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賲賳胤賯 丕賱胤蹖乇
賲賳胤賯 丕賱胤蹖乇 毓胤丕乇 賳蹖卮丕亘賵乇蹖貙 讴鬲丕亘蹖 亘爻蹖丕乇 賲卮賴賵乇 丿乇 乇丕賴 乇爻蹖丿賳 亘賴 禺丿丕 賵 鬲卮乇蹖丨 丨丕賱 賵 丕蹖賳 乇丕賴 丕爻鬲. 賲賵賱賵蹖 丕夭 丕賮乇丕丿蹖 丕爻鬲 讴賴 亘爻蹖丕乇 賲鬲兀孬乇 丕夭 毓胤丕乇 亘賵丿賴 賵 丕賵 乇丕 乇賵丨 禺賵丿 賱賯亘 賲蹖 丿丕丿賴. 賴賲蹖賳 诏賮鬲賴 丕夭 賲賵賱賵蹖 讴丕賮蹖 丕爻鬲 讴賴 : 賴賮鬲 卮賴乇 毓卮賯 乇丕 毓胤丕乇 诏卮鬲 / 賲丕 賴賳賵夭 丕賳丿乇 禺賲 蹖讴 讴賵趩賴 丕蹖賲.
First published January 1, 1177
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Attar of Nishapur
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Conference of the Birds
, masterpiece of Persian poet and mystic Attar, fully named Farid ad-Din Attar, allegorically surveys Sufism.
From Nishapur, an immense influence of better known pen, "the perfumer," of Ab奴 am墨d bin Ab奴 Bakr Ibr膩h墨m, a Muslim theoretician and hagiographer, lasts.
From Nishapur, an immense influence of better known pen, "the perfumer," of Ab奴 am墨d bin Ab奴 Bakr Ibr膩h墨m, a Muslim theoretician and hagiographer, lasts.
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October 11, 2021
賲賳胤賯 丕賱胤蹖乇 - 賴賮鬲 卮賴乇 毓卮賯 = Mantiq Al-Tayr = Maq膩m膩t-u峁�-峁瑄y奴r = The Conference of the Birds, Farid ud-Din Attar
The Conference of the Birds or Speech of the Birds (1177), is a celebrated literary masterpiece of Persian literature by poet Farid ud-Din Attar, commonly known as Attar of Nishapur.
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 represent a human fault which prevents human kind from attaining enlightenment.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱 1973賲蹖賱丕丿蹖貙 鬲丕乇蹖禺 禺賵丕賳卮 丕蹖賳 賳爻禺賴貨 賲丕賴 跇賵卅賳 爻丕賱 1988賲蹖賱丕丿蹖
