The
Importance of the Arts in Promoting the Faith
·
From
the Writings of Bahá'u'lláh 1
, 2
, 3
, 4
, 5
, 6
·
From
the Writings of `Abdu'l-Bahá
7,
8,
9,
10,
11,
12,
13,
14,
15,
16,
17,
18,
19,
20
·
From
Utterances of `Abdu'l-Bahá 21,
22,
23,
24
·
From
the Writings of Shoghi Effendi 25
·
From
Letters Written on Behalf of Shoghi Effendi
26,
27,
28,
29,
30,
31,
32,
33,
34,
35,
36,
37,
38,
39,
40,
41,
42
·
From
Letters Written by and on Behalf of the Universal House of Justice
43,
44,
45,
46,
47,
48,
49,
50,
51,
52,
53,
54,
55,
56,
57,
58,
59,
60,
61,
62,
63,
64,
65,
66,
67,
68,
69,
70
·
Notes
The 1996 Ridván
message of the Universal House of Justice to the Bahá'ís
of the World called attention to the importance of the arts, especially the
graphic and performing arts and literature, in the proclamation, expansion and
consolidation of the Bahá'í Faith. This
compilation is intended to enlarge upon this concept. While there are many
references to "the arts" in the English translations of the Writings
of Bahá'u'lláh and `Abdu'l-Bahá,
the appearance of the term "arts" in many such passages can be
misleading because the meaning of the original word often includes a broad
range of activities such as industrial pursuits and trades. The extracts in
this compilation have been chosen because they focus mainly on the graphic and
performing arts and literature.
From the Writings of Bahá'u'lláh
The Sun of
Truth is the Word of God upon which dependeth the
education of those who are endowed with the power of understanding and of
utterance. It is the true spirit and the heavenly water, through whose aid and
gracious providence all things have been and will be quickened. Its appearance
in every mirror is conditioned by the colour of that
mirror. For instance, when its light is cast upon the mirrors of the hearts of
the wise, it bringeth forth wisdom. In like manner
when it manifesteth itself in the mirrors of the
hearts of craftsmen, it unfoldeth new and unique
arts, and when reflected in the hearts of those that apprehend the truth it revealeth wondrous tokens of true knowledge and discloseth the verities of God's utterance.
(Translated from the
Persian) [1]
We have made
it lawful for you to listen to music and singing. Take heed, however, lest
listening thereto should cause you to overstep the bounds of propriety and
dignity. Let your joy be the joy born of My Most Great Name, a Name that bringeth rapture to the heart, and filleth
with ecstasy the minds of all who have drawn nigh unto God. We, verily, have
made music as a ladder for your souls, a means whereby they may be lifted up
unto the realm on high; make it not, therefore, as wings to self and passion.
Truly, We are loath to see you numbered with the
foolish.
(The Kitab-i-Aqdas,
paragraph 51) [2]
They who
recite the verses of the All-Merciful in the most melodious of tones will
perceive in them that with which the sovereignty of earth and heaven can never
be compared. From them they will inhale the divine fragrance of My worlds -- worlds which today none can discern save those
who have been endowed with vision through this sublime, this beauteous
Revelation. Say: These verses draw hearts that are pure unto those spiritual
worlds that can neither be expressed in words nor intimated by allusion.
Blessed be those who hearken.
(The Kitab-i-Aqdas,
paragraph 116) [3]
Every word that
proceedeth out of the mouth of God is endowed with
such potency as can instil new life into every human
frame, if ye be of them that comprehend this truth. All the wondrous works ye
behold in this world have been manifested through the operation of His supreme
and most exalted Will, His wondrous and inflexible Purpose. Through the mere
revelation of the word "Fashioner," issuing forth from His lips and
proclaiming His attribute to mankind, such power is released as can generate,
through successive ages, all the manifold arts which the hands of man can
produce. This, verily, is a certain truth. No sooner is this resplendent word
uttered, than its animating energies, stirring within all created things, give
birth to the means and instruments whereby such arts can be produced and
perfected. All the wondrous achievements ye now witness are the direct
consequences of the Revelation of this Name.
(Published in
"Gleanings from the Writings of Bahá'u'lláh"
(Wilmette: Bahá'í Publishing Trust, 1983), LXXIV, pp. 141-42)
[4]
The soul that
hath remained faithful to the Cause of God, and stood unwaveringly firm in His
Path shall, after his ascension, be possessed of such power that all the worlds
which the Almighty hath created can benefit through him. Such a soul provideth, at the bidding of the Ideal King and Divine
Educator, the pure leaven that leaveneth the world of
being, and furnisheth the power through which the
arts and wonders of the world are made manifest.
("Gleanings", LXXXII, p. 161)
[5]
Every word of
thy poetry is indeed like unto a mirror in which the evidences of the devotion
and love thou cherishest for God and His chosen ones
are reflected. Well is it with thee who hast quaffed the choice wine of
utterance and partaken of the soft flowing stream of true knowledge. Happy is
he who hath drunk his fill and attained unto Him and
woe betide the heedless. Its perusal hath truly proved highly impressive, for
it was indicative of both the light of reunion and the fire of separation.
(Lawh-i-Maqsud,
published in "Tablets of Bahá'u'lláh Revealed
after the Kitab-i-Aqdas" (Wilmette: Bahá'í Publishing Trust, 1995), pp. 175-76) [6]
From the Writings of `Abdu'l-Bahá
O musician of
God!... The songsters of fellowship that abide in the
gardens of holiness must pour forth such a triumphant burst of songs in this
age that the birds in the fields may wing their flight in a transport of
delight; and in this divine festival, this heavenly banquet, they should play
the lute and the harp, and the viol and the lyre in such wise that the people
of east and west may be filled with exceeding joy and gladness, and be carried
away with exultation and happiness. Now it behoveth
thee to raise the melody of that heavenly lyre and to perform music on that
celestial lute, thus causing Barbud1
to return to life and Rudaki2
to be solaced and Farabi3
to become restless and Ibn-i-Sina4
to be guided to the Sinai of God. Upon thee be salutation and praise.
