Remove ads
From Wikipedia, the free encyclopedia
The writings of Baháʼu'lláh are the corpus of texts written or narrated by Baháʼu'lláh, which are regarded as sacred scripture in the Baháʼí Faith. Baháʼu'lláh was the founder of the Baháʼí Faith; he was born in Persia and later exiled for being a follower of the Báb, who in 1844 had declared himself to be a Manifestation of God and forerunner of "Him Whom God shall make manifest".[1] Bahá’ú’lláh first announced his claim to be a Manifestation of God in 1863 and spent the rest of his life as a prisoner of the Ottoman Empire, exiled first to Baghdad, followed by Istanbul, Edirne, where he began proclaiming his mission,[2] and finally Acre. His teachings revolve around the principles of unity and religious renewal, ranging from moral and spiritual progress to world governance.[1]
Bahá’ú'lláh's writings, also referred to as Tablets, were written over a forty-year period beginning before he declared his mission in 1863.[3] Almost 20,000 separate works with a total of around seven million words are currently catalogued at the Baháʼí World Centre in Haifa, Israel, a majority of which are preserved authenticated copies. His writings constitute a vast body of work, of which approximately two-thirds is in Arabic and the remainder is either in Persian or a mixture of both Arabic and Persian passages. They include treatises; correspondence with individuals; comments on passages from the Bible, the Qur’an, Islamic Hadith, Sufi poets, historians and philosophers; and many thousands of prayers, some of which are stand-alone tablets and others of which are part of larger tablets.[4] The majority of his writings were dictated to Mírzá Áqá Ján, his amanuensis; eyewitnesses described the experience of witnessing the revelation of Bahá’ú'lláh's words as overwhelming and said Bahá’ú'lláh spoke so rapidly that Mírzá Áqá Ján sometimes had difficulty keeping up.[1] Sometimes Bahá’ú'lláh uttered over 1000 verses in less than an hour without any apparent forethought, and on occasion during the early years this continued over extended periods lasting day and night, often involving visionary experiences. In order to copy down everything that Bahá’ú'lláh said at these times, Mírzá Áqá Ján developed his own style of speed writing.[5] After, a clear version was prepared, forming the basis of a formal copy to be given to the recipient. When texts were assigned to individuals in Persia they were often sent to a copyist linked together on one document, and then re-copied as separate items. The abundance of hand copied texts undoubtedly accounts for the fact that Bahá’ú'lláh's writings, either in the original or in trusted transcriptions, have survived for posterity.[1]
The underlying theme running through Bahá’ú’lláh's writings is the precept of unity in diversity: one God at the root of various concepts of a deity, unity of the prophets in spite of apparent differences in their messages, unity of religion despite seemingly contradictory beliefs, and unity of humanity which has forever suffered and continues to suffer conflicts between tribes, religious factions, and nations.[1]
The majority of Bahá’ú’lláh's writings consist of comparatively short replies to correspondence from his followers, who, during the early period of his ministry, lived primarily within Shi’ite Islamic boundaries. As news began to spread of the Baháʼí movement, and as a result of Bahá’ú’lláh's several exiles, — which included Baghdad in Iraq before he was moved to Istanbul, Edirne, and finally the prison city of Acre in Palestine, — correspondence widened to include members of minority Islamic and mystical groups, Jews, Zoroastrians and Christians, including Pope Pius IX, several crowned heads of Europe, as well as correspondents in Central Asia and India, religious and secular rulers of the Persian and Ottoman empires, and the various state leaders of North America.[6]
One of Bahá’ú’lláh's first known Tablets dates from 1852, at the time of his imprisonment in the Síyáh-Chál in Tehran following false accusations against him in connection with the failed assassination attempt on the life of the Shah. Bearing the title Rashḥ-i-‘Amá [The Clouds of the Realms Above], it is a poem of 20 verses written in Persian, and is among the few that he wrote before being exiled from Persia to Baghdad.
