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own ideas and ideals, our own fears and anxieties, as we hold on to our own version of the truth. Like the birds of this story, we may take flight together, but the journey itself will be different for each of us. Attar tells us that truth is not static, and that we each tread a path according to our own capacity. It evolves as we evolve. Those who are trapped within their own dogma, clinging to hardened beliefs or faith, are deprived of the journey toward the unfathomable Divine, which Attar calls the Great Ocean.
289:, China as used here, is not the geographical China, but the symbol of mystic experience, as inferred from the Hadith (declared weak by Ibn Adee, but still used symbolically by some Sufis): "Seek knowledge; even as far as China". There are many more examples of such subtle symbols and allusions throughout the Mantiq. Within the larger context of the story of the journey of the birds, Attar masterfully tells the reader many didactic short, sweet stories in captivating poetic style.
596:. Set in the magical city of The Lanterns, the player takes on the role of Zig, a female detective assigned to track down an internationally wanted criminal known as "The Scientist", who is also the prime suspect in the kidnapping of the city's patron bird goddess, Simurgh. For Zig to both apprehend The Scientist and rescue Simurgh, she must recruit the eponymous thirty birds while solving complex puzzles along the way.
246:
panic, and violence. Finally, only thirty birds make it to the abode of
Simorgh. In the end, the birds learn that they themselves are the Simorgh; the name “Simorgh” in Persian means thirty (si) birds (morgh). They eventually come to understand that the majesty of that Beloved is like the sun that can be seen reflected in a mirror. Yet, whoever looks into that mirror will also behold his or her own image."
296:
The parables in this book trigger memories deep within us all. The stories inhabit the imagination, and slowly over time, their wisdom trickles down into the heart. The process of absorption is unique to every individual, as is each person’s journey. We are the birds in the story. All of us have our
245:
writes, "When the birds hear the description of these valleys, they bow their heads in distress; some even die of fright right then and there. But despite their trepidations, they begin the great journey. On the way, many perish of thirst, heat or illness, while others fall prey to wild beasts,
235:
6. Valley of
Wonderment, where, entranced by the beauty of the Beloved, the Wayfarer becomes perplexed and, steeped in awe, finds that he has never known or understood anything.
508:
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5. Valley of Unity, where the
Wayfarer realizes that everything is connected and that the Beloved is beyond everything, including harmony, multiplicity, and eternity.
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7. Valley of
Poverty and Annihilation, where the self disappears into the universe and the Wayfarer becomes timeless, existing in both the past and the future.
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Attar's use of symbolism is a key, driving component of the poem. This handling of symbolisms and allusions can be seen reflected in these lines:
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The hoopoe tells the birds that they have to cross seven valleys in order to reach the abode of
Simorgh. These valleys are as follows:
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4. Valley of
Detachment, where all desires and attachments to the world are given up. Here, what is assumed to be “reality” vanishes.
20:
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to that continent in 1972–73, before presenting two extremely successful productions to
Western audiences—one in New York City at
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217:. The hoopoe leads the birds, each of whom represents a human fault which prevents humanity from attaining enlightenment.
494:), which they published in 1979. Brook toured embryonic versions of the play around rural Africa during the visit of his
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539:(active ca. 1590–1610), in ink, opaque watercolor, gold, and silver on paper, dimensions 25,4 x 11,4 cm.
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In the poem, the birds of the world gather to decide who is to be their sovereign, as they have none. The
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Fariduddin Attar in Great Poets of
Classical Persian" by R M Chopra, 2014, Sparrow Publication, Kolkata,
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Beside the symbolic use of the
Simorgh, the allusion to China is also very significant. According to
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1. Valley of the Quest, where the
Wayfarer begins by casting aside all dogma, belief, and unbelief.
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779:"The Concourse of the Birds", Folio 11r from a Mantiq al-tair (Language of the Birds), The Met
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was premiered by Inferno Theatre and Ubuntu Theater Project (now Oakland Theater Project), in
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gives an account of the events surrounding the early development of the play in his 1977 book
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Wolpé further writes: "The book is meant to be not only instructive but also entertaining."
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The Conference of The Birds: Mantiq Ut-Tair; a Philosophical Religious Poem in Prose
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The Canticle of the Birds: Illustrated Through Persian and Eastern Islamic Art
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Sholeh Wolpé, in the foreword of her modern translation of this work writes:
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173:, commonly known as Attar of Nishapur. The title is taken directly from the
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3. Valley of Knowledge, where worldly knowledge becomes utterly useless.