(Translated from the
Persian) [7]
I earnestly
hope that thou wilt memorize all the Persian poems revealed by the Blessed
Beauty and wilt sing them in a voice of incomparable sweetness at Bahá'í meetings and gatherings. The day is not far distant
when these poems will be set to Western music and the sweet accents of these
songs will reach the
(Translated from the
Persian) [8]
The art of
music must be brought to the highest stage of development, for this is one of
the most wonderful arts and in this glorious age of the Lord of Unity it is
highly essential to gain its mastery. However, one must endeavour
to attain the degree of artistic perfection and not be like those who leave
matters unfinished.
(Translated from the
Persian) [9]
O nightingale
of the rose-garden of God! Singing melodies will bring animation and happiness
to the world of humanity, the hearers will be delighted and joyful and their
deeper emotions stirred. But this gladness, this sense of emotion is transitory
and will be forgotten within a short time. However, praise be
to God, thou hast blended thy tunes with the melodies of the Kingdom, wilt
impart solace to the world of the spirit and wilt everlastingly stimulate
spiritual feelings. This will last forever and endure the revolution of ages
and centuries.
(Translated from the
Persian) [10]
O servant of Bahá! Music is regarded as a praiseworthy science at the
Threshold of the Almighty, so that thou mayest chant
verses at large gatherings and congregations in a most wondrous melody and
raise such hymns of praise at the Mashriqu'l-Adhkar
to enrapture the Concourse on High. By virtue of this, consider how much the
art of music is admired and praised. Try, if thou canst, to use spiritual
melodies, songs and tunes, and to bring the earthly music into harmony with the
celestial melody. Then thou wilt notice what a great
influence music hath and what heavenly joy and life it conferreth.
Strike up such a melody and tune as to cause the nightingales of divine
mysteries to be filled with joy and ecstasy.
(Translated from the
Persian) [11]
I rejoice to
hear that thou takest pains with thine
art, for in this wonderful new age, art is worship. The more thou strivest to perfect it, the closer wilt thou come to God.
What bestowal could be greater than this, that one's art should be even as the
act of worshipping the Lord? That is to say, when thy fingers grasp the
paintbrush, it is as if thou wert at prayer in the
(Translated from the
Persian) [12]
Among the
greatest of all great services is the education of children, and promotion of
the various sciences, crafts and arts. Praised be God, ye are now exerting
strenuous efforts toward this end. The more ye persevere in this most important
task, the more will ye witness the confirmations of God, to such a degree that
ye yourselves will be astonished.
(Translated from the
Persian) [13]
O bird that singeth sweetly of the Abha
Beauty! In this new and wondrous dispensation the veils of superstition have
been torn asunder and the prejudices of eastern peoples stand condemned. Among
certain nations of the East, music was considered reprehensible, but in this
new age the Manifest Light hath, in His holy Tablets, specifically proclaimed
that music, sung or played, is spiritual food for soul and heart. The
musician's art is among those arts worthy of the highest praise, and it moveth the hearts of all who grieve. Wherefore, O thou
Shahnaz,5
play and sing out the holy words of God with wondrous tones in the gatherings
of the friends, that the listener may be freed from chains of care and sorrow,
and his soul may leap for joy and humble itself in prayer to the realm of
Glory.
(Published in
"Selections from the Writings of Abdu'l- Bahá" (Wilmette: Bahá'í
Publishing Trust, 1997), paragraphs 74.1-74.2)
[14]
Wherefore, O
loved ones of God! Make ye a
mighty effort till you yourselves betoken this advancement and all these
confirmations, and become focal centres of God's
blessings, daysprings of the light of His unity, promoters of the gifts and
graces of civilized life. Be ye in that land vanguards of the perfections of
humankind; carry forward the various branches of knowledge, be active and
progressive in the field of inventions and the arts. Endeavour to rectify the
conduct of men, and seek to excel the whole world in moral character. While the
children are yet in their infancy feed them from the breast of heavenly grace,
foster them in the cradle of all excellence, rear them in the embrace of
bounty. Give them the advantage of every useful kind of knowledge. Let them
share in every new and rare and wondrous craft and art.
("Selections from
the Writings of Abdu'l-Bahá", paragraph 102.3)
[15]
O ye
recipients of the favours of God! In this new and
wondrous Age, the unshakeable foundation is the teaching of sciences and arts.
According to explicit Holy Texts, every child must be taught crafts and arts,
to the degree that is needful. Wherefore, in every city and village, schools
must be established and every child in that city or village is to engage in
study to the necessary degree.
("Selections from
the Writings of Abdu'l-Bahá", paragraph 109.1)
[16]
O thou son of
the Kingdom! All things are beneficial if joined with the love of God; and
without His love all things are harmful, and act as a veil between man and the
Lord of the Kingdom. When His love is there, every bitterness
turneth sweet, and every bounty rendereth
a wholesome pleasure. For example, a melody, sweet to the ear, bringeth the very spirit of life to a heart in love with
God, yet staineth with lust a soul engrossed in
sensual desires.
("Selections from
the Writings of Abdu'l-Bahá", paragraph 154.3)
[17]
O thou bird of
pleasing tones! Thy little book of poems, which were very sweet, was read. It
was a source of joy, for it was a spiritual anthem and a melody of the love of
God. Continue as long as thou canst this melody in the gatherings of the
beloved; thus may the minds find rest and joy and
become in tune with the love of God. When eloquence of expression, beauty of
sense and sweetness of composition unite with new melodies the effect is ever
great, especially if it be the anthem of the verses of oneness and the songs of
praise to the Lord of Glory. Endeavour your utmost to compose beautiful poems
to be chanted with heavenly music; thus may their beauty affect the minds and
impress the hearts of those who listen.
(Published in
"Tablets of Abdul-Bahá Abbas",
(
O thou honourable one! Thank thou God that thou art instructed in
music and melody, singing with pleasant voice the glorification and praise of
the Eternal, the Living. I pray to God that thou mayest
employ this talent in prayer and supplication, in order that the souls may
become quickened, the hearts may become attracted and all may become inflamed
with the fire of the love of God!
("Tablets of Abdul-Bahá Abbas", vol. III, p. 512)
[19]
The first
condition of perception in the world of nature is the perception of the
rational soul. In this perception and in this power all men are sharers,
whether they be neglectful or vigilant, believers or
deniers. This human rational soul is God's creation; it encompasses and excels
other creatures; as it is more noble and distinguished, it encompasses things.