Bahá’ú’lláh was first exiled in 1853 to Baghdad, accompanied by his family and close companions. Following the attempted assassination of the Shah, Bahá’ú’lláh's half brother, Azal Mírzá Yahyá, had fled into the mountains and forests of northern Persia in fear for his life, later disguising himself and joining Bahá’ú’lláh in Baghdad.[7]
Bahá’ú’lláh's writings from that time onwards can be divided into three periods. Shoghi Effendi referred to these periods as the Vernal years, covering the exile to Baghdad; Summertime, being the exiles in Istanbul and Edirne; and the Harvest Season, which covers Bahá’ú’lláh's exile in Acre.[1] Bahá’ú’lláh's writings also fall into three categories: the first following on from the proclamation of his mission in Edirne; the second including laws and ordinances, most of which were already listed in the Kitáb-i-Aqdas ("The Most Holy Book"); and the third comprising writings which affirm or reaffirm the basic beliefs and principles of his faith.[8]
Bahá’ú’lláh's arrival in Baghdad in early April 1853 marked a turning point for the Bábí movement, which to all intents and purposes had collapsed into near obscurity, and for his outgoing and authoritative personalty Bahá’u’lláh was soon recognised by the Bábís as being a religious leader in his own right.[9] Bahá’ú’lláh's texts during his first year of exile in Baghdad, two of which are mentioned below, included the promotion of the Cause of the Báb, enigmatic references to his own prophetic claim, and acknowledgment of Azal, his half brother, as nominal head of the Bábí community.[1] Texts from this period include:
Finding the Bábí community in Iraq in disarray, Bahá’ú’lláh began encouraging and reuniting the believers, his popularity and the respect he received causing mounting tension and disunity due to Azal's resentment, manifested in the spreading of rumours concerning Bahá’ú’lláh's character and motives.[7] And so, on 10 April 1854 Bahá’ú’lláh departed Baghdad for Sulaymaniyah, in the mountains of Kurdistan, his reason being "to avoid becoming a subject of discord among the faithful, a source of disturbance unto Our companions, the means of injury to any soul, or the cause of sorrow to any heart."[11] During Bahá’ú’lláh's two year withdrawal to Sulaymaniya he became aware of the nature of his mission, which he expressed through poems, prayers and meditations, a few of which survived,[12] including:
On returning from the mountains of Kurdistan in 1856 Bahá’ú’lláh set to work on reuniting the dispirited and divided Bábí community, his writings focused on offering the Bábís a deeper understanding of their new religion, in the process appealing to a growing number of devoted disciples. Key to Bahá’ú’lláh's revival of the Bábí community and his position as leader were his writings, His diverse style including obscure language as used by many of the Bábís, clear and assertive religious poetry, and direct, coherent prose. A considerable number of his writings consisted of letters addressed to individuals which were guaranteed a wide distribution by copyists. Whilst much of his output clarified new elements in regard to Bábí tradition, a major theme during this period was Bahá’ú’lláh's awareness of the divine presence, the significance of which he had first become aware during his four months of imprisonment in the Síyáh-Chál in Tehran. Of particular note in these writings is the Bábí-Baháʼí understanding of God's messengers, referred to as the Manifestations of God, Bahá’ú’lláh stressing their underlying unity and the continuity of divine revelation. A number of Bahá’ú’lláh's writings from this period demonstrate a knowledge of sections of the Bible which, in conjunction with his defence of Jews and Christians from a Muslim assertion that they had falsely altered Muslim scriptures, were extremely uncommon in nineteenth-century Muslim writing.[14] Writings from this period include:
The following writings from Bahá’u’lláh's final years in Baghdad depict ecstatic visions and anticipate his declaration in April 1863 which would bring him and his followers further suffering:
Following his return from Sulaymaniyah Bahá’u’lláh’s status as the prime leader of the Bábís was soon recognised by the Bábís themselves, and by the Ottoman and Iranian authorities, with a growing respect from the general population. Fearing that his influence would reignite Bábí activity in Iran the Iranian government asked the Ottomans to return him, which they refused to do, inviting him instead to Istanbul.
On April 22nd 1863, twelve days before his departure from Baghdad, Bahá’u’lláh moved to a garden beside the river Tigris, naming it the Garden of Ridván and announcing to some of his closest followers that he was “He Whom God shall make Manifest”[22] promised by his predecessor, the Báb. This was a defining moment in the emergence from Bábism of the Baháʼí Faith as its successor. On May 3, accompanied by members of his family, followers and servants, Bahá’u’lláh began the journey to Istanbul [Constantinople], where he stayed for four months before orders were given for him to be moved on to Edirne [Adrianople].[23]
During his journey from Baghdad to Istanbul and the four months which he spent in exile there Baháʼu’lláh wrote:
By the time Bahá’u’lláh arrived in Edirne the situation concerning his half brother, Azal, had reached a climax following more than ten years of contention over leadership of the Bábí community, culminating in 1865 with an attempt by Azal to poison Bahá’u’lláh which left him with a permanent tremor in his hand.[26] His writings at this time stressed the relationship of his revelation with that of the Báb and the prophets of old, and included veiled references to a glorious splendour to come.[1] Writings from this period include:
