Earl Redman writes:
On the 17th, ‘Abdu’l-Bahá visited the Woking Mosque in Surrey, one of only two mosques in England at that time, where He spoke on the unity of religion. After lunching with Muslim and Christian notables, the Master was ready to speak to the people. The mosque was not large enough for the numbers who came so He spoke in a court outside. [i]
On the 17th, ‘Abdu’l-Bahá visited the Woking Mosque in Surrey, one of only two mosques in England at that time, where He spoke on the unity of religion. After lunching with Muslim and Christian notables, the Master was ready to speak to the people. The mosque was not large enough for the numbers who came so He spoke in a court outside. [i]
That evening ‘Abdu’l-Bahá was talking with Gabrielle Enthoven and
told her, ‘I will give you a play. It shall be called
the Drama of the Kingdom’. He then spoke without notes or pause, except
for translation. The play describes the world and its people when the Herald of
the Kingdom appears and blows His trumpet:
The curtain rises. The stage is crowded
with men and women. All are asleep. At the sound of the trumpet they begin to
wake.
Suddenly
the music breaks forth. The people hear and wonder. They rise and question one
another, saying: ‘What is this? Whence comes the music?’ Some return to their
occupations, unheeding. First a few talk together, then one ceases his work,
and proceeds to make enquiries. A merchant, leaving his stall, comes to ask the
meaning of the eager group. A soldier, who is practising arms, withdraws from
his comrades and joins those who are wondering.
People from all walks of life hear the
music and act in one of two ways:
First those who, having heard the music of
the Coming of the Promised One, frown and shrug their shoulders, returning to
their work, scoffing and disbelieving. The second type are those who hear the
music, strain their ears to catch the meaning of the Message, and their eyes to
discern the Mystery.
The people who hear the music are ecstatic,
but those who do not demand to know where the proof is, cry ‘But we await the signs’. One person arises and
explains that the signs aren’t material ones but spiritual signs and that they
must use spiritual eyes to see them. Instead of real earthquakes, unrest and
the darkening of the sun and moon, all the signs actually foretell the ‘humiliation of those whom the world considers great’.
Then a grand procession of all the rulers, kings, and priests passes by covered
with fine clothes and jewels, yet all unhappy. When one falls, the others
ignore him.
The
scene then changes to a sumptuous banquet hall with tables covered with
delicious foods. Around the tables sit many people, all poor and with torn
clothes, but exceedingly happy. An Oracle announces that ‘The Kingdom of God is like a feast! Remember what Christ said! Here we
see the Kingdom! The greatest and the worldly wise are not here, but the poor
are here’.
Then
comes temptation; a man with a sack of gold enters, but is ignored. He is followed
by other people: a gifted teacher who used to be ignorant; then a man who had
been blind, but can now see; a man once deaf, but who can now hear the
beautiful music. Again, a person arises and asks, ‘You
know the cause of these miracles? It is the Heavenly food!’ Then the
poor who have eaten the Heavenly food are crowned with crowns of the Kingdom.
The
last scene of the play shows several believers being judged by those who do not
believe. The prosecutor says they
will die, but they simply cry, ‘O God, make me ready!’
Two die this way and only a beautiful girl dressed in white with a heavenly
crown remains. She is offered riches by the king, but she is not tempted,
saying, ‘Can you say there is not sun, when you have
seen the light? I have seen the sun. You are blind. Awake! The sun is shining!
Awake!’ The king then offers her marriage and jewels, but again she
refuses, saying of the jewels, ‘These to me are so
many pebbles. The jewels I treasure are the jewels of the Knowledge of God’.
Then the prosecutor threatens:
‘We shall imprison you’.
‘I am ready’
‘We shall beat you’.
‘I am ready’.
You shall be killed’.
“Is that true? Do you mean it? Good news!
Good news! For then shall I be free. Now I am in chains. These bonds shall be
broken. Kill me!’
[i] Balyuzi, ‘Abdu’l-Bahá, p.
370.
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I remember years ago reading the outline for this play, and rehearsing and putting on a version with a group of people. Where or for whom we did it, I do not recall.
I wonder who Gabrielle Enthoven was and what prompted the Master to "give" her this play.
Anyway, much is happening during these days in England.
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I remember years ago reading the outline for this play, and rehearsing and putting on a version with a group of people. Where or for whom we did it, I do not recall.
I wonder who Gabrielle Enthoven was and what prompted the Master to "give" her this play.
Anyway, much is happening during these days in England.
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