The power of the rational soul can discover the realities of things, comprehend
the peculiarities of beings, and penetrate the mysteries of existence. All
sciences, knowledge, arts, wonders, institutions, discoveries and enterprises
come from the exercised intelligence of the rational soul.
(Published in "Some
Answered Questions" (Wilmette: Bahá'í Publishing
Trust, 1984), chapter 58, p. 217)
[20]
From Utterances of `Abdu'l-Bahá
What a
wonderful meeting this is! These are the children of the Kingdom. The song we
have just listened to was very beautiful in melody and words. The art of music
is divine and effective. It is the food of the soul and spirit. Through the
power and charm of music the spirit of man is uplifted. It has wonderful sway
and effect in the hearts of children, for their hearts are pure, and melodies
have great influence in them. The latent talents with which the hearts of these
children are endowed will find expression through the medium of music.
Therefore, you must exert yourselves to make them proficient; teach them to
sing with excellence and effect. It is incumbent upon each child to know
something of music, for without knowledge of this art the melodies of
instrument and voice cannot be rightly enjoyed. Likewise, it is necessary that
the schools teach it in order that the souls and hearts of the pupils may
become vivified and exhilarated and their lives be brightened with enjoyment.
(Published in "The
Promulgation of Universal Peace: Talks Delivered by Abdu'l-Bahá
during His Visit to the United States and Canada in 1912", rev. ed.
(Wilmette: Bahá'í Publishing Trust, 1982), p. 52)
[21]
An actor
mentioned the drama, and its influence. "The drama is of the utmost
importance." said `Abdu'l-Bahá. "It has
been a great educational power in the past; it will be so again." He
described how as a young boy he witnessed the Mystery Play of Ali's Betrayal
and Passion, and how it affected him so deeply that he wept and could not sleep
for many nights.
(Published in " Abdu'l-Bahá in London: Addresses and Notes of
Conversations" (Oakham: Bahá'í
Publishing Trust, 1987), p. 93)
[22]
`Abdu'l-Bahá said...: "All Art is a gift of the Holy
Spirit. When this light shines through the mind of a musician, it manifests
itself in beautiful harmonies. 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. These gifts are fulfilling their highest purpose, when showing forth
the praise of God."
(Lady Blomfield,
"The Chosen Highway" (Wilmette: Bahá'í
Publishing Trust, 1954), p. 167) [23]
It is natural
for the heart and spirit to take pleasure and enjoyment in all things that show
forth symmetry, harmony, and perfection. For instance: a beautiful house, a
well designed garden, a symmetrical line, a graceful motion, a well written
book, pleasing garments -- in fact, all things that have in themselves grace or
beauty are pleasing to the heart and spirit -- therefore, it is most certain
that a true voice causes deep pleasure.
(`Abdu'l-Bahá's
words to Mrs. Mary L. Lucas, as quoted in "A Brief Account of My Visit to Acca" (Chicago: Bahá'í
Publishing Society, 1905), pp. 11-14) [24]
From the Writings of Shoghi Effendi
Such a chaste
and holy life, with its implications of modesty, purity, temperance, decency,
and clean-mindedness, involves no less than the exercise of moderation in all
that pertains to dress, language, amusements, and all artistic and literary
avocations. It demands daily vigilance in the control of one's carnal desires
and corrupt inclinations. It calls for the abandonment of a frivolous conduct,
with its excessive attachment to trivial and often misdirected pleasures. It
requires total abstinence from all alcoholic drinks, from opium, and from
similar habit-forming drugs. It condemns the prostitution of art and of
literature,6
the practices of nudism and of companionate marriage, infidelity in marital
relationships, and all manner of promiscuity, of easy familiarity, and of
sexual vices. It can tolerate no compromise with the theories, the standards,
the habits, and the excesses of a decadent age. Nay rather it seeks to
demonstrate, through the dynamic force of its example, the pernicious character
of such theories, the falsity of such standards, the hollowness of such claims,
the perversity of such habits, and the sacrilegious character of such excesses.
(Published in "The
Advent of Divine Justice" (Wilmette: Bahá'í
Publishing Trust, 1990), p. 30)
[25]
From Letters Written on Behalf of Shoghi Effendi
Shoghi Effendi wishes me to acknowledge the receipt of your
letter dated October 27th 1931, together with the accompanying music of
"The Lonely Stranger" sent through.... He sincerely hopes that as the
Cause grows and talented persons come under its banner, they will begin to
produce in art the divine spirit that animates their soul. Every religion has
brought with it some form of art -- let us see what wonders this Cause is going
to bring along. Such a glorious spirit should also give vent to a glorious art.
The
(11 December 1931, to an
individual) [26]
He wishes to
start a new section in "The Bahá'í World"
devoted wholly to poems written by Bahá'ís. Though it
may be a humble beginning it is a start for great future achievements. Shoghi Effendi wishes thereby to encourage those who are
talented to give expression to the wonderful spirit that animates them. We need
poets and writers for the Cause and this is undoubtedly one good way to urge
them on. Some of the poems are written by very youthful persons yet they ring
so true and give expression to such thoughts that one should halt and admire.
In
(2 January 1932, to an
individual) [27]
It is certain
that with the spread of the spirit of Bahá'u'lláh a
new era will dawn in art and literature. Whereas before the form was perfect
but the spirit was lacking, now there will be a glorious spirit embodied in a
form immeasurably improved by the quickened genius of the world.
(3 April 1932, to an
individual) [28]
Shoghi Effendi wishes me to acknowledge the receipt of your
letter dated May 18th 1932. He is very glad to know that you have liked
"The Dawn- Breakers", for his greatest reward is to see that this
work, which has cost him much labour and anxiety, is
helping the friends to understand better and more fully the spirit that
animates the Movement and the exemplary life of the heroic souls that ushered
it into the world. The Guardian sincerely hopes that by reading this book the
friends will be stirred to greater activity and a higher measure of sacrifice,
that they will obtain a deeper realization of this Cause whose spread and
ultimate victory is entrusted to their care. As some who have read the book
have remarked, no one can become familiar with those lives and not be inspired
to follow in their way.
It is surely true that
the spirit of those heroic souls will stir many artists to produce their best.
It is such lives that in the past inspired poets and moved the brush of the
painters.
