ī ā

ī ā 2

First Print 2012

Muslim Judicial Council – Department of Quranic Affairs
Little Street, Athlone
Western Cape
South Africa
Phone: 0216961506/8
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Email: dqa@mjc.org.za

No part of this book may be reproduced, stored, or transmitted in

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system without prior written permission from the Department of
Quranic Affairs.
 ī ā 3
Contents

Contents

Introduction 4
Acknowledgements 5
System of transliteration 6

Definition of a Qirā`ah, Riwāyah and Tarīq 7

Turuq of Hafs 8

Tarīq of Misbāh 9
Short biography of Abū al-Karam al-Mubārak 10

Sanad of Hafs to the Prophet  11

Sanad of Abū al-Karam to Hafs 12
Sanad of Ibn al-Jazarī to Abū al-Karam 13
My sanad to Ibn al-Jazarī 14

Biography of Sheikh Sa˘īd ˘Abd Allah 15

Poem of Sheikh Sa˘īd 18
Commentary on the poem 19

Biography of Sheikh Zāyid Shanqītī 35

Poem of Sheikh Zāyid 37
Commentary on the poem 39

Table with differences between the Shātibiyyah and Misbāh 49

Bibliography 50
 ī ā 4
Introduction

Introduction

The purpose of this book is to equip the student intending to read for the
narration of Hafs via the tarīq of Misbāh with the necessary knowledge
regarding the tarīq. So, when the student presents himself in front of the
teacher, he has sufficient knowledge of the tarīq in order to render a
correct recitation thereof. Many students who recite abroad for this
particular tarīq receive ijāzah for it; yet, have little knowledge regarding
the manner of application and how the tarīq works. There are numerous
Arabic texts, poems and brief commentaries found regarding the
explanation of this tarīq. I have particularly chosen the poems of Sheikh
Sa˘īd ˘Abd Allah and Sheikh Zāyid al-Adhān due to the simplicity and
brevity of their poems. With this booklet, those students who are unable
to approach Arabic texts, or do not have the appropriate knowledge to
deal with such texts, now have the privilege to study the dynamics of
the tarīq in English.

The format I adopted in writing this booklet is by means of drawing a

comparison between the tarīq of Misbāh and the tarīq of the Shātibiyyah. I
define all the terms, coupled with explanations, so that the student
understands the rules applied in both turuq under discussion. In this
manner, the first poem – the poem of Sheikh Sa˘īd al-Abdullah – has
been explained. In the second poem, that of Sheikh Zāyid al-Adhan, I
opted for brevity and to bring to mind the differences in the tarīq of
Misbāh only.

I write this book only with the assistance of My Creator, beseeching Him
to accept this humble effort. I pray that Allah accepts it and hope that it
serves its full potential and purpose which it had been written for. May
Allah allow every individual who reads it to gain maximum benefit
from it, and may it be a means of increasing and drawing them closer to
Allah through the Glorious Qur`ān, Inshā-Allah. Āmīn.

Ayesha Abrahams
 ī ā 5
Acknowledgements

Acknowledgements

Firstly, I praise and thank Allah the Almighty for His countless blessings
and favours which He bestowed upon me, as nothing can be achieved or
accomplished except through His Will.

Also, I thank my parents: my mother for her encouragement and

patience, and my father for his constant concern and effort upon my
sisters and myself in striving to attain the knowledge pertaining to the
Glorious Qur`ān.

I am ever grateful towards my honourable teachers, in particular

Moulana Saleem Gaibie and Sheikh Abdurahmaan Davids, who are the
source of my inspiration, guidance and enlightenment. I am unable to
have compiled a book of such a nature had it not been for their constant
guidance and assistance.

I humbly pray that Allah increase them in beneficial knowledge, and

continue to accept them for the service of Qur`ān, and may Allah grant
them the best of this world and of the Hereafter. Inshā-Allah. Āmīn.
 ī ā 6
System of Transliteration

SYSTEM OF TRANSLITERATION
Nr Arabic English Nr Arabic English
1 ‫أ‬ ` 17 ‫ظ‬ th
2 ‫ب‬ b 18 ‫ع‬ ‘
3 ‫ت‬ t 19 ‫غ‬ gh
4 ‫ث‬ th 20 ‫ف‬ f
5 ‫ج‬ j 21 ‫ق‬ q
6 ‫ح‬ h 22 ‫ك‬ k
7 ‫خ‬ kh 23 ‫ل‬ l
8 ‫د‬ d 24 ‫م‬ m
9 ‫ذ‬ dh 25 ‫ن‬ n
10 ‫ر‬ r 26 ‫ه‬ h
11 ‫ز‬ z 27 ‫و‬ w
12 ‫س‬ s 28 ‫ي‬ y
13 ‫ش‬ sh 29 ‫َا‬ ā
14 ‫ص‬ s 30 ‫ِْي‬ ī
15 ‫ض‬ d 31 ‫ُْو‬ ū
16 ‫ط‬ t 32 ‫َأ ْي‬ ay
33 ‫َأ ْو‬ ou

N.B. Arabic words are italicised, except in the following instances:

1- When they possess a current English usage.
2- When they occur as part of a heading or in a diagram.
3- When they are the proper names of people.

N.B.The sign for [‫ ] أ‬which is [`] will be omitted when the former appears at the
beginning of a word.
 ī ā 7
Definition of Qirā`ah, Riwāyah and Tarīq

The plural of the word qirā`ah is qirā`āt. Literally, it means to read or

recite. Technically, it is the differences in the wording of the Noble
Qur`ān, and attributing those differences to their respective transmitters.

u `
If any difference in reading is attributed to a qāri` (singular of qurrā`)
then it is known as a qirā`ah (reading). Initially, there were many qurrā`,
but nowadays there are 10 qurrā` (readers) whose qirā`āt (readings) are
authentic. All other qirā`āt besides these 10 are considered as being
shādhdh (anomalous).

The 10 qurrā` are: Nāfi˘ and Abū Ja˘far, both of Medina, Ibn Kathīr of
Mecca, Abū ˘Amr and Ya˘qūb of Basra, Ibn ˘Āmir of Damascus, while
˘Āsim, Hamzah, Kisā`ī and Khalaf, came from Kufa.

Rw y
The plural of riwāyah (narration) is riwāyāt. Literally, it means to carry
over, narrate or transmit. Technically, that which is attributed to the one
who transmits from any of the qurrā` is known as a riwāyah.

Ruw t
The transmitters (ruwāt) are those particular individuals who narrate
from one of the qurrā`, whether the transmission is direct from the qāri`
or not. From amongst the many transmitters, two were chosen for each
qāri`. The most eligible, prominent and outstanding two were selected.
Considering that there are 10 qurrā`, each having two transmitters, there
are therefore 20 narrators.

T īq
The plural of tarīq is turuq. Literally, it means a way or path. Technically,
it is that which is attributed to the one who narrates from the transmitter
(rāwī). It is as if the tarīq is the path used to reach the narration of the
transmitter.
 ī ā 8
Definition of Qirā`ah, Riwāyah and Tarīq

Turuq of Hafs
The narration of Hafs is transmitted via 52 turuq. The turuq are divided
into two types: the primary turuq and the secondary turuq. The primary
turuq are those who transmit directly or indirectly from the transmitter,
and the secondary turuq are those who narrate via the primary turuq.
The narration of Hafs is firstly narrated via two turuq, ˘Amr Ibn al-
Sabbāh and ˘Ubayd Ibn al-Sabbāh. The primary turuq which are four
branches off from ˘Amr and ˘Ubayd, two stemming off from each: Abū
Tāhir and al-Hāshimī via Ushnānī from ˘Ubayd, with Fīl and Zar˘ān
from ˘Amr. This is illustrated in the following diagram:

Hafs

˘Amr ibn al-Sabbāh ˘Ubayd ibn al-Sabbāh

Al-Ushnānī

Zar˘ān Fīl Abū Tāhir Al-Hāshimī

Furthermore, from these four, the 52 turuq of Hafs stem: 10 from al-
Hāshimī, 14 from Abū Tāhir, Fīl and Zar˘ān. There is no accepted
manner of transmission linked to Hafs except that it is via one of these
four ways: al-Hāshimī, Abū Tāhir, Fīl and Zar˘ān. Any transmission
from Hafs via these four primary turuq will be from among the
secondary turuq, which are documented in the books of Qirā`āt.

The variances in the narration of Hafs differ from one tarīq to another
e.g. applying qasr to madd munfasil is narrated from all the turuq
stemming from ˘Amr, while applying madd in madd munfasil is narrated
from those turuq which stem from ˘Ubayd. These variations in readings
may be consistent (usūl) or inconsistent (farsh), and are clearly
documented in the many books of Qirā`āt. Thus, one commonly states
that he is reciting a narration via the tarīq of the Shātibiyyah, the Taysir, al-
Misbah, al-Roudah etc.
 ī ā 9
Definition of Qirā`ah, Riwāyah and Tarīq

The Tariq of al-Misb h

The tarīq of Misbāh is one of the secondary turuq which specifically refers
to the book, al-Misbāh al-Zāhir fī al-Qirā`āt al-˘Ashr al-Bawāhir by Abū al-
Karam al-Shahrazūrī. In it, he documents his transmission for each of the
Ten Qirā`āt, similar to Imam al-Shātibī who documented his
transmission of the Seven Qirā`āt in his book, Hirz al-Amānī wa Wajh al-
Tahānī, better known as the Shātibiyyah. The tarīq of the Shātibiyyah is the
most commonly read tarīq for the narration of Hafs. The tarīq of Misbāh
passes through three primary turuq of Hafs: Abū Tāhir, Fīl and Zar˘ān.
 ī ā 10
Biography of Abū al-Karam al-Mubārak

Abū l-Karam al-Mub k l-S zū ī1

He is Abū al-Karam al-Mubārak bin al-Hasan ibn Ahmad ibn ˘Ali ibn
Fathān bin Mansūr al-Ustādh Abū al-Karam al-Shahrazūrī.

He is recognised as a great leader, an exceptional scholar in the science

of Qirā`āt, an authentic, trustworthy narrator, a pious and exceedingly
generous person.

He authored the book, al-Misbāh al-Zāhir fī al- Qirā`āt al-Ashr al-Bawāhir,

which is considered one of the best in relation to what has been authored
concerning the science of Qirā`āt.

Before he passed away, he remained in an alert and wakeful state, still

spoke clearly and was calm and composed. He passed away on
Wednesday night, the 22 Dhū al-Hijjah, 550 A.H.

1Ghāyah al-Nihāyah Vol. 2 pg. 38.