毓賳賵丕賳: 賲賳胤賯 丕賱胤蹖乇 - 賴賮鬲 卮賴乇 毓卮賯貨 賳賵蹖爻賳丿賴: 卮蹖禺 賮乇蹖丿丕賱丿蹖賳 賲丨賲丿 亘賳 丕亘乇丕賴蹖賲 毓胤丕乇 賳蹖卮丕倬賵乇蹖貨 鬲賱禺蹖囟貙 賲賯丿賲賴貙 賵 卮乇丨 丨爻蹖賳 賲丨蹖 丕賱丿蹖賳 丕賱賴蹖 賯賲卮賴 丕蹖貨 鬲賴乇丕賳貙 毓賱賲蹖 賮乇賴賳诏蹖貙 1373貨 丿乇 11氐 賵 248氐貨 卮丕亘讴9644451651貨 趩丕倬 爻賵賲 1379貨 趩賴丕乇賲 1380貨 倬賳噩賲 1382貨 賳賴賲 1391貨 卮丕亘讴9789644451652貨 賲賵囟賵毓 卮毓乇 卮丕毓乇丕賳 丕蹖乇丕賳蹖 爻丿賴 卮卮賲 賴噩乇蹖 - 爻丿賴 12賲
毓賳賵丕賳: 丿丕爻鬲丕賳 賲賳胤賯 丕賱胤蹖乇 (賴賮鬲 卮賴乇 毓卮賯)貨 賳賵蹖爻賳丿賴: 卮蹖禺 賮乇蹖丿丕賱丿蹖賳 賲丨賲丿 亘賳 丕亘乇丕賴蹖賲 毓胤丕乇 賳蹖卮丕倬賵乇蹖貨 鬲賱禺蹖囟貙 卮乇丨 賱睾丕鬲 賵 毓亘丕乇丕鬲 丨爻蹖賳 丨丿丕丿貨 鬲賴乇丕賳貙 賯丿蹖丕賳蹖貙 1376貨 丿乇 396氐貨 卮丕亘讴 9644171551貨 趩丕倬 丿賵賲 1379貨 趩賴丕乇賲 1387貨
倬蹖卮賳賴丕丿 賲蹖讴賳賲 賳诏丕乇賴 丕賲 乇丕 鬲丕 倬丕蹖丕賳 亘禺賵丕賳蹖丿
丿丕爻鬲丕賳 爻賮乇 诏乇賵賴蹖 丕夭 賲乇睾丕賳 亘賴 乇丕賴賳賲丕蹖蹖 芦賴丿賴丿禄 丕爻鬲貙 讴賴 亘賴 讴賵賴 芦賯丕賮禄貙 乇賴爻倬丕乇 賴爻鬲賳丿貙 亘乇丕蹖 丿蹖丿丕乇 芦爻蹖賲乇睾禄貙 鬲賳賴丕 賲賵噩賵丿蹖讴賴 乇丕夭 芦賲乇诏禄 賵 芦夭賳丿诏蹖禄 丿丕賳丿貙 賵 倬夭卮讴 丿乇丿賴丕蹖 賳丕卮賳丕禺鬲賴 賳蹖夭 賴爻鬲貨
賴賮鬲 賵丕丿蹖 丿乇 倬蹖卮 丕爻鬲: 芦賵丕丿蹖 胤賱亘禄貙 芦賵丕丿蹖 毓卮賯禄貙 芦賵丕丿蹖 賲毓乇賮鬲禄貨貙 芦賵丕丿蹖 丕爻鬲睾賳丕禄貙 芦賵丕丿蹖 鬲賵丨賷丿禄貙 芦賵丕丿蹖 丨賷乇鬲禄貙 賵 芦賵丕丿蹖 賮賯乇賵賮賳丕禄貨
賵丕丿蹖 賳禺爻鬲 芦胤賱亘禄 丕爻鬲貨 趩賵賳 賮乇賵丿 丌蹖蹖 亘賴 賵丕丿蹖 胤賱亘貙 倬蹖卮鬲 丌蹖丿 賴乇 夭賲丕賳蹖 氐丿 鬲毓亘貨
賵丕丿蹖 丿賵賲 芦毓卮賯禄 丕爻鬲貨 毓胤丕乇 毓卮賯 乇丕 賲亘鬲賳蹖 亘乇 胤賱亘貙 賵 胤賱亘 乇丕 賲亘鬲賳蹖 亘乇 卮賳丕禺鬲 賲蹖丿丕賳爻鬲賳丿貨 芦賴丿賴丿禄 爻丕賱讴丕賳 乇丕 丕夭 乇丕賴 賵 賲賯氐丿 丌诏丕賴 賲蹖讴賳丿貙 蹖夭乇诏賵丕乇蹖 賲毓卮賵賯貙 卮賵乇蹖 丿乇 丿賱賴丕 賲蹖丕賮讴賳丿貙 賵 爻丕賱讴丕賳 乇丕 賲蹖噩賳亘丕賳丿貨 爻丕賱讴 卮蹖丿丕貙 賲爻蹖乇 毓卮賯 乇丕 亘丕 倬丕蹖 丿賱貙 賲蹖倬蹖賲丕蹖丿貨
趩賵賳 賵丕丿蹖 毓卮賯 倬蹖賲賵丿賴 卮丿貙 賵丕丿蹖 爻賵賲 讴賴 芦賲毓乇賮鬲禄 丕爻鬲貙 丕夭 乇丕賴 賲蹖乇爻丿貙 丿乇 賵丕丿蹖 毓卮賯貙 卮賳丕禺鬲 丕噩賲丕賱蹖 (讴賱蹖)貙 賵 亘賴 賵丕丿蹖 賲毓乇賮鬲貙 诏爻鬲乇卮 蹖丕賮鬲賴 丕爻鬲貙 丿乇 丕蹖賳 賵丕丿蹖貙 卮賴賵丿 亘匕乇 賲毓乇賮鬲 (丿丕賳丕蹖蹖) 乇丕 丌亘蹖丕乇蹖 賲蹖讴賳丿貙 賲毓乇賮鬲 丨囟賵乇 丿乇 噩丕賳 爻丕賱讴貙 乇蹖卮賴 賲蹖丿賵丕賳丿貙 爻丕賱讴 亘丕 丕爻賲丕亍貙 賵 氐賮丕鬲 丨賯 鬲毓丕賱蹖貙 丿乇 丕蹖賳 賵丕丿蹖 亘蹖卮鬲乇 丌卮賳丕 賲蹖卮賵丿貙 诏丕賴 亘毓囟 丕爻賲丕亍 賵 氐賮丕鬲 丿乇 丕賵 亘賴 賮毓賱蹖鬲 賲蹖乇爻丿貙 爻丕賱讴 丕爻乇丕乇 亘爻蹖丕乇 丿乇賲蹖蹖丕亘丿貨 爻乇 匕乇丕鬲卮貙 賴賲賴貙 乇賵卮賳 卮賵丿貙 诏賱禺賳 丿賳蹖丕貙 亘乇 丕賵貙 诏賱卮賳 卮賵丿貙 丿乇 丕蹖賳 賲乇丨賱賴 禺賵丕乇賯 毓丕丿丕鬲 丕夭 爻丕賱讴 爻乇 賲蹖夭賳丿貙 賲蹖亘蹖賳丿 讴賴: 噩賲賱賴 毓丕賱賲貙 蹖讴 賮乇賵睾 乇賵蹖 丕賵爻鬲貨
