Part 6

This was stated by the great critical scholar of hadith, Shaykh Ibnus-Salaah, in his celebrated work, Uloomul Hadeeeth (his treatise on the science or methodology of hadith criticism and assessment). In his commentary of Saheehul Bukhaari, entitled Fat-hul Baari, Ibn Hajar mentioned Ibnus Salaah's meticulous refutation of Ibn Hazm's statement.(*50) Among the other great critical scholars of hadith who mentioned that the isnaad is soundly connected (mowsool) is Ibn Hajar's shaykh, Al-Haafidh Al-Iraaqi. He stated that the isnaad is found connected in Al-Ismaa'eeli's work, entitled Al-Mustakhraj, which collects together other chains of narrators (or similar ones) for the same hadeeths mentioned in Al-Bukhaari's collection. And finally, there is Ibn Hajar's distinctive work, Taghleequt Ta'leeq, a rare and stupendous masterpiece, which brings together connected, authentic chains (asaneed) of transmitters for those traditions which appear in Al-Bukhaari's compilation in the form of the disconnected (mu'alliq) type of hadith, thereby dispelling accrued misconceptions regarding the claim of "weak" hadeeths occuring in the text (matn) of Al-Jaamis As-sahih.(*51) After quoting other complete, authentic chains(*52) for the tradition under study, along with the sources wherein such chains of transmitters are mentioned,(*53) Ibn Hajar concludes by emphasizing (in reference to Al-Bukhaari's narration): "This is an authentic hadith. It has no deficiency or defect, and there is no point of weakness for any attack to be made on it. Abu Muhammed Ibn Hazam labeled it as defective by virtue of his claim that there is a break [intiqaa'] in the chain between Al-Bukhaari and Sadaqah bin Khaalid and because of the difference of opinion regarding the name of Abu Maalik(*54) As you've seen, I have quoted nine fully-connected chains of transmission (asaneed) whose narrators are thoroughly dependable. As for the difference regarding the kunyah of the companions, they are all of impeccable repute. Further more, in Ibn Hibbaan's narration, the transmitter stated that he heard from both of them...(*55) I have in my possession yet other chains which could be presented here, however, I would not like to prolong this subject further by mentioning them. In what we have stated there is enough proof for the sensible, thinking person. And Allah is the grantor of success."(*56) In short, this particular narration of Al-Bukhaari is authentic and consequently constitutes a valid and binding text to be referred to in determining the ruling (hukm) regarding music. It should be mentioned that certain modern-day writers, who blindly imitate previous scholars by quoting their views without applying the critical sciences of hadith research, have merely parroted the position of Ibn Hazm, and due to this, have caused many unwary persons to go astray regarding this issue. For example, Yoosuf Al-Qardaawi, in his popular book, entitled Al-Halaal wal Haraam fil Islam,(*57) says in regard to the extant hadeths on music: "As for what has been mentioned by way of prophetic traditions [relating to the subject of music], all of these have been assessed to have some point or another of weakness according to the fuqahaa of hadith and its scholars.(*58) The Qaadi Abu Bakr Ibnul-Arabi said, 'There is no authentic hadith prohibiting singing.' And Ibn Hazm said, 'Every hadith related [prohibiting music and singing] is false and forged."(*59) Unfortunately, the statement that "all" the narrations are weak according to "scholars of hadith" is a gross error on Al-Qardaawi's part and is not the result of meticulous critical research. Rather, it is due to an uncritical, blind acceptance of the words of Ibn Hazm and Ibnul-Arabi. Ibn Hazm was no doubt a virtuous, sharp-minded scholar; however, in the area of hadeth assessment and verification (as is the case in many aspects of his school of Dhaahiri fiqh), he has certain untenable and unfounded, even some very abnormal views.(*60) The accomplished hadith scholar and student of Ibn Taymiyyah, Al-Haafidh Ibn Abdul-Haadi, says of Ibn Hazm that "he often errs in his critical assessment of the degrees of traditions and on the conditions of their narrators."(*61) In fact, there is unanimous consensus among the most reputable critical scholars of hadith regarding Ibn Hazm's erroneous assignment of a ruling of d'af (weakness) to Al-Bukhaari's hadith. Regarding the degree of this hadith, the views of Ibnus-Salaah, Ibn Hajar Al-Asqalaani and Al-Haafidh Al-Iraaqi have already been mentioned. Among the qualified scholars who also agree with his assessment are the great scholars, Ibnul-Qayyim and Ibn Taymiyyah. Ibnul-Arabi is similar to Ibn Hazm in that he is quick to give a ruling of forgery or weakness on a hadith, without the necessary, detailed analysis and synthesis of all extant chains of narration relating to the subject. Had he executed such an analysis, undoubtedly he would have arrived at a sound decision and avoided much blame and censure. Having established the authenticity of the aforementioned narration recorded in Imam Al-Bukaari's compilation, the meaning of his hadith and its stand as an indisputable proof of the unlawfulness of music may now be discussed. COMMENTARY ON ALBUKHAARI'S hadith: The portion of Al-Bukhaari's hadith, which is presently of concern, is that segment whose text states: "There will be a people of my ummah [nation] who will seek to make lawful: fornication, the wearing of silk, wine-drinking and the use of musical instruments..." The word of consequence here is the Arabic term 'ma'aazif'. In order to discover what it implies, one must turn to Arabic dictionaries of hadith terms and other scholarly works.