 ī ā 11
Sanad of Hafs to the Prophet 

Sanad of Hafs to the Prophet 

The Prophet 

Ubayy ibn Ka˘b  Zayd ibn Thābit  Ibn Mas˘ūd  ˘Ali  ˘Uthmān 

Abū ˘Abd al-Rahmān al-Sulamī

˘Āsim ibn Abī al-Najūd

Hafs ibn Sulaymān

 ī ā 12
Sanad of Abū al-Karam to Hafs

San d of Abū l-Karam to the Hafs

 ī ā 13
Sanad of Ibn al-Jazarī to Abū al-Karam

Sanad of Ibn al-J z ī to Abū l-Karam al-Mub k

Abū al-Karam al-Mubārak al-Shahrazūrī

Abū al-Fadl Muhammad ibn Yūsuf al-Ghaznawī

Al-Kamāl ˘Ali ibn Shujā˘

Abū˘Abd Allah Muhammad al-Sā`igh

˘Abd al-Rahmān ibn al-Baghdādī Muhammad ibn al-Sā`igh AbūBakr ibn al-Jundī

Abū al-Khayr Ibn al-Jazarī

 ī ā 14
My sanad to Ibn al-Jazarī for Hafs via Misbāh

My sanad to Ibn al-J z ī for Hafs v t e t īq of M sb

Ibn al-Jazarī

Ahmad ibn Asad al-Umyūtī

Muhammad al-Samadīsī

Ibn Ghānim al-Maqdisī

˘Abd al-Rahmān al-Yemenī

Muhammad al-Baqarī

Ahmad al-Baqarī

˘Abd al-Rahmān al-Ujhūrī

Ibrāhīm al-˘Ubaydī

Ahmad Salamūnah

Ahmad al-Durrī al-Tihāmī

Muhammad ibn Ahmad al-Mutawallī

Hasan al-Juraysī al-Kabīr ˘Abd al-Fattāh Hunaydī

˘Abd al-Rahmān al-Khatīb
Ibrāhīm Sa˘d al-Misrī
˘Ali al-Dabbā˘
˘Abd Allah al-Makkī ˘Abd al-˘Azīz al-Zayyāt
˘Abd al-Qādir Quwaydir
˘Abd al-Rahmān al-Makkī
Kurayyim Rājih
Muhibb al-Dīn
Ahmad Mustafā Abū Hasan
Muhammad Fahd Khārūf
Anīs Ahmad Khān
Ayman Baqlah
Ayyūb ibn Ibrāhīm Ishāq Hasan Mustafā al-Warrāqī

Salīm ibn Ismā˘īl Ghaybī

Idrīs al-Malāwī

˘Abd al-Rahmān Davids

Ayesha bint Hanīf Abrahams

 ī ā 15
Biography of the author – Sheikh Sa˘īd ˘Abd Allah

S ˘īd l-˘Abd All 2

His name is Sa˘īd ibn ˘Abdullāh al-Muhammad al-˘Abd Allāh al-Hissī

al-Hamawī. He was born in the blessed month of Ramadān, 1338
A.H/1920 C.E., in a village named al-Jinān, which is close to one of the
major cities, Himah, Syria.

He grew up in the village of al-Jinān, and also memorised the Holy

Qur`ān. Thereafter, he moved to Himāh, where he learnt and studied
various sciences under the scholars of Himāh. After his study of the
Seven Qirā`āt via the Shātibiyyah, he then travelled to Hims where he
embarked upon the study of the Minor and Major Ten Qirā`āt. Upon the
completion of his studies in Hims, he then returned to Himāh and
enrolled at Dārul ˘Ulūm al-Shar˘iyyah, where he gained expertise in
numerous subjects. He was later appointed as a lecturer of Qur`ān,
Qirā`āt, Tajwīd and Tafsīr at Dārul ˘Ulūm al-Shar˘iyyah.

In spite of him being afflicted with blindness from the age of six, he was
blessed with an astounding memory, and memorised numerous texts in
various fields and sciences. In Qur`ānic sciences, he memorised the
Shātibiyyah, the Durrah, the Tayyibah, Nāthimah al-Zuhr, the ˘Aqīlah; in
grammar, the Alfiyyah of Ibn Mālik and the Ājrūmiyyah; in Hadith, the
Alfiyyah of Suyūtī and the Bayqūniyyah. He also memorised books on
Tajwīd, Fiqh, Usūl al-Fiqh, Mantiq, and so on.

After the demise of his teacher in 1369 A.H/1950 C.E., he was

unanimously appointed as the Sheikh al- Qurrā` (Grand Sheikh) of
Himāh. He then established the Institute of al-Imām al-Shātibī, erected
to teach all aspects of Qur`ānic sciences: its language, recitation, Tajwīd,
Qirā`āt, Tafsīr, Rasm, and so forth. Sheikh Sa˘īd himself taught Tafsīr and
Qirā`āt for a number of years. Numerous students and many generations
graduated from his Institute.

2Imtā˘ al-Fudalā` Vol. 1 pg. 543.

 ī ā 16
Biography of the author – Sheikh Sa˘īd ˘Abd Allah

Due to his circumstances, in 1401 A.H/1981 C.E., he settled in Mecca.

Here he was appointed as a lecturer in Qur`ān and Qirā`āt at the Umm
al-Qurā University. In 1417 A.H. he retired, after teaching at the
university for a period of 16 years.

He was extremely generous and thus responsible for erecting a few

masjids in various locales. The Sheikh always had a deep concern for the
poor and destitute. His speech and talks were such that it would never
bore its listener, but left them delighted and yearning for more. He was
well known for his great deal of humility, his honourable character and
personality.

Teachers:
 Sheikh ˘Ārif al-Nūshī – he memorised the Qur`ān at his hands
until Sūrah Maryam.
 His father, Sheikh ˘Abd Allah al-Muhammad – he completed his
memorisation of the Qur`ān at his hands.
 Sheikh Nūrī As˘ad al-Shahnah – he memorised the Shātibiyyah by
him, as well as rendering the Seven Qirā`āt to him.
 Sheikh ˘Abd al-˘Azīz ˘Uyūn al-Sūd – he memorised the Durrah
and the Tayyibah by him. He also read the Three Qirā`āt of the
Durrah to him. He subsequently read all Ten Qirā`āt via the
Tayyibah to him until Sūrah al-A˘rāf. He received ijāzah from him
in all that he read.

Students:
 His teacher, Sheikh Nūrī As˘ad al-Shahnah – he read the Ten
Qirā`āt to him.
 Sheikh Muhammad Nabhān Misrī – he is of his most well-known
students.
 Sheikh Fāyiz ˘Abd al-Qādir Sheikh al-Zour – he read the Qirā`āt
of Nāfi˘, Ibn Kathīr, Abū ˘Amr and ˘Āsim to him.
 ī ā 17
Biography of the author – Sheikh Sa˘īd ˘Abd Allah

 Sheikh Yahyā al-Ghouthānī – he read the Qirā`āt Ibn Kathīr, Abū

˘Amr and ˘Āsim to him. He received ijāzah in all Ten Qirā`āt from
the Sheikh.
 Sheikh Ilyās Ahmad Husayn al-Barmāwī – he read half of the
Jazariyyah, as well as his poem of qasr to him. He also read till
Sūrah Āli ˘Imrān to him according to the narration of Hafs with
qasr, while combining the Qirā`ah of Abū Ja˘far with it as well.

Written works:
 Nashr al-˘Itr fī Bayān al-Madd wa al-Qasr – this work consists of
more than 400 lines of poetry.
 Summarized Sarīh al-Nass of Sheikh ˘Ali al-Dabbā˘ in poem form.
 Poem on Tahrīrāt for Warsh – this work consists of more than 150
lines.
 Al-Qoul al-Munīf fī Rasm al-Mushaf al-Sharīf.
 Poem on qasr for Hafs via the tarīq of Misbāh.

The Sheikh died after the ˘Asr Prayer on a Tuesday, 8 Rajab, 1425 A.H./24
August 2004 C.E.
 ‫‪ī‬‬ ‫‪ā‬‬ ‫‪18‬‬
‫‪The poem of Sheikh Sa˘īd and my sanad to it‬‬

‫‪Poem of S e k S ˘īd bn Muhammad al-˘Abd All‬‬ ‫‪on t e‬‬

‫‪t īq of M sb h for Hafs‬‬

‫ل ل ل ل ل ل ل ل ل ل ل ل ِ ِ ل ل ل ل ل ل ل ل ل ل ل ل ِ عب ل ل ل ل ل ل ل ل ل ل ل ل ِِ‬ ‫ُمْبَغِ ل ل ل ل ل ل ل ل ل ل ل ل َ ِ‬ ‫ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ِِ‬ ‫ص لللللللللللللل َ ِ للللللللللللللل ِ ِ‬ ‫ُم َ‬

‫سل ل ل ل ل ل ل ل ل ل ل ل ل ل ل َ ْ ِ ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ِِ الِت ِ ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ِْ‬ ‫صل ل ل ل ل ل لَِ ْنِ منفصل ل ل ل ل ل ل ِْ ِ‬ ‫قل ل ل ل ل ل ل ِ ل ل ل ل ل ل ل َح رِِ قْ ُ‬
‫حك ل ل ل ل ل َِ ل ل ل ل ل ل ِِ َ َ ْعِم ل ل ل ل ل ِقل ل ل ل ل ل ِ َ َحل ل ل ل ل ل ِْ‬ ‫ع ل لِ ل ل ل ل ل ل ر ِ َل ل ل ل ل ل ل ل ْ ِقَص ل ل ل ل ل ل ل لَِِهُِ ْ ل ل ل ل ل ل ل ل ْ ِ ِ ِْ ِ‬
‫ن ل ل ل ل ل ل ل ل ل ل ِتَل ْ َل ل ل ل ل ل ل ل ل ل ْ ِ س ل ل ل ل ل ل ل ل ل ل ِ ِح م ل ل ل ل ل ل ل ل ل ل‬ ‫ِِ‬
‫الِس ل ل ل ل ل ل ل ل لام ِ نِ ن ل ل ل ل ل ل ل ل ل َ ِ ل ل ل ل ل ل ل ل ل ِ ّم ل ل ل ل ل ل ل ل ل‬
‫ق ل ل ل ل ل ل ل ل ل ِْم ل ل ل ل ل ل ل ل ل نِ ل ل ل ل ل ل ل ل للنِط ل ل ل ل ل ل ل ل ل ِْ‬ ‫ص ل ل ل ل ل ل ِِ بص ل ل ل ل ل ل ْ ِ ص ل ل ل ل ل ل ِمص ل ل ل ل ل ل ِ‬
‫ِضل ل ل ل للب ِْ‬ ‫ِ‬
‫لعف ُِر ِ ط ل ل ل ل ل ْ ِ ُ ل ل ل ل ل ِ ل ل ل ل ل َ‬
‫ضل ل ل ل ل َ‬ ‫َ‬ ‫لنِف ل ل ل ل ر ِم ل ل ل ل ِ ّس ل ل ل ل ْ ِط ل ل ل ل ِْ‬ ‫لللل ِ للل َ‬
‫ِمع ل ل ل ل ِ ل ل ل ل ِ‬
‫لللل ِ ملللل ْ‬ ‫ل ل ل للك ِوِ‬ ‫ل ل ل ل ل ل ل ل ل ل ل ل ل َ ِ نِ ُ ل ل ل ل ل ل ل ل ل ل ل ل ل ِ ل ل ل ل ل ل ل ل ل ل ل ل ل ِِ‬
‫َظ ل ل ل ل ِ ّا ل ل ل ل ِ ل ل ل ل َ ِ ْر ل ل ل ل ِ ِ َم ل ل ل ل‬ ‫نل ل ل ل ل ل ل ل ل ل ل نِ ل ل ل ل ل ل ل ل ل ل ل ِ نل ل ل ل ل ل ل ل ل ل ل نِ ل ل ل ل ل ل ل ل ل ل ل ِْ‬
‫س ل ل ل ل ّك ْ ِط ل ل ل ل ِ ل ل ل ل قفِ ح ل ل ل ل رِ نِتَ ل ل ل ل ِِْ‬ ‫ال ِسالس ل ل ل ل ل ل ل ْ ِن ل ل ل ل ل ل ل نِ ت ل ل ل ل ل ل ل ِ نم ل ل ل ل ل ل ل ِْ‬
‫َ َا ل ل ل ل ل ل ل ل ا َِ ل ل ل ل ل ل ل ل ْ ِ َس ل ل ل ل ل ل ل ل ْك َ ِ ل ل ل ل ل ل ل ل ِ ِ ْمنع ل ل ل ل ل ل ل ل‬ ‫ت ق ل ل ل ل ل ل ل ل ل َلنِطِل ل ل ل ل ل ل ل ل ل ْ َِرْ َِت منل ل ل ل ل ل ل ل ل ل ِ َ ل ل ل ل ل ل ل ل ل ل‬
‫ر ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ِ غ ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ِطُ ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل ل‬ ‫ط ل ل ل ل ل ِعِ ل ل ل ل ل ِ ح ل ل ل ل ل ِ ِم ل ل ل ل ل ِ ل ل ل ل ل ِ ِ‬

