Religions 13 00928 v2

religions
USV Symbol Macro(s)

Article 02B4 ʴ \textsupturnr
Music of the Spheres in Akbarian Sufism USV Symbol02B5Macro(s) ʵ
\textsuperscript{\textturnr}
\textsupturnrrtail
\textsuperscript{\textturnrrt
Dunja Rašić 02B4 ʴ 02B6\textsupturnr
ʶ \textsupinvscr
\textsuperscript{\textinvscr}
02B5 ʵ 02B7\textsupturnrrtail
ʷ \textsupw
Department of Arabic Studies, University of Belgrade, 11000 Belgrade, \textsuperscript{\textturnrrtail}
\textsuperscript{w}
Serbia; rasic@bgsmcs.fu-berlin.de
02B6 ʶ 02B8\textsupinvscr
ʸ \textsupy
\textsuperscript{y}
Abstract: As per tradition, no human could02B7 hear the ʷmusic \textsupw
of the spheres save for Pythagoras.
02B9 ʹ \cprime
“
Ibn Arabı̄, however, claimed he heard this music each time he prayed \textsuperscript{w}
sincerely.\textceltpal
This article examines
02B8
how the Pythagorean concept of the music of the spheres came ʸ 02BA\textsupyʺ
to be integrated and reinterpreted in
\cdprime
\textsuperscript{y}
“
Akbarian Sufism, with a special emphasis on Ibn Arabı̄’s notion 02BBof samā ʻ and the
\textturncomma
modes of recreating
02B9 ʹ \cprime
the music of the spheres in Sufi gatherings. 02BC ʼ
\textceltpal \rasp
02BA ʺ 02BD\cdprimeʽ \lasp
\textrevapostrophe
“
Keywords: Ibn Arabı̄; cosmology; spheres; music; 02BB samā ʻ \textturncomma

02BE ʾ \texthamza
02BC ʼ \rasp
02BF ʿ \textain
02BD ʽ \lasp
02C0 ˀ \textraiseglotstop
\textrevapostrophe
02BE ʾ 02C1\texthamza ˁ \textraiserevglotstop
1. Introduction
02BF ʿ 02C2\textain˂ \textlptr
The story goes that Pythagoras of 02C0
Samos (d.ˀ 495 BC)
02C3 ˃
walked
\textraiseglotstoppast a blacksmith’s
\textrptr
shop in the sixth century BC. The sound of hammering
02C1 ˁ 02C4soon ˄ his\textuptr
caught attention; with the
\textraiserevglotstop
blacksmith explaining to him how the weight 02C2 02C5
of a˂ hammer ˅
impacts
\textlptr \textdptr
the sound it makes.
This encounter presumably inspired Pythagoras
02C3 02C6
to ˃develop ˆ
his theory
\textrptr \textcircumaccent
of musica universalis,
which later came to be known as the music 02C4
of the spheres (musicaˇspherarum).
˄ 02C7\textuptr \textasciicaron
1 Other stories
\textcaronaccent
02C5
claimed Pythagoras developed this theory with the help ˅ \textdptr
of Babylonian magi. Prior to the
02C8 ˈ \textprimstress
sixth century BC, Earth was envisioned as 02C6 ˆ surrounded
a flat disc \textcircumaccent
by the river Oceanus in
02C9 ˉ \textmacronaccent
Greek cosmology. Magi, however, believed there areˇ seven\textasciicaron
02C7 heavens surrounding
\textmacron Earth. The
\textcaronaccent
seven heavens were identified with the seven planets moving
02CA ˊ their\textacuteaccent
on heavenly spheres,
\textacute
2
like “on solid tracks or rails”. The Ottoman02C9court astronomers estimated that the Sphere of
ˉ 02CB\textmacronaccent
ˋ \textgraveaccent
Saturn, which is the seventh heaven, is 54.093.433 miles away from Earth.
\textmacron The six smaller
\textgrave
Citation: Rašić, Dunja. 2022. Music
spheres between the Sphere of Saturn and 02CA
Earth haveˊ 02CC \textacuteaccent
been traditionally
ˌ \textsecstressas the
identified
of the Spheres in Akbarian Sufism. \textacute
Sphere of Jupiter, the Sphere of Mars, the Sphere of Sun, 02CDthe Sphere
ˍ of Venus, the Sphere
\textlowmacron
Religions 13: 928. https://doi.org/ 02CB ˋ \textgraveaccent
\textmacronbelow
10.3390/rel13100928
of Mercury and the Sphere of Moon. The aforementioned spheres
\textgrave purportedly differ in
3
length, width and volume. Pythagoras02CC 02CE
surmisedˌ that the ˎ \textlowgrave
spheres, like hammers, emit
\textsecstress
Academic Editor: Pablo Beneito 02CF ˏ \textlowacute
different sounds; based on their measurements.
02CD Thisˍ musica universalis
\textlowmacron was thought to have
02D0 ː
\textmacronbelow \textlengthmark
Received: 11 September 2022 an impact on life on Earth. Pythagoras’ concept of musica universalis—and the attempts to
ˎ 02D1
02CE their tunes ˑ
\textlowgrave \texthalflength
Accepted: 28 September 2022 harness the power of spheres by reproducing with musical instruments—gained
02CF ˏ 02D2 ˒
\textlowacute \textrhalfring
Published: 3 October 2022 prominence in ancient Greece by the fourth century BC. Yuh.annā b. al-Bat.rı̄q’s (d. 815)
02D0 ˓
ː 02D3\textlengthmark \textlhalfring
translation of Pseudo-Aristotle’s K. al-Siyāsa introduced Pythagoras’
02D4 ˔ theories to the Arabic
\textraised
Publisher’s Note: MDPI stays neutral
4 02D1 ˑ \texthalflength
intellectual milieu. Echoes of these teachings can also02D5 be found ˕ in Akbarian
\textloweredSufism and
with regard to jurisdictional claims in 02D2 ˒ \textrhalfring
“
published maps and institutional affil-

there is a surviving diagram in Ibn Arabı̄’s02D3
hand (Figure 1) depicting
˖
˓ 02D6\textlhalfring \textadvanced Earth
the planet
iations. surrounded by the heavenly spheres.5 All02D4 planetary orbits and
˔ 02D7\textraised ˗
spheres were referred to as
\textretracted
“
aflāk in Ibn Arabı̄’s works. The Arabic root

02D5 f-l-k conveys the idea
˕ 02D8\textlowered ˘ of roundness,
\textbreveaccentand Ibn
\textbreve
so”.6 The
“
in shape ˖like Earth,

Arabı̄ taught that the spheres are circular02D6 “or approximately
\textadvanced
\textasciibreve
“
names and arrangement of the planetary spheres˗ in 02D9

02D7 Ibn\textretracted
Arabı̄’s˙ diagram follow Greek
\textdotabove
“
Copyright: © 2022 by the author. cosmological models (Figure 1). Ibn Arabı̄ claimed ˘to have\textbreveaccent
02D8 studied the works of Hellenistic
\textdotaccent
Licensee MDPI, Basel, Switzerland. \textbreve ˚ He accepted
philosophers and he found their cosmological theories to be
02DA sound. the premise
\textringabove
This article is an open access article \textasciibreve \textringaccent
that the heavenly spheres influence life on 02D9
Earth, ˙and he\textdotabove
did not contest the existence of
distributed under the terms and \textring
musica universalis.7 Yet, he outright denied the direct influence of˛Hellenistic
\textdotaccent
02DB philosophy on
\textcedillaaccent
conditions of the Creative Commons
spheres˚ and the
“
his teachings. Ibn Arabı̄’s writings on the 02DA \textringabove

music of the spheres were not
\textogonek
Attribution (CC BY) license (https://
based on independent astronomical observations either.\textringaccent
He owed his knowledge to the
\textring
creativecommons.org/licenses/by/
4.0/).
Divine revelation (kashf ) and the spiritual inrushes
02DB ˛ (khawāt. ir) and practices that enabled
\textcedillaaccent
\textogonek
Religions 2022, 13, 928. https://doi.org/10.3390/rel13100928 https://www.mdpi.com/journal/religions

16
Religions 2022, 13, x FOR PEER REVIEW 2 of 13
Religions 2022, 13, 928 USV Symbol Macro(s) Description 2 of 13
02B4 ʴ \textsupturnr MODIFIER LETTER SMALL TURNED R

practices that enabled him to hear this music for himself. Ibn ʿArabī dis-
(khawāṭir) and\textsuperscript{\textturnr}
cussed ʵthe music of thefor
spheres at some
Ibn length in al-Futūḥtheāt al-Makkiyya, thebut in a scattered,
“
02B5
him to hear \textsupturnrrtail
this music himself. Arabı̄ discussed music
MODIFIERof
LETTER spheres
SMALL TURNED Rat some
WITH HOOK
\textsuperscript{\textturnrrtail}
length in al-Futūh.āt al-Makkiyya, but in a scattered, disorganized manner. As a result, un-
disorganized manner. As a result, the content of his visions and revelations remains the
02B6 ʶ \textsupinvscr MODIFIER LETTER SMALL CAPITAL INVERTED R
studied of
content to his
date. This
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and aims to
revelations fill
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This article the
aims aesthetical
to fill this
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02B7 ʷ and the
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aestheticaland its relationship
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deal with the
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02B8
revolution
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spheresforisIbn
the Arabı̄
sourcebelieved
of musica theuniversalis.
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of spheres examine
MODIFIER how
is the source
LETTER SMALL Y the build-
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ing-elements
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building-elements andmake
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and pinpoint
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02B9 ʹ \cprime MODIFIER LETTER PRIME
ʿArabī
“
methodthey
sound Ibn make (§used
2) and
\textceltpal to pinpoint
hear the music of theIbn
the method spheres (§used
Arabı̄ 3). This will the
to hear serve as a of
music foun-
the
Ibn ʿArabī’s
“
dation ʺfor
spheres
02BA further
(§ 3). This discussions
will
\cdprime serve asona foundation fornotions
furtherof samāʻMODIFIER
discussionsandon the role
Ibn
LETTER ofPRIME
musica
Arabı̄’s
DOUBLE uni-
notions
of
02BB samā ʻinand
versalis Akbarian
the roleSufism
\textturncomma (§ 4).
of musica universalis in Akbarian Sufism (§ 4). LETTER TURNED COMMA
MODIFIER
02BC ʼ \rasp MODIFIER LETTER APOSTROPHE
02BD ʽ \lasp MODIFIER LETTER REVERSED COMMA

\textrevapostrophe
02BE ʾ \texthamza MODIFIER LETTER RIGHT HALF RING
02BF ʿ \textain MODIFIER LETTER LEFT HALF RING
02C0 ˀ \textraiseglotstop MODIFIER LETTER GLOTTAL STOP
02C1 ˁ \textraiserevglotstop MODIFIER LETTER REVERSED GLOTTAL STOP
02C2 ˂ \textlptr MODIFIER LETTER LEFT ARROWHEAD
02C3 ˃ \textrptr MODIFIER LETTER RIGHT ARROWHEAD
02C4 ˄ \textuptr MODIFIER LETTER UP ARROWHEAD
02C5 ˅ \textdptr MODIFIER LETTER DOWN ARROWHEAD
02C6 ˆ \textcircumaccent MODIFIER LETTER CIRCUMFLEX ACCENT
02C7 ˇ \textasciicaron CARON

\textcaronaccent
02C8 ˈ \textprimstress MODIFIER LETTER VERTICAL LINE
02C9 ˉ \textmacronaccent MODIFIER LETTER MACRON

\textmacron
02CA ˊ \textacuteaccent MODIFIER LETTER ACUTE ACCENT
\textacute
02CB ˋ \textgraveaccent MODIFIER LETTER GRAVE ACCENT
\textgrave
02CC ˌ \textsecstress MODIFIER LETTER LOW VERTICAL LINE
02CD ˍ \textlowmacron MODIFIER LETTER LOW MACRON

\textmacronbelow
02CE ˎ \textlowgrave MODIFIER LETTER LOW GRAVE ACCENT
02CF ˏ \textlowacute MODIFIER LETTER LOW ACUTE ACCENT
02D0 ː \textlengthmark MODIFIER LETTER TRIANGULAR COLON
02D1 ˑ \texthalflength MODIFIER LETTER HALF TRIANGULAR COLON
02D2 ˒ \textrhalfring MODIFIER LETTER CENTRED RIGHT HALF RING
02D3 ˓ \textlhalfring MODIFIER LETTER CENTRED LEFT HALF RING
02D4 ˔ \textraised MODIFIER LETTER UP TACK
02D5 ˕ \textlowered MODIFIER LETTER DOWN TACK
02D6 ˖ \textadvanced MODIFIER LETTER PLUS SIGN
02D7 ˗ \textretracted MODIFIER LETTER MINUS SIGN
02D8 ˘ \textbreveaccent BREVE

\textbreve
Figure 1. The heavenly
Figure 1. The heavenly spheres.
spheres.
\textasciibreve
02D9 ˙ \textdotabove
2. The Source of Musica Universalis DOT ABOVE
2. The Source\textdotaccent
of Musica Universalis
“
02DA Ibn˚ Arabı̄ taught that the heavenly spheres belong to the
\textringabove RINGhigher
ABOVE world (al- ālam al-
ʿArabī
IbnEarth, taught that the heavenly spheres belong to thematter,
higher thatworld is,(al-ʿālam al-
“
ulwı̄). \textringaccent
however, belongs to the lower world of gross all earthly
ʿulwī). Earth, however,
\textring belongs to the lower world of gross matter, that is, all earthly crea-
creatures and objects are made from the admixture of fire, water, air and earth. These four
02DB
tures and ˛ objects
\textcedillaaccent
are made from the admixture of fire, water, air and earth. These four
OGONEK
elements determine the properties and appearance of living beings and objects.9 Having
\textogonek
elementsthe determine the properties and appearance thatoftheliving beings and objects.
exhibitHaving
9
“
studied four elements, Ibn Arabı̄ concluded heavenly spheres certain

studied the four elements, Ibn ʿArabī concluded that the heavenly
properties that cannot be attributed to either fire, water, air or earth. This made spheres exhibit
him certain
realize
properties
there that cannot
is a fifth elementbeinattributed to either
existence. In thefire, water, chapter
eleventh air or earth. This made
of al-Fut him realize
ūh.āt al-Makkiyya,
thereArabı̄
is a fifth elementtheinUniversal
existence.Nature
In the eleventh chapter of al-Futūḥ āt al-Makkiyya, Ibn
“
Ibn identified (al-t.abı̄ a al-kulliyya) as the element the spheres

ʿArabī identified 16
are made of. Thethe Universal
Universal Nature
Nature (al-ṭintelligible
is an abīʿa al-kulliyya)
essence as with
the element the spheres
four distinct are
qualities:
“
it can be hot, cold, dry and/or moist. The fifth element, Ibn Arabı̄ maintained, cannot be
Religions 2022, 13, 928 3 of 13
universally identified with the heavenly spheres. Even so, the Universal Nature was still
closely associated with celestial bodies in al-Futūh.āt.10 Chapter nine of al-Futūh.āt suggests,
however, that the seven heavens were made of smoke instead.11 Either way, the spheres
transcend the world of gross matter. Some medieval philosophers, such as the Brethren of
Purity, argued this means the spheres can make neither sounds nor tunes.12 Ibn Arabı̄ did
“
not side with this opinion in the least, since he claimed each human can hear the music
of the spheres. The subtle nature of the fifth element does not prevent the spheres from
making sounds as they revolve around Earth.
Regarding density turning to subtlety [and vice versa], each thing that can be
subjected to transformation can be transformed into different, opposite forms.
This is akin to a person modulating their voice. Although sound cannot change
form per se, a person can deepen it in one moment and then make it higher to suit
their intentions and in order to affect the audience the way they want; in order
to cause happiness or joy, expansion, sadness or constriction. The four [strings
of the lute] are used to create these effects: bamm, zı̄r, mathnā, mathlath. This is
because the place where they wish these sounds to be effective [i.e., to affect the
human body] was constructed in a similar form, from four admixtures: yellow
and black bile, blood and phlegm. Hearing the sound of these strings stirs the
corresponding formation—i.e., the corresponding humour—of the audience.13
“
Ibn Arabı̄ did not explicitly link musica universalis to the measurements of the heavenly
“
spheres. The quoted paragraph, however, indicates Ibn Arabı̄ recognized that the length
of lute strings impacts the sound they make. It is thus not out of the question he also
presumed that the revolution of the Sphere of Saturn, which is the biggest planetary sphere
in existence, is louder and different in tone than the revolution of the smaller spheres
“
below. Ibn Arabı̄ claimed no person is stronger in faith than the one who knows the exact
measurements of celestial bodies. Yet, he never attempted to calculate these measurements
“
for himself when discussing the music of the spheres. This is not to say Ibn Arabı̄ was
disinterested in the texture, pitch and rhythm of musica universalis. He rather thought it
would be impossible to pinpoint the exact measurements of celestial bodies since they
are many times bigger than humans. A person attempting to pinpoint the length, width
and volume of celestial bodies would, in all probability, get one detail or another wrong.
“
Hence, Ibn Arabı̄ argued that one would be wiser to study the meaning, purpose and spirit
of the spheres instead.14 These issues are directly related to the meaning and purpose of
musica universalis.
“
The seven heavens exist only for the sake of mankind: Ibn Arabı̄ was quite explicit
on the matter.15 The Perfect Human was drawn at the center of Figure 1 to emphasize
this point. The heavenly spheres have a twofold purpose. First, they were created in
perfect form to remind humans of their Creator.16 The spheres were then adorned with
“shining stars, like flowers on earth”17 so that humans could tell time. This is the second
purpose of the heavenly spheres and the sole reason for the existence of the Sun and
the Moon.18 Musica universalis is the direct product of the revolution of celestial bodies
“
and spheres. Ibn Arabı̄ noted that some scholars have argued that all celestial bodies
are contained within a single sphere. This could potentially mean that one sphere has a
“
primary role in the production of musica universalis. Ibn Arabı̄ was firmly opposed to these
and similar theories—for he believed God created the seven spheres one by one, with a
planet “swimming” in each of them alongside angels. His teachings were based on the
“
surah The Prophets (ar. al-Anbiyā ), which Ibn Arabı̄ quoted as follows: “God, the Exalted
One, said [He was the one who created night, day, the Sun and the Moon] and each of
them is swimming in their spheres”.19 Whereas Earth spins around its axis because of its
“
shape, Ibn Arabı̄ taught that the revolution of the spheres is determined by the will of God.
This made G. Elmore speculate that the spheres move [and “sing”] under compulsion.20
“
Ibn Arabı̄ however clarified that the spheres—like minerals—have a will of their own.
Hence, they can be entrusted with certain tasks. As a matter of fact, the Qur’an describes
Religions 2022, 13, 928 4 of 13
how God asked the seven heavens whether they will come to Him willingly or unwillingly.
“
To this, the heavens said: We come willingly (Q. 41: 11). Ibn Arabı̄ took this verse as a
confirmation that the spheres move freely, willingly. That said, it should be noted their
“
movements were concurrently described as “willing” and “compelled” in Ibn Arabı̄’s
works. This is due to the fact that the spheres are in direct contact with one another, with no
space in-between their surfaces. As a result, the movement of the highest sphere impacts
“
the speed and rotation of the spheres below. Hence, Ibn Arabı̄ reasoned that the revolution
of the planetary spheres is both willing and compelled. The will of God is another factor
dictating the movement of the spheres—not in the least since the spheres worship God by
rotating.21 Musica universalis is an indirect product of their worship. However, the spheres
are not angels—and they do not consciously sing in praise of their Lord. As a matter of fact,
“
the heavenly spheres are fully unaware of His existence. Ibn Arabı̄ had them compared
to chairs in this regard. A sphere, like a chair, has no knowledge of the craftsman who
made it. Even so, by singing and existing, the heavenly spheres stand as witnesses for the
existence of their Creator.22 Since the spheres were created for the sake of mankind, it can
be assumed their music was intended for humans, rather than God. However, in order to
benefit from this music, each person must first learn how to hear it.
3. Hearing the Music of the Spheres

