Ta’ala states in the Qur’aan Majeed:
“And hound from among them with your voice whomever
you are able to gain control over.”
SAUTUSH SHAITAAN
97
Inspite of the sama’ of Sultanji (rahmatullah alayh) being
within the limits, the Fuqaha brand it too as bid’ah. Since it is
not proven as being the practice of Rasulullah (sallallahu
alayhi wasallam), and because there are inherent dangers of
corruption for the masses in it the Fuqaha have prohibited it.
During the time of Sultanji, the Qaadhi was Qaadhi
Dhiyaauddeen who was persistent in his condemnation of the
sama’ of Sultanji. Once it was reported to the Qaadhi that a
sama’ session was taking place by Sultanji. The Qaadhi
taking his whip and some assistants arrived at the location
where the sama’ was in full force. A large tent had been set
up. However, due to the numerous disciples blocking the
entrance, Qaadhi Saheb was unable to gain entry. The Sufis
in their state of ecstasy were completely ignored the Qaadhi
and his police. When the Qaadhi failed to gain entry, he
ordered his police to cut the ropes of the tent to bring about
its collapse and the termination of the sama’.
The ropes were cut. But, the tent stood intact without the
ropes. This was a karaamat (miracle) of Hadhrat Sultaanul
Auliya (rahmatullah alayh). However, the Qaadhi was
undaunted. He was firm in his mission. Unimpressed and
unawed, he commented: “I do not subscribe to this nonsense.
Even if a miracle is displayed ostensibly by a bid’ati, it is not
a karaamat. I shall return again.” The Qaadhi Saheb
departed, but he continued unabatedly with his criticism and
condemnation of sama’.
Hadhrat Shah Khubullah Allahabaadi (rahmatullah alayh)
was a very great buzrug (wali) who would often meet
Hadhrat Khidhr (alayhis salaam). There is a popular belief in
his family that Hadhrat Khidhr (alayhis salaam) had written
some comments in one of his (Hadhrat Khubullaah’s) books.
Once when someone asked Hadhrat Khubullaah about
sama’, he wrote in reply: “I shall narrate to you an episode
from which you can decide. Hadhrat Sultan Nizaamuddeen
Auliya (rahmatullah alayh) was a man of sama’, and Qaadhi
SAUTUSH SHAITAAN
96
(1) The listener: The one who listens to sama’ should not
be a person of nafs and hawaa (lust and passion). He should
be a Saahib-e-Haal.
(2) The one who listens to sama’ should not be a female
nor a lad.
(3) The song/poetry should not be immoral. It should be
statements of piety and in praise of Allah Ta’ala.
(4) The singing should not be with musical instruments.
Their sama’ consisted of only the abovementioned acts. It
was not a gathering of fussaaq and fujjaar. The singer too
belonged to the same circle (of Sufis).
Once when Hadhrat Sultani (rahmatullah alayh) had a
desire for sama’, he sent someone to search for a qawwaal
(singer). When a suitable qawwaal could not be found, he
instructed his mureed to recite to him from the letters of
Humaiduddeen Naagori (rahmatullah alayh). When the
mureed recites the very first sentence, Hadhrat Sultaanji went
into an ecstasy (wajd), and he remained in this state of wajd
for three days.
This simple method was the kind of sama’ of those
illustrious personalities. However, the Fuqaha brand even
this type of sama’ haraam. Because the peculiarity of sama’
is that it gives impetus to the present state of a person. The
Fuqaha were aware that if permission is given for even this
type of sama’, the present condition of the person will
become more grounded. In view of the predominance of evil
in the nafs, it will gain strength and lead towards greater lust,
the consequence of which will be grave evils.
Shah Lutf-e-Rasool narrated an episode of a durwaish
(sufi) who used to listen to one of his female disciples
singing to him. One day, while listening to sama’, he grabbed
her hand and committed adultery with her. It is for this
reason that the seniors have said: “Singing is the spell of
zina.”
SAUTUSH SHAITAAN
29
When shaitaan was ignominiously expelled from Jannat,
he vowed to mislead the servants of Allah Ta’ala. In
response, Allah Ta’ala made the aforementioned
proclamation.
The Mufassireen of the Qur’aan say that the meaning of
‘your voice’ in the context of this aayat refers to singing.
Shaitaan has been given the ability of singing. He inspires his
myriads of followers with his art of music and singing,
thereby gaining an effective grip over their brains and hearts.
With his voice (singing and music), shaitaan casts his spell
over human beings. With music and singing, he deposits
them into the dregs of immorality, futility and falsehood.
Smitten by the spell of music and singing, people wander
aimlessly in lands of fantasy and imagination. They are
separated from reality and truth by the nifaaq which music
and singing implant into the heart.
Allah Ta’ala therefore, in this aayat, proclaims to shaitaan
to proceed with his evil work using his voice.
TAFSEER OF THE AAYAT
(1) Hadhrat Mujaahid (rahmatullah alayh) in his tafseer of
the aayat says: “With your voice, i.e. with singing.”
(Ruhul Ma-aani)
(2) Allaamah Suyuti (rahmatullah alayh) states:
“Mujaahid said: ‘It means singing and musical
instruments.’ Hasan Basri (rahmatullah alayh) said: ‘It
refers to the duff.’” (Al-Akleel)
It is significant that according to Hadhrat Hasan Basri
(rahmatullah alayh) even the duff comes within the scope of
this prohibition since he avers that the voice of shaitaan also
applies to the sound of the duff.
Since Hadhrat Hasan (rahmatullah alayh) was the
Khaleefah (spiritual representative) of Hadhrat Ali
(radhiyallahu anhu), he actively propagated the Math-hab of
SAUTUSH SHAITAAN
30
Hadhrat Ali in this regard. According to Hadhrat Ali
(radhiyallahu anhu), even the duff is haraam.
(3) Hadhrat Dhuh-haaq (rahmatullah alayh) comments: “It
is the sound of the flute.” (Tafseer Qurtubi)
(4) Ibn Abu Haatim (rahmatullah alayh) narrates in his
tafseer of this aayat that Ibn Abbaas (radhiyallahu anhu) said:
“It refers to every act which invites to sin. It is well-known
that singing is among the greatest acts inviting towards sin.
Precisely for this reason has it been described as the voice of
shaitaan.” (Ighaathatul Luhfaan)
THE FOURTH AAYAT
Allah Ta’ala states in the Qur’aan Majeed:
“What! Are you surprised at this speech (the Qur’aan)?
You laugh, do not cry and you sing.”
TAFSEER OF THE AAYAT
(1) Imaam Abu Ubaid said that in the dialect of Hameer
the word samood (from which the term saamidoon’ in this
aayat is derived) refers to singing. Hadhrat Ikramah also
tenders the same explanation. (Ruhul Ma-aani)
(2) Allaamah Ibn Manzoor says: “It is narrated from Ibn
Abbaas (radhiyallahu anhu) that he said: ‘Samood is singing
in the dialect of Hameer.’” (Lisaanul Arab)
(3) Abdur Razzaaq, Bazzaar, Ibn Jareer and Baihqi
narrated that Ibn Abbaas (radhiyallahu anhu) said in the
tafseer of this aayat: “It is singing in the Yamaani dialect.
When they (the mushrikeen) would hear the Qur’aan, they
would sing to show their disdain.” (Ruhul Ma-aani)
SAUTUSH SHAITAAN
95
physical medicine becomes permissible for a man who
suffers from a disease, but who is unable to obtain a halaal
remedy. In corroboration of this averment, we present the
following exposition of the Sufiya’:
“Qaadhi Humaiduddeen said: ‘I listen to sama’ and I say
on the basis of the statement of the Ulama that it is halaal
because I am a sick person suffered from a heart problem.
The only remedy available for this ailment is sama’.
According to Hadhrat Imaam Abu Hanifah (rahmatullah
alayh), the medical treatment for such a person is
permissible with even liquor if a halaal remedy is not
available, and also if there is consensus of the physicians
that there is cure on it (in the haraam medicine). On this
basis it is permissible for me to listen to sama’ as a remedy
for my incurable disease of the heart while it is haraam for
you.” (As-Sunnatul Jaliyyah)
A practice which is a concession for certain persons
suffering from ailments cannever be cited as a basis for
permissibility of other misdeeds, moreover when such
misdeeds are in flagrant violation of all the Dalaail of the
Shariah.
THE SAMA’ OF THE SUFIYA
(By Hakimul Ummat Hadhrat Maulana Ashraf Ali
Thaanvi – rahmatullah alayh)
“For the permissibility of sama’ the Mashaaikh have
formulated about 22 conditions. Today there does not remain
even a vestige of these conditions. Hadhrat Nizaamuddeed
Sultanul Auliya (rahmatullah alayh) use to participate in
sama’. However, it is clearly mentioned in Fawaaidul
Fuaaad, that there are four conditions for sama’.
SAUTUSH SHAITAAN
94
Sources of Islamic Law, not to a practice which originated in
later times and which is not a Daleel of the Shariah. It should
now be conspicuously clear and readily comprehensible to
even laymen that the endeavour to legalize musical
instruments and singing on the basis of sama’ is an abortive
attempt which is totally absurd in terms of the principles of
the Shariah. It is an unprincipled way of argumentation
which exhibits the gross ignorance of the modernist deviates
who love to project themselves as members of the
intelligentsia. But, the denudation of their intellectual
capacity resulting in total bereavement of straight and
principled reasoning, is self-evident from their lack of
understanding of the operation of the principles of Shar’i
Law.
It is this intellectual impotency arising from the inordinate
crave to gratify the dictates and demands of the carnal nafs,
which constrains the modernist deviate juhhaal to tender in
substantiation of their fallacies such ludicrous arguments
which compel men of learning to smile and laugh with
contempt. If it was not for the confusion which the
ignoramuses create in the ranks of the unwary laymen with
their devious and fallacious reasoning, the need for a
refutation of their stupidities would not have developed.
The only valid argument produced in substantiation of a
claim made in the name of the Shariah is the one which is
based on the Qur’aan, Sunnah, Ijma’ or Qiyaas. Far from
sama’ being a valid basis, even on the assumption of its
permissibility, it is in fact in conflict with all the Proofs of
the Shariah. It has been unanimously proclaimed haraam by
all Authorities of the Shariah. Even the Sufis who have
participated in it, aver that it is a remedy – a medicine – for
severe spiritual ailments. In view of this act being the only
medicine available for their sickness, they have deemed it
permissible only for themselves in the same way as a haraam
SAUTUSH SHAITAAN
31
In these verses, the Qur’aan Majeed criticizes singing. It
describes singing and music variously with the terms lahwal
Hadith, samood and zoor. In one aayat it is described as the
voice of shaitaan. From the Qur’aan Majeed it is abundantly
clear that the general rule pertaining to singing even without
music is prohibition.
All the authorities of the Shariah from the very time of the
Sahaabah, unanimously claim that the Qur’aan prohibits
singing and music. There can, therefore, be no scope for
difference on this issue. Any difference attributed to an
accepted personality of Islam is undoubtedly an error of
judgement.
SAUTUSH SHAITAAN
-THE VOICE OF SHAITAAN-
“And, hound from among them with
your voice those over whom you are
able to gain control ........”
(Qur’aan, Bani Israael, Aayat 64)
SAUTUSH SHAITAAN
32
THE EVIDENCE OF THE HADITH
(1) Hadhrat Abu Maalik Ash’ari (radhiyallahu anhu) says
that he heard Rasulullah (sallallahu alayhi wasallam) say:
“Most certainly, there will be in my Ummah people who will
make lawful fornication, silk, liquor and musical
instruments.” (Bukhaari)
(2) In another version of this narration, Rasulullah
(sallallahu alayhi wasallam) said: “Most certainly, people
from my Ummah will consume liquor which they will
describe with some other name. Over their heads will be
playing musical instruments and singing girls. Allah will
cause the earth to swallow them, and from among them He
will transform into apes and pigs.” (Ibn Maajah)
The punishment for music and singing is exceptionally
severe. Some juhhaal (ignoramuses) have attempted to
escape the condemnation of music and singing stated in this
Hadith by presenting a very stupid argument. They argue that
the punishment mentioned in this Hadith applies to a
collective act which consists of four deeds, viz., fornication,
silk, liquor and music.
It is their contention that musical instruments by
themselves are not evil, hence not haraam. Only when used
together with the haraam acts will it also become haraam,
hence the Hadith mentions it along with the other three sinful
deeds.
The logical conclusion of this absurd argument is that if
fornication is committed in isolation of the other three deeds,
it will be lawful. Similarly, if liquor is consumed alone, i.e.
without the accompaniment of music, fornication, and silken
garments, it will be halaal. Similarly, wearing silk will be
permissible for males according to this ludicrous logic if it is
unaccompanied by the other three acts. The absurdity of this
SAUTUSH SHAITAAN
93
THE SAMA’ OF THE AULIYA IS NOT
DALEEL
At the very outset of this treatise it was already mentioned
that the Dalaa-il (Proofs and Basis or Sources of Law) of
Islam are only Four, viz., Kitaabullaah, Sunnah of the
Rasool, Ijma’ and Qiyaas-e-Shar’i. Besides these Four
Sources of the Shariah, there is no other Daleel on the basis
of which a hukm (law) may be formulated for any new
development which may occur on earth right until the Last
Day.
Sama’ of some of the Auliya is singing of religious songs
without musical instruments. As explained earlier, it is
further conditioned with a number of strict stipulations. It is
essentially a private affair restricted to some Sufis. It has
never been introduced by the Sufis as a practice for mass
consumption and participation. All the true Sufiya are
unanimous in their declaration of hurmat (being haraam) of
sama’ for the public at large, as well as for the elite Sufis if
any of the restrictive conditions are not found.
Sama’ was not a practice of Rasulullah (sallallahu alayhi
wasallam) nor of the Sahaabah. It has neither origin nor
sanction in Kitaabullah and the Sunnah. It is a practice which
itself stands in need of a Shar’i hukm for the guidance of the
Ummah. When this practice developed in later years, the
need arose for the Shariah to issue its ruling—whether it is
permissible or haraam. Hence, on the basis of the Four
Sources of Islam, the Fuqaha issued their ruling which has
already been presented and explained in the aforegoing
pages.
Now, if anyone requires a ruling for the gamut of musical
instruments and styles of singing in vogue in this age, it will
be absurd to cite sama’ as a basis and claim permissibility
because sama’ is not among the adil-lah Ar-ba’ah (The Four
Sources of the Shariah). To formulate a hukm for musical
instruments and singing, the imperative need is to refer to the
SAUTUSH SHAITAAN
92
* The listeners have to be men of Allah, not slaves of the
nafs.