‫‪Sanad through which I transmit this poem‬‬

‫‪Sheikh Sa˘īd ibn Muhammad al-˘Abd Allah al-Hamawī‬‬

‫‪Sheikh Ilyās ibn Ahmad Husayn al-Barmāwī‬‬

‫‪Sheikh Muhammad Salīm ibn Ismā˘īl Ghaybī‬‬

‫‪Ayesha bint Hanīf Abrahams‬‬

 ī ā 19
Commentary on the poem of Sheikh Sa˘īd

TEXT: 1
‫ُمـ َصـؾـ َي افـ ِؼ َقا ِم َوافـتـ َفـجـ ِد * ُمـ ْب َتـ ِغـ َي إَ ْجـ ِر بِـ َذا افـتـ َعـبـ ِد‬

TRANSLATION:
The one who stands in prayer, and keeps awake the night praying,
seeking reward through the means of this devout act of worship.

COMMENTARY:
The description of the individual unto whom the content of this poem is
most applicable and beneficial for is depicted in this line: the reciter of
the Qur`ān who stands in salāh (prayer). Reciting the Qur`ān in salāh is
one of the most noble and devout qualities, which should be imbibed
within the life of any reciter of the Qur`ān since it is deemed as the most
deserving and beloved manner whereby the Qur`ān may be recited. The
reciter of the Qur`ān should be known as one who remains awake at
night, or some portion of it, reciting in salāh while everyone is sleeping.
In doing so, he not only obtains the pleasure of Allah, but it increases
him in piety, humility and sincerity. It is such a time when nobody sees
him, standing for lengthy durations in qiyām (standing posture),
prolonging the sujūd (prostration), crying with his hands lifted as a
servant in need, supplicating Allah with utmost humility. Its reward is
priceless, as it serves as a means of him strengthening his relationship
with his Creator and gaining proximity to his Lord.

One of the praiseworthy virtues mentioned by the Messenger of Allah 

concerning recitation of the Qur`ān in salāh is as follows:
ِ ٍ ‫آن فـ َِؿ ْن َت َعؾ َؿ ُه َؾ َؼ َر َأ ُه َو َؿا َم بِ ِه َـ َؿ َث ِل ِج َر‬
ِ ‫آن َؾا ْؿر ُأوه َؾنِن م َث َل ا ْف ُؼر‬
ُ ْ ‫اب َم ْ ُشو م ْس ًؽا َت ُػ ْو ُح ِر‬
‫ي ُه‬ ْ َ ُ ْ َ َ ‫)) َت َعؾ ُؿ ْوا ا ْف ُؼ ْر‬
ٍ ‫اب ُأوـِى َظ َذ ِمس‬ ِِ ٍ
((‫ك‬ ْ ْ ٍ ‫ظ ََذ ُـل َم َؽان َو َم َث ُل َم ْن َت َعؾ َؿ ُه َؾ َ ْر َؿدُ َو ُه َو ِ ْف َج ْوؾه َـ َؿ َث ِل ِج َر‬

((Learn the Qur`ān, then recite it, for indeed the example of the Qur`ān
in relation to one who learns it, then recites and stands in salāh
(tahajjud) with it, is like the example of a bag filled with musk, its scent
emanate forth towards every place, and the example of one who learns
 ī ā 20
Commentary on the poem of Sheikh Sa˘īd

the Qur`ān and sleeps, whilst the Qur`ān is in his chest, is like the
example of a tied up bag of musk)).

The content of this poem is aimed at one who intends to read via the
tarīq of Misbāh. Many recite according to the aforementioned tarīq in
their supererogatory salāh because the applications, like the qasr in madd
munfasil, eases recitation as well as allows more to be read. It is pertinent
for the reciter to understand and comprehend the differences mentioned
in this tarīq. These differences are explained in the lines that follow:

TEXT: 2
‫ب َو َٓ ُتـطِـ ْل‬ ِ ‫اِ ْؿر ْأ بِـ َحدْ ٍر َوا ْؿـص ْن ف ِ ْؾؿـْـ َػ ِص ْل * َو َوش َطـ ْن ف ِـ َو‬
ٍ ‫اجـ‬ ُ َ ُ َ

TRANSLATION:
Recite, with a swift pace, and be sure to apply qasr to (madd) al-munfasil,
along with applying tawassut to (madd) wājib, and do not apply tūl…

COMMENTARY:
There are three stages of recitation in terms of the pace:
1. Hadr –
This is the fastest pace of recitation whilst adhering to all the rules of
Tajwīd.

2. Tartīl/Tahqīq –
This is the slowest pace, which is generally applied by one who is
reciting with the intention of perfecting or improving his application
of Tajwīd rules. He reads whilst concentrating on the pronunciation
of every letter and its respective harakāt.

3. Tadwīr –
This pace is a moderate pace, which is in between hadr and
tartīl/tahqīq.
 ī ā 21
Commentary on the poem of Sheikh Sa˘īd

It is important that the reciter adheres to all the rules of Tajwīd,

irrespective of whether he is applying hadr, tadwīr or tartīl/tahqīq. Any
reciter of the Qur`ān will apply one of these three paces in his rendition.

Hadr is generally applied when making qasr of madd munfasil, and is the
pace which is applied by most in salāh. For this reason, in the previous
line, the author first describes the one to whom this poem is most suited
and applicable for: the one standing in salāh. The tarīq of Misbāh allows
the reciter to recite at a swift pace.

The durations of madd munfasil, muttasil and ˘ārid li al-waqf are firstly
discussed in this line, as well as the beginning of the following line.3

Madd Munfasil
It is that madd where the letter of madd which is at the end of a word is
followed by a hamzah which appears at the beginning of the following
word. The ruling of this madd is jā`iz (permitted). It is therefore
permitted to lengthen its duration to qasr (2 harakāt), tawassut (4 harakāt)
or tūl (6 harakāt).

The tarīq of Misbāh will make qasr in madd munfasil which he transmits
via the tarīq of Fīl, from ˘Amr ibn al-Sabbāh.

Madd Muttasil
It is that madd where the letter of madd is followed by a hamzah in the
same word. The ruling of madd muttasil is wājib (compulsory), since it is
compulsory to lengthen it to such a duration which is longer than qasr.
Therefore it is known as madd wājib, as there is consensus amongst the
qurrā` that it will be lengthened longer than the duration of qasr. Even so,

3 NOTE: The author has chosen not to discuss the duration of madd lāzim, as
there is consensus upon the fact that it shall be lengthened to the duration of tūl.
Shaykh Sulaymān al-Jamzūrī states concerning madd lāzim:
َٓ‫ــو‬
ّ ‫ل َو َو ْؿـػ ًا َب ْعـدَ َمـد ُض‬
َ ‫ل * َو ْص‬ ُ ‫َوَٓ ِز ٌم إِ ِن افسـؽ‬
َ ‫ُـون ُأصــــ‬
 ī ā 22
Commentary on the poem of Sheikh Sa˘īd

difference of opinion does exist as regards to whether it should be

lengthened to the duration of tawassut, fuwayq al-tawassut4 or tūl.

The duration of tawassut will be made in madd muttasil when reading via
the tarīq of Misbāh.

TEXT: 3
ٍ ‫ض ب ْل َؿصه ا ْفـزَ م ُثم َأد * َأح َؽام َتـج ِو‬ ِ ‫ف ِـ َعـ‬
ْ‫يد َو َد ْع َم ْن َؿدْ َج َحد‬ ْ َ ْ ْ ْ ُ َ ْ َ ٍ ‫ار‬

TRANSLATION:
(Do not apply tūl) to madd ˘ārid, instead, adhere to the application of qasr
(therein). Then render (a proper recitation) of the rules of Tajwīd, and
certainly, leave the one who rejects (this).

COMMENTARY:
Madd ˘Ārid
It is that madd where the letter of madd is followed by a temporary sukūn.
It is known as the temporary madd because its sabab (cause), the sukūn, is
temporary. During wasl, the sukūn falls away and the original harakah on
the letter returns. The ruling of madd ˘ārid is that it is jā`iz (permitted),
meaning that it may be lengthened to the duration of qasr, tawassut or
tūl.

In this line it is stated that qasr should be applied to madd ˘ārid when
reciting the tarīq of Misbāh via Fīl. Considering that this is madd jā`iz,
tawassut and tūl may also be made in it. The most likely reason why the
author suggests that qasr should be adhered to is so that more recitation
of the Qur`ān is done instead of time spent in lengthening the recurring
madd ˘ārid. And Allah knows best.

In the second half of this line, advice has been directed at the reciter of
the Qur`ān: he should keep in mind and take into consideration each

4 Fuwayq al-tawassut equals 5 harakāt.

 ī ā 23
Commentary on the poem of Sheikh Sa˘īd

and every single rule and application of Tajwīd, reading to the best of his
ability.

TEXT: 4
‫ول َحـ ْت ًؿـا‬ ُ ِ ‫َٓ ِشق َؿـا إِ ْن ُـــْـ َت ِمـؿـ ْن َأمـا * بِافــ‬
ِ ‫اس َتـ ْؼـ َتـدْ بِافرش‬

TRANSLATION:
Especially, if you are of those who lead the people (in prayer), as you are
inevitably emulating the Messenger .

COMMENTARY:
In the previous line importance has been attached to taking extra care
and precaution of one’s recital. More so, the individual who leads people
in prayer, as he is fulfilling a position which only the noble and most
learned carry out, as well as upholding a position which the Messenger
of Allah  upheld. Furthermore, in prayer, one is communicating with
Allah while He attentively listens to the recitation of such a person.

TEXT: 5
‫ون بِافـسغَ َؾـطِ ْن‬
َ ‫اد َيـ ْب ُص ْط َب ْص َطـ ًة ُم َص ْقطِـ ٌر * َوا ْؿ َر ْأ ُم َسـ ْقطِـ ُر‬
ِ ‫بِافـص‬

TRANSLATION:
(Recite), with a sād in ‫ َيـ ْب ُص ُط‬, ‫ َب ْص َطـ ًة‬and ‫ ُم َص ْقطِـ ٌر‬. And recite ‫ ُم َس ْقطِـ ُرو َن‬with a sīn,
(whilst bearing) understanding.

