VICTORY OF THE

OWNER OF MAJESTY 
IN THE EXPLANATION OF THE CHILDREN’S
BEQUEST IN TAJWEED

IBRAHIM BIN MUHAMMAD AL-FAQIHI AL-QAADIMI

 ‫ﻓـﺘــﺢ ذي اﻟﺠـﻼل‬
‫ﺑﺸﺮح‬
‫ﺗﺤﻔﺔ اﻷطﻔﺎل ﻓﻲ اﻟﺘﺠﻮﯾﺪ‬
 
Victory of the Owner of Majesty in the Explanation of 
the Children’s Bequest in Tajweed1 
 
Written by: 
 
Abu Abdurrahman Ibrahim bin Muhammad al-Faqihi al-Qaadimi 
 
Translated by 
 
Faisal bin Abdul Qaadir bin Hassan 
Abu Sulaymaan 
 

 
 
1
The translation is based on the Arabic print published by Dar Umar bin al-Khattab and Maktabah al-Imam al-Waadi’ee 
in the year 1428 H. 
 
⃒ 2 

🕮 Introduction 
 
Verily  all praise is due to Allah, we praise Him, seek His assistance, and seek His forgiveness. And we 
seek  refuge  in  Him  from  the  evil  of  our  own  souls  and  the  evil  of  our  own  actions.  Whomsoever 
Allah  guides,  will  never  be  misguided  and  whomsoever  Allah  leads  astray,  none  can  guide.  I  bear 
witness  that  there  is  no  Deity  worthy  of  worship in truth except Allah alone without a partner and I 
bear  witness  that  Muhammad  is  His  slave  and  Messenger.  May  abundant  peace  and  blessings  be 
upon him, his Family, and Companions. As for what follows: 
 
Verily  the  most  deserving  of  sciences  in  remembrance  and  thought,  the  most  honorable of them in 
status  and  degree,  and  the  greatest  of  them  in  treasure  and  pride  is  the  speech  of  the  One  who 
created  man from water, and has appointed for him kindred by blood, and kindred by marriage. So it 
is  knowledge  which  ignorance  is  not  feared  from  it  nor  does  misguidance  envelop  it.  The  most 
deserving  science  of  the  Quran  that  should  be  given  precedence  is  knowing  Tajweed,  and  correctly 
pronouncing its wordings and its letters.  
 
That  which  motivated  me  to  embark  in  explaining  this  blessed  poem  called  The  Children’s  Bequest, 
after  the  pleasure  of  Allah,  the  Exalted  and  hoping  for  His  reward,  was  what  I  saw  of  the  need  of 
some of the students of Legislated knowledge for an explanation of this poem. This is especially true 
for  the  beginners  in  this  knowledge,  which  it  is  the  knowledge  of  the  Tajweed  of  the  speech  of the 
Lord  of  the  worlds.  Also  due  to  what  I  saw  from  the  mistakes  that  occur  in  it  from  many  of  those 
who  memorize  the  Book  of  Allah,  the  Exalted.  It  is  necessary  for  the  student  of  knowledge  to  be 
eager  in  the  beginning of his seeking of knowledge to memorize the Book of Allah with a proficient, 
perfect,  memorization  that  is  free  from  major  and  minor  errors.  This  cannot  be  achieved except by 
acquiring  the  recitation  from  a  reciter who is proficient in his recitation, perfect in his pronunciation 
of the Quran’s words and letters.  
 
It  is  necessary  for  the  student  of  knowledge  not  to  suffice  with  only  studying  the  theoretical 
knowledge  of  these  rules.  Rather  he  should  hasten  to  apply  these  principles  practically  in  his 
recitation  through  continuous  [practice]  until  these principles become firm and well-grounded in his 
mind,  and  until  they  become  natural  on  his  tongue  without  unnecessary  burden.  This  requires 
patience and effort in the beginning of his learning. 
 
It  is  no  failure  or  waste  of  time  for a student to spend a month or a year or two years to perfect and 
apply  this  knowledge.  For  how  many  do  we  find  from  the  students  of knowledge who have spent a 
long time in seeking of knowledge or are callers for many years in Da’wah, yet if you were to hear his 
recitation,  you  cannot  differentiate  between  him  and  a  layman  who  is  not  proficient  at anything. So 
 
⃒ 3 

this  is  a  blemish  and  deficiency,  which  it  is  necessary  for  every  student  of  knowledge to be eager to 
avoid from the beginning of his seeking of knowledge. 
 
Likewise,  his  theoretical  study  of  this  poem  is  not  sufficient  in  this  knowledge  because  it  does  not 
include  all  of  the  rules  of  Tajweed.  Rather  it  does  not  include  the  most  important  rules  of Tajweed 
which  are  the  Makhaaraj  (exit  points  of  the  letters)  and  the  Sifaat  (the  attributes  of  the  letters).  So 
after  studying  this  poem,  he  begins  to  study  the  poem al-Jazariyyah of Imam Ibn al-Jazari (may Allah 
have  mercy  upon  him)  because  it  includes  the  chapter  of  Makhaaraj  (articulation  points),  Sifaat 
(attributes), and includes most of the chapters of Tajweed.   
 
I tried in this explanation of this poem to use easy expressions in order to make it easy to understand 
by  the beginner in this knowledge. I did not expand in the explanation by mentioning the differences 
of  opinion  so  not to scatter the mind of the student in the beginning of his affair. This human effort 
is  exposed  to  mistakes.  So  whoever  finds  a  mistake  or  an  affair  which  requires  notification, then let 
him notify us of it. May Allah reward him with good. 
 
I  ask  Allah,  the  Exalted  to  make  this  work  of  mine  sincerely  for His Honorable Face and to benefit 
the Muslims by it. Verily He is capable of All-things and all praise is due to Allah Lord of the worlds.  
 
Written by 
 
Abu Abdurrahman Ibraahim bin Muhammad al-Faqihi al-Qaadami as-Sireehi 
 
Dar al-Haadith in Dammaj 
 
Email: alfagih90@hotmail.com  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
⃒ 4 

Text of Poem: 
‫ﺳﻠَ ْﯿ َﻤﺎنُ ُھ َﻮ اﻟ َﺠ ْﻤ ُﺰوري‬ ِ ُ‫اﺟﻲ َرﺣْ َﻤ ِﺔ ا ْﻟﻐَﻔ‬
ُ ‫ د َْو ًﻣﺎ‬... ‫ﻮر‬ ِ ‫( ﯾَﻘُﻮ ُل َر‬1)
 
Says the one who always hopes for the mercy of the Oft-Forgiving 
Sulaymaan and he is al-Jamzuri 
 
َ ‫( ا ْﻟ َﺤ ْﻤ ُﺪ ﱠ ِ ُﻣ‬2)
َ ‫ﺼ ِﻠّﯿًﺎ‬
َ‫ ُﻣ َﺤ ﱠﻤ ٍﺪ َوآﻟ ِﮫ َو َﻣ ْﻦ ﺗَﻼ‬... ‫ﻋﻠَﻰ‬
 
All praise is due to Allah while sending salutations upon 
Muhammad, his family, and those who follow 
 
‫ﯾﻦ َوا ْﻟ ُﻤﺪُو ِد‬ ِ ‫ ﻓِﻲ اﻟﻨﱡ‬... ‫( َوﺑَ ْﻌ ُﺪ َھﺬَا اﻟﻨﱠ ْﻈ ُﻢ ِﻟ ْﻠ ُﻤ ِﺮﯾ ِﺪ‬3)
ِ ‫ﻮن واﻟﺘ ﱠ ْﻨ ِﻮ‬
 
As for what follows: this poem is for the seeker (i.e. the student) 
Of the rule of Noon, at-Tanween (nunation) and Mudud (elongation) 
 
‫ﯿﮭ ِّﻰ ذِي ا ْﻟﻜَﻤﺎ ِل‬ َ ‫ ﻋ َْﻦ‬... ‫ﺳ ﱠﻤ ْﯿﺘُﮫُ ِﺑﺘُﺤْ ﻔَ ِﺔ اﻷ َ ْطﻔَﺎ ِل‬
ِ ‫ﺷ ْﯿ ِﺨﻨَﺎ ا ْﻟ ِﻤ‬ َ (4)

I entitled it The Children's Bequest 

From our Shaikh al-Meehi, the possessor of perfection 
 
‫ َواﻷَﺟْ َﺮ َوا ْﻟﻘَﺒُﻮ َل َواﻟﺜ ﱠ َﻮاﺑَﺎ‬... ‫ﻄﻼﱠﺑَﺎ‬
‫( أ َ ْر ُﺟﻮ ِﺑ ِﮫ أ َ ْن ﯾَ ْﻨﻔَ َﻊ اﻟ ﱡ‬5)
 
I hope it [i.e. the poem] will benefit the students 
And [that I obtain] reward, acceptance, and recompense  
 
🕮 The First Chapter: The Rules of Noon as-Saakinah and at-Tanween 
 
‫ أ َ ْرﺑَ ُﻊ أَﺣْ ﻜ ٍَﺎم ﻓَ ُﺨ ْﺬ ﺗ َ ْﺒ ِﯿﯿ ِﻨﻲ‬... ‫ﯾﻦ‬
ِ ‫ﺴﻜ ُْﻦ َو ِﻟﻠﺘ ﱠ ْﻨ ِﻮ‬ ِ ‫( ِﻟﻠﻨﱡ‬6)
ْ َ ‫ﻮن ِإ ْن ﺗ‬

For the Noon, when it is non-vowelled and for at-Tanween 

There are four rules so take my clarification 
 
 
 
 
 
⃒ 5 

ِ ‫ﺳﺖﱞ ُر ِﺗ ّﺒَﺖْ ﻓَ ْﻠﺘ َ ْﻌ ِﺮ‬

‫ف‬ ِ ‫ ِﻟ ْﻠ َﺤ ْﻠ‬... ‫ف‬
ِ ‫ﻖ‬ ُ ‫( ﻓَﺎﻷ َ ﱠو ُل اﻹ ْظ َﮭ‬7)
ِ ‫ﺎر ﻗَ ْﺒ َﻞ أَﺣْ ُﺮ‬

So the first of these rules is al-Idhhaar before the letters 

Of the throat. Six letters arranged (in order of their articulation points), so know them 
 
َ ‫ﺎن ﺛ ُ ﱠﻢ‬
‫ﻏ ْﯿ ٌﻦ َﺧﺎ ُء‬ َ ‫( َھ ْﻤ ٌﺰ ﻓَ َﮭﺎ ٌء ﺛ ُ ﱠﻢ‬8)
ِ َ ‫ ُﻣ ْﮭ َﻤﻠَﺘ‬... ‫ﻋ ْﯿ ٌﻦ َﺣﺎ ُء‬
 
Hamzah (‫)ء‬, then Haa (‫)ھـ‬, then ‘Ayn (‫)ع‬, then Haa (‫)ح‬, 
Both without dots, then Ghayn (‫)غ‬, and Khaa (‫)خ‬ 
 
َ ُ‫ ﻓِﻲ ﯾَ ْﺮ َﻣﻠ‬... ْ‫ﺴﺘ ﱠ ٍﺔ أَﺗَﺖ‬
ْ‫ﻮن ِﻋ ْﻨ َﺪ ُھ ْﻢ ﻗَ ْﺪ ﺛَﺒَﺘَﺖ‬ ِ ‫( واﻟﺜ ﱠ‬9)
َ ‫ﺎن إِ ْد‬
ِ ِ‫ﻏﺎ ٌم ﺑ‬
 
And the second is al-Idghaam in relation in six letters which come 
In the word ( َ‫ )ﯾَ ْﺮ َﻣﻠُﻮن‬and are established according to the them (i.e. the Scholars of Recitation) 
 
‫ﻋ ِﻠ َﻤﺎ‬ َ ‫ﺴ ٌﻢ ﯾُ ْﺪ‬
ُ ‫ ﻓِﯿ ِﮫ ﺑِﻐُﻨﱠ ٍﺔ ﺑِﯿَ ْﻨ ُﻤﻮ‬... ‫ﻏ َﻤﺎ‬ ْ ِ‫ﺎن ﻗ‬ ْ ِ‫( ﻟَ ِﻜﻨﱠ َﮭﺎ ﻗ‬10)
ِ ‫ﺴ َﻤ‬
 
However it is two categories: a category that has al-Idghaam 
Occur with Ghunnah and is known by the letters (‫)ﯾَ ْﻨ ُﻤﻮ‬ 
 
َ ‫ ﺗ ُ ْﺪ‬... َ‫َﺎن ﺑِ ِﻜ ْﻠ َﻤ ٍﺔ ﻓَﻼ‬
ٍ ‫ﻏ ْﻢ َﻛ ُﺪ ْﻧﯿَﺎ ﺛ ُ ﱠﻢ ِﺻ ْﻨ َﻮ‬
َ‫ان ﺗَﻼ‬ َ ‫( إِﻻﱠ إِذَا ﻛ‬11)
 
Except if it (the Noon as-Saakinah and the letter of al-Idghaam) occur in a word, then it is not 
Recited with al-Idghaam like the word (‫ ) ُد ْﻧﯿَﺎ‬and (‫ﺻ ْﻨ َﻮان‬
ِ ) which follows 
 
‫اﻟﺮا ﺛ ُ ﱠﻢ ﻛ ِ َّﺮ َرﻧﱠ ْﮫ‬ ِ ‫( َواﻟﺜ ﱠ‬12)
َ ‫ﺎن ِإ ْد‬
ُ ‫ﻏﺎ ٌم ِﺑﻐَ ْﯿ ِﺮ‬
‫ ِﻓﻲ اﻟﻼﱠ ِم َو ﱠ‬... ‫ﻏﻨﱠ ْﮫ‬
 
And the second category is al-Idghaam with other than Ghunnah 
In the Laam or Raa, but the latter you must recite with Takreer (repetition) 
 
ِ َ‫اﻹ ْﺧﻔ‬
‫ﺎء‬ ِ ‫ ِﻣﯿ ًﻤﺎ ِﺑﻐُﻨﱠ ٍﺔ َﻣ َﻊ‬... ‫ﺎء‬ ُ َ‫اﻹ ْﻗﻼ‬
ِ َ‫ب ِﻋ ْﻨ َﺪ ا ْﻟﺒ‬ ُ ‫َواﻟﺜ ﱠ‬
ِ ‫ﺎﻟﺚ‬ (13)
 
And the third rule is al-Iqlaab which occurs with the letter Baa (‫)ب‬ 
Which changes to a Meem (‫ )م‬with a Ghunnah and al-Ikhfaa 
 
 
⃒ 6 

ِ َ‫ﺐ ِﻟ ْﻠﻔ‬
‫ﺎﺿ ِﻞ‬ ٌ ‫اﺟ‬
ِ ‫وف َو‬ ِ َ‫اﻹ ْﺧﻔَﺎ ُء ِﻋ ْﻨ َﺪ ا ْﻟﻔ‬
ِ ‫ ِﻣ َﻦ اﻟ ُﺤ ُﺮ‬... ‫ﺎﺿ ِﻞ‬ ِ ‫اﻟﺮا ِﺑ ُﻊ‬
‫َو ﱠ‬ (14)
 
And the fourth rule is al-Ikhfaa in regards to the remaining 
Letter, which it is obligatory [to recite al-Ikhfa on] for the one who is virtuous  
 
ِ ‫ ﻓِﻲ ِﻛ ْﻠ ِﻢ َھﺬَا اﻟﺒَ ْﯿ‬... ‫ﻋﺸ ٍْﺮ َر ْﻣ ُﺰ َھﺎ‬
‫ﺖ ﻗَﺪ ﱠ‬
‫ﺿ ﱠﻤ ْﻨﺘ ُ َﮭﺎ‬ َ ‫ﻓِﻲ َﺧ ْﻤ‬
َ ‫ﺴ ٍﺔ ِﻣ ْﻦ ﺑَ ْﻌ ِﺪ‬ (15)
 
In fifteen letters whose acronym is  
Included in the (initial letters) of the words of this (next) line of poetry 
 
َ ‫ ُد ْم َط ِﯿّﺒًﺎ ِز ْد ﻓِﻲ ﺗُﻘًﻰ‬... ‫ﺳ َﻤﺎ‬
‫ﺿ ْﻊ َظﺎ ِﻟ َﻤﺎ‬ ٌ ‫ﻒ ذَا ﺛَﻨَﺎ َﻛ ْﻢ َﺟﺎ َد ﺷ َْﺨ‬
َ ‫ﺺ ﻗَ ْﺪ‬ ْ ‫( ِﺻ‬16)
 
Describe the possessor of praise. How generous is a person who has attained such status?  
Always be good. Increase in piety. Repel an oppressor 
 
🕮 The Second Chapter: The Rules of Noon and Meem Mushaddadatayn 
 
ُ ‫ف‬
‫ﻏﻨﱠ ٍﺔ ﺑَﺪَا‬ َ ‫ﺳ ِ ّﻢ ُﻛﻼً َﺣ ْﺮ‬ ُ ‫ﻏ ﱠﻦ ِﻣﯿ ًﻤﺎ ﺛ ُ ﱠﻢ ﻧُﻮﻧًﺎ‬
َ ‫ َو‬... ‫ﺷ ِ ّﺪدَا‬ ُ ‫( َو‬17)
 
And apply ghunnah to (the letter) Meem (‫)م‬, then the Noon that has a shaddah 
And name each (of them) a letter of Ghunnah that has appeared 
 
🕮 The Third Chapter: The Rules of Meem as-Saakinah 
 
ٍ ‫ ﻻَ أ َ ِﻟ‬... ‫ﺴﻜ ُْﻦ ﺗ َ ِﺠﻲ ﻗَ ْﺒ َﻞ ا ْﻟ ِﮭ َﺠﺎ‬
‫ﻒ ﻟَ ِﯿّﻨَ ٍﺔ ِﻟﺬِي ا ْﻟ ِﺤ َﺠﺎ‬ ْ َ ‫اﻟﻤﯿ ُﻢ ِإ ْن ﺗ‬
ِ ‫َو‬ (18)
 
And Meem (‫)م‬, if it is non-vowelled, and appears before (the letters of) the alphabet 
Except for the soft Alif, for the possessor of intellect 
 
‫ﺎر ﻓَﻘَ ْﻂ‬
ٌ ‫ﻏﺎ ٌم َوإِ ْظ َﮭ‬ َ ‫أَﺣْ ﻜَﺎ ُﻣ َﮭﺎ ﺛَﻼَﺛَﺔٌ ِﻟ َﻤ ْﻦ‬
َ ‫ إِ ْﺧﻔَﺎ ٌء ا ْد‬... ‫ﺿﺒَ ْﻂ‬ (19)
 
Its rules are three, for the one who strives for precision:  
Ikhfaa, Idghaam and Idhhaar only  
 
 
 
⃒ 7 

ِ ‫ي ِﻟ ْﻠﻘُ ﱠﺮ‬
‫اء‬ ‫ﺸ ْﻔ ِﻮ ﱠ‬
‫ﺳ ِ ّﻤ ِﮫ اﻟ ﱠ‬
َ ‫ َو‬... ‫ﺎء‬ ِ ‫ﻓَﺎﻷ َ ﱠو ُل‬
ِ َ‫اﻹ ْﺧﻔَﺎ ُء ِﻋ ْﻨ َﺪ ا ْﻟﺒ‬ (20)
 
So the first (rule of Meem as-Saakinah) is al-Ikhfaa in the case of Baa (‫)ب‬ 
And name it [ al-Ikhfaa] of the lips in accordance to the reciters.  
 
‫ﯿﺮا ﯾَﺎ ﻓَﺘَﻰ‬
ً ‫ﺻ ِﻐ‬ َ ‫ َو‬... ‫ﻏﺎ ٌم ِﺑ ِﻤﺜْ ِﻠ َﮭﺎ أَﺗَﻰ‬
َ ‫ﺳ ِ ّﻢ إ ْد‬
َ ‫ﻏﺎ ًﻣﺎ‬ ِ ‫( َواﻟﺜ ﱠ‬21)
َ ‫ﺎن إِ ْد‬
 
And the second rule is Idghaam when an identical letter appears (i.e. another Meem) 
And name this as the Minor Idghaam, O young man 
 
‫ﺷ ْﻔ ِﻮﯾﱠ ْﮫ‬
َ ‫ﺳ ِ ّﻤ َﮭﺎ‬ ٍ ‫ ِﻣ ْﻦ أَﺣْ ُﺮ‬... ‫ﺎر ﻓِﻲ ا ْﻟﺒَ ِﻘﯿﱠ ْﮫ‬
َ ‫ف َو‬ ُ ‫اﻹ ْظ َﮭ‬
ِ ‫ﺚ‬ُ ‫( َواﻟﺜﱠﺎ ِﻟ‬22)
 
And the third rule is al-Idhhaar in regards to the remaining  
Letters and name it [al-Idhhaar] Shafwiyyah.  
 
ِ ‫ ِﻟﻘُ ْﺮﺑِ َﮭﺎ َوﻻ ِﺗ ّ َﺤﺎ ِد ﻓَﺎﻋ ِْﺮ‬... ‫( َواﺣْ ﺬَ ْر ﻟَﺪَى َوا ٍو َوﻓَﺎ أ َ ْن ﺗ َ ْﺨﺘ َ ِﻔﻲ‬23)
‫ف‬
 
Be careful of making al-Ikhfaa in the case of Waaw (‫ )و‬and Fa (‫)ف‬ 
Due to its nearness and unity so know this/take heed.  
 
