Art. VIII.—Emotional Religion in Islām as affected by Music and Singing. Being a Translation of a Book of the Iḥyā ‘Ulūm ad-Dīn of al-Ghazzālī with Analysis, Annotation, and Appendices.
“ Whosoever is harmonically composed delights in harmony; which makes me much distrust the symmetry of those heads which declaim against all Church-Musick. For my own part, not only from my obedience but my particular Genius, I do embrace it: for even that vulgar and Tavern-Musick, which makes one man merry, another mad, strikes in me a deep fit of devotion and a profound contemplation of the First Composer.” This is the confession of Sir Thomas Browne, and in that confession races the farthest apart join. The influence of music on the soul, the emotions it stirs, the fears and hopes it excites, all peoples, all climates, all ages have known. The negro at his camp-meeting, the darwīsh at his dhikr, are here kin with the English scholar and physician. For him it may not have been such a cataleptic ecstasy as befalls the negro or the darwīsh, but the cause was one and the essential nature. All religions have drawn strength and exaltation from this which lies at the root of all religion; it has ever kindled and fed the flame of devotion. The one could picture it to himself as “ a sensible fit of that harmony which intellectually sounds in the ears of God” ; the other can but ignorantly feel it working on his heart and soul, and sweeping him far from all the bonds of mind and thought. The unknown opens before him and clothes itself with his fancy.