In the poem, the birds of the world gather to decide who is to be their sovereign, as they have none. The hoopoe, the wisest of them all, suggests that they should find the legendary Simorgh. The hoopoe leads the birds, each of whom represents a human fault which prevents human kind from attaining enlightenment. 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: Sholeh Wolpé 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, 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 birds. 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." 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: It was in China, late one moonless night, The Simorgh first appeared to mortal sight – Beside the symbolic use of the Simorgh, the allusion to China is also very significant. According to Idries Shah, China as used here, is not the geographical China, but the symbol of mystic experience, as inferred from the Hadith : "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.
Commentary
Sholeh Wolpé, in the foreword of her modern translation of this work writes: Wolpé further writes: "The book is meant to be not only instructive but also entertaining."
English translations
', translated by Sholeh Wolpé, W. W. Norton & Co., 2017.
The Conference of the Birds], translated by Afkham Darbandi and Dick Davis, Penguin Classics 1984, re-edited as The Canticle of the Birds, Diane de Sellier Éditeur, 2013.
', translation by Harvey & Masani, Weiser Books, 2001.
''La Conférence des oiseaux'' and other theatrical adaptations
and Jean-Claude Carrière adapted the poem into a play titled La Conférence des oiseaux, which they published in 1979. Brook toured the play around rural Africa before presenting two extremely successful productions to Western audiences—one in New York City at La MaMa E.T.C. and one in Paris. John Heilpern gives an account of the events surrounding these performances in his 1977 book . 's stage adaptation of The Conference of the Birds premiered at in Oakland California in November 2018.
Illustrations
Collection at the Metropolitan Museum of Art, New York. Folio from an illustrated manuscript dated c.1600. Paintings by Habiballah of Sava, in ink, opaque watercolor, gold, and silver on paper, dimensions 25,4 x 11,4 cm.
