reverence

In London in September 1911, a painter came to ask 'Abdu'l-Bahá whether art was a worthy vocation. The Master answered in three words. Then an actor asked about drama, and the conversation widened into a memory of a Mystery Play that, as a child, had kept Him sleepless for nights.

On September 13, 1911, in His first weeks in London, 'Abdu'l-Bahá addressed a small gathering at the home of Mrs. Thornburgh-Cropper. He spoke of the meeting itself as a mirror reflecting the Concourse on High — a quiet declaration that what mattered there was not earthly but heavenly.

In *Bahá'u'lláh and the New Era*, Esslemont describes the proximity of the Persian believers in 'Akká to the great Mansion of Bahjí — the pilgrim who, after the long road, would silently ascend the path each morning to be near the windows of the Master, then sit beneath the trees, then descend at dusk having barely spoken.

In *Bahá'u'lláh and the New Era*, Esslemont preserves the famous 1890 account by the Cambridge orientalist Edward Granville Browne — the only Westerner ever to record his impressions of meeting Bahá'u'lláh. The short paragraph was written in plain academic English. It has never been surpassed.

A short paraphrase from the bahaistories.com archive on 'Abdu'l-Bahá's particular love for the flowers that pilgrims brought Him in 'Akká, His unhurried inspection of each, and His habit of asking the giver to name the flower in their own language.

A short paraphrase from the bahaistories.com archive: 'Abdu'l-Bahá's particular love for children, His habit of stopping in the street to greet them, and His insistence that the youngest of His visitors be received with the same gravity He gave to ambassadors.

A short story for children, paraphrased from the Baha'i Stories for Children blog: a small girl who learns the difference between a prayer she says fast and a prayer she says slowly, and the way the whole room changes when she lets the words breathe.

A short story for children, paraphrased from the Baha'i Stories for Children blog: a small yellow flower in the cracked sidewalk, the child who decided not to pick it, and the bee that came to visit it later that day.

In Bahá'í World Faith, a short passage of 'Abdu'l-Bahá's writings sets out one of His characteristic teachings: the same sun shines on every object, but the mirror that has been polished receives the light, and the mirror that is dusty does not. Spiritual receptivity, the Master insists, is a matter of the inward instrument we have made ourselves.

In *The Chosen Highway* Lady Blomfield records the days in September 1911 when 'Abdu'l-Bahá lodged in her own house at 97 Cadogan Gardens — and one September evening when the Master, hearing the bells of Westminster across the city, stepped out onto the balcony to listen.

In *The Chosen Highway* Lady Blomfield records the Sunday evening, 17 September 1911, when 'Abdu'l-Bahá ascended for the first time the pulpit of an English church — St. John's Westminster, at the invitation of the Reverend Archdeacon Wilberforce — and addressed the great congregation that had filled the building to hear Him.

In *The Chosen Highway* Lady Blomfield describes a pilgrim's stay in the small house in 'Akká where Bahá'u'lláh and His family had lived for twelve years — thirteen people sometimes sleeping in a single room — and a Western visitor's testimony that the chamber once occupied by Ásíyih Khánum was filled, even decades later, with a benign atmosphere that could be felt at night.

Shoghi Effendi's account, in *God Passes By*, of how 'Alí Khán — the warden ordered to keep the Báb in strictest confinement at the fortress of Máh-Kú — was so moved by a strange vision that he relaxed his discipline, and how the people of the village then began to come every morning hoping for a glimpse of the Prisoner's face.

In *A Heavenly Vista* Louis G. Gregory describes the afternoon in April 1911 when, having travelled from Egypt, he was rowed across the bay to 'Akká for the first time — and the small wooden landing-stair at the foot of the prison walls that received the first African American Bahá'í pilgrim.

On April 10, 1911, in Alexandria, Egypt, Louis G. Gregory — the African American lawyer from Washington who would later be named a Hand of the Cause — entered 'Abdu'l-Bahá's reception room for the first time. His pilgrimage notes preserve the kiss on the head, the question about his health, and the silence into which a long journey suddenly settled.

