Therefore, as long as thou canst, endeavor to show forth new and fresh meanings from thy poetry and cause joy, gladness, mirth and longing to the spiritual ones.
(‘Abdu’l-Bahá, 1909-Jul-01, to Louise Waite -- AB06236)
The arts: giving form to possibility
literature; drama; humanities; the arts
Editorial introduction
A poem can carry a fresh meaning into the heart before the mind has found words to explain it, and ‘Abdu’l-Bahá asks poets for exactly that: new meanings, sweeter rhythm, words worthy of the light they bear. Human nature, He says, is moved more by verse than by prose. Yet inspiration is paired with study, and praise of a ghazal sits beside the charge to finish school and master composition. Painting is set a high aim too, to reflect the forms of the Concourse on High in the mirror of the world below, and drama is credited with the power to educate feeling. Aristotle’s claim that poetry explores what could happen rather than what did offers a fruitful comparison [1], for both accounts hold that imagined particulars can disclose real patterns. Reverence draws a boundary at representing the Manifestations of God in paint or on stage, and that limit says something about what art is for. The path continues into creativity in art, into music and singing, and into the newer arts of photography and recording.
Selected passages
Human nature is more affected by poetry than prose. Poems have a different influence, and odes and lyrics have another radiance.
I hope that you will progress to such a degree that you will surpass the poets of old and acquire complete mastery in all forms of poetry, becoming a nightingale of meanings and a dove in the divine garden.
(‘Abdu’l-Bahá, 1911-Apr ca., to Jalal Bashir Rahmani Farani -- AB04635)
O eloquent secretary! Poetry and composition belong to the arts of rhetoric and expression.
(‘Abdu’l-Bahá, to Muhammad Jafar Munshi -- AB06345)
You had asked about my wish - my purpose is that you study the sciences and knowledge, acquire the art of poetry and composition, complete your studies in school, raise the call to the Kingdom, and engage in spreading the lights of truth.
(‘Abdu’l-Bahá, to Russell, Sigurd et al -- AB04244)
O heavenly one! The maid-servant of God Asiyih hath praised thee! I hope thou wilt acquire great proficiency in writing literature, composition, eloquence of tongue and fluency of speech, co-operating with the maid-servant of God in the service of God, becoming an esteemed servant in the Threshold of Oneness and partaking of a share of the heavenly gifts, and progressing day by day until thou attain to the apex of the excellencies of this human world.
(‘Abdu’l-Bahá, 1906 ca., to Mr Lenard George -- AB08884)
The context was elegant. The words were eloquent and the theme, the Manifest Light. Consequently, it was highly appreciated.
Endeavor, so far as it is possible for thee, that day by day thou mayest string the pearls of poesy with sweeter rhythm and more eloquent contents, in order that it may become conducive to the perpetuity of thy name in the spiritual meetings.
(‘Abdu’l-Bahá, 1906 ca., to Mary Emma Campbell -- AB09795)
The brilliant ode which you had composed was read. Indeed in eloquence, rhetoric, innovation and exposition it showed the essence of clear expression.
(‘Abdu’l-Bahá, 1900 or <, to Mirza Nimatullah Qarabaghi -- AB03840)
The Arabic verse was scattered pearls possessing abundant eloquence and rhetoric, the Turkish poetry like brilliant stars causing wonderment to the masters of eloquence and rhetoric, the Persian verses like flowing water and the pure water of life, with endless sweetness and infinite eloquence.
(‘Abdu’l-Bahá, 1910-May-02, to Musa Ahari -- AB03877)
O thou who arrangest the pearls of inner meanings! We have carefully read the ghazal which was in the utmost eloquence and excellence, with sweet and delightful themes, and We have beseeched divine bounties for you.
(‘Abdu’l-Bahá, to Aqa Muhammad son of Haji Abdus-Samad Maraghihi -- AB07617)
O thou who stringest the pearls of gleaming, luminous and resplendent verse, the pure and chaste poetry!
The composition was noted. It was the melody of the nightingale of meanings and the song of the divine nightingale. It was the high notes of the dove of the gardens and the cooing of the mystic dove in the rose-garden of realities. In truth, it flowed with utmost fluidity like running water and possessed the highest eloquence and grace - the speech of the sugar-eating parrot.
Poetry should be thus - it should be a melody of the highest heaven and a song of the supreme paradise.
(‘Abdu’l-Bahá, 1911 ca., to Mirza Baqir Darvish Masud -- AB09543)
In brief, divine secretaries express spiritual meanings, and the eloquent and articulate ones of the wondrous art display, like the spring season, the flowers of truth.
(‘Abdu’l-Bahá, 1906 ca., to Mirza Yusif Munshi -- AB06577)
O peerless poet! The verses which thou hadst strung like a string of pearls were noted. Each verse was a masterpiece, and every word was like ruby and pearl.