Sufis and philosophers in the Arabic intellectual milieu have long thought that auditory
“
perception is more reliable than visual perception. Ibn Arabı̄ also sided with this opinion
in Chapter 182 of al-Futūh.āt, for God described Himself in the Qur’an as “the All-Hearing,
the All-Knowing” (Q. 2: 181) and “the All-Hearing, All-Seeing” (Q. 22: 61). The phrasing
“
of these verses led Ibn Arabı̄ to the conclusion that the sense of hearing takes precedence
over rational knowledge and visual perception. Hence, one could safely assume Ibn
“
Arabı̄ would have advised his students to rely (more) on their ears when searching for
musica universalis.23 Pythagoras’s writings on the topic were also based auditory perception.
According to Iamblichus,
Through some unutterable, almost inconceivable likeness to gods, [Pythagoras’s]
hearing and his mind were intent upon the celestial harmonies of the cosmos.
It seemed as if he alone could hear and understand the universal harmony and the
music of the spheres of the stars which move within them, uttering a song more
complete and satisfying than any human melody, composed of subtly varied
sounds of motion and speeds and sizes and positions.24
Similar reports can also be found it the works of Suhrawardı̄ (d. 1191) and S̋adr ad-Dı̄n
Shı̄rāzı̄ (d. 1640). Both of these scholars surmised that the purity of Pythagoras’s soul
allowed him to ascend to the higher world, where he heard the music of the spheres—with
Suhrawardı̄ claiming to have made a similar ascent himself.25 Such claims were not unheard
of in Classical Antiquity. For instance, Simplicius of Cilicia (d. 560) noted every human
would get to hear what is inaudible to others, “just as is recounted of Pythagoras”, once
they have purified their senses.26 Celestial realms have been almost universally associated
with purity and divinity in Greek and Arabic culture. Similar notions can also be found in
“
Ibn Arabı̄’s works. For instance, in Chapter 15 of al-Futūh.āt, Ibn Arabı̄ claimed that the
purity of the spheres, elements, living beings and objects increases proportionally to their
distance from Earth.
As gross matter descends towards Earth until it reaches it and its thickness and
coarseness increase [proportionally]. This is akin to water, olive oil or any other
fluid in an earthenware jug: sediment accumulates at the bottom and the liquid
is clearer near the surface.27
Whereas protracted contact with gross matter corrupts people, reaching the heavenly
spheres leads to spiritual realizations and knowledge. All spheres have been associated
with the knowledge of life force, sexuality and the power to revive the dead, among other
things. The knowledge of musica universalis was, however, linked to the Sphere of Sun
Religions 2022, 13, 928 5 of 13
“
in Ibn Arabı̄’s works. Spiritual practitioners who reached this sphere were occasionally
blessed with understanding the relationship between the melodies of the heavenly spheres,
musical instruments, chordophones, plants and animals.28 Ibn Arabı̄ taught that no person
“
could compare to imam Mudāwı̄ al-Kulūm29 with regard to his knowledge of the spheres.
The imam gained this knowledge directly by the means of the Divine revelation, without
having to struggle to reach advanced states of spiritual development (ah.wāl) first.30 That
“
said, Ibn Arabı̄ was adamant that no person, no matter how spiritually advanced, can dic-
tate the content of the Divine revelations they receive. Independent scientific observations
and reading the works of saints and prophets are always an option for those who wished to
gain specific knowledge. Those aiming to compete with Mudāwı̄ al-Kulūm in knowledge
were expected to focus on the mysteries of prayer. In other words, whereas Pythagoras
“
made himself akin to gods to reach the heavenly spheres, Ibn Arabı̄ advised his students
to pray to God instead. Hearing the music of the spheres was listed among the signs and
“
benefits of a properly executed prayer in Chapter 69 of al-Futūh.āt. Yet, as Ibn Arabı̄ noted:
How many pray and have from their prayer
Nothing but a vision of the wall before them,
Of toil and trouble?
But some are graced with intimate conversations with God,
Ever and ever, even if they had already
Prayed a required prayer, they meet the Convener.31
“
True prayer was described by Ibn Arabı̄ as pure light. The outside world disappears
by the means of this light, and a believer finds themselves alone with God. In other
“
words, the act of praying is equal to an intimate conversation with God in Ibn Arabı̄’s
eyes.32 Ibn Arabı̄ identified seven elements of each prayer. These include (1) the first
“
“
standing, (2) bowing down (rukū ), (3) the second standing, as a person rises from rukū ,
(4) prostration (sujūd), (5) sitting between prostrations, (6) the second prostration and
(7) sitting in tashahhud. Each of these elements was thought to have an impact on the human
body and soul.33 In general, Ibn Arabı̄ associated the aforementioned elements of prayer
“
with the seven planetary spheres and the seven circumambulations pilgrims make around
the Kaaba. Musica universalis was explicitly linked to the act of sujūd and to sujūd al-tilāwa
in particular.34 The latter was usually identified as a recitation from the Qur’an during
prayer. Sujūd al-tilāwa was practiced based on the assumption that certain verses made the
Prophet prostrate himself on the ground. Scholars were never unanimous on the number
“
of these verses and Ibn Arabı̄ noted there was also no general consensus among scholars
“
on whether sujūd al-tilāwa is obligatory for believers. On his side, Ibn Arabı̄ was adamant
that al-Fātih.a, the opening surah of the Qur’an, must be recited during each prayer. One
is not obliged to recite more, though it would be beneficial for each person to do so, for
“
Ibn Arabı̄ reasoned that prayer is an intimate conversation between God and humans.
A person is addressing God in His own words when reading from the Qur’an during
“
prayer. This is something Ibn Arabı̄ recommended to his readers, as one would otherwise
“
risk letting their ego speak with God. Not only would this be improper—but, as Ibn Arabı̄
pointed out, only those who read from the (Qur’anic) revelation could hope to receive the
Divine revelation in return. Praying in one’s own words would thus defeat the purpose
of a prayer.35 Ibn Arabı̄ taught that there are fifteen verses which inspired the Prophet to
“
prostrate himself on the ground.36 These can be found at: Q. 7: 206, 13: 15, 16: 50, 17: 109,
19: 58, 22: 18, 25: 60, 27: 26, 32: 15, 41: 38, 38: 24, 22: 77, 53: 26, 25: 21 and 96: 19. Chapter
69 of al-Futūh.āt contains a section dedicated to each of the fifteen prostrations, with each
section providing a criterion to determine whether a prostration was properly executed.
The fourteenth prostration is of special importance to us since, when properly executed,
it enables a Seeker to hear the music of the spheres:
Religions 2022, 13, 928 6 of 13
“
The fourteenth prostration is the prostration of totality (jam ) and existence
(wujūd). If a person bows down in this prostration and does not gain the knowl-
edge of the tones and melodies of the spheres, if that person does not get to see
the sound of each of these tones as the melodies of the True in the universe—if
they do not witness David, peace be on him, in this kashf, and if they do not see
the sounds and letters articulating every wondrous meaning, jolting unshakable
mountains with music and the mother who lost her child laughing with delight
and joy—then, that person did not bow [sincerely].37
The quoted paragraph indicates that a spiritual Seeker might be able to hear and see
the music of the spheres. This evokes the Pythagorean notion that the human eye and
ears are equally important in cosmological studies.38 The fourteenth prostration was also
linked with the recitation of the twenty-first verse of the surah The Sundering (ar. al-Inshiqāq).
“
As a matter of fact, Ibn Arabı̄ associated the fourteenth prostration with reading from the
Qur’an in general. The fourteenth prostration was referred to as the Prostration of Totality
“
“
(sajdat al-jam ) in al-Futūh.āt. Ibn Arabı̄ associated this prostration with the Qur’an, since the
“
word “Qur’an” implies the totality (jam ) of surahs and verses. The fourteenth prostration
“
was also linked with the Oneness of God (ah.adı̄yya) in al-Futūh.āt, for Ibn Arabı̄ believed
that, when properly executed, the fourteenth prostration could grant a Seeker familiarity
with all qualities of the Divine. Since the fourteenth prostration is the Prostration of Totality,
“
Ibn Arabı̄ reasoned it could also grant a Seeker the knowledge of life and procreation,
which was typically associated with all heavenly spheres.39 The aforementioned power of
sujūd was based on the fact that prostrations bring a person closer to their roots, as their
“
face touches the ground God used to create Adam. Ibn Arabı̄ felt a human standing and
sitting appears tall, proud and distant from God, even when they pray. In contrast, a human
performing sujūd looks as if they are leaning on God for support. To emphasize further on
“
their intent to entrust themselves to God, Ibn Arabı̄ advised believers to place their knees
on the ground first when prostrating. His advice should be read in the light of the fact that
“
Ibn Arabı̄ believed hands are the place of power in humans. Knees, however, were seen
as the place of support. By going down on their knees first, before placing their hands on
the ground, a spiritual Seeker declares they are relying on God’s power to hear the music
of the spheres. As their body lowers itself to the ground, the soul of a Seeker bows with
the Universal Soul (al-nafs al-kulliyya). It is at this moment that the True descends to “their
level”40 —and musica universalis rings in the ears of a Seeker.
4. Evaluating
USV Symbolthe MusicMacro(s)
of the Spheres Description
A.02B4
Kramaz noted
ʴ that music was evaluated in Classical Antiquity asMODIFIER
\textsupturnr either “good” or
LETTER SMALL TURNED R
“bad” based on the effect USV
it had Symbol Macro(s)
on listeners. Music could be subjected to value judgementsDescriptio
USV onSymbol
three distinct
02B5 ʵlevels.\textsupturnrrtail
Macro(s) These were identified by Kramaz as: Description
art (aesthetics), morals
MODIFIER LETTER SMALLand
TURNED R WITH HOOK
02B4 ʴ \textsupturnr
\textsuperscript{\textturnrrtail} MODIFIER LETTE
the exterior purpose USV
of music. 41 Musica
Symbol Macro(s)
universalis was not deemed problematic on Description
either
02B4 ʴ 02B6 \textsupturnr \textsuperscript{\textturnr}
ʶ \textsupinvscr MODIFIER LETTER SMALL TURNED R
MODIFIER LETTER SMALL CAPITAL INVERTED R
ʵ It
“ “
of these levels in Akbarian 02B5Sufism.

ʴ was certainly beautiful and elating, for Ibn Arabı̄
\textsupturnrrtail
02B4\textsuperscript{\textinvscr}
\textsupturnr
MODIFIER LETTE
MODIFIER LETTER SMAL
02B5 noted ʵ it02B7
could make \textsuperscript{\textturnrrtail}
ʷ a mother
\textsupturnrrtail
\textsupw who lost her child laugh and weep tearsMODIFIER
MODIFIER LETTER of joy.LETTER
SMALL TURNED RIbnSMALL
WITH Arabı̄
HOOKW
02B6
did not find\textsuperscript{\textturnrrtail}
ʵ ʶ \textsupturnrrtail
02B5\textsuperscript{w}
music morally problematic \textsupinvscr
either; arguing that the prophet Muhammad once MODIFIER LETTE
02B6 ʶ 02B8 \textsupinvscr \textsuperscript{\textinvscr}
allowed a woman ʸ to play\textsupy
the \textsuperscript{\textturnrrtail}
tambourine for him. Musica MODIFIER LETTER SMALL
universalis was CAPITAL
also
MODIFIER INVERTED
thought
LETTER RY
to
SMALL
be
02B7
ʶ ʷ \textsupinvscr
02B6\textsuperscript{y}
\textsupw
42 However, this
MODIFIER LETTE
02B7 powerful:
ʷ 02B9among \textsuperscript{w}
ʹ other things,
\textsupw \cprime
it could make mountains crumble
\textsuperscript{\textinvscr} toLETTER
MODIFIER dust.SMALL W
MODIFIER LETTER PRIME
is
\textsuperscript{w}
not to say musica universalis ʷ ʸ \textsupw
02B8was treasured
02B7\textceltpal
\textsupy
among advanced spiritual Seekers. The exterior MODIFIER LETTE
02B8 purposeʸ 02BA \textsupy \textsuperscript{y} MODIFIER LETTER SMALL Y
“
of musicaʺ universalis
\cdprime \textsuperscript{w}
in Akbarian Sufism cannot be studied apartMODIFIER from LETTER
Ibn DOUBLE
Arabı̄’s
PRIME
02B9
\textsuperscript{y}
02B8
ʹ \textsupy
ʸ directly \cprime MODIFIER LETTE
writings on samā ʻ , for
02BB these are
\textturncomma concerned with the spiritual, practical
\textceltpal andTURNED
MODIFIER LETTER moral
MODIFIER
COMMA LETTER SMAL
02B9 ʹ \cprime \textsuperscript{y} MODIFIER LETTER PRIME
values of 02BC
music ʼ the spheres).
(of \rasp
ʹ ʺ \cprime
02BA \cdprime MODIFIER LETTER APOSTROPHEMODIFIER LETTE
\textceltpal02B9 MODIFIER LETTER PRIM
02BA ʺM.02BD
Viitamäki ʽ described
\cdprime \lasp
02BB samā ʻ as the most controversial
\textturncomma
\textceltpal of
MODIFIERSufi practices.
LETTER
43 As
MODIFIER LETTER
DOUBLE PRIME such,MODIFIER LETTE
REVERSED COMMA
\textrevapostrophe
02BB samā ʻ remains misinterpreted,
\textturncomma ʼ \cdprime
02BA 02BC ʺ misrepresented \rasp and widespreadMODIFIERin Afro-Eurasia
LETTER TURNED COMMA up until MODIFIER
MODIFIER LETTERLETTE
DOUB
02BE ʾ \texthamza MODIFIER LETTER RIGHT HALF RING
02BC today. ʼ The \rasp
Arabic 02BD ʻ ʽ \lasp
samā can be directly translated as “listening”.MODIFIER
ʿ word Throughout the
02BB \textturncomma MODIFIER LETTER APOSTROPHE MODIFIER
TURN
02BF \textain LETTER LEFT HALF RING
\textrevapostrophe MODIFIER LETTER REVERSED COMMA
ʽ
02BD centuries, \lasp 02BC ʼ \rasp
02C0this term
ˀ has\textraiseglotstop
served to denote spiritual gatherings at which MODIFIER devotional music
MODIFIER LETTER APOS
02BE
\textrevapostrophe
02BD ʽ ʾ \lasp\texthamza LETTER GLOTTAL STOPMODIFIER LETTE
and poetry were sung
ˁ and heard. Some scholars also used this term for spiritual music and
MODIFIER LETTER REVE
02BE ʾ 02C1 \texthamza \textraiserevglotstop
02BF ʿ \textrevapostrophe
\textain MODIFIER LETTER REVERSED GLOTTAL
MODIFIER LETTER RIGHT HALF RING
STOP
MODIFIER LETTE
02BF ʿ 02C2 \textain ˂ 02BE\textlptr

02C0 ʾ ˀ \texthamza
\textraiseglotstop MODIFIER LETTER LEFTMODIFIER LETTER LEFT ARROWHEAD
HALF RING MODIFIER
RIGH
02C0 ˃ 02BF\textrptr
ˀ 02C3 \textraiseglotstop 02C1 ʿ ˁ \textain
\textraiserevglotstop MODIFIER LETTER RIGHT ARROWHEAD
MODIFIER LETTER GLOTTAL STOP MODIFIER LETTERLETTE
MODIFIER LEFT
02C1 ˄ 02C0\textuptr
ˁ 02C4 \textraiserevglotstop
02C2 ˀ ˂ \textraiseglotstop
\textlptr MODIFIER LETTER UP ARROWHEAD
MODIFIER LETTER REVERSED GLOTTAL STOP MODIFIER MODIFIER
LETTERLETTE
GLOT
02C2 ˂ 02C5 \textlptr˅ 02C1\textdptr

02C3 ˁ ˃ \textraiserevglotstop
\textrptr MODIFIER LETTER DOWN ARROWHEAD
MODIFIER LETTER LEFT ARROWHEAD MODIFIER
REVE
02C3 ˃ 02C6 \textrptrˆ 02C2\textcircumaccent

02C4 ˂ ˄ \textlptr
\textuptr MODIFIER LETTER CIRCUMFLEXMODIFIER
MODIFIER LETTER RIGHT ARROWHEAD
ACCENT
LEFT
02B4
USV ʴ Symbol Macro(s)
\textsupturnr \textsuperscript{\textturnr} 02B4
Description
ʴ SMALL TURNED \textsupturnr
02B6 ʶ \textsupinvscr MODIFIER LETTER R MODIFIER LET
02B4 ʴ ʵ
02B5 \textsuperscript{\textturnr}
\textsupturnr
\textsupturnrrtail\textsuperscript{\textinvscr} MODIFIER \textsuperscript{\text
LETTER SMALL TURNED R WITH HO
MODIFIER LETTER SMALL TURNED R
ʵ \textsuperscript{\textturnrrtail} ʵ SMALL TURNED
02B5 \textsupturnrrtail
02B7 ʷ \textsupw USV Symbol
02B5
MODIFIER LETTER Macro(s) \textsupturnrrtail
R WITH HOOK MODIFIER LET
02B5 ʵ ʶ
02B6 \textsuperscript{\textturnrrtail}
\textsupinvscr
\textsupturnrrtail \textsuperscript{w} MODIFIER \textsuperscript{\text
LETTER SMALL CAPITAL INVERTED
MODIFIER LETTER SMALL TURNED R WITH HOOK
02B6 ʶ \textsupinvscr \textsuperscript{\textinvscr} 02B4 02B6ʴ \textsupturnr
ʶ SMALL CAPITAL \textsupinvscr
Symbol ʸ Macro(s)
02B8 \textsupy MODIFIER LETTER INVERTED R
ʷ USV \textsupw
02B7 \textsuperscript{\textinvscr} USV \textsuperscript{\textturnr}
SymbolMODIFIER Macro(s) Description
\textsuperscript{\text
LETTER SMALL W
MODIFIER LET
Religions 2022, 13, 928 02B6 ʶ \textsupinvscr \textsuperscript{y}