丕夭 賴賲诏丕賳 丕賲蹖丿 賲蹖亘乇丿貙 賵 亘賴 賵丕丿蹖 芦丕爻鬲睾賳丕 (亘蹖 賳蹖丕夭蹖)禄 诏丕賲 賲蹖诏匕丕乇丿貨 丌賳诏丕賴 禺賵丕乇賯 毓丕丿丕鬲貙 讴賳丕乇 賲蹖诏匕丕乇丿 賵 讴鬲賲丕賳 爻蹖乇貙 倬蹖卮賴 賲蹖讴賳丿貨 倬爻 丕夭蹖賳 賵丕丿蹖 芦丕爻鬲睾賳丕禄 亘賵丿貙 賳賴 丿乇 丕賵 丿毓賵蹖 賵 賳賴 賲毓賳蹖 亘賵丿貨 賲蹖噩賴丿 丕夭 亘蹖 賳蹖丕夭蹖 氐乇氐乇蹖貙 賲蹖夭賳丿 亘乇賴賲 亘賴 蹖讴丿賲 讴卮賵乇蹖貨 爻丕賱讴 丿乇 丕蹖賳 賵丕丿蹖 亘蹖 賳蹖丕夭蹖 丨賯貙 賵 賳蹖丕夭 賲乇丿賲 亘賴 丨賯 丕賱蹖賯蹖賳 乇丕貙 卮丕賴丿 賲蹖卮賵丿貨
亘賴 賵丕丿蹖 芦鬲賵丨蹖丿禄 賲蹖乇爻丿貙 鬲賵丨蹖丿 匕丕鬲蹖 賵 氐賮丕鬲蹖 賵 丕賮毓丕賱蹖 乇丕 丿乇讴 賲蹖讴賳丿貨 亘毓丿 丕夭蹖賳 賵丕丿蹖 鬲賵丨蹖丿 丌蹖丿鬲貙 賲賳夭賱 鬲賮乇蹖丿 (丿丕賳丕 卮丿賳) 賵 鬲噩乇蹖丿 (鬲賳賴丕蹖蹖) 丌蹖丿鬲
爻倬爻 亘賴 賵丕丿蹖 芦丨蹖乇鬲禄 賲蹖乇爻丿貙 讴賴 卮蹖乇蹖賳鬲乇 丕夭 賴夭丕乇 亘蹖丿丕乇蹖 爻鬲. 賲丕鬲 賵 賲亘賴賵鬲 (卮诏賮鬲 夭丿賴) 丕爻鬲貙 賵 賲蹖賲丕賳丿
丌賳诏丕賴 亘賴 賲賳夭賱 芦賮賯乇 賵 賮賳丕禄 乇丕賴卮 賲蹖丿賴賳丿貨 賮丕賳蹖 丿乇 丨賯 卮丿賴貙 亘丕賯蹖 丿乇 丕賵貙 賲蹖賲丕賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 19/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 18/07/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Conference of the Birds or Speech of the Birds (1177), is a celebrated literary masterpiece of Persian literature by poet Farid ud-Din Attar, commonly known as Attar of Nishapur.
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 represent a human fault which prevents human kind from attaining enlightenment.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱 1973賲蹖賱丕丿蹖貙 鬲丕乇蹖禺 禺賵丕賳卮 丕蹖賳 賳爻禺賴貨 賲丕賴 跇賵卅賳 爻丕賱 1988賲蹖賱丕丿蹖
毓賳賵丕賳: 賲賳胤賯 丕賱胤蹖乇 - 賴賮鬲 卮賴乇 毓卮賯貨 賳賵蹖爻賳丿賴: 卮蹖禺 賮乇蹖丿丕賱丿蹖賳 賲丨賲丿 亘賳 丕亘乇丕賴蹖賲 毓胤丕乇 賳蹖卮丕倬賵乇蹖貨 鬲賱禺蹖囟貙 賲賯丿賲賴貙 賵 卮乇丨 丨爻蹖賳 賲丨蹖 丕賱丿蹖賳 丕賱賴蹖 賯賲卮賴 丕蹖貨 鬲賴乇丕賳貙 毓賱賲蹖 賮乇賴賳诏蹖貙 1373貨 丿乇 11氐 賵 248氐貨 卮丕亘讴9644451651貨 趩丕倬 爻賵賲 1379貨 趩賴丕乇賲 1380貨 倬賳噩賲 1382貨 賳賴賲 1391貨 卮丕亘讴9789644451652貨 賲賵囟賵毓 卮毓乇 卮丕毓乇丕賳 丕蹖乇丕賳蹖 爻丿賴 卮卮賲 賴噩乇蹖 - 爻丿賴 12賲
毓賳賵丕賳: 丿丕爻鬲丕賳 賲賳胤賯 丕賱胤蹖乇 (賴賮鬲 卮賴乇 毓卮賯)貨 賳賵蹖爻賳丿賴: 卮蹖禺 賮乇蹖丿丕賱丿蹖賳 賲丨賲丿 亘賳 丕亘乇丕賴蹖賲 毓胤丕乇 賳蹖卮丕倬賵乇蹖貨 鬲賱禺蹖囟貙 卮乇丨 賱睾丕鬲 賵 毓亘丕乇丕鬲 丨爻蹖賳 丨丿丕丿貨 鬲賴乇丕賳貙 賯丿蹖丕賳蹖貙 1376貨 丿乇 396氐貨 卮丕亘讴 9644171551貨 趩丕倬 丿賵賲 1379貨 趩賴丕乇賲 1387貨
倬蹖卮賳賴丕丿 賲蹖讴賳賲 賳诏丕乇賴 丕賲 乇丕 鬲丕 倬丕蹖丕賳 亘禺賵丕賳蹖丿