* The content of the song should be lawful not evil or
immoral.
* The sama’ should not be accompanied by musical
instruments. (As-Sunnatul Jaliyyah)
The aforementioned statements and rulings of the Auliya
have been extracted by Hadhrat Mufti Muhammad Shafi’
(rahmatullah alayh) from As-Sunnatul Jaliyyah Fil
Chishtiyyatil Ulyah, which is a kitaab authored by Hakimul
Ummat Maulana Ashraf Ali Thaanvi (rahmatullah alayh).
We in turn have made these extracts from Hadhrat Mufti
Muhammad Shafi’s kitaab, Islam or Museeki (Islam and
Music).
(21) Shaikh Ahmad (rahmatullah alayh) states:
“There is no doubt that the gatherings of sama’ which are
prevalent in our times are no permissible. Such practices are
kabeerah (major) sins. It clear is kufr to believe these
practices to be permissible. This type of sama’ is within the
scope of (the Qur’aanic aayat which prohibits) lahwal
hadeeth (futile speech)…….
In this age a fatwa of permissibility (of unadulterated
sama’) should be given even for those (Auliya) who are
qualified to listen to it because the corruption in this age has
reached such a degree that every person claims to be
qualified to listen to sama’. It is entirely true that Hadhrat
Junaid Baghdaadi (rahmatullah alayh) had repented from
sama’ in his time despite him holding an extremely lofty
status in ma’rifat and taqwa.” (At-Tafseeraatul Ahmadiyyah)
SAUTUSH SHAITAAN
33
fallacious argument is self-evident. There is no need for
discussing it further.
This Hadith is an unambiguous assertion of the hurmat
(being haraam/prohibition) of musical instruments. In this
Hadith, Rasulullah (sallallahu alayhi wasallam) uses the
word ____ _ (Yasta-hil-loona, i.e. they will make lawful).
He mentioned four acts which people in the later ages would
make lawful, viz. fornication, liquor, silk and music. This
presupposes that these acts are haraam. It is meaningless to
say that a lawful act will be made lawful. This absurdity is
the consequence of the stupid and false contention of the
proponents of music and singing. A haraam act is made
lawful, and this is precisely what Rasulullah (sallallahu
alayhi wasallam) said.
The time will dawn when Muslims will make halaal these
four haraam acts. In fact, all four evils have already been
made ‘halaal’ in Muslim lands and by Muslim communities
all over the world. There is almost unanimity of the stupid
masses and the juhhaal deviate modernists on the
‘permissibility’ of music and singing. Alcohol in a variety of
forms and labels has been given the green light by even the
Ulama in most countries. Males don silk without even having
heard of its prohibition.
Fornication is actively promoted in the form of legalized
prostitution in Muslim countries and at secular educational
institutions. The Bangladesh Supreme Court transgressed all
limits of shamelessness by declaring that prostitutes have the
right to earn a living by means of prostitution. This shaitaani
court ordered the Bangladeshi government to release all
imprisoned prostitutes and to refrain from hampering them in
the filthy trade of their bodies. These lesser signs of
Qiyaamah are materializing right in front of our eyes.
In some quarters an attempt has been made to assail the
authenticity of this Hadith. Much has been written by the
SAUTUSH SHAITAAN
34
authorities of the Shariah in vindication of this Hadith’s
authenticity. Here it will suffice to say that this Hadith is
highly authentic. It is bereft of any blemishes.
The gravity of the chastisement – disfiguration and
transformation into apes and swines – should be more than
adequate to jolt Muslims into the realisation that music is a
crime with which one dares not trifle.
(3) Imraan Bin Husain (radhiyallahu anhu) narrates that
Rasulullah (sallallahu alayhi wasallam) said:
“In this Ummah will be earthquakes, disfiguration (of faces
which will be transformed into apes and pigs) and showers of
stone (descending on them from the heaven).” A man from
among the Muslimeen said: “O Rasulullah! When will this
be?” Rasulullah (sallallahu alayhi wasallam) said: “When
singing girls and musical instruments will become profuse
and when liquor will be consumed (in abundance).”(Tirmizi)
(4) Hadhrat Abu Hurairah (radhiyallahu anhu) narrated
that Rasulullah (sallallahu alayhi wasallam) said:
“During the last of ages (in close proximity to Qiyaamah) a
nation from my Ummah will be disfigured (and transformed)
into apes and pigs.” The Sahaabah said: “O Rasulullah! Will
they be Muslim?” Rasulullah (sallallahu alayhi wasallam)
said: “Yes. They will be testifying that there is no deity but
Allah and that I am His Rasool, and they will be fasting (in
the month of Ramadhaan).” The Sahaabah asked: “O
Rasulullah! What will be their condition (to warrant such
chastisement)?” Rasulullah (sallallahu alayhi wasallam) said:
“They will be indulging in musical instruments, singing girls,
musical drums, and they will be consuming liquor. They will
one night go to sleep after their liquor and amusement. When
they arise in the morning, they will have been disfigured (and
transformed into apes and pigs).”
(Kaf-fur Ruaa’)
SAUTUSH SHAITAAN
91
mentor had practised sama’, it is his problem. His practising
of sama’ is not proof for the permissibility of sama’. Only the
Kitaab of Allah and the Sunnah constitute hujjat (proof).’
Some followers of their desires, reported this statement to
Hadhrat Nizaamuddin Auliya, said: ‘Mahmood (i.e. Shaikh
Naseeruddin) spoke the truth. What he has said is the Haqq.”
(As-Sunnatul Jaliyyah)
(18) The following is recorded in Khairul Majaalis:
“A close associate came to Shaikh Naseeruddin Mahmood
(rahmatullah alayh) and said: ‘Tell me, how can musical
instruments and the raqs (dervish dances) of the Sufis be
permissible?’ The Shaikh replied: ‘There is consensus
(Ijma’) on the prohibition of musical instruments. If someone
leaves on Tariqah of Sulook and adopts another tariqah, he
still remains in the Shariat. However, if he leaves the Shariat,
where will he go? Furthermore, the difference pertains to
only sama’, not to musical instruments. According to some
Ulama sama’ together with its conditions is permissible for
the Ahl-e-Hadhraat (the senior Auliya). But as far as musical
instruments are concerned the consensus is that they are
haraam.” (As-Sunnatul Jaliyyah)
(19) Shaikh Abdul Haqq Muhaddith Dehlawi (rahmatullah
alayh) writes in Farul Ismaa’: “The mureeds of Shaikh
Naseeruddin said: Our Shaikh had announced that anyone
(from his circle) who listen to sama’ with instruments has left
the fold of my bay’t (i.e. he is no longer my mureed).”
(As-Sunnatul Jaliyyah)
(20) Shaikh Ali Bin Muhammad Jaandaar (rahmatullah
alayh) narrated that according to Shaikh Nizaamuddin Auliya
there are several conditions for the permissibility of sama’.
These are:
* The singer has to be a man of spiritual excellence.
SAUTUSH SHAITAAN
90
attributed many fabrications to Rasulullah (sallallahu alayhi
wasallam), so to have they done with regard to the
Mashaaikh.
On the assumption that the Mashaaikh did practise these
deeds, which obviously they did not, then it should be
understood that for us proof is firstly Rasulullah (sallallahu
alayhi wasallam), then the Sahaabah, then the Aimmah-e-
Mujtahideen………
Imaamul Aarifeen, Qudwatul Ulama, Abu Ali Ruhaazi
(rahmatullah alayh) responded beautifully to the following
question which was posed to him: ‘A person enjoys himself
with musical instruments and claims that this is permissible
for him because he had attained such a position where
changing states do not have any affect on him.’ He
responded to this question: ‘Yes, he has indeed attained a
position. But that is in Jahannum.”
Some of the Aimmah of Yemen said that the sama’ which
was prevalent in their time was undoubtedly haraam on
account of the presence of evils. It is among the obligations
of the ruler to prevent people from sama’.” (Kaffur-Riaa’)
(16) Qaadhi Humaidud Deen (rahmatullah alayh) said:
“I suffer from an incurable heart problem. Its cure is only
sama’. Hence for me it is permissible to listen to sama’ while
for you it is haraam.” (As-Sunnatul Jaliyyah)
(17) Shaikh Naseeruddin Chiraagh Dehlawi (rahmatullah
alayh) was the most senior khalifah of Hadhrat Nizaamuddin
Auliya (rahmatullah alayh). Once he was present at a
gathering of the mureeds of Hadhrat Nizaamuddin Auliya,
they began with sama’. Hadhrat Naseeruddin left the
gathering and went outside. Some of the mureeds
commented: ‘Do you reject sama’ and have you abandoned
the path of your mentor (Shaikh)?’ Shaikh Naseeruddin
replied: ‘No one’s practice is proof (in the Shariah). If my
SAUTUSH SHAITAAN
35
It is apparent from this Hadith that the musical drum (the
tablah of the qawwaals) and similar other kinds of musical
drums are not the duff mentioned in the Ahaadith. Musical
drums have been declared haraam unanimously by all
authorities from the very age of the Sahaabah.
(5) According to another Hadith, also narrated by Hadhrat
Abu Hurairah (radhiyallahu anhu), Rasulullah (sallallahu
alayhi wasallam) said:
“I take oath by The Being Who has sent me with the Haqq
(Truth)! The world will not come to an end until earthquakes,
the descent of showers of stones (from the heaven) and
disfigurement of faces (which will be transformed into apes
and swines) had not taken place.’ The Sahaabah said: ‘When
will that happen, O Rasulullah?’ He replied: ‘When you see
women seated on saddles (i.e. riding horses and in this age,
driving cars); when singing girls are to be found in
profusion; when false testimony becomes rampant, and when
homosexuality and lesbianism become prevalent.”
(Bazzaar and Tibraani)
All these evil deeds mentioned in this Hadith are widely
prevalent in this age. Women driving vehicles has become a
norm in even Muslim society. Music and singing have
become accepted practices in even Muslim homes. Among
the signs of Qiyaamah are the acts of music and singing
which have permeated every facet of life. Even the pious
people who are averse to music and singing are unable to
protect their ears from the satanic din of music and singing
which blares in the streets, in the shops, in the factories, in
the planes, in the offices, on the cellphones and even in the
public toilets.
Even the Musaajid are becoming proliferated with musical
tunes of the confounded cellphones belonging to confounded
people who have absolutely no fear and shame for Allah
SAUTUSH SHAITAAN
36
Ta’ala, no respect for His Musaajid and the musallis of the
Musaajid. In flagrant violation and total disregard for the
divine Shariah of Allah Ta’ala, Muslims in this age step out
of the way to ensure that the ringing tone of their phones is
the voice of shaitaan (music). And this evil is terribly defiling
the holy atmosphere of Musjidul Haraam in Makkah and
Musjidun Nabawi in Madinah. May Allah Ta’ala save us
from His chastisement.
We now only have to wait for the disfiguration and
transformation of faces of these evil people into apes and
pigs, and also for the showers of stone to rain from the
heavens.
(6) Hadhrat Ali Bin Abi Taalib (radhiyallahu anhu)
narrates that Rasulullah (sallallahu alayhi wasallam) said:
“When my Ummah indulges in fifteen misdeeds, calamities
will settle on them. Among these are singing girls and
musical instruments.” (Tirmizi)
(7) Sahl Bin Sa’d (radhiyallahu anhu) narrates that
Rasulullah (sallallahu alayhi wasallam) said:
“There will befall this Ummat earthquakes, disfigurement of
faces and showers of stones.’ It was said: ‘O Rasulullah!
When will this happen?’ Rasulullah (sallallahu alayhi
wasallam) said: ‘When singing girls become in profusion
and liquor is made lawful.” (Ibn Maajah)
Numerous Sahaabah have narrated Ahaadith in which
Rasulullah (sallallahu alayhi wasallam) warned of disasters
overwhelming the Ummah as a consequence of the profusion
of music, singing and singing girls. Among these Sahaabah
are:
Hadhrat Abu Maalik Ash’ari, Hadhrat Imraan Bin Husain,
Hadhrat Abu Hurairah, Hadhrat Ali, Hadhrat Sahl Bin Sa’d
As-Saaidi, Hadhrat Ubaadah Bin Saamit, Hadhrat Abu
SAUTUSH SHAITAAN
89
all Allah-fearing people this sama’ is absolutely haraam.
Hadhrat Baqiyyah Bin Walid (rahmatullah alayh) said: ‘The
illustrious predecessors regard it as Makrooh (Tahrimi –
forbidden and sinful) to cast even a glance at a beardless
lad.’” (Awaariful Ma-aarif)
(14) Hadhrat Suharwardi (rahmatullah alayh) adds:
“In conclusion: Now, for the Jamaa’at of Sufiya’ there
remains only one way—they should totally abstain from these
kinds of functions, and stay away from places of suspicion.
Tasawwuf is the embodiment of sidq (truth/honesty) and
haqeeqat (spiritual reality). Never contaminate it with futility
and mockery.” (Awaariful Ma-aarif)
(15) Allaamah Ibn Hajar (rahmatullah alayh) writes:
“Qurtubi (rahmatullah alayh) narrated from Imaam
Tartusi (rahmatullah alayh) that he was asked about those
people who gather at a place and begin the proceedings with
Tilaawat of the Qur’aan-e-Kareem. Thereafter one person
stands up and sings some poetry. Then all present lapse into
ecstasy and begin swaying (in a form of a dance)
simultaneously beating the duff. Is it permissible to join this
company of people? He (Imaam Tartusi) replied: ‘According
to the Akaabir Sufiya’ this practice is highly erroneous and
deviation. Islam means only Kitaabullah and the Sunnat of
the Rasool (sallallahu alayhi wasallam).
It is never permissible for any person who has Imaan in
Allah and the Aakhirah to join such people nor aid them in
this unlawful practice. This is the Math-hab of the Four
Imaams and of other Mujtahideen.
Some people cite the stories of the Mashaaikh in
substantiation of dancing and singing……….. The most
important argument in this regard is that we do not believe
that these stories (which are attributed to the Mashaaikh) are
true. It is quite probable that just as the zindeeqs have
SAUTUSH SHAITAAN
88
Episodes relating to Sultaanji’s sama’ will be discussed
further on in this treatise, Insha’Allah.