(20 June 1932, to an
individual) [29]
Shoghi Effendi was very much interested to learn of the success
of the "Pageant of the Nations" you produced. He sincerely hopes that
all those who attended it were inspired by the same spirit that animated you
while arranging it. It is through such presentations that we can arouse the
interest of the greatest number of people in the spirit of the Cause. The day
will come when the Cause will spread like wildfire when its spirit and
teachings will be presented on the stage or in art and literature as a whole.
Art can better awaken such noble sentiments than cold rationalizing, especially
among the mass of the people.
We have to wait only a
few years to see how the spirit breathed by Bahá'u'lláh
will find expression in the work of the artists. What you and some other Bahá'ís are
attempting are only faint rays that precede the effulgent light of a glorious
morn. We cannot yet value the part the Cause is destined to play in the life of
society. We have to give it time. The material this spirit has to mould is too
crude and unworthy, but it will at last give way and the Cause of Bahá'u'lláh will reveal itself in its full splendour.
(10 October 1932, to an
individual) [30]
The Guardian
values the hymns that you are so beautifully composing. They certainly contain
the realities of the Faith, and will indeed help you to give the Message to the
young ones. It is the music which assists us to affect the human spirit; it is
an important means which helps us to communicate with the soul. The Guardian
hopes that through this assistance you will give the Message to the people, and
will attract their hearts.
(15 November 1932, to an
individual) [31]
What Bahá'u'lláh meant primarily with "sciences that begin
and end in words" are those theological treatises and commentaries that
encumber the human mind rather than help it to attain the truth. The students
would devote their life to their study but still attain no where. Bahá'u'lláh surely never meant to include story- writing
under such a category; and shorthand and typewriting are both most useful
talents, very necessary in our present social and economic life.
What you could do, and
should do, is to use your stories to become a source of inspiration and guidance
for those who read them. With such a means at your disposal you can spread the
spirit and teachings of the Cause; you can show the evils that exist in
society, as well as the way they can be remedied. If you possess a real talent
in writing you should consider it as given by God and exert your efforts to use
it for the betterment of society.
(30 November 1932, to an
individual) [32]
Your poem
dedicated to Nabil deeply touched me.... I would also
welcome any other poems from your gifted pen on any phase or episode recounted
in Nabil's immortal narrative. You are rendering the
Cause unique and notable services. Be happy and persevere in your high endeavours.
(6 August 1933, in the
handwriting of Shoghi Effendi, appended to a letter
written on his behalf to an individual) [33]
In regard to
the main question you have raised in connection with the singing of hymns at Bahá'í meetings: He wishes me to assure you that he sees no
objection to it whatsoever. The element of music is, no doubt, an important
feature of all Bahá'í gatherings. The Master Himself
has emphasized its importance. But the friends should in this, as well as in
all other things, not pass beyond the limits of moderation, and should take
great care to maintain the strict spiritual character of all their gatherings.
Music should lead to spirituality, and provided it creates such an atmosphere
there can be no objection against it. A distinction of vital importance should,
however, be clearly established between the singing of hymns composed by the
believers and the chanting of the Holy Utterances.
(17 March 1935, to an
individual) [34]
As to your
question concerning the advisability of dramatizing Bahá'í
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 immense teaching value. What he wishes the believers to avoid is to
dramatize the personages of the Bab, Bahá'u'lláh and `Abdu'l-Bahá,
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.
The mere fact that they appear on the scene constitutes an act of discourtesy
which can in no way be reconciled with their highly exalted station. Their
message, or actual words, should be preferably reported and conveyed by their
disciples appearing on the stage.
(25 July 1936, to an
individual) [35]
The Guardian
was also pleased to know of your deep interest in music, and of your desire to
serve the Faith along this line. Although now is only the very beginning of Bahá'í art, yet the friends who feel they are gifted in
such matters should endeavour to develop and
cultivate their gifts and through their works to reflect, however inadequately,
the Divine Spirit which Bahá'u'lláh has breathed into
the world.
(4 November 1937, to an
individual) [36]
...you raise
the question of what will be the source of inspiration to Bahá'í
musicians and composers: the music of the past or the Word? We cannot possibly foresee,
standing as we do on the threshold of Bahá'í culture,
what forms and characteristics the arts of the future, inspired by this Mighty
New Revelation, will have. All we can be sure of is that they will be
wonderful; as every Faith has given rise to a culture which flowered in
different forms, so too our beloved Faith may be expected to do the same thing.
It is premature to try and grasp what they will be at present.
(23 December 1942, to an
individual) [37]
Music, as one
of the arts, is a natural cultural development, and the Guardian does not feel
that there should be any cultivation of "Bahá'í
Music" any more than we are trying to develop a Bahá'í
school of painting or writing. The believers are free to paint, write and
compose as their talents guide them. If music is written, incorporating the
sacred writings, the friends are free to make use of it, but it should never be
considered a requirement at Bahá'í meetings to have
such music. The further away the friends keep from any set forms, the better,
for they must realize that the Cause is absolutely universal, and what might
seem a beautiful addition to their mode of celebrating a Feast, etc., would
perhaps fall on the ears of people of another country as unpleasant sounds --
and vice versa. As long as they have music for its own sake it is all right,
but they should not consider it Bahá'í music.
(20 July 1946, to a
National Spiritual Assembly) [38]
...he wishes
to call your Assembly's attention to a very important matter, and that is the
Greatest Name. To the western eye, untrained in the art -- the most highly
developed art of the East -- of calligraphy, nearly every Greatest Name, if it
embodies the salient points, is the Greatest Name. But to an Oriental it may
appear a monstrosity.... The exact proportions are what must be maintained. The
Greatest Name must not be stretched out -- or up -- to fill an oblong space or
a circle.
(22 December 1948, to a
National Spiritual Assembly) [39]
It was a
Canadian, of French extraction, who through his vision and skill, was
instrumental in conceiving the design, and delineating the features, of the
first Mashriqu'l-Adhkar of the west, marking the
first attempt, however rudimentary, to express the beauty which Bahá'í art will, in its plenitude, unfold to the eyes of
the world.
(1 March 1951, from a
postscript by Shoghi Effendi appended to a letter
written on his behalf to a National Spiritual Assembly) [40]
Music is one
of the arts, and the Prophets of God do not teach the arts; but the tremendous
cultural impetus which religion gives to society gradually produces new and
wonderful forms of art. We see this in the different styles of architecture and
painting associated with the Christian, Muhammadan,
Buddhist and other civilizations. Music, too, has grown up as an expression of
the people.
