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An Exegetical Study of The Verse of Purification The Family of The Prophet 1St Edition M H Jaffer Online Ebook Texxtbook Full Chapter PDF
An Exegetical Study of The Verse of Purification The Family of The Prophet 1St Edition M H Jaffer Online Ebook Texxtbook Full Chapter PDF
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The Verse of Purification (ayah al-tathir), Surah Ahzab verse 33, is likely
one of the most controversial theological verses in the history of Islam.&
Namely, the dispute has centered around this key question: who are the
“People of the House” (Ahl al-Bayt) mentioned in this verse and what
is God specifically saying about them? In this research, we have sought
to present the various views espoused by commentators regarding this
question while weighing the lexical, semantic, contextual, and tradi-
tionist (hadith) corroborators. We demonstrate that all the evidence
points towards these individuals being none other than the Holy Imatns
of the Prophetic lineage; in turn, this verse serves to substantiate their ‘
infallibility. After presenting this answer to this question, we endeavor
to present and refute the myriad contentions often raised by critics A
against this thesis. This book is the first of its kind in the English
language, extensively citing dozens of Arabic, Persian, and Urd
resources. We pray it may be beneficial to those who seek a deep*
Quranic-based understanding about the identity of the Ahl al-BaytJan
their status in Islam. -is
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1
B. In the Specific Passage......................................................... 28
The Volition (al-Iradah) of the Wives.............................. 28
The Harmony of the Context (Al-Siyaq al-Munsajim)... 29
Are tlie Wives Being Praised in this Passage?................ 30
Other Verses of the Quran that are Relevant...................... 32
What do the Ahadith and History Specifically Tell Us? 35
The Narration of the Cloak (Hadith al-Kisa3)...................... 35
Zayd ibn Arqam’s View of the Ahl al-Bayt.......................... 38
The Prophet Commands the Ahl al-Bayt towards Salat.... 40
The Event (Hadith) of Mubahalah................................................. 41
The Narration (Hadith) of Thaqalayn........................................... 42
The Wives Never Used this Verse to Prove their Superiority ..43
The Imams of Ahl al-Bayt used this Verse to explain their Merit
45
Index........................ 109
Other Publications 113
Foreword
The Quran is an endless ocean of spiritual secrets and moral
lessons. For over a millennia, Muslim scholars and thinkers from
all theological persuasions have produced works that explore the
various aspects and dimensions of the Quran. Some have
contributed voluminous commentaries covering the totality of its
chapters, while others have provided detailed analyses of single
chapters, and in some cases, individual verses.
The book before you is an exegetical study of one of the most
contentious verses in the Quran, generating centuries of rich
debate and dialogue. The Verse of Purification, as it is popularly
known, represents a significant diverging point between Shlcah
and Sunni Muslims.
While both schools express deep reverence for the Ahl al-Bayt
S-, there is much dispute regarding the identity of its members and
their role in the spiritual and political lives of Muslims.
I had the opportunity to review the manuscript of, The Family
of the Prophet: An Exegetical Study of The Verse of Purification, and
it delights me to say that, to date, it is the most thorough treatment
of this Quranic verse available in the English language. I commend
the author for his meticulous research, and I pray that readers find
this work instructional and enlightening. May Allah continually
bless all of those who contributed to the completion of this work
and may we all strive to be perpetual students of the Quran.
b
Introduction
aJaI d! (3-Xa«o
O the most noble! We and our family have been struck with
afflictions, and have come to you with a few worthless
provisions; so, grant us full measure and be charitable to us.
Indeed, Allah rewards the charitable ones! (Surah Yusuf (12),
verse 88)
sSUji ^3^ 4
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1 We have adopted the translation of Muhammad Asad for this verse for
the sake of clarity for an English-speaking audience, although we will
examine the verse in detail in the coming sections.