(11) “The practice (of sama’) of the so-called sufis of our
time is unlawful. It is no permissible to even make an
intention of sitting in such gatherings. The (true) Sufis of
former times did not act like these so-called sufis. What has
been narrated from Rasulullah (sallallahu alayhi wasallam)
regarding his listening to poetry is not an indication for
permissibility of singing.” (Sharhul Multaqi)
(12) Hadhrat Shaikh Suharwardi (rahmatullah alayh) writes:
“A person should reflect and decide with fairness the sama’
functions which are organised in our time. They should
reflect on the singer, his sitting, his drum and musical
instruments. Then he should ask: Was there ever such forms
of function in the age of Rasulullah (sallallahu alayhi
wasallam)? Did the Sahaabah at any time invite a singer or
a qawwaal? Did any of them ever assemble like moths
around a singer? There is no doubt in the obtainal of a
negative response. Thus, if there was any benefit in sama’,
these great personalities (the Sahaabah) would not have
totally abstained from it. Whoever claims that there is any
goodness and virtue in sama’ and makes efforts to organise
such functions he is totally devoid of understanding the
attitude and disposition of Rasulullah (sallallahu alayhi
wasallam) and his Sahaabah-e-Kiraam.
Some of the later Ulama had extracted some concessions
for sama’. But, alas! Most people have fallen into error in
this regard.” (Awaariful Ma-aarif)
(13) Hadhrat Suharwardi (rahmatullah alayh), continuing
his exposition on sama’ said:
“When the singer is a beardless lad in the sama’ function,
then fitnah (moral corruption) rears its head. According to
SAUTUSH SHAITAAN
37
Umaamah, Hadhrat Ibn Abbaas, Hadhrat Saeed Bin Khudri,
Hadhrat Abdullah Bin Bishr, Hadhrat Anas, Hadhrat Abdur
Rahmaan Bin Saabit and Hadhrat Aishah (ridhwaanullaahi
alayhim aj-maeen).
(8) Hadhrat Naafi’ (radhiyallahu anhu) narrates:
“Once when Hadhrat Abdullah Bin Umar (radhiyallahu
anhu) heard the sound of a shepherd’s flute, he placed his
fingers in both ears (to block the sound of the music), and he
diverted his mount from that path. (As they rode on), he
would say: ‘O Naafi’, can you still hear (the sound)?’ I
would say: ‘Yes.’ He would then continue riding. Only when
I said: ‘I can no longer hear it’, did he remove his fingers
from his ears. Then he returned to the road. He then said: ‘I
saw Rasulullah (sallallahu alayhi wasallam) doing like this
when he had heard the flute of a shepherd.”
(Ahmad and Abu Dawood)
This was the reaction of the devotees of Rasulullah
(sallallahu alayhi wasallam). They could not tolerate the
voice of shaitaan. When music dinned into their ears, they
literally plugged their ears with their fingers. By what stretch
of reasoning and on what basis of shame and honesty can it
be claimed that Rasulullah (sallallahu alayhi wasallam) had
permitted music and singing? He had described it as the
voice of shaitaan. He would plug his ears to block the sound
of shaitaan’s voice entering his ears.
(9) Hadhrat Abdullah Bin Umar (radhiyallahu anhu)
narrates: “Verily, Nabi (sallallahu alayhi wasallam) made
haraam liquor, gambling, the musical drum and the
tambourine. And, every intoxicant is haraam.”
(Ahmad and Abu Dawood)
SAUTUSH SHAITAAN
38
(10) Hadhrat Ibn Abbaas (radhiyallahu anhu) narrates that
Rasulullah (sallallahu alayhi wasallam) said:
“Verily, Allah has made haraam liquor, gambling, the
musical drum, and every intoxicant is haraam.”
(Ahmad, Abu Dawood, Baihqi, etc.)
(11) Hadhrat Ibn Abbaas (radhiyallahu anhu) narrated:
“The musical drum (tablah) is haraam. Liquor is haraam,
and musical instruments are haraam.”
(Kaf-fur Ruaa’)
(12) Hadhrat Ibn Mas’ud (radhiyallahu anhu) narrated:
“Verily, Nabi (sallallahu alayhi wasallam) heard a man
singing one night. He then said: ‘His Salaat is unacceptable!
His Salaat is unacceptable! His Salaat is unacceptable!”
(Nailul Autaar)
(13) Hadhrat Abu Hurairah (radhiyallahu anhu) narrates
that Rasulullah (sallallahu alayhi wasallam) said: “Listening
to music and singing is sinful. Sitting at such gatherings is
fisq (immoral transgression). Deriving pleasure from it is
kufr.” (Nailul Autaar)
(14) Hadhrat Ali (radhiyallahu anhu) narrated that
Rasulullah (sallallahu alayhi wasallam) said:
“I have been sent (by Allah) to destroy musical
instruments……..The earning of a male singer and a female
singer is haraam. The earning of zina is haraam. It is
incumbent on Allah not to allow a body nourished by
haraam, entry into Jahannum.” (Kaf-fur Ruaa’)
The evil of music and singing is sufficiently abominable to
warrant it being lumped together with zina (fornication). One
Hadith describes singing as “the spell of shaitaan.”
SAUTUSH SHAITAAN
87
(7) In condemnation of music and singing, Hadhrat Shah
Abdul Haqq Muhaddith Dehlawi (rahmatullah alayh) writes
in his Kitaab, Madaarijun Nubuwwah:
“The greatest Arabian musician and singer was Tuwaylis,
This Tuwaylis was a miserable, ill-omened, dismal and
unfortunate person who was born on the day Rasulullah
(sallallahu alayhi wasallam) had died. Tuwaylis was weaned
from his mother’s milk on the day Hadhrat Abu Bakr
(radhiyallahu anhu) died. He attained puberty on the day
Hadhrat Umar (radhiyallahu anhu) was martyred. He
married on the day Hadhrat Uthmaan (radhiyallahu anhu)
was martyred, and a son was born to him on the day Hadhrat
Ali (radhiyallahu anhu) was martyred.”
(8) Shaikh Nasruddin Muhaqqo says:
“When the false sufi sways to and fro in his sama’
sessions, the devil pokes him from behind with his finger so
that the tempo of his swaying increases – right and left.”
(Fataawa Burhaanah)
(9) Hakimul Ummat Hadhrat Maulana Ashraf Ali Thaanvi
(rahmatullah alayh) said:
“Sama’ is a remedy for certain spiritual ailments. It is a
medicine. Therefore, whoever listens to sama’ (i.e. the sama’
regulated by the observance of the strict conditions imposed
by the Sufis) without the permission of his mentor (Murshide-
Kaamil), will fall into error.”
(10) The following appears in Fataawa Khairiyyah:
“The summary (of this discussion on music/singing) is:
There is no permission in our time for sama’ because Junaid
Baghdaadi (rahmatullah alayh) had made taubah for (having
participated in) sama’ in his age.”
Hadhrat Nizaamuddin Auliya (Sultaanji) – rahmatullah
alayh – who used to listen to sama’ had also repented.
SAUTUSH SHAITAAN
86
3. The intention of the singer has to be sincere. The motive
should not be obtainal of remuneration (or any other base or
worldly motive),
4. The sama’ session should not be an eating function nor to
celebrate victory (in battle).
5. During the sama’ if any Sufi stands up, it should be only in
a genuine state of ecstasy.”
(Fataawa Khairiyyah)
(3) Shaikh Abu Uthmaan al-Maghribi said:
“If it is the desire to reap the full benefit of sama’, one
should dwell in solitude, renounce all thoughts of created
things, and remember Allah and submit to His Will. One has
to take flight from one’s ego and abandon worldly
attachment.”
(4) Hadhrat Zunnoon Misri (rahmatullah alayh) said:
“He who listens to sama’ for satisfying his sensual
appetite becomes a heretic (zindeeq).”
(5) Hadhrat Abdullah Hasan Khirqaani (rahmatullah
alayh) said: “Sama’ is for those who, when in its midst, are
transported into the higher realms of roohaaniyat
(spirituality). All veils are removed and they can see the
activities of the angelic realm.”
(6) Hadhrat Junaid Baghdaadi (rahmatullah alayh) said:
“When you see a mureed seeking permission to listen to
sama’, then understand that he is still deficient (in the
spiritual path).” It has been reported that Junaid Baghdaadi
(rahmatullah alayh) had abandoned sama’ and had
forbidden his mureeds (disciples) from it.”
(Awaariful Ma-aarif)
SAUTUSH SHAITAAN
39
(15) Hadhrat Ibn Abbaas (radhiyallahu anhu) narrated that
Rasulullah (sallallahu alayhi wasallam) said:
“I have been sent (by Allah Ta’ala) to destroy the musical
drum (tablah) and the flute.” (Jam’ul Jawaami’)
The tablah and other forms of musical drums are not to be
confused with the duff for which there is limited
permissibility.
(16) Hadhrat Umar (radhiyallahu anhu) narrated that
Rasulullah (sallallahu alayhi wasallam) said:
“The earning of a singer is haraam and her singing is
haraam.” (Nailul Autaar)
(17) Hadhrat Ali (radhiyallahu anhu) said: “Rasulullah
(sallallahu alayhi wasallam) prohibited beating of the duff
(drum) and the sound of the flute.” (Nailul Autaar)
From this Hadith as well as others, the ambiguity about the
duff is eliminated. It is clear from several Ahaadith that the
general ruling of prohibition applies to even the duff.
However, an exception has been made for only the duff for
the Days of Eid and marriage occasions provided no haraam
acts are committed.
This Hadith has the effect of abrogation. It cancels out the
other narrations in which the duff was allowed. The fact that
Hadhrat Ali (radhiyallahu anhu) and other Sahaabah too
propagated the general prohibition of the duff even after the
demise of Rasulullah (sallallahu alayhi wasallam) is
sufficient substantiation for the abrogating force of this
Hadith as well as other Ahaadith which also mention the
prohibition of the duff.
SAUTUSH SHAITAAN
40
(18) Hadhrat Ali (radhiyallahu anhu) narrated: “Rasulullah
(sallallahu alayhi wasallam) forbade beating the duff,
playing the harp and blowing the flute.” (Kanzul Ummaal)
(19) Hadhrat Ibn Mas’ud (radhiyallahu anhu) narrated that
Rasulullah (sallallahu alayhi wasallam) said:
“Verily, singing generates hypocrisy in the heart just as
water causes farm-produce to grow”. (Baihqi)
(20) Hadhrat Abu Hurairah (radhiyallahu anhu) narrates
that Rasulullah (sallallahu alayhi wasallam) said: “Love for
singing germinates hypocrisy in the heart just as water
causes plants to grow.”
(21) Hadhrat Ibn Mas’ud (radhiyallahu anhu) narrated that
Rasulullah (sallallahu alayhi wasallam) said:
“Beware of listening to musical instruments and singing, for
verily, both these acts germinate nifaaq (hypocrisy) in the
heart just as water causes vegetables to grow.”
(Kaf-fur Ru’aa’)
(22) Hadhrat Anas (radhiyallahu anhu) narrated that
Rasulullah (sallallahu alayhi wasallam) said:
“Whoever sits and listens to a singing girl, Allah will pour
molten lead into his ears on the Day of Qiyaamah.”
(Ibn Asaakir)
On what basis now can the permissibility of music and
singing be argued? The severity of the punishment should be
an adequate deterrent to abstain even if some narrations
indicate permissibility.
(23) Hadhrat Ali (radhiyallahu anhu) narrates that
Rasulullah (sallallahu alayhi wasallam) said:
“Whoever dies while he has a singing slave girl, do not
perform Janaazah Salaat for him.” (Haakim)
SAUTUSH SHAITAAN
85
itself is damaged, dubious and glaringly in conflict with the
Shariah as a basis in a syllogism intended for the deduction
of a hukm (ruling) for another practice. Sama’ itself stands in
need of a hukm (ruling) of the Shariah. It is declared
permissible or unlawful on the basis of solid Shar’i grounds.
Sama’ does not possess the inherent potential to constitute a
basis for the extraction of a Shar’i hukm for the musical
instruments and singing in vogue. A ruling of the Shariah for
music and singing has to be acquired from the Qur’aan,
Sunnah or the directives of the Fuqaha which are all based on
the former two primary Sources of the Shariah.
It is only an ignoramus who will argue that all pictures of
human beings are permissible because the Ulama say that
pictures for identity cards and passports are permissible. In
this corrupt argument, the claim of permissibility of all
pictures is based on the permissibility of identity card
pictures. But this latter permissibility lacks the potential for
being a maqees alayh (basis for a Shar’i analogy). It has been
declared permissible on entirely different grounds which do
not relate at all to all other pictures. This is the type of
corrupt logic which the modernist juhhaal employ in their
endeavour to legalize the voice of shaitaan.
(1) The declaration on sama’ of Hadhrat Suharwardi has
already been presented above.
(2) “Those among the (Sufi) Mshaaikh who have
permitted sama’, have done so for only those who are devoid
of lust and are adorned with taqwa. They are in need of it
like an ailing person is in need of medicine. The conditions
(for listening to sama’) are:
1. Lads should no be present.
2. Only Sufis will participate. Faasiqs and worldly people
are not allowed to be present.
SAUTUSH SHAITAAN
84
On the occasion of his expulsion from the heaven,
Shaitaan implored Allah Ta’ala: “O my Rabb! Since you
have made me accursed, grant me a muath-thin.” Shaitaan
was in desperate need of a caller (muath-thin) to call to his
evil path of falsehood. Granting his wish, Allah Ta’ala
responded: “Your muath-thin will be musical instruments.”
With musical instruments, Iblees announces his invitation,
calling all those doomed in eternity to be his followers, into
his fold.
Encouraged by the Divine approval of his supplication,
Iblees ventured another wish for the sake of supplementing
his armoury of wiles, attractions and snares. He cried: “O my
Rabb! Grant me too a qur’aan.” Came the Divine Response
in answer to the accursed being: “Your qur’aan shall be
poetry and singing.”
A further eye-opening testimony for the votaries of music
and singing is the following information:
“The first being who had wailed (loudly) and the first
being who had sung was Iblees.” (Mudhalush Sha-ra’)
The modernist deviates and the qabar-pujaari singers may
now conclude whose progeny they really are.
The modernist juhhaal attempt to produce the sama’ of the
Auliya in general, and Imaam Ghazaali’s statements in
particular, as substantiation for the shaitaani music and
singing of this age is indeed a colossal slander against the
Auliya of Allah Ta’ala. When these Auliya themselves have
conceded that even their own sama’ is erroneous, by what
stretch of reasoning could permissibility of shaitaani music
and singing be argued on the basis of sama’?