We believe that, in the
future, when the Bahá'í spirit has permeated the
world and profoundly changed society, music will be affected by it; but there
is no such thing as Bahá'í music. All it says in the
teachings about music is that it can influence the heart and soul of man very
deeply, and have an extremely uplifting effect.
(3 February 1952, to an
individual) [41]
As regards the
matters you raised in your letter: In the teachings there is nothing against
dancing, but the friends should remember that the standard of Bahá'u'lláh is modesty and chastity. The atmosphere of
modern dance halls, where so much smoking and drinking and promiscuity goes on,
is very bad, but decent dances are not harmful in themselves. There is
certainly no harm in classical dancing or learning dancing in school. There is
also no harm in taking part in dramas. Likewise in cinema
acting. The harmful thing, nowadays, is not the art itself but the
unfortunate corruption which often surrounds these arts. As Bahá'ís
we need avoid none of the arts, but acts and the atmosphere that sometimes go
with these professions we should avoid.
(30 June 1952, to a
National Spiritual Assembly) [42]
From Letters Written by and on Behalf of the Universal House of Justice
Publicity
itself should be well-conceived, dignified and reverent. A flamboyant approach
which may succeed in drawing much initial attention to the Cause may ultimately
prove to have produced a revulsion which would require great effort to
overcome. The standard of dignity and reverence set by the beloved Guardian
should always be upheld, particularly in musical and dramatic items; and
photographs of the Master should not be used indiscriminately. This does not
mean that activities of the youth, for example, should be stultified; one can
be exuberant without being irreverent or undermining the dignity of the Cause.
(2 July 1967, by the
Universal House of Justice to all National Spiritual Assemblies) [43]
...we feel
that it will be helpful to you to know that songs whose words are the primary
Writings of the Bab, Bahá'u'lláh
or `Abdu'l-Bahá are all quite fitting for the
devotional portion of the Feast. Indeed, the Persian chants are such songs, out
of a different tradition; they are a way of giving music to the holy Word, and
each person who chants does it in a way which mirrors his feeling and
expression of the Words he is uttering. As for songs whose words are poetic and
the composition of persons other than the Figures of the Faith, these may be
desirable but in their proper place.... Inasmuch as the spirit of our
gatherings is so much affected by the tone and quality of our worship, of our
feeling and appreciation of the Word of God for this day, we would hope that
you would encourage the most beautiful possible expression of the human spirits
in your communities, through music among other modes of feeling.
(22 February 1971, by the
Universal House of Justice to a National Spiritual Assembly) [44]
Your
understanding that the portrayal of the Bab and Bahá'u'lláh in works of art is forbidden is correct. The
Guardian made it clear that this prohibition refers to all the Manifestations
of God; photographs, or reproductions of portraits, of the Master may be used
in books, but no attempt should be made to portray Him in dramatic or other
works where He would be one of the "dramatis personae". However,
there can be no objection to symbolic representation of such Holy Figures,
provided it does not become a ritual and that the symbol used is not
irreverent.
(3 December 1972, by the
Universal House of Justice to an individual) [45]
While it is
quite true that individual artists such as Mark Tobey
and others have undoubtedly been inspired and influenced by their love for the
Revelation of Bahá'u'lláh, it is far too early in the
Bahá'í Dispensation to talk about the influence of
the Faith on the arts in general. Indeed the beloved Guardian himself has
pointed out that there is, as yet, no such thing as Bahá'í
art although there is no doubt from statements in the writings that a wonderful
efflorescence of new and beautiful arts may be anticipated in the future.
(17 January 1973, by the
Universal House of Justice to a National Spiritual Assembly) [46]
The beloved
Guardian made it clear that the flowering of the arts which is the result of a
divine revelation comes only after a number of centuries. The Bahá'í Faith offers the world the complete rebuilding of
human society -- a rebuilding of such far- reaching effect that it has been
looked forward to in all the revelations of the past and has been called the
establishment of the Kingdom of God on earth. The new architecture to which
this revelation will give birth will blossom many generations hence. We are now
merely at the beginning of this great process.
The present time is a
period of turmoil and change. Architecture, like all arts and sciences, is
undergoing very rapid development; one has only to consider the changes that
have taken place in the course of the last few decades to have some idea of
what is likely to happen during the years immediately ahead. Some modern
buildings have, no doubt, qualities of greatness and will endure, but very much
of what is being constructed now may be outgrown and may appear ugly but a few
generations hence. Modern architecture, in other words, may be considered a new
development in its primitive stage.
(18 July 1974, by the
Universal House of Justice to an individual) [47]
The House of
Justice feels that at this time in the development of the Faith its primary
responsibility is the preparation and prosecution of teaching plans designed to
achieve the objectives set forth in Abdu'l-Bahá's
Tablets of the Divine Plan and that theories in arts and sciences should be developed
under the auspices of those who are well-versed and expert in those fields.
(25 January 1977, on
behalf of the Universal House of Justice to an individual) [48]
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 Manifestation. In stating the Bahá'í
prohibition, the beloved Guardian pointed out this impossibility.
(9 March 1977, on behalf
of the Universal House of Justice to an individual) [49]
The same
destructive forces are also deranging the political, economic, scientific,
literary, and moral equilibrium of the world and are destroying the fairest
fruits of the present civilization.... Even music, art, and literature, which
are to represent and inspire the noblest sentiments and highest aspirations and
should be a source of comfort and tranquillity for
troubled souls, have strayed from the straight path and are now the mirrors of
the soiled hearts of this confused, unprincipled, and disordered age.
(10 February 1980, by the
Universal House of Justice to the Iranian Bahá'ís
throughout the World; published in "Messages from the Universal House of
Justice 1963-1986" (Wilmette: Bahá'í Publishing
Trust, 1996), p. 435)
[50]
Generally
speaking, works of fiction which the writers hope will help to promote
knowledge of the Cause of God will fulfil this
purpose better if they are set against the background of particular events or
developing processes in the Cause of God, and not used to portray the actual
historical events themselves and the figures taking part in them. The reality
of the actual events and the actual personages is so much more convincing than
any fictional account. In this connection the Guardian's secretary wrote on his
behalf:7
He would not recommend
fiction as a means of teaching; the condition of the world is too acute to
permit of delay in giving them the direct teachings associated with the name of
Bahá'u'lláh. But any suitable approach to the Faith,
which appeals to this or that group, is certainly worthy of effort, as we wish
to bring the Cause to all men, in all walks of life, of all mentalities.