COMMENTARY:
In this line four particular words are discussed:

1) ‫ َو َي ْب ُص ُط‬in Sūrah al-Baqarah, verse 245:

َ ‫اظ َػ ُه َف ُه َأ ْض َعا ًؾا ـَثِ َر ًة َواللُ َي ْؼبِ ُض َو َي ْب ُص ُط َوإِ َف ْق ِه ت ُْر َج ُع‬

﴾‫ون‬ ِ ‫لل َؿر ًضا حسـًا َؾق َض‬
ُ َ َ
ِ
ْ َ ‫﴿ َم ْن َذا افذي ُي ْؼ ِر ُض ا‬
 ī ā 24
Commentary on the poem of Sheikh Sa˘īd

2) ‫ َب ْص َط ًة‬in Sūrah al-A˘rāf, verse 69:

ٍ ‫َج ْبت ُْم َأ ْن َجا َءـ ُْم ِذـ ٌْر ِم ْن َربؽ ُْم ظ ََذ َر ُج ٍل ِمـْؽ ُْم ف ِ ُقـ ِْذ َرـ ُْم َوا ْذـ ُُروا إِ ْذ َج َع َؾؽ ُْم ُخ َؾ َػا َء ِم ْن َب ْع ِد َؿ ْو ِم ك‬
‫ُوح‬ ِ ‫﴿ َأ َوظ‬

َ ‫اْل ْؾ ِق َب ْس َط ًة َؾا ْذـ ُُروا َآٓ َء اللِ َف َعؾؽ ُْم ُت ْػؾِ ُح‬
﴾‫ون‬ َ ْ ‫َوزَ ا َدـ ُْم ِف‬

3) ‫ ُم َص ْقطِ ٍر‬in Sūrah al-Ghāshiyah, verse 22:

﴾‫﴿ َف ْس َت َظ َؾ ْق ِف ْم بِ ُؿ َص ْقطِ ٍر‬

َ ‫ ادُ َص ْقطِ ُر‬in Sūrah al-Tūr, verse 37:

4) ‫ون‬

َ ‫﴿ َأ ْم ِظـْدَ ُه ْم َخزَ ائِ ُن َرب َك َأ ْم ُه ُم ا ْفـ ُؿ َص ْقطِ ُر‬

﴾‫ون‬

The author mentions that via the tarīq of Misbāh a sād will be read in the
ِ
َ ‫ َب ْص َط ًة‬and ‫بِـ ُؿ َص ْقط ٍر‬, and a sīn will be read
first three words mentioned: ‫و َي ْب ُص ُط‬,
in ‫افـ ُؿ َس ْقطِ ُرو َن‬.

The reciter is required to apply a certain extent of effort in order to

comprehend and take note which of these words are read with a sīn and
which are read with a sād to prevent erring and confusion. Negligence in
this regard will result in faltering in the applications of the tarīq of
Misbāh.

TEXT: 6
‫ف ُرو ِم ا ْؾ َت ْح َو ُـ ْن ِمـؿ ْن َض َب ْط‬
َ ‫غ ُصورى َم ْر َي ٍم َوش ْط َؾ َؼ ْط * َو َض ْع‬
َ ْ ‫َيا َظ‬

TRANSLATION:
O ˘Ayn of (Sūrah) Shūrā and (Sūrah) Maryam, only apply tawassut. Read a
fathah on ‫ َض ْعف‬of (Sūrah) Rūm while being of those who render a precise
(rendition).
 ī ā 25
Commentary on the poem of Sheikh Sa˘īd

COMMENTARY:
In this verse the ˘ayn in Sūrah Maryam (‫ص‬
ٓ ‫ )ـٓفق ٓع‬and Sūrah al-Shūrā )‫)حـ ٓم ٓظ ٓس ٓق‬
is discussed. These are the only two places in the Qur`ān where a letter
of līn is followed by a permanent sukūn. Both places are in the hurūf al-
muqatta˘āt (the cut letters).

There is difference of opinion regarding the duration of the madd within

the ˘ayn between qasr, tawassut and tūl:

o Tūl –
Tūl is made as the letter of līn is treated as a letter of madd, both
allowing sound to be lengthened in them. Since tūl is made if the
letter of madd is followed by a permanent sukūn, similarly tūl will be
made if the letter of līn is followed by a permanent sukūn.

o Tawassut –
Tawassut is made considering the difference between the letter of
madd and the letter of līn: the letter of madd is preceded by a harakah
(vowel) which conforms with the letter of madd, whereas the letter of
līn is preceded by a harakah which does not conform with the letter of
līn i.e. the fathah. Sound is more easily lengthened in the former than
in the latter. Therefore tawassut will be made instead of tūl.

o Qasr –
Qasr is made if the letter of līn is treated as a harf sahīh (proper letter)
i.e. not a letter of madd. This means that they are treated in the same
manner as all the letters which exit from a makhraj muhaqqaq
(definitive exit) which does not allow sound to be extended in it.
Treating it as a proper letter is the reason why idghām, naql and sakt
ِ ٍ ‫ص‬,
takes place in the letter of līn e.g. ‫َصوا‬
ُ َ ‫آو ْوا وك‬, ْ َ ‫ َف ْو َأكْـزَ ْفـَا‬. This is
َ ‫ـيء َؿد ٌير‬
different to the letter of madd which exits from a makhraj muqaddar
(approximate exit). Therefore qasr is made in it.
 ī ā 26
Commentary on the poem of Sheikh Sa˘īd

Via the tarīq of Misbāh only tawassut will be allowed in the ˘ayn. Via the
tarīq of the Shātibiyyah, tawassut and tūl will be made.

In the second half of the line ‫ف‬

َ ‫ ض ْع‬in Sūrah al-Rūm, 54, is discussed:

ْ َ ‫ف ُؿو ًة ُثم َج َع َل ِم ْن َب ْع ِد ُؿو ٍة َض ْع ًػا َو َص ْق َب ًة‬

‫ي ُؾ ُق َما َي َشا ُء َو ُه َو‬ ٍ ‫ف ُثم جع َل ِمن بع ِد َضع‬
ْ َْ ْ َ َ
ٍ ‫﴿ اللُ اف ِذي َخ َؾ َؼؽُم ِمن َضع‬
ْ ْ ْ

﴾‫قم ا ْف َؼ ِد ُير‬ِ
ُ ‫ا ْف َعؾ‬

According to the Misbāh, this word will be read with a fathah only i.e.
‫ َض ْعف‬.

Precaution should be taken by the reciter of the Qur`ān, that he be alert

against reciting these mentioned furūsh (inconsistent differences)
haphazardly, resulting in him making a change which has not been
narrated via the particular tarīq. This shall occur due to the lack of
knowledge, concern or consciousness applied in order to secure a proper
rendition of these changes.

TEXT: 7
‫ت ؾِـي ِظ َو ًجا َو َما َمـ ْعـ َفا ا ْظ َؾ ِم‬
ِ ‫اهـا ا ْفـزَ ِم * َـافس ْؽ‬ َ ‫إِ ْبـدَ َال‬
َ ‫آٔن َو ُأ ْخـتَـ‬

TRANSLATION:
It is necessary to apply ibdāl in ‫آٔن‬ َ and to its two sisters, as sakt is applied
ِ
in ‫ ظ َو ًجا‬as well as those (places) which accompanies it, so know this.

COMMENTARY:
َ
The two sisters of ‫آٔن‬ are ‫ آافذـ ََر ْي ِن‬and ‫لل‬
ُ ‫آا‬. They appear in the following
places:
َ
 ‫آٔن‬

Sūrah Yūnus, verses 51 and 99:

َ ‫﴿ َأ ُثم إِ َذا َما َو َؿ َع آ َمـْت ُْم بِ ِه ْآٔ َن َو َؿدْ ُــْ ُت ْم بِ ِه ت َْس َت ْع ِج ُؾ‬
﴾‫ون‬

﴾‫َص ْق َت َؿ ْب ُل َو ُــ َْت ِم َن ا ْفـ ُؿ ْػ ِس ِدي َن‬

َ ‫﴿ ْآٔ َن َو َؿدْ ظ‬
 ī ā 27
Commentary on the poem of Sheikh Sa˘īd

 ‫آافذـ ََر ْي ِن‬

Sūrah al- An˘ām, verses 143 and 144:

ِ ْ ‫غ َأما ْاصت ََؿ َؾ ْت َظ َؾ ْق ِه َأ ْر َحا ُم ْإُ ْك َث َق‬
‫غ‬ ِ ْ ‫َغ َو ِم َن ادَْ ْع ِز ا ْثـ‬
ِ ْ ‫َغ ُؿ ْل آفذـ ََر ْي ِن َحر َم َأ ِم ْإُ ْك َث َق‬ ِ ْ ‫اج ِم َن افض ْل ِن ا ْثـ‬
ٍ ‫﴿ َث ََمكِ َق َة َأزْ َو‬

﴾ َ‫اد ِؿغ‬
ِ ‫ُوِن بِ ِع ْؾ ٍم إِ ْن ُــْتُم ص‬
َ ْ ِ ‫كَبئ‬

ِ ْ ‫غ َأما ْاصت ََؿ َؾ ْت َظ َؾ ْق ِه َأ ْر َحا ُم ْإُ ْك َث َق‬

‫غ َأ ْم ُـ ْـت ُْم ُص َفدَ ا َء إِ ْذ‬ ِ ْ ‫غ َو ِم َن ا ْف َب َؼ ِر ا ْثـ‬
ِ ْ ‫َغ ُؿ ْل آفذـ ََر ْي ِن َحر َم َأ ِم ْإُ ْك َث َق‬ ِ ْ ‫﴿ َو ِم َن‬
ِ ْ َ‫اْلبِ ِل ا ْثـ‬

﴾ َ‫َر ِظ ْؾ ٍم إِن اللَ َٓ َ َْي ِدي ا ْف َؼ ْو َم افظادِغ‬

ِ ْ ‫اس بِغ‬ ِ ِ ِ ِ
َ َ ‫َوصاـ ُُم اللُ ِ َِب َذا َؾ َؿ ْن َأ ْط َؾ ُم ِم ِن ا ْؾ‬
َ ‫سى ظ ََذ اللِ ـَذ ًبا ف ُقضل افـ‬

 ‫لل‬
ُ ‫آا‬

Sūrah Yūnus, verse 59:

ِ ِ ٍ ِ
َ ‫س‬
﴾‫ون‬ ُ َ ‫﴿ ُؿ ْل َأ َر َأ ْيت ُْم َما َأكْزَ َل اللُ َفؽ ُْم م ْن ِرزْ ق َؾ َج َع ْؾت ُْم مـْ ُه َح َرا ًما َو َح َل ًٓ ُؿ ْل آللُ َأذ َن َفؽ ُْم َأ ْم ظ ََذ اللِ َت ْػ‬
Sūrah al-Naml, verse 59:
ِ ْ ‫اص َط َػى آللُ َخ ْ ٌر َأما ُي‬
َ ‫ؼـ‬ ِ ِِ ِ ْ ‫﴿ ُؿ ِل‬
﴾‫ُون‬ ْ ‫اْلَ ْؿدُ للِ َو َش َل ٌم ظ ََذ ظ َباده افذي َن‬

In these three words two applications are generally allowed:

1. Tashīl
2. Ibdāl

Tashīl literally means ease. Technically, it is to read in between a hamzah

and the letter of madd corresponding with the harakah on that hamzah.

Ibdāl literally means to change or substitute. Technically, it is to

substitute the second hamzah for a letter of madd which corresponds with
the harakah. In the case of the above mentioned words, an alif.