2 Although the term ayah (verse) is used for the ending portion of Chapter
33, verse 33, the reader will observe that it is technically only a fragment
of the verse in the actual writing (mushaf). Nonetheless, it is popularly
referred to as the Verse of Purification (Ayah al-Tathir), and we have
therefore adopted this convention in this article.
3 Tkrimah al-Barbari and Muqatil ibn Sulayman are known to have
endorsed that the term Ahl al-Bayt only subsumes the wives of the
Prophet. Many Sunni scholars are of the opinion that the term Ahl al-
Bayt incorporates the wives of the Prophet $£, as well as the Five
Personalities, although explicit textual evidence for this viewpoint does
not exist among the early generations of Muslims (one of the first
commentators (mufassirin) of the Quran to propose this was al-Fakhr al-
Razi in his commentary Al-Tafslr al-Kabir on this verse).
4 Among the Shi'ah scholars, Ayatullah Salehi Najafabadi controversially
took the position that this Verse of Tathir includes both the wives, and
the Five Personalities in his work Ta’ammuli dar Aye-ye-Tathir. He
An Exegetical Study of the Verse of Purification 9
received a scathing critique for this work from many prominent Shfah
scholars, one of them being Ayatullah Sadeqi Tehran!.
5 This opinion was particularly attributed to Zayd ibn Arqam that we will
discuss later.
6 The opinion that the term Ahl al-Bayt is specific for the Five
Personalities was attributed to Umm Salamah, Wathilah ibn Asqa*,
‘A’ishah, and Abu Sa'id al-Khudri. The Shi'ah commentators are almost
unanimous on this term being specific for these Five, and several
prominent Sunni scholars also agree with this (Abu Jacfar al-Tahawi, ‘All
ibn Ahmad al-Samhudl, Yusuf ibn Musa al-Hanafi, etc). There are also
traditions (riwayat) that the Shl'ah scholars adhere to which include all
the Twelve Shi'ah Imams in the term Ahl al-Bayt.
10 Section 1: Who are the Ahl al-Bayt?
7 There have been some great explanations on this Verse (such as the one
presented by Shaykh Mansour Leghaei entitled: A Discourse on Ayah al-
Tathir, although this was apparently a transcript of a lecture he gave, and
thus took the form of a very rough note-like format), but they have left a
lot to be desired. Owing to the importance of this Verse in Shicah
theology, we have aimed to present a more exhaustive analysis here.
8 Al-'Amili’s work is entitled Ahl al-Bayt fl Ayat al-Tathir (The People of
the House in the Verse of Purification) and al-Abtahi’s work is called Ayat
al-Tathir ft Ahadlth al-Fariqayn (The Verse of Purification in the
Narrations of the Two Sects).
9 The analysis that we exposit here is derived from the famous Quranic
dictionary Al-Mufradatfi Gharlb al-Quran (Regarding the Words Specific
to the Quran) of Raghib al-Isfahani.
An Exegetical Study of the Verse of Purification 11
Si (Yudhhiba cAri)
A verb which is in the form (pattern IV) that means ‘to make
something go away from someone.’ This word has a subtle
connotation of the fact that the doer removes the object without
accompanying it oneself (i.e., without istishab).11 The Arabic
particle (ean) is used to imply ‘transcendence’ (al-mujawazah).
(Al-Rijs)
This word is used to imply ‘every type of uncleanliness’ and
includes innate filth (tab’l), rational filth (‘aqli), and religiously
deemed filth (shar'i). Additionally, it can also be abstracted to mean
Divine punishment, as well as religious doubts.12 In conjunction
(Tathir)
This word is a Jis (form II) derived verbal noun from the root word
(masdar) of purity (taharah). The import of taharah is two-fold, and
based on the context it could imply:
1. External cleanliness of the body, whether in a physical, or
ritual sense; and/or
2. Spiritual/moral cleanliness.
Tathir has a transitive meaning as a verbal noun, and thus implies
the “process of purification.”