(23 September 1980, on
behalf of the Universal House of Justice to an individual) [51]
Your letter
... concerning art has been received, and the Universal House of Justice has
instructed us to commend you on your plan to use your artistic talents to
express the spirit of Bahá'u'lláh's teachings. It
warmly encourages you in this pursuit.... In response to your request for
guidance on the best ways to approach artists in teaching the Faith, it can be
said that in addition to those methods which attract people generally, artists
will be responsive to art. When the sublime teachings of the Faith are
reflected in artistic work, the hearts of people, including artists, will be
touched. A quotation from the Sacred Writings or description of the art piece
as it relates to the Writings may provide the viewer with an understanding of
the source of this spiritual attraction and lead him to further study of the
Faith.
(21 July 1982, on behalf
of the Universal House of Justice to an individual) [52]
With the
evolution of the Bahá'í society, which is composed of
people of many cultural origins and diverse tastes, each with his conception of
what is aesthetically acceptable and pleasing, those Bahá'ís
who are gifted in music, drama and the visual arts are free to exercise their
talents in ways which will serve the Faith of God. They should not feel
disturbed at the lack of appreciation by sundry believers. Rather, in knowledge
of the cogent writings of the Faith on music and artistic expression ... they
should continue their artistic endeavours in
prayerful recognition that the arts are powerful instruments to serve the
Cause, arts which in time will have their Bahá'í
fruition.
(9 August 1983, on behalf
of the Universal House of Justice to an individual) [53]
Your letter ... requesting guidance in the matter of visual representation
of the personages connected with the Heroic Age of the Faith has been received. The Universal
House of Justice wishes you to know that there is nothing in the instructions
of the Guardian, nor of the House of Justice, .. to prohibit artists ... to make drawings of Letters of the
Living in surroundings, or participating in events, which are historically
accurate. Obviously, in addition to accuracy, it is important to uphold the
dignity of the personages being portrayed.
(5 October 1983, on
behalf of the Universal House of Justice to a National Spiritual Assembly) [54]
Architecture
at this time, in common with all aspects of our civilization, is going through
a period of rapid development, with tastes changing from decade to decade. No
one can be certain whether a building which is built now in a current style
will still appear beautiful in the eyes of the people fifty years hence. For
the World Administrative Centre of the Faith, therefore, the beloved Guardian
chose the classical Greek style of architecture. This is a mature style, very
beautiful, which has persisted for some 2,000 years. It would not be correct,
however, to deduce from this that the classical Greek styles are particularly Bahá'í architecture.
(3 September 1984, on
behalf of the Universal House of Justice to an individual) [55]
Rejecting the
low sights of mediocrity, let them scale the ascending
heights of excellence in all they aspire to do. May they resolve to elevate the
very atmosphere in which they move, whether it be in the school rooms or halls
of higher learning, in their work, their recreation, their Bahá'í
activity or social service.
Indeed, let them welcome
with confidence the challenges awaiting them. Imbued with this excellence and a
corresponding humility, with tenacity and a loving servitude, today's youth
must move towards the front ranks of the professions, trades, arts and crafts
which are necessary to the further progress of humankind -- this to ensure that
the spirit of the Cause will cast its illumination on all these important areas
of human endeavour.
Moreover, while aiming at
mastering the unifying concepts and swiftly advancing technologies of this era
of communications, they can, indeed they must, also guarantee the transmittal
to the future of those skills which will preserve the marvellous,
indispensable achievements of the past. The transformation which is to occur in
the functioning of society will certainly depend to a great extent on the
effectiveness of the preparations the youth make for the world they will
inherit.
(8 May 1985, by the
Universal House of Justice to the Bahá'í Youth of the
World) [56]
The House of
Justice wishes to encourage you in the writing of your book but reminds you
that the Guardian clearly stated that at this early stage of the Dispensation
there is no such thing as Bahá'í art, music,
architecture or culture. These will doubtless emerge in the future as a natural
outgrowth of a Bahá'í civilization. The Guardian's
own predilections in such matters should never be regarded as laying the
foundations for such developments. As clearly indicated by his rejection of the
design submitted to him for the Temple in Kampala ... he did not feel that the
general modern trend of architecture current at his time was suitable for a Bahá'í House of Worship, but this in no sense implies that
he instituted a pattern of his own.
His choice of the
classical style for the structures on
(23 June 1985, on behalf
of the Universal House of Justice to an individual) [57]
With reference
to music and fine arts, you are, of course, free to include them as curricular
subjects in Bahá'í schools. Many of your fellow
National Assemblies, keenly aware of the Bahá'í
Writings concerning music and the arts, incorporate such instruction and
materials as they find possible at this stage of Bahá'í
community development. Much work by devoted and talented teachers needs to be
done to stimulate, collect and publish the useful music now emerging in the Bahá'í world, and to utilize it systematically in the
schools....
In accordance with our
Teachings, music and the arts are to be encouraged, and they add immeasurably
to the vitality and spirit of the community. Your Assembly's thoughts and
efforts are valued, and you are remembered in the prayers of the House of
Justice.
(20 August 1985, on
behalf of the Universal House of Justice to a National Spiritual Assembly) [58]
Regarding the
use of symbolism in art, the following extracts from letters written to two
individuals by the House of Justice may provide the answer you seek:
We see no objection to
the use of natural phenomena as symbols to illustrate the significance of the
three Central Figures, Bahá'í Laws, and Bahá'í Administration; and we also appreciate the
suitability of using visual symbols to express abstract concepts. (29 July
1971)
Your understanding that
the portrayal of the Bab and Bahá'u'lláh
in works of art is forbidden is correct. The Guardian made it clear that this
prohibition refers to all the Manifestations of God; photo- graphs, or
reproductions of portraits, of the Master may be used in books, but no attempt
should be made to portray Him in dramatic or other works where He would be one
of the "dramatis personae". How- ever, there can be no objection to
symbolic representation of such Holy Figures, provided it does not become a
ritual and that the symbol used is not irreverent. (3 December 1972)
You sometimes provide
detailed written descriptions of the symbols you use in your paintings; as a
practice this could introduce an aspect which could be unduly interpretive of Bahá'í concepts, ultimately detracting from rather than
enhancing your artistic efforts. Symbolism is the stuff of art, but artists
rarely interpret the symbols they use, leaving it to observers of their works
to draw their own conclusions, sometimes with no more than hints from the
titles given such works.