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197:) are said to have been taught the language, or speech, of the birds (
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2. Valley of Love, where reason is abandoned for the sake of love.
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186:
201:). Attar’s death, as with his life, is subject to speculation.
948:, with recitation in Persian by members of the Chamekhan Group.
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Simurgh: A modern musical rendering of Attar's allegorical tale
863:, First published 1954 by The Janus Press, London, Reissued by
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19:"Conference of the Birds" redirects here. For other uses, see
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592:, an upcoming puzzle video game inspired by Persian art and
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Conference of the Birds: The Story of Peter Brook in Africa
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939:, an opera by Johan Othman and libretto by William Radice
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Bird Parliament: A Bird's-Eye view of the Bird Parliament
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that all the birds, be they thirty or forty or more,
918:Abridged Edward FitzGerald translation of Attar's
839:Conference of the Birds: A Seeker's Journey to God
405:Conference of the Birds: A Seeker's Journey to God
251:If Simorgh unveils its face to you, you will find
68:, center right, instructs the other birds on the
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756:"The Conference Of The Birds w/ Ubuntu Theater"
263:so get over surfaces and delve into mysteries.
261:The shadow and its maker are one and the same,
257:What shadow is ever separated from its maker?
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345:
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926:Selection of Attar and related poets' poetry
857:The Conference of The Birds - Mantiq Ut-Tair
280:The Simorgh first appeared to mortal sight—
255:are but the shadows cast by that unveiling.
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496:International Centre for Theatre Research
278:It was in China, late one moonless night,
320:, London and New York: Macmillan and Co.
21:Conference of the Birds (disambiguation)
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332:(1st ed.), London: The Janus Press
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686:by Attar, edited and translated by
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738:. The Bobs Merrill Company, Inc.
373:, Diane de Sellier Éditeur, 2013.
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16:Persian poem by Sufi poet Attar
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662:"The Conference of the Birds"
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165:; 1177) is a Persian poem by
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955:The Canticle of the Birds
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946:The Conference of Birds
937:Conference of the Birds
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732:Heilpern, John (1978).
382:The Speech of the Birds
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606:Language of the birds
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305:English translations
617:Parlement of Foules
446:Wolpé, Sholeh (tr.)
141:Speech of the Birds
623:Persian literature
581:In popular culture
537:Habiballah of Sava
531:Collection at the
378:Avery, Peter (tr.)
171:Farid ud-Din Attar
992:Poems about birds
987:Attar of Nishapur
887:978-81-89140-75-5
721:978-1-78479-000-4
636:The Seven Valleys
424:Davis, Dick (tr.)
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122:Persian mythology
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871:Ltd, 1961,
799:ARTE France
611:Panentheism
586:ARTE France
480:Peter Brook
456:& Co.,
287:Idries Shah
259:Do you see?
56:Scene from
966:Categories
912:Fitzgerald
869:Kegan Paul
833:0393292193
765:2022-11-27
696:0393292193
648:References
463:0393292193
437:2364370310
414:1609252233
395:0946621705
365:0140444343
342:Ltd, 1961.
340:Kegan Paul
269:Commentary
150:منطق الطیر
118:Subject(s)
93:c. 1177 CE
865:Routledge
712:The Sufis
336:Routledge
845:, 2001,
793:30 Birds
709:(2014).
600:See also
590:30 Birds
448:(2017),
426:(2013),
380:(1998),
350:(1984),
328:(1954),
314:(1889),
205:Synopsis
183:Sulayman
181:, where
108:Language
815:Attar,
810:Sources
801:. 2024.
521:Oakland
215:Simorgh
187:Solomon
98:Country
90:Written
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211:hoopoe
189:) and
175:Qur’an
146:Arabic
126:Sufism
66:hoopoe
64:. The
195:David
191:Dāwūd
179:27:16
169:poet
72:path.
60:in a
883:ISBN
873:ISBN
867:and
847:ISBN
829:ISBN
740:ISBN
717:ISBN
692:ISBN
482:and
458:ISBN
432:ISBN
409:ISBN
390:ISBN
360:ISBN
338:and
167:Sufi
70:Sufi
138:or
41:by
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