ʵ MODIFIER LETTER SMALL CAPITAL 7 INVERTED
of 13 R
02B7 ʷ \textsupw \textsuperscript{w}
02B4 02B9 ʴ
\textsuperscript{\textinvscr} USV Symbol
ʹ \textsupturnr \cprime
Macro(s)02B5 02B7 02B4LETTER
MODIFIER
\textsupturnrrtail
ʷ SMALL ʴ W\textsupw \textsupturnr
MODIFIERMODIFIER
LETTER SMA LET
ʸ
02B8 \textsuperscript{w} \textsupy \textsuperscript{\textturnrrt
MODIFIER \textsuperscript{w}
LETTER SMALL Y
02B7 ʷ \textsupw 02B4 \textsuperscript{\textturnr}
\textceltpal
ʴ \textsupturnr
02B6 ʶ MODIFIER LETTER SMALL\textsuperscript{\
\textsupinvscr
W
02B8 USVʸ Symbol \textsupy \textsuperscript{y} 02B8 ʸ SMALL
Macro(s)
02B5 02BAUSV
\textsuperscript{w} ʵ Symbol
ʺ \textsupturnrrtail
\cdprime Macro(s)
\textsuperscript{\textturnr} Description
02B5LETTER
MODIFIER ʵ Y \textsupy \textsupturnrrtail
\textsuperscript{\textinvscr} LETTERDes
MODIFIERMODIFIER SMA
LET
02B8 ʸ ʹ
02B9 \textsuperscript{y}
\textsupy
\cprime \textsuperscript{\textturnrrtail} MODIFIER \textsuperscript{y}
LETTER PRIME
\textsuperscript{\
the 02B4
act of listeningʴ\cprime in general.02BB Samā
\textceltpal ʻ
02B5 thus ʴ ʵ
came to
\textturncomma be associated
\textsupturnrrtail
02B7 ʷ withMODIFIER
military
LETTER
\textsupw and
SMALL Y
festive MODIFIER LET
02B9 ʹ \textsupturnr
02B6 02BC ʶ02B4 ʼ 44
\textsuperscript{y} \textsupinvscr \textsupturnr 02B9 02B6LETTER
MODIFIER
\textsuperscript{\textturnrrtail} ʹ PRIME
MODIFIER LETTER\cprime
ʶ SMALL TURNED R
\textsupinvscr
MODIFIER LETTER SMA
MODI
\rasp that\textsuperscript{w}
“
music,
02B9
pilgrimage ʺsongs
\cprime USV
02BA \textceltpal
ʹ and the like.
\cdprime Symbol It is, however,
Macro(s) worth notingMODIFIER
\textsuperscript{\textinvscr} IbnMODIFIERArabı̄ did
\textceltpal
LETTER DOUBLE not
\textsuperscript{\ PRIME Descrip
MODIFIER LET
02B6 ʶ \textsupturnrrtail
\textsupinvscr ʸ LETTER PRIME
ʷ As aʽ \textsupw he02B8
02B5
fully ʺ 02BB ʵ\cdprime
identify samā\textceltpal
with 02BD 02B5
ʻ \textsupturnrrtail
music. matter ʵ \lasp of fact, differentiated \textsupy
ʺ DOUBLE
between three types MODIFIER LET
02BA 02B7 \textturncomma
02B4 ʴ
02BA MODIFIER
02B7LETTER
MODIFIER
\textsupturnr ʷ PRIME
LETTER
MODIFIER \cdprime
\textsuperscript{y}
SMALL
LETTER TURNED
TURNED
\textsupw R WITH
COMMA HOOK MODI
MODIFIER LETTER SMA
\textsuperscript{\textturnrrtail} \textrevapostrophe
\textsuperscript{\textturnrrtail} MODIFIER L
samā ʻ . 02BC
of 02BA
02BB These were ʼ identified
ʺ \textturncomma \rasp as the \textsuperscript{w}
Divine, spiritual and natural
02BB samā ʻ in al-Fut \textsuperscript{w
ūh āt.
\textturncomma The
02B9 USV ʹ Symbol Macro(s)
\cdprime ʷ\textsuperscript{\textturnr} MODIFIER LETTER MODIFIER
TURNED LETTER
COMMA
. APOSTROPHE
02BE 02B602B7 \textsupw MODIFIER LETTER DOUBLE PRIME
ʸ ofʾthe
\cprime
02B6
ʼ 02BDʻ ʶwas ʽ \textsupinvscr ʶ \texthamza \textsupinvscr MODIFIER LET
02BC 02BB samā
Divine \raspthe 02B8
most
\textturncomma\lasp
prized
02B5 \textsupy
ʵ three. It was\textsuperscript{w}
\textsupturnrrtaillinked 02BC
with 02B8
the
MODIFIER
MODIFIER
creative
LETTER
MODIFIER ʸ word
LETTER SMALL CAPITAL INVERTED
ʼ APOSTROPHE
MODIFIER
\textceltpal
LETTER \rasp \textsupy
LETTER
TURNED of
COMMA God COMMA
MODIFIER
REVERSED
R MODI
LETTER SMA
02BF
\textrevapostrophe ʿ \textsuperscript{y}
\textain \textsuperscript{\textinvscr}
\textsuperscript{y
MODIFIER L
MODIFIER LET
02BD 02B7ʽ USV
02BC
(“kun!”), whichʼ ʷ\lasp \rasp
brought
Symbol the universe
Macro(s)
USV 02B8to existence—and ʸ Macro(s) \textsupy
with the 02BD
ʺ Sufi ʽ REVERSED
attempts \lasp
to hear this MODIFIER
ʹ02B7 Symbol USV Symbol Macro(s) Description Descr
ʷ \textraiseglotstop 02BA MODIFIER \cdprime
LETTER
MODIFIER LETTER COMMA
APOSTROPHE
ʾ \textsupw
02BE \textrevapostrophe
ʽ
02C0
02B9 \texthamza
02B6
ˀ \cprime
ʶ
\textsupw
\textsuperscript{y}
\textsupinvscr 02B9MODIFIERMODIFIER ʹ \textsuperscript{\texttu
LETTER SMALL W
\cprime
\textrevapostrophe
LETTER MODIFIER
RIGHT
MODI
LETTER PRIM
HALF RING LET
ʻ
“
02BD
word and harness its \lasp\textsuperscript{w}
power for themselves. \textsuperscript{w}
“The Divine02BB samā
02B5 ’, Ibn ʵ
MODIFIER Arabı̄
\textturncomma
LETTER noted,
REVERSED “also
COMMA
\textsupturnrrtail
MODIFIER L
02BE 02B8ʾ 02BF 02B4 \texthamza ʿ ʴ 02C1
\textsupturnr
\textain
\textrevapostrophe 02B4 ˁ
02B9 \textceltpal
ʴ \textraiserevglotstop
ʹ \cprime
\textsupturnr
02B4 ʴ
\textsuperscript{\textinvscr} 02BE ʾ
\textsupturnr MODIFIER
MODIFIER
\textceltpal
\texthamza
LETTER
LETTER SMALL
LEFT HALF MODIFIER
TURNED
RING R LET
MODIFIE
means hearing—seeing ʸ Symbol \textsupy
02BAthe ʺ02B8 ˂words
Divine ʸ in everything,
\textsupy 02BChearing
MODIFIER
ʼ 02BA
them
LETTER
\rasp
MODIFIER
RIGHT
from
LETTER
HALF
all
RING
ʺ \textsuperscript{\texttu
things
SMALL Y
in MODIFIER MODI
02BF 02BE ʿ USV Macro(s) Description
ˀ\texthamza 02C2 \cdprime
ʷ \textlptr \textceltpal
\textsuperscript{\textturnr} \textsuperscript{\textturnr} \cdprime MODIFIER LETTER DOU
02C0ʾ \textain 02B7
\textraiseglotstop
\textsuperscript{y} \textsupw
\textsuperscript{y} 02BF
MODIFIER
02B6 ʽ 02BB ʿ
ʶsamā
LETTER MODIFIER
LEFT HALF \textain
LETTER
RING
MODIFIER LETTER RIGHT HALF RING GLOTTAL STOP MODIFIER LET
L
existence”.
ˀ
45 The Divine
02B5 ˁʵ samā ʻ is 02BA
02BB \textraiserevglotstop
\textsupturnrrtail
02C3 02B5 somewhat
˃ ʵ
\textturncomma ʺ similar
\textrptr \cdprime02BD
to
\textsupturnrrtail
02B5
\textsuperscript{w} the ʵ spiritual \lasp
\textsupturnrrtail
ˀ ʻ \textsupinvscr
in
MODIFIER this
LETTER regard,
\textturncomma
MODIFIER
SMALL TURNEDLETTER TURN
RMODIFIE
WITH H
02C0 02B9 02B4
02BF 02C1 ʿʹ \textraiseglotstop
ʴ\cprime\textsuperscript{\textturnrrtail}
\textain 02B9
\textsupturnr ʹ \cprime 02C0
MODIFIER LETTER
MODIFIER
MODIFIER GLOTTAL
\textrevapostrophe
LETTER
LETTER
MODIFIER \textraiseglotstop
\textsuperscript{\textin
MODIFIER LETTER
STOP
PRIME
LEFT HALF RING
LETTER REVERSED MODIFIER
GLOTTAL
SMALL TURNED R MODI
LET
STOP
ʼ 02BB ʸ samā ʻ \textsuperscript{\textturnrrtail} \textsuperscript{\textturnrrtail}
ʼ \textsupw
“
for02C0
02C1 Ibn ˁ Arabı̄ associated 02BC \textlptr
˂ \textceltpal
02C2ˀ \textraiserevglotstop the02B8
02C4 spiritual ˄ \rasp
\textraiseglotstop with
\textsupy
\textuptr the ability
\textturncomma
\textceltpal 02BE 02B7to
02C1ʾ
02BC
see
MODIFIER
how
ʷ
LETTER
MODIFIER ˁ the
MODIFIER
\texthamza
REVERSED
LETTER
Highest\rasp Pen MODIFIER
MODIFIER
LETTER
GLOTTAL
GLOTTAL LEFT
STOP ARROWHEAD
STOP
LETTER
MODIFIERAPO L
LET
inscribes 02B6
theˁ ʺwords ʶ 02BD
of God \textsupinvscr
02B6
on02BAʽ ˅
02BC \lasp
the outspread ʶ \textsupinvscr
ʺ \textdptr 02B6
\textsuperscript{y}
ʼ \rasp
parchment ʶ
of existence \textsupinvscr
02BD (al-raqq ʽ
MODIFIER LETTER SMALL CAPITAL INVERTE
\lasp
al-mansh ūr). MODIFIE
02C2 02BA˂ 02C3
02C1 02B5 ˃ʵ\cdprime
\textlptr 02C5
\textsupturnrrtail
\textrptr
\cdprime
02BF
\textsuperscript{\textinvscr} 02C2
MODIFIER MODIFIER ˂ LEFT
MODIFIER
\textain
LETTER \textsuperscript{w}
LETTER
ʿ \textsuperscript{\textinvscr}
MODIFIER
MODIFIER
LETTER
DOUBLE
\textlptr
ARROWHEADLETTER
LETTER
REVERSED
PRIME MODIFIER
SMALL
RIGHT
GLOTTAL TURNED
LETTER
MODIFIER
ARROWHEAD
STOP
REVE
R WITH LET
MODI H
ʻ 02B9
ˆ ʹ ʻ \textcircumaccent
02BD \cprime
\textrevapostrophe
ʽ \lasp identified ʸ \textrevapostrophe MODIFIER L
Natural
02C3 02BB
02C2 ˃ samā
02C4
02B7 ˂ was ˄
\textrptr the only
ʷ 02BE \textsupw
\textlptr type
02C6
\textturncomma
\textuptr
02B7
02BB of samā ʷ to be explicitly
\textturncomma
\textsupw
02B7
\textceltpal 02C0 ʷ
02B802C3ˀ 02BE with ˃
MODIFIER
\textsupw
MODIFIER music, \textsupy
LETTER
MODIFIER
\textraiseglotstop
LETTER RIGHT tones
TURNED
\textrptr
LETTER
ARROWHEAD
COMMA
UP and
ARROWHEAD MODIFIER LET
MODI
ʾ \texthamza MODIFIER
ʾ \textsuperscript{y}
LETTER
MODIFIER LEFTLETTER
ARROWHEAD SMALL W
\texthamza MODIFIE
˅ʶ\rasp
02B6 02C7 02BC ˇ
\textsupinvscr \textrevapostrophe MODIFIER LETTER RIGH
˃ ʼ\textuptr ʼ \textasciicaron
“
02BC˄ 02C5
melodies. Ibn Arabı̄ explained:
\textsuperscript{w}
\textdptr \rasp
\textsuperscript{w} ˄
\textsuperscript{w}MODIFIER
MODIFIERMODIFIER
LETTER LETTER SMALL CAPITAL
APOSTROPHE CARON INVERTE
MODI
02C4 02C3 \textrptr 02BAʿ ʺ
02BF \textsuperscript{\textinvscr}
02BE \textain \cdprime
ʾ \lasp 02C1
\texthamza02B9
02C4ˁ
MODIFIER
02BFMODIFIER
ʹ ʿ
LETTER \textuptr
LETTER UP ARROWHEAD LETTER
RIGHT DOWN ARROWHEAD
ARROWHEAD
\textain
\cprime COMMA MODIFIER
MODIFIER L
LETTER LEFT
02BD˅ 02C6 ʽ ʸ \lasp \textcircumaccent
02BD ʸ ʽ \textcaronaccent ʸ
02C5 02C4 02B8
Wise02B7 ˄
men do ʷnot ˆ
\textdptr
\textuptr \textsupy
speak 02B8
02BB ofˀ samā ʻ in terms \textsupy
02B8
of it
\textturncomma being
02C2 02C5˂ \textsupy
conventionally
MODIFIER MODIFIER ˅
MODIFIERMODIFIER
LETTER REVERSED
MODIFIER
\textlptr
LETTER DOWN
ˀ \textdptr
identified
LETTER LETTERCIRCUMFLEX
LETTER
ARROWHEAD
UP ARROWHEAD SMALL Y ACCENT MODI
MODIFIE
02C0 \textsupw
02C8 ˈ
02BF ʿ \textsuperscript{y}
\textraiseglotstop
\textprimstress\textain 02C0 \textceltpal
MODIFIER \textraiseglotstop
LETTER SMALL W
MODIFIER
MODIFIER L
MODIFIERGLO
LETTER
ˇ \textrevapostrophe
\textsuperscript{y} \textrevapostrophe \textsuperscript{y} LET
02C6 02C5 ˆ 02C7
with ˅ \textcircumaccent
melodies \textdptr \textasciicaron
02BCˁ
\textsuperscript{w}
(naghamāt)—and ʼ this is\rasp
ˀ to be attributed
02C3 02BA02C6
to ˃ their
MODIFIER
ʺ
LETTER
MODIFIER ˆ
high CARONDOWN
\textrptr
CIRCUMFLEX
ˁ
LETTER \textcircumaccent
spiritual
\cdprime ACCENT
ARROWHEAD MODIFIER L
02BE 02B9 ʾ ʹ 02C1
\texthamza 02C9
\cprime02B9 02BE
\textcaronaccent ˉ
02C0 \textraiserevglotstop
ʹ ʾ \cprime \textraiseglotstop
\textmacronaccent
\texthamza
02B9 ʹ 02C1
\cprime
MODIFIER MODIFIER
LETTER RIGHT \textraiserevglots
LETTERHALF MODIFIER
RING
PRIME
LETTERMODI
MODIFIER REVE
LET
MODIFIE
02C7 02C6 ˇ 02B8 ˆ \textasciicaron
concentration ʸ(himma).
\textcircumaccent
\textsupy
02BD
They
˂02BF02C1
02C2 \textprimstress only ʽ speak
\textlptr \lasp of “the
ˁ \textceltpal
\textmacron 02C4
absolute 02BB02C7˄samā
CARON
02C2MODIFIER ˇand
ʻ ”\textuptr \textasciicaron
itCIRCUMFLEX
MODIFIER
has
˂ \textturncomma
LETTER
no
LETTER SMALL
\textlptr ACCENT Y MODIFIER L
02BF 02C8 ʿ\textcaronaccent
ˈ \textain \textceltpal ʿ
\textsuperscript{y}\textrevapostrophe
\textain \textceltpal
MODIFIERMODIFIER
LETTER LEFT HALF
\textcaronaccent
LETTER
MODIFIER LETTERMODI
RING
VERTICAL LINE
LEFT
02C7 ˇ them\textasciicaron ˊ \textrptr 02C5 ˅02C3 ʼ \textdptr
ˉʺother ˃02C0 ʺ understand ʺ02BC ˃the
effect02BA
on 02C3 than02CA the fact they \textacuteaccent its meanings. CARON
This \rasp
02B9ˀ\textprimstress
\cdprime
02BA
ʾ ˀ \textacute
˂ \cdprime
02BA \cdprime
ˈ is Divine,
\textrptr
02C2 \textlptr MODIFIER LET
02C8 02C0ˈ 02C9 ʹ\textraiseglotstop \textraiseglotstop MODIFIER LETTER DOUBLE
MODIFIER PRIME
LETTERMODIFIE
RIGH
\textmacronaccent
\textcaronaccent\cprime
02BE \texthamza 02C6 02C8 MODIFIER
MODIFIER LETTER
LETTER
MODIFIER
VERTICAL
MODIFIER
GLOTTAL
LETTER STOP
\textprimstress
LETTERMACRON
LINE PRIME
MODI
spiritual
02BB samā ʻ —the
02C4 greater ˄
\textturncomma
02BB samā ʻ .
\textuptr The ˃ limited
\textturncomma
02BB samā ʻ 02BD
, which ˆ is ʽ \textcircumaccent
˄
conventionally
\textturncomma
02C4 \lasp \textuptr
MODIFIER L
02C1ˉ ˈ ˁ\textmacronaccent \textmacron
\textraiserevglotstop 02C1 02C3
ʿ ˁ \textgraveaccent
\textrptr
\textraiserevglotstop MODIFIER LETTER TURNED
MODIFIER COMMA
LETTERMODIFIE
UP A
02C9 02C8 \textprimstress \textceltpal
02BF
02CB ˋ \textdptr \textain 02C7 02C9
MODIFIER LETTER
MODIFIER ˉ MACRON
MODIFIER LETTER REVERSED GLOTTAL STOP
\textmacronaccent
LETTER VERTICAL LINE
MODI
02BC
identified ʼ
ˊʺ\textlptr \rasp
with\textmacronaccent
music,
02C5 ˅
02BC
does02C2 have a certain ʼ ˄ \rasp 02BC
effect ʼ
on people—though ˇ \rasp
02C5 this˅ \textrevapostrophe
\textasciicaronisMACRON
merely
\textdptr
MODIFIER
MODIFIER L
LET
02C2 02CA
ˉ ˂\textmacron \textacuteaccent 02C4 ˂ \textgrave \textuptr
\textlptr
02BA \cdprime MODIFIER MODIFIER
MODIFIER
LETTER LETTER
\textmacron
LETTER
LEFT APOSTROPHE
MODIFIER
ACUTE
ARROWHEAD ACCENT LETTERMODIFIE
DOW
MODI
02C9 02C0 ˀ \textraiseglotstop 02BE ʾ
MODIFIER
MODIFIER
\textcaronaccent
LETTER
LETTER
\texthamza
DOUBLE PRIME
MODIFIER L
ˊ 02BD ʽʻ\textrptr
02BB˃\textacuteaccent 02C6 \textacute
.46 \lasp ˆ02C302C5
02BD ʽ
ˌ \textcircumaccent˅ \lasp \textdptrʽ 02CA
02BD \lasp
02C6 ˊ ACUTEˆ ACCENT \textcircumaccent
02CA 02C3 a natural samā\textmacron ˁ ˃ \textsecstress \textrptr \textacuteaccent
\textturncomma MODIFIER LETTER MODIFIER LETTER REVERSED
MODIFIER COMMA
LETTERMODIFIE
CIRC
02CC
02C1
MODIFIER
02C8 02BF ˈ \textrevapostrophe
LETTER
MODIFIER
ʿ \textprimstress
RIGHT
\textain
LETTERARROWHEAD
TURNED COMMA
MODIFIER MODI
LET
02C4 02BC
02CA
02CB \textacute
ˊ ˄ ˋ ʼ 02C7
\textuptr
\textrevapostrophe
\textgraveaccent
\textacuteaccent\rasp ˇ 02C4 ˍ 02C6 \textasciicaron
˄ ˆ \textrevapostrophe
\textcircumaccent
\textuptr 02C7 ˇ
MODIFIER \textacute
LETTER GRAVE ACCENT
\textasciicaron
CARON
MODIFIER L
The power and impact 02CD