The titling of a piece of
art is the artist's prerogative; the only objection would be to the use of an
irreverent title for a piece intended to represent a Bahá'í
subject.
As to your question about
an artist's executing a "painting which is a contemporary illumination of
a passage of the Holy Writings", the House of Justice feels artists should
not be inhibited by Bahá'í institutions from creating
a variety of calligraphic renderings of the Holy Writings or of the Greatest
Name. However, such efforts should be in good taste and not assume forms that
lend themselves to ridicule. Regarding the commonly used symbol of the Greatest
Name, the House of Justice advises that great care be given to the accurate
representation of the Persian calligraphy, since any deviation from an accepted
representation can be distressing to Iranian believers.
(23 February 1987, on
behalf of the Universal House of Justice to an individual) [59]
The policy
formulated by the House of Justice to discourage the repro- duction
of photographs of paintings of the Master for distribution does not imply any judgement of the quality of a painting. There is a wide
variation in the quality of the artistry with which paintings of the Master are
carried out. The House of Justice does not wish to show preference for one
painting over another; it chooses rather to adopt this general policy as a
means of ensuring that appropriate respect is accorded to representations of `Abdu'l- Bahá and that there is no
distribution of photographic reproductions of those paintings which are of poor
quality.
An important distinction
is made between publication of photographs of paintings in books and magazines,
which is not prohibited as it is subject to some degree of judgement
by the publisher, and their publication as separate items, which is discouraged
by the House of Justice. More generally, the House of Justice feels that one of
the great challenges facing Bahá'ís everywhere is
that of restoring to the peoples of the world an awareness of spiritual
reality. Our view of the world is markedly different from that of the mass of
mankind, in that we perceive creation to encompass spiritual as well as
physical entities, and we regard the purpose of the world in which we now find
ourselves to be a vehicle for our spiritual progress.
This view has important
implications for the behaviour of Bahá'ís
and gives rise to practices which are quite contrary to prevailing conduct of
the wider society. One of the distinctive virtues given emphasis in the Bahá'í Writings is respect for that which is sacred. Such behaviour has no meaning for those whose perspective on the
world is entirely materialistic, while many followers of the established
religions have debased it into a set of rituals devoid of true spiritual
feeling.
In some instances, the Bahá'í Writings contain precise guidance on how the
reverence for sacred objects or places should be expressed, e.g., restric- tions on the use of the
Greatest Name on objects or on indiscriminate use of the record of the voice of
the Master. In other instances, the believers are called upon to strive to
obtain a deeper understanding of the concept of sacredness in the Bahá'í teachings, from which they can determine their own
forms of conduct by which reverence and respect are to be expressed.
The importance of such behaviour derives from the principle expressed in the Bahá'í Writings, that the outward has an influence on the
inward. Referring to "the people of God" Bahá'u'lláh
states:
Their outward conduct is but a
reflection of their inward life, and their inward life a mirror of their
outward conduct.
It is within
this framework that the Universal House of Justice wishes you to view the
concerns which have been expressed over the past several years. Bahá'ís endowed with artistic talent are in a unique
position to use their abilities, when treating Bahá'í
themes, in such a way as to disclose to mankind evidence of the spiritual
renewal the Bahá'í Faith has brought to humanity
through its revitalization of the concept of reverence.
Questions of artistic
freedom are not germane to the issues raised here. Bahá'í
artists are free to apply their talents to whatever subject is of interest to
them. However, it is hoped that they will exercise a leadership role in
restoring to a materialistic society an appreciation of reverence as a vital
element in the achievement of true liberty and abiding happiness.
(24 September 1987, on
behalf of the Universal House of Justice to an individual) [60]
The House of
Justice is pleased to learn of the success you are achieving in your
profession. It advises you to view this professional activity within the
context of service to the Faith and the promotion of the proclamation and
teaching work. Your musical achievements will enable you to reach a wide range
of people and ultimately to proclaim the Message of Bahá'u'lláh
to them through the expression of its values in your music. You can also make
valuable friend- ships for the Faith among the influential people you will meet
as your business continues to develop. These considerations might well guide
you in the decision now before you concerning the area in which you should
reside. Bahá'í artists who achieve eminence and
renown in their chosen field, and who remain dedicated to the promotion of the
Faith, can be of unique assistance to the Cause at the present time when public
curiosity about the Bahá'í teachings is gradually
being aroused.
(30 June 1988, on behalf
of the Universal House of Justice to two individuals) [61]
It is
permissible to use selections from the Holy Writings as lyrics to be accompanied
by musical compositions and to repeat verses or words. The following quotations
provide further clarification concerning these matters.
Therefore ... set to music the
verses and the divine words so that they may be sung with soul-stirring melody
in the Assemblies and gatherings, and that the hearts of the listeners may
become tumultuous and rise towards the
No doubt
prayers and parts of the Tablets, "Hidden Words", etc., will be
suitable, but he does not feel it would be advisable to abridge any given part,
in other words to leave out parts of a paragraph or a meditation and
foreshorten it in this manner. (From a letter dated 3 July 1949 written on
behalf of Shoghi Effendi to an individual believer)
In response to a question
from a believer concerning minor alterations of words for the sake of correct
accent or the addition of a word for the sake of perfect meter, the beloved
Guardian stated the following:
Slight alterations in the text of the prayers
are permissible, and I would advise you to give a musical form to the revealed
word itself which I feel will be exceedingly effective. I will pray that the
Beloved may inspire you to accomplish this great service to His Cause. (In the
handwriting of Shoghi Effendi, appended to a letter
dated 8 April 1931 written on his behalf to an individual believer)
Regarding the question of
setting verses from the Bahá'í Writings to the
melodies of existing pieces of music, assuming that there is no copyright or
legal restriction involved, one should bear in mind that such music may carry
with it associations of the original piece, either in lyrics or in mood, and
may not meet the requirement to treat the Sacred Texts with dignity and
reverence.