🕮 The Fourth Chapter: The Rules of the Laam in (‫ )أل‬and the Laam in a 
Verb 
 
ِ ‫ﺎر َھﺎ ﻓَ ْﻠﺘ َ ْﻌ ِﺮ‬
‫ف‬ ِ ‫( ِﻟﻼَ ِم أ َ ْل َﺣﺎﻻَ ِن ﻗَ ْﺒ َﻞ اﻷَﺣْ ُﺮ‬24)
ُ ‫ أُوﻻَ ُھ َﻤﺎ إِ ْظ َﮭ‬... ‫ف‬
 
For Laam there are two situations when it appears before the Arabic letters 
The first of them is to recite it with Idhhaar, so know that 
 
ُ‫ﻋ ِﻘﯿ َﻤﮫ‬ ْ ‫ ِﻣ ِﻦ ا ْﺑ ِﻎ َﺣ ﱠﺠﻚَ َو َﺧ‬... ُ‫ﻋﺸ َْﺮ ٍة ُﺧ ْﺬ ِﻋ ْﻠ َﻤﮫ‬
َ ‫ﻒ‬ ْ ‫( ﻗَ ْﺒ َﻞ‬25)
َ ‫ارﺑَ ٍﻊ َﻣ ْﻊ‬
 
Before fourteen letters, take its knowledge  
From the letters in this sentence: “Be desirous for [the reward of] your Hajj and be afraid of it being 
fruitless” 
 
‫ﻋﺸ َْﺮ ٍة أ َ ْﯾﻀًﺎ َو َر ْﻣ َﺰ َھﺎ ﻓَ ِﻊ‬
َ ‫ َو‬... ‫ﻏﺎ ُﻣ َﮭﺎ ِﻓﻲ أ َ ْرﺑَ ِﻊ‬ ِ ‫( ﺛَﺎ ِﻧ‬26)
َ ‫ﯿﮭ َﻤﺎ ِإ ْد‬
 
⃒ 8 

 
The second of them is al-Idghaam in fourteen 
Letters also. It’s acronym is: 
 
ُ ‫ َد ْع‬... ‫ﻒ ذَا ﻧِﻌَ ْﻢ‬
‫ﺳﻮ َء َظ ٍّﻦ ُز ْر ﺷ َِﺮﯾﻔًﺎ ِﻟ ْﻠﻜ ََﺮ ْم‬ ْ ‫( ِط ْﺐ ﺛ ُ ﱠﻢ ِﺻ ْﻞ ُرﺣْ ًﻤﺎ ﺗَﻔُ ْﺰ ِﺿ‬27)
 
‘Be good then tie the kinship, you will be successful. Host the possessor of bounties 
Leave off bad thoughts of others, visit the honorable one out of generosity’ 
 
‫ﺴﯿﱠ ْﮫ‬ َ ‫ َواﻟﻼﱠ َم اﻻُ ْﺧ َﺮى‬... ‫ﺳ ِ ّﻤ َﮭﺎ ﻗَ َﻤ ِﺮﯾﱠ ْﮫ‬
ِ ‫ﺳ ِ ّﻤ َﮭﺎ ﺷ َْﻤ‬ َ ‫( َواﻟﻼﱠ ُم اﻻُوﻟَﻰ‬28)
 
And the first Laam is called al-Qamariyyah 
And the other is called ash-Shamsiyyah 
 
‫ ﻓِﻲ ﻧَﺤْ ِﻮ ﻗُ ْﻞ ﻧَﻌَ ْﻢ َوﻗُ ْﻠﻨَﺎ َوا ْﻟﺘَﻘَﻰ‬... ‫( وأ ْظ ِﮭ َﺮ ﱠن ﻻَ َم ﻓِ ْﻌ ٍﻞ ُﻣ ْﻄﻠَﻘَﺎ‬29)
 
And recite the Laam in a Verb with al-Idhhaar unrestrictedly 
In the likes of the word “Say Yes”, and “We said”, and “He met” 
 
🕮 The Fifth Chapter: al-Mithlayn, al-Mutaqaaribayn, al-Mutajaanisayn, and 
al-Mutabaa'idayn 
 
ْ‫ﯿﮭ َﻤﺎ أَﺣَﻖ‬
ِ ‫ﺎن ﻓَﺎ ْﻟ ِﻤﺜْﻼَ ِن ِﻓ‬
ِ َ‫ َﺣ ْﺮﻓ‬... ْ‫ت َواﻟ َﻤ َﺨ ِﺎرجِ اﺗﱠﻔَﻖ‬
ِ ‫ﺼﻔَﺎ‬
ّ ِ ‫( ِإ ْن ِﻓﻲ اﻟ‬30)
 
If there is an agreement between the attributes and articulation points 
Of two letters, then they are deserving to be called identical  
 
‫اﺧﺘَﻠَﻔَﺎ ﯾُﻠَﻘﱠﺒَﺎ‬
ْ ‫ت‬ِ ‫ﺼﻔَﺎ‬ َ َ‫( َو ِإ ْن ﯾَﻜُﻮﻧَﺎ َﻣ ْﺨ َﺮ ًﺟﺎ ﺗَﻘ‬31)
ّ ِ ‫ َوﻓِﻲ اﻟ‬... ‫ﺎرﺑَﺎ‬

And if the articulation point of both letters are near 

But in attributes they differ, then it is called 
 
‫ت ُﺣ ِﻘّﻘَﺎ‬
ِ ‫ﺼﻔَﺎ‬ َ ‫ ﻓِﻲ َﻣ ْﺨ َﺮجٍ د‬... ‫( ُﻣﺘْﻘَ ِﺎرﺑَ ْﯿ ِﻦ أ َ ْو ﯾَﻜُﻮﻧَﺎ اﺗﱠﻔَﻘَﺎ‬32)
ّ ِ ‫ُون اﻟ‬
 
Mutaqaaribayn or they both agree in  
Articulation point but not in attributes, so verify it 
 
⃒ 9 

‫ﺳ ِ ّﻤﯿَ ْﻦ‬
َ ‫ﯿﺮ‬ ‫ أ َ ﱠو ُل ُﻛ ٍ ّﻞ ﻓَﺎﻟ ﱠ‬... ‫ﺳﻜ َْﻦ‬
َ ‫ﺼ ِﻐ‬ َ ‫( ﺛ ُ ﱠﻢ ِإ ْن‬33)
 
Then if the first letter is non-vowelled 
Then it is Minor in all (categories) 
 
ْ ‫ﯿﺮ‬
‫واﻓ َﮭ َﻤ ْﻨﮫُ ِﺑﺎ ْﻟ ُﻤﺜ ُ ْﻞ‬ ِ َ‫( أ َ ْو ُﺣ ِ ّﺮكَ اﻟ َﺤ ْﺮﻓ‬34)
ٌ ‫ ُﻛ ﱞﻞ َﻛ ِﺒ‬... ‫ﺎن ﻓِﻲ ُﻛ ٍ ّﻞ ﻓَﻘُ ْﻞ‬
 
Or both letters are vowellized in each word, then say: 
Both are Major. So understand it through examples 
 
🕮 The Sixth Chapter: Types of Elongation (‫)اﻟﻤﺪود‬ 
 
‫ﺳ ِ ّﻢ أ َ ﱠوﻻً َط ِﺒﯿ ِﻌﯿﺎ َو ُھﻮ‬ ْ َ ‫( َوا ْﻟ َﻤ ﱡﺪ أ‬35)
َ ‫ َو‬... ُ‫ﺻ ِﻠ ﱞﻲ َو ﻓَ ْﺮ ِﻋ ﱞﻲ ﻟَﮫ‬
 
And Madd is either Primary or Subsidiary  
The first one is called natural and it is 
 
‫وف ﺗُﺠْ ﺘَﻠَ ْﺐ‬ َ ‫ﻋﻠَﻰ‬
ُ ‫ َوﻻ ِﺑﺪُو ِﻧ ِﮫ اﻟ ُﺤ ُﺮ‬... ‫ﺳﺒَ ْﺐ‬ ٌ ‫( َﻣﺎ ﻻَ ﺗ َ َﻮﻗﱡ‬36)
َ ُ‫ﻒ ﻟَﮫ‬
 
What does not have a cause for it 
And without it the letters cannot be extended 
 
‫ َﺟﺎ ﺑَ ْﻌ َﺪ َﻣ ٍ ّﺪ ﻓَﺎﻟ ﱠ‬... ‫ُﻮن‬
ْ ‫ﻄ ِﺒﯿ ِﻌ ﱠﻲ ﯾَﻜ‬
‫ُﻮن‬ ْ ‫ﺳﻜ‬ُ ‫ﻏ ْﯿ ُﺮ َھ ْﻤ ٍﺰ أ َ ْو‬
َ ‫ف‬ ‫( ﺑ ْﻞ أ َ ﱡ‬37)
ٍ ‫ي َﺣ ْﺮ‬
 
Rather any letter other than Hamzah (‫ )ء‬or sukoon ( ْ‫) ـ‬ 
Comes after a madd, then it is natural elongation 
 
‫ﺴ َﺠﻼ‬
ْ ‫ُﻮن ُﻣ‬
ٍ ‫ﺳﻜ‬ُ ‫ﺳﺒَ ْﺐ َﻛ َﮭ ْﻤ ٍﺰ أ َ ْو‬
َ ... ‫ﻋﻠَﻰ‬ ٌ ُ‫( َواﻵ َﺧ ُﺮ ا ْﻟﻔَ ْﺮ ِﻋ ﱡﻲ َﻣ ْﻮﻗ‬38)
َ ‫ﻮف‬
 
And the other is the subsidiary madd which is 
Caused by Hamzah (‫ )ء‬or a sukoon ( ْ‫ ) ـ‬in general 
ِ ُ‫ ِﻣ ْﻦ ﻟَ ْﻔ ِﻆ َواي ٍ َو ْھ َﻲ ﻓِﻲ ﻧ‬... ‫( ُﺣ ُﺮوﻓُﮫُ ﺛَﻼَﺛَﺔٌ ﻓَ ِﻌﯿ َﮭﺎ‬39)
‫ﻮﺣﯿ َﮭﺎ‬
 
Its letters are three, so memorize them 
ِ ُ‫)ﻧ‬ 
In the word (ٍ ‫ ) َواي‬and in the example (‫ﻮﺣﯿ َﮭﺎ‬
 
 
⃒ 10 

ٍ ‫ط َوﻓَﺘْ ٌﺢ ﻗَ ْﺒ َﻞ أ َ ْﻟ‬
‫ﻒ ﯾُ ْﻠﺘ َ َﺰ ْم‬ َ ‫ﺴ ُﺮ ﻗَ ْﺒ َﻞ ا ْﻟﯿَﺎ َوﻗَ ْﺒ َﻞ ا ْﻟﻮا ِو‬
ٌ ‫ ﺷ َْﺮ‬... ‫ﺿ ْﻢ‬ ْ ‫( َواﻟ َﻜ‬40)
 
And Kasrah ( ِ ‫ ) ـ‬before (‫)ي‬, and Damma ( ُ ‫ ) ـ‬before (‫)و‬ 

Is a condition. And a Fatha ( َ ‫ ) ـ‬before (َ ‫ )أ‬is necessary 

 
‫ح ﻗَ ْﺒ َﻞ ُﻛ ٍ ّﻞ أ ُ ْﻋ ِﻠﻨَﺎ‬
ٌ ‫ ِإ ِن ا ْﻧ ِﻔﺘَﺎ‬... ‫ﺳ ِ ّﻜﻨَﺎ‬ ٌ ‫( َواﻟ ِﻠّﯿﻦُ ِﻣ ْﻨ َﮭﺎ ا ْﻟﯿَﺎ َو َو‬41)
ُ ‫او‬
 
And Leen from these letters is (‫ )ي‬and (‫ )و‬with a sukoon 
If a Fatha ( َ ‫ ) ـ‬before each of them is announced 
 
🕮 The Seventh Chapter: The Rules of Elongation (‫)اﻟﻤﺪود‬ 
 
ُ ‫ َو ْھ َﻲ ا ْﻟ ُﻮ ُﺟ‬... ‫( ِﻟ ْﻠ َﻤ ِ ّﺪ أَﺣْ ﻜَﺎ ٌم ﺛَﻼَﺛَﺔٌ ﺗَﺪُو ْم‬42)
ُ ‫ﻮب َوا ْﻟ َﺠ َﻮ‬
‫از َواﻟﻠﱡ ُﺰو ْم‬
 
There are always three rules for Madd 
They are: obligatory, permissible, and necessary 
 
‫ ِﻓﻲ ِﻛ ْﻠ َﻤ ٍﺔ َوذَا ِﺑ ُﻤﺘ ﱠ ِﺼ ٍﻞ ﯾُﻌَ ْﺪ‬... ‫ﺐ ِإ ْن َﺟﺎ َء َھ ْﻤ ٌﺰ ﺑَ ْﻌ َﺪ َﻣ ْﺪ‬ ِ ‫( ﻓَ َﻮ‬43)
ٌ ‫اﺟ‬
 
So the obligatory madd is when a (‫ )ء‬appears after a madd 
In one word and it is considered connected 
 
‫ ُﻛ ﱞﻞ ِﺑ ِﻜ ْﻠ َﻤ ٍﺔ َو َھﺬَا اﻟ ُﻤ ْﻨﻔَ ِﺼ ْﻞ‬... ‫( َو َﺟﺎﺋِ ٌﺰ َﻣ ﱞﺪ َوﻗَﺼ ٌْﺮ إِ ْن ﻓُ ِﺼ ْﻞ‬44)
 
And the permissible madd is the madd which can be elongated or shorten if  
ِ َ‫( )اﻟ ُﻤ ْﻨﻔ‬separated) 
Each word is separated from each other and this is called (‫ﺼ ْﻞ‬
 
َ ‫ َو ْﻗﻔًﺎ َﻛﺘ َ ْﻌﻠَ ُﻤ‬... ُ‫ﺴﻜُﻮن‬
ْ َ‫ﻮن ﻧ‬
ُ‫ﺴﺘ َ ِﻌﯿﻦ‬ َ ‫( َو ِﻣﺜْ ُﻞ ذَا إِ ْن ﻋ ََﺮ‬45)
‫ض اﻟ ﱡ‬
 
And like this is if the sukoon ( ْ‫ ) ـ‬is temporary 
Due to a stop like the words ( َ‫ )ﺗ َ ْﻌﻠَ ُﻤﻮن‬and ( ُ‫ﺴﺘ َ ِﻌﯿﻦ‬
ْ َ‫)ﻧ‬ 
 
 
 
 
⃒ 11 

َ ‫( أ َ ْو ﻗُ ِ ّﺪ َم ا ْﻟ َﮭ ْﻤ ُﺰ‬46)
‫ ﺑَ َﺪ ْل ﻛَﺂ َﻣﻨُﻮا َو ِإﯾ َﻤﺎﻧًﺎ ُﺧﺬَا‬... ‫ﻋﻠَﻰ اﻟ َﻤ ِ ّﺪ َوذَا‬
 
Or the Hamzah (‫ )ء‬precedes the madd. This 
Is (called) the Madd of substitution, like the words (‫ )آ َﻣﻨُﻮا‬and (‫ ) ِإﯾ َﻤﺎﻧًﺎ‬take them both 
 
ُ ‫ﺻﻼً َو َو ْﻗﻔًﺎ ﺑَ ْﻌ َﺪ َﻣ ٍ ّﺪ‬
َ‫ط ّ ِﻮﻻ‬ ّ ِ ُ ‫ﺴﻜُﻮنُ أ‬
ْ ‫ َو‬... َ‫ﺻﻼ‬ ‫( َوﻻَ ِز ٌم إِ ِن اﻟ ﱡ‬47)
 
And the necessary madd is when a sukoon is permanent  
When continuing or stopping recitation appears after a madd, in which case it is made long 
 
🕮 The Eighth Chapter: The Types of the Necessary Madd 
 
‫ َو ِﺗ ْﻠﻚَ ِﻛ ْﻠ ِﻤ ﱞﻲ َو َﺣ ْﺮﻓِ ﱞﻲ َﻣﻌَ ْﮫ‬... ‫ﺴﺎ ُم ﻻَ ِز ٍم ﻟَ َﺪ ْﯾ ِﮭ ْﻢ أ َ ْرﺑَﻌَ ْﮫ‬
َ ‫( أ َ ْﻗ‬48)
 
The necessary madd has four types 
And it has Kilmi and Harfi along with it 

‫ ﻓَ َﮭ ِﺬ ِه أ َ ْرﺑَﻌَﺔٌ ﺗُﻔَ ﱠ‬... ‫ﻒ ُﻣﺜَﻘﱠ ُﻞ‬

‫ﺼ ُﻞ‬ ٌ ‫( ِﻛﻼَ ُھ َﻤﺎ ُﻣ َﺨﻔﱠ‬49)
 
ٌ ‫) ُﻣ َﺨﻔﱠ‬, heavy (‫) ُﻣﺜَﻘﱠ ُﻞ‬ 
Both of these categories are light (‫ﻒ‬
So these are four which will be explained 
 
‫ف َﻣ ٍ ّﺪ ﻓَﮭ َْﻮ ِﻛ ْﻠ ِﻤ ﱞﻲ َوﻗَ ْﻊ‬
ِ ‫ َﻣ ْﻊ َﺣ ْﺮ‬... ‫ُﻮن اﺟْ ﺘ َ َﻤ ْﻊ‬
ٌ ‫ﺳﻜ‬ُ ‫( ﻓَ ِﺈ ْن ِﺑ ِﻜ ْﻠ َﻤ ٍﺔ‬50)
 
For verily if in a word a sukoon ( ْ‫ ) ـ‬meets 
With a letter of madd then Kilmi occurs 
 
‫ﻄﮫُ ﻓَ َﺤ ْﺮﻓِ ﱞﻲ ﺑَﺪَا‬
ُ ‫ﺳ‬ ِ ‫( أ َ ْو ﻓِﻲ ﺛُﻼَﺛِ ّﻲ ِ اﻟ ُﺤ ُﺮ‬51)
ْ ‫ َواﻟ َﻤ ﱡﺪ َو‬... ‫وف ُو ِﺟﺪَا‬
 
Or in a three-letter word a madd is found 
And the letter of madd is in the middle of it, then Kilmi occurs 

ٌ ‫ َﻣ َﺨﻔﱠ‬... ‫( ِﻛﻼَ ُھ َﻤﺎ ُﻣﺜَﻘﱠ ٌﻞ إِ ْن أ ُ ْد ِﻏ َﻤﺎ‬52)

َ ‫ﻒ ُﻛ ﱞﻞ إِذَا ﻟَ ْﻢ ﯾُ ْﺪ‬
‫ﻏ َﻤﺎ‬
 
Both of them are Muthaqqal if Idghaam is made 
 
⃒ 12 

Mukhaffaf if both of them are not recited with Idghaam 

 
َ ‫ﺎن ا ْﻧ َﺤ‬
‫ﺼ ْﺮ‬ ‫( َواﻟﻼﱠ ِز ُم ا ْﻟ َﺤ ْﺮ ِﻓ ﱡﻲ أ َ ﱠو َل اﻟ ﱡ‬53)
ٍ ‫ ُو ُﺟﻮ ُدهُ َو ِﻓﻲ ﺛ َ َﻤ‬... ‫ﺴ َﻮ ْر‬
 
And Laazim al-Harfi is at the beginning of the surahs 
And it is found in eight restricted places 
 
ْ ‫ﻄﻮ ُل أ َ َﺧ‬
‫ﺺ‬ ‫ﻋ ْﯿﻦُ ذُو َوﺟْ َﮭ ْﯿ ِﻦ واﻟ ﱡ‬ ْ َ‫ﺴ ْﻞ ﻧَﻘ‬
َ ‫ َو‬... ‫ﺺ‬ َ ‫وف َﻛ ْﻢ‬
َ ‫ﻋ‬ ُ ‫( ﯾَﺠْ َﻤﻌُ َﮭﺎ ُﺣ ُﺮ‬54)
 
Its letters are gathered in the word ‘how much honey has decreased’ 
And the letter ‘Ayn has two conditions and extending the elongation is more specific 
 
‫ﻒ‬ ْ ‫ف اﻟﺜﱡﻼَ ِﺛﻲ ﻻَ أ َ ِﻟ‬
ْ ‫ ﻓَ َﻤ ﱡﺪهُ َﻣﺪا َط ِﺒﯿ ِﻌﯿﺎ أ ُ ِﻟ‬... ‫ﻒ‬ ِ ‫ﺳ َﻮى اﻟ َﺤ ْﺮ‬
ِ ‫( َو َﻣﺎ‬55)
 
And everything else besides the letters which are composed of three letters, not including Alif 
Then its elongation is known as the natural elongation 
 
‫( َوذَاكَ أ َ ْﯾﻀًﺎ ِﻓﻲ ﻓَ َﻮا ِﺗﺢِ اﻟ ﱡ‬56)
َ ‫ ِﻓﻲ ﻟَ ْﻔ ِﻆ َﺣ ّﻲ ٍ َطﺎ ِھ ٍﺮ ﻗَ ِﺪ ا ْﻧ َﺤ‬... ‫ﺴ َﻮ ْر‬
‫ﺼ ْﺮ‬
 
And that is also in relation to the beginning of the surahs 
In the wording “alive, clean” they are confined 
 
ْ ‫ﺳ َﺤ ْﯿ ًﺮا َﻣ ْﻦ ﻗَ َﻄ ْﻌﻚَ ذَا ا‬
‫ﺷﺘ َ َﮭ ْﺮ‬ َ ‫( َوﯾَﺠْ َﻤ ُﻊ ا ْﻟﻔَ َﻮاﺗِ َﺢ اﻷ َ ْرﺑَ ْﻊ‬57)
ُ ُ‫ ِﺻ ْﻠﮫ‬... ‫ﻋﺸ َْﺮ‬
 
And the letters which are at the beginning of the Suwar are fourteen gathered in 
The well-known statement: “Tie the kinship in the morning with the one who cuts you off ” 
 
🕮 Conclusion: 
 
َ ... ِ ‫( َوﺗ َ ﱠﻢ ذَا اﻟﻨﱠ ْﻈ ُﻢ ِﺑ َﺤ ْﻤ ِﺪ ﱠ‬58)
ِ ‫ﻋﻠَﻰ ﺗ َ َﻤ‬
‫ﺎﻣ ِﮫ ِﺑﻼَ ﺗَﻨَﺎ ِھﻲ‬
 
And this poem is completed with the praise of Allah 
For its completion without an end (to His praise) 
 
 
 
 
⃒ 13 

‫ ﺗ َ ِﺎرﯾ ُﺨ َﮭﺎ ﺑُﺸ َْﺮى ِﻟ َﻤ ْﻦ ﯾُﺘْ ِﻘﻨُ َﮭﺎ‬... ‫( أ َ ْﺑﯿَﺎﺗُﮫُ ﻧَ ﱞﺪ ﺑَﺪا َ ِﻟ ِﺬ اﻟﻨﱡ َﮭﻰ‬59)
 
Its lines are encompassed in the statement “The clear incense is for the people of understanding” 
Its date of compilation is encompassed in the statement “Glad tidings for the one who perfects it” 
 
ِ َ‫ﻋﻠَﻰ ِﺧﺘ َ ِﺎم اﻷ َ ْﻧ ِﺒﯿ‬
‫ﺎء أَﺣْ َﻤﺪَا‬ َ ... ‫ﺴﻼَ ُم أَﺑَﺪَا‬ ‫( ﺛ ُ ﱠﻢ اﻟ ﱠ‬60)
‫ﺼﻼَةُ َواﻟ ﱠ‬
 
Then may peace and blessings perpetually be  
Upon the seal of the Prophets, Ahmad 
 
‫ﺎﻣ ِﻊ‬
ِ ‫ﺳ‬َ ‫ َو ُﻛ ِ ّﻞ ﻗَ ِﺎر ٍئ و ُﻛ ِ ّﻞ‬... ‫ﺐ َو ُﻛ ِ ّﻞ ﺗَﺎ ِﺑ ِﻊ‬
ِ ْ‫( َواﻵ ِل َواﻟﺼﱠﺤ‬61)

And upon his family, Companions, and every follower 

And every reciter and every listener  
 
 
* * * 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
⃒ 14 

🕮 Important Researches Related to the Knowledge of Tajweed 

 
Before  beginning  the  explanation  of  this  poem,  I  will mention an important introduction in relation 
to the elementary principles of this knowledge. 
 
First Research: The Elementary Principles of Tajweed 
 
Definition of Tajweed 
 
Linguistically: it means perfection and refinement 
 
Technically:  it  is the knowledge through which the manner of pronouncing the words of the Quran 
is  known  in  accordance  to  what  has  been  reported  to  us  in  mutawaatir  form  from  the Messenger of 
Allah (‫)ﷺ‬, in terms of the recitation of its letters and knowing its stopping points. 
 
Its  Subject:  the  words  of  the  Quran  in  terms  of  pronouncing  the  letters  from  their  articulation 
points,  giving  them  their  right  (‫)ﺣﻖ‬,  and  their due (‫)ﻣﺴﺘﺤﻖ‬. So their right is the necessary attributes 
which do not separate from a letter, like: aspiration (‫)اﻟﮭﻤﺲ‬, and audibility (‫)اﻟﺠﮭﺮ‬, and elevation 
(‫)اﻻﺳﺘﻌﻼء‬,  and  lowering  (‫)اﻻﺳﺘﻔﺎل‬.  Their  due  (‫)ﻣﺴﺘﺤﻖ‬  is  their  temporary  attributes.  It  is  the 
Tajweed  rules  like  al-Idhhaar  (‫)اﻹظﮭﺎر‬  and  al-Idghaam  (‫)اﻹدﻏﺎم‬  etc.  Some  of  the  Scholars  took  the 
opinion that the Honorable Hadith enters into the rules of Tajweed in opposition to the majority.  
 
Its  Fruit:  to  protect  the  tongue  from  major  and  minor  pronunciation  mistakes  in  the  wordings  of 
the Noble Quran. 
 
Its  Derivation:  it  is  based  on  how  the  Prophet  (‫)ﷺ‬  articulated  the  Noble  Quran,  then  how 
Companions  (may  Allah  be  pleased  with  them) articulated it after him, and then Tabi’een, and those 
who followed them, and then Imams of recitation.  
 
Its  Relation  to  the  Sciences:  it  is  one  of  the  Legislated  sciences  that  is  connected  to  the  Noble 
Quran. 
 
Its  Virtue:  it  is  from  the  most  noble  of  sciences,  connected  to  the  Noblest  speech,  revealed  to  the 
best Prophets sent. 
 