Exclusivization (Al-Hasr)
The sentence here, as was mentioned starts with “innamd,” which
implies that there is only one single reason for Allah’s ordinance
(iradah). It should be noted that the verb which it governs is in the
present tense which indicates ‘persistence’ (al-istimrariyyah),
meaning that Allah’s ordinance is for one reason, and it remains
persistent, it is not attached to a specific timeframe.
19 We will discuss the contentions raised by some critics about this later
in our discussion.
20 That is, the prima facie meaning has evidentiary import.
18 Section 1: Who are the Ahl al-Bayt?
22 In theology, Allah’s ordinances are divided into two types: The first
type is known as an existential (takwiniyyah) ordinance, whereby Allah
decrees for something to be in a certain manner by His Own Providence;
and the second type is known as a prescriptive (tashrPiyyah) ordinance
whereby Allah legislates others to act in accordance with His Will.
23 This is discussed in great depth in Al-'Amili’s work, Pp. 65-69.
An Exegetical Study of the Verse of Purification 21
form. Tins is a clear contextual challenge for those who assert that
the wives are the referents of this passage.
25 There are those who have argued that the only reason for the change
in pronouns is because the word “ahr is masculine, and therefore the
pronoun change is simply lafzl (only on a word level), having nothing to
do with the meaning of including menfolk. However, this is only a
descriptive explanation and does not explain why the verse changes the
address to uAhl al-Bayt.” Between the clear uses of the feminine I
I
pronouns, why is there a sudden masculine plural sandwiched between
them if it truly has no function in the meaning?
Some have retorted that it is for the purpose of respect of the women I
(al-ta’zim), however this is also a poor argument because this change
happens clearly in the context of several feminine pronouns; so why is
there suddenly added respect when the other pronouns are clearly I
feminine? This is not to mention the fact that some commentators such
as al-Zamakhshari have stated that ahi can be a masculine or a feminine
word (see his Tafsir al-Kashshdf on Quran, Surah al-Nisa’ (4), verse 75).
Therefore, this explanation leaves much to be desired. We will treat this
issue in more depth in our “Contentions” section.
An Exegetical Study of the Verse of Purification 23
pronouns to include the Prophet $5, and some also add that it
includes the fathers of the wives of the Prophet ^.26 This would
supposedly be a simple solution to solve the problem of the change
in pronouns. In other words, they are proposing that the verse
means: “Allah only ordains these prohibitions and commandments
on the wives so that the wives, the Prophet, and the fathers-in-law
(of the Prophet) may all be purified.”
However, on a more detailed analysis, it becomes clear that this
is a very clunky and linguistically inelegant position; in addition
to not being supported by the context, it suffers from several
deficiencies from the standpoint of Quranic eloquence. Let us
suppose that we accept this theory for the sake of argument, the
deficiencies are as follows:
1. Tie first problem has been pointed out by Sayyid ‘All Qadi
al-Taba’taba’i where he states:
«CcuJI Jjbl» qx Jjb
you have a friend whom you respect, but he has a mischievous son
who will sully the father’s reputation by his devious actions.
Therefore, you reprimand the child to behave properly to preserve
the honour of his father. The child himself may not really be a
cause of concern for you, but it is his association and relationship
with the father that drives you to reprimand him. The Verse of
Tathir is of similar significance here: It means that Allah & is only
rebuking and commanding the wives to behave well because
otherwise their disobedience will reflect negatively on the Ahl al-
Bayt. He is giving them double punishment for committing grave
immorality, and double reward for obedience because their actions
will have a bearing on the Prophetic Household. The Ahl al-Bayt
are the ones whom Allah is concerned about, and He does not
want them to be touched by even the smallest iota of filth from
those marginally associated with them. Therefore, Allah goes so
far as to prescribe duties and responsibilities to others (i.e., the
wives) in order to preserve the integrity of the Prophetic
Household.
In turn, it follows that since Allah wants to protect the Ahl
al-Bayt from even such a secondary and accidental attribution of
filth, they must be purified in the primary and essential
significance within themselves already, based on this very
principle.
