November 18, 2020

The Writings of the Guardian: – “precise and luminous” - by Rúhíyyih Khanum

In an age when people play football with words, kicking them right and left indiscriminately with no respect for either their meaning or correct usage, the style of Shoghi Effendi stands out in dazzling beauty. His joy in words was one of his strongest personal characteristics, whether he wrote in English—the language he had given his heart to—or in the mixture of Persian and Arabic he used in his general letters to the East. Although he was so simple in his personal tastes he had an innate love of richness which is manifest in the way he arranged and decorated various Bahá’í Holy Places, in the style of the Shrine of the Báb, in his preferences in architecture, and in his choice and combination of words. Of him it could be said, in the words of another great writer, Macaulay, that “he wrote in language ... precise and luminous.” Unlike so many people Shoghi Effendi wrote what he meant and meant exactly what he wrote. It is impossible to eliminate any word from one of his sentences without sacrificing part of the meaning, so concise, so pithy is his style....

The language in which Shoghi Effendi wrote, whether for the Bahá’ís of the West or of the East, has set a standard which should effectively prevent them from descending to the level of illiterate literates which often so sadly characterizes the present generation as far as the use and appreciation of words are concerned. He never compromised with the ignorance of his readers but expected them, in their thirst for knowledge, to overcome their ignorance. Shoghi Effendi chose, to the best of his great ability, the right vehicle for his thought and it made no difference to him whether the average person was going to know the word he used or not. After all, what one does not know one can find out. Although he had such a brilliant command of language he frequently reinforced his knowledge by certainty through looking up the word he planned to use in Webster’s big dictionary. Often one of my functions was to hand it to him and it was a weighty tome indeed! Not infrequently his choice would be the third or fourth usage of the word, sometimes bordering on the archaic, but it was the exact word that conveyed his meaning and so he used it. I remember my mother once saying that to become a Bahá’í was like entering a university, only one never finished learning, never graduated. In his translations of the Bahá’í writings, and above all in his own compositions, Shoghi Effendi set a standard that educates and raises the cultural level of the reader at the same time that it feeds his mind and soul with thoughts and truth....

The supreme importance of Shoghi Effendi’s English translations and communications can never be sufficiently stressed because of his function as sole and authoritative interpreter of the Sacred Writings, appointed as such by ‘Abdu’l-Bahá in His Will. There are many instances when, owing to the looseness of construction in Persian sentences, there could be an ambiguity in the mind of the reader regarding the meaning. Careful and correct English, not lending itself to ambiguity in the first place, became, when coupled with Shoghi Effendi’s brilliant mind and his power as interpreter of the Holy Word, what we might well call the crystallizing vehicle of the teachings. Often by referring to Shoghi Effendi’s translation into English the original meaning of the Báb, Bahá’u’lláh, or ‘Abdu’l-Bahá becomes clear and is thus safeguarded against misinterpretation in the future. He was meticulous in translating and made absolutely sure that the words he was using in English conveyed and did not depart from the original thought or the original words. One would have to have a mastery of Persian and Arabic to correctly understand what he did....

The Guardian was exceedingly cautious in everything that concerned the original Word and would never explain or comment on a text submitted to him in English (when it was not his own translation) until he had verified it with the original.

(‘The Priceless Pearl’)