丿丕爻鬲丕賳 爻賮乇 诏乇賵賴蹖 丕夭 賲乇睾丕賳 亘賴 乇丕賴賳賲丕蹖蹖 芦賴丿賴丿禄 丕爻鬲貙 讴賴 亘賴 讴賵賴 芦賯丕賮禄貙 乇賴爻倬丕乇 賴爻鬲賳丿貙 亘乇丕蹖 丿蹖丿丕乇 芦爻蹖賲乇睾禄貙 鬲賳賴丕 賲賵噩賵丿蹖讴賴 乇丕夭 芦賲乇诏禄 賵 芦夭賳丿诏蹖禄 丿丕賳丿貙 賵 倬夭卮讴 丿乇丿賴丕蹖 賳丕卮賳丕禺鬲賴 賳蹖夭 賴爻鬲貨
賴賮鬲 賵丕丿蹖 丿乇 倬蹖卮 丕爻鬲: 芦賵丕丿蹖 胤賱亘禄貙 芦賵丕丿蹖 毓卮賯禄貙 芦賵丕丿蹖 賲毓乇賮鬲禄貨貙 芦賵丕丿蹖 丕爻鬲睾賳丕禄貙 芦賵丕丿蹖 鬲賵丨賷丿禄貙 芦賵丕丿蹖 丨賷乇鬲禄貙 賵 芦賵丕丿蹖 賮賯乇賵賮賳丕禄貨
賵丕丿蹖 賳禺爻鬲 芦胤賱亘禄 丕爻鬲貨 趩賵賳 賮乇賵丿 丌蹖蹖 亘賴 賵丕丿蹖 胤賱亘貙 倬蹖卮鬲 丌蹖丿 賴乇 夭賲丕賳蹖 氐丿 鬲毓亘貨
賵丕丿蹖 丿賵賲 芦毓卮賯禄 丕爻鬲貨 毓胤丕乇 毓卮賯 乇丕 賲亘鬲賳蹖 亘乇 胤賱亘貙 賵 胤賱亘 乇丕 賲亘鬲賳蹖 亘乇 卮賳丕禺鬲 賲蹖丿丕賳爻鬲賳丿貨 芦賴丿賴丿禄 爻丕賱讴丕賳 乇丕 丕夭 乇丕賴 賵 賲賯氐丿 丌诏丕賴 賲蹖讴賳丿貙 蹖夭乇诏賵丕乇蹖 賲毓卮賵賯貙 卮賵乇蹖 丿乇 丿賱賴丕 賲蹖丕賮讴賳丿貙 賵 爻丕賱讴丕賳 乇丕 賲蹖噩賳亘丕賳丿貨 爻丕賱讴 卮蹖丿丕貙 賲爻蹖乇 毓卮賯 乇丕 亘丕 倬丕蹖 丿賱貙 賲蹖倬蹖賲丕蹖丿貨
趩賵賳 賵丕丿蹖 毓卮賯 倬蹖賲賵丿賴 卮丿貙 賵丕丿蹖 爻賵賲 讴賴 芦賲毓乇賮鬲禄 丕爻鬲貙 丕夭 乇丕賴 賲蹖乇爻丿貙 丿乇 賵丕丿蹖 毓卮賯貙 卮賳丕禺鬲 丕噩賲丕賱蹖 (讴賱蹖)貙 賵 亘賴 賵丕丿蹖 賲毓乇賮鬲貙 诏爻鬲乇卮 蹖丕賮鬲賴 丕爻鬲貙 丿乇 丕蹖賳 賵丕丿蹖貙 卮賴賵丿 亘匕乇 賲毓乇賮鬲 (丿丕賳丕蹖蹖) 乇丕 丌亘蹖丕乇蹖 賲蹖讴賳丿貙 賲毓乇賮鬲 丨囟賵乇 丿乇 噩丕賳 爻丕賱讴貙 乇蹖卮賴 賲蹖丿賵丕賳丿貙 爻丕賱讴 亘丕 丕爻賲丕亍貙 賵 氐賮丕鬲 丨賯 鬲毓丕賱蹖貙 丿乇 丕蹖賳 賵丕丿蹖 亘蹖卮鬲乇 丌卮賳丕 賲蹖卮賵丿貙 诏丕賴 亘毓囟 丕爻賲丕亍 賵 氐賮丕鬲 丿乇 丕賵 亘賴 賮毓賱蹖鬲 賲蹖乇爻丿貙 爻丕賱讴 丕爻乇丕乇 亘爻蹖丕乇 丿乇賲蹖蹖丕亘丿貨 爻乇 匕乇丕鬲卮貙 賴賲賴貙 乇賵卮賳 卮賵丿貙 诏賱禺賳 丿賳蹖丕貙 亘乇 丕賵貙 诏賱卮賳 卮賵丿貙 丿乇 丕蹖賳 賲乇丨賱賴 禺賵丕乇賯 毓丕丿丕鬲 丕夭 爻丕賱讴 爻乇 賲蹖夭賳丿貙 賲蹖亘蹖賳丿 讴賴: 噩賲賱賴 毓丕賱賲貙 蹖讴 賮乇賵睾 乇賵蹖 丕賵爻鬲貨
丕夭 賴賲诏丕賳 丕賲蹖丿 賲蹖亘乇丿貙 賵 亘賴 賵丕丿蹖 芦丕爻鬲睾賳丕 (亘蹖 賳蹖丕夭蹖)禄 诏丕賲 賲蹖诏匕丕乇丿貨 丌賳诏丕賴 禺賵丕乇賯 毓丕丿丕鬲貙 讴賳丕乇 賲蹖诏匕丕乇丿 賵 讴鬲賲丕賳 爻蹖乇貙 倬蹖卮賴 賲蹖讴賳丿貨 倬爻 丕夭蹖賳 賵丕丿蹖 芦丕爻鬲睾賳丕禄 亘賵丿貙 賳賴 丿乇 丕賵 丿毓賵蹖 賵 賳賴 賲毓賳蹖 亘賵丿貨 賲蹖噩賴丿 丕夭 亘蹖 賳蹖丕夭蹖 氐乇氐乇蹖貙 賲蹖夭賳丿 亘乇賴賲 亘賴 蹖讴丿賲 讴卮賵乇蹖貨 爻丕賱讴 丿乇 丕蹖賳 賵丕丿蹖 亘蹖 賳蹖丕夭蹖 丨賯貙 賵 賳蹖丕夭 賲乇丿賲 亘賴 丨賯 丕賱蹖賯蹖賳 乇丕貙 卮丕賴丿 賲蹖卮賵丿貨
亘賴 賵丕丿蹖 芦鬲賵丨蹖丿禄 賲蹖乇爻丿貙 鬲賵丨蹖丿 匕丕鬲蹖 賵 氐賮丕鬲蹖 賵 丕賮毓丕賱蹖 乇丕 丿乇讴 賲蹖讴賳丿貨 亘毓丿 丕夭蹖賳 賵丕丿蹖 鬲賵丨蹖丿 丌蹖丿鬲貙 賲賳夭賱 鬲賮乇蹖丿 (丿丕賳丕 卮丿賳) 賵 鬲噩乇蹖丿 (鬲賳賴丕蹖蹖) 丌蹖丿鬲
爻倬爻 亘賴 賵丕丿蹖 芦丨蹖乇鬲禄 賲蹖乇爻丿貙 讴賴 卮蹖乇蹖賳鬲乇 丕夭 賴夭丕乇 亘蹖丿丕乇蹖 爻鬲. 賲丕鬲 賵 賲亘賴賵鬲 (卮诏賮鬲 夭丿賴) 丕爻鬲貙 賵 賲蹖賲丕賳丿