The reason why tashīl and ibdāl are particularly applied to these three
words is because in all three, there are two hamzahs which appear
together: the first hamzah is hamzah al-istifhām, which is a permanent
hamzah as opposed to the second hamzah of the lām al-ta˘rīf, which is a
temporary hamzah.

A temporary hamzah is only read when starting from it, else it will be
dropped. In this case, it should be dropped due to the hamzah al-istifhām
 ī ā 28
Commentary on the poem of Sheikh Sa˘īd

being read before it. It would leave the listener with the perception that
information or news is provided as opposed to a question being asked,
which is not the case. To avoid this misconception the temporary hamzah
is also read, but a change is made in it. That change is either tashīl or
ibdāl. Tashīl will be made between a hamzah and an alif, being applied
without any madd, while ibdāl will be made with tūl. After ibdāl, the
substituted hamzah is followed by a permanent sukūn, resulting in madd
lāzim, hence the tūl. Via the Shātibiyyah, both tashīl and ibdāl are allowed.

Via the tarīq of Misbāh only ibdāl will be applied, and not tashīl.

In the second half of the line the author discusses the sakts, which are
found in 4 places in the Qur`ān for the narration of Hafs:
1. ‫ِظ َو ًجا‬

Sūrah al-Kahf, verse 1:

﴾‫َي َع ْل َف ُه ِظ َو ًجا‬ ِ ِ ِ ِ
َ ‫اْل ْؿدُ للِ افذي َأكْزَ َل ظ ََذ َظ ْبده ا ْفؽت‬
ْ َ ْ ‫َاب َو ََل‬ َْ ﴿

2. ‫َم ْر َؿ ِدكَا‬

Sūrah Yāsīn, verse 52:

َ ْ ‫﴿ َؿا ُفوا َيا َو ْي َؾـَا َم ْن َب َع َثـَا ِم ْن َم ْر َؿ ِدكَا َه َذا َما َوظَدَ افر‬
َ ‫ح ُن َو َصدَ َق ا ْفـ ُؿ ْر َش ُؾ‬
﴾‫ون‬

َ ‫َب ْل َر‬
3. ‫ان‬

Sūrah al-Mutaffifīn, verse 14:

َ ‫وِب ْم َما ـَاكُوا َيؽ ِْس ُب‬
﴾‫ون‬ ِ ِ ‫ان ظ ََذ ُؿ ُؾ‬
َ ‫﴿ ـَل َب ْل َر‬

4. ‫َمن ر ٍاق‬

Sūrah al-Qiyāmah, verse 27:

﴾‫﴿ َو ِؿ َقل َم ْن َر ٍاق‬

Sakt literally means silence. Technically, it is to stop recitation for a

duration, which is generally not considered as long as waqf, without
 ī ā 29
Commentary on the poem of Sheikh Sa˘īd

breaking breath. Idrāj literally means to insert. Technically, it is to read

without sakt.

Via the tarīq of Misbāh, sakt will be applied in these four places.

Sakt will be further explained in line 10.

TEXT: 8
‫ب َذا ا ْفـ ِفـ َؿ ِم‬ ِ
ْ ‫ون َوا ْفـ َؼ َؾ ِم * َأ ْط ِف ْر َوادؽـ ْم َي ْؾ َف َث ْار َـ‬
َ ‫ون يـس َو ُكـ‬
َ ‫َو ُكـ‬

TRANSLATION:
Apply ith-hār in the nūn of (Sūrah) Yāsīn and (the nūn) of (Sūrah) al-
Qalam. And make idghām in ‫ َي ْؾ َف ْث‬and ‫ب‬ ِ
ْ ‫ا ْر َـ‬, O possessor of zeal.

COMMENTARY:
In this line ith-hār and idghām are discussed in particular words.

There is difference of opinion as to whether ith-hār or idghām be made in

ِ ‫ يس وا ْف ُؼ‬when joining it to the verse that follows. This
‫ ٓن َوا ْف َؼ َؾ ِم‬and ‫رآن‬ َ ٓ
difference is only found during wasl, when the nūn sākinah will be
followed by a wāw. According to the rules of nūn sākinah, idghām should
be made.

Via the tarīq of Misbāh, as well as via the Shātibiyyah, ith-hār will be made.

‫ َي ْؾ َف ْث ذف ِ َك‬appears in Sūrah al-A˘rāf, verse 176:

ِ ِ ِ ‫﴿ َو َف ْو ِص ْئـَا َف َر َؾ ْعـَا ُه ِ َِبا َو َفؽِـ ُه َأ ْخ َؾدَ إِ َػ ْإَ ْر‬
ُ ْ ‫ب إِ ْن ََتْؿ ْل َظ َؾ ْقه َي ْؾ َف ْث َأ ْو ت‬
‫َس ْـ ُه َي ْؾ َف ْث‬ ِ ‫ض َوات َب َع َه َوا ُه َؾ َؿ َث ُؾ ُه ـ ََؿ َث ِل ا ْف َؽ ْؾ‬

َ ‫ص َف َعؾ ُف ْم َي َت َػؽ ُر‬

﴾‫ون‬ ِ ‫َذف ِ َك َم َث ُل ا ْف َؼ ْو ِم اف ِذي َن ـَذ ُبوا بِآ َياتِـَا َؾا ْؿ ُص‬
َ ‫ص ا ْف َؼ َص‬

ِ
ْ ‫ ا ْر َـ‬appears in Sūrah al-Hūd , verse 42:
‫ب َم َعـَا‬

﴾‫َب َم َعـَا َو َٓ َت ُؽ ْن َم َع ا ْفؽَاؾِ ِري َن‬

ْ ‫َان ِف َم ْع ِز ٍل َيا ُبـَي ْارـ‬
َ ‫ُوح ا ْبـَ ُه َوـ‬ ِْ ‫﴿ َو ِه َي َ َْت ِري ِ ِِب ْم ِف َم ْو ٍج ـ‬
ِ ‫َاْل َب‬
ٌ ‫ال َوكَا َدى ك‬
 ī ā 30
Commentary on the poem of Sheikh Sa˘īd

Between the turuq of Hafs there is difference of opinion as to whether

idghām or ith-hār be made in these two words. Idghām is allowed
considering that the relationship between these two letters are
mutajānisayn. The reasons for idghām are strong since they share the
same makhraj but have different sifāt. Ith-hār will be allowed considering
that it is the primary manner of pronunciation.

Via the tarīq of Misbāh, as well as the Shātibiyyah, idghām will be made.

TEXT: 9
‫اح َذ ْر َأ ْن َتـ ِز ْل‬ ِ ِ َ ‫َٓم ش َل ِش ْل ُكـ‬
ْ ‫ون آ َتاكـي بِــَ ْؿ ْل * َشؽ ْن َؾ َؼ ْط بِا ْف َو ْؿف َو‬ َ َ

TRANSLATION:
Make sākin the lam of ‫ َش َل ِشل‬and the nūn of ‫ آ َتاكِـي‬in (Sūrah) al-Naml,
during waqf only, and be weary that you may falter.

COMMENTARY:
Two words are particularly addressed in this verse:
ِ ‫ ش‬which appears in Sūrah al-Insān, verse 4:
1) ‫لش َل‬ َ

﴾‫﴿ إِكا َأظْ تَدْ كَا ف ِ ْؾؽَاؾِ ِري َن َش َل ِش َل َو َأؽ َْل ًٓ َو َش ِع ًرا‬

The word ‫ آ َتاكِـي‬appearing in Sūrah al-Naml, verse 36:

َ ‫﴿ َؾ َؾَم َجا َء ُش َؾ ْق ََم َن َؿ َال َأ ُُتِدوك َِن بِ ََم ٍل َؾ ََم آتَا ِ َِن اللُ َخ ْ ٌر ِِما آتَاـ ُْم َب ْل َأ ْكت ُْم ِ َِب ِديتِؽ ُْم َت ْػ َر ُح‬
﴾‫ون‬

The differences discussed in these two words are only during waqf.
During wasl there is agreement on how they should be read. During
waqf, in ‫ َش َل ِش َل‬the reciter has the option of either reading the alif or not,
while in ‫ آ َتاكِـي‬he has the option of reading the yā or not. During wasl the
alif and the yā will be read in both these words.
 ī ā 31
Commentary on the poem of Sheikh Sa˘īd

According to the tarīq of Misbāh, the reciter will omit the alif and yā` in
these respective words during waqf. As stated previously, during wasl
the alif and yā` will be read.

TEXT: 10
‫َتـ ْر ِؿ َقق ؾِ ْر ٍق َر ْو َم َت ْل َمــا َد َظـا * َو َؽـن ( َف ْر) َو َشـ ْؽ َت َهـ ْؿـ ِز ا ْمــَـ َعـا‬

TRANSLATION:
Leave off applying tarqīq to ‫ؾِ ْر ٍق‬, roum in ‫ َت ْل َمـا‬, as well as the ghunnah in the
lām and the rā`, while the sakt before the hamzah is prevented.

COMMENTARY:
The word ‫ ؾِ ْر ٍق‬may be read with tafkhīm or tarqīq, as the rā` sākinah is
followed by a letter of isti˘lā` which is maksūrah.

This word appears once in the Qur`ān, in Sūrah al- Shu˘arā`, verse 63:
﴾‫َان ـُل ؾِ ْر ٍق ـَافط ْو ِد ا ْف َعظِق ِم‬ َ ‫﴿ بِ َع َص‬
َ ‫اك ا ْف َب ْح َر َؾا ْك َػ َؾ َق َؾؽ‬

Ibn al-Jazarī states as regards to this particular word:

ُ‫وج ـد‬ ٍ ‫ـر ٍق ف ِ َؽ ْس‬
َ ‫ـر ُي‬
ِ ِ ُ ‫اْل ْؾ‬
ْ ‫ـف ؾـي ؾ‬ ُ ْ ‫ * َو‬.....

Taking into consideration that the rā` sākinah is followed by a letter of

isti˘lā`, the qāf, it will be read with tafkhīm, irrespective of which harakah
is on the qāf.

Others argue that even though the rā` sākinah is followed by a letter of
isti˘lā` in one word it will be read with tarqīq, considering that the letter
of isti˘lā` (the qāf) is maksūrah. A letter of tafkhīm with a kasrah is
considered to be the weakest level of tafkhīm. Therefore, the qāf will have
no effect on the rā` sākinah, and it will be read with tarqīq.
 ī ā 32
Commentary on the poem of Sheikh Sa˘īd

The tarīq of Misbāh only permits this word to be read with tafkhīm, and
not tarqīq.

Next the author discusses ‫ َما َف َك َٓ ت َْل َمـا‬in Sūrah Yūsuf , verse 11:
ِ ‫ف وإِكا َفه َفـ‬
﴾‫َاص ُحو َن‬ ُ َ َ ‫وش‬ ُ ‫﴿ َؿا ُفوا َيا َأ َباكَا َما َف َك َٓ ت َْل َمـا ظ ََذ ُي‬

It may be read in 2 ways:

1. Applying ishmām
2. Applying roum

Ishmām literally means to give off a scent. Technically, it is to give off

‚the scent‛ of a harakah i.e. to hint towards it by rounding the lips.
Ishmām is only applied on a dammah.

The word is originally ‫ت َْل َمـُـَا‬, with two nūns. While making idghām of the
first nūn into the second nūn, ishmām is applied to indicate that the first
nūn originally had a dammah.

It is important to note that ishmām is seen on the lips of the reciter, but
cannot be heard, contrary to roum.