Following the attempted poisoning, Bahá’u’lláh addressed Azal formally in the Súriy-i-Amr[1] [Chapter of command], in which he proclaimed himself to be "He whom God shall make manifest", whilst for the first time making reference to his followers as the "people of Bah’á". In March 1866 Bahá’u’lláh retired to the home of a Bábí from where he instructed the Bábís to make a choice between himself and Azal, and by the end of this two-month period known as the “Most Great Separation”, the majority of Bábís had identified themselves as Baháʼís. In September 1867 Azal challenged Bahá’u’lláh to mubahala in order to allow God to judge between the two factions, and although Bahá’u’lláh agreed, Azal failed to attend the planned meeting.[26] It was during his years of exile in Constantinople and Edirne that Bahá’u’lláh began writing a series of letters to the kings and leaders of the world in which he announced his claim to be the latest messenger of God.[27] Writings from this period include:
Baháʼu’lláh's final year in Edirne proved to be the most productive of his forty-year ministry, his writings covering a plethora of subjects including justice, medicine, alchemy, cosmology, history, as well as the rift with Azal, whilst extending his communications to individuals to the Shah of Iran, the Prime Minister of the Ottoman Empire and the Emperor of France. Writings from this time include:
The split between Baháʼu’lláh and Azal, and the attempt of the Azali faction to discredit Baháʼu’lláh with the Ottoman authorities, led to Baháʼu’lláh's further exile, along with most of his family and followers, this time to the prison city of ‘Akká in Ottoman Syria. Azal and a handful of his followers were sent to Famagusta, on the island of Cyprus. The two groups, along with an armed escort, left Edirne together on 12 August 1868, with Baháʼu’lláh and his group arriving at ‘Akká by sea on 31 August. Conditions in the barracks-citadel during the first two years were atrocious, easing when in November 1870 the prisoners were moved to confinement in the city. As a result of the overthrow of Sultan Abdulaziz in 1876 the order of imprisonment was annulled, and Baháʼu’lláh was finally able to leave ‘Akká, staying first of all in a villa nearby before moving to the Mansion of Bahji, where he died on 29 May 1892.
Baháʼu’lláh’s writings at this time focused on the conclusion of his proclamatory letters to the kings and rulers, his book of laws, the Kitab-i-Aqdas, and letters expounding upon the universal and uniting social principles of his new Faith.[37]
During this first period in ‘Akká, the first two years of which Baháʼu’lláh, his family and followers, endured brutal conditions in the barracks-citadel, Baháʼu’lláh's writings focused on continuing his summons to the kings and rulers which he had started in Edirne.
Baháʼu’lláh culminated his summons to the kings and rulers with the Kitáb-i-Aqdas, which was also the principal source of the laws and ordinances of the Baháʼí Faith:
Other works written during these early years in ‘Akka period include:
During his final 19 years Baháʼu'lláh wrote many of his most significant works predominantly setting out principles, several of which focus on the core teachings of the Baháʼí Faith:
During this period Baháʼu'lláh's writings also deal with questions of a philosophical and theological nature:
The following three major works, written in his final years, argued for the validity of the new religion and established the provisions for its organization and propagation:
Baháʼu'lláh's writings, together with those of the Báb and ʻAbdu'l-Bahá (and the authenticated transcripts of ʻAbdu'l-Bahá's talks), make up the scriptures of the Baháʼí Faith.[48] These texts along with those authored by Shoghi Effendi and the Universal House of Justice make up the "canonical texts" of the Baháʼí Faith.[49] The canonical texts are regarded as authoritative, whereas other Baháʼí literature reflects the views of Baháʼí individuals or organizations but might be disputed by other Baháʼís.[50]
All of Baháʼu'lláh's works are regarded as revelation by Baháʼís, including those that were written before he announced his prophetic claim in 1863.[51] The writings of Baháʼu'lláh and the Báb are regarded as revelation because they come from Manifestations of God.[48] Likewise, Baháʼís view the writings of earlier Manifestations of God—such as the Buddha, Jesus, and Muhammad—as revelation like Baháʼu'lláh's writings, though not all the extant versions of these writings are seen as well preserved.[48] Commandments from the scriptures of Manifestations of God before Baháʼu'lláh (including the Báb) are viewed as superseded by the Baháʼí laws.[52]
Two-thirds of Baháʼu'lláh's writings is in Arabic and the remainder is either in Persian or a mixture of both Arabic and Persian passages.[53] According to John Walbridge, a scholar of Islamic philosophy and Islamic intellectual history, Baháʼu'lláh wrote in a clean and elegant Arabic, relatively free of both the unorthodox elements of the Báb's style and the excessive decorativeness of his contemporaries' literary Arabic.[54] Much the same is true of his Persian style. His style is austere, concise, and elevated—well translated into the King James English commonly used in Bahá'í translations of his writings.[54]