In *A Heavenly Vista* Louis Gregory describes the morning he ascended the slope of Mount Carmel with a small party of believers to the Shrine of the Báb — the small low building the Master had completed only two years before — and the silence in which he stood, an African American lawyer from Washington, in the presence of the remains of the Persian Herald of the Bahá'í Cause.

In *The Diary of Juliet Thompson* the painter records an evening in New York in the summer of 1912 when, after one of the great public meetings, she found herself walking beside 'Abdu'l-Bahá through the dark streets — and the silence in which the most carrying conversations sometimes pass.

In June 1912 in New York, the painter Juliet Thompson was given an unprecedented privilege: 'Abdu'l-Bahá agreed to sit for her. The Diary preserves the moment He stopped her on the street, took her hand, and said *come tomorrow and paint;* and the cramped basement studio where He asked her to paint not the man but the *Servitude.*

In *The Diary of Juliet Thompson* the young American painter records her first encounter with 'Abdu'l-Bahá in Paris in 1901 — a small upstairs room, a single Persian voice, and a recognition that would, in time, organise the rest of her life.

Mahmúd's Diary records 'Abdu'l-Bahá's visit to Mount Vernon — the Virginia plantation home of George Washington — on April 25, 1912. The Master walked through the house and grounds, paid respects at Washington's tomb, and remarked on the meaning of the place for the American Republic.

Mahmúd's Diary records that on September 9, 1912, after the intensity of His talks at Buffalo, 'Abdu'l-Bahá was driven to Niagara Falls. He stood for a long time at the lookout, said little, and afterward observed that the roar of the falling water was a kind of prayer.

In *Portals to Freedom* Howard Colby Ives describes a Sunday afternoon in 1912 when 'Abdu'l-Bahá received the believers in a small New Jersey garden — and the way the smell of lilies, the ordinary furniture of the house, and the laughter of children combined into what Ives later called the *fragrance* of the Cause.

In *Portals to Freedom* Howard Colby Ives describes the first morning in April 1912 when, summoned to the Ansonia Hotel in New York, he climbed the stair and entered the room where 'Abdu'l-Bahá was receiving — and found that all the arguments of his Unitarian ministry suddenly fell silent.

Rúḥíyyih Khánum's *The Priceless Pearl* preserves a moment from Shoghi Effendi's boyhood in 'Akká: a small barefoot figure in a doorway, eyes on his grandfather, and 'Abdu'l-Bahá's slow nod of recognition that the bond between them was not only physical, but something else.

On the second of June, 1912, 'Abdu'l-Bahá entered the Church of the Ascension at the corner of Fifth Avenue and Tenth Street in Manhattan, and addressed an Episcopal congregation on the *Collective Center* — the Manifestation of God around whom every people, of every race and belief, can become a single melody.

On the afternoon of April 22, 1912, 'Abdu'l-Bahá addressed the students and faculty of Howard University in Washington, D.C. — the historically Black institution at the heart of African American higher education. His subject was the station of the human being: created in the image of God, possessed of a divine spark beyond every material limitation.

On September 19, 1912, 'Abdu'l-Bahá addressed a gathering of the Twin Cities Bahá'ís and inquirers in the parlour of the Leland Hotel in downtown Minneapolis. He spoke on the Holy Spirit as the living, active, present-tense bond between the human soul and the Divine reality.

Adib Taherzadeh's account, in the closing chapters of *The Revelation of Bahá'u'lláh*, of the ascension of Bahá'u'lláh on 29 May 1892 in the mansion of Bahjí — the closing of the prophetic ministry of which the rest of Bahá'í history would become the unfolding.

In *The Revelation of Bahá'u'lláh* Adib Taherzadeh recounts the Tablet of Carmel — the Tablet revealed by Bahá'u'lláh on one of His four visits to Mount Carmel in the closing years of His life. The Tablet is read as the charter of the future Bahá'í World Centre.