Roum literally means to intend. Technically, it means to read a harakah

partially. Roum may be applied on a kasrah or a dammah.

During roum, the dammah on the first nūn is read partially. Since it is
read, idghām is not made, but ith-hār. It is also referred to as ikhfā` al-
harakah (concealing of the harakah) or ikhtilās.

When making roum, the timing of the harakah is shortened, as well as

lowering the volume in its recitation as opposed to the surrounding
harakāt. Those individuals near the reciter will be able to perceive it.

The tarīq of Misbāh only allows ishmām in it.

 ī ā 33
Commentary on the poem of Sheikh Sa˘īd

Thereafter, the author discusses ghunnah in the lām and rā` whilst
making idghām. When the nūn sākinah or the tanwīn is followed by a lam
or a rā`, then commonly idghām is made without ghunnah. However,
idghām with ghunnah is also made by some turuq of Hafs.5

Via the tarīq of Misbāh, no ghunnah will be applied when making idghām,
same as the tarīq of the Shātibiyyah.

Finally, sakt before the hamzah is discussed. The reason why sakt is
specifically before a hamzah is similar to the case of madd. The hamzah
possesses two strong qualities, jahr and shiddah. Sakt, or a pause is
applied on the sākin before the hamzah to ensure that the hamzah
following it is read with all its strong qualities. In the same manner,
madd is made before the hamzah to ensure its correct recitation.

Sakt before the hamzah is further divided into two types:

1. Sakt ˘ām (general sakt)
2. Sakt khās (specific sakt)

Sakt ˘ām is when sakt is made before hamzah whether it is in two words,
or one word e.g. ‫ َم ْن آ َم َن‬, ‫اب َأف ِ ْق ٌم‬
ٌ ‫ظ ََذ‬, ‫ ُؿ ْرآن‬, ٓ‫ َم ْسمُ ْو‬.

Sakt khās is when the sākin and the hamzah are in two different words e.g.
‫ َم ْن آ َم َن‬, ‫اب َأف ِ ْق ٌم‬
ٌ ‫ظ ََذ‬.

Sakt before the hamzah is not applied via the tarīq of Misbāh. It is found
for Hafs in the Roudah of Abū˘Ali al-Mālikī, the Tidhkār of Ibn Shitā and
the Tajrīd of Ibn al-Fahhām.

5The turuq of Hafs which makes ghunnah in lām and rā` during idghām is the
Kāmil of Abū al-Qāsim al-Hudhalī and the Wajīz of Abū ˘Ali al-Ahwāzī.
 ī ā 34
Commentary on the poem of Sheikh Sa˘īd

TEXT: 11
‫ط * َر َوايِـ ٍة بِـ َغـ ْقـ ِر َهـا َؾـ ُت ْخـطِـي‬
ِ ‫َؾـرا ِع هـ ِذي واحـ َتـ ِرزْ ِمن َخ ْؾ‬
ْ ْ َ َ

TRANSLATION:
So comply hereby, and take precaution against mixing up a narration
with another, as then you have fallen into error.

COMMENTARY:
An important point is emphasised in this line: the reciter of the Qur`ān
should take extra care and pay special attention to the rules and
applications of a particular narration. He should be observant of the
changes and differences found in it, as this is something which is very
much neglected by many.

If the reciter errs or reads something which has not been transmitted via
the narration which he is reciting, he shall be committing a grievous
error on account of his negligence, and results in him reading something
which had not reached us through the authentic and trusted readings of
the Qurrā`. Many scholars, the likes of Mustafā Azmīrī and Sheikh
Mutawallī, have mentioned grave warnings regarding this. Therefore,
utmost precaution should be adhered to, and fear of faltering in one’s
recitation should be present within the heart of the reciter of the Qur`ān,
especially in relation to those applications wherein there is difference of
opinion.

May Allah protect our tongues from faltering and falling into error as
regards to the recitation of His Noble Book, and save us from being
amongst the neglectful. May He also accept and grant us the ability to be
of those who strive to perfect the recitation of the Qur`ān, its teachings
and practices.
 ī ā 35
Biography of the author – Sheikh Zāyid al-Shanqītī

Z y d l-Ad n l-Būm l kī l-S nqītī6

His name is Zāyid al-Adhān ibn al-Tālib Ahmad al-Būmālikī. He was

born in the year 1373 A.H/1954 C.E., in the depth of the Mauritanian
desert, in a region called ˘Asābah.

He was brought up as an orphan in his birthplace, ˘Asābah, under the

care of his maternal uncles. It was here that he also began his initial
studies of the Qur`ān. He began memorising the Qur`ān from a very
young age, and subsequently spent a period of two or more years
revising the Qur`ān until the age of nine. The Sheikh then began
studying the Rasm (script) of the Qur`ān, as well as all its details and
intricacies. Thereafter, he embarked on memorising texts on Fiqh under
the expertise and tutelage of his mother.

During his adolescence, he left his birthplace and moved to the capital
city of his country in search of livelihood. Throughout this time the
Sheikh continued studying various Islamic sciences. He memorised
many texts in the field of Nahw and Sarf.

During the year 1400 A.H/1980 C.E., he travelled eastwards, and decided
to settle down in the city of the Prophet , Medina. Here he enrolled
himself at the Islamic University, in the Faculty of Qur`ān. Eight years
later, in the year 1408 A.H/1988 C.E., he graduated from the university.
As long as he remained in Medina, he seized the opportunity to learn
and read to all the great teachers of the Qur`ān present there at the time.

At the beginning of Rajab in the year 1410 A.H/1990 C.E., he moved to

the Jeddah, where he taught the Qur`ān in Masjid al-Husayn al-
Suwayyigh. Along with his teaching of the Qur`ān, he also served as the
khatīb (lecturer) as well as leading the congregation in Prayers. This
position he maintained for a period of eight years. Many people

6Imtā˘ al-Fudalā` Vol. 1 pg. 533.

 ī ā 36
Biography of the author – Sheikh Zāyid al-Shanqītī

benefited from the expertise of the Sheikh, not only in the field of Qirā`āt
and Qur`ān, but in many other sciences as well.

Teachers:
 His maternal uncle, Sheikh Sayyid Bubakkar – he memorized the
Qur`ān at his hands according to the narration of Warsh.
 His maternal uncle, Sheikh Sayyid Muhammad – he revised the
Qur`ān with him.
 His mother, Sheikhah Fātimah – he memorized various texts
under her tutelage.
 Sheikh ˘Abd al-Fattāh al-Marsafī – he read the Seven Qirā`āt to
him until Sūrah al-Ahzab, when Sheikh Marsafī passed away.
 Sheikh ˘Abd al-˘Azīz al-Zayyāt – he read the Seven Qirā`āt to
him.
 Sheikh ˘Abd al-Rāziq ˘Ali Ibrāhīm Mūsā – he read the narration
of Hafs with qasr to him.

Written works:
 Poem on inheritance – consists of more than 200 lines.
 Poem on Hadith – consists of more than 260 lines.
 Poem on the differences between Hafs and Shu˘bah – consists of
more than 200 lines.
 Short poem on the narration of Hafs via the tarīq of Misbāh.
 Poem which compares the narrations of Hafs and Warsh –
consists of more than 300 lines.
 Poem on the verse-counts.
 Poem on the basics of Tafsīr.

He has written commentaries on most of his poems.

 ‫‪ī‬‬ ‫‪ā‬‬ ‫‪37‬‬
‫‪The poem of Sheikh Zāyid and my sanad to it‬‬

‫‪Poem of Sheikh Z y d l-Ad n l-S nqītī on the t īq of‬‬

‫‪Misb h for Hafs‬‬

‫ظـــدي ِم ادثقـــل جؾقـ ٍ‬

‫ــل ظـــع‬ ‫ـل‬ ‫فك اْلؿدُ ِمن َخ ٍ‬
‫افق َأ ْج َؾ ِ‬ ‫‪ِ -9‬‬
‫ِ‬
‫ــــل‬ ‫ِ‬
‫وبــــار ْك وظستَــــه َبج‬ ‫‪َ -2‬ؾ َِصل وشؾم ظـذ اااصـؿي‬
‫فــل ادُ ْخ ِج ِ‬
‫ــل‬ ‫افز ِ‬‫ـــر زائــدُ ذو ّ‬ ‫وبعــد يؼــول افػؼــر اْلؼقـــ‬
‫‪ِ -3‬‬
‫ضريؼ ًا فدى افػقل ذي اف َؽ ْؾؽ ِ‬
‫َـل‬ ‫‪ -4‬إفقِــك ضريؼ ـ ًا ْلػـ ٍ‬
‫ـص ؽــدا‬
‫ــل‬ ‫حــا ِم ذي ااؿــة ِ‬
‫افـاؿ ِ‬ ‫ـــق ّ‬‫ُ‬ ‫بؿصــباحه بــان حؼ ـ ًا ضريـــ‬
‫‪ِ -5‬‬
‫ٍ‬ ‫ِ‬ ‫افـو ِي ظـن افػقـل ِمـ ْن‬ ‫ِ‬
‫ؾحػــص يــع‬
‫ٌ‬ ‫ظؿــرو‬ ‫روايــة‬ ‫‪ -6‬فعِ ْؾم َ‬
‫ِ‬
‫ؾاظؼـل‬ ‫افػص ِل ِمن ؽـره‬
‫فذي ْ‬
‫ِ‬ ‫ًا‬ ‫ومـا وشـط ادت ْ‬
‫َصـل ؿــا‬ ‫‪ِ -7‬‬
‫ـت بافعبــد فؾــرازق افػاضـ ِ‬
‫ـل‬ ‫ــ ُ‬ ‫ـت ا ْؿتَدَ يـــ‬
‫‪ -8‬بـِـه ف ادديـــة ـــ ُ‬
‫ِ‬
‫راويــه ف ادَ ْػ ِص ِ‬
‫ــل‬ ‫ص إذ َحــز‬ ‫ترى أصؾ ُه ف يح افـصو‬ ‫‪ِ -9‬‬
‫ِ‬
‫تعــــدل‬ ‫ٍ‬
‫دـػصــــل‬ ‫ؿصــــ‬ ‫و َأ ِ‬ ‫ـل‬ ‫ـغ ـــذا ِ‬
‫ادتصـ ْ‬ ‫ؾوشــط ف ِ َعـ ْ ٍ‬
‫‪ِ -91‬‬
‫َـب ُؿ ِ‬
‫ـل‬ ‫يؾفث وبـا ارـ ْ‬ ‫وإدؽا ُم َ‬ ‫وذا اف َػ ْر ِق ْأصـبِ ْع بـل مـاك ٍع‬
‫‪ِ -99‬‬
‫ــط مــع بص ٍ‬
‫ــطة تَـــْجع‬ ‫ويبص ُ‬ ‫وٓ ُؽــــــ ٌة ظــــــد ٓ ٍم َو َرا‬
‫ِ‬ ‫‪-92‬‬
‫ْ‬ ‫ُ‬
‫ـطرون بسـ ٍ‬ ‫ِ‬ ‫ِ ِ‬
‫ْت َجــع‬‫ـغ َؾ َس ـؽ ٌ‬ ‫َ‬ ‫ــ‬ ‫بصــاد ادصــ ْقط ِر ٓ َ‬
‫ـادس ْقـــ‬ ‫‪-93‬‬
‫ــل ِبـــا ؾا ْؾ َعـ ِ‬
‫ــل‬ ‫ِ‬
‫وشلشـ ْ‬ ‫ؿػـــ ًا‬ ‫ِ‬
‫احـذف افقـا َء وا‬ ‫ِ‬
‫أتـان‬ ‫ِ ٍ‬
‫بـؿل‬ ‫‪-94‬‬
‫ْت ف افواصـ ِ‬
‫ـل‬ ‫ـتح وٓ ش ـؽ َ‬ ‫بػـ ٍ‬ ‫وضعف وضعػ ًا تُرى‬ ‫ٍ‬ ‫ـذاك‬‫ِ‬ ‫‪-95‬‬
‫ٍ‬
‫ــــون تـــع‬‫فِتـــامن و َأ ْطفـــر ف ِ‬ ‫إػ افػقل فؾفؿز أصؿم َؾ َؼ ْ‬
‫ـط‬ ‫‪ِ -96‬‬
‫ْ‬ ‫َ ْ‬
‫افـوي‬
‫ـف َ‬ ‫تُؽز فـدى اْلَـتْم َت ْؼ ُ‬ ‫ـنطفــا ِر ياشـ َ‬
‫ــغ ــــز وٓ‬ ‫‪ِ -97‬‬
‫ـــم ف إَظـــدَ ِل‬ ‫وؾِ ٍ‬
‫ـــرق ُيػخ ُ‬‫ْ‬ ‫خــافص‬
‫ٌ‬ ‫وإدؽــا ُم كخؾؼؽــم‬
‫‪ِ -98‬‬
 ī ā 38
The poem of Sheikh Zāyid and my sanad to it

