چکیده:
Despite the existence of long-standing ties between poetry and music، Sanāyi، the famous poet of the sixth century، was a serious opponent unlike many other poets. He overtly blamed music as erotic art and composed poems blaming music. The author describes Sanāyi’s opinion about music in this paper and explores the terms of his disagreement. In the meantime، social backgrounds of his opposing views including his knowledge of and participation in ceremonies of joy and cheerfulness before his spiritual change are highlighted. His moral decrees on music and his general opposition with music are discussed in relation to his psychology of Samā’ music. In his belief، when man’s spirit descends to nature، it loses the original elevated status and seeks what matches the new worldly temperament. To him، the devil produces the joy in music and uses ears as the instrument to contaminate the soul، so veil is considered as stumbling block. Sanāyi’s view about music and Samā’ are not، of course، much welcome by other poets.
خلاصه ماشینی:
A generation before Sanai, the famous writer Ali ibn Usman al-Hujwiri, in his Sufi book Kashf al-Mahjub, had expressed opposition toward music, and especially toward the poems that singers would recite in Sufi Sama gatherings in praise of the beloved's tresses, cheek, and mole, (Haram Poetry, Halal Poetry, in Booy-e Jan, pp.
If Sanai were not a poet and had not composed all these romantic poems in praise of eyes, eyebrows, tresses, and moles—poems that were initially composed for recitation in Sama gatherings, and if he had then taken a dry, ascetic and worshipful stance toward music, we would not have been surprised.
At the time Fudayl uttered this sentence, there was no news yet of sama gatherings and Quranic recitation with beautiful and pleasant voices, or poetry recitation accompanied by the daf and ney, and the orthodox Sufis of Baghdad, such as Abu al-Qasim Junayd (d.
When he desires intercourse in two breaths, his ewer becomes wet in two moments (?) Reason for Sanai's opposition to all kinds of sama From the report that Sanai has given regarding the conduct and behavior of Ibahiti Sufis in sama gatherings, it can be understood why he, like Fudayl ibn Iyad, linked music to lustfulness and adultery and said "that singing brings nothing but adultery".
Sama' in this story does not mean the musical assemblies that the Sufis began organizing from the third century onwards, in which they would recite poems with beautiful voices accompanied by one or more musical instruments.
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