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Ep.13: Thomas Alexander on doctrinal changes in Surah 96
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After about a year's hiatus, Thomas Alexander returns to Pfanderfilms to help us understand what Günter Lüling actually did, and demonstrate how his methodology works.
Günter Lüling, according to Thomas, believed that we cannot trust the current Arabic diacritics (the 5 dots and 3 vowels used to delineate what a letter or word actually was), because they did not exist in the earliest Qur'anic manuscripts, but were added much later, usually in the 8th - 10th centuries, due to an agenda imposed by the Abbasid Muslims which we now refer to as the 'Standard Islamic Narrative'.
When you look at many of the Surahs which are poetic, there simply are too many words and ideas which just don't make sense in our current Qur'an, suggesting that those are not the original letters or words which existed in the original texts they were borrowed from.
Therefore, Lüling decided to take off the existing diacritical marks and replace them with other Arabic diacritical marks to see if he could find a better meaning to these texts; and unsurprisingly that is exactly what he found.
This exercise is not something which he invented. Others, like Alphonse Mingana (in Britain) had dome something similar before him, but Lüling was one of the first to actually apply this methodology.
To use as his model, he chose Surah 96, because it was a smaller Surah, and because it has particular problems with comprehension, even today. Here is what he found...
Verse 1: This first verse begins with the phrase "Read in the name of your Lord", and is used by Muslims today as a reference to the angel Gabriel demanding that Muhammad read verses of the Qu'ran in the Hira cave in 610 AD. Yet, in other places in the Qur'an the word for "Read" is rendered "Praise", so why was this word changed here? By changing it back to "Praise" Lüling found that it suddenly made sense as a hymn where Christians would sing "Praise the name of the Lord".
Verse 2: The Arabic uses the word "Clot" to parallel other passages in the Qur'an which say Adam was formed from a clot, yet the proper rendering in Arabic is "clay" which supports the Biblical reference to the substance from which Adam was created.
Verses 15-16: In the Qur'anic text it refers to a forelock, which is a "Lying, sinful forelock"; but this makes no sense, since how can hair speak and lie? Lüling changes it to "He will be seized by his forelock" (or given 'honour'), which completely changes the meaning, but makes a lot more sense Biblically and theologically, suggesting that the lying forelock was added at a later date.
Verse 17: The Qur'an says "Let him call his associates" which Lüling changes to "Let him call his 'high council", which fits the context and can be traced to Old Testament texts as well.
Verse 18: In the Qur'an the word "Zabaniyah" is used, which means 'a celestial being' but commonly rendered, the "guardians of hell". Yet Lüling notes that this word is not found anywhere else in the Qur'an and is not even an Arabic word. Lüling therefore replaces the 'Z' with 'R' so that the word then becomes "Rabaniyah" which in Arabic means teacher, and was used by the Christians as a title for Jesus Christ (see Mark 10:51 and John 20:16). Thus, the reference to Jesus makes more sense in this verse than the 'guardians of hell'.
When Lüling replaced the diacritics and vowels in the above examples he found that he brought the text back to a more reasonable and understandable rendering.
He also noticed that it worked much better to put the texts into 3-line verses rather than the way it is now in the Qur'an. Once he did this he found that the last words of the verses rhymed with the previous ones, proving that this was intentional, as it was a hymn which employed "Mnemonics" to help the singers memorize the verses easier.
In conclusion, Thomas notes that it looks like the later Abbasids took a perfectly good hymn which praised Jesus Christ, and changed the dots and vowels to create a story concerning the angel Gabriel and Muhammad in the Hira cave, so that the Qur'anic text then supported their Standard Narrative.
As Gabriel Said Reynolds says, the later traditional writers (i.e. those who compiled the SIN) needed to have authority for their traditions, so they removed certain dots and vowels from the Qur'anic text and replaced them with other dots and vowels as an "attempted exegesis" of the original text. But in doing so, they didn't exegete the text at all, but "eisegeted" the text, which destroyed its original context and led to simultaneously destroying it original meanings.
© Pfander Centre for Apologetics - US, 10/11/2022
(68,630) Music: "Feeling the Caribbean Sun" by Horst Hoffman, from filmmusic-io
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