In order to formulate an order of the Shariah for any
practice, the imperative requisite is to produce a viable and
an accepted basis from the Qur’aan and Sunnah or from the
Rulings of the Aimmah-e-Mujtahideen. It is the height of
folly and jahaalat (ignorance) to tender a practice which in
SAUTUSH SHAITAAN
41
(24) Safwaan Bin Umayyah (radhiyallahu anhu) narrated
that Amr Bin Qurrah said (to Rasulullah – sallallahu alayhi
wasallam): “I am very unfortunate. I do not see any way for
acquiring my rizq except by means of my duff. Therefore,
grant me permission to sing (i.e. with my duff) such songs
which will be devoid of any immorality (evil).’ Rasulullah
(sallallahu alayhi wasallam) replied: “I do not give you
permission. There is no honour and no goodness (in what
you are saying). O enemy of Allah! You are a liar. Most
certainly, Allah has ordained for you halaal rizq, but you
have chosen what Allah has made haraam for you in place of
what He has made halaal for you of the sustenance He has
decreed for you.” (Baihqi, Tibraani, Dailmi)
The fact that this person sought permission for singing
with his duff is abundant and clear testimony for his
awareness of the prohibition, hence he requested permission.
If music and singing were lawful, there would not have been
the need for him to seek permission from Rasulullah
(sallallahu alayhi wasallam). No one had asked Rasulullah
(sallallahu alayhi wasallam) to farm or to trade. Anyone who
inclined to these professions would readily become involved
therein. Since these are permissible activities, there was no
need to seek permission. But not so with music and singing.
The awareness of the prohibition of the voice of shaitaan
constrained the man to seek exemption and permission. But
he was very harshly rebuffed by Rasulullah (sallallahu alayhi
wasallam) who branded him “the enemy of Allah”.
This Hadith also refutes the contention of the
permissibility of ‘good’ songs – songs which are devoid of
immoral content.
The Hadith is also an adequate response for those who in
this age believe that without dealing in bank-riba, it is not
possible to progress financially. They deceive themselves
into believing that sufficient halaal avenues for the
SAUTUSH SHAITAAN
42
acquisition of halaal rizq no longer exist. Those who proffer
such contentions are termed ‘enemies of Allah’ by Rasulullah
(sallallahu alayhi wasallam). Allah Ta’ala has ordained
halaal ways for our sustenance. Whoever avers the contrary
is a liar.
Man in his greed substitutes the halaal ways and means for
haraam methods, labouring under the extreme misconception
of gaining abundant wealth by means of the unlawful ways
he has appropriated for himself. Ultimately he will be
frustrated and fail in his endeavours to achieve what he has
targeted. One will not gain a cent more than the divinely
stipulated and decreed amount.
(25) Hadhrat Ibn Abbaas (radhiyallahu anhu) narrated that
Rasulullah (sallallahu alayhi wasallam) said:
“On the Day of Qiyaamah, Allah Azza Wa Jal will proclaim:
“Where are those who had protected their ears and their
eyes from the musical instruments of shaitaan?” (Allah
Ta’ala will instruct the Malaaikah):
“Separate them (from the multitudes of people).” They (the
Angels) will separate them, and have them seated on dunes of
musk and ambergris then Allah Ta’ala will say to the
Malaaikah: “Recite to them My Tasbeeh and My Tamjeed.”
The Malaaikah will then recite to them with such beautiful
voices, the likes of which no one had ever heard.”
This Hadith has been narrated by Allaamah Ibn Hajar
Makki from Dailmi. The Sahaabi narrating it is Hadhrat Ibn
Abbaas (radhiyallahu anhu). Allaamah Ali Muttaqi also
narrates this Hadith, but from the Sahaabi, Hadhrat Jaabir
(radhiyallahu anhu)—Kanzul Ummaal. Allamah Muhammad
Bin Muhammad Maghribi narrates this Hadith from Hadhrat
Bin Al-Munkadir (Jam’ul Fawaaid). Imaam Tha-aalabi also
narrates it from Muhammad Bin Al-Munkadir, but from Ibn
Wahab. – (Jawaahirul Hassaan)
SAUTUSH SHAITAAN
83
THE SAMA’ (SINGING) OF SOME OF
THE AULIYA
Sama’ is the Sufi practice of singing spiritual songs which
produces states on ecstasy in them. By Sufi here is meant
some Sufis—a small minority. Since those Sufis who had
indulged in sama’ were undoubtedly illustrious Auliya whom
the entire world of Islam unanimously acknowledge as true
Men of Allah Ta’ala, the need has developed to elaborate on
this practice which the deviate, modernist ignoramuses are
labouring to cite as substantiation for the lewd, shaitaani
music and singing in which the world of shayaateen of the
west and east excels.
In relation to the unwary, but sincere masses, sama’ is a
grievously misunderstood concept and practice. The masses
have been deceived into a mire of confusion regarding this
practice. As far as the juhala – both the modernist deviates
and the bid’at qawwaali grave-worshipers – are concerned, it
is the most deliberately distorted concept and practice
pertaining to the issue of music and singing. This
conglomeration of deviates of opposite poles – modernists
and grave-worshippers – have in their own respective,
devious methods and reasoning, intentionally misled the
unwary and ignorant with their fallacious basis of sama’ to
convince the masses that music – kuffaar music and singing
– western and eastern music – pop, rock and rave music –
Beethoven and Mozart music – folk and jazz music – ragtime
and art music – ballard and saucy music, in fact the whole
gamut of shaitaani music which Iblees-in-Chief had invented,
patented in his accursed name and marketed in the abodes of
vice and immorality where all jinn and human devils dwell
and disappear into a quagmire of moral and spiritual
destruction located in the abyss of Sijjeen. May Allah Ta’ala
save His servants from this captivating snare of Dajjaal.
SAUTUSH SHAITAAN
82
it is said that besides for an Aarif-e-Makeen, sama’ is not
permissible for anyone. For the mureed-e-mubtadi’
(beginner in the spiritual path) sama’ is never permissible.”
This is the verdict of one of the most illustrious Chiefs of
the Sufis. And, this type of verdict is not restricted to Hadhrat
Suharwardi as shall be shown later in this treatise,
Insha’Allah. The Sufiyah who had practised sama’,
themselves say that this singing is not permissible, yet the
modernist ignoramuses cite these self-same Auliya to justify
haraam musical instruments and haraam kuffaar (eastern and
western) music and songs.
All the Auliya, including Imaam Ghazaali (rahmatullah
alayh), in total subservience to their illustrious seniors, the
Aimmah-e-Mujtahideen and Fuqaha of the Math-habs, are
unanimous in the proclamation of the prohibition of the
music and singing of the masses. Insha’Allah, the sama’ of
some Sufiya will be discussed in greater detail further in this
treatise.
Here it will suffice to say that there is complete unanimity
of the Ummah – consensus of all its authorities from the age
of the Sahaabah – in upholding the ban on musical
instruments and music which Rasulullah (sallallahu alayhi
wasallam) had announced in the following Hadith:
“Verily, I have been sent as a Rahmat for the worlds, and
my Rabb has commanded me with the destruction of
musical instruments.”
SAUTUSH SHAITAAN
43
Those who indulge in the haraam music and singing of this
world, will be denied the music of Jannat.
(26) Hadhrat Abu Musa Ash’ari (radhiyallahu anhu)
narrated that Rasulullah (sallallahu alayhi wasallam) said:
“Whoever listens to the sound of singing, he will not be given
permission to listen to the (beautiful) voices of the
Ruhaaniyyeen in Jannat.” When it was asked: ‘Who are the
Ruhaaniyyeen?’ Rasulullah (sallallahu alayhi wasallam)
said: “The Qaaris of Jannat.” (Kanzul Ummaal)
In his Tafseer, Imaam Qurtubi comments: “We have
mentioned this Hadith in Kitaabut Tathkirah along with
other similar examples. Thus, he who consumes wine will be
denied the pure drink (of Jannat) in the Aakhirah. He who
wears silk will not wear silk in the Aakhirah, etc. All this is
correct in meaning……”
(27) Hadhrat Ibn Umar (radhiyallahu anhu) narrates:
“Nabi (sallallahu alayhi wasallam) prohibited singing
and listening to singing, and (he also prohibited) gossip.”
(Kaf-fur Ruaa’)
(28) Zaid Bin Arqam (radhiyallahu anhu) narrates:
“Once a youth while singing passed by Nabi (sallallahu
alayhi wasallam) who was walking in a street of Madinah.
Rasulullah (sallallahu alayhi wasallam) said: ‘Alas! O
young man! Why do you not sing with the Qur’aan (i.e. recite
it beautifully instead of singing songs)?’ He repeated this
statement several times.” (Dailmi)
(29) Hadhrat Abu Umaamah (radhiyallahu anhu) narrates
that Rasulullah (sallallahu alayhi wasallam) said: “When
someone raises his voice with singing, Allah sends two
shaitaans who sit on his shoulders striking his breast with
their heels until he stops (singing).” (Tibraani)
SAUTUSH SHAITAAN
44
(30) Hadhrat Abdur Rahmaan Bin Auf (radhiyallahu anhu)
narrated that Rasulullah (sallallahu alayhi wasallam) said: “I
have forbidden two ignorant immoral voices: (The first)- the
sounds of futility at the time of merrymaking, and the musical
instruments of shaitaan. (The second)- the wailing sounds at
the time of calamity when the face is struck and the garments
are torn.” (Haakim in Mustadrak)
(31) Hadhrat Abu Hurairah (radhiyallahu anhu) narrates
that Rasulullah (sallallahu alayhi wasallam) said: “The bell is
among the musical instruments of shaitaan.”
(Abu Dawood)
(32) Kisaan narrates that Hadhrat Muaawiyyah
(radhiyallahu anhu) stated in his Khutbah:
“Verily, Rasulullah (sallallahu alayhi wasallam) forbade
seven things, and I too forbid you from these things. Know
that these things are: Loud wailing (on occasions of death),
singing, pictures………” (Tibraani)
(33) In a lengthy Hadith narrated by Hadhrat Abu
Umaamah (radhiyallahu anhu), it is mentioned that on the
occasion of the expulsion of shaitaan from the heaven and his
exile to earth, he (Iblees) supplicated to Allah Ta’ala: “O my
Rabb! You have exiled me to earth and you have made me
accursed………Now, therefore bestow to me a caller (who
can call to my path).’ Allah Ta’ala said: “(Your caller) is
musical instruments………..” (Tibraani)
(34) Allaamah Qurtubi, in his Tafseer, narrates the
following Hadith: “Verily, once when Abdullah Bin Mas’ud
(radhiyallahu anhu) heard someone singing, he hastily left
the place. This reached Rasulullah (sallallahu alayhi
wasallam). He thereupon commented: ‘Indeed, Ibn Umm Abd
SAUTUSH SHAITAAN
81
words mazaameer and ma-aazif are stated. In otherwords, not
only the instruments listed by name, but all and every kind of
musical instruments are haraam.
All the Duqaha of all the Math-habs are the Students of the
Aimmah-e-Mujtahideen, directly or via links in an
authoritative Chain connected to Rasulullah (sallallahu alayhi
wasallam). Many of the Aimmah Mujtahideen were the
direct Students of the Sahaabah, while the majority were the
Students of the Fuqaha and Aimmah of the Taabieen era. The
Rulings of these Aimmah and Fuqaha constitute the
inviolable Shariah of the Qur’aan and Sunnah. The practices
and utterances of some Auliya centuries after the era of
Khairul Quroon (the first three sacred eras of Islam) are
devoid of substance when in contradiction of the Rulings of
the Fuqaha of the Math-haab. In fact, all the Auliya were
Muqallideen (Followers) of the Math-habs. They all have to
submit, and they did submit to the Rulings of their respective
Math-habs. Declaring with utmost emphasis and profound
unambiguity this stand of the Auliya and Sufiya-e-Kiraam,
Hadhrat Imaam Suharwardi (rahmatullah alayh), who was
among the very senior Shaafi Ulama and the Founder of the
Suharwardiyyah Sufi Silsilah, and who had expounded the
restrictive permissibility of sama’ (the spiritual singing of
some Sufis), states in his Kitaab, Awaariful Ma-aarif:
“We have already explained the specific form of sama’
which is valid and the limits to be observed for
appropriateness of sama’ for the Ahl-e-Sidq (Auliya). Now
that fitnah has become rampant via the agency of sama’ –
goodness has disappeared from people, time is being
squandered in this act, the pleasure of ibaadat has decreased
(in consequence of addiction to sama’), the desire for
gatherings become ingrained, the desire for repeatedly
organising sama’ sessions to gratify carnal lust and satisfy
singers and dancers – these sessions are unlawful and
accursed by the Sufiyah. It is precisely for these reasons that
SAUTUSH SHAITAAN
80
SUMMARY OF THE FOUR MATH-HABS
It will be abundantly and conclusively clear to every
searcher of the Haqq who has read the aforegoing discussion
with an open and an honest mind and heart that according to
all four Math-habs, music and singing are forbidden. Some
exceptions have been discussed. According to the Math-habs
the only instrument which has permissibility on certain
occasions is a particular kind of a primitive duff – not all
types of primitive drums. This permissibility totally excludes
the modern-day musical drums and the tablahs of the
qawwaals.
Notwithstanding the permissibility of the duff, the Fuqaha
of all Math-habs have not issued an unrestricted licence for
playing the duff at any time and for just any occasion as the
discussion in this treatise has already explained and
established.
A very significant and important factor is the unanimous
abstention by all the Fuqaha of all the Math-habs from
extension of the limited permissibility of the duff to other
musical instruments. No one has ever ventured to cite the
duff as a basis of deduction (Maqees Alayh) for formulation
of a ruling of permissibility for any other musical
instruments. Only the modernist, deviate juhhaal are guilty of
perpetrating such a haraam aberration.
As far as singing is concerned, a little impromptu singing
of morally good and invigorating qaseedahs/nazams/poetry,
occasionally to banish loneliness, or tiredness on a journey or
as naseehat in a lecture, will be permissible. It is definitely
not permissible to sing for an audience on an organised basis
or to make it an occupation (mashghalah) or to devote
considerable time to it. And, this permissibility of singing a
little is without musical instruments.
The Math-habs have listed for prohibition all the musical
instruments by name, and to cover every kind of new
instrument which will be invented from time to time, the
SAUTUSH SHAITAAN
45
(i.e. Abdullah Ibn Mas’ud) is an honourable abd (slave of
Allah).”