 
 
 
 
⃒ 15 

Its Founder:  
 
First:  in  terms  of  practical  application,  then  it  is  revelation  from  Allah, the Exalted since Allah sent 
it  as  revelation  to  His  Prophet  (‫)ﷺ‬  in  this manner. So there is no Ijtihad from the Prophet (‫)ﷺ‬ in this 
issue  at  all  nor  from  Jibreel  (may  peace  be  upon  him).  Rather  it  is  the attribute of the speech of the 
Quran  and  its  recitation.  Jibreel  related  it  as  he  heard  it  and  learned  it  from  Allah,  the  Exalted 
without  increase  nor decrease. Like this, those after them took it until it reached us while it remained 
upon this manner and characteristic, in confirmation of the statement of Allah, the Exalted:  
 
﴾ َ‫﴿ ِإﻧﱠﺎ ﻧَﺤْ ﻦُ ﻧَ ﱠﺰ ْﻟﻨَﺎ اﻟ ِﺬّﻛ َْﺮ َو ِإﻧﱠﺎ ﻟَﮫُ ﻟَ َﺤﺎ ِﻓ ُﻈﻮن‬
 
Verily it is We Who have sent down the Dhikr (i.e. the Quran) and surely, We will guard it (from 
corruption) [15:9] 
 
Second:  in  terms  of  theoretical  knowledge  (i.e.  the  rules  of  the  knowledge  of Tajweed), then there 
is  a  difference  of  opinion.  The  first  to  write  a  poem  on  the  subject  is  Abu  Muzaahim  Musa  bin 
Ubaidullah  al-Khaaqaani  (may  Allah  have  mercy  upon  him) who died in the year 325 H. The first to 
write  a  book  on  Tajweed  and  the  various  recitations  is  Abu  Ubaid  al-Qaasim  bin Sallam (may Allah 
have mercy upon him) who died in the year 224 H.2 
 
🕮 The Ruling on Learning Tajweed and Acting upon it 
 
Tajweed divides into two types: Theoretical knowledge and practical application  
 
Theoretical  Knowledge:  its  ruling  in  relation  to  the  layfolk  of  the  Muslims  is  that  it  is 
recommended  and  not  obligatory.  This  is  because  the  correctness  of  the  recitation  does not stop at 
knowing  these  rules.  As  for  in  relation to the People of Knowledge, then knowing it is a communal 
obligation.  If  a  group  from  the  Scholars  establishes  this  important  affair,  the  sin  and  blame  is 
dropped from the rest. 
 
Practical  Application:  it  is obligatory as an individual obligation upon everyone who wants to read 
the Quran. The evidence for that is the statement of the Exalted: 
 
﴾ ً‫﴿ َو َر ِﺗ ّ ِﻞ اﻟﻘُ ْﺮ َءانَ ﺗ َ ْﺮﺗِﯿﻼ‬
 
And recite the Quran (aloud) in a slow, (pleasant tone and) style [73:4] 
 
2
See: ar-Ri’aayah of Makki bin Abi Talib (pg. 22) 
 
⃒ 16 

So  Allah,  the  Exalted  commanded  the  Quran  be  recited  with Tarteel and the command indicates an 
obligation  as  long  as  something  has  not  been  reported  to  turn  it  from  an  obligation  to  a 
recommendation.  There  does  not  exist  a related [evidence] that removes it from the obligation. So it 
remains upon its origin.  
 
Likewise,  the  consensus  of  the  Ummah—from  the  time  of  revelation  until  our  time—is  that  it  is 
obligatory  to  recite  the  Quran  with  a  proficient  recitation  that  is  free  from  distortion,  alteration, 
additions,  and  subtractions.  The  Imam  of  this  science  Abul-Khair  Muhammad  bin  Muhammad 
al-Jazari  (may  Allah  have mercy upon him) recorded a consensus on the matter and also Muhammad 
Makki Nasr in Nihaayah al-Qawl al-Mufeed. 3 
 
🕮 The Second Research: The Levels of Recitation 
 
The  intent  behind  the  levels  of  recitation  is  the  pace  of  recitation,  whether  the  Quran  is  recited 
slowly,  or  quickly,  or  at  a  medium  pace  in  relation  to  the  rules  of  Tajweed.  These  levels  are  the 
following: 
 
1. Tahqeeq  (‫)اﻟﺘﺤﻘﯿﻖ‬:  it  is  to  exaggerate  in  performing  something  in  its  due  right  without 
increasing  upon  it  or  decreasing  in  it.  This  level  is  when  learning  and  training.  So  a  person 
recites  with  the  rules  of Tajweed by reciting the Mudood (the elongations) and other than it in 
a complete form. 
 
For example: a person elongates the connected madd which occurs at the end of the word 
(‫)ﻣﺪ اﻟﻤﺘﺼﻞ اﻟﻤﺘﻄﺮف‬  when  stopping,  he  makes  the  temporary  madd  (‫)اﻟﻌﺎرض‬  and  the  soft 
madd (‫ )اﻟﻠﯿﻦ‬six harakat, and he makes the connected and separated elongations five 
harakats. 
 
2. at-Tarteel  (‫)اﻟﺘﺮﺗﯿﻞ‬:  it  is  to  recite  with  reflection  and  contemplation,  while  observing  the 
rules  of  Tajweed,  and  reciting  carefully  without  hastiness. (‫)اﻟﺘﺮﺗﯿﻞ‬ is to make Tajweed of the 
letters  and  to  know  the  places  to  stop  during  recitation.  An  example of that: in the terms of 
elongation,  a  person  makes  a  moderate  elongation  in  the  separated  and  connected  madds, 
and  in  the  temporary  madd  due  to  a  sukoon  (‫)اﻟﻌﺎرض ﻟﻠﺴﻜﻮن‬,  and  the  soft  madd  (‫)اﻟﻠﯿﻦ‬. 
This  all  occurs  along  with  clearly  pronouncing  the  letters  and  knowing  the  places  to  stop 
during recitation.   
 

3
an-Nashr of Ibn al-Jazari (1/210), Nihaayah al-Qawl al-Mufeed (pg. 10), and I have expanded on the evidences for the 
obligation of Tajweed in my Book: at-Tuhfatul-Mahdiyyah Sharh al-Muqaddimah al-Jazariyyah in the chapter of Tajweed  
 
⃒ 17 

3. al-Hadr  (‫)اﻟﺤﺪر‬:  it  is  the  joining of the recitation, reciting the Quran quickly, and lightly. It is 

reciting  quick  along  with  observing  the  rules  of  Tajweed  like  shortening  the  elongations 
which  are  allowed  to  be  shortened.  A  person  is  cautious  from  falling  short  in  reciting  the 
elongations, the vowels, and the Ghunnah. 
 
at-Tarteel  (‫)اﻟﺘﺮﺗﯿﻞ‬  includes  all  three  levels  because  it  is  moderate. Allah commanded it in His Book. 
The Exalted said:  
﴾ ً‫﴿ َو َر ِﺗ ّ ِﻞ اﻟﻘُ ْﺮ َءانَ ﺗَ ْﺮﺗِﯿﻼ‬
 
And recite the Quran (aloud) in a slow, (pleasant tone and) style [73:4] 
 
🕮 The Third Research: Errors in Pronunciation (‫)اﻟﻠﺤﻦ‬ 
 
The meaning (‫)اﻟﻠﺤﻦ‬: is to turn away from proficiency in recitation and to deviate from correctness 
in it. 
 
It has two types:  
 
1. Clear (‫)ﺟﻠﻲ‬ 
2. Hidden (‫)ﺧﻔﻲ‬ 
 
The  First  type:  The  Clear  Pronunciation  Error  (‫)اﻟﻠﺤﻦ اﻟﺠﻠﻲ‬  is  a  mistake  that  arises  in  the 
pronunciation  of  the  wordings  of  the Quran and disrupts the scale of the recitation, and the rules of 
Arabic  language  and  inflection.  This  is  whether  or  not  it  leads  to  a  change  in  the  meaning.  An 
example  of  this  is  like changing the vowel on a letter to another vowel. It can also occur by changing 
the original structure of the word and its letters.  
 
For example, the statement of the Exalted:  
 
 ﴾ ‫ﯿﮭ ْﻢ‬ َ َ‫﴿ أَﻧﻌَﻤﺖ‬
ِ َ‫ﻋﻠ‬
 
On whom You have bestowed Your Grace [1:7] 
 
 
 
 
 
⃒ 18 

Which appears with a Fatha ( َ ‫ ) ـ‬on the letter Taa. If a person reads it with a Damma ( ُ ‫ ) ـ‬saying: 
 
َ ُ‫﴿ أَﻧﻌَﻤﺖ‬
ِ َ‫ﻋﻠ‬
﴾ ‫ﯿﮭ ْﻢ‬
 
On whom I have bestowed My Grace 
 
It  changes  the  meaning. Or if someone substitutes one letter for another, such as substituting (‫)اﻟﻄﺎء‬ 
for  (‫)ض‬  or  (‫)ذ‬  for  (‫)ز‬  or  the  likes.  An  example  of  a  Clear  Prounciation  Error  (‫)اﻟﻠﺤﻦ اﻟﺠﻠﻲ‬  which 
does not change the meaning is reciting a Damma ( ُ ‫ ) ـ‬on the letter (‫ )ھـ‬in the following verse: 
 
ٌ ‫ﻋﻠَﻰ ُﻛ ِ ّﻞ ﺷ َْﻲءٍ ﻗَﺪ‬
﴾ ‫ِﯾﺮ‬ َ ُ ‫﴿ ِإنﱠ ﱠ‬
 
Certainly, Allah has power over all things [2:20] 
 
It  originally  has  a  Fatha  (  َ ‫) ـ‬.  This  type  of  error  is  prohibited  according  to  the  Legislation  by 
consensus  of  the  Muslims.  The  one  who  does  it  deliberately  will  be  punished  for  it  and  whoever 
does  it forgetful or ignorantly, then there is no harm upon him. This type of error called a clear error 
due  to  its  severity,  apparentness,  and  not  being  hidden  to  anyone  whether  they  may  be  a  proficient 
reciter or not.   
 
The  Second  Type:  The  Hidden  Pronunciation Error (‫)اﻟﻠﺤﻦ اﻟﺨﻔﻲ‬ is a mistake that arises in the 
pronunciation  of  the  wordings  of  the  Quran  and  opposes  the  principles  of  Tajweed.  However,  it 
does not oppose the Arabic language, inflection, nor does it change the meaning.  
 
Example  of  that include excessively rolling the letter Raa, making the letter Laam full mouth, making 
a  letter  that  should  be  read  with  al-Ikhfaa  as  al-Idhhaar,  making  a  soft letter hard or making a hard 
letter  a  soft,  or  stopping  recitation  and  pronouncing  the  complete  vowel.  It  does  not  disrupt  the 
meaning  nor  does  it  fall  short in the pronouncing the wordings. This type of error is hidden and not 
know  except  a  proficient  reciter  or  one  who  has  learned  the  recitation  directly  from  the  mouths  of 
the  Imams whose recitation is pleasing and trusted. So he gives each letter its right and places it in its 
appropriate place.4 
 
 

4
See: at-Tamheed of Ibn ul-Jazari (pg. 30-33) 
 
⃒ 19 

🕮 The Fourth Research: the Rules of Seeking Refuge in Allah (‫ )اﻻﺳﺘﻌﺎذة‬and the 
Basmalah (‫)اﻟﺒﺴﻤﻠﺔ‬  
 
First: the definition of seeking refuge in Allah (‫)اﻻﺳﺘﻌﺎذة‬: it is seeking protection with Allah, the 
Exalted, holding fast to Him, and seeking refuge in Him from Shaytan the accursed.  
 
Second its position: if a Muslim wants to begin a recitation, then he begins by seeking refuge in 
Allah in prayer and other than it. The evidence is the statement of the Exalted:  
 
﴾ ‫اﻟﺮ ِﺟ ِﯿﻢ‬
‫ﺎن ﱠ‬ِ ‫ﺸ ْﯿ َﻄ‬ ْ ‫﴿ ﻓَ ِﺈذَا ﻗَ َﺮأْتَ ا ْﻟﻘُ ْﺮآنَ ﻓَﺎ‬
‫ﺳﺘ َ ِﻌ ْﺬ ﺑِﺎ ّ ِ ِﻣﻦَ اﻟ ﱠ‬
 
So when you want to recite the Quran, seek refuge with Allah from Shaitan (Satan), the outcast (the 
cursed one) [16:98] 
 
Third: Its Wording: the wording reported is found in surah an-Nahl:  
 
‫أﻋﻮذ ﺑﺎ ﻣﻦ اﻟﺸﯿﻄﺎن اﻟﺮﺟﯿﻢ‬
 
I seek refuge in Allah from Shaytan the accursed 
 
It is the chosen opinion according to the majority of the People of Knowledge in and outside prayer. 
If the one reciting adds: 
 
‫أﻋﻮذ ﺑﺎ اﻟﺴﻤﯿﻊ اﻟﻌﻠﯿﻢ ﻣﻦ اﻟﺸﯿﻄﺎن‬ 
 
I seek refuge in Allah, the All-Hearing, the All-Knowing from Shaytan 
 
Or if he says after saying “from Shaytan” 

(‫)ﻣﻦ ھﻤﺰه وﻧﻔﺨﮫ وﻧﻔﺜﮫ‬

 
From his madness, his pride, and his poetry 
 
Then it is permissible due to the Hadith of Abu Sa'eed al-Khudri (may Allah be pleased with him) 
that the Messenger of Allah (‫ )ﷺ‬use to stand up for the night prayer and read the opening 
supplication. Then he would say: 
 
 
⃒ 20 

‫أﻋﻮذ ﺑﺎ اﻟﺴﻤﯿﻊ اﻟﻌﻠﯿﻢ ﻣﻦ اﻟﺸﯿﻄﺎن اﻟﺮﺟﯿﻢ ﻣﻦ ھﻤﺰه وﻧﻔﺨﮫ وﻧﻔﺜﮫ‬

 
I seek refuge in Allah, the All-Hearing, the All-Knowing, from Shaytan the accursed from his 
madness, his pride, and his poetry5  
 
Fourth: Its Ruling: the Scholars agreed on the Legislation of (‫ ;)اﻻﺳﺘﻌﺎذة‬however, they differed on 
whether or not the command in the [16:98] is an obligation or a recommendation. 
 
The  majority  of  the  People  of  Knowledge  took  the  view  that  it  is recommended and there is no sin 
upon the one who leaves it off. 
 
It  was  quoted  from  ar-Raazi  from  ‘Ataa  bin  Abi  Rabah  (may  Allah  have  mercy  upon  him)  that  it  is 
obligatory  in  the  prayer  and  outside  of  it,  everytime  someone  wants  to  recite  the  Quran;  however, 
the chosen opinion is that of the majority.  
 
As  for  starting  at  the  beginning  of  surah  Baraa  (surah  Tawbah),  then  there  is  no  difference  of 
opinion between the Reciters in leaving off the Basmalah due to the absence of evidence for it.  
 
Sixth:  The  Ruling  of  the  Isti'aadha  in  terms  of  Reciting  it  Loudly  and  Silently:  know  that 
reciting  the  Isti'aadha  aloud  has  been  taken  from  the  general practice of the reciters when they begin 
their recitation.  
 
Hafidh  Abu  ‘Amr  ad-Daani  (may  Allah  have  mercy  upon  him)  said  in  at-Tayseer:  "I  do  not  know  a 
difference  of  opinion  among  the  Scholars  of  Recitation  in  regards  to  reciting  the Isti'aadha 
loudly  when  beginning  the  recitation  of  the  Quran,  and  when  starting  at  the  beginning  of 
the Ahzaab6, and other than that. This is according to the opinion of a majority of the People 
of knowledge following the text and adhering to the Sunnah".  
 
However,  it  is  recommended  to  recite  it  quietly—as  Ibn  ul-Jazari  (may  Allah have mercy upon him) 
mentioned—in the following situation: 
 
1. If the one reciting recites silently 
2. If the one reciting is reciting loudly and is alone 
3. If the one reciting is reciting in prayer unrestrictedly 
4. If the one reciting is in the middle of a group that is studying the Quran and he/she is not 
the first to begin the recitation 
5
Reported by Abu Dawood and at-Tirmidhi. Graded Saheeh by al-Albani (may Allah have mercy upon him). See: al-Irwaa 
(no. 342) 
6
It is the plural for the word hizb which refers to the half a Juz’. There are 60 Ahzaab in the Quran 
 
⃒ 21 

It  is  recommended  to  recite  loudly  if  the  reciter  recites  loudly  and  there  is  one  who  is  listening  to 
their  recitation.  Also  during  the  situation  when  one  is  studying  and  he/she  is  the  first  to  begin  the 
recitation.7  
 
Seventh: The Ways of Reciting the Isti’aadha and Basmalah 
 
First: The ways of reciting them at the Beginning of a Surah 
 
1. Separating  everything.  That  is:  separating  the  Isti’aadha,  the  Basmalah,  and  the  beginning 
of the Surah 
2. Joining  everything.  That  is:  joining  the  the  Isti’aadha,  the  Basmalah,  and  the  beginning  of 
the Surah 
3. Separating  the  Isti’aadha  from  the  Basmalah  and  joining  the  Basmalah  with  the 
beginning of the Surah 
4. Joining the Isti’aadha with the Basmalah and separating the beginning of the Surah 
 
Second: In relation to beginning Surah Baraah 
 
● Stopping on the Isti’aadha and then starting with the beginning of the Surah 
● Connecting the Isti’aadha with the beginning of the Surah without a Basmalah 
 
Third: the Ways to Recite Isti’aadha in the middle of a Surah 
 
● Separating the Isti’aadha from the verse 
● Joining the Isti’aadha with the verse 
 
Benefit: 
 
A  reciter  has  a  choice  in  the  middle  of  a surah between reciting the Basmalah or leaving off, whether 
in he/she is reciting surah Baraah or other than it. If he/she recites it, then that is better. 
 
Separating  between  each  verse  is  the  best  because  it  involves  pausing  at  the  end  of  the  verses.  It  is 
Sunnah.  It  was  reported  in  the  Hadith  of  Umm  Salamah  (may  Allah  be  pleased  with  her)  that  the 
Prophet (‫)ﷺ‬:  
 
 
 

7
See: an-Nashr of Ibn ul-Jazari (1/253-254) 
 
⃒ 22 

« ‫» ﻛﺎن ﯾﻘﻄﻊ ﻗﺮاءﺗﮫ آﯾﺔ آﯾﺔ‬

 
He used to separate his recitation, verse by verse8  
 
Fourth: The Ways to Begin Between Two Surahs 
 
If  a  reciter  is  joining the end of one surah with the beginning of the next, he has three ways of doing 
so. This is excluding surah Baraah: 
 
● Separating  all  (i.e.  the  end  of  one  surah  from  the  Basmalah  and  from  the  beginning  of  the 
next surah) 
● Joining all (i.e. the end of one Surah with the Basmalah and the beginning of the next surah) 
● Separating  the  end  of  the  surah  and  joining  the  Basmalah  with  the  beginning  of  the  next 
surah  
 
It  is  prohibited  to  join  the end of one surah with the Basmalah and then stop. Then to begin the next 
surah.  This  is  because  the  Basmalah  is  recited  for  the  beginning  of  the  next  surah  and  is  not part of 
the ending the previous surah. 
 
Fifth: The Ways of Reading the End of Suratul-Anfaal and the beginning of Surah Baraah 
 
● Joining both without a Basmalah 
● Stopping between both and taking a breath 
● Cutting the voice without taking a breath, then start the beginning of surah Baraah 
 
 
 
 
 
 
 
 
 
 
 
 
 

8
Authenticated by Imam al-Albani in Saheeh al-Jami (no. 5000) 
 
⃒ 23 

🕮 The Introduction of the Poem 

 
Text: 
‫ﺳﻠَ ْﯿ َﻤﺎنُ ُھ َﻮ اﻟ َﺠ ْﻤ ُﺰوري‬ ِ ُ‫اﺟﻲ َرﺣْ َﻤ ِﺔ ا ْﻟﻐَﻔ‬
ُ ‫ د َْو ًﻣﺎ‬... ‫ﻮر‬ ِ ‫( ﯾَﻘُﻮ ُل َر‬1)
 
Says the one who always hopes for the mercy of the Oft-Forgiving 
Sulaymaan and he is al-Jamzuri 
 
Explanation: 
 
(‫)ﯾﻘﻮل راﺟﻲ‬  that  is:  seeking  the  mercy  of  Allah  and  His  forgiveness.  Forgiveness  from  sins  means 
covering  them  in  the  worldly  life  and  the  hereafter.  Mercy  and  forgiveness  are  two  Attributes  from 
the attributes of Allah, the Exalted. 
 
(‫)دوﻣﺎ‬  that  is:  always  seeking  the  mercy  of  Allah  and  His  forgiveness.  A  person  always  and  forever 
needs the mercy of Allah. 
 
(‫)ﺳﻠﯿﻤﺎن ھﻮ اﻟﺠﻤﺰوري‬:  he  is  Sulaymaan  bin  Hussain  bin  Muhammad  bin  Shibli  al-Jamzuri.  He was 
well-known  as  al-Afendi.  He  was  born  in  Tanta  and  was  Shafi'ee  in  Mathhab.  al-Jamzuri  is  an 
ascription to Jamzur which is the city of the author’s father and is near Tanta.  
 
Text: 
َ ‫( ا ْﻟ َﺤ ْﻤ ُﺪ ﱠ ِ ُﻣ‬2)
َ ‫ﺼ ِﻠّﯿًﺎ‬
َ‫ ُﻣ َﺤ ﱠﻤ ٍﺪ َوآﻟ ِﮫ َو َﻣ ْﻦ ﺗَﻼ‬... ‫ﻋﻠَﻰ‬
 
All praise is due to Allah while sending salutations upon 
Muhammad, his family, and those who follow 
 
Explanation: 
 
َ ‫)ا ْﻟ‬:  praise  is  the  mentioning  of  the  virtues  of  one  who  is  being  praised  along  with  love  and 
(ِ ‫ﺤ ْﻤ ُﺪ ﱠ‬
veneration.  The  Laam  in  this  phrase  is  for  entitlement  and  specification  because  Allah  deserves  all 
praise. Also, all praises are not for anyone except Allah, the Exalted. 
 
َ ‫ﻋﻠَﻰ ُﻣ‬
(‫ﺤ ﱠﻤ ٍﺪ‬ َ ‫ﺼ ِﻠّﯿًﺎ‬
َ ‫) ُﻣ‬:  prayer  linguistically  means  supplication.  Legislatively,  it  is  as  Shaikh  Ibn 
ul-'Uthyameen  (may  Allah have mercy upon him) said: "Prayer from Allah, the Exalted is specific 
 
⃒ 24 

mercy  which  is  above  the  mercy  that  everyone  receives  and  we  do  not  know  what  it  (truly) 
is".9  
 
(‫ﺤ ﱠﻤ ٍﺪ‬
َ ‫) ُﻣ‬:  it  is  the  most  common  name  of  the Prophet (‫)ﷺ‬ and it has come in the Quran four times. It 
is  a  passive  participle  because  he  (‫)ﷺ‬  was  praised  by  His  Lord,  the  Exalted  and  by  the  first  and  the 
last. Complete praise for him will manifest on the Day of Judgement as the Exalted said: 
 
﴾ ً ‫ﺴﻰ أَن ﯾَ ْﺒﻌَﺜَﻚَ َرﺑﱡﻚَ َﻣﻘَﺎﻣﺎ ً ﱠﻣﺤْ ُﻤﻮدا‬
َ ‫ﻋ‬
َ ﴿
 
It may be that your Lord will raise you to Maqaman Mahmuda (a station of praise and glory, i.e. the 
highest degree in Paradise!) [17: 79] 
 
(‫)آﻟﮫ‬:  it  is  used  to  express  a  number  of  meanings.  The  most  correct  meaning  is  that  if  it  used 
alongside  the  word  followers,  then  it  means  the  believers  from  the  Prophet’s  relatives.  If  it  is  not 
used  alongside  the  word  followers,  then  the  meaning  is  the  followers  upon  his  (‫)ﷺ‬  religion.  It 
includes the believers and his relatives. 
 
(َ‫) َو َﻣ ْﻦ ﺗَﻼ‬: that is: those who followed the Prophet (‫ )ﷺ‬and tread his methodology and Sunnah. 
 
Text: 
 
‫ﯾﻦ َوا ْﻟ ُﻤﺪُو ِد‬ ِ ‫ ﻓِﻲ اﻟﻨﱡ‬... ‫( َوﺑَ ْﻌ ُﺪ َھﺬَا اﻟﻨﱠ ْﻈ ُﻢ ِﻟ ْﻠ ُﻤ ِﺮﯾ ِﺪ‬3)
ِ ‫ﻮن واﻟﺘ ﱠ ْﻨ ِﻮ‬
 
As for what follows: this poem is for the seeker (i.e. the student) 
Of the rules of Noon, at-Tanween (nunation) and Mudud (elongation) 
 
Explanation: 
 
That  is:  I  have  compiled  this  poem  for  the  seeker,  and  he  is  the  student,  of  the  rules  of  Noon, 
at-Tanween and Mudud.  
 