Our scholars have expounded on this idea in their writings,
which we translate below:
1. Al-Shahid al-'Allamah al-Tustarl writes:
QJO OlAJSlI 1^1*9 U> 4jT kJMlsd jl JlraJ M
J! sbjSlI J JI
CaaJI jjbi i>o iixuJij
qojUlJI Jp ^433^3
Allah, the Almighty has only placed this verse amidst
mentioning and addressing the wives to allude that He
commanded, prohibited, and disciplined them out of respect
for the Ahl al-Bayt, to ward off any aspersion of being sullied
by their misdeeds, to protect them from being associated
with their deficiencies, and to elevate them above the station
of those who may disobey Allah. It is as such that Allah
addresses them as: ‘O wives of the Prophet, you are not like
5^1ji J ’^\
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Notice that the wives are not mentioned in these verses in a way
that indicates a special Divine ordinance that establishes their
righteousness. Rather, they are being told by Allah that it is
completely up to them and their desires if they want to be affiliated
with the Prophet > or not. As for those of them who choose the
path of Allah Jfe, they will be rewarded for their good deeds.
Nonetheless, notice that the verse uses the partitive preposition -
minkunna - implying that there are only some among the
wives of the Prophet $5 who will deserve a great reward due to
their virtuosity. This is an implicit acknowledgement that there
will be some wives of the Prophet who will not receive the
Divine reward due to their lack of virtuosity, which would again
exclude them from the elevated purified rank of the Ahl al-Bayt.
In essence, Allah is telling the Prophet & to tell his wives the
following commands:
1. To choose between Allah and the glitter of this world.
2. That they are not like other women.
3. Not to be flirtatious in their speech.
4. To speak with civility.
5. To stay in their houses.
6. Not to be ostentatious like the ostentatiousness of the
people during the Era of Ignorance.
7. To establish prayers and pay alms.
8. To obey Allah and His Messenger
This verse alludes to the fact that there were women who were
better than the wives of the Prophet $5 and precludes their
inclusion in the verse of tathir, since the latter verse indicates a
disqualify the wives of the Prophet & from being included in the
term Ahl al-Bayt.
jJ Jj Jjixa,3 ^3^)1 JjAua (j-> 3>°-£'5 ^3-^1 3I3 J-J ^3)3 ji (3I3
CHAPTER I
It was the height of the season, and London was very full. One had only to
take a stroll “down west” to be convinced of the fact, for there was scarcely
a house to be seen in any of the squares that did not display the window-
boxes and sun-blinds, which signified that the owners were in residence.
The fashionable hotels were crowded, the restaurants thronged; and big
social functions were the order of the day.
A stream of carriages and hansoms rolled down Regent Street, giving the
weary pedestrian a panorama of gaily-trimmed hats and dainty sunshades.
Portly dowagers accompanied beautiful girls; and it was a noticeable fact
that whilst the dowagers sat bolt upright, alert and on the qui vive, most of
the débutantes leant languidly against the cushions with an air of
supercilious boredom, the exacting demands of the season combined with
the oppressive heat having apparently drained their vitality.
All roads seemed to lead to the Queens Hall that afternoon, and judging
by the ornate escutcheons on the panels of some of the equipages, there
were great people on the road. The occasion was the much-advertised
charity matinée, organized by the popular dramatist, Guy Haviland, in aid
of a well-known London hospital. Society had been pleased to bestow its
patronage, and as the tickets had been disposed of at fancy prices, it was
sufficiently select for the élite to honour with their presence.
The function promised to be a highly interesting and successful one, for
Haviland had prevailed upon several stars of the musical and dramatic
professions to give their services in the cause of charity. Moreover, the
gifted young singer, Celia Franks, who had made her début in Paris—where
she had finished her studies—was to make her first appearance before the
English public; and as her wealth, beauty, and attainments had been so fully
discussed in the society papers, society was curious to see whether the
numerous eulogies of her merits were justified.