02C2of music ˂ on \textlowmacron
humans
\textlptr were 02C9 based ˉon MODIFIER
MODIFIER
musica
ˀ
LETTER
LETTER
MODIFIER
\textmacronaccent
UPLETTER
ACUTE
universalis ARROWHEAD
ACCENT APOSTROPHE
and MODIFIER MODI
LET
02CB 02C5ˋ 02BE ʾ
\textgraveaccent
\textacute
\textgrave
\texthamza
02BE ʾ
\textcaronaccent \texthamza
02BE
ˇ \textdptr ʾ 02C002CB \texthamza ˋ GRAVE \textraiseglotstop
MODIFIER \textcaronaccent L
\textgraveaccent
LETTER RIGHT HALF MODIFIER
RING MODIFIE
02BD˅ 02C502C7 ˅ \textmacronbelow MODIFIER LETTER ACCENT
ˌ ʽ\textdptr \lasp ˃
\textasciicaron
47 Ibn Arabı̄ \textmacron
MODIFIER LETTER
MODIFIER DOWN
LETTERARROWHEAD
REVERSED COMMA MODI
02C3 \textrptr ˁ
“
“the 02CC
principle
02BF of the
\textgraveʿ 02C8 \textsecstress
orbiting\textain
02BFˈ
heavenly ʿspheres”.
\textprimstress \textain
02BF ʿ 02C1once compared
\textain
02C8 ˈ the tone
MODIFIER \textgrave
LETTER LOW and
VERTICAL MODIFIER
LINE L
02CB ˋˆ \textgraveaccent 02CE 02C6 ˎ
\textrevapostrophe \textcaronaccent MODIFIER LETTER GRAVE\textprimstress
MODIFIER LETTER LEFT HALF RING
MODIFIER LETTERMODIFIE
VERT
02C6
ˌ 02CD ˍ \textcircumaccent
˄ ˆ \textlowgrave
\textcircumaccent
02CA ˊ \textacuteaccent
MODIFIER
ˌ
ACCENT
LETTER CIRCUMFLEX ACCENT MODIFIER LET
MODI
02CC
melodies of
02C0 musica ˀ
\textsecstress
universalis
\textgrave
02C9 02C4
\textlowmacron
ˉ
to the
\textraiseglotstop
ʾ\textasciicaron 02C0 sound ˀ of
\textmacronaccent\textuptr
ˈ \textasciicaron
water wheels:
\textraiseglotstop
02C0 ˀ 02C202CC ˂
\textraiseglotstop
02C9
MODIFIER LETTER ˉ
MODIFIER
LOW \textsecstress
\textlptr
VERTICALLETTER
LINE LOW MACRON
\textmacronaccent MODIFIER L
02CF 02C702C8 \textprimstress MODIFIER LETTER GLOTTAL STOP MODIFIE
02C7 02BEˇ \texthamza
\textmacronbelow ˏ ˇ \textlowacute CARON\textacute MODIFIER
MODIFIER LETTER RIGHT HALFMODIFIER LETTER
RING MAC
LET
CARO
02CD 02CC ˍ 02C1 ˌ ˁ
\textlowmacron
\textsecstress 02C5
02C1 ˅
\textmacron
ˁ \textdptr
ˉSeekers
02C1 ˁ 02C302CD ˃ ˍ
MODIFIER LETTER LOW \textrptr
MACRON \textmacron
\textlowmacron MODIFIER L
ˎʿ\textcaronaccent
02D0 on02C9
When 02BF
the\textmacronbelow
sound \textain
descends ː \textacuteaccent
spiritual \textmacronaccent
\textcaronaccent
\textlengthmark as02CB MODIFIER
they passˋ the spheres, LETTER
MODIFIER
\textgraveaccent
MODIFIER
LOW
and VERTICAL
LETTER
LETTER
LINE
REVERSED
onLEFT HALF RING GLOTTAL MODIFIE
STOP
02CE LETTER LOW GRAVE MODIFIER ACCENT LET
02CD 02C2 ˍ ˂ 02CA \textlowgrave
\textlowmacron 02C6
\textlptr
02C2ˊ ˆ ˂ \textcircumaccent
\textlptr\textmacron
02C2 ˂ 02C4 02CA ˄
\textlptr ˊ
MODIFIER \textmacronbelow
\textuptr \textacuteaccent
MODIFIER LETTERMODIFIERACUL
02C8
account02C0ˈof theˀ\textprimstress 02D1 02C8
\textraiseglotstop ˑ \textacuteˈ \texthalflength
\textprimstress MODIFIER\textgrave
LETTER
MODIFIER LOW MACRON
LETTER LEFT ARROWHEAD MODIFIE
02CE ˎ 02CF ˏ movement
\textlowgrave \textlowacute
\textmacronbelow 02C7
of the
02CA
spheres,
ˇ ˃ ˉ \textasciicaron
there
ˊ \textrptr
are good,02CE
\textacuteaccent
pleasant ˎ melodies
MODIFIER LETTER
MODIFIER
MODIFIER
˅ \textsecstress
MODIFIER LETTER LOW GRAVE
VERTICALthe
LETTER LINE
GLOTTAL STOP
\textacute
\textlowgrave
LETTER
ACCENT LOW ACUTE ACCENTMODIFIER MODI
LET
02C9 02C3 02C1 ˉ ˃ˁ\textmacronaccent

\textrptr
02C3 02C9
\textraiserevglotstop˒ 02C3 02CC48˃02C5 ˌ \textrptr
\textmacronaccent \textdptr
MODIFIER LETTER
LETTER RIGHT ARROWHEADCARON
MODIFIE
02CF 02CE ˏ 02D0
hearing ˎ delights ː 02CB
\textlowacute in, like
\textlowgrave 02D2 the ˋ sound
\textlengthmark \textrhalfring
of a \textcaronaccent
\textgraveaccent water \textacute
wheel. 02CF 02CB
MODIFIER
MODIFIER
MODIFIER ˏ LOW ˋ ACUTE
LETTER
MODIFIER
MODIFIER
ˆ \textlowmacron
LETTER LETTER
MACRON
LOW
REVERSED
\textgraveaccent
\textlowacute
LETTER
ACCENT
GRAVE TRIANGULAR
ACCENT
GLOTTAL
MODIFIER
MODIFIER LETTER
MODI
COLON GRA
STOP
LET
02C4
02C2 ˄˂\textmacron\textuptr
02C4
\textlptr
02D3 ˓ ˄ \textlhalfring
\textgrave 02C4 02CD ˄02C6 ˍ \textuptr
\textmacron
\textuptr \textcircumaccent
MODIFIER
MODIFIER LETTER UP
\textgrave ARROWHEAD MODIFIE
02CBˈ planetary
LETTER LEFT ARROWHEAD
02D0 02CF Ibnː 02D1 ˑ \textacuteaccent
ˏ \textlengthmark
\textlowacute 02C8
\texthalflength ˋ \textacuteaccent
\textprimstress
\textgraveaccent 02D0 ː TRIANGULAR \textlengthmark MODIFIER LET
“
MODIFIER LETTER
COLONHALF TRIANGULAR MODIFIER
COLON L
02CA Arabı̄
02C3ˊ
02C5 enumerated
˅˃ 02CC \textdptr the
02C5ˌ seven
02CA ˅ ˊ \textraised spheres
\textdptr
02C5 in˅his02C7 works.
MODIFIER
ˇ Yet,
LETTER
MODIFIER
\textdptr
MODIFIER he
\textmacronbelow
LETTER
ˌ concurrently
LOW ACUTE
\textasciicaron
LETTER
MODIFIER ACUTE
LETTER
ACCENT
ACCENT
DOWN ARROWHEAD MODI
MODIFIE
02D1 02D0 ˑ 02D2ː \texthalflength˒ \textacute
\textlengthmark
\textrptr
02D4
02C9
\textrhalfring ˔ \textsecstress
ˉ \textgrave
\textmacronaccent
\textacute 02D1
49
02CC
ˎIbn ˑ MODIFIER
MODIFIER
\textsecstress
LETTER
\texthalflength
\textcaronaccent
LETTER
RIGHT
CENTRED
ARROWHEAD
MODIFIER LETTER LOW
MODIFIER
RIGHT MODIFIER
HALF LET
RINL
in02CE MODIFIER \textlowgrave
LETTER HALF TRIANGULAR COLON
“
MODIFIER LETTER TRIANGULAR COLON
maintained 02C6 that there ˆ 02CD are\textcircumaccent
four,02C6 not seven ˆ melodies ˌ \textcircumaccent
02C6 ˆ
nature. Arabı̄
\textcircumaccent did not clarify
˓˄\textgraveaccent
02D5 ˍ02CB02CC ˍ \textprimstress
MODIFIER LETTER CIRCUMFLEX ACCENT
MODIFIE
02C4
02CB˒ 02D3ˑ ˋ\textrhalfring
02D2 02D1 \texthalflength
\textuptr
\textlhalfring ˕ \textlowmacron
ˋ \textmacron
\textlowered \textsecstress
\textgraveaccent 02C8
02CF ˇ musica 02D2
02CD
MODIFIER ˈ ˒
ˏ \textasciicaron
MODIFIER
MODIFIER
MODIFIER
MODIFIER
\textlowacute
LETTER CENTRED
LETTER
LETTER
\textlowmacron
LETTER
\textrhalfring
LETTER
RIGHT
GRAVE
HALF HALF
UPMODIFIER
ARROWHEAD
CENTRED
ACCENT
TRIANGULAR RING LEFT
COLON
LETTER LOW
MODIFIER
HALF LET
RING
MODI
whether this 02C5meansˇ˅\textgrave
02C7 that only four 02CD
\textasciicaron
02C7
\textdptr
02CA
02D6 ˊ ˇ \textadvanced
planetary
˖ \textmacronbelow ˍspheres produce
\textasciicaron
02C7
\textacuteaccent
\textlowmacron universalis. MODIFIERA
CARON possible
\textmacronbelow
LETTER DOWN ARROWHEAD CARON
02D3 02D2 ˓ 02D4˒ \textlhalfring ˔ 02CE \textraised
\textrhalfring \textcaronaccent
ˎ \textlowgrave
\textgrave
\textcaronaccent 02D0 02C9 02D3ː
MODIFIER
02CE
LETTER˓ CENTRED
ˉ \textlengthmark
\textcaronaccent
MODIFIER
ˎ
LETTER \textlhalfring
\textmacronaccent
MODIFIER LETTER
LEFT
CENTRED HALF UP
RIGHT TACK
RING
\textlowgrave HALF RING
MODIFIER
MODIFIER L
LET
explanation
02CC 02C6canˌ beˆ\textsecstress in The
found\textcircumaccent
02D7 02CC Epistles
˗ ˌ of the\textsecstress
Brethren of Purity, which
\textacute
\textretracted \textmacronbelow argued
MODIFIER LETTERagainst MODIFIER
CIRCUMFLEX
LETTER
ACCENT
LOW
02D4 02D3 ˔ 02D5 ˕ˈ 02CF \textlowered
˓ \textraised ˔ UP
MODIFIER \textmacron
LETTER LOW VERTICAL LINE MODIFIER LET
MODI
02C8 \textlhalfring \textprimstress
02C8 ˋ ˈ \textbreveaccent
ˎ \textprimstress
02C8 ˈ 02D4 ofˑ 02CF
\textprimstress \textraised
MODIFIER LETTER DOWN TACK
the02D1 \texthalflength
MODIFIER LETTER TACK
reproducing 02C7ˍthe music 02CB ˏSphere
of\textadvanced
the 02CE \textlowacute \textgraveaccent
\textlowgrave
MODIFIER
ˏ \textacuteaccent
LETTER
MODIFIER CENTRED
LETTER LEFT HALF
VERTICAL
\textlowacute RING
of LINE MODIFIE
˖ˉˇ\textlowmacron 02CD ˘ ofˍ Mercury, Sphere Mars and theLOW Sphere MODIFIER LETTER
MODIFIERLOWL
02CD˕ 02D6 \textasciicaron
02D8 \textlowmacron 02CA ˊ CARON
02D5 02D4 02C9 ˔ \textlowered
\textraised
02D0 \textmacronaccent
02C9ː
\textcaronaccent 02CF ˉ
\textlengthmark \textmacronaccent
02C9
\textgrave
ˏ 02D2
\textlowacute ˉ 02D5˒
MODIFIER
02D0MODIFIER ˕
MODIFIER
\textmacronaccent
LETTER
MODIFIER
\textrhalfring
LETTER DOWN
ː
LETTER TACK
MODIFIER UP TACK
MACRON
\textlowered
LETTER
LETTER PLUS
MACRON
\textlengthmark
SIGN BREVE MODI
MODIFIE
Saturn. The Brethren
02D6 02D5 ˖ 02D7˕ \textadvanced
believed
˗ˈ\textmacronbelow
\textmacron
\textretracted
that hearing the
\textbreve music of these
\textmacronbelow
\textmacron
three spheres
\textmacron ˖ PLUS would
\textacute only
MODIFIER LETTER TRIA
02C8 ˎ
\textlowered
02D1 02CCˑ
\textprimstress ˌ
\texthalflength \textsecstress
ː
\textasciibreve 02D3 02D6˓
MODIFIER
02D1MODIFIER
ˋ around
MODIFIER
\textlhalfring
LETTER
ˑ
LETTER SIGN \textadvanced
DOWNLETTER
TACKMINUS SIGN
\texthalflength MODIFIER L
ˊ ˎ \textdotabove
02CE
result in misfortune. \textlowgrave
The\textbreveaccent
heavenly 02D0
02CE spheres worship \textlengthmark
\textlowgrave 02CB \textgraveaccent
MODIFIER LETTER VERTICAL
MODIFIER LINE
LETTER HAL
02CA God by rotating Earth,
MODIFIER LETTER LOW GRAVEwith ACCENT MODI
02D7 02D6 ˗ 02D802CA ˘ˊˉ 02D2
˖ \textretracted
\textadvanced \textacuteaccent
02CA
02CD ˒ ˙ ˍ \textacuteaccent
\textlowmacron 02D4 ˊ 02D7 ˔
MODIFIER LETTER
MODIFIER ˗ MINUS
\textacuteaccent MODIFIER
BREVE
\textraised
˒
LETTER \textretracted
SIGN
PLUS LETTER
SIGN ACUTE ACCENT MODIFIE
musica 02C9
02CFuniversalis ˏ being the 02D9
\textmacronaccent
\textlowacutesound
\textacute
\textbreve 02CF \textrhalfring
of theirˏ spinning.
02D1 ˑ \texthalflength
\textlowacute
\textacute There are no 02D2
records
\textacute
MODIFIER
\textgrave
MODIFIER
indicating \textrhalfring
LETTER
LETTER LOW ACUTE MACRON
MODIFIER
thatACCENT the DOTMODIFIER
ABOVE
LETTER CEN
MODI
L
02D8 02D7 ˘ ˗ \textbreveaccent

