anything other than the Arabic tongue has made a serious charge against God: ‘Verily, we have made it an Arabic Koran’” (sura 12.1). Fortunately, philologists like al-Suyuti managed to come up with ingenious arguments to get around the orthodox objections. Al-Tha’alibi argued that there were foreign words in the Koran but “the Arabs made use of them and Arabicized them, so from this point of view they are Arabic.” Although al-Suyuti enumerates 107 foreign words, Arthur Jeffery in his classic work finds about 275 words in the Koran that can be considered foreign: words from Aramaic, Hebrew, Syriac, Ethiopic, Persian, and Greek. The word “Koran” itself comes from the Syriac, and Muhammad evidently got it from Christian sources.
We need to retrace the history of the Koran text to understand the problem of variant versions and variant readings, whose very existence makes nonsense of Muslim dogma about the Koran. As we shall see, there is no such thing as
After Muhammad’s death in A.D. 632, there was no collection of his revelations. Consequently, many of his followers tried to gather all the known revelations and write them down in codex form. Soon we had the codices of several scholars such as Ibn Mas’ud, Ubai b. Kab, Ali’, Abu Bakr, al-Ash’ari, al-Aswad, and others. As Islam spread, we eventually had what became known as the Metropolitan Codices in the centers of Mecca, Medina, Damascus, Kuta, and Basra. As we saw earlier, Uthman tried to bring order to this chaotic situation by canonizing the Medinan Codex, copies of which were sent to all the metropolitan centers, with orders to destroy all the other codices.
Uthman’s codex was supposed to standardize the consonantal text; yet we find that many of the variant traditions of this consonantal text survived well into the fourth Islamic century. The problem was aggravated by the fact the consonantal text was unpointed, that is to say, the dots that distinguish, for example, a “b” from a “t” or a “th” were missing. Several other letters (f and q; j, h, and kh; s and d; r and z; s and sh; d and dh; t and z) were indistinguishable. As a result, a great many variant readings were possible according to the way the text was pointed (had dots added). The vowels presented an even worse problem. Originally, the Arabs had no signs for the short vowels—these were only introduced at a later date. The Arabic script is consonantal. Although the short vowels are sometimes omitted, they can be represented by orthographical signs placed above or below the letters —three signs in all, taking the form of a slightly slanting dash or a comma.
After having settled the consonants, Muslims still had to decide what vowels to employ: using different vowels, of course, rendered different readings.
This difficulty inevitably led to the growth of different centers with their own variant traditions of how the texts should be pointed and vowelized. Despite Uthman’s order to destroy all texts other than his own, it is evident that the older codices survived. As Charles Adams says, “It must be emphasized that far from there being a single text passed down inviolate from the time of Uthman’s commission, literally thousands of variant readings of particular verses were known…. These variants affected even the Uthmanic codex, making it difficult to know what its true original form may have been.” Some Muslims preferred codices other than the Uthmanic, for example, those of Ibn Masud, Ubayy ibn Kab, and Abu Musa. Eventually under the influence of the great Koranic scholar Ibn Mujahid (d. A.D. 935), there was a definite canonization of one system of consonants and a limit placed on the variations of vowels used in the text that resulted in acceptance of the systems of the seven:
1. Nafi of Medina (d. A.D. 785)
2. Ibn Kathir of Mecca (d. A.D. 737)
3. Ibn Amir of Damascus (d. A.D. 736)
4. Abu Amr of Basra (d. A.D. 770)
5. Asim of Kufa (d. A.D 744)
6. Hamza of Kufa (d. AD. 772)
7. Al-Kisai of Kufa (d. A.D. 804)
But other scholars accepted ten readings, and still others accepted fourteen readings. Even Ibn Mujahid’s seven provided fourteen possibilities, since each of the seven was traced through two different transmitters, viz.,
1. Nafi of Medina according to Warsh and Qalun
2. Ibn Kathir of Mecca according to al-Bazzi and Qunbul
3. Ibn Amir of Damascus according to Hisham and Ibn Dhakwan
4. Abu Amr of Basra according to al-Duri and al-Susi
5. Asim of Kufa according to Hafs and Abu Bakr
6. Hamza of Kufa according to Khalaf and Khallad
7. Al-Kisai of Kufa according to al-Duri and Abul Harith
In the end three systems prevailed, for some reason—to quote Jeffery—“which has not yet been fully elucidated,” those of Warsh (d. A.D. 812) from Nafi of Medina, Hafs (d. 805) from Asim of Kufa, and al-Duri (d. A.D. 860) from Abu Amr of Basra. At present in modern Islam, two versions seem to be in use: that of Asim of Kufa through Hafs, which was given a kind of official seal of approval by being adopted in the Egyptian edition of the Koran in 1924; and that of Nafi through Warsh, which is used in parts of Africa other than Egypt.
To quote Charles Adams:
It is of some importance to call attention to a possible source of misunderstanding with regard to the variant readings of the Quran. The seven [versions] refer to actual differences in the written and oral text, to distinct versions of Quranic verses, whose differences, though they may not be great, are nonetheless real and substantial. Since the very existence of variant readings and versions of the Quran goes against the doctrinal position toward the holy Book held by many modern Muslims, it is not uncommon in an apologetic context to hear the seven [versions] explained as modes of recitation; in fact the manner and technique of recitation are an entirely different matter.
Guillaume also refers to the variants as “not always trifling in significance.”
Any variant version or reading poses serious problems for orthodox Muslims. Thus it is not surprising that they should conceal any codices that seem to differ from the Uthman text. Arthur Jeffery describes just such an attempt at concealment:
[The late Professor Bergstrasser] was engaged in taking photographs for the Archive and had photographed a number of the early Kufic Codices in the Egyptian Library when I drew his attention to one in the Azhar Library that possessed certain curious features. He sought permission to photograph that also, but permission was refused and the Codex withdrawn from access, as it was not consistent with orthodoxy to allow a Westen scholar to have knowledge of such a text…. With regard to such variants as did survive there were definite efforts at suppression in the interests of orthodoxy.
The great scholar Noldeke pointed out the stylistic weaknesses of the Koran long ago:
On the whole, while many parts of the Koran undoubtedly have considerable rhetorical power, even over an unbelieving reader, the book aesthetically considered, is by no means a first rate performance…. Let us look at some of the more extended narratives. It has already been noticed how vehement and abrupt they are where they ought to be characterised by epic repose. Indispensable links, both in expression and in the sequence of events, are often omitted, so that to understand these histories is sometimes far easier for us than for those who heard them first, because we know most of them from better sources. Along with this, there is a good deal of superfluous verbiage; and nowhere do we find a steady advance in the narration. Contrast in these respects the history of Joseph (xii) and its glaring improprieties with the admirably conceived and admirably executed story in Genesis. Similar faults are found in the non narrative portions of the Koran. The connexion of ideas is extremely loose, and even the syntax betrays great awkwardness. Anacolutha [want of syntactical sequence; when the latter part of a sentence does not grammatically fit the earlier] are of frequent occurrence, and cannot be explained as conscious literary devices. Many sentences begin with a “when” or “on the day when” which seems to hover in the air, so that commentators are driven to supply a “think of this” or some such ellipsis. Again, there is no great literary skill
