Qur’anic Soundscapes: The Interplay of Sound and Meaning

Many scholars have explored the relationship between sound and meaning in the Qur’an. Ingrid Mattson highlights how the sharp, short syllable endings in the opening verses of Sūrat al-Muddaththir reinforce its commanding tone, urgency, and call to action (Mattson, 2007, 35). Neal Robinson (Robinson, 1996, 162-176) extends this analysis by incorporating structure, demonstrating through his study of Sūrat al-ʿAsr (103), al-Humaza (104), and al-Nabaʾ (78) how sound, structure, and meaning interconnect. However, while these insights enrich Qur’anic studies, many patterns of sound-meaning interaction remain unexplored. This presentation seeks to address part of this gap by providing an overview of existing research, situating it within broader linguistic studies, and offering new insights into the Qur’an’s sound-meaning dynamics.

Theoretical Framework

While sound-meaning relationships have long been recognized as a potential field of linguistic study, Ferdinand de Saussure’s emphasis on the arbitrariness of the linguistic sign led to its marginalization. Saussure argued that the connection between the signifier (sound or written form of a word) and the signified (concept) is random, with no inherent link between a word’s sound or shape and its meaning. Although his perspective largely prevailed, opposing views persisted and have even gained traction in recent decades.

A key example is Edward Sapir’s seminal work, which, while acknowledging the arbitrary nature of most sound-meaning associations, provides compelling evidence for sound symbolism in verbal utterances. His research demonstrates that English speakers, for instance, associate the vowel “a” with larger objects and “i” with smaller ones, suggesting a subconscious link between phonetics and meaning (the mouth assumes a larger shape when uttering the vowel “a” compared to the vowel “i,” Sapir, 1929). More recently, scholars such as David Sidhu and Penny Pexman (2018), Shigeto Kawahara (2020), and Janis Nuckolls (1999) have expanded on this foundation, presenting cross-linguistic evidence for sound symbolism across several languages and calling for a refinement of Saussure’s framework.

Sound Symbolism in the Qur’an

Vowel Symbolism: Abundance and Its Cessation

In the Qur’an, sound-meaning associations often revolve around vowel patterns. One example appears in Sūrat al-Muddaththir (74), where shifts between long and short vowels correspond to themes of abundance and its cessation.

Verses 11–17 describe a rejecter of the Qur’an, identified in exegetical sources as al-Walīd ibn al-Mughīra, highlighting God’s blessings upon him and his ingratitude. With one exception, these verses end with the long rhyming sound “dā”, signifying abundance—both in God’s generosity and in al-Walīd’s arrogance. The exception, verse 15, ends with a short vowel “da,” typically omitted per the rule against concluding a sentence with a vowel. It is thus recited as:

“Thumma yaṭmaʿu an azīd” (“Then he desires that I give more!”).

This break in rhyme disrupts the established pattern, mirroring a break in God’s blessings. When the long vowel rhyme resumes, it marks al-Walīd’s stubbornness and God’s ensuing punishment, reinforcing the idea that both obstinacy and retribution are abundant.

A reverse pattern appears in Sūrat al-Balad (90), where verses 1–7 predominantly feature a short “d” rhyme (e.g., balad, walad, kabad), reflecting the gravity of life and the afterlife. The exception, verse 6, ends in “dā,” marking a contrast:

“I have spent wealth abundantly!”

Here, the long vowel again signifies excess, but its placement disrupts the weightiness of the surrounding verses. The sukūn (vowel omission) in previous verses creates a pausal effect, inviting reflection, while the long vowel in verse 6 suggests persistence in heedlessness and overindulgence.

Consonant Symbolism: Reflection and Turbulence

The “T” Rhyme and Reflective Pauses

Early Meccan sūras often employ the decisive “t” sound marked by a sukūn to prompt reflection. In Sūrat al-Mursalāt (77), a series of oaths affirms that Judgment Day is near. The next five verses describe apocalyptic events, culminating in the rhetorical question:

“To what Day was it postponed?”

The pausal effect generated by the vowel omission in the “t” rhyme, combined with the rhetorical device, compels the listener to pause and reflect. This pattern recurs in Sūrat al-Takwīr (81, vs 1-14), al-Infiṭār (82, vs 1-5), and al-Inshiqāq (84, vs 1-5), reinforcing eschatological themes. In Sūrat al-Balad, however, this effect shifts to worldly contexts, inviting contemplation on God's signs rather than the afterlife.

Consonant Symbolism in Sūrat Maryam

Sūrat Maryam (19) employs rhyme shifts that align with thematic transitions. The sūra contains four major rhyme patterns, each contributing to the overall tone. Three of these are:

1. The “yā” Rhyme (Softness & Mercy):
   • This rhyme dominates the first half of the sūra, which centers on family relationships, often portrayed as divine mercy and gifts.
   • The letter “y” is a sonorant, characterized by smooth airflow, commonly linked to softness, longing, and beauty.
2. The “dā” Rhyme (Severity & Judgment):
   • In verses 75–98, “d” dominates the rhyme scheme.
   • As a plosive consonant, it produces a forceful burst of air, evoking strength, abruptness, and severity—fitting for discussions of afterlife accountability.
3. The “zā” Rhyme (Turbulence & Transience):
   • Interspersed within this section are three verses (81, 83, 98) with a “z” rhyme.
   • Acoustically, “z” is a fricative, falling between sonorants and plosives—it allows airflow like sonorants but with friction, making it more turbulent.
   • The first two instances describe human arrogance and sin, while the third reflects on the afterlife consequences of this behavior.

The sūra concludes with a rhetorical question:

“How many have We destroyed before them of generations? Do you perceive of them anyone or hear from them a sound (rikzā)?”

This final verse underscores the ultimate failure of defiance against God, using rikzā (a faint sound) to mark the disappearance of past arrogant nations—a stark contrast to the loud proclamations of sinners in life.

Conclusion

This presentation will highlight how both vowel and consonant symbolism in the Qur’an contribute to its deeper meanings. By examining rhyme shifts, phonetic contrasts, and thematic alignments, I aim to demonstrate that in many cases, sound in the Qur’an is not merely decorative but plays a crucial role in reinforcing its thematic depth and aesthetic harmony.