Edward G. Browne, a British Iranologist contemporary to Baháʼu'lláh, believed that Baháʼu'lláh brought about a remarkable evolution in style in both Persian and Arabic languages.[55] Browne described the Book of Certitude by Baháʼu'lláh as “a work of great merit, vigorous in style, clear in argument, cogent in proof, and displaying no slight knowledge of the Bible, Qur’an, and Traditions”.[56] He further believed that the Book of Certitude by Baháʼu'lláh, in terms of its strength of style and conciseness is similar to the Chahár Maqála (Four Discourses), of Nizami Aruzi, which was written nearly seven centuries ago.[57] Chahár Maqála is considered a masterpiece of Persian prose.[57] Similarly, Shapur Rasekh believes that the Persian writings of Baháʼu'lláh are comparable to the finest classical Persian prose.[58]
Soheil Bushrui, a Lebanese scholar of the Arabic language, conducted an in-depth analysis of the Arabic style of Bahá'u'lláh’s writing, particularly the Kitáb-i-Aqdas.[59] According to Bushrui, Bahá'u'lláh's style is concise in form yet rich in meaning; it incorporates elements of both shi'r (poetry) and saj' (rhymed prose) but transcends the limitations of either.[59] Its expressions possess an integrity and absolute precision that lie beyond the bounds of literary analysis.[59] Vivid use is made of similes, metaphors, metonymy, and other linguistic embellishments, exemplifying that consummate skill in the use of Arabic which is termed badi', signifying the art of sublime and innovative expression.[59] The hallmarks of this form of writing are its matchless precision, graceful yet compelling flow, chaste economy of diction, inimitable craftsmanship, and prodigious mastery of the language in all its multifarious ramifications.[59] Majesty is combined with grace, refinement with simplicity, strength with delicacy, power with beauty, and authority with compassion.[59] The text is unimpaired by—indeed, all the more effective for—its lack of a conventional literary structure.[59]
Much of the Kitáb-i-Aqdas is composed in a species of rhymed prose—a highly regarded literary form marked by rhythmic cadences and the frequent use of terminal rhymes—that recalls, but is quite distinct from, the language of the Qur'án.[60] It is a superb example of that polished style of writing characterized by the Arabs as 'easy yet unattainable': a style, in other words, whose effortless flow belies the consummate mastery that has gone into its composition.[60] A feature of this style is the extraordinary concision of many of its utterances.[60] Faced with the almost impossible challenge not only of faithfully reproducing the sense and meaning of the Kitáb-i-Aqdas but also of conveying something of its matchless eloquence, the translators faced a formidable task.[60] The Kitáb-i-Aqdas is divided into several hundred verses, which in the English version have been grouped into numbered paragraphs.[61] They adhere to no specific literary form in Arabic, being richer than prose but without the elaborateness and mannerisms of poetry.[61] The style is therefore a delicate blend of features belonging to both prose and poetry, with music tempered by the discipline of precise and unequivocal expression. There is alliteration, assonance, repetition, and onomatopoeia.[61] The timbre of the music differs from subject to subject but remains integrally associated with the dignified sonority, the stirring rhythms, and the lilting cadences of the Arabic language in which it is framed.[61] An outstanding feature of the rhythm of the Kitáb-i-Aqdas is its use of different repetitive beats—double, triple, or quadruple—in a manner that can only imperfectly be reproduced in English.[61] Additionally, the Kitáb-i-Aqdas utilizes other literary techniques such as juxtaposition, antithesis, metaphor, alternation of person, and personification.[62]
Baháʼu'lláh's writings are not all in a single style; the styles vary over time and depend on the theme and his audience. In the Súriy-i-Haykal (Súrah of the Temple), Bahá'u'lláh states that he revealed his works in "nine different styles".[63] Although no elucidation of these "nine different styles" was forthcoming from Bahá'u'lláh himself, they have been tentatively identified by Bahá'í scholar Fádil Mázindarání as follows:[63]
Shapur Rasekh discusses how the literary style of Bahá'u'lláh's writings underwent a significant evolution throughout his life, reflecting the diverse audiences he addressed and the profound spiritual messages he conveyed.[64] Here's a summary of the key stylistic changes observed according to Rasekh:[64]
Researcher and author Denis MacEoin, a former Baháʼí, has offered a literary appraisal of the writings of Baháʼu'lláh. He writes that Baháʼu'lláh's poetic works "are written in an elegant yet uncomplicated style and possess considerable freshness". Likewise, he writes that several of Baháʼu'lláh's early writings in prose "are of real literary merit", for instance that the Kitáb-i-Íqán is "written in a lucid and original Persian style." MacEoin states, however, that Baháʼu'lláh's later works are "with only a few exceptions, increasingly turgid, repetitive, and visibly lacking in the linguistic brilliance and poetic energy that characterize his early output".[65]
Seamless Wikipedia browsing. On steroids.
Every time you click a link to Wikipedia, Wiktionary or Wikiquote in your browser's search results, it will show the modern Wikiwand interface.
Wikiwand extension is a five stars, simple, with minimum permission required to keep your browsing private, safe and transparent.