‫عـــو ِل‬ ِ
َ ‫اْلبـــال بِـــل م‬
َ ‫َُيـــد‬ ‫وهــذي مؼافــ ُة َمــن ذك ُبــ ُه‬
ِ -99
‫وأكــت افعــع‬
َ َ
‫رضــاك‬ ِ ‫بِـ ْق‬
‫ــل‬ ِ ‫ــاك إاـــي ِِبـــا‬
‫ضامعـــ ًا‬ َ ‫دظـ‬
ِ -21
ِ ِ ِ
‫موئــل‬ ‫جــودك يــا‬ ‫ؿــدر‬ ‫ظــذ‬ ْ ِ‫ َؾ َف‬-29
‫ب ي رجـائي بـل َمغـر ٍم‬
ِ ‫ــل افؽُؿ‬
‫ــل‬ ِ ‫أؾضــل افر ُش‬
ِ ‫ظــذ‬ ‫وصــل وشــؾم ـــَم يـبغــي‬
ِ -22

Sanad through which I transmit this poem

Sheikh Zāyid al-Adhān al-Shanqītī al-Būmālikī

Sheikh Ilyās ibn Ahmad Husayn al-Barmāwī

Sheikh Muhammad Salīm ibn Ismā˘īl Ghaybī

Ayesha bint Hanīf Abrahams

 ī ā 39
Commentary on the poem of Sheikh Zāyid Shanqītī

Commentary on the poem

TEXT: 1
ِ ِ ِ ِ ٍ ِ ِ
ْ ‫َف َك ا ْفـ َحـ ْؿـدُ م ْن َخافـق َأ ْج َؾـ ِل * َظـد ْي ِم ا ْفـ َؿـث ْق ِل َجـؾ ْق ٍل ظ‬
‫َع‬

TRANSLATION:
All praise is due to Allah, as the Creator, Sublime, Incomparable, Exalted
and Most High.

TEXT: 2
‫ـار ْك َو ِظـ ْتـ َر َت ُه َبـجـ ِل‬
ِ ‫اصـ ِؿ ْي * َو َب‬
ِ ‫َؾـصل وشؾم ظ ََذ ا ْفـف‬
َ ْ َ َ َ

TRANSLATION:
May Allah send salutations, peace and blessings upon al-Hāshim, and
upon his honourable family.

TEXT: 3
‫ َي ُؼ ْو ُل افـْ َػـ ِؼـ ْ ُر ا ْفـ َح ِؼ ْقـ * ــ ُر زَ ائِـدُ ُذ ْو افـز َفـ ِل ا ْفـ ُؿـ ْخ ِج ِل‬: ُ‫َو َب ْعد‬

TRANSLATION:
Thereafter: Says the weak and feeble Zāyid, the possessor of shameful
mistakes:

COMMENTARY:
The author mentions his name is this line, Zāyid. His full name is Zāyid
al-Adhān ibn al-Tālib Ahmad al-Būmālikī.

TEXT: 4
ِ ‫ص َؽـدَ ا * َضـ ِر ْيـ ًؼا َفدَ ى ا ْفـ ِػـ ْق ِل ِذ ْي ا ْف َؽ ْؾـؽ‬
‫َل‬ ِ
َ ‫إِ َفـ ْق َك َضـ ِر ْيـ ًؼا ف‬
ٍ ‫ـح ْػ‬

TRANSLATION:
To you, he shall soon (present) a pathway (leading) to Hafs, a pathway
via Fīl, the possessor of a strong physique.
 ī ā 40
Commentary on the poem of Sheikh Zāyid Shanqītī

COMMENTARY:
This poem is written on the narration of Hafs via the tarīq of Fīl.

He was nicknamed ‚Fīl‛, which means elephant, because of his strong

physique. His name was Abū Ja˘far Ahmad ibn Muhammad ibn Hamīd
al-Baghdādī.

TEXT: 5
ِ ‫ان حـ ًّؼا َضـ ِريـ * ــ ُق حـؿـا ِم ِذي ا ْفـ ِفـؿـ ِة افــ‬ ِ ِ ِ
‫اؿـ ِل‬ ْ َ ْ َ َ ‫بِـؿ ْص َباحـه َبـ‬

TRANSLATION:
Via (the tariq of) his (Fīl’s) Misbah, the pathway of al-Hammāmī, the
possessor of ardour, the transmitter of…

COMMENTARY:
The secondary tarīq which transmits from Fīl is the Misbāh of Abū al-
Karam al-Mubārak. Abū al-Karam transmits from Fīl via Hammāmī.

TEXT: 6
ِ ِ ِ ِ ِ ِ
ٌ ‫فـع ْؾ ِم ا ْفـ َوفـي َظ ِن ا ْفـػ ْق ِل م ْن * ِر َوا َيـة َظـ ْؿـ ٍرو َؾـ َح ْػ‬
‫ص َيؾـ ِْي‬

TRANSLATION:
(The transmitter of) the knowledge of Walī from Fīl, via the narration of
˘Amr (ibn al-Sabbāh), followed by Hafs.

COMMENTARY:
Hammāmī transmits from Fīl via al-Walī. Refer to the sanads of Abū al-
Karam al-Mubārak to Hafs in the following diagram:
 ī ā 41
Commentary on the poem of Sheikh Zāyid Shanqītī

TEXT: 7
‫ـؿتـ ِص ِل َؿا ِ ً ا * ف ِـ ِذ ْي ا ْفـ َػ ْص ِل ِم ْن َؽـ ْقـ ِر ِه َؾـاظ ِْؼ ِل‬
ُ ‫َو َما َو ش َط ا ْف‬

TRANSLATION:
And it (Misbāh) does not apply tawassut to (madd) muttasil, nor qasr to
(madd) munfasil (when narrating) via other than him (Fīl), so understand
this.

COMMENTARY:
Abū al-Karam only makes qasr in madd munfasil when he transmits from
Fīl. From Zar˘ān and ˘Ubayd ibn al-Sabbāh he transmits tawassut in madd
munfasil.
 ī ā 42
Commentary on the poem of Sheikh Zāyid Shanqītī

TEXT: 8
ِ ‫بِـ ِه ِف ا ْفـؿ ِديـَـ ِة َــ ُْت ا ْؿـ َتـدَ يـ * ـ ُت بِا ْفـعب ِد فِؾـر ِاز ِق ا ْف َػـ‬
‫اض ِل‬ َْ ْ ْ َ ْ

TRANSLATION:
This (the tariq of the Misbāh) is what I read in Medina to the virtuous
(Sheikh) ˘Abd al-Rāziq.

COMMENTARY:
Sheikh Zāyid read the narration of Hafs via the tarīq of Misbāh with qasr
in madd munfasil to Sheikh ˘Abd al-Rāziq ibn ˘Ali ibn Ibrāhīm Mūsā7, a
student of ˘Abd al-˘Azīz al-Zayyāt.

TEXT: 9
‫ـؿ ْػ ِص ِل‬ ِ
َ ‫ص إِ ْذ َحـز َر ِاو ْيـه ِ ْف ا ْف‬
ِ * ‫َتـ َرى َأ ْص َؾـ ُه ِ ْف َصـ ِر ْي ِح افــ ُص ْو‬

TRANSLATION:
You may see its origin in evident texts, where its narrator is mentioned
in the books (of qirā`āt).

COMMENTARY:
The tarīq of Fīl is mentioned in many books of Qirā`āt besides the Misbāh
of Abū al-Karam. It is also included in the Nashr of Ibn al-Jazarī.

TEXT: 10
‫ـؿـْـ َػـ ِص ٍل َتـ ْع ِد ِل‬ِ ِ ‫غ َــ َذا ا ْفـؿت ِص ْل * و َأ ْؿـ‬
ُ ‫صف‬ْ َ ُ ٍ ْ ‫َؾـ َوش ْط ف ِـ َع‬

TRANSLATION:
So apply tawassut to ˘ayn, in the same manner (tawassut is applied) in
(madd) muttasil. And apply qasr to (madd) munfasil, maintaining equality.

7 See his biography in The oral transmission of the Qur`ān by Sheikh Salīm Ghaybī.
 ī ā 43
Commentary on the poem of Sheikh Zāyid Shanqītī

COMMENTARY:
In this line the author starts mentioning particular rules to be adhered to
when reciting via this tarīq.

The ˘ayn of Sūrah Maryam (‫ص‬ ٓ ‫ )ـٓفق ٓع‬and Sūrah al-Shūrā )‫ )حـ ٓم ٓظ ٓس ٓق‬will be
read with tawassut via the tarīq of Misbāh.

Madd muttasil will be read with tawassut, while qasr will be made in madd
munfasil.

TEXT: 11
ِ
ْ ‫َو َذا ا ْفـ َػـ ْر ِق َأ ْصبِ ْع بِـ َل َمـاك ٍع * َو إِ ْد َؽا ُم َي ْؾ َف ْث َو َبا ْارـ‬
‫َب ُؿ ِل‬

TRANSLATION:
And (in) madd al-farq, apply ishbā˘ without any prevention. And
pronounce the idghām of ‫ َي ْؾ َف ْث‬as well as the idghām in the bā` of ‫َب‬
ْ ‫ارـ‬.
ْ

COMMENTARY:
Madd al-farq – the madd of differentiation – is part of madd lāzim kilmī
mukhaffaf or muthaqqal.

َ
This takes place in 3 words in the narration of Hafs: ‫آٔن‬, ‫ آافذـ ََر ْي ِن‬and ‫لل‬
ُ ‫آا‬.
Via the tarīq of Misbāh only ibdāl will be made with ishbā˘ i.e with tūl.

It is called the madd of differentiation because it differentiates between

asking a question (istifhām) and giving news (ikhbār).

