Kwa ujumla, sura hii inajitokeza kama simfonia nzuri. Kuanzia mwanzo hadi mwisho, wimbo mzuri unapita katika muundo wake wa maneno, pamoja na mwisho wa aya zake zenye mashairi. Hili linaonekana hasa na kwa makusudi katika baadhi ya sehemu, ambapo neno huongezwa au kuchaguliwa ili kuhifadhi mdundo au kibwagizo, pamoja na jinsi linavyoongeza maana. Mfano mmoja ni aya mbili zinazosema: “Je, mmeona Al-Lat na Al-'Uzza, na Manat, huyo wa tatu mwingine?” (Aya 19-20) Kama aya ya pili ingesema, “na Manat, wa tatu,” mizani ingevunjika na mdundo usingehifadhiwa. Kwa upande mwingine, kama ingesema, “na Manat, huyo mwingine,” kibwagizo kisingehifadhiwa. Kila neno lililotumika linachangia maana, lakini kuhifadhi mizani na kibwagizo pia ni kwa makusudi. Vivyo hivyo kwa neno “basi” linalotumika katika aya: “Je, nyinyi mna wanaume na Yeye ana wanawake? Hiyo basi ni mgawanyo usio wa haki.” (Aya 21-22) Neno hili idhan, yaani “basi,” ni la lazima ili kuhifadhi mizani na mdundo, lakini pia lina kusudi la kisanaa.1

As a whole, this surah comes across as a superb symphony. From start to finish, a fine tune runs through its verbal structure, as well as its rhyming verse endings. This is especially apparent and deliberate at certain points, where a word is added or preferred to maintain the beat or the rhyme, in addition to how it enhances the meaning. One example is found in the two verses saying: “Have you considered al-Lat and al- (Uzza> and Manat, the third other?" (Verses 19-20) Had the second verse said, ‘and Manat, the third’, the metre would have been broken and the beat would not have been maintained. On the other hand, had it said, and Manat, the other one,’ the rhyme would not have been maintained. Each of the words used contributes to the meaning, but maintaining the metre and the rhyme is also deliberate. The same may be said where the word then is used in the verses: “Are you to have the male and He the female? That would then be an unfair division." (Verses 21-22) This word idhan, or then, is necessary to maintain the metre and the beat, but it also serves an artistic purpose.1

Mdundo wa sura hii ni wa aina maalum ya muziki ambamo tunaona mabadiliko na mtiririko mwepesi, hasa katika sehemu ya kwanza na ya mwisho. Mabadiliko na mtiririko kama hayo yanaendana na picha, vivuli vyenye uhai na maana zilizofichika tunazoziona katika sehemu ya mwanzo, pia yanaendana na maana na mguso wa kipekee katika sehemu ya mwisho.

The beat in this surah is of a special musical type in which we note an easy variation and flow, particularly in the first and the last sections. Such variation and flow are in harmony with the images, lively shades and connotations we note in the opening section, as also with the meanings and superb touches in the closing section.

Sura hii inaanza kwa picha kutoka ulimwengu wa juu ambako matukio yanayorejelewa katika sura hiyo hufanyika. Maana zaidi huongezwa kwa kutajwa kwa mwendo huru wa Roho mwaminifu, Malaika Gabriel, kama alivyomtokea Mtume ﷺ. Picha hizi zote, matukio, maana, mienendo na hali ya kiroho hushirikiana na mdundo na mpigo wa sauti kwa upatanifu kamili, kila kimoja kikiimarisha athari ya kingine. Hili linaipa sura nzima hali maalum, likiacha athari inayoonekana katika sehemu zake zinazofuata, hadi inapohitimishwa kwa sauti yenye nguvu sana, inayohisiwa na kila sehemu ya nafsi zetu na kila seli ya miili yetu.

The opening provides images from the world on high where the events to which the surah refers take place. Further connotations are added by reference to the free movement of the trustworthy Spirit, the Angel Gabriel, as he appeared before the Prophet. All these images, scenes, connotations, movements and spiritual atmosphere interact with the tune and the beat in perfect harmony, mutually strengthening their effects. This imparts a special atmosphere to the whole surah, leaving a marked effect on its succeeding sections, until it concludes on a profoundly powerful note, one that is felt by every part of our souls and every cell in our bodies.