Text: 
‫ﯿﮭ ِّﻰ ذِي ا ْﻟﻜَﻤﺎ ِل‬ َ ‫ ﻋ َْﻦ‬... ‫ﺳ ﱠﻤ ْﯿﺘُﮫُ ﺑِﺘُﺤْ ﻔَ ِﺔ اﻷ َ ْطﻔَﺎ ِل‬
ِ ‫ﺷ ْﯿ ِﺨﻨَﺎ ا ْﻟ ِﻤ‬ َ (4)

I entitled it The Children's Bequest 

From our Shaikh al-Meehi, the possessor of perfection

9
Sharh Bulugh al-Maram by Ibn ul-Uthaymeen (1/25) 
 
⃒ 25 

Explanation: 
 
That  is:  I  named  this  poem  The  Children’s  Bequest,  meaning  I  am  gifting  them  something  good.  The 
intent of what is being gifted is the rules of Tajweed as will come.  
 
ْ َ ‫)اﻷ‬: is the plural of the word child and it is a young one who did not reach the age of puberty. It 
(‫طﻔَﺎل‬
could also refer to children in relation to this science of Tajweed even if they may be grown men. 
 
(‫ﻰ‬ ِ ‫ﺷ ْﯿ ِﺨﻨَﺎ ا ْﻟ ِﻤ‬
ِّ ‫ﯿﮭ‬ َ ‫)ﻋ َْﻦ‬:  that  is:  I  report  what  is  in  this poem from our Shaikh Nuruddeen 'Ali bin Umar 
bin  Ahmad  bin  Umar  bin  Naaji  bin  Qays  al-Meehi.  al-Meehi  is  an  ascription  to  a  city  in  Egypt 
named al-Meeha. 
 
(‫)ذِي ا ْﻟﻜَﻤﺎ ِل‬:  this  is  extremism  in  regards to personalities and the effects of Sufism on the author. No 
one reaches the level of perfection except Allah, the Exalted.  
 
Text: 
‫ َواﻷَﺟْ َﺮ َوا ْﻟﻘَﺒُﻮ َل َواﻟﺜ ﱠ َﻮاﺑَﺎ‬... ‫ﻄﻼﱠﺑَﺎ‬
‫( أ َ ْر ُﺟﻮ ِﺑ ِﮫ أ َ ْن ﯾَ ْﻨﻔَ َﻊ اﻟ ﱡ‬5)
 
I hope it [i.e. the poem] will benefit the students 
And [that I obtain] reward, acceptance, and recompense  
Explanation:  
 
ُ ‫)أ َ ْر‬: that is: I hope the student of this knowledge will benefit from it. 
(‫ﺟﻮ‬
 
(‫) َواﻷَﺟْ َﺮ َوا ْﻟﻘَﺒُﻮ َل َواﻟﺜ ﱠ َﻮاﺑَﺎ‬:  likewise  I  seek  reward  and  recompense  for  this  action of mine from Allah, 
the Exalted. 
 
🕮 The First Chapter: The Rules of Noon as-Saakinah and at-Tanween 
 
at-Tanween:  it  is  an  additional  Noon  Saakinah  (i.e.  silent)  that  is  attached  to  the  end  of  a  noun  in 
pronunciation, but differs in the way it is written. It is of three types: Dammataan ( ٌ ‫) ـ‬, Fathataan  
( ً ‫) ـ‬, and Kasrataan ( ٍ ‫) ـ‬. 
 
 
 
 
 
 
⃒ 26 

Text:  
‫ أ َ ْرﺑَ ُﻊ أَﺣْ ﻜ ٍَﺎم ﻓَ ُﺨ ْﺬ ﺗ َ ْﺒ ِﯿﯿ ِﻨﻲ‬... ‫ﯾﻦ‬
ِ ‫ﺴﻜ ُْﻦ َو ِﻟﻠﺘ ﱠ ْﻨ ِﻮ‬ ِ ‫( ِﻟﻠﻨﱡ‬6)
ْ َ ‫ﻮن ِإ ْن ﺗ‬

For the Noon, when it is non-vowelled and for at-Tanween 

There are four rules so take my clarification 
 
Explanation: 
 
That is: for the Noon when it is Saakinah (non-vowelized) and for at-Tanween there are four rules. 
 
(‫ﺨ ْﺬ ﺗ َ ْﺒﯿِﯿﻨِﻲ‬
ُ َ‫ )ﻓ‬that is: so take my clarification and explanation.  
 
ُ ‫)اﻹ ْظ َﮭ‬ 
The First Rule: al-Idhhaar (‫ﺎر‬
 
Text: 
ِ ‫ﺳﺖﱞ ُر ِﺗ ّﺒَﺖْ ﻓَ ْﻠﺘ َ ْﻌ ِﺮ‬
‫ف‬ ِ ‫ ِﻟ ْﻠ َﺤ ْﻠ‬... ‫ف‬
ِ ‫ﻖ‬ ُ ‫( ﻓَﺎﻷ َ ﱠو ُل اﻹ ْظ َﮭ‬7)
ِ ‫ﺎر ﻗَ ْﺒ َﻞ أَﺣْ ُﺮ‬

So the first of these rules is al-Idhhaar before the letters 

Of the throat. Six letters arranged (in order of their articulation points), so know them 
 
Explanation: 
 
al-Idhhaar (‫ﺎر‬ُ ‫ )اﻹ ْظ َﮭ‬linguistically: means clarification and explanation. 
 
Technically: it is to produce every letter from its articulation point without any Ghunnah 
(nasalisation) in the letter.  
 
So  the  Noon  as-Saakinah  and  at-Tanween  are  read  clearly  if  after  them  comes  one  of the six letters 
of  al-Idhhaar.  They  are  called  the  letters  of  the  throat  as  an  ascription  to  their  articulation  point 
which is the throat. The letters are mentioned in the next line: 
 
Text:  
 
َ ‫ﺎن ﺛ ُ ﱠﻢ‬
‫ﻏ ْﯿ ٌﻦ َﺧﺎ ُء‬ َ ‫( َھ ْﻤ ٌﺰ ﻓَ َﮭﺎ ٌء ﺛ ُ ﱠﻢ‬8)
ِ َ ‫ ُﻣ ْﮭ َﻤﻠَﺘ‬... ‫ﻋ ْﯿ ٌﻦ َﺣﺎ ُء‬
 
Hamzah (‫)ء‬, then Haa (‫)ھـ‬, then ‘Ayn (‫)ع‬, then Haa (‫)ح‬, 
 
⃒ 27 

Both without dots, then Ghayn (‫)غ‬, and Khaa (‫)خ‬

 
Explanation: 
 
He mentions in the previous line the letters of al-Idhhaar and they are six: 
 
(‫ اﻟﺨﺎء‬-‫ اﻟﻐﯿﻦ‬-‫ اﻟﺤﺎء‬-‫ اﻟﻌﯿﻦ‬-‫)اﻟﮭﻤﺰة – اﻟﮭﺎء‬
 
His statement: (‫ﺎن‬ِ َ ‫ ) ُﻣ ْﮭ َﻤﻠَﺘ‬that is: without dots 
 
Its Name: it is named al-Idhhaar al-Halqi al-Haqeeqi as an attribution to the six letters  
 
Its  Cause:  it is due to the far distance between the Noon as-Saakinah and at-Tanween and these six 
letters.  The  Noon  as-Saakinah  and  at-Tanween  come  from  the  tip  of  the  tongue  and  these  letters 
come  from  the  throat.  So  this  distance  is  the  reason  for  al-Idhhaar  and  this  was  mentioned by Abu 
Amr ad-Daani (may Allah have upon him) in his book at-Tahdeed Fil-Itqaan wat-Tajweed (pg. 111) 
 

Number  Letter  In one word  In two words  With at-Tanween 

1 ‫أ‬ ‫َوﯾَ ْﻨﺄ َ ْو َن‬ ‫َﻣ ْﻦ آ َﻣ َﻦ‬ َ ‫ﺳ ٍﺪ ِإذَا َﺣ‬

‫ﺴ َﺪ‬ ِ ‫َﺣﺎ‬

2 ‫ھـ‬ ُ ‫اﻷ َ ْﻧ َﮭ‬

‫ﺎر‬ ‫ِﻣ ْﻦ َھﺎ ٍد‬ ‫ﺳﻼ ٌم ِھ َﻲ‬
َ

3 ‫ع‬ َ‫أ َ ْﻧﻌَ ْﻤﺖ‬ ‫ِ ّﻣ ْﻦ ِﻋ ْﻠ ِﻢ‬ َ ‫َوﻟَﯿَﺎ ٍل‬

‫ﻋﺸ ٍْﺮ‬

4 ‫ح‬ َ ُ ‫ﯾَ ْﻨ ِﺤﺘ‬

‫ﻮن‬ ‫ﺗ َ ْﻨ ِﺰﯾ ٌﻞ ِ ّﻣﻦ َﺣ ِﻜ ٍﯿﻢ‬ ً‫ﺎﻣﯿَﺔ‬ ً َ‫ﻧ‬
ِ ‫ﺎرا َﺣ‬

5 ‫غ‬ ‫ُﻮن‬ َ َ‫ﻓ‬

َ ‫ﺴﯿُ ْﻨ ِﻐﻀ‬ ‫ِ ّﻣ ْﻦ ِﻏ ٍ ّﻞ‬ ٍ ُ‫ﯿﺮ َﻣ ْﻤﻨ‬
‫ﻮن‬ ُ ‫ﻏ‬َ ‫أَﺟْ ٌﺮ‬

6 ‫خ‬ ُ‫اﻟ ُﻤ ْﻨ َﺨ ِﻨﻘَﺔ‬ ْ‫َﻣ ْﻦ َﺧﻔﱠﺖ‬ ُ‫ذَ ﱠر ٍة َﺧ ْﯿ ًﺮا ﯾَ َﺮه‬

 
 
 
 
 
⃒ 28 

The Second Rule: al-Idghaam (‫)اﻹدﻏﺎم‬ 

 
Text: 
َ ُ‫ ﻓِﻲ ﯾَ ْﺮ َﻣﻠ‬... ْ‫ﺴﺘ ﱠ ٍﺔ أَﺗَﺖ‬
ْ‫ﻮن ِﻋ ْﻨ َﺪ ُھ ْﻢ ﻗَ ْﺪ ﺛَﺒَﺘَﺖ‬ ِ ‫( واﻟﺜ ﱠ‬9)
َ ‫ﺎن ِإ ْد‬
ِ ‫ﻏﺎ ٌم ِﺑ‬
 
And the second is al-Idghaam in relation to six letters which come 
In the word ( َ‫ )ﯾَ ْﺮ َﻣﻠُﻮن‬and are established according to the them (i.e. the Scholars of Recitation) 

Explanation: 
 
al-Idghaam (‫ )اﻹدﻏﺎم‬linguistically: means entering something into something else 
 
Technically:  it  is  meeting  of  a  Noon  as-Saakinah  with  a  vowelized  letter  such  that  they  become 
one, mushaddad (stressed) letter during pronunciation.  
 
ِ ‫)اﻟﺜ ﱠ‬: that is: from the rules of Noon as-Saakinah and at-Tanween is al-Idghaam. It is 
His  statement (‫ﺎن‬
six letters which are gathered in your statement ( َ‫)ﯾَ ْﺮ َﻣﻠُﻮن‬. 
 
(‫ واﻟﻨﻮن‬-‫ واﻟﻮاو‬-‫ واﻟﻼم‬-‫ واﻟﻤﯿﻢ‬-‫واﻟﺮاء‬-‫)اﻟﯿﺎء‬

Text: 
‫ﻋ ِﻠ َﻤﺎ‬ َ ‫ﺴ ٌﻢ ﯾُ ْﺪ‬
ُ ‫ ﻓِﯿ ِﮫ ﺑِﻐُﻨﱠ ٍﺔ ﺑِﯿَ ْﻨ ُﻤﻮ‬... ‫ﻏ َﻤﺎ‬ ْ ِ‫ﺎن ﻗ‬ ْ ِ‫( ﻟَ ِﻜﻨﱠ َﮭﺎ ﻗ‬10)
ِ ‫ﺴ َﻤ‬
 
However it is two categories: a category that has al-Idghaam 
Occur with Ghunnah and is known by the letters (‫)ﯾَ ْﻨ ُﻤﻮ‬ 
Explanation: 
 
He mentions in this line of poetry the categories of al-Idghaam, which are two.  
 
The  First Category: the Incomplete Idghaam with a Ghunnah: it is to turn a Noon as-Saakinah 
or  at-Tanween  to  a  sound  identical  in  pronunciation  to  the  sound  of the letter which comes after it, 
while maintaining the Ghunnah. 
 
So  the  Noon  and  at-Tanween  become  a  (‫)ي‬,  or  (‫)و‬,  or  (‫)م‬  along  with  maintaining  a  Ghunnah in all 
of them. 
 
Its Letters: its letters are combined in the author’s statement: (‫)ﯾﻨﻤﻮ‬ 
 
⃒ 29 

 
Its  Cause:  it  is  due  to Noon as-Saakinah or at-Tanween being identical to the letter Noon. Also due 
to  their  closeness  and  similarity  to  the  remaining  letters  of  al-Idghaam  (in  terms  of  the  articulation 
points).  

Number  Letter  Noon as-Saakinah  at-Tanween 

1 ‫اﻟﯿﺎء‬ ‫ﻓَ َﻤ ْﻦ ﯾَ ْﻌ َﻤ ْﻞ‬ َ ُ‫ض ﯾَ ْﻠﻌَﺒ‬

‫ﻮن‬ ٍ ‫َﺧ ْﻮ‬

2 ‫اﻟﻨﻮن‬ ُ َ‫وإِ ْن ﻧ‬
َ‫ﻈﻨﱡﻚ‬ ‫ﺷ َْﻲءٍ ﻧُﻜ ٍُﺮ‬

3 ‫اﻟﻤﯿﻢ‬ ٍ‫ِﻣﻦ ﱠﻣﺎء‬ ٌ ‫ﻗَ ْﻮ ٌل ﱠﻣ ْﻌ ُﺮ‬

‫وف‬

4 ‫اﻟﻮاو‬ ٍ ‫ِﻣﻦ ﱠو ِﻟ ّﻲ‬ ٍ ‫أَﺑِﻲ ﻟَ َﮭ‬

‫ﺐ َوﺗَﺐ‬
 
 
Text: 
 
َ ‫ ﺗ ُ ْﺪ‬... َ‫َﺎن ِﺑ ِﻜ ْﻠ َﻤ ٍﺔ ﻓَﻼ‬
ٍ ‫ﻏ ْﻢ َﻛ ُﺪ ْﻧﯿَﺎ ﺛ ُ ﱠﻢ ِﺻ ْﻨ َﻮ‬
َ‫ان ﺗَﻼ‬ َ ‫( ِإﻻﱠ ِإذَا ﻛ‬11)
 
Except if it (the Noon as-Saakinah and the letter of al-Idghaam) occur in a word, then it is not 
Recited with al-Idghaam like the word (‫ ) ُد ْﻧﯿَﺎ‬and (‫ﺻ ْﻨ َﻮان‬
ِ ) which follows 
 
Explanation: 
 
It  is  a  condition  for  al-Idghaam  that  the  Noon  as-Saakinah  be  at  the end of one word and the letter 
of  al-Idghaam  be  in  the  beginning  of  the  next  word. As for it being in one word, then al-Idghaam is 
not made. Rather, al-Idhhaar is made and it is called al-Idhhaar al-Mutlaq (the Unrestricted Idhhaar). It 
has come in a number of words in the Noble Quran such as:  
 
﴾ ‫ ﺑُ ْﻨﯿَﺎﻧًﺎ‬- ٌ‫ ِﻗ ْﻨ َﻮان‬- ٌ‫ ِﺻ ْﻨ َﻮان‬- ‫﴿ اﻟ ﱡﺪ ْﻧﯿَﺎ‬
 
 
 
 
 
 
⃒ 30 

Text: 
 
‫اﻟﺮا ﺛ ُ ﱠﻢ ﻛ ِ َّﺮ َرﻧﱠ ْﮫ‬ ِ ‫( َواﻟﺜ ﱠ‬12)
َ ‫ﺎن ِإ ْد‬
ُ ‫ﻏﺎ ٌم ِﺑﻐَ ْﯿ ِﺮ‬
‫ ِﻓﻲ اﻟﻼﱠ ِم َو ﱠ‬... ‫ﻏﻨﱠ ْﮫ‬
 
And the second category is al-Idghaam with other than Ghunnah 
In the Laam or Raa, but the latter you must recite with Takreer (repetition) 
 
Explanation: 
 
The  Second  Category:  the  Complete  Idghaam  without  Ghunnah.  It  is  the  changing  of  the 
Noon as-Saakinah or at-Tanween to a Raa or Laam mushaddad (duplicated) without any Ghunnah.  
 
Its  Name:  it  is  called  the  Complete  Idghaam  because  the  Noon  as-Saakinah  or  at-Tanween  enters 
the  letter  after  it  to  such  an  extent  that  no  trace  of  it  remains.  So  the letter goes away along with its 
quality,  which  is  Ghunnah,  and  it  becomes  a  Complete  Idghaam  without  a  Ghunnah.  Unlike  the 
Incomplete  Idghaam  which  is  called  incomplete  because  the  letter  goes  away  and  is  enters  into  the 
letter  after  it.  However, its attribute remains, which it is the Ghunnah. So due to that it is called a the 
Incomplete Idghaam with Ghunnah. 
 
Its  Cause:  it  is  due  to  the  closeness  of  the  articulation  point  of  Noon  as-Saakinah  and at-Tanween 
with the letters Laam and Raa. Some examples: 

Letter  Noon as-Saakinah  at-Tanween 

‫اﻟﻼم‬ ‫ِﻣﻦ ﻟﱠﺪ ُْن َﺣ ِﻜ ٍﯿﻢ‬ ‫َو ْﯾ ٌﻞ ِﻟ ُﻜ ِ ّﻞ ُھ َﻤ َﺰ ٍة‬

‫اﻟﺮاء‬ ‫ِ ّﻣﻦ ﱠر ِﺑّ ِﮭ ْﻢ‬ ‫ﻮر َر ِﺣﯿ ٌﻢ‬ َ

ٌ ُ‫ﻏﻔ‬
 
 
 
 
 
 
 
 
 
⃒ 31 

ُ َ‫اﻹ ْﻗﻼ‬
The Third Rule: al-Iqlaab (‫ب‬ ِ ) 
 
Text: 
 
ِ َ‫اﻹ ْﺧﻔ‬
‫ﺎء‬ ِ ‫ ِﻣﯿ ًﻤﺎ ِﺑﻐُﻨﱠ ٍﺔ َﻣ َﻊ‬... ‫ﺎء‬ ُ َ‫اﻹ ْﻗﻼ‬
ِ َ‫ب ِﻋ ْﻨ َﺪ ا ْﻟﺒ‬ ُ ‫َواﻟﺜ ﱠ‬
ِ ‫ﺎﻟﺚ‬ (13)
 
And the third rule is al-Iqlaab with occurs with the letter Baa (‫)ب‬ 
Which changes to a Meem (‫ )م‬with a Ghunnah and al-Ikhfaa 
 
Explanation: 
 
The third rule from the rules of Noon as-Saakinah and at-Tanween is al-Iqlaab (‫ب‬ُ َ‫اﻹ ْﻗﻼ‬
ِ ) 
 
Its definition linguistically: "is when you change something from its original form".10 
 
Technically:  it  is  to  change  the  Noon  as-Saakinah  or at-Tanween to a Meem (‫)م‬ with an Ikhfaa and 
Ghunnah, if there appears a letter Baa (‫ )ب‬after it. 
 
Its Letter: it only applies to one letter which is Baa (‫)ب‬. 

Letter  In one Letter  Two Letters  at-Tanween 

‫اﻟﺒﺎء‬ ‫أ َ ْﻧﺒِﺌْ ُﮭ ْﻢ‬ ‫ِﻣ ْﻦ ﺑَ ْﻌ ِﺪ‬ ‫ﯿﺮا‬

ً ‫ﺳ ِﻤﯿﻌًﺎ ﺑَ ِﺼ‬
َ
 
The  Reason  for al-Iqlaab: it is due to the Meem(‫)م‬, which has been changed from a Noon, sharing 
the  same  articulation  point  as  the  Baa.  Also  due  to  the  Tanween sharing the same articulation point 
with the Ghunnah. 
 
Question: What conditions are needed for al-Iqlaab to be actualized? 
 
Answer: It is actualized with three affairs: 
 
1. Changing the Noon as-Saakinah or at-Tanween to a Meem (‫ )م‬verbally and not textually 
2. al-Ikhfaa is made with this Meem (‫)م‬when meeting Baa 

10
Kitab al-’Ayn by Al-Khalil ibn Ahmad al-Faraaheedi (pg. 811)
 
⃒ 32 

3.  Pronouncing  the  Ghunnah  with  al-Ikhfaa.  The  Ghunnah  is  in  the  form  of the Meem (‫)م‬ and not 
in the form of Noon as-Saakinah and at-Tanween 
 
The Fourth Rule: al-Ikhfaa (‫اﻹ ْﺧﻔَﺎء‬
ِ ) 
 
Text: 
ِ َ‫ﺐ ِﻟ ْﻠﻔ‬
‫ﺎﺿ ِﻞ‬ ٌ ‫اﺟ‬
ِ ‫وف َو‬ ِ َ‫اﻹ ْﺧﻔَﺎ ُء ِﻋ ْﻨ َﺪ ا ْﻟﻔ‬
ِ ‫ ِﻣ َﻦ اﻟ ُﺤ ُﺮ‬... ‫ﺎﺿ ِﻞ‬ ِ ‫اﻟﺮا ِﺑ ُﻊ‬
‫َو ﱠ‬ (14)
 
And the fourth rule is al-Ikhfaa in regards to the remaining 
Letter, which it is obligatory [to recite al-Ikhfa on] for the one who is virtuous  
 
ِ ‫ ِﻓﻲ ِﻛ ْﻠ ِﻢ َھﺬَا اﻟﺒَ ْﯿ‬... ‫ﻋﺸ ٍْﺮ َر ْﻣ ُﺰ َھﺎ‬
‫ﺖ ﻗَﺪ ﱠ‬
‫ﺿ ﱠﻤ ْﻨﺘ ُ َﮭﺎ‬ َ ‫ِﻓﻲ َﺧ ْﻤ‬
َ ‫ﺴ ٍﺔ ِﻣ ْﻦ ﺑَ ْﻌ ِﺪ‬ (15)
 
In fifteen letters whose acronym is  
Included in the (initial letters) of the words of this (next) line of poetry 
 
َ ‫ ُد ْم َط ِﯿّﺒًﺎ ِز ْد ِﻓﻲ ﺗُﻘًﻰ‬... ‫ﺳ َﻤﺎ‬
‫ﺿ ْﻊ َظﺎ ِﻟ َﻤﺎ‬ ٌ ‫ﻒ ذَا ﺛَﻨَﺎ َﻛ ْﻢ َﺟﺎ َد ﺷ َْﺨ‬
َ ‫ﺺ ﻗَ ْﺪ‬ ْ ‫( ِﺻ‬16)
 
Describe the possessor of praise. How generous is a person who has attained such status?  
Always be good. Increase in piety. Repel an oppressor 
 
Explanation 
 
The fourth of the rules of Noon as-Saakinah and at-Tanween is al-Ikhfaa. 
 
(‫)ﻋﻨﺪ اﻟﻔﺎﺿﻞ‬: that is with the remaining letters except for the letters of al-Idhhaar, al-Idghaam, and 
al-Iqlaab. 
 
His wording (‫ )واﺟﺐ‬is without a difference of opinion. 
 
His statement: (‫)ﻟﻠﻔﺎﺿﻞ‬: means for a person who becomes virtuous by learning this science of 
Tajweed.  
 