丌賳诏丕賴 亘賴 賲賳夭賱 芦賮賯乇 賵 賮賳丕禄 乇丕賴卮 賲蹖丿賴賳丿貨 賮丕賳蹖 丿乇 丨賯 卮丿賴貙 亘丕賯蹖 丿乇 丕賵貙 賲蹖賲丕賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 19/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 18/07/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
June 10, 2021
賲賳胤賯 丕賱胤蹖乇 = Man峁璱q-u峁�-峁琣yr = Maq膩m膩t-u峁�-峁瑄y奴r = The Conference of the Birds = Speech of the Birds, Farid ud-Din Attar
The Conference of the Birds or Speech of the Birds (Man峁璱q-u峁�-峁琣yr, 1177), is a celebrated literary masterpiece of Persian literature by poet Farid ud-Din Attar, commonly known as Attar of Nishapur.
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 represent 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:
1. Valley of the Quest, where the Wayfarer begins by casting aside all dogma, belief, and unbelief.
2. Valley of Love, where reason is abandoned for the sake of love.
3. Valley of Knowledge, where worldly knowledge becomes utterly useless.
4. Valley of Detachment, where all desires and attachments to the world are given up. Here, what is assumed to be 鈥渞eality鈥� vanishes.
5. Valley of Unity, where the Wayfarer realizes that everything is connected and that the Beloved is beyond everything, including harmony, multiplicity, and eternity.
6. Valley of Wonderment, where, entranced by the beauty of the Beloved, the Wayfarer becomes perplexed and, steeped in awe, finds that he or she has never known or understood anything.
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.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱 1973賲蹖賱丕丿蹖 鬲丕乇蹖禺 禺賵丕賳卮 丕蹖賳 賳爻禺賴 賲丕賴 跇賵卅賳 爻丕賱 1988賲蹖賱丕丿蹖