The hall was packed long before the concert began. Stalls and balconies
were filled with women of fashion and men of note. Those who knew said it
was one of the most brilliant gatherings of the season, and that the names of
some of those present would have made a condensed edition of Debrett.
Everybody seemed to know everybody else; and the hum of conversation
buzzed loud and strong.
A well-groomed man of forty, with a gardenia in his button-hole,
sauntered leisurely about the hall, stopping every now and then to greet an
acquaintance, and chat about the weather and the opera. He was a popular
man about town, being a peer in fairly prosperous circumstances, and still
unmarried. Anxious mothers, with several daughters on their hands, made
much of him, and the girls themselves declared him “so interesting, don’t
you know.” But the wiles of the mothers, and the charms of the daughters
were alike of no avail, for wherever he went he proclaimed himself a
confirmed bachelor.
As he was about to return to his seat, a lady sailed up to him, her long
silken skirts trailing on the ground. She was a regal-looking woman,
magnificently dressed with perfect taste; and her bearing indicated that she
was fully conscious of her own importance.
With a bewitching smile she invited the noble lord to buy a programme;
she had only three left, she said, and was very anxious to sell them before
the concert began.
“Mrs. Neville Williams a vendor of programmes!” exclaimed the peer
with mock astonishment. “I am indeed sorry that it should have come to
this!”
“One can do anything for such a good cause,” she answered
sententiously; and then, with a coquettish glance from her dark eyes, “Of
course I cannot hope to compete with the pretty actresses who are my
colleagues, but will you buy a programme, Lord Bexley?”
She spoke with a slightly foreign accent, and had a peculiar way of
pronouncing her “r’s.” There was a suggestion of artificiality about her
voice, as there was also about the brilliancy of her eyes, the bloom of her
complexion, and the whiteness of her teeth. Bexley did not consider her
beautiful, for what good points she possessed were due to art—the art of her
French maid; but he admired her personality, albeit there was some thing
about it which repelled him.
“Where have you been hiding yourself all the season?” he asked, when
he had allowed her to sell him a programme for sixpence and keep the
change out of a sovereign. “I really believe this is the first time I have seen
you since we met in Cairo last winter.”
“Yes, I have been abroad for some time,” she replied, trying to cool
herself with a small ivory fan. “I was in retreat at a convent near Cimiez for
nearly three months, and since then I have been to Paris and Trouville. You
see, the poor Duke’s death upset me terribly—we were to have been
married a fortnight later, you know—and so I thought that a few months
spent right away from society would prove beneficial to my health. My
nerves seemed quite unstrung.”
“Yes, I understand,” said Bexley, sympathetically. “It was very sad about
poor Wallingcourt’s death. I never had the slightest idea that he was
consumptive. Do you feel better after your period of seclusion?”
“Oh yes. It was so quiet and restful at the convent. The very atmosphere
breathed unworldliness and sanctity. I read no books and attended to no
correspondence whilst I was there, but, in company with the Sisters, passed
my time in prayer and meditation. It was quite a delightful change.”
Lord Bexley turned away his face to hide a smile. The idea of Mrs.
Neville Williams as a kind of temporary nun tickled him immensely. He
was far more inclined to think that her absence from society had been in
order to undergo a treatment of rejuvenescence at the hands of a Parisian
beauty doctor. However, it would never do to doubt the word of a lady.
“It must indeed have been delightful,” he said, glancing at her again, and
noting the unwonted demureness of her countenance. “But I am glad that
they have allowed you to return to the world. By-the-by, your niece, Miss
Gladys Milnes, is here. She is up on a visit to my sister. Won’t you come
and speak to her?”
Mrs. Neville Williams frowned. “No, thanks,” she answered tersely. “I
scarcely know her. She is a gauche little country wench, is she not? My late
husband’s relations have not treated me very kindly, and we are not on the
best of terms.”
Her gaze suddenly became riveted on two gentlemen who were passing
in front of the stalls to the artists’ room. They seemed to possess some
fascination for her, for she stopped fanning herself, and her eyes dilated.