In the second half of the line the author explains that in ‫ َي ْؾ َف ْث ذف ِ َك‬and ‫ب‬ ِ
ْ ‫ا ْر َـ‬
‫ َم َعـَا‬idghām will be made via the tarīq of Misbāh.
 ī ā 44
Commentary on the poem of Sheikh Zāyid Shanqītī

TEXT: 12
ِ ِ
ْ ‫َو ٓ ُؽـــ ٌة ظــْـدَ َٓ ٍم َو َرا * َو َي ْب ُص ُط َم ْع َب ْص َط ًة َتـ َْجـ‬
‫ع‬

TRANSLATION:
And there is no ghunnah applied by the lām and the rā`. And ‫ َي ْب ُص ُط‬along
with ‫ َب ْص َط ًة‬, are to be clear…

COMMENTARY:
ِ ‫من فدُ ْن‬,
ِ
Idghām of nūn sākinah or tanwīn into lām and rā` e.g. ‫م ْن رب‬, ْ ‫و ْي ٌل فـؽُل‬,
َ
ِ
‫قم‬ ٌ ‫ َؽ ُػ‬, will take place without ghunnah.
ٌ ‫ور رح‬

‫ َي ْب ُص ُط‬and ‫ َب ْص َط ًة‬is explained next.

TEXT: 13
ِ ٌ ‫غ َؾسؽ‬ ِ ِ ِ ِ
‫ع‬
ْ ‫ْت َج‬ َ ٍ ْ ‫ـؿ َس ْقـ * ـطـ ُر ْو َن بِس‬
ُ ‫ـؿ َص ْقط ِر َٓ ـَا ْف‬
ُ ‫بِ َصاد ا ْف‬

TRANSLATION:
With a sad, as in ‫بِ ُؿ َص ْقطِ ٍر‬, not with a sīn as in ‫افـ ُؿ َس ْقطِ ُر ْو َن‬, then sakt is (also)
obvious.

COMMENTARY:
‫ َي ْب ُص ُط‬, ‫ َب ْص َط ًة‬and ‫ بِ ُؿ َص ْقطِ ٍر‬will be read with a sād. ‫ افـ ُؿ َس ْقطِ ُر ْو َن‬will be read with a
sīn.

Sakt for Hafs will be made via the tarīq of Misbāh in the four well-known
places:
1. ‫ ِظ َو ًجا‬in Sūrah al-Kahf.

2. ‫ َم ْر َؿ ِدكَا‬in Sūrah Yāsīn.

َ ‫ َب ْل َر‬in Sūrah al-Mutaffifīn.

3. ‫ان‬

4. ‫ َمن ر ٍاق‬in Sūrah al-Qiyāmah.

 ī ā 45
Commentary on the poem of Sheikh Zāyid Shanqītī

TEXT: 14
‫ف ا ْف َقـا َء َوا * ِؿـ ًػا َو َش َل ِش ْل بِـ َفا َؾا ْؾ َع ِل‬
ِ ‫َان احـ ِذ‬
ِ
ْ ‫بِــ َْؿ ٍل َأت‬

TRANSLATION:
Omit the yā` of ‫آتان‬ ِ in (Sūrah) al-Naml during waqf, and (omit the alif) in

‫ش َل ِش َل‬,
َ so act thereupon.

COMMENTARY:
During wasl the alif and the yā will be read in ‫ َش َل ِش َل‬and in ‫آ َتاكِـي‬. During
waqf they will be omitted.

TEXT: 15
ِ ‫ْت ِف ا ْفو‬ ٍ
‫اص ِل‬ َ ْ َ ‫اك َو َض ْعف َو َض ْع ًػا ُتـ َرى * بِ َػت ٍْح َو َٓ َشؽ‬
َ ‫ـ ََذ‬

TRANSLATION:
Similarly, ‫ ضعف‬and ‫ ضع ًػا‬are deemed proper with a fathah. And there is no
sakt (applied) during wasl…

COMMENTARY:
In Sūrah al-Rūm ‫ ضعف‬and ‫ ضع ًػا‬will be read with a fathah on the dād.

Sakt before a hamzah is explained in the next line.

TEXT: 16
ِ ٍ ِ ِ ِ ِ ِ ِ
ْ ‫إ َػ ا ْفـػ ْق ِل ف ْؾـ َف ْؿ ِز َأ ْصؿ ْم َؾـ َؼ ْط * فـتَا َم ْن َو َأ ْطـ ِفـ ْر فــ ُْون ت‬
‫َع‬

TRANSLATION:
(And there is no sakt during wasl) by the hamzah according to Fīl. Apply
ishmām only to ‫ت َْل َمـا‬, and apply ith-hār to nūn, adopting (the same manner
of application)…
 ī ā 46
Commentary on the poem of Sheikh Zāyid Shanqītī

COMMENTARY:
No sakt will be made via Misbāh on the sākin before a hamzah e.g. ‫ َؿدْ َأ ْؾ َؾ َح‬,
‫ َي ْس َل ُفو َك َك‬, and so forth.

In ‫ َٓ ت َْل َمـا‬only ishmām is allowed.

In ‫ ٓن َوا ْف َؼ َؾ ِم‬ith-hār will be made.

TEXT: 17
ِ ‫ار ي‬
‫ف ا ْف َو ِ ْي‬ ْ ‫غ َــبِـّ ْر َو َٓ * ُتـ َؽـ‬
ُ ‫ز َفدَ ى ا ْفـ َخ ْت ِم َت ْؼ‬ َ ْ ‫اش‬ َ ِ ‫َــنِ ْط َف‬

TRANSLATION:
As how ith-hār (is applied to) Yāsīn. Make takbīr, or do not make takbīr at
the suwar al-khatm, as you are following al-Walī.

COMMENTARY:
ِ ‫ يس وا ْف ُؼ‬ith-hār will be made.
In ‫رآن‬ َ ٓ

By the ending sūrahs i.e. from after Sūrah al-Duhā, takbīr may be made
before the basmalah. Its wording is ‫ َاللُ َأـْـ َب ُـر‬. One may also read the tahlīl
ُ َ ‫لل َأـ‬
with it: ‫ْز‬ ُ ‫ َٓ إِف َه إِٓ ا‬. The tahmīd may also be added after the takbīr: َٓ
ُ ‫لل ُه َو ا‬
َ ‫ْز َوللِ ا ْف‬
ُ‫ـح ْؿد‬ ُ ‫إِف َه إِٓ اللُ ُه َو ا‬. Bear in mind that tahmīd may only be added if the
ُ َ ‫لل َأـ‬
tahlīl is also being read.

TEXT: 18
‫ص * َوؾِـ ْر ٍق ُيـ َػخ ُم ِف إَ ْظـدَ ِل‬ ِ ْ ‫َوإِ ْد َؽـا ُم ك‬
ٌ ‫َخ ُؾؼـؽ ُم َخافـ‬

TRANSLATION:
ْ ‫ ك‬is complete. And tafkhīm is applied to ‫ؾِ ْر ٍق‬, in a most
And idghām of ‫َخ ُؾ ْؼؽ ُْم‬
right manner.
 ī ā 47
Commentary on the poem of Sheikh Zāyid Shanqītī

COMMENTARY:
Idghām in ‫َخ ُؾـ ْؼؽم‬ ْ ‫ َأ َف‬will be complete i.e. the qāf is completely assimilated
ْ ‫ـم ك‬
into the kāf.

The rā` in ‫ ؾِ ْر ٍق‬will be read with tafkhīm.

TEXT: 19
‫ل ِم ْع َو ِل‬
َ ِ‫َوه ِذ ْي َمـ َؼا َفـ ُة َم ْن َذ ْكـ ُبـ ُه * َيـ ُفـد ا ْفـ ِجـ َب َال ب‬

TRANSLATION:
And this is the speech of one whose sins has brought down mountains,
without the use of an instrument of destruction.

TEXT: 20
‫اك َو َأ ْكـ َت ا ْف َع ِ ْع‬
َ ‫اك إِفـ ِف ْي بِـ َفا َض ِامـ ًعا * بِــَـ ْق ِل ِر َضـ‬
َ ‫َد َظ‬

TRANSLATION:
Oh my Lord! This person calls unto You with it (this speech i.e. this
poem), yearning for attainment of Your pleasure, whilst You are the
Most High.

TEXT: 21
‫ل َمغ َْر ٍم * ظ ََذ َؿدْ ِر ُج ْو ِد َك َيا َم ْوئِ ِل‬
َ ِ‫ب ِ ْي َر َجائِ ْي ب‬
ْ ‫َؾ َف‬

TRANSLATION:
So grant me my hopes, without (me) incurring any loss (as a result of my
wish being granted), to the extent of Your generosity, O my Master.
 ī ā 48
Commentary on the poem of Sheikh Zāyid Shanqītī

TEXT: 22
‫َو َصل َو َشؾ ْم َــ َؿـا َيـْ َب ِغ ْي * ظ ََذ َأ ْؾ َض ِل افر ُش ِل ا ْفؽُؿ ِل‬

TRANSLATION:
And send salutations and peace as is befitting upon the most sublime of
the perfect messengers.
 ī ā 49
Table with differences between the two turuq

T ble w t d ffe ences between t e S tibiyyah and Misb h

Difference S tibiyyah Misb h

1 Basmalah in the Choice of reading it or Basmalah will be read to attain
middle of a sūrah leaving it blessing (‫)ت ََزـًا‬
2 Takbīr No Takbīr Takbīr from the end of al-Duhā
3 Madd Muttasil 4/5 harakāt 4 harakāt
4 Madd Munfasil 4/5 harakāt Qasr (2 harakāt)
5 Ghunnah in lām and No ghunnah No ghunnah
rā`
6 ‫ َي ْب ُص ُط‬- Baqarah ‫س‬ ‫ص‬
7 ‫ – َب ْص َط ًة‬A˘rāf ‫س‬ ‫ص‬

8 ‫ ادُْ َص ْقطِ ُر ْون‬-Tūr ‫ س‬/‫ص‬ ‫س‬

9 ‫ – بِ ُؿ َص ْقطِر‬Ghāshiyah ‫ص‬ ‫ص‬

10 ‫آ ْأ َن‬/‫ آافذـ ََر ْي ِن‬/ُ‫آالل‬ Tashīl/Ibdāl Ibdāl

11 4 sakts Sakt Sakt
12 Sakt before hamzah No sakt No sakt
‫َب َم َعـَا‬ ِ
13 ْ ‫ا ْرـ‬ Idghām Idghām
14 ‫َي ْؾ َف ْث َذف ِ َك‬ Idghām Idghām

15 ْ ‫َأ ََل ْ ك‬
‫َخ ُؾ ْؼؽُ ْم‬ Idghām Tām Idghām Tām
16 ‫َماف ِ َقه * َه َؾ َك‬ Idghām/Sakt Idghām/Sakt
17 ˘ayn (‫غ‬
َ ْ ‫) َظ‬ Tūl/Tawassut Tawassut

18 ‫ يس‬/ ‫ن‬ Ith-hār Ith-hār

19 ‫ت َْل َمـا‬ Ishmām/Roum Ishmām
20 ‫ؾِ ْر ٍق‬ Tafkhīm/Tarqīq Tafkhīm
ٍ ‫ضع‬/‫ضع ًػا‬
‫ف‬
21 ْ ْ Fathah/Dammah Fathah
ِ
22 َ ‫َؾ ََم َءات‬
‫َاِن الل‬ Stops with or without Stops without the yā`
the yā`
23 َ ‫َشل َِش‬
‫ل‬ Stops with or without Stops without the alif
the alif
 ī ā 50
Bibliography

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