讴鬲丕亘 芦賲賳胤賯 丕賱胤蹖乇賽禄 噩賳丕亘 芦毓胤丕乇 賳蹖卮丕倬賵乇禄貙 诏賮鬲诏賵 賵 鬲丿丕乇讴 爻賮乇 賲乇睾丕賳 丕爻鬲貙 讴賴 賲蹖禺賵丕賴賳丿 亘賴 芦爻蹖賲乇睾禄 禺賵蹖卮 亘乇爻賳丿貙 賵 丕夭 丕蹖卮丕賳 賵 丕夭 禺賵蹖卮 亘倬乇爻賳丿貨 丨囟乇鬲 芦賲賵賱賵蹖禄貙 乇賵丕賳卮丕丿 芦毓胤丕乇禄 乇丕貙 乇賵丨 禺賵蹖卮 賱賯亘 賲蹖丿丕丿賴 丕賳丿貨 卮毓乇 丕蹖卮丕賳 丕爻鬲 讴賴: 芦賴賮鬲 卮賴乇 毓卮賯 乇丕 毓胤丕乇 诏卮鬲 / 賲丕 賴賳賵夭 丕賳丿乇 禺賲 蹖讴 讴賵趩賴 丕蹖賲禄貨 芦賲賳胤賯 丕賱胤蹖乇禄 丿丕爻鬲丕賳賽 爻賮乇賽 诏乇賵賴蹖 丕夭 賲乇睾丕賳貙 亘賴 乇丕賴賳賲丕蹖蹖 芦賴丿賴丿禄貙 亘賴 讴賵賴 芦賯丕賮禄貙 亘乇丕蹖 丿蹖丿丕乇 芦爻蹖賲乇睾禄 丕爻鬲貙 鬲賳賴丕 賲賵噩賵丿蹖 讴賴 乇丕夭 賲乇诏 賵 夭賳丿诏蹖 賲蹖丿丕賳丿貙 賵 倬夭卮讴 丿乇丿賴丕蹖 賳丕卮賳丕禺鬲賴 賳蹖夭 賴爻鬲貨
賴賮鬲 賵丕丿蹖 丿乇 倬蹖卮 賲乇睾丕賳爻鬲: 芦賵丕丿蹖 胤賱亘禄貙 芦賵丕丿蹖 毓卮賯禄貙 芦賵丕丿蹖 賲毓乇賮鬲禄貙 芦賵丕丿蹖 丕爻鬲睾賳丕禄貙 芦賵丕丿蹖 鬲賵丨賷丿禄貙 芦賵丕丿蹖 丨賷乇鬲禄貙 賵 芦賵丕丿蹖 賮賯乇 賵 賮賳丕禄貨
賵丕丿蹖 賳禺爻鬲: 芦胤賱亘禄 丕爻鬲貨 芦趩賵賳 賮乇賵丿 丌蹖蹖 亘賴 賵丕丿蹖 胤賱亘貙 倬蹖卮鬲 丌蹖丿 賴乇 夭賲丕賳蹖 氐丿 鬲毓亘禄貨
賵丕丿蹖 丿賵賲: 賵丕丿蹖 芦毓卮賯禄 丕爻鬲貨 芦毓胤丕乇禄貙 芦毓卮賯禄 乇丕 賲亘鬲賳蹖 亘乇 芦胤賱亘禄貙 賵 芦胤賱亘禄 乇丕貙 賲亘鬲賳蹖 亘乇 芦卮賳丕禺鬲禄 賲蹖丿丕賳賳丿貨 芦賴丿賴丿禄 乇賴乇賵丕賳 賵 爻丕賱讴丕賳 乇丕貙 丕夭 乇丕賴 賵 賲賯氐丿 丌诏丕賴 賲蹖讴賳丿貙 亘夭乇诏賵丕乇蹖 賲毓卮賵賯貙 卮賵乇蹖 丿乇 丿賱賴丕 賲蹖丕賮讴賳丿貙 賵 爻丕賱讴丕賳 賵 乇賴乇賵丕賳 乇丕 賲蹖噩賳亘丕賳丿貨 爻丕賱讴 卮蹖丿丕貙 賲爻蹖乇 毓卮賯 乇丕 亘丕 倬丕蹖 丿賱 賲蹖倬蹖賲丕蹖丿貨 趩賵賳 芦賵丕丿蹖 毓卮賯禄 倬蹖賲賵丿賴 卮丿
賵丕丿蹖 爻賵賲: 讴賴 賵丕丿蹖 芦賲毓乇賮鬲禄 丕爻鬲貙 丕夭 乇丕賴 賲蹖乇爻丿貨 丿乇 芦賵丕丿蹖 毓卮賯禄貙 卮賳丕禺鬲 丕噩賲丕賱蹖 (夭賵丿诏匕乇)貙 賵 丿乇 芦賵丕丿蹖 賲毓乇賮鬲禄貙 卮賳丕禺鬲 鬲賮囟蹖賱蹖 (丕賮夭賵賳蹖) 丕爻鬲貨 丿乇 丕蹖賳 賵丕丿蹖貙 卮賴賵丿貙 亘匕乇 賲毓乇賮鬲 乇丕貙 丌亘蹖丕乇蹖 賲蹖讴賳丿貨 賲毓乇賮鬲 丨囟賵乇貙 丿乇 噩丕賳 爻丕賱讴 乇蹖卮賴 賲蹖丿賵丕賳丿貨 爻丕賱讴 亘丕 丕爻賲丕亍貙 賵 氐賮丕鬲 丨賯 鬲毓丕賱蹖貙 丿乇 丕蹖賳 賵丕丿蹖 亘蹖卮鬲乇 丌卮賳丕 賲蹖卮賵丿貨 诏丕賴 亘毓囟 丕爻賲丕亍 賵 氐賮丕鬲貙 丿乇 丕賵 亘賴 賮毓賱蹖鬲 賲蹖乇爻賳丿貨 爻丕賱讴 丕爻乇丕乇 丿乇賲蹖蹖丕亘丿貨 芦爻賽乇賾 匕乇丕鬲卮貙 賴賲賴 乇賵卮賳 卮賵丿貙 诏賱禺賳 丿賳蹖丕貙 亘乇 丕賵 诏賱卮賳 卮賵丿禄貨 丿乇 丕蹖賳 賲乇丨賱賴 禺賵丕乇賯 毓丕丿丕鬲 丕夭 爻丕賱讴 爻乇 賲蹖夭賳丿貨 賲蹖亘蹖賳丿 讴賴: 芦噩賲賱賴 毓丕賱賲 蹖讴 賮乇賵睾 乇賵蹖 丕賵爻鬲禄貨
丿乇 賵丕丿蹖 趩賴丕乇賲: 乇賴乇賵 丕夭 賴賲賴 丕賲蹖丿 賲蹖亘乇丿貙 賵 亘賴 賵丕丿蹖 芦丕爻鬲睾賳丕 (鬲賵丕賳诏乇蹖)禄 诏丕賲 賲蹖诏匕丕乇丿貨 丌賳诏丕賴 禺賵丕乇賯 賵 讴乇丕賲丕鬲 毓丕丿丕鬲貙 讴賳丕乇 賲蹖诏匕丕乇丿貙 賵 讴鬲賲丕賳 (倬賳賴丕賳 丿丕卮鬲賳) 爻賽乇賾 倬蹖卮賴 賲蹖讴賳丿貨 芦亘毓丿 丕夭蹖賳 賵丕丿蹖 丕爻鬲睾賳丕 亘賵丿貙 賳賴 丿乇 丕賵 丿毓賵蹖 賵 賳賴 賲毓賳蹖 亘賵丿貨 賲蹖噩賴丿 丕夭 亘蹖 賳蹖丕夭蹖 氐乇氐乇蹖貙 賲蹖夭賳丿 亘乇賴賲 亘賴 蹖讴丿賲 讴卮賵乇蹖禄貨 爻丕賱讴 丿乇 丕蹖賳 賵丕丿蹖 亘蹖 賳蹖丕夭蹖 丨賯 乇丕貙 賵 賳蹖丕夭 賲乇丿賲 亘賴 丨賯 丕賱蹖賯蹖賳 (禺丕賱氐 亘賵丿賳) 乇丕 卮丕賴丿 賲蹖卮賵丿貨