Two salient facts emerge from this Hadith: One- Hadhrat
Abdullah Bin Mas’ud (radhiyallahu anhu) was aware of the
prohibition of music and singing, hence he hastily left the
place. Two- Rasulullah (sallallahu alayhi wasallam)
approved of his action and commended him. This too clearly
indicates the evil of singing and music.
(35) Hadhrat Abu Burzah (radhiyallahu anhu) narrated:
“We were with the Nabi (sallallahu alayhi wasallam) on a
journey when he heard two men singing. The one was
responding to the other (by means of singing poetry). Nabi
(sallallahu alayhi wasallam) then said: ‘Look who these two
are.’ They (the Sahaabah) said: ‘They are so and so (naming
them).’ Rasulullah (sallallahu alayhi wasallam) then cursed,
saying: ‘O Allah! Cast them upside down in Jahannum.”
(Majmauz Zawaaid)
The gravity of the prohibition of singing and music should
be apparent from the vehemence of the curse of Rasulullah
(sallallahu alayhi wasallam).
(36) Rasulullah (sallallahu alayhi wasallam) said:
“Verily, Allah Ta’ala sent me as a Mercy and a Guide to the
worlds, and He has commanded me to destroy musical
instruments……”
(37) Hadhrat Abu Hurairah (radhiyallahu anhu) narrates:
“Rasulullah (sallallahu alayhi wasallam) said: ‘Verily, the
bell is of the musical instruments of shaitaan.”
(Muslim and Abu Dawood)
(38) Hadhrat Abu Hurairah (radhiyallahu anhu) narrated
that Rasulullah (sallallahu alayhi wasallam) said:
SAUTUSH SHAITAAN
46
“The Malaaikah do no associate with a group in which there
is a dog or a bell.” (Muslim and Abu Dawood)
(39) Hadhrat Aishah (radhiyallahu anha) narrated:
“Verily, Nabi (sallallahu alayhi wasallam) instructed that all
bells be cut off from the necks of the camels on the Day of
Badr.” (Musnad Ahmad)
(40) Hadhrat Umar (radhiyallahu anhu) narrated: “I heard
Rasulullah (sallallahu alayhi wasallam) saying:
“Verily, with every bell is a shaitaan.” (Abu Dawood)
The tinkling and jingling of bells are also associated with
shaitaani music, hence the stringent prohibition.
Now that these numerous Ahaadith in which Rasulullah
(sallallahu alayhi wasallam) severely condemns music and
singing has dawned on those who lacked awareness, there
cannot be a Muslim with a healthy Imaan who will still
believe in the permissibility of the voice of shaitaan.
The evidence for the prohibition of music and singing so
far presented consists of Qur’aanic aayaat and the sayings of
Rasulullah (sallallahu alayhi wasallam). We shall now
proceed with the statements of the Sahaabah Insha’Allah.
SAUTUSH SHAITAAN
79
(9) Amr Bin Saalih narrates: “Once I saw someone
carrying an open violin. As he passed by Imaam Ahmad Bin
Hambal, he (Imam Ahmad) stood up and broke it.”
(Amr Bil Ma’roof Wan Nahy Anil Munkar)
(10) Muthanna Ambaari narrates: “Imaam Ahmad Bin
Hambal once heard the sound of a tablah (drum) coming
from his neighbour. He stood up from our gathering, then
sent someone to forbid them.”
(Amr Bil Ma’roof Wan Nahy Anil Munkar)
(11) Abu Bakr Matuzi says: “I asked Abu Abdullah (Imaam
Ahmad) regarding breaking of tambourines. He said: ‘It
should be broken.’ I asked about small tambourines (toys)
which little children have. He said: ‘These too should be
broken.’ He further said: ‘If it is in the open, then break it.”
(Al-Amr Bil Ma’roof Wan Nahy Anil Munkar)
(12) Abus Safr asked Imaam Ahmad about a man in whose
hand one sees a violin or a tambourine. If he breaks it, has he
done the right thing or has he erred, and is he liable for
paying any damages? Imaam Ahmad replied: “He has acted
beautifully. He is not liable for anything.”
(Al-Amr Bil Ma’roof Wan Nahy Anil Munkar)
(13) Yahya Bin Yazdaan reports that he asked Imaam
Ahmad about a man playing the violin, the tambourine and
other musical instruments. Is there punishment for him? If
yes, how much, if the matter goes to the Sultan? Imaam
Ahmad said: “There is punishment for him. It should not
exceed 10 lashes.”
(Al-Amr Bil Ma’roof Wan Nahy Anil Munkar)
SAUTUSH SHAITAAN
78
and prohibition of singing. Hence, only such a person will
claim permissibility who is the victim of a little knowledge or
compound ignorance or the desires of the nafs.”
(Majmuatul Hafeed)
(7) Allaamah Ibn Qudaamah writes:
“There are two kinds of musical instruments. The one kind is
haraam, namely those instruments which excite passion even
without singing, e.g. flute, etc. The second kind is only the
duff which is permissible on marriage and other happy
occasions while it is Makrooh at other times.”
(Al-Mughni)
(8) Allaamah Aalusi (rahmatullah alayh) states in his
Tafseer: “The son of Imaam Ahmad (rahmatullah alayh)
said: ‘I asked my father about singing. He replied: ‘Singing
creates hypocrisy in the heart, hence I detest it.”
The terms “I detest it” is a technical phrase which denotes
Tahreem (being haraam).
Of the four Imaams, Imaam Ahmad (rahmatullah alayh)
adopted the sternest position. Once he grabbed a tambourine
from a boy and smashed it. Amr Bin Husain narrates: Imaam
Ahmad Bin Hambal (rahmatullah alayh) smashed a tambur
which was in the hand of a slave of Nasr Bin Humzah. The
slave complained to his master about the action of Imaam
Ahmad Bin Hambal. The master asked: ‘Did you mention
that you are my slave?’ The slave said: ‘No.’ His master
said: ‘Go! I have set you free for the sake of Allah Ta’ala.”
(Al-Amr Bir Ma’ruf Wan Nahyi anil Munkar)
Nasr Bin Humzah was aware of the evil of musical
instruments. When his slave informed him that he did not
reveal his (the master’s) identity, the latter out of sheer
delight emancipated the slave.
SAUTUSH SHAITAAN
47
THE STATEMENTS OF THE
SAHAABAH
(1) Hadhrat Abdullah Ibn Mas’ud (radhiyallahu anhu)
said: “When a person mounts an animal (or a vehicle)
without reciting Bismillaah, shaitaan becomes his
companion (along the route), and encourages him to sing. If
he is not a good singer, shaitaan urges him to at least wish to
be a good singer.” (Baihqi)
(2) Hadhrat Jaabir (radhiyallahu anhu) said:
“Beware of singing, for verily, it is from Iblees. It is like
shirk by Allah. None but the shaitaan sings.”
(Umdatul Qaari from Dailmi)
Since singing is the voice of shaitaan and the trap with
which he lures people into slavery of the nafs, singers are
likened to shaitaan by Hadhrat Jaabir (radhiyallahu anhu). To
emphasise the gravity of the prohibition, Hadhrat Jaabir
(radhiyallahu anhu) equates singing to shirk.
A principle of Hadith regulating statements of the
Sahaabah is that issues which cannot be determined by man’s
intelligence, but which require Wahi for substantiation, are
attributable to Rasulullah (sallallahu alayhi wasallam). In
otherwords, statements of the Sahaabah regarding thawaab
and the Hereafter, are in actual fact what they had heard
directly from Nabi-e-Kareem (sallallahu alayhi wasallam).
(3) Once when Hadhrat Aishah (radhiyallahu anha) visited
the home of her brother to see his sick children, she found a
man with long hair singing to amuse the children. Hadhrat
Aishah (radhiyallahu anha) immediately exclaimed: “He is
shaitaan! Expel him! Expel him! Expel him!”
(Sunan Kubra of Baihqi)
SAUTUSH SHAITAAN
48
Those who cite Hadhrat Aishah’s childhood incident of
having listened to a little girl beating the duff, should not
ignore her attitude and castigation of the singer whose
expulsion from the home she commanded.
(4) Hadhrat Abdullah Ibn Mas’ud (radhiyallahu anhu) was
invited to a Walimah (marriage feast). When he arrived at the
house he heard singing. He halted at the door. He was asked:
‘Why have you halted?’ He replied: “I heard Rasulullah
(sallallahu alayhi wasallam) say: ‘He who increases the
number of a crowd is of them. He who is pleased with an act
of the people is a partner in its commission.”
(Al-Mataalibul Aaliyah)
Hadhrat Abdullah Ibn Mas’ud (radhiyallahu anhu) had an
intense aversion for music and singing. His companions
inherited the same attitude. If he would see even a child with
a duff he would grab and destroy it. This was his attitude
inspite of his awareness of the permissibility of the duff on
marriage occasions.
(Al-Amr Bil Ma’roof wan-Nahyi anil munkar)
Hadhrat Ibraaheem Nakh’i (rahmatullah alayh) who is
among the very senior Muhadditheen and Fuqaha is a student
of Hadhrat Abdullah Ibn Mas’ud (radhiyallahu anhu) via the
link of Hadhrat Alqamah (rahmatullah alayh) who was
among the senior Taabieen Fuqaha. He (Hadhrat Nakh’i)
said: “We would roam around the streets searching for
children with duffs. We would seize and destroy them.”
(Al-Amr Bil Ma’ruf wan Nahy anil munkar)
This was the attitude and instruction which the illustrious
Sahaabah acquired from Rasulullah (sallallahu alayhi
wasallam). Notwithstanding the exemption to use the duff on
marriage occasions, the Sahaabah in general, and Hadhrat
SAUTUSH SHAITAAN
77
is mentioned that this (second view of haraam) has been
adopted by the majority.” (Al-Ansaaf)
(5) “Singing with musical instruments is haraam without
any difference among us (Hambali Fuqaha). Similarly (is it
haraam), said the Hamabali Fuqaha as well as Ibn Aqeel, if
the singer is a strange woman.”
(Al-Mustau-ib, At-Targheeb, etc.)
(6) Allaamah Ahmad Bin Yahya Bin Muhammad Al-
Hafeedh states:
“There are different narrations of Imaam Ahmad
(rahmatullah alayh) pertaining to permissibility and
impermissibility of singing. It is only permissible to recite
poetry related to the Aakhirah and which encourages
righteous deeds. Besides this, all other types of singing which
are in vogue by us today are unlawful. According to Imaam
Maalik (rahmatullah alayh), the customary singing in vogue
at this time is also Makrooh (forbidden). Therefore, when he
was asked about the singing taking place in Madinah, he
responded that it is the practice of the fussaaq. According to
Imaam Tabari (rahmatullah alayh), Imaam Abu Hanifah
(rahmatullah alayh) said that singing is Makrooh (i.e.
Makrooh Tahrimi) and to listen to singing is sinful. This is
the maslak of all (the Ulama) of Kufa. The Ulama of Basra
also unanimously say that singing is Makrooh. Only
according to one narration Ubaidullah Ambari says that it is
not Makrooh.
Imaam Shaafi (rahmatullah alayh) said that singing is
futility and Makrooh which resembles baatil. A person who
commits excess in it is an ignoramus. His testimony will be
rejected. The one who attributes permissibility of singing to
Imaam Shaafi is guilty of slandering him.
The summary of this is: In all the lands of Islam there
exists Ijma’ of the Ulama on the karaahat (abominability)
SAUTUSH SHAITAAN
76
man died leaving a son and a slavegirl who is a singer. The
son is in need of selling the slavegirl. How should he sell
her?’ Imaam Ahmad replied: ‘She should not be sold as a
singer.’ The man said: ‘If she is sold as a singer her price
will be 30,000 dirhams, and if sold as an ordinary slave, the
price will be only 20 dinars.’ Imaam Ahmad said: ‘He should
sell her as an ordinary slave.’
Abul Farj said that Imaam Ahmad issued this fatwa
because the slavegirl does not sing zuhdiyyah qaseedas, but
such songs which incite carnal passion. This (fatwa) is the
proof that singing is not permissible and is prohibited. If it
was not prohibited Imaam Ahmad would not have considered
it permissible to cause a loss to the orphan child……..
Maruzi narrated that Imaam Ahmad described the
earnings of a mukhannath (hermaphrodite), which is
acquired by singing, as being impure. This ruling is on
account of the immoral songs the hermaphrodite sings.
With regard to the singing which is in vogue nowadays, it
is unlawful according to Imaam Ahmad….
According to the Hambali Fuqaha, the testimony of a
singer and a dancer is unacceptable.” (Talbees Iblees)
(2) Allaamah Ali Bin Salmaan Murdaawi, a famous
Hambali Faqeeh, said: “It is said in Ar-Riaayah: Listening to
singing and wailing without instruments is Makrooh. With
instruments it is haraam, whether it is male or female.”
(Al-Ansaaf)
(3) “If someone is persistent in singing or he makes it a
profession or he employs his slave or slavegirl as a singer
for audiences, his testimony will be rejected.” (Al-Ansaaf)
(4) “The Author of Al-Furoo’ says: ‘Singing is Makrooh.
A Jama’at of Ulama says that it is haraam. In At-Targheeb it
SAUTUSH SHAITAAN
49
Mas’ud (radhiyallahu anhu) and Hadhrat Umar (radhiyallahu
anhu) in particular would physically prevent people from
playing with the duff on any other occasion. They would
confiscate and destroy the duffs.
(5) Hadhrat Uthmaan (radhiyallahu anhu) said:
“Since the time I pledged allegiance to Rasulullah (sallallahu
alayhi wasallam), I never sang nor spoke a lie nor ever
touched my private organ with my right hand.”
(Awaariful Ma-aarif)
(6) Once when Hadhrat Umar (radhiyallahu anhu) passed
by a group of people, a singer was singing to them. Hadhrat
Umar (radhiyallahu anhu) cursed them, saying that Allah
Ta’ala should make them deaf.
(7) A similar incident occurred with Hadhrat Abdullah Bin
Umar (Hadhrat Umar’s son). He too cursed in the same way
his father had cursed. (Ihya-ul Uloom)
(8) Once Hadhrat Abdullah Bin Umar (radhiyallahu anhu)
passed by a little girl who was singing. He commented: “If
ever shaitaan would leave (unmolested) anyone, he would
have left this (little girl).” (Baihqi)
(9) The following narration appears in Musannaf Abdur
Razzaaq: “When Umar (radhiyallahu anhu) would hear the
beating of a duff, he would send someone to investigate. If it
transpired that it was a Walimah occasion, he would
maintain silence. If it was not a Walimah, he would set off
with his whip.”