Adib Taherzadeh's account, in *The Revelation of Bahá'u'lláh*, of the revelation of the *Tablet of the Holy Mariner* in Baghdád shortly before the Riḍván declaration of 1863 — and of the dread the Tablet's imagery cast over the believers who heard it chanted in their gathering.

From Selections from the Writings of 'Abdu'l-Bahá, a Tablet on the spiritual practice of detachment — not the rejection of the world but the freedom of the soul from the bondage of its desires, so that the heart may be ready for the indwelling of the Beloved.

From Selections from the Writings of 'Abdu'l-Bahá, a Tablet on the proper character of the spiritual meeting — the gathering of believers in private homes for prayer and consultation, which the Master holds out as the true seedbed of the Bahá'í community life.

In the opening chapter of *Some Answered Questions*, 'Abdu'l-Bahá takes up Laura Clifford Barney's question about nature itself — and gives, in one sentence, a sweeping definition: nature is the appearance of composition and decomposition, the meeting and parting of life and death, governed by a single universal law.

In *Some Answered Questions*, 'Abdu'l-Bahá takes up the question of miracles with characteristic clarity: extraordinary events may have occurred and may yet occur, but they are not the proofs by which a Manifestation of God is finally known. *Miracles are proofs for the eyewitness only*.

A passage from Selections from the Writings of the Báb drawn from the Qayyúm al-Asmá' — the great commentary on the Surah of Joseph that the Báb began to reveal on the night of His Declaration in May 1844 and that constitutes His first major work.

From Selections from the Writings of the Báb, a prayer revealed during the Báb's confinement in the mountain fortress of Máh-Kú in northwest Persia from 1847 to 1848 — a period of severe isolation during which the Báb composed many of His major works.

In *Selections from the Writings of the Báb*, a brief instruction from the Bayán: after every obligatory prayer, the believer should ask God's mercy and forgiveness for his parents. A single sentence that joins devotion to family duty.

Among the recollections of Bahá'u'lláh's boyhood Mr. Furutan preserves in *Stories of Bahá'u'lláh* is the dream the child once had of a great moving spectacle in the sky — birds, fish, a green sea — that He told to His father the next morning, and whose meaning the household began only later to suspect.

In 1920 the Star of the West printed Genevieve Coy's pilgrimage notes from her stay with 'Abdu'l-Bahá in Haifa — one of the small group of Western believers who reached the Master in the months after the war ended and found Him still in His house on the slope of Mount Carmel.

In an early issue of the Star of the West, Helen Goodall — the matriarch of the Oakland Bahá'í community — published her pilgrimage notes from her visit to 'Abdu'l-Bahá in 'Akká in 1908, preserving the Master's words on the equality of women and men in His own household.

In the December 1921 and January 1922 issues of the Star of the West, the editors gave their readers the bare cable that had reached Chicago on the 29th of November and then, in the issues that followed, the fuller accounts of 'Abdu'l-Bahá's last days written by the household in Haifa.

In 1922 the Star of the West printed Mountfort Mills' account of his visit to Haifa in the months following 'Abdu'l-Bahá's passing — the first encounter of a Western pilgrim with the new Guardian of the Cause, Shoghi Effendi, then only twenty-five years old and already, in Mills' words, *the center of the world today.*

Among the Quranic images 'Abdu'l-Bahá would unfold to inquirers was the Verse of Light — the lamp in the glass in the niche — and the careful explanation He would give of how the human heart is at once the niche, the glass, and the lamp's keeper.

Julia Grundy's pilgrim notes preserve the small ceremonial details of a pilgrimage to the Shrine of Bahá'u'lláh at Bahjí — the shoes left at the door, the long Persian rugs underfoot, the kneeling at the marble threshold, and the tea served afterward by the women of the household.

In *A Traveler's Narrative*, 'Abdu'l-Bahá relates the encounter between Siyyid Yaḥyá-i-Dárábí — known as Vaḥíd, the most learned cleric of his generation in Persia — and the Báb. Three audiences. In the third, a request for a commentary on the Súrih of Kawthar; and the Báb's spontaneous, written reply that emptied the room of every doubt.