 
 
 
 
 
⃒ 33 

Definition of al-Ikhfa (‫اﻹ ْﺧﻔَﺎء‬

ِ ) 
 
Linguistically: it means to concealment. 
 
Technically: it is to pronounce a letter in a manner between al-Idhhaar and al-Idghaam, free from 
Tashdeed (duplication), and while maintaining the Ghunna in this letter.  
 
Its letters are fifteen:  
 
( ‫ ظ‬, ‫ ض‬, ‫ ت‬, ‫ ف‬, ‫ ز‬, ‫ ط‬, ‫ د‬, ‫ س‬, ‫ ق‬, ‫ ش‬, ‫ ج‬, ‫ ك‬, ‫ث‬, ‫ ذ‬, ‫) ص‬
 
The characteristic of al-Ikhfaa: the tongue should remain connected to the emptiness of the 
mouth and not the gums as in al-Idhhaar. The one reciting should not make al-Idgham nor 
Tashdeed. al-Ikhfaa is recited with Ghunnah. 
 
Note:  the  letters  of  al-Ikhfa  include  empty  mouth  letters  and  full  mouth  letters.  So  al-Ikhfa  is 
pronounced  with  a  full  mouth  when  reciting  the  full  mouth  letters  and  with  an empty mouth when 
reciting the empty mouth letters.  
 
Its  Cause:  the  reason  for  al-Ikhfaa  is  because  the  articulation  points  of  Noon  as-Saakinah  and 
at-Tanween  are  not  close  to  the  articulation  points  of  the  aforementioned  letters.  So  a  type  of 
al-Idghaam  is  made.  However,  the  lack  of  nearness  between  the  articulation  points  necessitates 
al-Idghaam  and  the  far  distance  between  necessitates  al-Idhhaar,  it  is  given  a  middle ruling between 
al-Idghaam and al-Idhhaar which is al-Ikhfa. Some examples are: 
  
⃒ 34 

  Noon  Noon  at-Tanween  Letter  Noon  Noon  at- Tanween 

Letter  as-Saakinah in  as-Saakinah  as-Saakinah  as-Saakinah 
one word  in Two words  in one word  in Two 
words 

‫ص‬ َ ‫ﻓَﺎ ْﻧ‬

‫ﺼ ْﺐ‬ َ ‫وﻟَ َﻤﻦ‬
‫ﺻﺒَ َﺮ‬ َ ً‫ﻋ َﻤﻼ‬
‫ﺻﺎ ِﻟ ًﺤﺎ‬ َ ‫س‬ َ ‫اﻹ ْﻧ‬
ُ‫ﺴﺎن‬ ِ ِ ‫ِ ّﻣ ْﻦ‬
‫ﺳﺪ ٍْر‬ ً ‫ﺳ ِﻮﯾﱠﺎ‬
َ ‫ﺑَﺸ ًَﺮا‬

‫ذ‬ ‫ُﻣ ْﻨﺬ ِِر‬ ‫َﻣ ْﻦ ذَا اﻟﱠﺬِي‬ ‫ﺼ ٍﺔ‬ ُ ‫َو َطﻌَﺎ ًﻣﺎ ذَا‬
‫ﻏ ﱠ‬ ‫د‬ ً ‫أﻧﺪادا‬ ‫ِﻣ ْﻦ دَاﺑﱠ ٍﺔ‬ ‫ﺴﺘ َ ِﻘ ٍﯿﻢ دِﯾﻨًﺎ‬
ْ ‫ﱡﻣ‬

‫ث‬ ‫َواﻷ ُ ْﻧﺜَﻰ‬ ِ ‫ِﻣﻦ ﺛُﻠُﺜَﻲ‬ ٌ‫ﯾَ ْﻮ َﻣﺌِ ٍﺬ ﺛ َ َﻤﺎﻧِﯿﺔ‬ ‫ط‬ َ‫ﻻ ﯾَ ْﻨ ِﻄﻘُﻮن‬ ٍ ‫ِ ّﻣ ْﻦ ِط‬
‫ﯿﻦ‬ َ‫ﻗَ ْﻮ ًﻣﺎ َطﺎ ِﻏﯿﻦ‬

‫ك‬ ‫أ َ ْﻧﻜَﺎﻻ‬ َ‫أ َ ْن ﻛَﺎن‬ ‫أَﺟْ ٍﺮ ﻛ َِﺮ ٍﯾﻢ‬ ‫ز‬ ‫َوأ َ ْﻧ َﺰ ْﻟﻨَﺎ‬ ‫َﻣ ْﻦ َزﻛﱠﺎ َھﺎ‬ ُ
ً ‫ﻏﻼﻣﺎ َز ِﻛﯿﱠﺎ‬

‫ج‬ ‫أ َ ْﻧ َﺠﺎ ُھ ْﻢ‬ ‫ِإ ْن َﺟﺎ َء ُﻛ ْﻢ‬ ‫َو ِﻟ ُﻜ ٍ ّﻞ َﺟﻌَ ْﻠﻨَﺎ‬ ‫ف‬ َ ُ‫أ َ ْﻧﻔ‬
‫ﺴ ُﻜ ْﻢ‬ ‫ِ ّﻣ ْﻦ ِﻓﺌ َ ٍﺔ‬ َ َ‫ﯾ ِﺘﯿ ًﻤﺎ ﻓ‬
َ‫ﺂوى‬

‫ش‬ ً ‫َﻣ ْﻨﺸ‬

‫ُﻮرا‬ ‫ِﻣ ْﻦ ﺷ ِ َّﺮ‬ ‫ُﻮر‬
ٌ ‫ﺷﻜ‬َ ‫ﻮر‬ َ
ٌ ُ‫ﻏﻔ‬ ‫ت‬ ‫ُﻛ ْﻨﺘ ُ ْﻢ‬ َ َ ‫َﻣ ْﻦ ﺗ‬
‫ﺎب‬ ٍ ‫َﺟﻨﱠﺎ‬
‫ت ﺗَﺠْ ِﺮي‬

‫ق‬ َ‫ﯾَ ْﻨﻘَ ِﻠﺒُﻮن‬ ‫ِﻣ ْﻦ ﻗَ ْﺒ ُﻞ‬ ً ‫ﻋﻔُﻮا ﻗَﺪ‬

‫ِﯾﺮا‬ َ ‫ض‬ ‫َﻣ ْﻨﻀُﻮ ٍد‬ ‫ﻒ‬ َ ‫ِﻣ ْﻦ‬
ٍ ‫ﺿ ْﻌ‬ ‫ﺿ ِﯿّﻘًﺎ‬
َ ‫َﻣﻜَﺎﻧًﺎ‬

‫ظ‬ َ‫ﯾُ ْﻨ َﻈ ُﺮون‬ ُ ‫َﻣ ْﻦ‬

‫ظ ِﻠ َﻢ‬ ً‫ِظﻼ َظ ِﻠﯿﻼ‬
 
 
🕮 The Second Chapter: The Rules of Noon and Meem Mushaddadatayn 
 
Text: 
 
ُ ‫ف‬
‫ﻏﻨﱠ ٍﺔ ﺑَﺪَا‬ َ ‫ﺳ ِ ّﻢ ُﻛﻼً َﺣ ْﺮ‬ ُ ‫ﻏ ﱠﻦ ِﻣﯿ ًﻤﺎ ﺛ ُ ﱠﻢ ﻧُﻮﻧًﺎ‬
َ ‫ َو‬... ‫ﺷ ِ ّﺪدَا‬ ُ ‫( َو‬17)
 
And apply ghunnah to (the letter) Meem (‫)م‬, then the Noon that has a shaddah 
And name each (of them) a letter of Ghunnah that has appeared 
Explanation: 
 
The  author  commands  that  if  a  Meem  (‫)م‬  and  Noon  are  mushaddad  (i.e.  duplicated),  then  it  is 
necessary  to  make  a  Ghunnah  in  them  during  joining  and  stopping.  This  is  whether  or  not  each 
letter appears in the middle of a word or at its end. 
 
 
⃒ 35 

The definition of Ghunnah 

 
Linguistically: it is a sound that comes from the nasal cavity. 
 
Technically:  it  is  a  fixed  sound  in  the  Noon  and  Meem  (‫)م‬  themselves  and  possesses  a  nice 
humming noise. 
 
Its Articulation point: it comes from the nasal cavity. 
 
Its duration: the duration of the Ghunnah is two harkat.  
 
The Places where Ghunnah occurs: 
 
Noon al-Mushadadah. For example: 
﴾ ‫ ﴿ اﻟﻨﱠ ِﻌ ِﯿﻢ‬, ﴾ ‫﴿ ِإنﱠ‬
 
Meem al-Mushadadah. For example: 
 
﴾ ‫ ﴿ َھ ﱠﻤﺖ‬, ﴾ ‫ﻋ ﱠﻢ‬
َ ﴿
 
al-Idghaam with Ghunnah. For example: 
 
﴾ ‫﴿ ﻓَ َﻤ ْﻦ ﯾَ ْﻌ َﻤ ْﻞ‬
 
al-Iqlaab. For example: 
 
﴾ ‫﴿ ِﻣ ْﻦ ﺑَ ْﻌ ِﺪ‬
 
al-Ikhfaa al-Haqeeqi. For example 
 
﴾ ‫﴿ ِﻣ ْﻦ ﺷ ِ َّﺮ‬
 
al-Ikhfaa ash-Shafawi (of the Lips). For example: 
 
﴾ ‫ﺎر ٍة‬ ِ ‫﴿ ﺗ َ ْﺮ ِﻣ‬
َ ‫ﯿﮭ ْﻢ ﺑِ ِﺤ َﺠ‬
 
al-Idghaam al-Mutamaathilayn (i.e. concerning two identical letters). For example: 
 
 
⃒ 36 

﴾ ٌ‫﴿ ﻟَ ُﮭﻢ ﱠﻣ ْﻐ ِﻔ َﺮة‬

 
al-Idghaam al-Mutajaaniseen (i.e. concerning two similar letters). For example: 
 
﴾ ‫ارﻛَﺐ ﱠﻣﻌَﻨَﺎ‬
ْ ﴿
 
al-Idghaam with a Laam ash-Shamsiyyah and a noon. For example: 
 
﴾ ‫﴿ وا ْﻟﻨﱠﺠْ ِﻢ‬
 
The Levels of Ghunnah 
 
A  Ghunnah  follows  what  comes  after  it  in  terms  of  being  pronounced  with  an  empty  mouth  or  a 
full  mouth.  That  is  in  al-Ikhfaa  al-Haqeeqi.  A  Ghunnah  is  recited  with  an  empty  mouth  if  it  appears 
after one of the letters of al-Istifaal (lowering), like the letter Kaaf. For example,  
 
﴾ َ‫﴿ أ َ ْن ﻛَﺎن‬
 
Just  as  al-Idghaam  with  Ghunnah  is  recited  with  an  empty  mouth  and  in  al-Iqlaab  because  their 
letters are empty mouth letters. 
 
If  there  is  one  of  the  full  mouth  letters  after  the  Ghunnah,  then  it  is  read  with  full  mouth.  For 
example: 
 
َ ‫﴿ أ َ ْن‬
َ ‫ ﴿ َﻣ ْﻦ‬, ﴾ ‫ﺻﺪﱡو ُﻛ ْﻢ‬
 ﴾ ‫طﻐَﻰ‬
 
🕮 The Third Chapter: The Rules of Meem as-Saakinah 
 
Text: 
ٍ ‫ ﻻَ أ َ ِﻟ‬... ‫ﺴﻜ ُْﻦ ﺗ َ ِﺠﻲ ﻗَ ْﺒ َﻞ ا ْﻟ ِﮭ َﺠﺎ‬
‫ﻒ ﻟَ ِﯿّﻨَ ٍﺔ ِﻟﺬِي ا ْﻟ ِﺤ َﺠﺎ‬ ْ َ ‫اﻟﻤﯿ ُﻢ ِإ ْن ﺗ‬
ِ ‫َو‬ (18)
 
And Meem (‫)م‬, if it is non-vowelled, and appears before (the letters of) the alphabet 
Except for the soft Alif, for the possessor of intellect 
 
 
 
 
⃒ 37 

‫ﺎر ﻓَﻘَ ْﻂ‬

ٌ ‫ﻏﺎ ٌم َو ِإ ْظ َﮭ‬ َ ‫أَﺣْ ﻜَﺎ ُﻣ َﮭﺎ ﺛَﻼَﺛَﺔٌ ِﻟ َﻤ ْﻦ‬
َ ‫ ِإ ْﺧﻔَﺎ ٌء ا ْد‬... ‫ﺿﺒَ ْﻂ‬ (19)
 
Its rules are three, for the one who strives for precision: 
Ikhfaa, Idghaam and Idhhaar only  
 
Explanation: 
 
That  is:  a  Meem  as-Saakinah  appears  before  any letter except for the soft Alif (‫)أ َ ِﻟﻒ ﻟَ ِﯿّﻨَﺔ‬, which is an 
Alif  of  the  madd.  It  does  not  appear  after  a  Meem  as-Saakinah due to the specific reasons. Some of 
those reasons are: 
 
● That  it  is  necessary  for  a  letter  with  a  Fatha  (  َ ‫) ـ‬  to  come  before  an  Alif  because  it  is  not 

suitable for an Alif to be pronounced except with a Fatha ( َ ‫ ) ـ‬before it 

 
● Likewise  the  soft  Alif  (‫)أ َ ِﻟﻒ ﻟَ ِﯿّﻨَﺔ‬  comes  with  a  sukoon  ( ْ‫ـ‬  )  and  it  is  not  possible  for  two 
non-vowelled letters to meet: the sukoon ( ْ‫ ) ـ‬of the Alif and the sukoon ( ْ‫ ) ـ‬of a Meem (‫)م‬.  
 
َ ‫ ) ِﻟﺬِي ا ْﻟ ِﺤ‬means the companion of intellect and cleverness 
His statement: (‫ﺠﺎ‬
 
َ ‫ )أَﺣْ ﻜَﺎ ُﻣ َﮭﺎ ﺛَﻼَﺛَﺔٌ ِﻟ َﻤ ْﻦ‬means the rules of Meem as-Saakinah are three: 
ْ َ‫ﺿﺒ‬
His statement: (‫ﻂ‬
 
1. al-Idhhaar 
2. al-Idghaam 
3. al-Ikhfaa 
 
The First Rule: al-Ikhfaa ash-Shafawi (of the Lips) 
 
Text: 
ِ ‫ي ِﻟ ْﻠﻘُ ﱠﺮ‬
‫اء‬ ‫ﺸ ْﻔ ِﻮ ﱠ‬
‫ﺳ ِ ّﻤ ِﮫ اﻟ ﱠ‬
َ ‫ َو‬... ‫ﺎء‬ ِ ‫ﻓَﺎﻷ َ ﱠو ُل‬
ِ َ‫اﻹ ْﺧﻔَﺎ ُء ِﻋ ْﻨ َﺪ ا ْﻟﺒ‬ (20)
 
So the first (rule of Meem as-Saakinah) is al-Ikhfaa in the case Baa (‫))ب‬ 
And name it [ al-Ikhfaa] of the lips in accordance to the reciters.  
 
 
 
 
 
⃒ 38 

Explanation: 
 
Its definition: it is to recite a Meem as-Saakinah with Ikhfaa and Ghunnah if a (‫ )ب‬appears after it.  
 
Its letter: it applies to one letter which is (‫)ب‬. 
 
Examples: 
 
﴾ ‫ﺎر ٍة‬ ِ ‫ ﴿ ﺗ َ ْﺮ ِﻣ‬, ﴾ ِ ‫﴿ َو َﻣﻦ ﯾﱠ ْﻌﺘ َ ِﺼ ْﻢ ِﺑﺎ ﱠ‬
َ ‫ﯿﮭ ْﻢ ِﺑ ِﺤ َﺠ‬
 
Its presence: this type of al-Ikhfaa is not made except when two words that appear next to each 
other during recitation. 
 
Its reason: it is due to the similarity in the articulation point and in most attributes of the letters.  
 
Its name: it is called al-Ikhfaa of the lips because the Meem (‫ )م‬and the Baa (‫ )ب‬emerge from 
between the two lips. 
 
The Second Rule: The Minor al-Idghaam al-Mutamaathilayn 
 
Its  definition:  it  is  the  meeting  of  two  identical  letters.  The  first  of  them  is  non-vowelled  and  the 
second of them has a vowel. 
 
Text: 
 
‫ﯿﺮا ﯾَﺎ ﻓَﺘَﻰ‬
ً ‫ﺻ ِﻐ‬ َ ‫ َو‬... ‫ﻏﺎ ٌم ِﺑ ِﻤﺜْ ِﻠ َﮭﺎ أَﺗَﻰ‬
َ ‫ﺳ ِ ّﻢ إ ْد‬
َ ‫ﻏﺎ ًﻣﺎ‬ ِ ‫( َواﻟﺜ ﱠ‬21)
َ ‫ﺎن ِإ ْد‬
 
And the second rule is Idghaam when an identical letter appears (i.e. another Meem) 
And name this as the Minor Idghaam, O young man 
Explanation: 
 
That  is:  the  second  of  the  rules  of  Meem  as-Saakinah  is  al-Idghaam  al-Mutamaathilayn  if  after  it 
comes  another  Meem  (‫)م‬.  It  is  called  the  Minor  al-Idghaam  because  the  first  letter  is  non-vowelled 
and  the  second  is  vowelled,  unlike  the  Major  al-Idghaam.  The  Major  al-Idghaam  is  when  both 
letters  meet  and  are  vowelized.  However,  such  letters  are  not  recited  with  Idghaam  in the recitation 
of Hafs, rather its rule is al-Idhhaar. 
 
 
⃒ 39 

Examples:  
 
In one word: 
 
﴾ ‫﴿ اﻟﻢ‬
 
In two words: 
 
ِ ‫﴿ َﺧﻠَﻖَ ﻟَﻜُﻢ ﱠﻣﺎ ﻓِﻲ اﻷ َ ْر‬
 ﴾ ‫ض‬
 
The Third Rule: al-Idhhaar ash-Shafawi 
 
Text: 
 
‫ﺷ ْﻔ ِﻮﯾﱠ ْﮫ‬
َ ‫ﺳ ِ ّﻤ َﮭﺎ‬ ٍ ‫ ِﻣ ْﻦ أَﺣْ ُﺮ‬... ‫ﺎر ﻓِﻲ ا ْﻟﺒَ ِﻘﯿﱠ ْﮫ‬
َ ‫ف َو‬ ُ ‫اﻹ ْظ َﮭ‬
ِ ‫ﺚ‬ُ ‫( َواﻟﺜﱠﺎ ِﻟ‬22)
 
And the third rule is al-Idhhaar in regards to the remaining  
Letters and name it [al-Idhhaar] Shafwiyyah.  
 
Explanation: 
 
That is: the third rule from the rules of Meem as-Saakinah is al-Idhhaar ash-Shafawi in relation to 
the remaining letters. 
 
Its definition: it is to recite the Meem as-Saakinah with Idhhaar in relation to all the Arabic alphabet 
besides the letters Baa (‫ )ب‬and Meem (‫)م‬. 
 
Its name: it is called al-Idhhar ash-Shafawi because the Meem as-Saakinah emerges from between 
the lips. 
 
The Reason for it: is the far distance between the articulation point of the letter Meem (‫ )م‬and the 
majority of the letters of Idhhaar. 
 
Examples: 
 
In one word: 
 
 
⃒ 40 

﴾ َ‫ ﴿ أ َ ْﻧﻌَ ْﻤﺖ‬, ﴾ َ‫ﺴﻮن‬

ُ ‫﴿ ﺗ ُ ْﻤ‬
 
In two words: 
 
َ ‫ ﴿ ُﻛ ْﻨﺘ ُ ْﻢ‬, ﴾ ‫﴿ ُﻛ ْﻨﺘ ُ ْﻢ َﺧ ْﯿ َﺮ أ ُ ﱠﻣ ٍﺔ‬
﴾ َ‫ﺻﺎ ِدﻗِﯿﻦ‬
 

Text: 
 
ِ ‫ ِﻟﻘُ ْﺮ ِﺑ َﮭﺎ َوﻻ ِﺗ ّ َﺤﺎ ِد ﻓَﺎﻋ ِْﺮ‬... ‫( َواﺣْ ﺬَ ْر ﻟَﺪَى َوا ٍو َوﻓَﺎ أ َ ْن ﺗ َ ْﺨﺘ َ ِﻔﻲ‬23)
‫ف‬
 
Be careful of making al-Ikhfaa in the case of Waaw and Fa  
Due to its nearness and unity so know this/take heed.  
 
Explanation: 
 
That  is:  beware,  O  reciter,  if  there  comes  after  the  Meem  as-Saakinah  a  Waaw  and  a  Faa  that  the 
Meem  as-Saakinah  is  recited  with  al-Ikhfaa  due  to these two letters. They are specified from the rest 
of  the letters of al-Idhhaar due to the nearness and unity between the makhraj of Meem (‫)م‬ and Waw 
(‫)و‬  and  Faa  (‫)ف‬.  So  it  is  obligatory  to  make  al-Idhhaar  in  them  and  it  is  what  is  called  the  most 
severe al-Idhhaar. 
 
For example:   
 
﴾ َ‫ﻋﻠَ ْﯿ ِﮭ ْﻢ َوﻻ اﻟﻀﱠﺎ ِﻟّﯿﻦ‬
َ ﴿ , ﴾ ‫﴿ َو ُھ ْﻢ ﻓِﯿ َﮭﺎ‬
 
🕮 The Fourth Chapter: The Rule of the Laam in (‫ )أل‬and the Laam in a Verb 
 
The Laam reported in the Quran is either vowelled or non-vowelled. There are five types: 
 
1. Laam at-Ta'reef (used in the article ‫)أل‬ 
2. Laam in a Verb 
3. Laam in a Noun 
4. Laam of Preposition 
5. Laam of Command 
 
The author only mentioned two of these five, which are: the Laam at-Ta'reef and Laam in a Verb. 
 
⃒ 41 

The First Rule: The Rules of Laam in (‫)أ َ ْل‬ 

 
Text: 
 
ِ ‫ﺎر َھﺎ ﻓَ ْﻠﺘ َ ْﻌ ِﺮ‬
‫ف‬ ِ ‫( ِﻟﻼَ ِم أ َ ْل َﺣﺎﻻَ ِن ﻗَ ْﺒ َﻞ اﻷَﺣْ ُﺮ‬24)
ُ ‫ أُوﻻَ ُھ َﻤﺎ إِ ْظ َﮭ‬... ‫ف‬
 
For Laam there are two situations when it appears before the Arabic letters 
The first of them is to recite it with Idhhaar, so know that 
 
Explanation: 
 
That is: the Laam in (‫ )أ َ ْل‬has two conditions when it appears before the Arabic alphabet. The first 
condition: is al-Idhhaar. 
 