(10) Once a little girl with jingling bells on her was brought
to Hadhrat Aishah (radhiyallahu anha). She exclaimed:
“Never ever bring her to me except after you have cut off the
SAUTUSH SHAITAAN
50
bells. I heard Rasulullah (sallallahu alayhi wasallam)
saying: ‘The Malaaikah do not enter a home in which there
is a bell.’” (Abu Dawood)
In another narration, Hadhrat Aishah (radhiyallahu anha)
exclaimed: “Remove from me the one who removes the
Malaaikah.” (Musannaf Abdur Razzaaq)
Regarding jingling and tinkling bells, Shaikhul Hind
Hadhrat Maulana Mahmudul Hasan (rahmatullah alayh) said:
“Verily it (the bell) according to the Hadith is the musical
instrument of shaitaan because it diverts the heart from the
Thikr of Allah Ta’ala.”
(Anwaarul Mahmud Sharh Abu Dawood)
It does not behove the votaries of music and singing to quote
Hadhrat Aishah (radhiyallahu anha) in support of their
fallacies. Hadhrat Aishah (radhiyallahu anha) repeatedly
clarified her position on the issue of music and singing.
There is simply no scope for permissibility in her statements
of condemnation. She condemned singing and music in
unambiguous and emphatic terms.
The aforementioned statements and acts of the Sahaabah
are adequate for convincing the honest searcher of the truth
that music and singing have no place in Islam. The
prohibition of the voice of shaitaan is re-enforced with much
emphasis by the Sahaabah.
We shall now present the statements of some of the
illustrious authorities of Islam who were Students of either
the Sahaabah or their Students.
SAUTUSH SHAITAAN
75
Maalik that a duff with bells is haraam. Similarly is the
shabaabah.” (Mawaahibul Jaleel)
According to the Maaliki Ulama a mizhar is a rectangular
drum. The difference of opinion among them pertains to this
rectangular drum.
In certain quarters mizhar is the violin which is
unanimously haraam according to all Math-habs. Regarding
this instrument, Allaamah Ahmad Bin Muhammad As-Saawi
states in Ash-Sharhus Sagheer:
“The Mash-hoor (popular view) of the Four Math-habs is
that playing it (the violin) and listening to it are haraam.”
Regarding the kind of duff called kabar, Asbagh says:
“Both (i.e. mizhar and kabar) are unlike the ghirbaal (duff).
Its (the kabar’s) use is not permissible either on marriage
occasions or on any other occasion… This view is supported
by the Kitaab of Imaam Suhoon who said: ‘Verily, the sale of
a kabar should be annulled and its seller and buyer should
be punished.’” (Mawaahibul Jaleel)
The Ulama of the Maaliki Math-hab have given different
views regarding this type of duff on the basis of the variety of
definitions.
HAMBALI MATH-HAB
(1) The Math-hab of Imaam Ahmad Bin Hambal
(rahmatullah alayh) is unambiguous in the prohibition of
singing. Allaamah Ibn Jauzi Hambali explains the Hambali
position as follows:
“Our Ashaab (Hambali Ulama) have narrated the
permissibility of singing from Abu Bakr Khilaal and his
companion, Abdul Azeez. This permissibility refers to only
the zuhdiyyah qaseedas which were customary during their
time. (These were songs/poetry of abstinence or renunciation
of the world). This is the type of singing which is not
Makrooh according to Imaam Ahmad. The proof for this is
that a man posed the following question to Imaam Ahmad: ‘A
SAUTUSH SHAITAAN
74
permissible on other occasions of happiness. Allamah Saawi
writes in this regard:
“With regard to occasions other than marriage such as
circumcision and birth, the popular view is impermissibility
of striking the duff. According to the obscure view it is
permissible on every happy occasion.”
(Haashiyah Ash-Sharhus Sagheer)
It is clear from this variety of rulings that according to the
Maaliki Math-hab too, musical instruments are not
permissible. The exceptions pertain to the duff and the reed
flute which according to the majority Maaliki opinion are
also haraam. No authority of the Maaliki Math-hab or of any
Math-hab had at any time legalized any of the prohibited
musical instruments on the basis of the restricted
permissibility of the duff and zimaar (reed flute). They all
have restricted the permissibility to these two instruments.
Furthermore, the permissibility applies to only such of these
instruments which are in their original primitive form, not to
any version which produces music such as the tablah of the
qawwaals of these times.
DUFF, MIZHAR AND GHIRBAAL
The mizhar, ghirbaal as well as the kabar are kinds of
duff. The Maaliki Faqeeh, Asbagh explaining the mizhar
writes in Al-Ateebah: “Ghirbaal is a round duff (which is
permissible on marriage occasions). The mizhar is Makrooh
and is bid’ah. The difference between duff and mizhar is that
the latter involves one in futility, and whatever involves in
futility also diverts from the Thikr of Allah. It is of the baatil
(instruments). Shaikh Yusuf Bin Umar said that the duff is (a
drum) which is closed only on the one side. When there are
no strings and no bells attached to it (and this is the
permissible duff). Nowadays it is called bandeer. In Al-
Mudkhal it is said that according to the Math-hab of Imaam
SAUTUSH SHAITAAN
51
THE SALF-E-SAALIHEEN, MUSIC AND
SINGING
(1) Someone asked Hadhrat Qaasim Bin Muhammad
(rahmatullah alayh) about singing. He said: “I prohibit
singing and I detest it.” The person asked: “Is it haraam?”
Hadhrat Qaasim replied: “Son! When Allah Ta’ala will
separate Haqq and Baatil, to which category will He assign
singing?” (Ruhul Ma-aani)
The clear-cut self-evident answer is that singing will be
assigned to the baatil category. It is not the Haqq. It is
falsehood. It is the voice of shaitaan.
Imaam Qurtubi narrates the following ruling of Hadhrat
Qaasim Bin Muhammad (rahmatullah alayh):
“Singing is baatil, and baatil will be in the Fire.”
(Tafseer Qurtubi)
(2) Hadhrat Qaasim Bin Muhammad (rahmatullah alayh)
also said: “Allah curses the singer and the audience.”
(3) Uthmaan Laithi (rahmatullah alayh) narrating from
Yazeed Bin Waleed (rahmatullah alayh) said:
“O Bani Umayyah! Beware of singing. It destroys shame,
increases carnal lust and eliminates honour. It is the
representative of liquor. It does what liquor does. Verily,
singing invites to zina (fornication).” (Ruhul Ma-aani)
(4) Hadhrat Dhuh-haak (rahmatullah alayh) said:
“Singing destroys wealth, enrages Allah and ruins the
heart.” (Ruhul Ma-aani)
(5) Hadhrat Ibraaheem Nakh’i (rahmatullah alayh) said:
“Singing sows nifaaq (hypocrisy) in the heart.”
(Tafseer As-Siraajul Muneer)
SAUTUSH SHAITAAN
52
This is in fact Rasulullah’s statement which Hadhrat
Nakh’i had heard from his Ustaadh Alqamah who was the
Student of Hadhrat Abdullah Ibn Mas’ud (radhiyallahu
anhu).
(6) When Hadhrat Umar Bin Abdul Azeez (rahmatullah
alayh) sent his children to their Ustaad, Sahl (rahmatullah
alayh), he wrote the following to the Ustaadh: “The first
thing you should ingrain in them by your instruction is an
aversion for musical instruments. These had been originated
by shaitaan. Their consequence is the Wrath of Rahmaan
(Allah Ta’ala). Verily, it has reached me from highly
authentic Ulama that to be present at a place where musical
instruments are playing, to listen to singing and to desire it,
germinate hypocrisy in the heart just as water germinates
plants. I take oath that it is simpler for an intelligent man to
abstain from such (evil) places than to allow nifaaq to
become embedded in the heart.” (Ad-Durrul Manthur)
(7) Hadhrat Umar Bin Abdul Azeez (rahmatullah alayh)
who was the Khalifah and known as Umar, The Second,
issued the following order to his governors in the various
lands of the Islamic empire:
“Verily, these Ajmi people amuse themselves with some
things which shaitaan has made adorable for them. Save the
Muslims at your place from these things……Save them from
these baatil (false, haraam) things, from futility, from singing
and other similar acts. If they do not desist, then punish them
within the limits (of the Shariah).” (Tabqaat Ibn Sa’d)
(8) Hadhrat Fudhail Bin Iyaadh (rahmatullah alayh) said:
“Singing is the spell of zina.” (Talbeesul Iblees)
(9) Hadhrat Sayyid Abdul Qaadir Jilaani (rahmatullah
alayh) said: “It (singing and music) is not permissible for
SAUTUSH SHAITAAN
73
for the violin, he meant thereby haraam. Muhammad Ibnul
Hakeem has explicitly said that listening to the violin
nullifies one’s testimony. Verily, it (listening to the harp) is
Makrooh in all circumstances. (Often the term Makrooh is
used for haraam as we have explained earlier).”
(Mawaahibul Jaleel
(5) Allaamah Ibn Rushd Maaliki writes in his
Muqaddamaat: “It is not at all permissible to derive
enjoyment from musical instruments. On Nikah occasions
exemption has been granted for the duff. There are different
views regarding the kabar and the mizhar.” (These are two
types of drums).
(6) Shaikh Abu Ja’far Adfoi (rahmatullah alayh) states in
his kitaab, Al-Iqnaa’ fi Ahkaamis Sama’:
“According to a group (of the Ulama) the duff is permissible
on marriage and Eid occasions, and when a missing person
returns. This has been recorded also by Imaam Ghazaali in
Al-Ihya, and by Al-Qurtubi Maaliki in Kashful Qinaa’. They
have recorded such Ahaadith which demand prohibition.
There are also Ahaadith of permissibility (of beating the duff
on marriage occasions) and other occasions of happiness.
Hence, these (happy) occasions are exempted from the
general prohibition (of using the duff, etc.).”
(Mawaahibul Jaleel)
(7) Allaamah Durdeer Maaliki states:
“The reed flute and the drum known to us as nafeer are
Makrooh when these are not used so much as to divert one
into futility otherwise it is just as haraam as other musical
instruments with strings…” (Ash-Sharhus Sagheer)
(8) According to the majority of Maaliki Fuqaha the use of
the duff is permissible only on marriage occasions. It is not
SAUTUSH SHAITAAN
72
because it is a feature of the fussaaq. Similarly the assarnaaee
is also haraam……”
(Majmuatul Hafeed)
There is absolutely no grounds for citing the yaraa’ and the
duff as a basis for legalizing musical instruments which are
unanimously haraam without any difference. Even Imaam
Ghazaali (rahmatullah alayh) accepts the hurmat of the mass
of musical instruments which have been invented at the
behest of shaitaan and which are used in profusion by the
fussaaq, and kuffaar.
MAALIKI MATH-HAB
(1) Imaam Suhoon Bin Saeed (rahmatullah alayh) said:
“I asked Shaikh Abdur Rahmaan Bin Qaasim Atqi (whose
Ustaad was Imaam Maalik): “Did Imaam Maalik say that
singing is Makrooh?’ He said: ‘In fact Imaam Maalik said
that it is Makrooh to recite even the Qur’aan with ilhaan
(singing tone). Why then will singing not be Makrooh by
him?” (Al-Mudawwanatul Kubraa)
(2) “Even on marriage occasions Imaam Maalik regarded
the duff to be Makrooh.” (Al-Mudawwanatul Kubraa)
(3) When Imaam Maalik was asked about the singing
gatherings of Madinah, he responded that these were the
gatherings of the fussaaq.
(4) Allaamah Muhammad Bin Muhammad Hattaab
Maaliki writes: “It is stated in At-Taudheeh: ‘Singing even
without instruments is Makrooh (forbidden). If the singing is
with instruments such as the violin and tambourine, then it is
forbidden. Similarly is it with the flute. It is obvious
according to some Ulama that this (prohibition) is related to
haraam. Although Muhammad had used the word Makrooh
SAUTUSH SHAITAAN
53
anyone. If anyone says: ‘I listen to it for the remembrance of
Allah,’ we shall say that he is a liar because the Shariah has
not differentiated in this. If it (singing) was ever permissible,
it would have been permissible for the Ambiya (alayhimus
salaam).” (Ghuniyatut Taalibeen)
These statements will suffice to indicate the evil of music
and singing, and the abhorrence which Islam has for these
voices of shaitaan.
THE RULINGS OF THE FUQAHA
As far as the Ummah is concerned, the final word in any
matter of the Shariah is the ruling of the Fuqaha (the Jurists)
of Islam, the highest of whom were the Aimmah-e-
Mujtahideen such as Imaam Abu Hanifah, Imaam Maalik,
Imaam Shaafi and Imaam Ahmad Bin Hambal (rahmatullah
alayhim). These were the greatest authorities of the Shariah
after the Sahaabah.
The Qur’aan and all the Ahaadith pertaining to an issue
were infront of them. It is the height of stupidity, insolence
and absurdity for any one in this belated age to attempt to
negate and refute the rulings of these illustrious Fuqaha by
citing certain Ahaadith which ostensibly conflict with their
rulings. It is kufr to refute the rulings of the Shariah which
the illustrious Fuqaha have formulated on the basis of the
Qur’aan and Sunnah. No one can ever hope to understand the
Qur’aan and Sunnah better than the Aimmah Mujtahideen
and the Fuqaha in general.
Ignoramuses, zindeeqs and mulhids see contradictions
between the rulings of the Fuqaha and the Qur’aan and
Hadith. It is the kufr and nifaaq lurking in their hearts, which
impel them to refute the rulings of the Fuqaha of Islam.
SAUTUSH SHAITAAN
54
On the issue of singing and music, there exists a consensus
which is as old as Islam. This consensus of the Fuqaha
cannot be scuttled by the nafsaani corrupt opinions of the
modernist deviates and ignoramuses of this age. We say to
them, don’t cite Imaam Ghazaali (rahmatullah alayh) and
don’t cite any Wali who had practised sama’ to justify your
baatil and lustful desires which are being presented in Deeni
guise. Imaam Ghazaali (rahmatullah alayh) and certain
Auliya whose statements and acts appear to conflict with the
Consensus of the Ummah are not among the Proofs (Dalaail)
of the Shariah. Islam did not develop centuries after the
demise of Rasulullah (sallallahu alayhi wasallam). This
sacred Shariah was revealed to Rasulullah (sallallahu alayhi
wasallam) via the agency of Wahi and it attained its
perfection in his very time.