(‘Abdu’l-Bahá, to Ardishir Khudabakhsh Bihjat -- AB08771)
How simple and delicate it is, such that one imagines they could write something similar! But alas, alas - not even one word of it could they write. This style is what is called "easily inaccessible." Ibn Quraya was the King of Poets, and once when all the poets were present before the Caliph, each one recited their laudatory ode and the Caliph praised them. But Ibn Quraya was behind everyone and did not utter a word. So the Caliph asked, "What happened to your ode?" He replied that he had not composed an ode. The Caliph said, "No matter, compose even just two verses right now impromptu," and he spontaneously recited these two verses:
"The Caliphate came to you submissively,
Trailing its robes behind it;
It was not suitable except for you,
And you were not suitable except for it."
And despite all the envy the poets bore him, they all showed humility before those two verses, even though they are extremely simple and unadorned.
(‘Abdu’l-Bahá -- ABU1603)
Say: O assemblage of the learned! By God, neither your intricate verses, nor your embellished words, nor your riddles and enigmas, nor your palindromes will profit you this Day. Cast them aside in My Name, then take what your Lord of the worlds commandeth you.
(Bahá’u’lláh, 1304 ? [1886-1887], to Zaynul-Muqarrabin et al -- BH00566)
Again, shining through the mind of a poet, it is seen in fine poetry and poetic prose. When the Light of the Sun of Truth inspires the mind of a painter, he produces marvellous pictures.
(‘Abdu’l-Bahá, Words spoken in a private home in Chelsea, Sep. 1911 -- ABU3051)
Art without the subtle music of the spirit which is only heard by the still small voice; art without the spiritual inspiration of the higher spheres; art without the infinite waves and vibrations of the super-human; art without the tender messages of the anemones and hyacinths of the spiritual rose-garden is not art but artifice. Therefore you must make an effort to master both branches of Art.
(‘Abdu’l-Bahá, Words to a young girl from Scotland studying painting, spoken at Baltimore Hotel on 1913-May-07 -- ABU1223)
As to your art, it is one of the teachings of Baha'u'llah that art is identical with an act of worship, and you must go on with your art and improve in it; and through this very Cause you will be able to make great progress in your art, for you will be helped from Above.
(‘Abdu’l-Bahá -- ABU2119)
Now if that one intoxicated with the divine cup seeks complete proficiency in the art of drawing and illustration, he must strive until the image of the Concourse on High is reflected in the mirror of the world below, and those celestial forms draw back the veil in every realm of the material world.
If the contingent world becomes confirmed with this gift of the All-Merciful, then this world will become a Most Glorious Paradise.
(‘Abdu’l-Bahá, 1900 or < -- AB07288)
O painter! Beseech the favors of the Most Great Name - may my spirit be a sacrifice for His loved ones - that you may paint upon the canvas of contingent existence a design that matches the pattern of the realm beyond, and that you may depict upon the simple surface of the earth the exalted forms of the Abha Kingdom and holy designs conforming to the Concourse on High.
(‘Abdu’l-Bahá, 1898 or <, to Muhammad Naqqash Hamadani -- AB08279)
O Calligrapher! This world of being is an inscribed book and an unfurled scroll. If thou art able, write with majestic pen upon this contingent page the praises and attributes of the Blessed Beauty, and record in the mighty tablet of creation unique odes and the qualities of the Most Great Luminary, that thou mayest behold the Preserved Tablet and witness the inscriptions of the Mother Book.
(‘Abdu’l-Bahá, to Mihdi Khattat Shirazi -- AB09343)
Can you paint upon the page of the world the ideal pictures of the Supreme Concourse The pictures which are in the ideal world are eternal. I desire you to become such an Artist.
Man can paint those ideal pictures upon the Tablet of existence with the brush of deeds.
(‘Abdu’l-Bahá, Words to a painter, spoken at Hotel Marquardt on 1913-Apr-03 -- ABU2866)
As for theater, if it is within the bounds of propriety and causes improvement of morals, promotion of education, adjustment of society, encouragement of human virtues and universal education, it is most desirable. But if it is based on jest and mockery and outside the bounds of sanctity and promotes lusts, it is certainly forbidden.
(‘Abdu’l-Bahá, 1919-Jun-24, to Muhammad Thabit Maraghihi -- AB01697)
The plays must always elevate the ideals of humanity and not degrade them. The theatre is like unto a school and the playwrights must ever think how to educate the people through the characterizations of noble ideals and personalities.
The actors must embody in their uttered words and deeds, while upon the stage, the noblest emotions, the highest motives, the most delicate art, the tenderest feelings and the most attractive manners.