Text: 
 
ُ‫ﻋ ِﻘﯿ َﻤﮫ‬ ْ ‫ ِﻣ ِﻦ ا ْﺑ ِﻎ َﺣ ﱠﺠﻚَ َو َﺧ‬... ُ‫ﻋﺸ َْﺮ ٍة ُﺧ ْﺬ ِﻋ ْﻠ َﻤﮫ‬
َ ‫ﻒ‬ ْ ‫( ﻗَ ْﺒ َﻞ‬25)
َ ‫ارﺑَ ٍﻊ َﻣ ْﻊ‬
 
Before fourteen letters, take its knowledge  
From the letters in this sentence: “Be desirous for [the reward of] your Hajj and be afraid of it being 
fruitless” 
 
Explanation: 
 
That  is:  it  is  obligatory  to  make  al-Idhhaar  in  the  Laam  in  (‫)أ َ ْل‬  if  it  appears  before  one  of  these 
fourteen letters which are gathered in the author’s statement: (ُ‫ﻋ ِﻘﯿ َﻤﮫ‬ ْ ‫)ا ْﺑ ِﻎ َﺣ ﱠﺠﻚَ َو َﺧ‬ 
َ ‫ﻒ‬
 
Examples of such words are: 
 
،‫ اﻟﻮﻗﻮد‬،‫ اﻟﻜﺮﯾﻢ‬،‫ اﻟﺠﺤﯿﻢ‬،‫ اﻟﺤﺎﻗﺔ‬،‫ اﻟﻐﺎﺷﯿﺔ‬،‫ اﻟﺒﻠﺪ‬،‫)اﻹﯾﻤﺎن‬
 (‫ اﻟﮭﺪى‬،‫ اﻟﻤﺠﯿﺪ‬،‫ اﻟﯿﻘﯿﻦ‬،‫ اﻟﻘﯿﻮم‬،‫اﻟﻌﺮش‬،‫ اﻟﻔﺠﺮ‬،‫اﻟﺨﺎﻟﻖ‬
 
 
 
 
 
 
⃒ 42 

The Second Rule: al-Idghaam 

 
Text: 
 
‫ﻋﺸ َْﺮ ٍة أ َ ْﯾﻀًﺎ َو َر ْﻣ َﺰ َھﺎ ﻓَ ِﻊ‬
َ ‫ َو‬... ‫ﻏﺎ ُﻣ َﮭﺎ ِﻓﻲ أ َ ْرﺑَ ِﻊ‬ ِ ‫( ﺛَﺎ ِﻧ‬26)
َ ‫ﯿﮭ َﻤﺎ ِإ ْد‬
 
The second of them is al-Idghaam in fourteen 
Letters also. Its acronym is: 
 
ُ ‫ َد ْع‬... ‫ﻒ ذَا ِﻧﻌَ ْﻢ‬
‫ﺳﻮ َء َظ ٍّﻦ ُز ْر ﺷ َِﺮﯾﻔًﺎ ِﻟ ْﻠﻜ ََﺮ ْم‬ ْ ‫( ِط ْﺐ ﺛ ُ ﱠﻢ ِﺻ ْﻞ ُرﺣْ ًﻤﺎ ﺗَﻔُ ْﺰ ِﺿ‬27)
 
‘Be good then tie the kinship, you will be successful. Host the possessor of bounties 
Leave off bad thoughts of others, visit the honorable one out of generosity’ 
 
Explanation:  
 
That  is:  the  second  of  the  two  situations  in  relation  to  the  Laam  of  at-Ta'reef  is  al-Idghaam  if  it 
appears before one of these fourteen letters. These letters are gathered in the author’s statement:  
 
ُ ‫ َد ْع‬... ‫ﻒ ذَا ﻧِﻌَ ْﻢ‬
( ‫ﺳﻮ َء َظ ٍّﻦ ُز ْر ﺷ َِﺮﯾﻔًﺎ ِﻟ ْﻠﻜ ََﺮ ْم‬ ْ ‫) ِط ْﺐ ﺛ ُ ﱠﻢ ِﺻ ْﻞ ُرﺣْ ًﻤﺎ ﺗَﻔُ ْﺰ ِﺿ‬
 
The fourteen letters are found at the beginning of each word.  
 
Some examples:  
 
،‫ﻈﺎﻟﻤﯿﻦ‬ ‫ اﻟ ﱠ‬،‫ اﻟ ّﺪِﯾﻦ‬،‫ اﻟﻨﱠﮭﺎر‬،‫ اﻟﺬﱠارﯾﺎت‬،‫ اﻟﻀﱠﺤﻰ‬،‫ اﻟﺘﱠﻜﺎﺛﺮ‬،‫اﻟﺮﺣﻤﻦ‬
‫ اﻟ ﱠ‬،‫ﺴﻤﺎء‬ ‫ اﻟ ﱠ‬،‫ اﻟﺜﱠﻤﺮات‬،‫ﻄﺎرق‬
‫ ﱠ‬،‫ﺼﺎدﻗﻮن‬ ‫) اﻟ ﱠ‬
 (‫ اﻟﱠﻼﻋﻨﻮن‬،‫ اﻟﺸﱠﯿﻄﺎن‬،‫اﻟﺰﯾﺘﻮن‬‫ﱠ‬
 
Text: 
 
‫ﺴﯿﱠ ْﮫ‬ َ ‫ َواﻟﻼﱠ َم اﻻُ ْﺧ َﺮى‬... ‫ﺳ ِ ّﻤ َﮭﺎ ﻗَ َﻤ ِﺮﯾﱠ ْﮫ‬
ِ ‫ﺳ ِ ّﻤ َﮭﺎ ﺷ َْﻤ‬ َ ‫( َواﻟﻼﱠ ُم اﻻُوﻟَﻰ‬28)
 
And the first Laam is called al-Qamariyyah 
And the other is called ash-Shamsiyyah 
 
 
 
 
⃒ 43 

Explanation: 
 
That  is:  the  first  Laam  which  it  is  obligatory  make  al-Idhhaar  is called Laam al-Qamariyyah because 
it resembles the stars when they appear alongside to the moon. Each of them manifests clearly. 
 
The Reason for al-Idhhaar: it is due to the far distance between the Laam in (‫ )أل‬and most of its 
letters in terms of articulation point and attribute. It is called Idhhaar because of the manifestation 
of the Laam of Ta'reef in regards to these letters.  
 
The second Laam which is recited with Idghaam is called Laam ash-Shamsiyyah because it resembles 
the stars when the sun is out. The sun conceals them.  
 
The Reason for al-Idghaam: it is due to the similarity of the letters with Laam and its nearness 
with most letters in articulation point and attribute. 
 
Text: 
 
‫ ﻓِﻲ ﻧَﺤْ ِﻮ ﻗُ ْﻞ ﻧَﻌَ ْﻢ َوﻗُ ْﻠﻨَﺎ َوا ْﻟﺘَﻘَﻰ‬... ‫( وأ ْظ ِﮭ َﺮ ﱠن ﻻَ َم ﻓِ ْﻌ ٍﻞ ُﻣ ْﻄﻠَﻘَﺎ‬29)
 
And recite the Laam in a Verb with al-Idhhaar unrestrictedly 
In the likes of the word “Say Yes”, and “We said”, and “He met” 
 
Explanation: 
 
That  is:  it  is  obligatory  to  make  Idhhaar  with  the  Laam in a Verb unrestrictedly, whether it is in past 
tense such as: 
 
﴾ ‫﴿ ﻗُ ْﻠﻨَﺎ‬
 
Or present tense: 
 
﴾ ُ‫﴿ ﯾَ ْﻠﺘ َ ِﻘ ْﻄﮫ‬
 
Or command: 
 
﴾ ‫﴿ ﻗُﻞ‬
 
 
⃒ 44 

This  Idhhaar  is  with  the condition that a Laam or Raa appears after the Laam in a Verb. If it appears 

before one of these two, then it is obligatory to make al-Idghaam. Like in:  
 
ِ ّ ‫ ﴿ وﻗُ ْﻞ َر‬, ﴾ ‫﴿ ﻗُﻞ ﻟﱠ ُﻜ ْﻢ‬
﴾‫ب‬
 
The  Reason  for  Idhgaam:  al-Idghaam  here  is  due  to  the equivalence in relation to the letter Laam 
and  nearness  in  relation  to  the  letter  Raa. It is referred to the Laam in a Verb due to it being present 
in a verb and being from its root structure.  
 
🕮 The Fifth Chapter: al-Mithlayn, al-Mutaqaaribayn, al-Mutajaanisayn, and 
al-Mutabaa'idayn 
 
Two  letters that agree in both pronunciation and script are either Mutamaathilayn, or Mutaqaaribayn, 
or Mutajaanisayn, or Mutabaa'idayn. 
 
These letters can meet either in one word or two words.  
 
The First: al-Mutamaathilain 
 
Text: 
 
ْ‫ﯿﮭ َﻤﺎ أَﺣَﻖ‬
ِ ِ‫ﺎن ﻓَﺎ ْﻟ ِﻤﺜْﻼَ ِن ﻓ‬
ِ َ‫ َﺣ ْﺮﻓ‬... ْ‫ت َواﻟ َﻤ َﺨ ِﺎرجِ اﺗﱠﻔَﻖ‬
ِ ‫ﺼﻔَﺎ‬
ّ ِ ‫( إِ ْن ﻓِﻲ اﻟ‬30)
 
If there is an agreement between the attributes and articulation points 
Of two letters, then they are deserving to be called identical  
 
Explanation: 
 
If  two  letters  agree  in  attributes  and  articulation  point  (such  as  two  Baas,  Meems,  and  Daals),  then 
they are called Mutamaathilayn (identical letters).  
 
Definition of Mutamaathilayn: it is the meeting of two identical letters that are unified in 
pronunciation and script. The first of them is non-vowelled while the second is vowelled.  
 
Types of al-Mutamaathilaan 
 
It is divided into three types: Minor, Major, and Unrestricted. 
 
⃒ 45 

The Minor al-Mutamaathilayn: it is when the first letter is non-vowelled and the second is 
vowelled. As the author says later: 
 
‫ﺳ ِ ّﻤﯿَ ْﻦ‬
َ ‫ﯿﺮ‬ ‫ ُﻛ ٍ ّﻞ ﻓَﺎﻟ ﱠ‬... ‫ﺳﻜ َْﻦ أ َ ﱠو ُل‬
َ ‫ﺼ ِﻐ‬ َ ‫ﺛ ﱠﻢ إِ ْن‬
 
Then if the first letter is non-vowelled 
Then both are referred to as Minor 
 
That is: if the first letter is non-vowelled then it is called the Minor al-Mutamaathilayn. 
 
For example:  
 
﴾ ‫ ﴿ َوﻗَﺪ ﱠد َﺧﻠُﻮا‬, ﴾ َ‫ﺼﺎك‬ َ ‫﴿ َوﻟَﻜُﻢ ﱠﻣﺎ َﻛ‬
ْ ‫ ﴿ ا‬, ﴾ ‫ﺴ ْﺒﺘ ُ ْﻢ‬
َ َ‫ﺿ ِﺮ ْب ﺑِﻌ‬
 
Its Rule: it is obligatory to make al-Idghaam. 
 
The Major al-Mutamaathilayn: it is when both letters have a vowel. 
 
As the author says later: 
 
ْ ‫ﯿﺮ‬
‫واﻓ َﮭـ َﻤ ْﻨـﮫُ ﺑِﺎ ْﻟ ُﻤﺜُـ ْﻞ‬ ِ َ‫أ َ ْو ُﺣ ِ ّﺮكَ اﻟ َﺤ ْﺮﻓ‬
ٌ ِ‫ ﻛُـ ﱞﻞ َﻛﺒ‬... ‫ﺎن ﻓِﻲ ُﻛ ٍ ّﻞ ﻓَﻘُ ْﻞ‬
 
Or both letters are vowellized in each word, then say: 
Both are Major. So understand it through examples 
 
Some examples are: 
 
ِ ‫ ﴿ ﱠﻣﻨَﺎ‬, ﴾‫﴿ ﻓِﯿ ِﮫ ُھﺪًى‬
﴾ ‫ﺳ َﻜ ُﻜ ْﻢ‬
 
Its Rule: it is obligatory to make al-Idhhaar according to Hafs. 
 
The Unrestricted al-Mutamaathilayn: it is when the first letter has a vowel and the second is 
non-vowelled. 
 
Examples: 
 
َ ‫﴿ َﻣﺎ ﻧَ ْﻨ‬
ٍ ُ‫ ﴿ َﻣ ْﻤﻨ‬, ﴾ ‫ﺴ ْﺦ ِﻣ ْﻦ آﯾَ ٍﺔ‬
 ﴾ ‫ﻮن‬
 
 
⃒ 46 

It is called unrestricted because it is not restricted to being Minor or Major.  

 
Its Rule: it is obligatory to make al-Idhhaar according to all reciters. 
 
The Second Rule: al-Mutaqaaribaan 
 
Text: 
‫اﺧﺘَﻠَﻔَﺎ ﯾُﻠَﻘﱠﺒَﺎ‬
ْ ‫ت‬ِ ‫ﺼﻔَﺎ‬ َ َ‫( َوإِ ْن ﯾَﻜُﻮﻧَﺎ َﻣ ْﺨ َﺮ ًﺟﺎ ﺗَﻘ‬31)
ّ ِ ‫ َوﻓِﻲ اﻟ‬... ‫ﺎرﺑَﺎ‬

And if the articulation point of both letters are near 

But in attributes they differ, then it is called

... ‫( ُﻣﺘَﻘَ ِﺎرﺑَ ْﯿ ِﻦ‬32)

 
Mutaqaaribayn 
 
Explanation: 
 
That  is:  if  the  two  letters  are  near  in  Makhraj  and  differ  in  the  attributes,  then  it  is  titled 
Mutaqaaribayn. 
 
al-Mutaqaaribayn is of three types: 
 
The First type: two letters which are near in articulation point and attribute. 
 
For example: 
 
(‫ )ن‬and (‫)ل‬:  
 
﴾ ُ‫﴿ َﻣﻦ ﻟﱠ ُﺪ ْﻧﮫ‬
 
 
(‫ )ن‬and (‫)ر‬: 
 
ِ ‫﴿ ِﻣﻦ ِ ّر ْز‬
﴾ِ‫ق ﱠ‬
 
 
⃒ 47 

(‫ ) ق‬and (‫)ك‬: 
﴾ ‫﴿ َﺧﻠَﻘَ ُﻜ ْﻢ‬
 
The Second Type: two letters which are near in attribute but not articulation point.  
 
For example: 
 
(‫ )س‬with (‫)ش‬: 
 
﴾ ‫ﺷ ْﯿﺒَﺎ‬ ُ ْ‫اﻟﺮأ‬
َ ‫س‬ ‫﴿ ﱠ‬
 
(‫ )ت‬with (‫)ث‬: 
 
﴾ ‫﴿ ﺑَ ِﻌﺪَتْ ﺛ َ ُﻤﻮ ُد‬
 
The Third type: two letters which are near in articulation point but not in attribute. 
 
For example: 
 
(‫ )د‬with (‫)س‬: 
 
﴾ َ‫ﺳﻨِﯿﻦ‬
ِ ‫ﻋ َﺪ َد‬
َ ﴿
 
So the author (may Allah have mercy upon him) restricted himself to mentioning one type from the 
types of Mutaqaaribayn and it is the third type. 
 
The categories of the al-Mutaqaaribayn are three: 
 
The Minor al-Mutaqaaribayn: it is one letter which is non-vowelled and the second is vowelled. 
 
Its Rule: al-Idhhaar according to Hafs except in some places like Laam with Raa. For example: 
  
ِ ّ ‫ ﴿ ﻗُ ْﻞ َر‬, ﴾ ُ ‫﴿ ﺑَﻞ ﱠرﻓَﻌَﮫُ ﱠ‬
 ﴾ ‫ب‬
 
(‫ )ق‬with (‫)ك‬: 
 
﴾ ‫﴿ ﻧَ ْﺨﻠُﻘ ﱡﻜ ْﻢ‬
 
⃒ 48 

In which both are recited with al-Idghaam according to Hafs. 

 
The Major al-Mutaqaaribayn: it is when the first letter is vowelled and the second is vowelled. 
 
For example: 
 
﴾ ‫ ﴿ َر َزﻗَ ُﻜ ُﻢ‬, ﴾ َ‫ﺳﻨِﯿﻦ‬
ِ ‫ﻋ َﺪ َد‬
َ ﴿
 
Its Rule: it is obligatory to make al-Idhhaar according to Hafs. 
 
The Unrestricted al-Mutaqaaribayn: it is one the first letter is vowelled and the second is 
non-vowelled. 
 
For example: 
 
(‫ )ل‬with (‫)ي‬: 
 
﴾ ‫ﻋﻠَ ْﯿ ُﻜ ْﻢ‬
َ ﴿
 
(‫ )ء‬with (‫)ح‬: 
 
﴾ ‫﴿ أﺣﻤﺪ‬
 
Its Rule: al-Idhhaar is obligatory according to the majority of the reciters. 
 
The Third Rule: al-Mutajaanisaan 
Text: 
 
‫ت ُﺣ ِﻘّﻘَﺎ‬
ِ ‫ﺼﻔَﺎ‬ َ ‫ ﻓِﻲ َﻣ ْﺨ َﺮجٍ د‬... ‫( أ َ ْو ﯾَﻜُﻮﻧَﺎ اﺗﱠﻔَﻘَﺎ‬32)
ّ ِ ‫ُون اﻟ‬
 
Or they both agree in  
Articulation point but not in attributes, so verify it 

 ... َ ‫( ِﺑﺎ ْﻟ ُﻤﺘ َ َﺠﺎ ِﻧ‬33)

‫ﺴ ْﯿ ِﻦ‬
 
As al-Mutajaanisayn 
 
 
⃒ 49 

Explanation: 
 
That  is:  if  two  letters  agree  in  articulation  point  and  differ  in  attributes,  then  it  is  called 
al-Mutajaanisayn. 
 
The categories of al-Mutajaanisayn divides into three categories: 
 
The Minor al-Mutajaanisayn: it is when the first letter is non-vowelled and the second vowelled. 
 
Its  Rule:  it  is  obligatory  to  make  al-Idhhaar  except  in  the  following  places  which  al-Idghhaam  is 
made:  
 
(‫ )د‬with (‫)ت‬. For example: 
 
﴾ َ‫﴿ ﻗَ ْﺪ ﺗَﺒَﯿﱠﻦ‬
 
(‫ )ت‬with (‫)د‬. For example: 
 
﴾ َ ‫﴿ ﻓَﻠَ ﱠﻤﺎ أَﺛْﻘَﻠَﺖ ﱠدﻋ ََﻮا ﱠ‬
 
(‫ )ت‬with (‫)ط‬. For example: 
 
‫﴿ ِإ ْذ َھ ﱠﻤﺖ ﱠ‬
ِ َ ‫طﺎ ِﺋﻔَﺘ‬
﴾ ‫ﺎن‬
 
(‫ )ذ‬with (‫)ظ‬. For example: 
 
 ﴾ ‫﴿ ِإذ َظﻠَ ْﻤﺘ ُ ْﻢ‬
 
(‫ )ب‬with (‫)م‬. For example: 
 
﴾ ‫ارﻛَﺐ ﱠﻣﻌَﻨَﺎ‬
ْ ﴿
The Major al-Mutajaanisayn: it is when the first letter is vowelled and the second is non-vowelled 
 
For example:  
 
ُ ‫ت‬
﴾ ‫طﻮﺑَﻰ ﻟَ ُﮭ ْﻢ‬ ‫﴿ اﻟﱠ ِﺬﯾﻦَ آ َﻣﻨُﻮا َوﻋ َِﻤﻠُﻮا اﻟ ﱠ‬
ِ ‫ﺼﺎ ِﻟ َﺤﺎ‬
 
 
⃒ 50 

(‫ )ت‬with (‫ )ط‬together vowelled. 

 
Its Rule: it is obligatory to make al-Idhhaar according to Hafs. 
 
The Unrestricted al-Mutajaanisayn: it is when the first letter is vowelled and the second is 
non-vowelled.  
 
For example: (‫ )ي‬with (‫ )ش‬in: 
 
﴾ َ‫ﺸﻜ ُُﺮون‬
ْ َ‫﴿ ﯾ‬
 
Its Rule: it is obligatory to make al-Idhhaar according to all reciters. 
 
The Fourth: al-Mutabaa'idayn 
 
To  complete  the  benefit,  I will mention al-Mutabaa'idayn; however, it does not have the same rule as 
al-Mutamaathilayn, al-Mutaqaaribayn, and al-Mutajaanisayn. 
 
Its Definition: it is two letters which are distant in articulation point and differ in attribute.  
 
Its categories: 
 
The Minor al-Mutabaa'idayn: it is when the first letter is non-vowelled and the second is 
vowelled. 
 
For example:  
 
In the letters (‫ )ت‬with (‫)ع‬: 
 
﴾ ‫ﻋﻠَ ْﯿ ِﮭ ْﻢ‬
َ ْ‫﴿ ﺗ ُ ِﻠﯿَﺖ‬
 
The Major al-Mutabaa'idayn: it is when the first letter is vowelled and the second is vowelled.  
 
For example: 
 
(‫ )ك‬with (‫)ھـ‬: 
 
 
⃒ 51 

﴾ َ‫﴿ ﻓَﺎ ِﻛ ُﮭﻮن‬

 
The Unrestricted al-Mutabaa'idayn: it is when the first letter is vowelled and the second is 
non-vowelled.  
 
For example: 
 
(‫ )ء‬with (‫)ن‬: 
 
َ ُ‫﴿ أ َ ْﻧﻔ‬
﴾ ‫ﺴ ُﻜ ْﻢ‬
 
It  is  obligatory  to  make  al-Idhhaar  in  all  of  these  categories  according  to  all  the  reciters.  It  is  not 
possible  to  make  al-Idghaam  due  to  the  distance  between  the  articulation  points  of  the  letters  and 
the difference in their attributes. 
 
Text: 
 
‫ﺳ ِ ّﻤﯿَ ْﻦ‬
َ ‫ﯿﺮ‬ ‫ أ َ ﱠو ُل ُﻛ ٍ ّﻞ ﻓَﺎﻟ ﱠ‬... ‫ﺳﻜ َْﻦ‬
َ ‫ﺼ ِﻐ‬ َ ‫( ﺛ ُ ﱠﻢ إِ ْن‬33)
 
Then if the first letter is non-vowelled 
Then it is Minor in all (categories) 
 
Explanation: 
 
That  is:  when  the  first  letter  is  non-vowelled—in  the  categories  of  al-Mutathaaliayn, 
al-Mutaqaaribayn,  al-Mutajaanisayn,  and  al-Mutabaa'idayn—and  the second letter is vowelled, then it 
is called Minor. The explanation of it has preceded. 
 
Text: 
 
ْ ‫ﯿﺮ‬
‫واﻓ َﮭ َﻤ ْﻨﮫُ ﺑِﺎ ْﻟ ُﻤﺜ ُ ْﻞ‬ ِ َ‫( أ َ ْو ُﺣ ِ ّﺮكَ اﻟ َﺤ ْﺮﻓ‬34)
ٌ ِ‫ ُﻛ ﱞﻞ َﻛﺒ‬... ‫ﺎن ﻓِﻲ ُﻛ ٍ ّﻞ ﻓَﻘُ ْﻞ‬
 
Or both letters are vowellized in each word, then say: 
Both are Major. So understand it through examples 
 
 
 
 
 
⃒ 52 

Explanation: 
 
That is: al-Mutamaathilayn, al-Mutaqaaribayn, and al-Mutjaalisayn, al-Mutbaa'idayn if the first letter is 
vowelled and the second one. It is called Major as explained earlier. 
 
🕮 The Sixth Chapter: Elongation (‫)اﻟﻤﺪود‬ 
 
Definition of Madd linguistically: it means stretching or increasing. From it is the statement of 
the Exalted: 
 
﴾ َ‫﴿ َوﯾُ ْﻤ ِﺪ ْدﻛُﻢ ِﺑﺄ َ ْﻣ َﻮا ٍل َوﺑَﻨِﯿﻦ‬
 
And give you increase in wealth and children [71:12] 
That is: increase you. 
 
Technically:  it  is  to  elongate  a  letter from the letters of Madd for more than two harakats when the 
maddd meets a (‫ )ء‬or a non-vowelled word. 
  