\textretracted \textmacron
˓02D0
\textmacronbelow
\textdotaccent 02D5 02D8˕
BREVE
ˌ ˘
\textlowered
˓ as \textbreveaccent
ˋ 02CC were \textsecstress
MODIFIER LETTER MINUS SIGN
ː ˋthe 02D3 \textasciibreve 02D2 \textlhalfring
ː the ˒ \textgraveaccent
\textrhalfring 02D3 \textlhalfring
02D0 02CB \textlengthmark
ˎ ˋand \textlengthmark MODIFIER LETTERMODICEN
Sphere \textgraveaccent
02CB 02CB \textgraveaccent
02D8 of02CA Mercury, Sphere of Mars Sphere of Saturn seen “infidels” in
MODIFIER MODIFIER
LETTER TRIANGULAR
LETTER GRAVE COLON ACCENT MODIFIE
˘ \textbreve ˊ 02D4
\textbreveaccent 02CE
02DA
\textacuteaccent
˔ ˚ \textraised \textlowgrave
\textringabove
˓ 02D6 02CD ˖02D4 BREVEˍ \textadvanced
˔
\textbreve
\textlowmacron
MODIFIER LETTER ACUTE ACCENT
MODIFIER
RING ABOVE L
02D9
02D1 Sufism. ˙
ˑ\textasciibreve \textgrave
\textdotabove
\texthalflength 02D1 likely ˑIbn
02D3 \textgrave
\textlhalfring
\texthalflength \textgrave \textraised
MODIFIER LETTER\textasciibreve MODIFIER LETTER UP T
“
DOT ABOVE
HALF TRIANGULAR COLON MODI
Akbarian Hence,
\textbreve it\textacute
is02CF
more ˏ Arabı̄
\textringaccent
\textlowacute believed
02D7 ˌ
that˗all seven spheres produce MODIFIER
\textmacronbelow
\textretracted L
02D9 02D2 02CC ˒
˙ 02CB \textdotabove ˌ 02D5
\textrhalfring
\textasciibreve ˕
\textdotaccent
\textsecstress
02CC 02D2 02D4 ˌ
\textlowered
˒ ˔ \textsecstress
\textring 02CC
\textraised
\textrhalfring 02D9 USV
\textsecstress
02D5 Symbol
˕
˙ MODIFIER
MODIFIER Macro(s)
\textlowered
LETTER
\textdotabove LOW VERTICAL
MODIFIER LINE
LETTERMODIFIE
DOW
musica universalis—though ˋ only
02D0 four of
\textgraveaccent
˚ˍ\textlhalfring ː these melodies
\textlengthmark get
02D8 to be
02CE
DOT ABOVE
˘
MODIFIER
reproducedˎ
LETTER
as CENTRED
man-made
\textlowgrave
\textbreveaccent
RIGHT
LETTER GRAVE ACCENT
HALF RING MODI
MODIFIER L
02D3 02DA02CD ˙ ˓\textdotaccent 02D6 \textringabove
˖02D302D5
\textlowmacron
02CD ˍ
˛ \textadvanced ˕ \textlowmacron
02CD ˍ \textlowmacron
02D6 ˖ ʴ ABOVE \textdotaccent
\textadvanced
ˑ ˓ \textcedillaaccent
\textlowered RING
02D9 02DB \textlhalfring MODIFIER LETTER LOW MACRON
MODIFIER LETTERMODIFIE
PLUS
Ibn\textdotabove \textgrave MODIFIER LETTER CENTRED LEFT HALF RING
OGONEK MODI
“
DOT
music (musı̄qā).
02DA 02D4˚ 02CC˔\textringabove
Arabı̄\textringaccent
and
02D1the Brethren
\textmacronbelow
˗
of Purity
\texthalflength both linked
\textmacronbelow 02CF02DA
02B4
the ˏABOVE
four natural
\textbreve
˚
\textmacronbelow ˗
\textsupturnr
melodies
\textlowacute
\textringabove
MODIFIER L
02D7
\textdotaccent
ˌ \textretracted
˔ ˖
\textogonek RING02D7 \textretracted
the lute.USV Symbol ofMacro(s)
\textraised 02D4
\textsecstress 02D6 \textadvanced
\textraised ABOVE
MODIFIER LETTER UP TACK LOW VERTICAL LINE MINU
MODIFIER
\textsuperscript{\ LETTER MODI
and the music
02CE of the ˎ spheres
\textringaccent \textring
02D2
to
\textlowgrave
02CE the four ˒ ˎ strings \textrhalfring
of02CE
\textlowgrave The
ˎ 02D0Brethren ː ABOVE
\textlowgrave
MODIFIER LETTER
\textasciibreve
Purity however
\textlengthmark
\textringaccent MODIFIER
MODIFIEL
02DA ˚ ˕ \textringabove
02D8 ˘ \textbreveaccent
˕ ˗ 02D8 ˘
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MODIFIER Chapter\textasciibreve
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MODIFIER
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LETTER UP BREVE
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made] melodies corresponding to them. \textringaccent
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\textbreve (mūsı̄qā) occurs when \textsuperscript{y
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02D3 ˕ ˓
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LETTER DOWN TACK MODIFIE
melodies ˚ are reproduced by musical \textasciibreve
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MODIFIER \cprime
LETTER OGONEK
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02DA ˖˔\textringabove 02DA \textringabove 02B8 ʸ RING
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˙˖ ˖02D8 \textadvanced
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02D6 02DB \textogonek ˛ \textadvanced
02D6 \textsuperscript{w}
16
\textcedillaaccent MODIFIER \textogonek
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02D4 \textraised
02D9 \textdotabove MODIFIER LETTER
LETTER PLUS
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\textringaccent \textringaccent \textsuperscript{y}
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Ibn 02D7
Arabı̄
02D5 linked ˗˕\textring
Sufi attempts
\textretracted
02D7
\textlowered to˗harness
02B8\textdotaccent
the power
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\textring ˗of music
\textsupy to qawwāli
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MODIFIER
and
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LETTER
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02DB 02D6˛ a qawwāl. ˘ 52 The \textbreveaccent
term02D8
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˖\textcedillaaccent
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02DBqawwāli ˚ ˘ ˛is \textbreveaccent
sometimes 02D8
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identified
\textcedillaaccent \textbreveaccent
with
02BB samā ʻ
BREVE . For instance,
\textturncomma RINGBREVE
ABOV
\textbreve ʹ
02B9\textringaccent
\textbreve \cprime02D9 ˙
OGONEK
\textbreve
\textceltpal
MODIFIER LETTER PLUS SIGN
\textdotabove OGON
R. Qureshi broadly˗ defined

02D7 \textogonek qawwāli
\textretracted as a gathering \textogonek
“for the
02BA purpose
\textceltpal 02BC
ʺ of realizingʼ \rasp
ideals
\textdotaccent
\cdprime
MODIFIER LETTER MINUSof SIGN
\textasciibreve \textasciibreve
\textring \textasciibreve
ʻ ”.˚ 53 This ʽ\textringabove
˙˘
02BD \lasp
02D8
Islamic mysticism
02D9 through \textbreveaccent
the
\textdotabove
02D9
02DB ritual ˛of˙ 02BA ‘listening ʺto music’
\textdotabove
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\cdprimeor samā \textdotabove 16 broad
\textturncomma
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DOT ABO
\textbreve \textringaccent
tion matches the Akbarian\textdotaccent notions of natural samā ʻ . However,
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02BB\textogonek 02BC Qureshi
\textturncomma ʼ pointed
\textdotaccent \raspout qawwāli 16
\textasciibreve 02BE ʾ\textring \texthamza
can also be 02DAnarrowly ˚ identified \textringabove
02DA as 1) a music ˚ 02BC genre ʼ and/or
\textringabove
02DA ˚ 2) a group
02BD
\rasp ʽ
\textringabove \lasp
02DB 02BF˛ of songs performed
RING ABOVE RING AB
02D9 ˙ \textdotabove
\textringaccent DOT ʿ\textcedillaaccent
ABOVE \textain
\textdotaccent 02BD \textringaccent
ʽ \lasp
16
\textringaccent \textrevapostrophe
\textogonek 16
\textring \textring \textrevapostrophe
02BE 02C0
\textring
ʾ ˀ
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02DB ˛˚ \textringabove
\textcedillaaccent
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ˁ
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ˀ ˂ 16
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˂ ˄
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USV Symbol Ma
Religions 2022, 13, 928

02B4
8 of 13
ʴ \te
\te
02B5 ʵ \te
\te
02B6
at spiritual gatherings in Pakistan and India.54 Today, qawwāli is typically performed onʶ \te
\te
dholak, sarangi and harmoniums in the Indian subcontinent. Most these performances
02B7 ʷ \te
also include poetry recitations, vocal improvisations and handclapping.55 It was previously \te
the Indianʸ
suggested Ibn Arabı̄’s writings had a considerable impact on Sufi practices on 02B8 \te
“
\te
subcontinent.56 It is, however, difficult to determine the exact scope of his influence 02B9
onʹ \cp
contemporary qawwāli performances since there are no exhaustive descriptions or defini- \te
“
tions of musical performances in the surviving works of Ibn Arabı̄. Hence, one can onlyʺ
02BA \cd
speculate about potential correspondences between the Akbarian concept of natural 02BB samā ʻ \te
and the two-fold definition of qawwāli Qureshi proposed. 02BC ʼ \ra
ʽ
“
The musical performances Ibn Arabı̄ was referring to likely had more in common 02BD \la
\te
with the musical and poetical practices in the style of Ibn Bājja (d. 1138) and Ziryāb (d. 857)
02BE ʾ \te
than with the contemporary music genres of the Indian subcontinent.57 That said, the mainʿ
02BF \te
hopes and goals of qawwāli practitioners have changed little over the course of02C0 centuries.ˀ \te
Citing Qureshi, J. Newell identified three main goals of contemporary qawwāli performers: 02C1 ˁ \te
to achieve spiritual arousal, transmit knowledge of mystical poetry and satisfy 02C2 diverse˂ \te
spiritual needs of their audience.58 Invisible and incorporeal, music was long thought 02C3 to˃ \te
USV beSymbol Macro(s)
more suitable USVthan Symbol
words to Macro(s)
convey advanced spiritualDescription knowledge—withDescription W. James˄
02C4 \te
going so far as to identify the human experience of music withUSV mystical Symbol ascensions
02C5 Macro(s) in˅ \te
02B4 ʴ \textsupturnr MODIFIER LETTER SMALL TURNED RMODIFIER LETTER SMALL TURNED
59
general. Christian royalty, nobility and clergy in medieval Spain 02C6 ˆ \te
\textsuperscript{\textturnr}\textsuperscript{\textturnr} 02B4hopedʴ the music of
\textsupturnr
ʵ
02B5 the spheres will give them
\textsupturnrrtail
02B5 ʵ an \textsupturnrrtail
upper hand in their politicalMODIFIER and military
LETTER SMALL endeavors, 02C7
TURNED RMODIFIER
WITH ˇ
andSMALL TURNED
\textsuperscript{
HOOK
LETTER \te
\textsuperscript{\textturnrrtail} \te
02B5 musicʵ would
“
Ibn Arabı̄ suggested Sufi shaykhs were also among those who hoped grant
\textsupturnrrtai
02B6 ʶ \textsupinvscr
02B6 ʶ \textsupinvscr 02C8
MODIFIER LETTER SMALL CAPITAL INVERTED ˈSMALL CAPITAL
\textsuperscript{
MODIFIER LETTER
R \te
them spiritual USV Symbol
knowledge and\textsuperscript{\textinvscr}
help them Macro(s)
transcend the world of nature. Greek, Muslimˉ De
\textsuperscript{\textinvscr} 02B6 ʶ subdue02C9 \textsupinvscr\te
02B7 and Christian
ʷ scholars
\textsupw
02B7 were
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\textsupw
02B4 ʴ on musica universalis USV
to help
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Symbol
them Macro(s)
their
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\textsuperscript{
MODIFIER MOD
withinUSV Symbol 60 Ibn Macro(s) feel asˊ
“
passions and \textsuperscript{w}
to reach harmony \textsuperscript{w}
themselves. Arabı̄ noted
\textsuperscript{\textturnr} 02B7
02B4 that few ʴ ʷ things 02CA \textsupw
\textsupturnr \te
02B8 cruelʸas crushing
\textsupy
02B8 ʸ hopes.
these false 02B5Yet, heʵ was adamant
\textsupy \textsupturnrrtail
onlyMODIFIER
“fakeLETTERshaykhs,
SMALL Y
forMODIFIER
whom LETTER SMALL Y \te
\textsuperscript{
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\textsuperscript{y} \textsuperscript{y} ʴ\textsuperscript{\textturnrrtail}
\textsupturnr 02CB ˋ \te
Path is closed” think that music and poetry could uplift a Seeker 02B5 02B8
from the world
\textsuperscript{\textturnr} ʵ ʸ \textsupy
\textsupturnrrtail
of nature.
02B9 ʹ \cprime
02B9 ʹ \cprime
02B6 ʶ \textsupinvscr MODIFIER LETTER PRIME \textsuperscript{
\textsuperscript{\
MODIFIER LETTER PRIME \te
MOD
He noted “their words
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02B5
\textceltpal claim ʵ
music is something
\textsupturnrrtail
\textsuperscript{\textinvscr} external to the
02CCworld ofˌ \te
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\textsuperscript{\textturnrrtail} ʶ ʹ \cprime
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“
02BA nature”. other

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\cdprime ʺ the fake shaykhs
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02B7 ʷ Ibn Arabı̄
\textsupwmentioned MODIFIERhave
LETTER confused
DOUBLE the
02CD
PRIME MODIFIER Divine
LETTERˍDOUBLE PRIME
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02B6 ʶ\textsuperscript{w}
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MODIFIER 02BA
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commonly \textsupy
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linked USV the Symbol
to MODIFIER
Divine samā
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02B7 ʷ\textsuperscript{y}
\textsupw LETTER MODIFIER\textsuperscrip
02BD with ʽthe Breath ʽ 02B8 ʸ 02CF
REVERSED ʼidentified \textsupy
ʵ MODIFIER ˏ \te
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of the All-Merciful. \lasp Ibn Arabı̄ was also \textsuperscript{w}
among 02BC
MODIFIERthose \rasp
ʴ 02B5who theREVERSEDMODIF
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LETTER COMMA LETTER COM
\textrevapostrophe 02B4 02B9 ʴʹ \textsupturnr
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\textsupy asserted
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the 02D0
ʽ Breath \textsuperscrip
Description
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of
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ʹ \cprime
the \te
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theʶ conclusion
02BE \texthamza
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MODIFIER LETTER RIGHT HALF RING MODIFIER RIN
All-Merciful sets USV the Symbolʴ into
02B4spheres
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02B5 motion.
02BA ʵ ʺ Hence, one could
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MOD
02BF ʿ \textain
02BF ʿ \textsupturnr
\textain 02B9 ʹ \cprime MODIFIER LETTER
\textsuperscript{\textturnrrtail} HALFʾRING MODIFIER
02D2 \textsuperscrip
MODIFIER
02BELEFT \textsuperscript{\textturn
\texthamza
LETTER ˒LEFT SMALL
LETTER HALF\te TUR
RING
that musica universalis is ʴthe Divine
02BB samā ʻ : the sound of the Breath
\textturncomma
\textsuperscript{\textturnr} 02BA moving ʺ the heavenly
\cdprime
ʿ ʷ MODIFIER
MOD
02C0 ˀ 02B4
\textraiseglotstop
02C0 ˀ \textsupturnr
\textraiseglotstop \textceltpal 02BF 02B7 \textsupw
LETTER˓GLOTTAL
\textain
ʵ 02B6 ʶ ʼ \textsupinvscr ʶ
02B6MODIFIER LETTER GLOTTAL STOP
\textsupinvscr
ʻ
MODIFIER
02D3 LETTER SMALL TURNED
\te
STOP
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“
spheres. Arabı̄ rejected

Ibn\textraiserevglotstop 02BC \rasp Divine samā
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the
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\textsuperscript{\textturnrrtail} 02C0REVERSED
MODIFIER LETTER ˀGLOTTAL
02D4 LETTER˔REVERSED \te
\textsuperscript{\textinvs
\textraiseglotsto
MODIFIER
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ʽ ʼ ʸ
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02B5 Moreover, 02BD
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ʻ does \textturncomma 02BC 02B8 63
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02C2 on tunes
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02C202B6
the Divine
\textlptr ʷ samā\textsupw
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take one’sʷ senses
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away”. MODIFIER LETTER SMALL TURNED
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02C3 ˃Ibn Arabı̄ strongly

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02C3 disapproved
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of Sufis dancing \rasp
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in ecstasy, blind
02C2 \textsuperscript{w}
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LETTER˖RIGHT ARROWH
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ʹ MODIFIER
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02B8 USV02BD ʸ Symbol ʽ traded
\textsupyMacro(s)02B8 religion ʸ 02B9 \textsupy Description
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02C4 them.˄ Such\textuptr

people, Ibn ˄Arabı̄ maintained, \lasp
ʿ have their for amusement and MODIF
02C402B7 \textuptr
\textsupw
02BF \textain
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MODIFIER LETTER
02BE UP
ʾ ˃
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MODIFIER
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LETTER SMALL W
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02C5 pleasure.
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\textdptr
02C5
02B7 Ibn \textsuperscript{w}
ʴ ˅ʷ \textsupturnr Arabı̄’s
\textdptr
\textsupw condemnation
ʴ ofMODIFIER
dancing 02C4 dervishes
02BA ˄ ʺ was
02D8 based
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02B4 02C0
02B9 02B4 ʹ
02BE ˀ ʾ
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02B9
\texthamza
LETTER
ʹ 64 \cprime
02BF ʿ
DOWN ARROWHEAD MODIFIER
MODIFIER LETTER
\textain
MODIFIER LETTER
LETTER DOWN
SMALLSMALL ARROWH
TURNED R
MOD
MODIF
ˆ hadith
02C6 on the 02B8
qudsı̄
\textcircumaccent
02C6 ˆ ʸ “He
reading: \textsupy
\textsuperscript{w}
who knows
\textcircumaccent
02C1 ˁ himself
\textceltpal USV
knows his Lord”.
MODIFIER
\textraiserevglotstop 02C5
LETTER
02C0 02BB Symbol
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ACCENT Macro(s)
MODIFIER
make
MODIFIER
LETTER SMALL
LETTERaCIRCUMFLEX
\textturncomma
\textdptr
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Y
AC
02BF
\textsuperscript{y} ʿ \textain MOD
ˇ forget
02C7 Seeker 02B8
02B5
\textasciicaron
02C7 ʵ ˇʸ
themselves—which \textsupy
\textsupturnrrtail
02BA 02B5 ʺ then
\textasciicaron
would ˂ ʵ \cdprime
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them 02BAforget ʺ
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MODIFIER
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likely SMALL
\textcircumaccent
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TURNED RW
02B9 02C2 02C0
\cprime
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ˀ \textsuperscript{\textturnrrtail}
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\textsupturnr
MODIFIER ˙ PRIME\te
LETTER
MODIF
MOD
\textcaronaccent \textcaronaccent ʽ \textlptr
ʻ ˃practitioners ʻ )02BD ˂ ˇthemselves
“
the reason why Ibn Arabı̄ claimed

