“This remark shows that reciting with tarji‘ draws people together to pay close attention and wins their hearts, so that they can hardly keep from listening to a cadence blended with the delight of compelling wisdom.” Al-Hafiz then added: “What becomes apparent is that tarji‘ includes something beyond ordinary tartil. Ibn Abi Dawud relates—through Abu Ishaq from Alqamah—that he said: ‘I spent the night with Abd Allah ibn Mas‘ud in his house. He slept, then arose and recited like a man praying in the mosque of his own quarter: he did not raise his voice, yet those nearby could hear him. He employed tartil but did not use tarji‘.’ Shaykh Abu Muhammad Ibn Abi Jamrah explained: ‘Tarji‘ here means enhancing the recitation, not singing-style warbling, for reading with a singer’s tarji‘ conflicts with the khushu‘ (devout humility) intended by recitation.’ Shaykh al-Qari (2/142–143) said: ‘Anyone who examines the practice of the early generations will see that they were free from affected, invented melodic patterns. Natural pleasantness and unforced beautification are praiseworthy—even if a person’s innate voice helps him further adorn the Qur’an—because both reader and listener are spiritually moved by it. What is blameworthy is contrived performance learned from songs or particular musical tunes; this is what the Salaf and the God-fearing of later times disapproved of.’ Note: As for the report transmitted by al-Tirmidhi in al-Shama’il (2/143) from Husam ibn Misakk, from Qatadah—‘Allah sent no prophet but that he was handsome of face and voice; your Prophet was handsome of face and voice, and he did not use tarji‘’—its chain is broken, and Husam is weak to the verge of being abandoned, as stated in al-Taqrib. Al-Dhahabi remarked in al-Mizan: ‘This report is among his objectionable narrations.’