The letters of Madd are three: 
 
(‫ )أ‬which is non-vowelled and is preceded by a Fatha. For example: 
 
﴾ ‫﴿ ﻗَﺎ َل‬
 
(‫ )ي‬which is non-vowelled and is preceded by a Kasrah ( ِ ‫) ـ‬. For example: 
 
﴾ ‫﴿ ﻗِﯿ َﻞ‬
 
(‫ )و‬which is non-vowelled and preceded by a Damma ( ُ ‫) ـ‬. For example: 
 
 ﴾ ‫﴿ ﯾﱠﻘُﻮ ُل‬
 
 
 
 
 
 
⃒ 53 

Text: 
 
‫ﺳ ِ ّﻢ أ َ ﱠوﻻً َط ِﺒﯿ ِﻌﯿﺎ َو ُھﻮ‬ ْ َ ‫( َوا ْﻟ َﻤ ﱡﺪ أ‬35)
َ ‫ َو‬... ُ‫ﺻ ِﻠ ﱞﻲ َو ﻓَ ْﺮ ِﻋ ﱞﻲ ﻟَﮫ‬
 
And Madd is either Primary or Subsidiary  
The first one is called natural and it is 
 
Explanation: 
 
That is: the madd divides into two categories: 
 
1. Primary Madd (‫ﻲ‬ ْ َ ‫)أ‬ 
‫ﺻ ِﻠ ﱞ‬
‫)ﻓَ ْﺮ ِﻋ ﱞ‬ 
2. Subsidiary Madd (‫ﻲ‬
 
Text: 
The First: The Primary Madd (the Natural Madd) 
 
‫وف ﺗُﺠْ ﺘَﻠَ ْﺐ‬ َ ‫ﻋﻠَﻰ‬
ُ ‫ َوﻻ ِﺑﺪُوﻧِ ِﮫ اﻟ ُﺤ ُﺮ‬... ‫ﺳﺒَ ْﺐ‬ ٌ ‫( َﻣﺎ ﻻَ ﺗ َ َﻮﻗﱡ‬36)
َ ُ‫ﻒ ﻟَﮫ‬
 
What does not have a cause for it 
And without it the letters cannot be extended 
 
‫ َﺟﺎ ﺑَ ْﻌ َﺪ َﻣ ٍ ّﺪ ﻓَﺎﻟ ﱠ‬... ‫ُﻮن‬
ْ ‫ﻄ ِﺒﯿ ِﻌ ﱠﻲ ﯾَﻜ‬
‫ُﻮن‬ ْ ‫ﺳﻜ‬ُ ‫ﻏ ْﯿ ُﺮ َھ ْﻤ ٍﺰ أ َ ْو‬
َ ‫ف‬ ‫( ﺑ ْﻞ أ َ ﱡ‬37)
ٍ ‫ي َﺣ ْﺮ‬
 
Rather any letter other than (‫ )ء‬or sukoon ( ْ‫) ـ‬ 
Comes after a madd, then it is natural elongation 
 
Explanation: 
 
That  is:  a  Primarily  madd  is  not  caused  by  a  (‫)ء‬  or  a  sukoon  ( ْ‫ـ‬  ).  Rather  if  any letter comes after it 
except (‫ )ء‬or a sukoon ( ْ‫) ـ‬, then it is a natural elongation. 
 
The Definition of a Natural Elongation: it is that which a letter needs in order to be established 
and what is not caused due to a (‫ )ء‬or a sukoon. 
 
Its  Name:  it  is  called  a  Natural  Elongation  because  a  person  with a sound nature will not fall short 
in giving it its due right nor increase over it. 
 
⃒ 54 

It is called a Primary madd: because it is the origin of all of the elongations. Example of it in one 
word: 
 
﴾ ‫﴿ ﻗَﺎﻟُﻮا‬
 
And in one letter such as: 
 
﴾ ‫﴿ َﺣﻢ‬
 
Its  Duration:  it  is  two  harakaat,  whether  recited  while continuing or stopping, without any increase 
or decrease. 
 
Appendix of the Natural Madd 
 
Added to the Primary and Natural Madd is three other elongations: 
 
1. The Madd of Establishment (‫)ﻣﺪ اﻟﺘﻤﻜﯿﻦ‬
2. The Madd of Substitution (‫)ﻣﺪ اﻟﻌﻮض‬
3. The Minor Connecting Madd (‫)ﻣﺪ اﻟﺼﻠﺔ اﻟﺼﻐﺮى‬
 
First: The Madd of Establishment (‫)ﻣﺪ اﻟﺘﻤﻜﯿﻦ‬ 
 
Its  Definition: it is the meeting of two Yaa's or waw's wherein the first of them has an elongation or 
shaddah. It is of three types. 
 
The First one: when two Yaa’s (‫ )ي‬meet and both have a Shaddah (stress). 
 
For example:  
 
﴾ َ‫ ﴿ اﻟﻨﱠﺒِﯿِّﯿﻦ‬, ﴾ ‫﴿ ُﺣ ِﯿّﯿﺘ ُ ْﻢ‬
 
Its  Rule: the (‫)ي‬ is elongated as a Natural Elongation to a duration of two harakat until it is possible 
to pronounce the second clearly. The reciter does not make al-Idghhaam.   
 
The Second Type: when two Yaa's meet and the first of the two has a letter of madd. For example: 
 
 ﴾ ‫س‬ ْ ‫ ﴿ اﻟﱠﺬِي ﯾُ َﻮ‬, ﴾ َ‫ﻋ ُﺪون‬
ُ ‫ﺳ ِﻮ‬ َ ‫﴿ اﻟﱠﺬِي ﯾُﻮ‬
 
⃒ 55 

The Third Type: if two Waaw's (‫ )و‬come together and one of them is a madd letter: For example: 
 
﴾ ‫ ﴿ ﻗَﺎﻟُﻮا َو ُھ ْﻢ‬, ﴾ ‫﴿ آ َﻣﻨُﻮا َوﻋ َِﻤﻠُﻮا‬
 
Second: The Madd of Substitution (‫)ﻣﺪ اﻟﻌﻮض‬ 
 
Its  Definition:  it  is  an  (‫)أ‬  that  is  removed  when  continuing  in  recitation  and  established  when 
stopping on it, like at-Tanween which is in accusative form. For example: 
 
ُ ‫ ﴿ ا ْھ ِﺒ‬, ﴾ ‫ﻋ ِﻠﯿ ًﻤﺎ َﺣ ِﻜﯿ ًﻤﺎ‬
﴾ ‫ﻄﻮا ِﻣﺼ ًْﺮا‬ َ ﴿
 
Its  Duration:  its  duration  is  two  harakat  when  stopping  on  it  and  it  is  not  read  with  elongation 
when continuing recitation. 
 
Third: The Minor Connecting Madd (‫)ﻣﺪ اﻟﺼﻠﺔ اﻟﺼﻐﺮى‬ 
 
Its definition: it is the letter Waw (‫ )و‬and Yaa (‫ )ي‬that are not present textually and are not recited 
stopping. However, it is established when continuing the recitation. It is called (‫)ھﺎء اﻟﻜﻨﺎﯾﺔ‬. 
 
(‫)ھﺎء اﻟﻜﻨﺎﯾﺔ‬: it is a nickname for the singular third person pronoun. 
 
For example: 
﴾ ‫ ﻋﻠﯿﮫ‬-‫ ﻣﻨﮫ‬-‫ ﻓﯿﮫ‬-‫﴿ ﺑﮫ‬
 
Its duration: two harakat. 
 
Its condition: that it be an additional letter to the word not from the origin of the word. For 
example: 
 
﴾ ُ‫﴿ ﻧَ ْﻔﻘَﮫ‬
 
Likewise there should not be a (‫ )ء‬after the (‫)ھـ‬.  
 
If a (‫ )ء‬appears after it, then it is called the Major Connected Madd (‫)ﻣﺪ اﻟﺼﻠﺔ اﻟﻜﺒﺮى‬. It will come in 
the discussion of the Subsidiary Madd. 
 
 
⃒ 56 

The Second Type: The Subsidiary Madd 

 
Text: 
 
‫ﺴ َﺠﻼ‬
ْ ‫ُﻮن ُﻣ‬
ٍ ‫ﺳﻜ‬ُ ‫ﺳﺒَ ْﺐ َﻛ َﮭ ْﻤ ٍﺰ أ َ ْو‬
َ ... ‫ﻋﻠَﻰ‬ ٌ ُ‫( َواﻵ َﺧ ُﺮ ا ْﻟﻔَ ْﺮ ِﻋ ﱡﻲ َﻣ ْﻮﻗ‬38)
َ ‫ﻮف‬
 
And the other is the subsidiary madd which is 
Caused by (‫ )ء‬or a sukoon ( ْ‫ ) ـ‬in general 
 
Explanation: 
 
The Definition of Subsidiary Madd: it is an elongation of the voice during the recitation of a 
letter from letters of madd, caused by the appearance of (‫ )ء‬or sukoon after it. Its letters are: 
 
Text: 
 
ِ ُ‫ ِﻣ ْﻦ ﻟَ ْﻔ ِﻆ َواي ٍ َو ْھ َﻲ ﻓِﻲ ﻧ‬... ‫( ُﺣ ُﺮوﻓُﮫُ ﺛَﻼَﺛَﺔٌ ﻓَ ِﻌﯿ َﮭﺎ‬39)
‫ﻮﺣﯿ َﮭﺎ‬
 
Its letters are three, so memorize them 
In the word (ٍ ‫ ) َوأَي‬and in the example (‫ﻮﺣﯿ َﮭﺎ‬
ِ ُ‫)ﻧ‬ 
 
ٍ ‫ط َوﻓَﺘْ ٌﺢ ﻗَ ْﺒ َﻞ أ َ ْﻟ‬
‫ﻒ ﯾُ ْﻠﺘ َ َﺰ ْم‬ َ ‫ﺴ ُﺮ ﻗَ ْﺒ َﻞ ا ْﻟﯿَﺎ َوﻗَ ْﺒ َﻞ ا ْﻟﻮا ِو‬
ٌ ‫ ﺷ َْﺮ‬... ‫ﺿ ْﻢ‬ ْ ‫( َواﻟ َﻜ‬40)
 
And Kasrah ( ِ ‫ ) ـ‬before (‫)ي‬, and Damma ( ُ ‫ ) ـ‬before (‫)و‬ 

Is a condition. And a Fatha ( َ ‫ ) ـ‬before (َ ‫ )أ‬is necessary 

 
Explanation: 
 
That is: the letters of madd are three (‫ ي‬,َ‫ أ‬,‫ )و‬and they are collected in the statement (‫)ﻧﻮﺣﯿﮭﺎ‬ 
Non-vowelled (َ ‫ )أ‬preceded by a letter with a Fatha ( َ ‫) ـ‬. 

Non-vowelled (‫ )و‬preceded by a letter with a Damma ( ُ ‫) ـ‬ 

Non-vowelled (‫ )ي‬preceded by a letter with Kasrah ( ِ ‫) ـ‬ 

 
 
 
 
⃒ 57 

Text: 
 
‫ح ﻗَ ْﺒ َﻞ ُﻛ ٍ ّﻞ أ ُ ْﻋ ِﻠﻨَﺎ‬
ٌ ‫ ِإ ِن ا ْﻧ ِﻔﺘَﺎ‬... ‫ﺳ ِ ّﻜﻨَﺎ‬ ٌ ‫( َواﻟ ِﻠّﯿﻦُ ِﻣ ْﻨ َﮭﺎ ا ْﻟﯿَﺎ َو َو‬41)
ُ ‫او‬
 
And Leen from these letters is (‫ )ي‬and (‫ )و‬with a sukoon ( ْ‫) ـ‬ 
If a Fatha ( َ ‫ ) ـ‬before each of them is announced 
 
Explanation: 
 
That  is:  Leen  from  these  three  letters  of  madd  is  (‫)ي‬  and  (‫)و‬  with  the  condition  that  they  are  both 
non-vowelled and preceded by a letter with a Fatha ( َ ‫) ـ‬.  
 
Examples: 
 
ِ ‫﴿ ا ْﻟﺒَ ْﯿ‬
ٍ ‫ ﴿ َﺧ ْﻮ‬, ﴾ ‫ﺖ‬
 ﴾ ‫ف‬
 
Types of Madd 
 
The Mudud are five. Three of them due to Hamzah (‫)ء‬: 
 
1. The Connected Madd 
2. The Separated Madd 
3. The Substituted Madd 
 
Two of them are due to a sukoon ( ْ‫) ـ‬: 
 
1. The Necessary Madd  
2. Temporary Madd due to sukoon ( ْ‫) ـ‬ 
 
The Rules of the Subsidiary Madd 
 
Text: 
 
ُ ‫ َو ْھ َﻲ ا ْﻟ ُﻮ ُﺟ‬... ‫( ِﻟ ْﻠ َﻤ ِ ّﺪ أَﺣْ ﻜَﺎ ٌم ﺛَﻼَﺛَﺔٌ ﺗَﺪُو ْم‬42)
ُ ‫ﻮب َوا ْﻟ َﺠ َﻮ‬
‫از َواﻟﻠﱡ ُﺰو ْم‬
 
There are always three rules for Madd 
 
⃒ 58 

They are: obligatory, permissible, and necessary 

 
Explanation: 
 
That is: the subsidiary Madd has three rules. 
 
The First rule: obligatory and it is specific for the Connected Madd. 
 
The Second rule: permissible and it is for the Separated madd, Temporary Madd due to Sukoon, 
and Madd of Substitution. 
 
The Third rule: necessary and it is specific to the Necessary Madd and its types. 
 
The First type is explained in the next line. 
 
The First Rule: Obligatory Madd 
Text: 
 
‫ ﻓِﻲ ِﻛ ْﻠ َﻤ ٍﺔ َوذَا ِﺑ ُﻤﺘ ﱠ ِﺼ ٍﻞ ﯾُﻌَ ْﺪ‬... ‫ﺐ ِإ ْن َﺟﺎ َء َھ ْﻤ ٌﺰ ﺑَ ْﻌ َﺪ َﻣ ْﺪ‬ ِ ‫( ﻓَ َﻮ‬43)
ٌ ‫اﺟ‬
 
So the obligatory madd is when a Hamzah (‫ )ء‬appears after a madd 
In one word and it is considered connected 
 
Its intent is the madd that is obligatory and connected. 
 
Its Definition: it is when a Hamzah (‫ )ء‬appears after a madd letter in one word. 
 
For example:  
 
 ﴾ ‫ﻮء‬
ِ ‫ﺴ‬‫ ﴿ ِﺑﺎﻟ ﱡ‬, ﴾ ‫ ﴿ َھﻨِﯿﺌ ًﺎ‬, ﴾ َ‫﴿ أُوﻟَﺌِﻚ‬
Its Reason: the reason it is increased over the natural madd is because a madd letter occurs after 
Hamzah (‫ )ء‬in one word. 
 
The First type: its Name: it is called connected because of the connection between the Hamzah 
(‫ )ء‬and the letter of madd in one word. 
 
 
⃒ 59 

Its  Rule:  it  is  obligatory  to  make  madd. The reciters have agreed upon increasing its elongation and 

not shortening it, even though they differ on the duration of the increase. 
Its  Duration:  its  duration  is  four  harkat  and  its  most  common  during  recitation.  It  is  called  the 
Moderate Madd. 
 
It can also be recited with five harakat and it is called Above Average Madd. 
 
And  it  can  be  increased  to  six  harakat  if  the  Hamzah  (‫)ء‬  which  is  connected  appears  at  the  end  of 
the word. For example: 
 
﴾ ‫ﺴﻔَ َﮭﺎ ُء‬
‫﴿ اﻟ ﱡ‬
 
When stopping upon the word it is extended to six harakat. 
 
The Second Rule 
 
The Permissible Madd: it is of many categories 
 
The First Category: The Separated Permissible Madd (ْ‫)اﻟ ُﻤ ْﻨﻔَ ِﺼﻞ‬ 
Text: 
 
‫ ُﻛ ﱞﻞ ِﺑ ِﻜ ْﻠ َﻤ ٍﺔ َو َھﺬَا اﻟ ُﻤ ْﻨﻔَ ِﺼ ْﻞ‬... ‫( َو َﺟﺎﺋِ ٌﺰ َﻣ ﱞﺪ َوﻗَﺼ ٌْﺮ إِ ْن ﻓُ ِﺼ ْﻞ‬44)
 
And the permissible madd is the madd which can be elongated or shorten if  
ِ َ‫( )اﻟ ُﻤ ْﻨﻔ‬separated) 
Each word is separated from each other and this is called (‫ﺼ ْﻞ‬
 
Explanation: 
 
The Second Rule: is the permissible elongation and it is a number of types. 
First type: 
 
Its Definition: it is when a Hamzah (‫ )ء‬appears after a madd letter in another word. 
 
Examples:  
 
﴾ ‫ ﴿ أَﺑَﺎ أ َ َﺣ ٍﺪ‬, ﴾ ‫ﺴﻜُﻢ‬
َ ُ‫ ﴿ ﻗُﻮا أ َ ْﻧﻔ‬, ﴾ ‫ﺴ ُﻜ ْﻢ‬
ِ ُ‫﴿ وﻓِﻲ أ َ ْﻧﻔ‬
 
 
⃒ 60 

ِ َ‫( )اﻟ ُﻤ ْﻨﻔ‬separated) due to the letter of madd being separated from the  
Its Name: it is called (‫ﺼ ْﻞ‬
Hamzah (‫)ء‬. 
Its Rule: it is permissible to elongate or shorten it. 
 
Its Duration: it is four harkat long or five. 
 
It is permissible to make the duration two harakat or three. 
 
The  moderate  form  is  to  make  it  four  harakat  and  this  is  given  precedence  and  is  well-known 
according to Scholars of recitation. 
 
Note:  
 
Shortening  in  the  recitation  of  Hafs  is  not  according  ash-Shaatibiyyah  but  rather  from  the  route  of 
Taiyybatu-Nashr  of  Ibn  ul-Jazari.  It  is  not  necessary  for  the reciter to read madd al-Munfassil shorten 
except when studying the rules connected to it. 
 
The Second Category: Temporary Madd due to Sukoon ( ْ‫) ـ‬ 
Text: 
 
َ ‫ َو ْﻗﻔًﺎ َﻛﺘ َ ْﻌﻠَ ُﻤ‬... ُ‫ﺴﻜُﻮن‬
ْ َ‫ﻮن ﻧ‬
ُ‫ﺴﺘ َ ِﻌﯿﻦ‬ َ ‫( َو ِﻣﺜْ ُﻞ ذَا إِ ْن ﻋ ََﺮ‬45)
‫ض اﻟ ﱡ‬
 
And like this is if the sukoon is temporary 
Due to a stop like the words ( َ‫ )ﺗ َ ْﻌﻠَ ُﻤﻮن‬and ( ُ‫ﺴﺘ َ ِﻌﯿﻦ‬
ْ َ‫)ﻧ‬ 
 
Explanation: 
 
That is: an example of a permissible separated madd is the temporary madd due to a sukoon ( ْ‫) ـ‬ 
(‫)اﻟﻤﺪ اﻟﻌﺎرض ﻟﻠﺴﻜﻮن‬.  It  is  allowed  to  shorten  it  or elongate it when stopping upon a letter which is 
originally vowelled when continuing recitation. 
 
Definition  of the Temporary Madd due to Sukoon ( ْ‫ـ‬ ): it is when after a letter of madd there is a 
vowelled  letter,  which  ever  vowel  it  may be, that is recited when continuing recitation. However, this 
vowel is made into a sukoon ( ْ‫ ) ـ‬when stopping. 
 
Examples: 
 
 
⃒ 61 

ِ ﴿ , ﴾ َ‫ ﴿ ِﻟﻠ ُﻤﺘ ﱠ ِﻘﯿﻦ‬, ﴾ َ‫﴿ اﻟﻔَﺎﺋِ ُﺰون‬

﴾ ‫اﻟﻤ َﮭﺎ ُد‬

Its  Name:  it  is  called  a  temporary  madd  due  to  a  sukoon  ( ْ‫ـ‬ ) because the sukoon ( ْ‫ـ‬ ) is temporary 
as a result of stopping. 
 
Its Rule: it is permissible to elongate it or shorten it. So the elongation is six or four or two harakat. 
 
Connected to the temporary madd due to sukoon ( ْ‫ ) ـ‬is madd of Leen. It is the letters (‫ )و‬and (‫)ي‬ 
which are both non-vowelled and preceded by a letter that has a Fatha ( َ ‫) ـ‬. It applies to when 
stopping during recitation. 
 
Examples: 
ٌ ‫ ﴿ َﺧ ْﻮ‬, ﴾ َ‫﴿ ﺑَﯿْﺖ‬
﴾‫ف‬
 
It has all the rule of the temporary madd due to sukoon ( ْ‫) ـ‬. 
 
The Third Category: Madd of Substitution 
Text: 
 
َ ‫( أ َ ْو ﻗُ ِ ّﺪ َم ا ْﻟ َﮭ ْﻤ ُﺰ‬46)
‫ ﺑَ َﺪ ْل ﻛَﺂ َﻣﻨُﻮا َوإِﯾ َﻤﺎﻧًﺎ ُﺧﺬَا‬... ‫ﻋﻠَﻰ اﻟ َﻤ ِ ّﺪ َوذَا‬
 
Or the Hamzah (‫ )ء‬precedes the madd. This 
Is (called) the Madd of substitution, like the words (‫ )آ َﻣﻨُﻮا‬and (‫ )إِﯾ َﻤﺎﻧًﺎ‬take them both 
 
Explanation: 
 
Definition  of  the  Madd  of  substitution:  it  is  when  a  Hamzah  (‫)ء‬  precedes  a  letter  of  madd  in  a 
word and a (‫ )ء‬does not follow it nor a sukoon. 
 
Examples:  
 
﴾ ‫ ﴿ أُوﺗُﻮا‬, ﴾ ‫ ﴿ ِإﯾ َﻤﺎﻧًﺎ‬, ﴾ ‫﴿ آدم‬
 
 
⃒ 62 

Its  Name:  it  is  called  the  Madd  of  substitution  because  the second Hamzah (‫)ء‬ is substituted to be 
letter  of  madd  in  the  vowel  of  what  precedes  it.  So  the  origin  of  (‫)آدم‬  is  (‫)أَأْدم‬,  and (‫)إِﯾ َﻤﺎﻧًﺎ‬ is (‫)إِإﻣﺎن‬, 
and (‫ )أُوﺗُﻮا‬is (‫)أُأْﺗﻮا‬ 
 
Its  Principle:  if  two  Hamzah's  come  together,  one  of  them  is  vowelled  and  the  second  is 
non-vowelled,  then  the  second  becomes  a  letter  of  madd  according  to  the  vowel  of  the  one  that 
precedes it. 
 
The  second  Hamzah  (‫)ء‬  in  a  word  turns  to  a  letter  of  madd  in  the form of the vowel that precedes 
it, which is Alif. So it becomes (‫)ء‬. 
 
This is principle holds true for all the remaining letters. 
 
Its  Rule:  it  is elongated for the duration of two harakat according to all reciters except Warsh. In his 
recitation, he has three (different) forms for it. 
 
The Third Rule: al-Laazim (the Necessary Madd) 
Text: 
 
ُ ‫ﺻﻼً َو َو ْﻗﻔًﺎ ﺑَ ْﻌ َﺪ َﻣ ٍ ّﺪ‬
َ‫ط ّ ِﻮﻻ‬ ّ ِ ُ ‫ﺴﻜُﻮنُ أ‬
ْ ‫ َو‬... َ‫ﺻﻼ‬ ‫( َوﻻَ ِز ٌم ِإ ِن اﻟ ﱡ‬47)
 
And the necessary madd is when a sukoon ( ْ‫ ) ـ‬is permanent  
When continuing or stopping recitation appears after a madd, in which case it is made long 
 
Explanation:  
 
The meaning of this line of poetry is that necessary Madd is the third from three rules of madd. 
 
Its Definition: it is when a letter with a sukoon ( ْ‫ ) ـ‬appears after a letter of madd and this sukoon  
( ْ‫ـ‬  )  is in the foundation of a word. It is recited while continuing recitation, or when stopping on one 
word, or stopping on a light letter or a stressed one.  
 
Its Name: it is called (‫ )ﻻزم‬because it is necessary due to its cause which is the appearance of a 
sukoon when continuing or stopping recitation. Or due to the elongation being necessary during 
both stopping and continuing.   
 
Its Rule: it is necessary for the madd to be six harakat.
 