02BB
02C3 samā
\textceltpal \textturncomma
\textrptr (ahl
02BBal- samā 02C7
02C2 expose \textturncomma \laspto
\textasciicaron
\textsuperscript
02C8 ˈ 02B9
02B6
\textprimstress
02C8 ʶ ˈʹ \cprime 02C1
\textsupinvscr
02B6
\textprimstress ʶ ˁ \textraiserevglotstop
\textsupinvscr MODIFIER
MODIFIER
MODIFIER LETTER VERTICAL LINE MODIFIER LETTER
LETTER SMALLPRIME
\textrevapostro
\textcaronaccent
MODIF
CAPITAL
LETTER VERTICAL
\te
MOD
INV
LINE
satanic influences02BA 02BC
while concurrently \cdprime
02C4
\textceltpal ʼ
ʺ \textsuperscript{\textinvscr}
02C2 ˄
veiling \rasp
themselves
˂\textuptr 02BC
from 02C3ʼ
02B5
knowledge
\textlptr \rasp
and
˃ ʵ \textsupturnrrta
religion.
\textrptr
02DA MODIFIER He ˚
LETTER MODIF
DOUBLE\te PR
MOD
ʽ 02C8
MODIFIER LETTER
ʽ MACRON ˈ ʾ MODIFIER
02BE \texthamza
\textprimstress
\textsuperscript
LETTER MACRON
furthermore\textmacron
observed
02BA
02B7 02BB ʷ ʺ
samā ʻ 02BD
practitioners ˅ only
\textturncomma
02C5
\cdprime
\textsupw02B702C3
\textmacron
\lasp
ʷ ˃ \textsupw
speak of
\textdptr 02BD
pleasure
\textrptr and
02C4 \lasp
desire. ˄ This is due
\textuptr
MODIFIER
MODIFIER to
LETTER
LETTER
MODIFIER LETTER SMALL W \te
MODIF
TURNED
DOUBLE PRIME CO
MOD
\textrevapostrophe 02C9
02B6 ˉʶ ʿ
02BF \textrevapostrophe \textain
\textmacronaccent
\textsupinvscr \te
02CA the fact 02BB02BC
ˊ that\textacuteaccent
natural ʻ
02CA samāˊ cannotʼ \rasp
be used
02C6
\textturncomma ˆ
\textsuperscript{w}
02C4to convey
\textacuteaccent \textsuperscript{w}
˄ knowledge.
\textcircumaccent
\textuptr This
02C5 also ˅
applies musica
to\textsuperscript
\textdptr
MODIFIER
MODIFIER LETTER
LETTER APOSTROP
TURNED COMMMOD
02BE 02B8 ʾ ʸ \texthamza 02BE
MODIFIER LETTER
ʾ 02C0 ACUTE
\texthamza ˀ 02DB\textmacron
ACCENT MODIFIER LETTER ACUTE ACCENT
˛ APOSTROPHE
\textraiseglots \te
canʸ cause
MODIF
02B8
universalis, \textacute
which02BC02BD ʼ ʽ \textsupy\lasp02C5ˇto crumble
02C7
\textacute
\rasp
mountains \textsupy
\textasciicaron
to dust. Qawwāl 02C6 ˆ ˊʷ MODIFIER
performances LETTER SMALL
can
\textcircumaccent YREVERSED
ʿ
02BF\textrevapostrophe
\textsuperscript{y}
˅
\textain
\textdptr
02BF
\textsuperscript{y}
02CA
ʿ02B7
02C1 \textain ˁ
MODIFIER
MODIFIER LETTER
LETTER
\textacuteaccent
\textsupw
\textraiserevgl
CAR
\te
02CB induceˋ humans\textgraveaccent
02CB
02BD ˋʽ
to sing and dance, \textgraveaccent
\lasp with02C6skilled \textcaronaccent
ˆperformers MODIFIER02C7
being capable
\textcircumaccent ˇ
of making
LETTER GRAVE ACCENT \textasciicaron
\textacute
\textsuperscript
MODIFIER
MODIFIER their
LETTER
LETTER GRAVE
MODIF
ACCENT
REVERSED COM
02B9 02BE ʹ
\textgrave ʾ \cprime
02C0 02B9 ˀ ˈ
\texthamza
02C8
\textgrave
\textrevapostrophe ʹ \textraiseglotstop
\cprime 02C0
\textprimstress ˀ02B8 ˂ \textcaronaccent
02C2 \textraiseglotstop
MODIFIER \textlptr
LETTER PRIME MODIF
ˇ 02CB ˋʸ MODIFIER LETTER RIGHT
\textgraveaccent
\textsupy HAL
MOD
“
audience succumb to joy, agitation and/or

\textceltpal 02C7 sorrow.
ˁ Ibn Arabı̄, however,
\textasciicaron
\textceltpal ˁ 02C3 maintained ˃ there
\textrptr
02CC ˌ \textsecstress
02CC
02BE02BF ˌʾ ʿ 02C1
\textsecstress
\textain
02C9
\texthamza ˉ \textraiserevglotstop
02C1
\textmacronaccent MODIFIER
\textcaronaccent 02C8
LETTER LOW \textraiserevglotstop
ˈ
VERTICAL LINE\textprimstress
\textgrave
\textsuperscript
MODIFIER
MODIFIER LETTER
MODIFIER LOW
LETTER MODIF
VERTICAL
LEFT HALF
LETTER RIGHT HALFMOD RIN
is noˍknowledge 02BA to beʺ gained from
\cdprime such
02BA ˂ ʺ \textlptr
experiences. This
\cdprime is another
˂ 02C4point of
˄ difference
MODIFIER LETTER DOUBLE PRIME
\textuptr
02CD \textlowmacron
02CD
02BF02C0 ˍʿ ˀ 02C2
\textlowmacron
\textraiseglotstop
\textain 02C8 ˈ\textmacron 02C2 MODIFIER
\textprimstress 02CC
02C902B9
LETTER LOW MACRON ˌʹ
\textlptr
ˉ \textsecstress
\cprime
\textmacronaccent
MODIFIER LETTER
MODIFIER
MODIFIER LOW
LETTER
LETTER MODIF
MACRON
LEFTGLOTTAL
HALF RINGS
between natural 02BB samā ʻ and the
\textmacronbelow 02CA 02BB samā
Divine
\textturncomma ˃
\textmacronbelowˊ ʻ : \textrptr
the latter can be used
\textturncomma
\textacuteaccent ˃ to gain
02C5 ˅and
MODIFIER convey
LETTER TURNED COMMA
\textdptr
\textceltpal
02C002C1 ˀ ˁ 02C3 \textraiserevglotstop
\textraiseglotstop
02C9 ˉ\textacute 02C3
\textmacronaccent 02CD ˍ
\textrptr \textmacron
\textlowmacron
MODIFIER
MODIFIER LETTER
LETTER GLOTTAL
MOD
MODIF
REVERSED
STOP
ˎ 65
02BC ʼ ˎ suggested
\rasp 02BC ʼ \textuptr\rasp the
“
02CE knowledge. \textlowgrave

02CE
Ibn
02C1 Arabı̄
02C2 ˁ ˂ 02C4 \textlowgrave
that
\textlptr˄ reading
\textraiserevglotstop from Qur’an
02C4MODIFIER
\textmacron ˄02BA
02CA
LETTER can
02C6 beˊ ʺbeneficial
LOW GRAVE
\textuptr ˆ MODIFIER
MODIFIER
ACCENT LETTER
\cdprimefor
APOSTROPHE
\textcircumacce
\textacuteaccent
\textmacronbelow
LETTER
MODIFIER
MODIFIER
LOW GRAVE
LETTER
LETTER
AC
LEFTMODIF
REVERSED ARRO
GLO
ˏ
02CF teaching 02BD
\textlowacute
02CF ʽ ˏ 02CB02BD ˋ
\lasp
\textlowacute ʽ \textgraveaccent
\lasp 02CE 02C7samā ˎʻ :ˇ MODIFIER
\textacute
\textlowgrave MOD
someone 02C2 how to˂ differentiate
02C3 ˃ 02C5 between
˅
02CA
\textrptr
\textlptr the Divine
ˊ\textgrave
\textdptr 02C5 and natural
MODIFIER
\textacuteaccent ˅02BB
LETTER LOW ACUTE
\textdptr MODIFIER
ACCENT LETTER
MODIFIER REVERSED
\textturncomma
\textasciicaron
LETTER
MODIFIER
LOW
LETTER
LETTER
COMMA
ACUTE AC
MODIF
LEFTRIGHT ARR
ARROWHE
02D0 ː \textlengthmark
02D0
02C302C4 ː˃ ˄ \textrevapostrophe
\textlengthmark
02C6 \textuptr
\textrptr ˆ
\textrevapostrophe
\textcircumaccent02C6 MODIFIER02CB
\textacute 02CF
ˆ 02BCTRIANGULAR
LETTER ˋ ˏʼ COLON
\textcircumaccent
\textgraveaccent
\textcaronaccen
\textlowacute
\rasp
MODIFIER LETTER TRIANGULAR CO
02BE ʾ ˑ 02CC02BE ˌ
\texthamza ʾ ˋ\textsecstress
\texthamza 02C8 ˈ
MODIFIER
MODIFIER
\textgrave
MODIFIER
LETTER
LETTER RIGHT MODIF
UPARROWH
ARROW
LETTER RIGHT HALF RING
\textprimstress MOD
02D1 ˑ \texthalflength
02D102C5 ʿ ˄ ˅ \textain
02C7 02CB
\texthalflength
ˇ \textgraveaccent
MODIFIER 02D0
LETTER HALF ːʽ MODIFIER
ˇ02BD \textasciicaron
TRIANGULAR \textlengthmark
\lasp
MODIFIER
COLON LETTER HALF TRIANGUL
02C4
02BF \textdptr
\textuptr
02CD 02BF ˍ ʿ \textasciicaron
\textlowmacron
\textain
02C7
02CC ˌ MODIFIER MODIFIER LETTER
LETTER
\textsecstress DOWNCARO
UP ARROWHEA ARR
ˑ ˉ MODIFIER
\textgrave LETTER LEFT HALF RINGMOD
02D2 ˒ \textrhalfring
02D2 ˒˅ ˆ \textrhalfring \textcaronaccent 02D1
MODIFIER LETTER02C9 \textcaronaccent
CENTRED RIGHT \textmacronacce
\textrevapostrop
HALF\texthalflength
RINGLETTER CENTRED RIGHT
02C502C6 ˀ \textcircumaccent
\textdptr \textmacronbelow ˍ ʾ MODIFIER
ˈ ˎ ˀ \textprimstress
MODIFIER
MODIFIER LETTER
LETTER DOWNCIRCUMFL
ARROWH
02C0 \textraiseglotstop
02C002CC ˌ \textraiseglotstop
\textsecstress 02CD \textlowmacron
\textmacron
02D3 ˓ 02D302C7 ˁ ˓ˆ ˇ \textraiserevglotstop
\textlhalfring 02C8
\textlhalfring
02CE
\textasciicaron \textlowgrave ˈ02BECENTRED
02C8MODIFIER LETTER
02D2 ˒ HALF
\textprimstress
LEFT
LETTER GLOTTAL STOP
\texthamza
\textrhalfring
MODIFIER
RING LETTER CENTRED MODIF
LEFT
02C6 \textcircumaccent ˁ 02CA ˊ \textmacronbelow
CARON
MODIFIER LETTER CIRCUMFLEX
\textacuteaccen MOD
A
02D4 ˔ 02C1
\textraised
02D4 ˔ 02C9 02C102CD
\textraised ˉ
\textcaronaccent
ˍ \textraiserevglotstop
\textlowmacron
\textmacronaccent02C9 ˉ 02BF
02D3 ˓ʿ MODIFIER
\textmacronaccent LETTER
\textain REVERSED GLOTTA
\textlhalfring
02C7
02C2 ˂ ˕ ˇ 02CF
\textasciicaron
\textlptr02C2
ˏ \textlowacute
˂ \textmacron
MODIFIER
\textmacronbelow
\textlptr
LETTER
02CE UP TACK
ˎ MODIFIER LETTER
\textlowgrave
CARON \textacute
UP TACK MODIF
MOD
˕ ˈ \textlowered 02C0DOWN\textmacronˀ MODIFIER LETTER LEFT ARROWHEAD
\textraiseglotst
02D5 \textlowered
02D5
02C3
02C8
˃
\textprimstress
\textcaronaccent
02D0
\textrptr
02CA 02C3 02CE
ˊ ː ˃ \textacuteaccent
ˎ\textlengthmark
\textlowgrave
\textrptr
02D4
MODIFIER LETTER
02CF
ˊ 02CB TACK ˏ ˔ MODIFIER \textraised
ˋ MODIFIER LETTER
MODIFIER DOWN
LETTER
\textgraveaccen
\textlowacute TACK
VERTICAL
MOD
02D6 ˖ \textadvanced
02D6
02C802C9 ˖ˈ ˉ \textadvanced
\textmacronaccent
\textprimstress
02CA
MODIFIER 02C1
02D5
LETTER PLUS SIGN ˕ ˁ
\textacuteaccent LETTER RIGHT ARROWHEAD
\textraiserevglo
\textlowered
MODIFIER\textgrave
LETTER
MODIFIER
MODIFIER PLUS
LETTER SIGN
MODIF
MACRON
LETTER VERTICAL LINE
Religions 2022, 13, 928 USV Symbol
9 of 13 Macro(s)
02B4 ʴ \textsup
\textsup
Such discussions can be difficult for both parties involved, since a dancer might 02B5 ʵ \textsup
\textsup
start complaining: “What do you know about me and what do you know about
02B6 ʶ \textsup
the things which moved me to dance”? One should say nothing to him in that \textsup
case sinceUSV Symbol Macro(s)
he is overcome with heedlessness. Or, one could merely say: 02B7 “HowDescription
ʷ \textsup
fine is the02B4 wordUSV of God ʴ Symbol
when He Macro(s)
says
\textsupturnr . . . ” and then recite to him a verse from Description\textsup
MODIFIER LETTER SMALL TURNED
the Qur’an containing the\textsuperscript{\textturnr}

meaning which incited him to move to 02B8
the sound ʸ \textsup
02B4 ʴ \textsupturnr MODIFIER LETTER SMA
\textsup
of a musician 02B5 and ʵaffirm \textsupturnrrtail \textsuperscript{\textturnr}
it for him ‘till he sees the truth himself. 02B9 BringMODIFIER
thisʹ LETTER SMALL TURNED
\textsuperscript{\textturnrrtail} \cprime
02B5 ʵ \textsupturnrrtail
issue up with him and discuss it. ( . . . ) There is nothing crueller and harsher MODIFIER LETTER SMA
\textcel
02B6 ʶ \textsupinvscr
\textsuperscript{\textturnrrtail} MODIFIER LETTER SMALL CAPITAL
than exposing such delusions. One could say: “My brother, this meaning
\textsuperscript{\textinvscr} 02BA ʺ
is \cdprime
02B6 ʶ \textsupinvscr MODIFIER LETTER SMA
USV Symbol the same meaning ʷyou claimed
Macro(s)
02B7 \textsupw to have moved you Description
\textsuperscript{\textinvscr} yesterday, during 02BB samā
MODIFIER ʻ ,LETTER SMALL\texttur
W
when the singer 02B7 (qawwāl) \textsuperscript{w}

ʷbrought it out by the means of beautiful poetry
\textsupw 02BC andʼ MODIFIER \rasp
LETTER SMA
02B8 ʸ \textsupy MODIFIER LETTER SMALL TURNED R
singing. Whatever meaning
\textsuperscript{\textturnr} came \textsuperscript{w}
to you yesterday, when you were in 02BD MODIFIER
trance—
USV ʽ LETTER
Symbol \lasp
SMALL Y
Ma
02B8 \textsuperscript{y}
ʸ \textsupy MODIFIER \textrev
LETTER SMA
02B5 ʵthat meaning was already
\textsupturnrrtail
02B9 ʹ present in what I just quoted to
\cprime\textsuperscript{y}
youLETTER
MODIFIER fromSMALL
in the
TURNED word
R WITH ofHOOK
ʴ \textham
02BE 02B4 ʾ
MODIFIER LETTER PRIME \te
the True, \textsuperscript{\textturnrrtail}
which is02B9 higher and truer
\textceltpal [than music]. I didn’t see you trembling with MODIFIER LETTER\te
02B6 ʶappreciation\textsupinvscr
ʹ \cprime 02BF ʿ \textain PRI
Symbol ʺ Macro(s) yesterday, when you MODIFIER were LETTER SMALL CAPITAL INVERTED R
02BAand understanding \cdprime \textceltpal felt and touched 02B5 by LETTERʵ DOUBLE PRIME
MODIFIER \te
USV \textsuperscript{\textinvscr} Description
02C0 ˀ \textrai
02BB samā 02BAʻ veiled ʺ you from \te
ʷSatan.02B4 Natural the eye of understanding. All you achieved
\textturncomma
\cdprime MODIFIER LETTER TURNED COMM
02B7 \textsupwʴ \textsupturnr MODIFIER LETTER SMALL W 02C1 ˁ MODIFIER
LETTER SMALL ʶ
02B6
LETTER
\textrai
TURNED R \te
DOU
means 02BCof your

by the \textsuperscript{w} 02BBʼ samā\rasp ʻ is to become
\textturncommaunaware of yourself. How can MODIFIER
one who
MODIFIER LETTER
MODIFIER APOSTROPHE
LETTER TUR
\textsuperscript{\textturnr} 02C2 ˂ \textlpt \te
02B8 ʸcannot 02BD
differentiate
\textsupy 02BCʽbetween ʼ his understanding
\lasp \rasp and hisMODIFIER
movement hope for any
MODIFIER LETTER
MODIFIER REVERSED
LETTERCOM APO
02B5 ʵ \textsupturnrrtail
\textrevapostrophe
LETTER SMALL Y
02C3 02B7
MODIFIER LETTER ˃ SMALLʷ \textrpt
TURNED \te
R WITH
sort of\textsuperscript{y}
success”?66 ʽ
02BD \textsuperscript{\textturnrrtail}
\lasp
02C4 MODIFIER
MODIFIER LETTER REV
˄ LETTER RIGHT \textupt \te
02B9 ʹ 02BE
\cprime ʾ \texthamza\textrevapostrophe HALF RIN
02B6 ʶ \textsupinvscr MODIFIER LETTER PRIME
02B8
MODIFIER
02C5 LETTER ˅ SMALL ʸ CAPITAL
\textdpt \te
INVERT
“
IbnUSVArabı̄’s Symbol
advice
\textceltpal
02BF Macro(s)
was likely based on
02BEʿ \textsuperscript{\textinvscr}
ʾ
\textain \texthamza the fact that the Qur’an is Description
the word of God.
MODIFIER LETTER
MODIFIER LEFTLETTER
HALF RING
RIG
\te
ʺ 02B4
02BA Reading from the
\cdprime
02C0 Qur’anic
02BF ˀ revelation
ʿ thus
\textraiseglotstop
\textain prepares a Seeker for recognizing 02C6 MODIFIER
DOUBLE PRIME the
ˆ LETTER
Divine \textcir
02B7 ʴ ʷ \textsupw
\textsupturnr
MODIFIER LETTER
02B9SMALL TURNED
MODIFIER LETTER
MODIFIER LETTER SMALL ʹ \textasc
MODIFIER
W
GLOTTAL
LETTER
R
STOP
\cpLEF
02BB samā ʻ , which 02C7 ˇ LETTER
“
was02C1linked
\textturncomma 02C0 ˁto\textsuperscript{w}
the creative
ˀ word of God. In other
\textraiseglotstop
\textsuperscript{\textturnr} words,
MODIFIER LETTERIbn
TURNED Arabı̄ suggested
COMMA MODIFIER MODIFIER REVERSED
LETTER \te
GLO
GLO
\textcar
ʼ 02B5
02BC one word of\rasp
02B8 God02C2 ʵcan ʸ 02C1 ˂used asˁ a criterion
be\textsupturnrrtail
\textsupy
\textlptr for identifying another.
\textraiserevglotstop Circular
MODIFIER LETTER APOSTROPHE bodily
02BA
MODIFIER
MODIFIER LETTER
MODIFIER
LETTER move-
SMALL
SMALLLETTERʺ YLEFTR
TURNED
MODIFIER \cd
ARROWHE
WITH
LETTER HOO
REV
02C8 ˈ \textpri
02BD ments ʽ are another
\lasp 02C3indicator02C2 ˃ \textsuperscript{y}
˂
a Seeker is\textlptr
\textrptr experiencing a natural, rather
MODIFIER than
LETTER the
REVERSED Divine
COMMA02BB
MODIFIER samā
LETTER ʻ
MODIFIER .
RIGHT \te
ARROWH
LETTER LEF
02B9 ʶ ʹ 02C3 02C9 ˉ PRIME \textmac
02B6 \textrevapostrophe ˄ \cprime
\textsupinvscr
˃ MODIFIER
MODIFIER LETTER
LETTER SMALL
ʼ UP\textmac
CAPITAL INVERTED R
“
Ibn Arabı̄ said: 02C4 \textuptr \textrptr 02BC