Mada inayoshughulikiwa na sura hii ni ile inayoenea katika sura zote zilizoteremshwa Makkah: imani na misingi yake mikuu, ambayo ni wahyi, Upweke wa Mungu, na Akhera. Sura inashughulikia mada hii kwa mtazamo maalum, ikisisitiza ukweli wa wahyi na msingi thabiti wa imani, ikilinganishwa na upotofu wa ushirikina, ambao hauna msingi.

The theme the surah tackles is the one that pervades all surahs revealed in Makkah: faith and its major concepts consisting of revelation, God’s oneness and the hereafter. The surah tackles this from a particular angle emphasizing the truth of revelation and the solid foundation of faith as compared with the fallacy of idolatry, which lacks foundation.

Sehemu ya kwanza inaonyesha ukweli na asili ya wahyi. Inaeleza matukio mawili yanayothibitisha mchakato halisi wa wahyi. Hii inathibitisha kwamba Mtume ﷺ alipokea wahyi kutoka kwa Gabriel, malaika, ambaye alimwona, na pia kutoka kwa ishara kuu kabisa za Mola wake Mlezi.

The first section illustrates the truth and nature of revelation. It describes two scenes that confirm its actual process. This documents the fact that the Prophet received revelation from Gabriel, the angel, whom he saw, as also from the greatest signs of his Lord.

Katika sehemu ya pili, sura inazungumzia miungu inayodaiwa na wasioamini, al-Lat, al-'Uzza na Manat. Pia inajadili imani zao za kishirikina kwamba malaika ni binti za Mungu. Inasema kwamba wasioamini hawategemei chochote isipokuwa dhana, ambayo haina ukweli. Kinyume chake, Mtume ﷺ anawaita waamini ujumbe wake, ambao hakika ni wa kweli, pamoja na ushahidi thabiti.

In the second section, the surah speaks of the unbelievers’ alleged deities, al-Lat, al-'Uzza and Manat. It also discusses their superstitions about the angels being God’s daughters. It states that the unbelievers rely on nothing but conjecture, which is devoid of truth. By contrast, the Prophet calls on them to believe in his message, which is certain to be true, with solid evidence.

Sura hiyo inamwambia Nabii katika sehemu yake ya tatu kwamba ampuuze wale wanaogeuka mbali na ujumbe wa Mwenyezi Mungu, wale wanaojishughulisha na dunia hii ya sasa, wasiojua chochote zaidi yake. Pia inautaja Akhera na kile inachotoa cha malipo kwa matendo ya watu.

The surah tells the Prophet in its third section that he should ignore those who turn away from God’s message, those who preoccupy themselves with this present world, knowing nothing beyond it. It also refers to the hereafter and what it provides of requital for people’s actions.

Inataja kwamba Mungu anawajua viumbe wote, tangu alipowaanzisha kutoka ardhini na walipokuwa bado tumboni mwa mama zao. Hakika, anawajua kuliko wao wenyewe wanavyojijua nafsi zao. Malipo yao yatatokana na ujuzi huu thabiti; ndio unaoamua hatima yao.

It mentions that God knows all beings, ever since He originated them from the earth and when they were still in their mothers’ wombs. Indeed, He knows them better than they know their own selves. Their requital will be based on this certain knowledge; it defines their destiny.

Sehemu ya nne na ya mwisho inazungumzia mada kuu za imani, ambazo zimebaki zile zile tangu ujumbe wa kwanza kabisa wa Mwenyezi Mungu.

The fourth and final section speaks about the main themes of faith, which have remained the same since the earliest of the divine messages:

kwa maana, uwajibikaji wa mtu binafsi, hesabu sahihi, malipo ya haki, na kurejea kwa viumbe wote kwa Mola wao ambaye huamua yatakayowapata apendavyo. Mbali na hayo, kuna kutajwa kwa haraka kwa hatima waliyoipata jamii zilizotangulia zilizokanusha ujumbe wa Mwenyezi Mungu. Kisha sura inahitimishwa kwa mdundo mkali unaowaamuru watu wote wasujudu mbele ya Mungu na kumwabudu Yeye peke yake. Hivyo basi, mwanzo na mwisho vinatoa maelewano ya picha, maana, athari na sauti za kimuziki.

namely, individual responsibility, accurate reckoning, just reward, and the return of all creatures to their Lord who determines what happens to them as He wills. Added to this is a quick reference to the fate suffered by earlier communities that denied the divine message. The surah then concludes with a strong beat commanding all mankind to prostrate themselves before God and worship Him alone. Thus, the opening and the end provide a harmony of images, connotations, effects and musical tones.