⃒ 63 

 
The Types of Necessary Madd 
 
Text: 
 
‫ َو ِﺗ ْﻠﻚَ ِﻛ ْﻠ ِﻤ ﱞﻲ َو َﺣ ْﺮﻓِ ﱞﻲ َﻣﻌَ ْﮫ‬... ‫ﺴﺎ ُم ﻻَ ِز ٍم ﻟَ َﺪ ْﯾ ِﮭ ْﻢ أ َ ْرﺑَﻌَ ْﮫ‬
َ ‫( أ َ ْﻗ‬48)
 
The necessary madd has four types 
And it has Kilmi and Harfi along with it 

‫ ﻓَ َﮭ ِﺬ ِه أ َ ْرﺑَﻌَﺔٌ ﺗُﻔَ ﱠ‬... ‫ﻒ ُﻣﺜَﻘﱠ ُﻞ‬

‫ﺼ ُﻞ‬ ٌ ‫( ِﻛﻼَ ُھ َﻤﺎ ُﻣ َﺨﻔﱠ‬49)
 
ٌ ‫) ُﻣ َﺨﻔﱠ‬, heavy (‫) ُﻣﺜَﻘﱠ ُﻞ‬ 
Both of these categories are light (‫ﻒ‬
So these are four which will be explained
 
Explanation: 
 
The necessary Madd is divided into two: Madd Laazim Kilmi (‫ )ﻣﺪ ﻻزم ِﻛ ْﻠ ِﻤﻲ‬and Madd Laazim Harfi 
(‫ﺣ ْﺮﻓِﻲ‬
َ ‫)ﻣﺪ ﻻزم‬ 
 
And each of them divides into two more: 
 
1. Kilmi Muthaqqal (‫ﻛﻠﻤﻲ ﻣﺜﻘّﻞ‬
ّ ) 
2. Kilmi Mukhaffaf (‫ﻛﻠﻤﻲ ﻣﺨﻔّﻒ‬
ّ ) 
 
3. Harfi Muthaqqal (‫ﺣﺮﻓﻲ ﻣﺜﻘّﻞ‬
ّ ) 
4. Harfi Mukhffaf (‫ﺣﺮﻓﻲ ﻣﺨﻔّﻒ‬
ّ ) 
 
First: Madd al-Laazim al-Kilmi (‫)اﻟﻤﺪ اﻟﻼزم اﻟ ِﻜ ْﻠ ِﻤﻲ‬ 
Text: 
 
‫ف َﻣ ٍ ّﺪ ﻓَﮭ َْﻮ ِﻛ ْﻠ ِﻤ ﱞﻲ َوﻗَ ْﻊ‬
ِ ‫ َﻣ ْﻊ َﺣ ْﺮ‬... ‫ُﻮن اﺟْ ﺘ َ َﻤ ْﻊ‬
ٌ ‫ﺳﻜ‬ُ ‫( ﻓَ ِﺈ ْن ِﺑ ِﻜ ْﻠ َﻤ ٍﺔ‬50)
 
For verily if in a word a sukoon ( ْ‫ ) ـ‬meets 
With a letter of madd then Kilmi occurs 
 
⃒ 64 

Explanation: 
 
If an original sukoon meets a letter of madd in a single word, then it is called Madd Laazim Kilmi
(‫)ﻣﺪ ﻻزم ِﻛ ْﻠ ِﻤﻲ‬. 
It divides into two as the author says: 
 
َ ‫ﻒ ﻛُـ ﱞﻞ ِإذَا ﻟَ ْﻢ ﯾُـ ْﺪ‬
‫ﻏ َﻤﺎ‬ ٌ ‫َﻣﺨـَﻔﱠ‬ ‫ِﻛـﻼَ ُھـ َﻤﺎ ُﻣﺜَـﻘﱠ ٌﻞ ِإ ْن أ ُ ْد ِﻏـ َﻤﺎ‬
 
Both of them Muthaqqal if Idghaam is made 
Mukhaffaf if both of them are not recited with Idghaam 
 
The First type: Kilmi Muthaqqal (‫ﻛﻠﻤﻲ ﻣﺜﻘّﻞ‬
ّ ) 
 
It is when after a letter of madd comes a mushaddad letter in a single word.  
 
For example:  
 
﴾ُ‫ﺼﺎ ﱠﺧﺔ‬
‫ ﴿اﻟ ﱠ‬, ﴾ ُ‫ﻄﺂ ﱠﻣﺔ‬
‫ ﴿ اﻟ ﱠ‬, ﴾ ُ‫﴿ اﻟ َﺤﺎﻗﱠﺔ‬
 
Its  Name:  it  is  called  Kilmi  because  the  madd  is  in  the  word.  It  is  called  Muthaqqal  because  the 
letter  after  the  letter  of  madd  is  mushaddad  (stressed).  It  is  a  type  of  Idghaam  that  occurs  between 
two letters. 
 
The Second type: Kilmi Mukhaffaf (‫ﻛﻠﻤﻲ ﻣﺨﻔّﻒ‬
ّ ) 
 
It is when an established sukoon ( ْ‫ ) ـ‬appears after a letter of madd in a single word. 
 
Example: 
 
 ﴾ ‫﴿ آﻵن‬
Its  Name:  it  is  called  Kilmi  Mukhaffaf  because  the  letter  which  is  after  it  has  sukoon  and  is  not 
stressed. 
 
Second: Madd al-Laazim al-Harfi (‫)ﻣﺪ اﻟﻼزم اﻟ َﺤ ْﺮﻓِﻲ‬ 
Text: 
 
 ‫ﺑَﺪَا‬ ‫ﻄﮫُ ﻓَ َﺤ ْﺮ ِﻓ ﱞﻲ‬
ُ ‫ﺳ‬ ِ ‫( أ َ ْو ﻓِﻲ ﺛُﻼَﺛِ ّﻲ ِ اﻟ ُﺤ ُﺮ‬51)
ْ ‫ َواﻟ َﻤ ﱡﺪ َو‬... ‫وف ُو ِﺟﺪَا‬
 
⃒ 65 

Or in a three-letter word a madd is found 

And the letter of madd is in the middle of it, then Kilmi occurs 
 
 
Explanation: 
 
The Second: is Madd al-Laazim Harfi (‫ﺣ ْﺮﻓِﻲ‬
َ ‫)ﻣﺪ ﻻزم‬ 
 
If  the  aforementioned  sukoon  ( ْ‫ـ‬  )  meets  with  a  letter  of  madd  which  is  in  the  middle  of  a  three 
letter, then it is Laazim Harfi 
 
It divides into two categories: 
 
Text: 
 
ٌ ‫ َﻣ َﺨﻔﱠ‬... ‫( ِﻛﻼَ ُھ َﻤﺎ ُﻣﺜَﻘﱠ ٌﻞ إِ ْن أ ُ ْد ِﻏ َﻤﺎ‬52)
َ ‫ﻒ ُﻛ ﱞﻞ إِذَا ﻟَ ْﻢ ﯾُ ْﺪ‬
‫ﻏ َﻤﺎ‬
 
Both of them Muthaqqal if Idghaam is made 
Mukhaffaf if both of them are not recited with Idghaam 
 
Explanation: 
 
The First Category: Madd Laazim Harfi Muthaqqal (‫)ﻣﺪ ﻻزم ﺣﺮﻓﻲ ﻣﺜﻘﻞ‬ 
 
It is when after a letter of madd comes a letter which is mushaddad (stressed) 
 
Its  Conditions:  it  is  stipulated  that  this  should  be  in three letters in which the middle one is a letter 
of madd. 
 
Examples: 
 
 ﴾ ‫﴿ اﻟﻢ‬
 
Originally it is Alif, Laam, Meem . So the Alif in the word (‫ )ﻻم‬is a Madd Laazim Harfi Muthaqqal 
 
Its Name: it is called Harfi because the madd occurs within a letter.  
 
 
⃒ 66 

It  is  called  Muthaqqal  because  after  the  letter  of  madd  in  the  Alif  comes  a  mushaddad  (stressed) 
letter  which  is  the  Meem  (‫)م‬.  This  is  due  to  the  Idghaam  that  is  made  because  the  Meem  (‫)م‬  at  the 
end of the word Laam meets the letter Meem (‫ )م‬after that. 
 
The Second category: is the Maad Laazim Harfi Mukhaffaf (‫)ﻣﺪ ﻻزم ﺣﺮﻓﻲ ﻣﺨﻔﻒ‬ 
 
It is when after a letter of madd there is an original sukoon which is not mushaddad (stressed).  
 
Its Conditions: is the same for Harfi al-Muthaqqal. 
 
Examples: 
 
﴾‫ ﴿ﺣﻢ‬, ﴾‫ ﴿ن‬, ﴾‫﴿ص‬
 
It is originally (‫)ﺻﺎد‬, and (‫)ﻧﻮن‬, and (‫)ﺣﺎ ﻣﯿﻢ‬ 
 
Places Where Madd al-Laazim al-Harfi and its Letters Occur in the Noble 
Quran 
 
Text: 
 
َ ‫ﺎن ا ْﻧ َﺤ‬
‫ﺼ ْﺮ‬ ‫( َواﻟﻼﱠ ِز ُم ا ْﻟ َﺤ ْﺮﻓِ ﱡﻲ أ َ ﱠو َل اﻟ ﱡ‬53)
ٍ ‫ ُو ُﺟﻮ ُدهُ َوﻓِﻲ ﺛ َ َﻤ‬... ‫ﺴ َﻮ ْر‬
 
And Laazim al-Harfi is at the beginning of the surahs 
And it is found in eight restricted places 
 
ْ ‫ﻄﻮ ُل أ َ َﺧ‬
‫ﺺ‬ ‫ﻋ ْﯿﻦُ ذُو َوﺟْ َﮭ ْﯿ ِﻦ واﻟ ﱡ‬ ْ َ‫ﺴ ْﻞ ﻧَﻘ‬
َ ‫ َو‬... ‫ﺺ‬ َ ‫وف َﻛ ْﻢ‬
َ ‫ﻋ‬ ُ ‫( ﯾَﺠْ َﻤﻌُ َﮭﺎ ُﺣ ُﺮ‬54)
 
Its letters are gathered in the word ‘how much honey has decreased’ 
And the letter ‘Ayn has two conditions and extending the elongation is more specific 
 
Explanation: 
 
That is: the necessary madd, whether Muthaqqal or Mukhaffaf, has specific places in the Noble 
Quran and specific letters. 
 
The positions are at the beginning of the Suwar which begin with the Arabic letters. For example:  
 
⃒ 67 

(‫)ص‬, and (‫)ن‬, and (‫)ﺣﻢ‬. So it is not in the middle of the Suwar nor at the end of it. 
 
The specific letters are gathered in your statement: 
 
‫ﻛﻢ ﻋﺴﻞ ﻧﻘﺺ‬
 
How much honey has decreased 
 
(‫)ك‬, such as in the statement of the Exalted: 
 
 ﴾ ‫﴿ ﻛﮭﯿﻌﺺ‬
 
(‫)م‬, such as in the statements of the Exalted: 
 
﴾ ‫ ﺣﻢ‬- ‫﴿ اﻟﻢ‬
 
(‫)ع‬, such as in the statement of the Exalted: 
 
﴾ ‫﴿ ﻋﺴﻖ‬
 
(‫)س‬, such as in the statements of the Exalted: 
 
﴾ ‫ ﻋﺴﻖ‬- ‫﴿ طﺴﻢ‬
 
(‫)ل‬, such as in the statements of the Exalted: 
 
 ﴾ ‫﴿ اﻟﻢ – اﻟﻤﺮ‬
 
(‫)ن‬, such as in the statement of the Exalted: 
 
 ﴾ ‫ َوا ْﻟﻘَﻠَ ِﻢ‬-‫﴿ ن‬
 
(‫)ق‬, such as in the statements of the Exalted: 
 
ِ ‫ َواﻟﻘُ ْﺮ َء‬-‫﴿ ق‬
﴾ ‫ان اﻟ َﻤ ِﺠﯿ ِﺪ‬
 
 
⃒ 68 

(‫)ص‬, such as in the statements of the Exalted: 

 
﴾ ‫ اﻟﻤﺺ‬- ‫﴿ ص‬
 
These  letters  are  elongated  with  a  madd  that  is  necessary  to  be  held  for  six  harakat  except  for  the 
letter 'Ayn as the author said: 
 
ْ ‫ﻄﻮ ُل أ َ َﺧ‬
 ‫ﺺ‬ ‫ﻋ ْﯿﻦُ ذُو َوﺟْ َﮭ ْﯿ ِﻦ واﻟ ﱡ‬
َ ‫َو‬
 
And the letter ‘Ayn has two conditions and extending the elongation is more specific 
 
That is: the letter 'Ayn has two conditions 
 
The Moderate Elongation: is four harakat long. (‫)اﻟﻄﻮل‬ is a full elongation for six harakats and it is 
better. 
 
Text:  
 
‫ﻒ‬ ْ ‫ف اﻟﺜﱡﻼَ ِﺛﻲ ﻻَ أ َ ِﻟ‬
ْ ‫ ﻓَ َﻤ ﱡﺪهُ َﻣﺪا َط ِﺒﯿ ِﻌﯿﺎ أ ُ ِﻟ‬... ‫ﻒ‬ ِ ‫ﺳ َﻮى اﻟ َﺤ ْﺮ‬
ِ ‫( َو َﻣﺎ‬55)
 
And everything else besides the letters which are composed of three letters, not including Alif 
Then its elongation is known as the natural elongation 
 
 
Explanation: 
 
That is: other than the letters that are individually composed of three letter, the letters which are 
individually composed of two letter such as: 
(‫ھﺎ‬-‫طﺎ‬-‫)ﺣﺎ‬
 
So the rule for it so to make the natural madd for a duration of two harakat. 
 
His statement: (‫)ﻻ أﻟﻒ‬:  that is except for the Alif because it is individually composed of three letters. 
However,  a  Laam  is  in  the  middle  and  it  is  not  from  the  letters  of  madd.  So  a  natural  madd  is  not 
made nor a secondary madd. 
 
 
 
⃒ 69 

Text: 
 
‫( َوذَاكَ أ َ ْﯾﻀًﺎ ِﻓﻲ ﻓَ َﻮا ِﺗﺢِ اﻟ ﱡ‬56)
َ ‫ ِﻓﻲ ﻟَ ْﻔ ِﻆ َﺣ ّﻲ ٍ َطﺎ ِھ ٍﺮ ﻗَ ِﺪ ا ْﻧ َﺤ‬... ‫ﺴ َﻮ ْر‬
‫ﺼ ْﺮ‬
 
And that is also in relation to the beginning of the surahs 
In the wording “alive, clean” they are confined 
 
Explanation: 
 
That  is:  what  the  author  mentioned  in  the  previous  line  is  for  the  natural  madd  from  the  letters 
which are individually composed of two letters. Such as: 
 
( ‫ﺣﺎ‬-‫ ھﺎ‬-‫) طﺎ‬
 
Likewise, the letter Alif is not elongated originally. All of these are found in the beginning of some 
Suwar which are confined in the statement: 
 
(‫)ﺣﻲ طﺎھﺮ‬
 
“Alive and pure” 
 
Five letters are elongated with a natural madd: 
 
(‫ را‬, ‫ھﺎ‬, ‫ طﺎ‬, ‫ ﯾﺎ‬, ‫)ﺣﺎ‬
 
And Alif is not elongated at all. 
 
Text: 
 
ْ ‫ﺳ َﺤ ْﯿ ًﺮا َﻣ ْﻦ ﻗَ َﻄ ْﻌﻚَ ذَا ا‬
‫ﺷﺘ َ َﮭ ْﺮ‬ َ ‫( َوﯾَﺠْ َﻤ ُﻊ ا ْﻟﻔَ َﻮا ِﺗ َﺢ اﻷ َ ْرﺑَ ْﻊ‬57)
ُ ُ‫ ِﺻ ْﻠﮫ‬... ‫ﻋﺸ َْﺮ‬
 
And the letters which are at the beginning of the Suwar are fourteen gathered in 
The well-known statement: “Tie the kinship in the morning with the one who cuts you off ” 
 
Explanation: 
 
That  is  the  number  of  letters  which  occur  in  the  beginning  of  the  Suwar  are  fourteen  which  are 
gathered in the his statement without repetition: 
 
⃒ 70 

 
(‫)ﺻﻠﮫ ﺳﺤﯿﺮا ﻣﻦ ﻗﻄﻌﻚ‬
 
“Tie the kinship in the morning with the one who cuts you off ” 
 
🕮 Conclusion 
Text: 
 
َ ... ِ ‫( َوﺗ َ ﱠﻢ ذَا اﻟﻨﱠ ْﻈ ُﻢ ِﺑ َﺤ ْﻤ ِﺪ ﱠ‬58)
ِ ‫ﻋﻠَﻰ ﺗ َ َﻤ‬
‫ﺎﻣ ِﮫ ِﺑﻼَ ﺗَﻨَﺎ ِھﻲ‬
 
And this poem is completed with the praise of Allah 
For its completion without an end (to His praise) 
 
Explanation: 
 
This  poem  is  completed  accompanied  with  the  praise,  and  exaltation,  and  gratitude  of  Allah,  the 
Exalted.  This  is  because  the  completion  is  a  great  bounty  from  Allah,  the  Exalted  and  praise  and 
gratitude of Allah, the Exalted is given in return. 
 
(‫) ِﺑﻼَ ﺗَﻨَﺎ ِھﻲ‬: that is without an end. Rather the praise for Allah is continuous and perpetual without an 
end. 
 
Text: 
 
‫ ﺗ َ ِﺎرﯾ ُﺨ َﮭﺎ ﺑُﺸ َْﺮى ِﻟ َﻤ ْﻦ ﯾُﺘْ ِﻘﻨُ َﮭﺎ‬... ‫( أ َ ْﺑﯿَﺎﺗُﮫُ ﻧَ ﱞﺪ ﺑَﺪا َ ِﻟ ِﺬ اﻟﻨﱡ َﮭﻰ‬59)
 
Its lines are encompassed in the statement “The clear incense is for the people of understanding” 
Its date of compilation is encompassed in the statement “Glad tidings for the one who perfects it” 
Explanation: 
 
This  line  explains  the  number  of  lines  in  the  poem  The  Children's  Bequest  and  its  date  of  its 
compilation. 
His  statement  (َ ‫)ﻧَ ﱞﺪ ﺑَﺪا‬:  explains  the  number  of  verses  of  the  poem  and  we  know  that  from  Arabic 
numerology. The Arabic alphabet has a number system as shown in the chart below: 
 
 
⃒ 71 

Number  Letter  Number  Letter  Number  Letter  Number  Letter  Number  Letter 

1 ‫أ‬ 7 ‫ز‬ 40 ‫م‬ 100 ‫ق‬ 700 ‫ذ‬

2 ‫ب‬ 8 ‫ح‬ 50 ‫ن‬ 200 ‫ر‬ 800 ‫ض‬

3 ‫ج‬ 9 ‫ط‬ 60 ‫س‬ 300 ‫ش‬ 900 ‫ظ‬

4 ‫د‬ 10 ‫ي‬ 70 ‫ع‬ 400 ‫ت‬ 1000 ‫غ‬

5 ‫ه‬ 20 ‫ك‬ 80 ‫ف‬ 500 ‫ث‬

6 ‫و‬ 30 ‫ل‬ 90 ‫ص‬ 600 ‫خ‬

 
The number of its lines is: "The clear incense" which would be in Arabic numerology: 
 
1 = ‫ أ‬, 4 = ‫د‬, 2 = ‫ب‬, 4 = ‫ د‬, 50 = ‫ن‬
So the total is 61 lines. 
 
Its date of compilation is: 
 
“Glad tidings for the one perfects it” 
 
In Arabic numerology it would be: 
 
, 400 = ‫ ت‬, 10 = ‫ ي‬, 50 =‫ ن‬, 40 = ‫ م‬, 30 = ‫ ل‬,10 =‫ ي‬, 200 =‫ ر‬, 300 = ‫ ش‬, 2 = ‫ب‬
1 = ‫ اﻷﻟﻒ‬, 5 = ‫ ھﺎ‬،50 = ‫ن‬
 
So in total it is 1198 H. 
 
 
 
 
⃒ 72 

Text: 
 
ِ َ‫ﻋﻠَﻰ ِﺧﺘ َ ِﺎم اﻷ َ ْﻧ ِﺒﯿ‬
‫ﺎء أَﺣْ َﻤﺪَا‬ َ ... ‫ﺴﻼَ ُم أَﺑَﺪَا‬ ‫( ﺛ ُ ﱠﻢ اﻟ ﱠ‬60)
‫ﺼﻼَةُ َواﻟ ﱠ‬
 
Then may peace and blessings perpetually be  
Upon the seal of the Prophets, Ahmad 
 
‫ﺎﻣ ِﻊ‬
ِ ‫ﺳ‬َ ‫ َو ُﻛ ِ ّﻞ ﻗَ ِﺎر ٍئ و ُﻛ ِ ّﻞ‬... ‫ﺐ َو ُﻛ ِ ّﻞ ﺗَﺎ ِﺑ ِﻊ‬
ِ ْ‫( َواﻵ ِل َواﻟﺼﱠﺤ‬61)

And upon his family, Companions, and every follower 

And every reciter and every listener  

Explanation: 
 
That  is:  I  complete  my  poem  like  this  by  sending  peace  and blessings upon the Messenger of Allah, 
his  family,  his  Companions,  everyone  who  treads  his  methodology  and  his  narrations  from  the 
Tabi’een,  and  their  followers  until  the  last  day.  In  conclusion,  I  ask  Allah  by  His  bounty  and 
generosity to make my work sincerely for His face. 
 
Editing and review of this work was completed on 
 
21/Rabee' ath-Thaani/1427 H.  
 
By the one who is in need of his Lord 
 
Abu Abdurrahman Ibrahim bin Muhammad al-Faqih al-Qaadimi as-Sareehi 
 
Darul-Hadith Dammaj 
 
 
* * * 
 
 
 
 
 
 
  
⃒ 73 

Index 
 
Introduction  2 

Text of Poem  4 

Important Researches Related to the Knowledge of Tajweed   14 

The Ruling on Learning Tajweed and Acting upon it   15 

The Second Research: The Levels of Recitation   16 

The Third Research: Errors in Pronunciation (‫)اﻟﻠﺤﻦ‬   17 

The Fourth Research: the Rules of Seeking Refuge in Allah (‫ )اﻻﺳﺘﻌﺎذة‬and the Basmalah (‫)اﻟﺒﺴﻤﻠﺔ‬  19 

Benefit  21 

Introduction to the Poem  23 

The First Chapter: The Rules of Noon as-Saakinah and at-Tanween   25 

ُ ‫)اﻹ ْظ َﮭ‬ 
The First Rule: al-Idhhaar (‫ﺎر‬ 26 

The Second Rule: al-Idghaam (‫)اﻹدﻏﺎم‬  28 

ُ َ‫اﻹ ْﻗﻼ‬
The Third Rule: al-Iqlaab (‫ب‬ ِ )   31 

The Fourth Rule: al-Ikhfaa (‫اﻹ ْﺧﻔَﺎء‬

ِ )  32 

The Second Chapter: The Rules of Noon and Meem Mushaddadatayn  34 

Places of al-Ghunnah   35 

Levels of Ghunnah  36 

The Third Chapter: The Rules of Meem as-Saakinah  36 

The First Rule: al-Ikhfaa ash-Shafawi (of the Lips)   37 

The Second Rule: The Minor al-Idghaam al-Mutamaathilayn   38 

The Third Rule: al-Idhhaar ash-Shafawi   39 

The Fourth Chapter: The Rule of the Laam in (‫ )ال‬and the Laam in a Verb  40 

The First Rule: The Rules of Laam in (‫)ال‬  41 

The Second Situation: al-Idghaam  42 

  
⃒ 74 

The Second: the Rule of Laam in a Verb  43 

The Fifth Chapter: al-Mithlayn, al-Mutaqaaribayn, al-Mutajaanisayn, and al-Mutabaa'idayn   44 

The First: al-Mutamaathilaan  44 

Types of al-Mutamaathilayn   44 

The Second Rule: al-Mutaqaaribaan  46 

The Third Rule: al-Mutajaanisaan  48 

The Sixth Chapter: Elongation (‫)اﻟﻤﺪود‬  52 

The First: The Primary Madd (the Natural Madd)  53 

Appendix of the Natural Madd   54 

The Second Type: The Subsidiary Madd  57 

Types of Madd   56 

The Rules of the Subsidiary Madd  57 

The First Rule: the Obligatory Madd  58 

The Second Rule  59 

The First Category: The Separated Permissible Madd (ْ‫)اﻟ ُﻤ ْﻨﻔَ ِﺼﻞ‬  59 

The Second Category: Temporary Madd due to Sukoon ( ْ‫) ـ‬  60 

The Third Category: Madd of Substitution  61 

The Third Rule: al-Laazim (the Necessary Madd)  62 

The Types of Necessary Madd   63 

First: Madd al-Laazim al-Kilmi (‫)اﻟﻤﺪ اﻟﻼزم اﻟ ِﻜ ْﻠ ِﻤﻲ‬  63 

Second: Madd al-Laazim al-Harfi (‫)ﻣﺪ اﻟﻼزم اﻟ َﺤ ْﺮ ِﻓﻲ‬  65 

Places Where Madd al-Laazim al-Harfi and its Letters Occur in the Noble Quran  66 

Conclusion  70 

Index  73