MODIFIER LETTER
MODIFIER \ra
ARROWHEAD
LETTER RIG
02BE ʾ \texthamza \textceltpal
\textsuperscript{\textinvscr} MODIFIER LETTER RIGHT HALF RING
02C5 02C4 ˅ ˄
\textdptr \textuptr 02CA 02BD
MODIFIER ˊ LETTER ʽ
MODIFIER \textacu
DOWN \la
ARROWH
LETTER UP
02BF ʿPay02B7
attention
02BA
\textain ʷ to ʺ a person \cdprime
\textsupw claiming to have gained spiritual knowledge byLETTER
MODIFIER
MODIFIER LETTER LEFTMODIFIER
HALF RING LETTERthe DOUBLE
SMALL W PRIME
\teA
USV means Symbol 02C6
Macro(s) 02C5 ˆ\textsuperscript{w}
˅
\textcircumaccent
\textdptr Description MODIFIER LETTER
MODIFIER \textacu
CIRCUMFLEX
LETTER DOW
02C0 ˀ 02BB of samā ʻ as they
\textraiseglotstop sit in these sessions. As the singer
\textturncomma (qawwāl) plays
MODIFIERthese
ʾ \textgra
LETTER TURNED COMMA
CARON ˋ
MODIFIER LETTER GLOTTAL STOP 02BE \te
02B8 02C7 02C6
ʸ ʼ movements ˇ
\textsupy ˆ
\textasciicaron
\textcircumaccent 02CB
MODIFIER LETTER SMALLMODIFIER
Y LETTER CIR
02C1 02B4 ˁ tunes, 02BCinciting
ʴ \textraiserevglotstop \rasp
\textsupturnr \textcaronaccent as one’s nature accepts these tunes
MODIFIERMODIFIER and they
MODIFIER
LETTER SMALL
LETTER REVERSED begin
LETTER APOSTROPHE
02BF
TURNED
GLOTTAL STOPR ʿ \textgra \te
02BDthrough ʽ 02C7 ˇ
\textsuperscript{y} \textasciicaron CARON
02C2 ˂flowing
02B9\textlptr02C8 ʹ theˈ \lasp
animal
\cprime
souls
\textprimstress (al-nufūs al-h.ayawāniyya)
\textcaronaccent [of LEFT
MODIFIER LETTER the 02CC
ARROWHEAD
LETTERˌ REVERSED\textsec
audience],
MODIFIER
02C0
MODIFIER
MODIFIER LETTER PRIME
LETTERˀ VERTICAL\te
COMMA
LINE
ʵ \textrptr \textrevapostrophe
02C3 02B5 ˃inciting \textsupturnrrtail
their
02C9 skeletons
02C8 ˉ to\textmacronaccent
\textceltpalˈ move\textprimstress
in circular form, based MODIFIERon theRIGHT
LETTER principles
02CD 02C1
ARROWHEAD ofˍ LETTER
MODIFIER LETTER SMALL TURNED R WITH HOOK
MODIFIER ˁ
MODIFIER \textlow
MACRON
LETTER \teVER
ʾ
02BE \textsuperscript{\textturnrrtail}
\texthamza MODIFIER LETTER RIGHT HALF RING
\textmac
02C4 ˄the02BA
orbiting
\textuptr ʺ 02C9
spheres. These
\cdprime \textmacron
ˉ circling movements indicate
\textmacronaccent oneLETTER
MODIFIER hasUPexperienced
ARROWHEAD 02C2DOUBLE
MODIFIER LETTER a MODIFIER˂
PRIME \te
02B6 ʶ02BF 02CA ʿ
\textsupinvscr
ˊis\textain MODIFIER LETTERMODIFIER
02CE LETTERˎINVERTED
SMALL CAPITAL LEFT HALF
LETTER
R RING
\textlow
MA
02C5 ˅natural samā

02BB\textdptr due \textacuteaccent
ʻ . This\textturncomma to the \textmacron
\textsuperscript{\textinvscr} fact that what is subtle in humans
MODIFIER LETTER DOWN has MODIFIER
nothing
ARROWHEAD
MODIFIER 02C3
LETTER TURNED COMMA˃
LETTER ACUTE ACCENT
\te
\textacute MODIFIER LETTERˏ GLOTTAL STOP
02CF
02C6 02B7 ˆto do 02BC
ʷ02C1
with ʼ 02CA
\textcircumaccent
orbiting \rasp ˊ The \textacuteaccent ˄ \textlow
MODIFIER LETTER ACU
ˋspheres. subtleness in humansMODIFIER is rather
\textsupw LETTERassociated
CIRCUMFLEX
MODIFIER with
02C4
ACCENT
LETTER APOSTROPHE \te
02CB ˁ
MODIFIER LETTER SMALL W
\textgraveaccent
\textacute MODIFIER
02D0 LETTERː REVERSED
MODIFIER LETTER GRAVE GLOTTAL
\textlen
ACCENTSTO
02C7 ˇthe02BD
spirit (r ʽ. ) in the
\textsuperscript{w}
\textasciicaron
ūh \lasp
Breath, not
\textgravespace. The spirit makes neither
CARON circular
MODIFIER nor
02C5any
LETTER REVERSED ˅COMMA \te
02C2
02B8 otherʸ movements
\textcaronaccent˂
\textsupy 02CB ˋ
\textlptr
\textrevapostrophe \textgraveaccent MODIFIER
02D1 LETTER ˑ LEFT ARROWHEAD
MODIFIER \texthal
LETTER GRA
02C3 02CC ˃ inˌ \textrptr

the body since
\textsecstress it transcends the orbiting
\textgrave
MODIFIER LETTER SMALL Y
spheres. 02C6
This
MODIFIERisRIGHT
LETTER ˆ LOW \te
VERTICAL
02C8 ˈ 02BE\textprimstress ʾ
\textsuperscript{y}
\texthamza MODIFIER LETTER VERTICAL
MODIFIER
02D2 LETTER ˒ HALFˇ RING
LINELETTER RIGHT
MODIFIER
02C7
ARROWHEAD
\textrha
\te
rather what
ʹ02C4 02CDthe˄ animal
02CC ˍ \textuptr
soulˌ does, since the animal soul fallsMODIFIER
\textlowmacron
\textsecstress under the scope of LETTER
MODIFIER
LETTER˓ UPMODIFIER
LOWLETTER
MACRON LOW
02C9 02B9 ˉ 02BF ʿ
\cprime
\textmacronaccent \textain \textmacronbelow
LETTER
MODIFIER LETTER MACRON
MODIFIER
02D3
PRIME LETTER
MODIFIER
ARROWHEAD
LEFT HALF RING \textlha \te
influence of the heavenly
02CD ˍ
spheres. One
\textlowmacron must not be ignorant of the properties
02C5 ˀ ˅
\textceltpal \textdptr
\textmacron MODIFIER LETTER LOW
02C0 02CE \textraiseglotstop
ˎ \textlowgrave
\textmacronbelow
MODIFIER LETTER
02D4
MODIFIER 02C8
LETTER ˔ DOWNSTOP
MODIFIER LETTERˈ LOW GRAVE
GLOTTAL
ARROWHEAD
\textrai \teAC
02CA 02BA ˊof the ʺ02C6soul \cdprime
andˁ ˆ spirit
\textacuteaccent and of that what is causing themMODIFIER
\textcircumaccent to move.MODIFIER An
LETTER
LETTER ACUTE attender
DOUBLE PRIME
ACCENT of˕ CIRCUMFLEX
02C1 \textraiserevglotstop
ˏ
MODIFIER
02D5 LETTER
02C9 ˉ ACCENT
\textlow \te
toˎ move,\textlowgrave
MODIFIER LETTER REVERSED GLOTTAL STOP
02CF 02CE \textlowacute MODIFIER LETTER LOW ACUTE AC
02BB samā ʻ02C7 \textacute MODIFIER LETTER LOW
02C2sessions ˂ ˇis 02CF
incited seized by one state [of mind] orLETTER
another. They
\textturncomma \textasciicaron MODIFIER TURNED COMMA
CARON
02D6 ˖ ARROWHEAD \textadv \te
02D0 \textlptr
ː ˏ
\textlengthmark MODIFIER LETTER LEFT
02CB 02BC ˋstart ʼwhirling
\textgraveaccent
\rasp or jumping\textcaronaccent
without
\textlowacute
circling, they perishMODIFIER
and LETTER
lose GRAVE
theirACCENT MODIFIER LETTER
sense of
MODIFIER TRIANGULAR
LETTER LOW C
02C3\textgrave ˃ 02D0 \textrptr
MODIFIER LETTER APOSTROPHE
02CA
02D7 LETTER ˗ ˊ \textret \te
02D1
ʽ02C8 \lasp
02BD themselves. ˈ ˑ ː
\texthalflength
\textprimstress \textlengthmark MODIFIER
MODIFIER
REVERSEDLETTER
RIGHT
MODIFIER
ARROWHEAD
LETTER
MODIFIER
VERTICAL
HALF
LINE
TRIANGUL
LETTER TRI
\te
02CC ˌ 02C4 ˄If one
\textsecstress
02D2 02D1
were
\textuptr to ask them what made them
˒ \textmacronaccent
ˑ
\textrhalfring
\texthalflength
move they
MODIFIER LETTERwould
02D8
MODIFIER LETTER LOW MODIFIER
VERTICALLETTER
say:
COMMA
UP˘ARROWHEAD \textbre
“Qawwāl 02C9
said ˉ
\textrevapostrophe
this or that, I understood the meaning of it and this is what
LINE
MODIFIER LETTER
02CB
MODIFIER
made ˋ
MODIFIER
LETTER MACRON
CENTRED
LETTER
\textbre
RIGHT
\teHAL
02CD 02BE ˍ 02C5 ˅ 02D2

ʾ \textlowmacron
02D3
\texthamza
\textdptr
˓ \textmacron
˒
\textlhalfring
\textrhalfring MODIFIERMODIFIER
LETTER LOW MODIFIER
MACRON LETTER DOWN ARROWHEAD
MODIFIER
RING LETTER
MODIFIER CENTRED
LETTER \te
LEFT
CEN
LETTER RIGHT HALF \textasc
me02C6
move”. One
ˆ ˊ 02D3
\textmacronbelow should say to such human: “What made you move
\textcircumaccent
˔ \textacuteaccent is nothing ˌACCENT
02BF ʿ02CA 02D4
\textain ˓
\textraised
\textlhalfring MODIFIER LETTER
02CC
MODIFIER
MODIFIER LETTER02D9
LEFT HALFLETTERCIRCUMFLEX
RING˙ ACUTE
MODIFIER LETTER
MODIFIER
ACCENT
UP TACK
\textdot
LETTER \teCEN
02CE ˎbut02C7
a fine tune.
ˇ 02D4
\textlowgrave The understanding
\textasciicaron
˕ \textacute
˔ you reached wasMODIFIER in accordance GRAVEwith
LETTER LOW CARON ACCENT the
ˍ DOWN
02C0 ˀ 02D5
\textraiseglotstop \textlowered
\textraised MODIFIER LETTER GLOTTAL 02CD
MODIFIER
STOP LETTER
MODIFIER \textdot \te
TACK
LETTER UP
02CF ˏhierarchy [of
\textlowacute
02CB theˋ 02D5 \textcaronaccent
spheres] since
˖ \textgraveaccent
˕ nature has dominion over theMODIFIER
MODIFIER animal
LETTER soul.
LOW ACUTE Hence,
ACCENT
MODIFIER
˚ LETTER
LETTER GRAVE ACCENT
SIGN\te
02C1 ˁ 02D6
\textraiserevglotstop \textadvanced
\textlowered LETTER02DA
REVERSEDMODIFIER
GLOTTAL STOP PLUS
MODIFIER \textrin
LETTER DOW
02D0 ː 02C8 ˈ
is\textlengthmark \textprimstress
\textgraveyou and a camel with regard MODIFIERCOLON
ofLETTER ˎ MINUS
VERTICAL LINE
02C2 there˂02CC no02D7
difference ˗ between to theTRIANGULAR
effect music
02D6 ˖
\textretracted
\textadvanced
MODIFIER LETTER 02CE \textrin \te
\textlptr MODIFIER LETTER
MODIFIER SIGN PLU
LETTER
67 ˉ ˌ
MODIFIER LETTER LEFT ARROWHEAD
02D1 ˑ 02C9\texthalflength \textsecstress
\textmacronaccent MODIFIER
MODIFIER LETTER HALFMODIFIER
LETTER
LETTER
TRIANGULAR02CF
COLONMACRON
ˏ \textrin
LOW VERTICAL LINE
\te
02C3 on you”. ˃02CD 02D8 ˍ 02D7
\textrptr ˘
\textmacron ˗
\textbreveaccent
\textretracted BREVE
MODIFIER LETTER RIGHT ARROWHEAD MODIFIER LETTER MIN
02D2 ˒ \textrhalfring \textlowmacron
\textbreve MODIFIER LETTER CENTRED 02DB
MODIFIER LETTER
RIGHT 02D0
HALF ˛
RING ː
LOW MACRON \textced \te
˄ are no 02D8 ˘ of Ibn \textbreveaccent
“
02C4 There 02CA ˊsurviving

\textuptr works
\textacuteaccent
\textmacronbelow Arabı̄ explaining the impact MODIFIER of musica
LETTER universalis
UP ARROWHEAD
MODIFIER LETTER ACUTEBREVE
ACCENT \textogo
02D3 ˓ \textlhalfring \textasciibreve
\textbreve MODIFIER LETTER CENTRED LEFT HALF02D1 RING ˑ \te
02C5
on inanimate ˅02CEobjects: ˎ or ˙how
\textdptr \textacute
\textlowgrave
it\textdotabove
makes\textasciibreve
mountains crumble toMODIFIER dust. TheLETTER
MODIFIER quoted paragraph,
DOWN ARROWHEAD
MODIFIER LETTER LOW GRAVE ACCENT
02D4 ˔ 02CB\textraised 02D9
ˋ \textgraveaccent LETTER UP TACK DOT ABOVE
02D2 ˒ \te
02C6 ˆ02CF ˏthe spheres
\textcircumaccent \textlowacute MODIFIER LETTER GRAVE ACCENT
02D5 however, indicates ˙ affect\textdotabove
the human bodily functions and emotions byLOW the
\textdotaccent MODIFIER LETTERMODIFIER
CIRCUMFLEX ACCENT
LETTER ACUTE ACCENT
˕ \textlowered 02D9 \textgrave MODIFIER LETTER DOWN TACK 02D3 ˓
DOT ABOVE \te
02C7 ˇ02D0 02DA ː soul,
\textasciicaron ˚ \textlengthmark
\textringabove
\textdotaccent CARON 68 MODIFIER LETTER TRIANGULAR COLON
02D6 means ˖ of the animal which falls under their scope MODIFIER of influence. SIGNIn LETTER
most cases,
RING ABOVE
02CC ˌ
\textadvanced
\textcaronaccent\textsecstress LETTER PLUSMODIFIER 02D4LOW ˔
VERTICAL LINE \te
02D1 ˑ universalis \textringaccent
˚ on humans
\texthalflength
ˍ 02DA \textringabove MODIFIER LETTER HALF TRIANGULAR COLO
the influence
02D7 02C8 ˗ 02CD ˈ02D2 musica
of \textprimstress
\textretracted \textlowmacron
\textring amounts to making them:
MODIFIERMODIFIER
LETTER MINUS SIGN
MODIFIER 02D5
LETTER
RING
LINELOW MACRON ˕
ABOVE
\te
˒ \textrhalfring
\textmacronbelow
\textringaccent LETTER VERTICAL
MODIFIER LETTER CENTRED RIGHT HALF R
02D8 02C9 ˘ \textbreveaccent
ˉ02D3 02DB
\textmacronaccent˛ \textlhalfring
\textcedillaaccent
\textring BREVE MODIFIER LETTER MACRON 02D6
OGONEK ˖ \te
02CE \textbreve ˎ ˓
\textmacron \textlowgrave
\textogonek
MODIFIER LETTER CENTRED LEFT HALF RIN
MODIFIER LETTER LOW GRAVE ACCENT
˗
02DB ˛ \textcedillaaccent 02D7 \te
ˏ ˔
OGONEK
02CA ˊ02D4
02CF \textasciibreve
\textacuteaccent
\textraised
\textlowacute \textogonek
MODIFIER LETTER UP TACK
MODIFIER
MODIFIER LETTER ACUTELETTER
ACCENT
02D8
LOW ACUTE ACCENT
˘ \te
02D9 ˙ 02D0 02D5 ː ˕
\textdotabove
\textacute \textlowered
\textlengthmark DOT ABOVE MODIFIER LETTER DOWN TACK
MODIFIER LETTER TRIANGULAR COLON \te
\textdotaccent
02CB 02D1 ˑ ˖
ˋ02D6 \textgraveaccent \textadvanced
\texthalflength MODIFIER LETTER MODIFIER LETTER PLUS SIGN
GRAVELETTER
MODIFIER ACCENT HALF TRIANGULAR COLON \te
02DA ˚ \textringabove
02D7 ˗
\textgrave \textretracted RING ABOVE
˙ HALF \te
02D2 ˒
\textringaccent \textrhalfring 02D9
MODIFIER LETTER MINUS SIGN
MODIFIER LETTER CENTRED RIGHT RING
02CC ˌ02D8
02D3 ˓ ˘
\textsecstress \textbreveaccent
\textlhalfring 16
MODIFIER LETTERBREVE
LOW VERTICAL LINE \te
\textring MODIFIER LETTER CENTRED LEFT HALF RING
Religions 2022, 13, 928 10 of 13
1. dance (in circles);

2. lose their senses;
3. experience strong emotions;
4. realize their prayers were properly executed.
Hence, it can be concluded the music of the spheres had a limited exterior purpose in
“
Akbarian Sufism. Ibn Arabı̄ did not recommend relying on music for medical purposes:
to heal sicknesses or dispel sadness, melancholy and spleen. He taught that music and the
music of the spheres can be dispensed within one’s spiritual practices:
Religion is not to be found in the tambourine,
the sound of the pipe, nor in music;
religion is to be found in the Qur’an,
in courtesy and behaviour (adab).69
“
A. Hussain erroneously claimed Ibn Arabı̄ condemned music and melodies that
merely seek to evoke emotions in a Seeker, without conveying any sort of knowledge to
them.70 Guided by the example of the Prophet, Ibn Arabı̄ did not reject sensual pleasures
“
of the animal soul per se. For instance, the Prophet was said to have enjoyed the taste of
honey, pumpkins and the smell of perfumes. Hesitantly, he even allowed a woman to play
“
the tambourine for him (S̋ah.ı̄h. al-Bukhārı̄ #5431, S̋ah.ı̄h. Muslim, #2041; Jāmi at-Tirmidhı̄
“
#2789). Ibn Arabı̄ followed the Prophet’s example when arguing wise men should neither
seek nor despise music (of the spheres).71 He furthermore argued it is entirely permissible
to enjoy fine tunes and music—for as long as the person does not overestimate them so as
“
to forget themselves completely. As if to prove his point, Ibn Arabı̄ famously composed
“
muwashshah.āt and zajal poetry. Ultimately, however, in the eyes of Ibn Arabı̄, the sound of
musica universalis was but a proof that a person was prostrating themselves in prayer in an
appropriate manner. This was the main role of musica universalis in Akbarian Sufism.
Funding: This research received no external funding.