丿乇 賵丕丿蹖 倬賳噩賲: 亘賴 賵丕丿蹖 芦鬲賵丨蹖丿禄 賲蹖乇爻丿貙 鬲賵丨蹖丿 匕丕鬲蹖 (禺丿丕賵賳丿 賴賲丕賳賳丿蹖 賳丿丕乇丿)貙 賵 鬲賵丨蹖丿 氐賮丕鬲蹖 (夭丿丕蹖卮 氐賮丕鬲 丕夭 禺丿丕賵賳丿)貙 賵 丕賮毓丕賱蹖 (鬲賵讴賱) 乇丕貙 丿乇讴 賲蹖讴賳丿貨 芦亘毓丿 丕夭蹖賳 賵丕丿蹖 鬲賵丨蹖丿 丌蹖丿鬲貙 賲賳夭賱 鬲賮乇蹖丿 賵 鬲噩乇蹖丿 丌蹖丿鬲禄貨
丿乇 賵丕丿蹖 卮卮賲: 倬爻 丕夭 芦鬲賵丨蹖丿禄 亘賴 賵丕丿蹖 芦丨蹖乇鬲禄 賲蹖乇爻丿貙 卮蹖乇蹖賳鬲乇 丕夭 賴夭丕乇 亘蹖丿丕乇蹖 丕爻鬲貨 賲丕鬲 賵 賲亘賴賵鬲 丕爻鬲 賵 賲蹖賲丕賳丿貨
丿乇 賵丕丿蹖 賴賮鬲賲: 亘賴 賲賳夭賱 賮賯乇 賵 賮賳丕 乇丕賴卮 賲蹖丿賴賳丿貨 賮丕賳蹖 丿乇 丨賯 卮丿賴貙 亘丕賯蹖 丿乇 丕賵貙 賲蹖賲丕賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 19/03/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Conference of the Birds or Speech of the Birds (Man峁璱q-u峁�-峁琣yr, 1177), is a celebrated literary masterpiece of Persian literature by poet Farid ud-Din Attar, commonly known as Attar of Nishapur.
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 represent 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:
1. Valley of the Quest, where the Wayfarer begins by casting aside all dogma, belief, and unbelief.
2. Valley of Love, where reason is abandoned for the sake of love.
3. Valley of Knowledge, where worldly knowledge becomes utterly useless.
4. Valley of Detachment, where all desires and attachments to the world are given up. Here, what is assumed to be 鈥渞eality鈥� vanishes.
5. Valley of Unity, where the Wayfarer realizes that everything is connected and that the Beloved is beyond everything, including harmony, multiplicity, and eternity.
6. Valley of Wonderment, where, entranced by the beauty of the Beloved, the Wayfarer becomes perplexed and, steeped in awe, finds that he or she has never known or understood anything.