(6 December 1989, on
behalf of the Universal House of Justice to an individual) [62]
There is no
objection to the interpretation of a prayer in the form of movement or dance if
the spirit is properly reverential, but preferably this should not be
accompanied by reading the words.
(4 January 1990, on
behalf of the Universal House of Justice to an individual) [63]
The House of
Justice is pleased to learn of your teaching activities and your continued
devotion to the Cause of God in spite of difficulties you have experienced as a
musician. With regard to your questions: the Bahá'í
Teachings obviously do not condone the mistreatment of musicians or other
artists, nor are artists expected to sacrifice their free will to the whims, or
even the strongly held opinions, of other Bahá'ís. As
for the tensions and difficulties arising between your teaching the Faith
through music and your parallel need to be self-supporting, it is suggested
that you yourself will need to set your own limits in this regard. We find, for
example, the following guidance in a letter dated 26 February 1933 written on
behalf of Shoghi Effendi to an individual believer:
The advice that Shoghi
Effendi gave you regarding the division of your time between serving the Cause
and attending to your other duties was also given to many other friends both by
Bahá'u'lláh and the Master. It is a compromise
between the two verses of the "Aqdas", one
making it incumbent upon every Bahá'í to serve the
promotion of the Faith and the other that every soul should be occupied in some
form of occupation that will benefit society. In one of His Tablets Bahá'u'lláh says that the highest form of detachment in
this day is to be occupied with some profession and be self-supporting. A good Bahá'í, therefore, is the one who so arranges his life as
to devote time both to his material needs and also to the service of the Cause.
(15 February 1990, on
behalf of the Universal House of Justice to an individual) [64]
Your sincere
desire to use theatre as a means of spreading the tenets of the Faith among the
people is commendable and it is the hope of the House of Justice that your
devoted efforts in this field may bring satisfaction to yourselves and benefits
to the community; however, as you yourself have stated, you are conscious of
the difficulties and potential pitfalls of Bahá'í
theatrical endeavours at this time and in the
atmosphere of intolerance prevailing in your country, which make it essential
not to produce plays which may arouse public antipathy or the indignation of religious
fundamentalists.
(9 April 1990, on behalf
of the Universal House of Justice to a National Spiritual Assembly) [65]
...traditional
dances associated with the expression of a culture are permissible in Bahá'í Centres. However, it
should be borne in mind that such traditional dances generally have an
underlying theme or a story being represented. Care must be exercised to ensure
that the themes of such dances are in harmony with the high ethical standards
of the Cause and are not portrayals that would arouse base instincts and
unworthy passions....
As for choreographed
dances whose purpose is to reinforce and proclaim Bahá'í
principles, if they can be performed in a manner which portrays the nobility of
such principles and invokes appropriate attitudes of respect or reverence,
there is no objection to dances which are meant to interpret passages from the
Writings; however, it is preferable that the motions of a dance not be
accompanied by the reading of the words. The principle which must guide the friends
in their consideration of these questions is the observance of "moderation
in all that pertains to dress, language, amusements, and all artistic and
literary avocations".
(20 June 1991, on behalf
of the Universal House of Justice to a National Spiritual Assembly) [66]
There is no
objection, of course, to the use of the phrase "Bahá'í
artist" but at this point in time in the Bahá'í
Dispensation we should not use the term "Bahá'í
art", "Bahá'í music", or "Bahá'í architecture".
(12 March 1992, on behalf
of the Universal House of Justice to two individuals) [67]
The medium of
a novel offers a great deal of latitude for an author to elaborate ideas and
areas of thought hitherto unexplored. You should be careful, however, not to ...
give interpretations that may not be correct if the Faith and its Teachings are
to be explicit in the novel. If, on the other hand, there is no clear
connection to the Faith in the novel, you would be free to use your imagination
in exploring any ideas which have as their source the principles of the Faith.
(15 February 1994, on
behalf of the Universal House of Justice to an individual) [68]
In all their
efforts to achieve the aim of the Four Year Plan, the friends are also asked to
give greater attention to the use of the arts, not only for proclamation, but
also for the work in expansion and consolidation. The graphic and performing
arts and literature have played, and can play, a major role in extending the
influence of the Cause. At the level of folk art, this possibility can be
pursued in every part of the world, whether it be in
villages, towns or cities. Shoghi Effendi held high
hopes for the arts as a means for attracting attention to the Teachings. A
letter written on his behalf to an individual thus conveys the Guardian's view:
"The day will come when the Cause will spread like wildfire when its
spirit and teachings will be presented on the stage or in art and literature as
a whole. Art can better awaken such noble sentiments than cold rationalizing,
especially among the mass of the people."
(21 April 1996, by the
Universal House of Justice to the Bahá'ís of the World) [69]
In much of the
region, insufficient attention has been given to the education of children. Far
more extensive programmes should be initiated in
those countries where the need exists, to ensure that Bahá'í
children are nurtured, encouraged to acquire trained minds, illumined with a
sound knowledge of the Divine Teachings, well- equipped to participate in the
work of the Cause at all levels and to contribute to the arts, crafts and
sciences necessary for the advancement of civilization. Such programmes, when open to all children, Bahá'í
or not, offer a potent means of extending the beneficial influences of Bahá'u'lláh's Message to the wider society.
(21 April 1996, by the
Universal House of Justice to the Followers of Bahá'u'lláh in Australasia)
[70]
1.
Peerless Persian musician: A singer, player and inventor of many ancient
musical instruments who lived at the court of Khosrow-Parviz
of the Sasani dynasty about 600 A.D.
2.
"Father of Persian poetry" (d. A.D. 940).
3.
Renowned Muslim scholar; author of a treatise on music (ca. A.D. 870-950).
4.
Physician/scientist/philosopher known in the west as Avicenna, one of whose
major works devotes a section to music theory (ca. A.D. 980-1027).
5.
Shahnaz, the name given to the recipient of this
Tablet, is also the name of a musical mode.
6.
The Universal House of Justice, in a letter dated 15 March 1972 written on its
behalf, has elucidated this phrase of the Guardian in this manner: "As to
your question about the prostitution of arts and literature' we understand by
this, using art and literature for debased ends."
7. 23 March 1945, to an
individual.
8.
A newer authorized translation of this passage is found in "Selections
from the Writings of Abdu'l-Bahá" (Wilmette: Bahá'í Publishing Trust, 1997), paragraph 74.2
(see item [14]
of this compilation).