Her expression reminded Bexley of a warhorse, when it scents the battle-
field; he did not quite know what to make of it. In another moment,
however, her sudden agitation had passed; she was demure and calm again.
“Those gentlemen,” she murmured, having noticed Bexley look over to
them and bow—“you know them?”
“Yes. The one is Mr. Haviland, the giver of this concert.”
“And the other?”
“The other is Herbert Karne.”
“Ah!” The exclamation was short and sharp. Bexley was not sure
whether it implied surprise or relief.
“I dare say you have seen his ‘Farewell to the World’ at the Academy?”
he inquired. “It is a beautiful picture.”
“No,” she replied nervously. “I have not been to the Royal Academy this
season. I have only just returned to town.”
She toyed absently with her long neck-chain, from which were
suspended, in cheerful incongruity, a small ebony and silver crucifix, a tiny
ivory death’s-head with diamonds set in the eye-holes, a miniature horse-
shoe, and a diminutive champagne-bottle designed in solid gold. Bexley
wondered why she wore them; they were certainly not pretty, and, as
charms, he considered them out of place.
“Mr. Karne is the half-brother of Miss Celia Franks,” he informed her.
“Did you hear Miss Franks sing in Paris? She made her début there.”
“Yes, I heard her sing. She sang very well. I had no idea, though, that she
was Herbert Karne’s half-sister. I was not aware that he had a half-sister.”
“Then you do know him?” Bexley interpolated quickly.
“I just know him, that is all,” she answered evenly. “I do not suppose,
however, that he remembers me. Our introduction took place many years
ago.”
The performers were taking their places for the trio with which the
concert opened. Mrs. Neville Williams bowed and swept away. She carried
herself with more hauteur than usual, and there was a bright spot, which
was not rouge, on either of her cheeks.
Lord Bexley returned to his seat, and affected not to notice his sister’s
expression of disapproval. He passed the programme to Gladys Milnes, and
then leant back and appeared absorbed in the music. The trio was one
composed by Beethoven for piano, violin, and ’cello, all three performers
being skilled executants. When the second movement came to a close, Lady
Marjorie spoke.
“You seem to have found plenty to say to that woman,” she remarked
caustically. “I should advise you to be careful, Bexley, or you will find
yourself the next on her list.”
Bexley shrugged his shoulders. When one lady designates another fair
dame as “that woman,” it is an infallible sign that there is no love lost
between the two.
“I presume you mean Mrs. Neville Williams,” he answered sotto voce. “I
am sure I don’t know why you are so dead against her. It is not like you to
be uncharitable, Marjorie.”
“I remember Dr. Williams, and I remember the poor infatuated Duke of
Wallingcourt,” she returned in a whisper. “They were good men in their
way, and she ruined them both. I don’t like to see good men ruined,
therefore I am uncharitable.”
The musicians struck up the third movement of the trio. Bexley was
silent, and his sister gave her attention again to the music.
Gladys Milnes, who sat the other side of Lady Marjorie, also listened
attentively, her face aglow with interest and excitement. She might have
been what her aunt had termed her, a gauche little country wench, but she
was very charming for all that. There was no deception about her wavy
golden hair and peach-like complexion; they were the gifts of Nature—
which her aunt’s were not. And if she were not a fashionable young lady
with the fashionable affectation of ennui, at least she was genuinely healthy
in body, mind, and soul—which, too, her aunt was not. It was her first visit
to the metropolis, and she had come for the sole purpose of attending this
concert. She was greatly impressed by all that she saw; the brilliancy of the
audience almost took her breath away. Never before had she seen such a
galaxy of fair women, such a profusion of beautiful dresses and magnificent
jewels. She began to wonder if this were what her father meant, when from
the pulpit he denounced the “pomps and vanity of this wicked world;” for
the elegant “creations” and “confections” represented an amount of money
which, it seemed to her, might have been devoted to a much more useful
purpose than the display of dress. She enjoyed watching them, nevertheless,
and was keenly observant of all that went on around her.