Furthermore, there is a difference of heaven and hell
between the sama’ of some Auliya and the shaitaani music
and singing of the modernist deviates. Insha’Allah, this will
be pointed out in detail further on in this treatise. There is
absolutely no justification in sama’ for the haraam shaitaani
western and eastern music which has deranged the hearts and
brains of the juhhaal.
Let us now state the sacred rulings of the Shariah issued by
the illustrious Fuqaha of Islam.
(1) “Musical instruments are haraam by the consensus of
the Fuqaha of all the lands (of Islam).” (Baghawi)
(2) “The Fuqaha say: ‘Singing is haraam on the basis of
this aayat (already discussed) and on the basis of the
Ahaadith…” (Tafseerul Mazhari)
(3) “Playing musical instruments and listening to it are
haraam.” (Al-Mut-tafaq)
SAUTUSH SHAITAAN
71
THE YARAA’
Yaraa’ is a bamboo reed used as a flute by shepherds.
Regarding the yaraa’ there is difference of opinion among
the Shaafi Ulama. It should, however, be clearly understood
that those among the Shaafis such as Imaam Ghazaali
(rahmatullah alayh) who believe the yaraa’ to be permissible
with certain restrictions, do not proclaim musical instruments
lawful on the basis of the permissibility of the yaraa’. While
the modernist deviate juhala proclaim all musical
instruments permissible on the basis of Imaam Ghazaali’s
stated permissibility of the yaraa’, the illustrious Imaam
himself declares all musical instruments haraam, apart from
certain exceptions, e.g. the yaraa’ and duff. Hence, he says in
his Ihyaaul Uloom: “The Shaafi Ulama are unanimous in
proclaiming the prohibition of such musical instruments
which develop passion and ecstasy even without singing, as
well as the instruments which professional singers generally
use. Their use too is haraam.”
The deviates are at pains and grasp at straws from Imaam
Ghazaali’s Ihyaaul Uloom to fabricate substantiation for their
claim of the permissibility of all musical instruments. They
abortively cite Imaam Ghazaali’s view which does not
pertain to musical instruments in general. His view, which is
not the most authentic view of the Shaafi Math-hab, is
confined by himself to certain primitive instruments such as
the yaraa’ and duff. He does not extend it to other musical
instruments as the deviates do.
Imaam Nawawi (rahmatullah alayh), the Shaafi authority,
says: “The yaraa’ of the shepherd which is also called
shabaabah is haraam. It is written in Al-Anwar that the
yaraa’ is not haraam. And, one view is that it is haraam.
Yaraa’ is also called shaaheen…. All kinds of flutes are
haraam. Thus ‘naaee-ambaan (in Faarsi) is also haraam
SAUTUSH SHAITAAN
70
much clarity: ‘Singing is haraam’. In Raudhah, Imaam
Nawawi adopted this view.
* Another view is: Engrossment in singing renders it
haraam. However, if one sings in an impromptu manner for a
short while, then it is permissible.
* If a person is alone in his house and sings, it is
permissible otherwise haraam….” (Kaf-fur Ruaa’)
(4) Notwithstanding his leniency in the matter of singing,
Imaam Ghazaali (rahmatullah alayh) sates:
“According to Imaam Shaafi (rahmatullah alayh) the
testimony of a professional singer is rejected because singing
is an abhorrent and Makrooh profession.” (Ihyaaul Uloom)
(5) Imaam Shaafi (rahmatullah alayh) said:
“In Baghdad I observed a practice which zindeeqs had
innovated. They call it Taghbeer. By means of this practice
they divert people from the Qur’aan.”
(Ighaathatul Luhfaan)
Taghbeer is similar to the qawwaali gatherings of the Ahl-
e-Bid’ah. The songs sung consist of only poetry intended to
decrease worldly attachment and increase concern for the
Aakhirah. The songs pertain to topics of Zuhd (renunciation
of the world). The singer would sing while members of the
audience would play on flutes (mouth organs).
Inspite of the esotericism of the songs, Imaam Shaafi
brands the singers and the audience as zindeeqs. A zindeeq is
a class of unbeliever. What shall we now conclude of the
view of Imaam Shaafi regarding the immoral music and
singing which Muslims have inherited from the immoral
kuffaar of this age?
SAUTUSH SHAITAAN
55
(4) “The musical drum (tablah) and listening to it are
haraam……” (Al-Fataawal Kubra)
(5) “Singing even without musical instruments is
forbidden, and so is listening to it.”
(Minhaajut Taalibeen)
(6) “The Math-hab of Imaam Abu Hanifah (rahmatullah
alayh) as narrated by Abu Tayyib Tabari is: ‘Imam Abu
Hanifah forbade singing. He assigned listening to singing to
the category of sins.” (Talbees-e-Iblees)
(7) “Imaam Maalik (rahmatullah alayh) said: ‘Singing is
the occupation of fussaaq.” (Fatawa Rahimiyyah)
(8) “Singing and listening to singing are haraam. The
Ulama are unanimous in this prohibition. In fact, they have
stressed this prohibition.” (Fataawa Khairiyyah)
(9) Imaam Nawawi (rahmatullah alayh) who is an
authority in the Shaafi Math-hab, states:
“The singing of a person is either with or without
instruments. If it is without instruments, it (singing) and
listening to it are Makrooh.” (Raudhatut Taalibeen)
If the singing is without any instruments, and the singer is
not a female singing to males, then too it is Makrooh. If the
singer is a female, Imaam Nawawi says:
“If a male is listening to the singing of a female, the
prohibition is extremely severe.” (Raudhatut Taalibeen)
Imaam Nanawi continuing the discussion on singing, says:
“Al-Qaadhi Abu Tayyib narrated that it is haraam.’ If there
is the fear of fitnah in listening, then it is haraam without any
SAUTUSH SHAITAAN
56
difference of opinion. Similarly is listening to (the singing) of
a child when there is fear of fitnah. (E.g. males listening to
girls or young lads singing).” (Raudhatut Taalibeen)
In fact, Hakimul Ummat Maulana Ashraf Ali Thanvi
(rahmatullah alayh) said that it is not permissible for men to
listen to even the Qur’aan recitation of young lads with sweet
voices because of the fear of fitnah.
Imaam Nawawi further says: Abul Farj Az-zaaz narrated
one view that much listening to singing is haraam, except of
it is a little. Another view (narrated by Abul Farj) is that it is
completely haraam (whether much or little).” (Raudhatut
Taalibeen)
The ruling of the Shaafi Fuqaha differ between Makrooh
and Haraam if the singing is without instruments, the singer
is not of the opposite sex and there is no fear of fitnah
(arousal of passion, etc.) Practically both rulings mean not
permissible. Technically haraam is more severe than
Makrooh.
With regard to musical instruments, Imaam Nawawi says:
“All musical instruments – their use and listening to them
are haraam.” (Raudhatut Taalibeen)
Commenting on the permissibility of a particular kind of a
flute (yaraa’) mentioned by Imaam Ghazaali (rahmatullah
alayh), Imaam Nawawi says:
“The most authentic or correct view is that it is haraam.”
(Raudhatut Taalibeen)
Regarding the duff, Imaam Nawawi (rahmatullah alayh)
states the Shaafi position as follows:
SAUTUSH SHAITAAN
69
(2) There is consensus of the Shaafi Ulama on the
prohibition of singing even without musical instruments if
the singing incites passion.”
(Ihyaaul Uloom of Imaam Ghazaali)
(3) Shaikhul Islam Ahmad Bin Yahya Bin Muhammad Al-
Hafeedul Harwari (rahmatullah alayh), a very senior Shaafi
Faqeeh, writes:
“To listen to the singing of a woman and a lad is
unanimously haraam. Similarly musical instruments
associated with drunkards are haraam, such as tablah
(musical drum), tambourine, flute, harp, Iraqi flute and all
other musical instruments and different kinds of guitars are
haraam.” (Majmuatul Hafeed)
(4) About professional singing, Allaamah Ibn Hajar Makki
(rahmatullah alayh states several views as follows:
* It is absolutely haraam. According to Imaam Qurtubi, this
is also according to the Math-hab of Imaam Maalik
(rahmatullah alayh). Abu Ishaaq said: ‘I asked Imaam
Maalik about the leniency shown towards singing in
Madinah, and he replied: ‘In Madinah too singing is the
practice of the fussaaq (immoral violators of the Shariah).
The masses (in Madinah) consider it forbidden. This is the
way of the people of Madinah.’ Ibrahim Bin Sa’d is a solitary
exception who does not see anything wrong in it.
Imaam Abu Hanifah and all the Ulama of Kufa among
whom are Hadhrat Ibraaheem Nakh’i, Imaam Sha’bi,
Hammaad, Sufyaan Thauri and others, are unanimous in this
ruling (of prohibition).
Two views are attributed to Imaam Shaafi and Imaam
Ahmad. The one view is absolutely haraam.
Haarith Muhasabi says that singing is just as haraam as
carrion (dead animals). In two places of Imaam Raafi’i’s
famous kitaab, Ash-Sharhul Kabeer, it is mentioned with
SAUTUSH SHAITAAN
68
SHAAFI MATH-HAB
(1) There exists consensus of the Shaafi Ulama on the
absolute prohibition of listening to the singing of a ghair
mahram female or a lad even if the singing is without
musical instruments. Shaikh Ibn Hajar Makki (rahmatullah
alayh) states in Kaf-fur Ruaa’:
“It is haraam according to us to listen to the singing of a
woman whether there is fear of fitnah or not.”
In Raudhah, Shaikhain have commented on this issue in
three places. It is clear that the preferred Math-hab is
prohibition. Qaadhi Abut Tayyib (who is among the Shaafi
Fuqaha) narrated from the Mashaaikh that it is haraam in
every circumstance to listen to the singing of a strange
woman, even if the woman is behind a screen. Qaadhi Abul
Husain has also explicitly claimed the prohibition of
listening to a female singing. There is no difference in this
regard.”
Imaam Azrai (rahmatullah alayh) stated with greater
clarity that under no circumstances whatsoever is it
permissible to listen to the singing of a woman or a lad
regardless of whether the singer is a source of fitnah or not.
Even if the singer is not a medium of fitnah, the very act of
listening to singing pollutes the soul and incites carnal
passion…….For safety against this evil passion, listening to
singing has been decreed haraam. This hurmat (prohibition)
is so clear that no fair-minded person will reject it.
Imaam Azrai narrating from Imaam Qurtubi (rahmatullah
alayh) said: “Even according to the majority of those who
say that singing (without music) is permissible, listening to
the singing of a woman is haraam. Whether the audience
consists of only males or only females. In fact, it is haraam to
listen to a strange woman reciting even the Qur’aan or duas
because her voice incites passion and there is the danger of
falling into evil.” (Kaf-fur Ruaa’)
SAUTUSH SHAITAAN
57
“Striking the duff on a marriage and circumcision
occasion is permissible. However, besides these two
occasions, the Author of Al-Muhazzab, Baghawi and others
say that it is haraam.”
If invited to a Walimah which is free of evil and haraam
acts, it is Waajib to attend. This Wujoob (compulsion) falls
away if there are musical instruments and singers at the
function. In Kitaabul Majmoo’-Sharhul Muhazzab, which is
an authoritative kitaab of the Shaafi Math-hab, it appears as
follows:
“If invited to a walimah where there are evils such as wine
and musical instruments, leave alone singers and dancers
and the like, then if one is aware of this (the presence of
musical instruments, etc.) before attending and one has the
power to eliminate it, then it is incumbent to attend because
it is Waajib to respond to the invitation and to eliminate the
evil. If one is unable to eliminate the evil, then it is not
incumbent to attend nor Mustahab…..”
The most authentic and official position of the Shaafi
Math-hab, despite differences, is that singing without musical
instruments is Makrooh With regard to sounds produced with
instruments, the Shaafi Math-hab categorizes these into three
classes: Haraam, Makrooh and Mubaah (permissible). The
permissible category applies to only the duff. This is
explained in Kitaabul Majmoo’ as follows:
“The Mubaah kind is the duff. It is permissible to strike the
duff on marriage and circumcision occasions. It is not
permissible to strike it at other times besides these two
occasions……It is narrated that when Umar (radhiyallahu
anhu) would hear the sound of a duff he would investigate. If
it was a marriage or circumcision occasion, he would
maintain silence. If it was a function other than these two, he
would proceed towards them with a whip.”
SAUTUSH SHAITAAN
58
(10) The Hambali Math-hab is similar to the Shaafi Math-
hab regarding the rulings pertaining to music and singing.
The following ruling appears in Al-Mughni, the authoritative
Fiqh kitaab of the Hambali Math-hab:
“The instruments of amusement are of three kinds The first
is Haraam. (After listing a number of instruments
individually, it is mentioned): And haraam are all musical
instruments……because it is narrated that Ali (radhiyallahu
anhu) said: ‘Verily Nabi (sallallahu alayhi wasallam) said:
‘When in my Ummah 15 practices become rampant,
calamities will descend on them……” He then mentioned one
of them being the profusion of musical instruments and
amusements.” …
Abu Umaamah (radhiyallahu anhu) narrated that Rasulullah
(sallallahu alayhi wasallam) said: ‘Verily, Allah sent me as a
mercy to the worlds and He has commanded me to destroy
musical instruments (ma-aazif and mazaameer).”
(11) The most authentic and official verdict of the Maaliki
Math-hab is also prohibition. Discussing this question, and
after mentioning the differences, the Maaliki Faqeeh, Shaikh
Abu Abdullah Al-Maghribi, states in Mawaahibul Khaleel-
Sharh Mukhtasar Khaleel:
“Saabbagh said: ‘I heard Ibnul Qaasim: He was asked
about a person who is invited to a feast. On arrival there he
finds amusement taking place. Should he enter? He (Ibnul
Qaasim) said: ‘If the amusement is a little such as the duff
with which women play, then I do not see anything wrong.’
Asbagh said: ‘I do not approve of it. He should return (i.e.
not enter the place). Verily, Ibn Wahab informed me that he
had heard Imaam Maalik being questioned about attending a
feast where amusement is taking place. He (Imaam Maalik)
said: ‘I do not approve of a man of honour to be present at
amusement.’ Ibn Wahab informed me that Imaam Maalik
SAUTUSH SHAITAAN
67
(5) Imaam Abu Yusuf (rahmatullah alayh) was asked: “If
a woman plays with the duff besides the occasion of
marriage, without indulging in any sin, but for some other
reason, e.g. to lull and silence her baby, do you say that this
is also Makrooh?” Imaam Abu Yusuf (rahmatullah alayh)
replied: “It is not Makrooh. But I believe that it is sinful to
beat the duff for singing, play and amusement.”