Institutional Review Board Statement: Not applicable.
Informed Consent Statement: Not applicable.
Data Availability Statement: Not applicable.
Conflicts of Interest: The author declares no conflict of interest.
Notes
“
1 A note on terminology: Ibn Arabı̄ (d. 1240) used the term naghamāt aflākiyya when referring to musica spherarum. The term
naghamāt has served to denote tunes, songs and vocal melodies in Classical Arabic. Brethren of Purity (2010), On Music, p. 77;
“
Farmer (1965), “The Old Arabian Melodic Modes”, p. 99. Ibn Arabı̄ however specified “that music (musı̄qā) occurs when
“
these melodies (naghamāt) are reproduced with musical instruments”. Ibn Arabı̄ (1859), al-Futūh.āt al-Makkiyya vol. 2, p. 367.
Henceforth: FM.II: 367. It would thus be more accurate translating the term naghamāt aflākiyya as “melodies of spheres”. We
nonetheless decided to follow the customary translation (i.e., “the music of the spheres”) for the sake of convenience.
2 Legends, reports and traditions concerning Pythagoras’s first encounter with the music of the spheres can be consulted at:
Gaizauskas (1974), “The Harmony of the Spheres”, p. 146 and Meyer-Baer (1970), Music of the Spheres and the Dance of Death, p. 8.
See also Houlding (2000), “The Greek Philosophers”, p. 26–32 and Iamblichus (1818), Life of Pythagoras, p. 9.
3 The sixteenth century Ottoman court astronomers maintained that the planetary spheres are between 116,866 and 28,176,472
miles wide; with the Sphere of Mars being the widest planetary sphere in existence. The Sphere of Moon was thought to be
the narrowest and the smallest of the spheres. The presumed length, width and volume of the other planetary spheres can be
consulted at Moleiro (2007), Book of Felicity, p. 307.
4 Sharif (1966), A History of Muslim Philosophy vol. 2, p. 1114. Thorndike suggested that the Arabic translation of Pseudo-Aristotle’s
The Secret of Secrets also played a role in introducing Pythagorean musical theories to Islamic philosophy and culture. This work
led al-Kindı̄ (d. 873) to the conclusion that “all forms are ruled by supercelestial forms through the spirits of the spheres” and
that all incantations and images receive their power from the heavenly spheres. Thorndike (1922), “The Latin Pseudo-Aristotle”,
pp. 236, 240.
Religions 2022, 13, 928 11 of 13
“
5 The original diagram can be consulted at Ibn Ara Arabı̄, al-Futūh.āt al-Makkiyya (Ibn Arabı̄ 1870), ff. 92 and Rašić (2021), The
Written World of God, p. 149.
6 FM.I: 663.
7 FM.I: 57, 131, 146. These premises were not universally accepted in Islamic philosophy and culture. Al-Fārābı̄ (d. 950) and Ibn
Sı̄nā (d. 1037) were among the prominent scholars denying the existence of the music of the spheres. Their arguments can be
consulted at al-Fārābı̄ (1967). K. al-Mūsı̄qı̄ al-kabı̄r, p. 88 and Shehadi (1995), Philosophies of Music in Medieval Islam, p. 67.
8 FM.II: 281-2. This is in accordance with Pythagoras’s teachings. In contrast, Plato and his followers attributed the sound of musica
universalis to Eros, sirens and “the blessed choir of Muses [which] has imparted to man the services of measured consonance with
a view to the enjoyment of rhythm and harmony”. Plato (1928), The Epinomis, p. 991.
9
“
FM.I: 262. Ibn Arabı̄’s writings on the jinn folk are probably the best example demonstrating how the four elements impact the
character, physiognomy and nature of living beings. FM.I: 131-4, 273-4; FM.II: 106-7, 466-7; FM.III: 99 and FM.IV: 232.
10 FM.I: 92, 138-9; FM.II: 430.
11 FM.I: 131.
12 Brethren of Purity, On Music, p. 118.
13 FM.II: 472.
14 FM.I: 94, 326.
15 FM.I: 125
“
16 Ibn Arabı̄, like Aristotle, believed that circle is the most perfect of shapes. FM.I: 120, 255.
17 FM.I: 4.
18 FM.I: 120.
19 FM.I: 365-6. The original verse can be consulted at: Q. 21:33. See also FM.I: 4, 120, 601-2.
20 Elmore (1995), “Fabulous Gryphon”, p. 118
21 FM.I: 110, 120-1, 131; FM.II: 457-58.
22 FM.I: 94.
23 FM.II: 366. W. Shaw tracked the origins of these beliefs in the Arabic intellectual milieu back to the ninth century AD. Shaw
(2019), What is Islamic Art, p. 57.
24 Iamblichus (1989), On the Pythagorean Life, p. 27. See also Guthrie (1987), The Pythagorean Sourcebook and Library, p. 129.
25 Corbin (1989), Spiritual Body and Celestial Earth, p. 157; During (1998), Musique et extase: L’audition mystique dans la tradition soufie,
p. 41.
26 Simplicius (2004), On Aristotle’s On the Heavens 2.1–9, p. 126.
27 FM.I: 154.
28 FM.I: 153-6.
“
29 Ibn Arabı̄ noted than Mudāwı̄ al-Kulūm was the prime spiritual leader (qut.b) of his time. A detailed overview of his life and
teachings can be consulted in Chapter 15 of al-Futūh.āt. FM.I: 152-6.
30 FM.I: 153.
31 Quoted according to: FM.I: 386. See also FM.I: 514.
32 FM.I: 256-7, 413-4.
33
USV Symbol Macro(s) Des
FM.I: 704-5.
34 Ibid. See also: FM.I: 541. 02B4 ʴ \textsupturnr MODIF
35 FM.I: 413-4, 416. \textsuperscript{\textturnr}
36 FM.I: 413, 509.
02B5 ʵ \textsupturnrrtail MODIF
37 FM.I: 514. 02B6 ʶ \textsupinvscr MODIF
38 Pythagoreans argued that music and astronomy are twin sciences, which appeal to the human ear and eyes respectively. Both
these sciences were thought to be essential for understanding02B7 the music ʷof the spheres.
\textsupwLeithart (2015), Traces of the Trinity, p. 90. MODIF
See also Donoso (2021), “The Islamic Musical Sciences and the Andalusian Connection”,\textsuperscript{w}
163-4.
39 FM.I: 514. 02B8 ʸ \textsupy MODIF
40 \textsuperscript{y}
FM.I: 481. See also: FM.I: 210, 413-4, 413-4, 440; FM.II: 101-2.
41
02B9 ʹ \cprime MODIF
Kramarz (2016), The Power and Value of Music, p. 21, 27. \textceltpal
42 FM.I: 514; FM.II: 368. 02BA ʺ \cdprime MODIF
43 02BB Samā ʻ ”, p. 13\textturncomma
Viitamäki (2008), “Text and Intensification of Its Impact in Chishti MODIF
44 See (Abbas 2003), The Female Voice in Sufi Rituals, p.xvii; Hicks, ʼ
02BC“The Regulative
\rasp
Harmony of the Spheres”, p. 34 and Shehadi MODIF
(1995), Philosophies of Music in Medieval Islam, p. 160. 02BD ʽ \lasp MODIF
45 \textrevapostrophe
“
FM.II: 366. It should be noted Ibn Arabı̄ perceived the letters of the Arabic alphabet as the building blocks of the universe. Living
02BE ʾ \texthamza MODIF
beings, forms and objects were consequently perceived as the words inscribed on the parchment of existence. See Rašić (2021),
02BF ʿ \textain MODIF
The Written World of God, p. 1-20, 68-90 and During (1997), “Hearing and Understanding in Islamic Gnosis”, p. 129.
02C0 ˀ \textraiseglotstop MODIF
02C1 ˁ \textraiserevglotstop MODIF
02C2 ˂ \textlptr MODIF
02C3 ˃ \textrptr MODIF
02C4 ˄ \textuptr MODIF
02C5 ˅ \textdptr MODIF

Religions 2022, 13, 928 12 of 13
46 FM.I: 210. See also: FM.II: 366-67.

47 FM.I 210. See also Adonis (2005), Sufism and Surrealism, p. 72
48 FM.II: 281-2.
49 FM.II: 367.
50 Brethren of Purity, On Music, p. 16-9.
51 FM.II: 367.
52 FM.I: 210
53 Qureshi (1995), Sufi Music of India and Pakistan, xiii.
54 Ibid.
55 Newell (2007), “Experiencing Qawwali”, xviii-xix.
“
56 Chittick (1992), “Notes on Ibn al- Arabi’s Influence in the Subcontinent”, pp. 218–41.
57 For further information on the properties of Andalusian music Reynolds (2009), “New Directions in the Study of Medieval
Andalusian Music”, p. 39 and Shannon (2015), Performing al-Andalus, p. 37–41.
58 Newell (2007), “Experiencing Qawwali”, p. 3.
59 See Clarke (2000), “Music and Mysticism”, p. 59–64; Ernst (1993), “Man Without Attributes”, p. 2 and Khan (1991), The Mysticism
of Sound and Music, pp. 2, 4.
60 For instance, see Foster (2021), Music and Power in the Early Modern Spain p. 28, 41; Hicks (2020), “The Regulative Power of the
Harmony of the Spheres”, p. 36 and Nokso-Koivisto (2011), “Summarized Beauty”, p. 251.
61 FM.I: 210.
“
62 FM.I: 181, 326. Ibn Arabı̄ once went as far as saying that all living beings and objects step into existence by the rotation of the
heavenly spheres. FM.I: 663.
63 FM.I: 210. 7.
“
64 Ibn Arabı̄ cited this hadith in: FM.II: 167, 399.

65
“
FM.II: 367. See also: Hirtenstein (1993), Muhyiddin Ibn Arabı̄. The Commemorative Volume, p. 52.
66 FM.I 210.
67 FM.I 210. Sufis and philosophers have long thought that the human experience of rhythm and music also involves an experience
of movement. Strabo in particular argued music is “about dance, rhythm and melody”. Kramarz (2016), The Power and Value of
Music, p. 14. See also: Lerdahl and Jackendoff (1996), Generative Theory of Tonal Music, p. 12, 36; Nudds (2019), “Rhythm and
Movement”, p. 43 and Shehadi (1995), Philosophies of Music in Medieval Islam, p. 161.
“
68
“
Dā ūd al-Qays.arı̄ (2012) identified al-nafs al-h.ayawānyya as any soul that is prone of animal activities (al-af āl al-h.ayawāniyya).
“
al-Qays.arı̄, al-Muqqadima, pp. 184–85. Ibn Arabı̄ identified music, eating, drinking, sexual intercourses clothes, fragrances,
handsome boys and women as things the animal soul takes pleasure in FM.I: 317.
69 Quoted according to Beneito (1994), “On the Divine Love for Beauty”, p. 11. See also FM.II: 368-9.
70 Hussain (2020), “The Divine Audition in the Akbarian Court”, p. 16.
71 FM.II: 368.
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“
al-Fārābı̄, Muh.ammad Abū Nas.r. 1967. Kitāb al-Mūsı̄qı̄ al-kabı̄r. Cairo: Dār al-kitāb al- arabı̄.
“
al-Qays.arı̄, Dā ūd. 2012. Al-Muqqadima. Foundations of Islamic Mysticism. Qays.arı̄’s Introduction to Ibn Arabı̄’s Fus.ūs. al-h.ikam. A Parallel
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Beneito, Pablo. 1994. On the Divine Love of Beauty. Paper presented at Amor Divino, Amor Humano: The 3rd International Congress
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“
Chittick, William. 1992. Notes on Ibn al- Arabi’s Influence in the Subcontinent. Muslim World 82: 218–41. [CrossRef]
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Elmore, Gerald. 1995. Fabulous Gryphon ( Anqā Mughrib) on the Seal of the Saints and the Sun Rising in the West. Ph.D. dissertation,
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Helsinki, Finland. 02BC ʼ \rasp
02BD ʽ \lasp
\textrevapostrophe
02BE ʾ \texthamza
02BF ʿ \textain
02C1 ˁ \textraiserevglotstop
02C2 ˂ \textlptr
02C3 ˃ \textrptr
02C4 ˄ \textuptr
02C5 ˅ \textdptr
02C6 ˆ \textcircumaccent
02C7 ˇ \textasciicaron
\textcaronaccent
\textmacron
02CA ˊ \textacuteaccent
\textacute
02CB ˋ \textgraveaccent
\textgrave
02CC ˌ \textsecstress

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religions

USV Symbol Macro(s)

Keywords: Ibn Arabı̄; cosmology; spheres; music; 02BB samā ʻ \textturncomma

published maps and institutional affil-

aflāk in Ibn Arabı̄’s works. The Arabic root

in shape ˖like Earth,

names and arrangement of the planetary spheres˗ in 02D9

his teachings. Ibn Arabı̄’s writings on the 02DA \textringabove

Religions 2022, 13, 928. https://doi.org/10.3390/rel13100928 https://www.mdpi.com/journal/religions

02B4 ʴ \textsupturnr MODIFIER LETTER SMALL TURNED R

02BC ʼ \rasp MODIFIER LETTER APOSTROPHE

02BD ʽ \lasp MODIFIER LETTER REVERSED COMMA

02BF ʿ \textain MODIFIER LETTER LEFT HALF RING

02C0 ˀ \textraiseglotstop MODIFIER LETTER GLOTTAL STOP

02C1 ˁ \textraiserevglotstop MODIFIER LETTER REVERSED GLOTTAL STOP

02C2 ˂ \textlptr MODIFIER LETTER LEFT ARROWHEAD

02C3 ˃ \textrptr MODIFIER LETTER RIGHT ARROWHEAD

02C4 ˄ \textuptr MODIFIER LETTER UP ARROWHEAD

02C5 ˅ \textdptr MODIFIER LETTER DOWN ARROWHEAD

02C6 ˆ \textcircumaccent MODIFIER LETTER CIRCUMFLEX ACCENT

02C7 ˇ \textasciicaron CARON

02C9 ˉ \textmacronaccent MODIFIER LETTER MACRON

02CD ˍ \textlowmacron MODIFIER LETTER LOW MACRON

02CF ˏ \textlowacute MODIFIER LETTER LOW ACUTE ACCENT

02D0 ː \textlengthmark MODIFIER LETTER TRIANGULAR COLON

02D1 ˑ \texthalflength MODIFIER LETTER HALF TRIANGULAR COLON

02D2 ˒ \textrhalfring MODIFIER LETTER CENTRED RIGHT HALF RING

02D3 ˓ \textlhalfring MODIFIER LETTER CENTRED LEFT HALF RING

02D4 ˔ \textraised MODIFIER LETTER UP TACK

02D5 ˕ \textlowered MODIFIER LETTER DOWN TACK

02D6 ˖ \textadvanced MODIFIER LETTER PLUS SIGN

02D7 ˗ \textretracted MODIFIER LETTER MINUS SIGN

02D8 ˘ \textbreveaccent BREVE

studied four elements, Ibn Arabı̄ concluded heavenly spheres certain

Ibn identified (al-t.abı̄ a al-kulliyya) as the element the spheres

3. Hearing the Music of the Spheres

of these levels in Akbarian 02B5Sufism.

02BF ʿ 02C2 \textain ˂ 02BE\textlptr

02C2 ˂ 02C5 \textlptr˅ 02C1\textdptr

02C3 ˃ 02C6 \textrptrˆ 02C2\textcircumaccent

Religions 2022, 13, 928 02B6 ʶ \textsupinvscr \textsuperscript{y}

The power and impact 02CD

02C9 02C3 02C1 ˉ ˃ˁ\textmacronaccent

02D8 02D7 ˘ ˗ \textbreveaccent

R. Qureshi broadly˗ defined

Religions 2022, 13, 928

02BA nature”. other

spheres. Arabı̄ rejected

02C3 ˃Ibn Arabı̄ strongly

02C4 them.˄ Such\textuptr

the reason why Ibn Arabı̄ claimed

audience succumb to joy, agitation and/or

02CE knowledge. \textlowgrave

the Qur’an containing the\textsuperscript{\textturnr}

when the singer 02B7 (qawwāl) \textsuperscript{w}

means 02BCof your

02BB samā ʻ , which 02C7 ˇ LETTER

Ibn Arabı̄ said: 02C4 \textuptr \textrptr 02BC

02C5 ˅natural samā

02C3 02CC ˃ inˌ \textrptr

02CD 02BE ˍ 02C5 ˅ 02D2

02C4 There 02CA ˊsurviving