The trio was followed by a vocal duet, after which came a humorous
duologue. Gladys enjoyed them both, but she was longing impatiently for
Celia’s contribution to the programme, which did not come until just before
the interval. She had not seen Celia for nearly a year, and wondered if her
professional début had changed her in any way. She could not imagine how
her friend could have the courage to face that vast audience. Her heart beat
quite fast when the short wait before Celia’s appearance occurred.
By the steps at the side of the platform stood M. Lambert, the professor
of singing. He wore an antiquated opera-hat rakishly tipped on one side,
and a yellow rose in his dress-coat. Lambert always made a point of getting
into evening dress as soon as the clock chimed the midday hour, and loftily
refused to comply with the conventions of what he termed “tin-pot” society.
He was a Bohemian to his finger-tips. At a given sign he took off his hat,
and, having placed it carefully on the floor, made way for the accompanists
—there were three of them—to pass to their respective instruments. Then
with great dignity he himself escorted the fair singer on to the platform,
and, having favoured the audience with a bow all on his own account, took
his seat by the piano in order to turn over the music.
“Isn’t she sweet!” exclaimed Lady Marjorie, almost tenderly. “She looks
for all the world as if she had just stepped out of a picture.”
Her remark was justified. Attired in a prettily made frock of shimmering
white silk, with roses at her belt and in her Gainsboro’ hat, Celia stood, a
charming representation of feminine beauty. She held herself erect, with
gracefully poised head and loosely clasped hands; and, looking straight over
the heads of her audience, awaited with composure the close of the
instrumental prelude to the French ballad, “La Voix d’un Ange.”
It was the story of a forsaken and poverty-stricken mother, who, as she is
rocking her weakly babe to sleep one stormy night in her miserable garret,
receives an angelic visitation. Being asked to choose whether the babe shall
be left to grow up in puny ill-health, or whether the angel shall take it
before it knows aught of sorrow, she—although the babe is the one bright
spot in her life—chooses the latter alternative, and with patient resignation
watches the angel carry it away.
It was a dramatic little poem, and Celia told it well. Beginning in a low
but well-modulated voice, accompanied only by the low rumbling of the
organ, which depicted the approaching storm, she recited with unaffected
gesture the opening verses. It was the more difficult for her, being in
French, but she had acquired a good accent, and spoke distinctly.
When, accompanied by the rippling arpeggi of the piano and harp, and
the melting notes produced by the vox humana stop of the organ, her
glorious voice burst forth in all its rich fulness—“La Voix d’un Ange”—a
thrill of pleasure ran through the audience, and with almost breathless
tension, they drank in every note.
Higher and with more intensity rose the voice, deeper swelled the organ,
more celestial sounded the sweet notes of the harp; the effect was almost
entrancing. Then, in a little minor melody of exquisite beauty, the
enchanting voice gradually died away; the organ resumed its low rumbling,
and a few lines of recitative brought the ballad to a close.
A sigh of keen enjoyment broke from the listening crowd, and, after a
moment’s silence, the hall reverberated with applause. There was not
another number on the programme which elicited such enthusiasm as this.
For once society was taken out of itself, for once it forgot its usual placid
indifference, and forebore to grudge the singer her success.
Again and again she reappeared to bow her acknowledgments, and still
the audience clamoured and thumped for an encore.
“You must sing something else,” Haviland said excitedly. “Quick! what
shall it be?”
“Sing ‘Allerseelen,’ ” suggested Herbert Karne.
“No; give ’em something popular. They are just in the mood for it,” put
in Lambert with authority. “Sing ‘Killarney’—that’s sure to take.”
He hastily found the music; then, turning round to the young singer, gave
an exclamation of dismay.
“The heat and the excitement have been too much for her,” said
Haviland, regretfully.
Celia had fainted.
CHAPTER II
CHAPTER III