(Muheet Sarakhsi)
(6) “Zimmis (non-Muslim citizens of the Islamic state)
will be prevented from all shameless and immoral acts, riba,
music and singing, and from every such play and amusement
which are haraam even in their religion. These things are
forbidden in all religions and are considered major sins. And
the testimony of a person who sings for an audience will not
be accepted because it is an act of fisq (immorality).”
(Majmu-atul Hafeed)
THE HANAFI MATH-HAB – SUMMARY
(1) There is unanimity on the prohibition of singing even
without musical instruments if the singing is for play,
amusement, or deriving carnal pleasure or for an audience.
(2) The duff to which is attached jingling bells is also
unanimously haraam.
(3) There is difference of opinion regarding playing the
plain, primitive duff on wedding occasions.
(4) Singing for an audience is absolutely haraam.
(5) It is permissible to sing in solitude to banish loneliness
provided the song does not consist of immoral statements,
and it has not developed into a habit.
(6) All musical instruments are haraam.
SAUTUSH SHAITAAN
66
“There is difference among the Ulama regarding singing
(without instruments). According to one group it is
permissible while another group says that it is not
permissible. The most authentic version narrated from
Imaam Abu Hanifah, Imaam Maalik and Imaam Shaafi
(rahmatullah alayhim) is that such singing (i.e. singing
without instruments) is Makrooh Tahrimi (which is a sinful
and a forbidden act).”
The claim that there is no narration of Imaam Abu Hanifah
(rahmatullah alayh) on this question is incorrect. In is clearly
stated in Bahrur Raa-iq that Imaam Muhammad (rahmatullah
alayh) had declared unlawful a bequest which is made in
favour of a singer since singing is regarded as sinful. This
mas’alah is therefore substantiated on the basis of the
Aimmah of the Ahnaaf.
Furthermore, Imaam Abu Bakr Jassaas (rahmatullah alayh)
has narrated that in the tafseer of the aayat, “They (the
Mu’mineen) do no attend zoor” , Imaam Abu Hanifah said:
“Zoor means singing”.
(3) “To sing for an audience even without musical
instruments is a kabeerah (major) sin.”
(Fataawa Khairiyyah)
(4) “Among the Fuqaha there is difference of opinion on
the question of singing without music. According to some
Fuqaha singing is totally haraam and it is sinful to
intentionally listen to it. However, if the sound comes to the
ears unintentionally, then it is not sinful. According to others,
if the singing is in privacy by an individual for banishing
loneliness, then it is permissible. But the condition for this
permissibility is that it must not be for mere play and
amusement. Shamsul Aimmah Sarakhsi also inclines to this
view.” (Fataawa Khairiyyah)
SAUTUSH SHAITAAN
59
was asked about the duff, the musical reed and other
(instruments) of play whose pleasure you experience while
you are in the road or at a gathering, etc. Imaam Maalik
said: ‘It is my opinion that he should leave that
gathering.’……..Asbagh said: ‘It is not permissible for men
to beat the duff which has been made permissible for women
on the occasion of marriage. And, whatever is not
permissible for them to do, it is not permissible for them to
attend (such functions). Besides the duff nothing else is
permissible for women, neither singing with it (the duff) nor
the baraabit (a musical instrument) nor the mizmaar
(musical reed). All this is haraam. It has been made haraam
in happiness as well as on other occasions except beating the
duff a little…….’ Asbagh said: ‘Verily, Umar Bin Abdul
Azeez instructed (his governors) to put a stop to all kinds of
amusement except only the duff on marriage
occasions.’……Qaasim Ibn Muhammad said: ‘When Haqq
and baatil will be gathered on the Day of Qiyaamah, singing
will be of the baatil, and baatil will be in the Fire. Asbagh
said: ‘And all baatil is haraam for the Mu’mineen.”
The following statement of Imaam Maalik (rahmatullah
alayh) has been reported in Al-Mudawwanah:
“Difaaf (duffs) and Ma-aazif (musical instruments of all
kinds) are Makrooh (detested and prohibited) on marriage
occasions and on other occasions (as well).”
(Mawaahibul Khaleel)
THE DUFF
The modernist deviates who labour intensely to legalize
musical instruments and singing with the accompaniment of
such instruments have miserably failed to provide even a
single Hadith in substantiation of their claim. The most
which they have been able to venture is some Ahaadith in
which the duff is mentioned. On the basis of the
SAUTUSH SHAITAAN
60
permissibility of the duff, the deviates seek to legalize a
whole edifice of shaitaani music and singing which
Rasulullah (sallallahu alayhi wasallam) had described as the
voice of shaitaan.
Besides the duff, no other musical instruments are
entertained by the Ahaadith for any permissibility. On the
contrary, there exists a large volume of Hadith narrations
prohibiting musical instrument and even singing without
instruments.
Inspite of the permissibility of the duff, primarily as an
instrument of announcement, not for production of music, the
Authorities of the Shariah differ on even this permissibility.
While acknowledging its permissibility on only special
occasions such as marriage, circumcision and war, the
Fuqaha have not issued a ruling of blanket permission for the
use of the duff. The many narrations which appear in the
aforegoing pages discuss the conditions for the permissibility
of using the duff on marriage occasions. These are basically:
(1) To be used on only marriage, circumcision and war
occasions.
(2) There should prevail no haraam act at the function.
Any evil or haraam act being perpetrated at the function
renders the striking of the duff also haraam.
In fact, according to many Fuqaha only women are
allowed to beat the duff on marriage occasions.
The attitude of the Sahaabah too makes it abundantly clear
that the duff was not allowed to be beaten or played at all
times. The action of Hadhrat Umar (radhiyallahu anhu),
already mentioned, – setting of with his whip if it was no a
marriage occasion – as well as of other senior Sahaabah, is
ample testimony for the circumspection of the Shariah
towards the duff.
The Ahaadith also state with clarity that the primary
purpose of the duff was to publicly announce a Nikah. The
relevant Ahaadith have already been mentioned. While it is
SAUTUSH SHAITAAN
65
haraam. There exists consensus of the Ummah that it
is absolutely haraam for a man to listen to the
singing of a ghair mahram female.
This narration thus has no merit and cannot be cited in
substantiation of musical instruments. The furthest that can
be imagined here is the permissibility of the duff, not
permissibility for musical instruments.
MORE RULINGS OF THE FUQAHA
HANAFI MATH-HAB
(1) Allaamah Ibn Nujaim (rahmatulah alayh) states:
“Bazzaazi (rahmatullah alayh) says in Manaaqib that there
exists Ijma’ (Consensus) on the prohibition of all singing
with the accompaniment of musical instruments. There is,
however, difference of opinion on the question of singing
without musical instruments. There is no narration on this
from Imaam Abu Hanifah or his two Companions. However,
according to Binaayah Wan Nihaayah, singing for play and
amusement was haraam in all heavenly Shariats (i.e. the
Shariats which were revealed to the earlier Ambiya—
alayhimus salaam)……From this text of Imaam Muhammad
it is proven that to sing even alone (without musical
instruments) is haraam.” (Bahrur Raa-iq)
(2) However, according to Allaamah Ramali (rahmatullah
alayh) there does exist difference on the issue of singing
without instruments, especially when singing alone in
privacy, not for an audience. There is absolutely no
difference of opinion among all Authorities of all Math-habs,
from the era of the Sahaabah, that singing for an audience is
haraam. Such a singer is Mardudush Shahaadah (i.e. his
testimony is not acceptable in the Shariah). He writes in
Fataawah Khairiyyah:
SAUTUSH SHAITAAN
64
marriage occasions only the duff – not other musical
instruments – may be employed.
The different Ahaadith, statements and practices of the
Sahaabah and Taabieen pertaining to the duff establish the
following Shar’i Rulings:
(a) Striking the duff on marriage occasions is permissible.
(b) If musical instruments are also present, then even the
duff becomes haraam.
(c) The permissibility is only for marriage and war
occasions.
RECONCILIATION
An argument presented by the deviates is that Rasulullah
(sallallahu alayhi wasallam) did listen to a lady who was
singing for Hadhrat Aishah (radhiyallahu anha) while she
(the lady) was beating on a metal tray which served the
purpose of a duff. This is an apparent conflict with the many
Ahaadith of prohibition. The Authorities of the Shariah
respond to this narration in the following manner:
• This narration is dhaeef and munkar. It is thus not
authentic.
• This narration is in conflict with all the authentic
Ahaadith which prohibit singing and music.
• Even in this narration, the following comment is
attributed to Rasulullah (sallallahu alayhi wasallam):
“Shaitaan has blown into her nostrils.”
• If at all this narration could be said to be authentic, it
refers to an incident prior to the prohibition.
• The fact that Rasulullah (sallallahu alayhi wasallam)
said: “Shaitaan has blown into her nostrils”, testifies
for the satanism of the singing.
• In terms of this narration it is permissible for a man to
listen to a ghair mahram female singing. But in the
unanimous ruling of all the Fuqaha of the Four
Math-habs, all the Mashaaikh and Sufiyah this is
SAUTUSH SHAITAAN
61
conceded that little girls were permitted to beat the duff and
even sing along with it, this was not generally allowed nor
was it something organised. It was part of Arab culture which
was tolerated to a certain degree as long as it was an
impromptu performance confined to certain occasions.
The statements of the Sahaabah confirm that the duff was
allowed only on wedding and circumcision occasion. The
apparent conflict of the categoric assertions of the Sahaabah
in this regard and the general prohibition implemented
against the duff by Hadhrat Umar (radhiyallahu anhu) and
other Sahaabah—the conflict with the Hadith which informs
of the little girls singing with the duff for Hadhrat Aishah
(radhiyallahu anha) during her childhood days—is due to the
fact that the prohibition of all musical instruments and
singing was gradually implemented in the same way as the
prohibition of liquor. Thus, if someone produces a Hadith in
which a Sahaabi is reported to have consumed alcohol, this
cannot by any stretch of imagination be cited as a basis for
legalizing liquor.
Similarly, the Ahaadith and Qur’aanic aayaat which
categorically criticize and prohibit singing and music
override and abrogate whatever permissibility can be gleaned
from different Ahaadith. Practices were abolished over a
period of 23 years.
However, just as there are exceptions to almost every
general rule, so too did Nabi (sallallahu alayhi wasallam)
exclude the duff of marriage occasions from the general
prohibition. This exclusion is abundantly clear from the
statements of various Sahaabah who had unambiguously
asserted that Rasulullah (sallallahu alayhi wasallam) had
made the exception of the duff for marriage occasions, etc.
In view of the exception made by Rasulullah (sallallahu
alayhi wasallam), the Fuqaha of the four Math-habs also are
of this same view, viz., the prohibition of all musical
SAUTUSH SHAITAAN
62
instruments and singing with the exception of the duff for
marriage occasions.
If there had existed general permission to use the duff at all
times, it would then be inconceivable for the Sahaabah and
the Aimmah-e-Mujtahideen to have ruled to the contrary.
Some Fuqaha who are of the opinion that the duff is totally
excluded from the prohibition have adopted the view of those
Taabieen who were not aware of the duff coming within the
purview of the general prohibition for occasions other than
marriage. This is confirmed by the following narration:
“Hadhrat Aamir Bin Sa’d says: ‘On one marriage
occasion I met Hadhrat Qurzah Bin Ka’b (radhiyallahu
anhu) and Hadhrat Abu Mas’ud Ansaari (radhiyallahu
anhu). Nearby some little girls was singing. I said: ‘You both
are the Sahaabah of Rasulullah (sallallahu alayhi wasallam)
and of the People of Badr, but this (singing) is happening in
front of you.’ They responded: ‘If you wish, you may sit and
also listen, and if you wish, you may leave. We were granted
permission for amusement on marriage occasions.”
This narration indicates that Hadhrat Aamir Bin Sa’d
(rahmatullah alayh) while aware of the general prohibition of
singing, was unaware of the exception which was made for
marriage occasions. There were many others too who were
unaware although they were aware of the general prohibition
of music and singing.
From the numerous Hadith narrations it transpires with
clarity that the difference of the Sahaabah and Taabieen
pertain to only the duff, not to musical instruments in general.
One view is permissibility of the duff at all times provided no
evil and haraam acts are associated. The other view is that
the duff is permissible only on marriage occasions. This latter
view has greater credibility and more narrations to support it.
It is of vital importance to take note that none of the
Authorities of the Shariah, even those who believe the duff to
SAUTUSH SHAITAAN
63
be permissible for all occasions, had attempted to legalize
musical instruments on the basis of the permissibility of the
duff. Inspite of accepting the permissibility of the duff, this
permissibility was not extended to musical instruments. It is
a permissibility peculiar to the duff. If it were not for the
various Hadith narrations, the Fuqaha would never have
permitted the duff. However, since this ruling of
permissibility is based purely on Nass (Hadith), it cannot be
refuted. Nevertheless, since it is in conflict with rational
reasoning (Qiyaas) in view of the general prohibition of
musical instruments, it (the ruling of permissibility) will be
confined to the duff. This is in terms of the principles of the
Shariah governing the validity of Qiyaas. A ruling which is
in conflict with Qiyaas may not be transferred to another act.
Another factor of importance is the unanimous prohibition
of the duff if it is accompanied by other musical instruments.
Although this is the position of the Shariah, we find the
modernist deviates, abandoning the duff, but attempting to
extend its permissibility to musical instruments in general.
While the Fuqaha confine the permissibility of only the duff
to marriage occasions, the modernist deviates abandoning the
duff, seek to transfer its permissibility to musical instruments,
not only for marriages, but for all time.
The culture of the duff has died almost everywhere, except
in some primitive Muslim societies. If the modernists are so
keen on the duff narrations, they should content themselves
with striking the duff, not play musical instruments and
indulge in shaitaani and nafsaani singing of immoral songs
acquired from fussaaq, prostitutes, pop-groups, drugsters and
the kuffaar of the west and east. It is palpably silly and
ludicrous to present the duff-narrations in justification of
western and eastern shaitaani music and singing, and for
wholesale legalization of all sorts of musical instruments
invented by shaitaan when the Shariah has ruled that on