(‘Abdu’l-Bahá, Words to two actors, spoken at Hotel Marquardt on 1913-Apr-02 -- ABU3072)
"The drama is of the utmost importance." said Abdu'l-Baha. "It has been a great educational power in the past; it will be so again."
(‘Abdu’l-Bahá, Words spoken in Sep. 1911 in London -- ABU3551)
The Herald of the Kingdom stands before the people. Wonderful music swells from an unseen orchestra, moving and soul-inspiring. The music becomes soft while the Herald proclaims the coming of the Kingdom. He holds a trumpet to his mouth. The curtain rises. The stage is crowded with men and women; all are asleep. At the sound of the trumpet they begin to awake.
(‘Abdu’l-Bahá, Outline to the play ``The Drama of the Kingdom" as related to Gabrielle Enthoven, 1913-Jan-16 -- ABU0092)
While travelling throughout Europe and America I observed that the names of the poets of Shiraz - Saadi and Hafiz - were often on the lips of men. Their poems and lyrics were translated into many languages and their poetic and philosophic thoughts are quoted by their literary men.
(‘Abdu’l-Bahá, Words to some friends, spoken on 1915-Mar-18 -- ABU0504)
In America the houses are decorated with costly portraits and pictures of men and women. They pay fabulous prices for these works of art and ancient paintings which are not at all appreciated by the Eastern people. Raphael is one of their most celebrated masters in painting and his portraits are almost priceless...
(‘Abdu’l-Bahá, Words to some Druze friends, spoken on 1914-Nov-02 -- ABU2494)
Now instead of planting trees over the tombs they placed pieces of carved woods. For example if the deceased was brave they would carve the crude form of a lion; if crafty that of a fox and if blood-thirsty that of a dragon.
Another monumental advancement was achieved when they started to carve these pictures with some improvements and more artistic taste on the bark of the trees and placing them in the grave with the dead. As humanity slowly forged ahead, gaining mastery step by step over nature he started to build monuments of triumphs over the tombs, describing in his limited knowledge, the victories wrested from the enemies by the heroes and the braves.
(‘Abdu’l-Bahá, Words spoken on 1914-Apr-18 in Haifa -- ABU0806)
O thou who string together pearls of poetry!
The flowing verses of Aqa Mirza Ali Akbar were read. They were elegant, sweet and sugary, eloquent, articulate and pleasing. But to 'Abdu'l-Baha, the honey of servitude is more delightful.
(‘Abdu’l-Bahá, to Ali Rida Khan (Shiraz) -- AB09320)
Verily, these verse shall be sung in the divine meetings and in the assemblages of the spiritual in the course of ages and centuries to come, for thou hast uttered the praise of thy Lord and expressed significant meanings in eulogy of thy Lord, the Merciful, the Clement. All poems shall be forgotten in the course of time save those that are extraordinary; thy poem shall be chanted with melody and best voices in the Center of Worship (or Mashrak-el-Azcar) forevermore.
(‘Abdu’l-Bahá, 1903-Apr-18, to Louise Waite -- AB07021)
Further quotations · supplied wording and references
As to your question concerning the advisability of dramatizing Baha'i historic episodes; the Guardian would certainly approve, and even encourage that the friends should engage in such literary pursuits which, no doubt, can be of an immense teaching value. What He wishes the believers to avoid is to dramatize the personages of the Bab, Baha'u'llah and 'Abdu'l-Baha, that is to say to treat them as dramatic figures, as characters appearing on the stage. This, as already pointed out, he feels would be quite disrespectful.
LG#342, Ruhi3a.1.8 (25 Jul. 1936 on behalf of Shoghi Effendi)
The prohibition on representing the Manifestation of God in paintings and drawings or in dramatic presentations applies to all the Manifestations of God. There are, of course, great and wonderful works of art of past Dispensations, many of which portrayed the Manifestations of God in a spirit of reverence and love. In this Dispensation however the greater maturity of mankind and the greater awareness of the relationship between the Supreme Manifestation and His servants enable us to realize the impossibility of representing, in any human form, whether pictorially, in sculpture or in dramatic representation, the Person of God's Manifestations.
LG#344, Ruhi3a.1.8 (9 Mar. 1977 on behalf of the Universal House of Justice)
Continue exploring
For thought and discussion
Questions to carry forward
- What can poetry, painting, or drama disclose that an explanatory statement may leave untouched?
- How do these selections connect inspiration with the patient development of skill?
- What becomes possible when art is understood as an act of worship or service, and what questions does that understanding raise for the artist?
- How does Aristotle’s account of poetry and possibility illuminate the selections on drama’s power to educate feeling?
- How might reverence, imaginative freedom, and responsibility to an audience shape choices about representing sacred history?