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.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱 1973賲蹖賱丕丿蹖 鬲丕乇蹖禺 禺賵丕賳卮 丕蹖賳 賳爻禺賴 賲丕賴 跇賵卅賳 爻丕賱 1988賲蹖賱丕丿蹖
讴鬲丕亘 芦賲賳胤賯 丕賱胤蹖乇賽禄 噩賳丕亘 芦毓胤丕乇 賳蹖卮丕倬賵乇禄貙 诏賮鬲诏賵 賵 鬲丿丕乇讴 爻賮乇 賲乇睾丕賳 丕爻鬲貙 讴賴 賲蹖禺賵丕賴賳丿 亘賴 芦爻蹖賲乇睾禄 禺賵蹖卮 亘乇爻賳丿貙 賵 丕夭 丕蹖卮丕賳 賵 丕夭 禺賵蹖卮 亘倬乇爻賳丿貨 丨囟乇鬲 芦賲賵賱賵蹖禄貙 乇賵丕賳卮丕丿 芦毓胤丕乇禄 乇丕貙 乇賵丨 禺賵蹖卮 賱賯亘 賲蹖丿丕丿賴 丕賳丿貨 卮毓乇 丕蹖卮丕賳 丕爻鬲 讴賴: 芦賴賮鬲 卮賴乇 毓卮賯 乇丕 毓胤丕乇 诏卮鬲 / 賲丕 賴賳賵夭 丕賳丿乇 禺賲 蹖讴 讴賵趩賴 丕蹖賲禄貨 芦賲賳胤賯 丕賱胤蹖乇禄 丿丕爻鬲丕賳賽 爻賮乇賽 诏乇賵賴蹖 丕夭 賲乇睾丕賳貙 亘賴 乇丕賴賳賲丕蹖蹖 芦賴丿賴丿禄貙 亘賴 讴賵賴 芦賯丕賮禄貙 亘乇丕蹖 丿蹖丿丕乇 芦爻蹖賲乇睾禄 丕爻鬲貙 鬲賳賴丕 賲賵噩賵丿蹖 讴賴 乇丕夭 賲乇诏 賵 夭賳丿诏蹖 賲蹖丿丕賳丿貙 賵 倬夭卮讴 丿乇丿賴丕蹖 賳丕卮賳丕禺鬲賴 賳蹖夭 賴爻鬲貨
賴賮鬲 賵丕丿蹖 丿乇 倬蹖卮 賲乇睾丕賳爻鬲: 芦賵丕丿蹖 胤賱亘禄貙 芦賵丕丿蹖 毓卮賯禄貙 芦賵丕丿蹖 賲毓乇賮鬲禄貙 芦賵丕丿蹖 丕爻鬲睾賳丕禄貙 芦賵丕丿蹖 鬲賵丨賷丿禄貙 芦賵丕丿蹖 丨賷乇鬲禄貙 賵 芦賵丕丿蹖 賮賯乇 賵 賮賳丕禄貨
賵丕丿蹖 賳禺爻鬲: 芦胤賱亘禄 丕爻鬲貨 芦趩賵賳 賮乇賵丿 丌蹖蹖 亘賴 賵丕丿蹖 胤賱亘貙 倬蹖卮鬲 丌蹖丿 賴乇 夭賲丕賳蹖 氐丿 鬲毓亘禄貨
賵丕丿蹖 丿賵賲: 賵丕丿蹖 芦毓卮賯禄 丕爻鬲貨 芦毓胤丕乇禄貙 芦毓卮賯禄 乇丕 賲亘鬲賳蹖 亘乇 芦胤賱亘禄貙 賵 芦胤賱亘禄 乇丕貙 賲亘鬲賳蹖 亘乇 芦卮賳丕禺鬲禄 賲蹖丿丕賳賳丿貨 芦賴丿賴丿禄 乇賴乇賵丕賳 賵 爻丕賱讴丕賳 乇丕貙 丕夭 乇丕賴 賵 賲賯氐丿 丌诏丕賴 賲蹖讴賳丿貙 亘夭乇诏賵丕乇蹖 賲毓卮賵賯貙 卮賵乇蹖 丿乇 丿賱賴丕 賲蹖丕賮讴賳丿貙 賵 爻丕賱讴丕賳 賵 乇賴乇賵丕賳 乇丕 賲蹖噩賳亘丕賳丿貨 爻丕賱讴 卮蹖丿丕貙 賲爻蹖乇 毓卮賯 乇丕 亘丕 倬丕蹖 丿賱 賲蹖倬蹖賲丕蹖丿貨 趩賵賳 芦賵丕丿蹖 毓卮賯禄 倬蹖賲賵丿賴 卮丿
賵丕丿蹖 爻賵賲: 讴賴 賵丕丿蹖 芦賲毓乇賮鬲禄 丕爻鬲貙 丕夭 乇丕賴 賲蹖乇爻丿貨 丿乇 芦賵丕丿蹖 毓卮賯禄貙 卮賳丕禺鬲 丕噩賲丕賱蹖 (夭賵丿诏匕乇)貙 賵 丿乇 芦賵丕丿蹖 賲毓乇賮鬲禄貙 卮賳丕禺鬲 鬲賮囟蹖賱蹖 (丕賮夭賵賳蹖) 丕爻鬲貨 丿乇 丕蹖賳 賵丕丿蹖貙 卮賴賵丿貙 亘匕乇 賲毓乇賮鬲 乇丕貙 丌亘蹖丕乇蹖 賲蹖讴賳丿貨 賲毓乇賮鬲 丨囟賵乇貙 丿乇 噩丕賳 爻丕賱讴 乇蹖卮賴 賲蹖丿賵丕賳丿貨 爻丕賱讴 亘丕 丕爻賲丕亍貙 賵 氐賮丕鬲 丨賯 鬲毓丕賱蹖貙 丿乇 丕蹖賳 賵丕丿蹖 亘蹖卮鬲乇 丌卮賳丕 賲蹖卮賵丿貨 诏丕賴 亘毓囟 丕爻賲丕亍 賵 氐賮丕鬲貙 丿乇 丕賵 亘賴 賮毓賱蹖鬲 賲蹖乇爻賳丿貨 爻丕賱讴 丕爻乇丕乇 丿乇賲蹖蹖丕亘丿貨 芦爻賽乇賾 匕乇丕鬲卮貙 賴賲賴 乇賵卮賳 卮賵丿貙 诏賱禺賳 丿賳蹖丕貙 亘乇 丕賵 诏賱卮賳 卮賵丿禄貨 丿乇 丕蹖賳 賲乇丨賱賴 禺賵丕乇賯 毓丕丿丕鬲 丕夭 爻丕賱讴 爻乇 賲蹖夭賳丿貨 賲蹖亘蹖賳丿 讴賴: 芦噩賲賱賴 毓丕賱賲 蹖讴 賮乇賵睾 乇賵蹖 丕賵爻鬲禄貨
丿乇 賵丕丿蹖 趩賴丕乇賲: 乇賴乇賵 丕夭 賴賲賴 丕賲蹖丿 賲蹖亘乇丿貙 賵 亘賴 賵丕丿蹖 芦丕爻鬲睾賳丕 (鬲賵丕賳诏乇蹖)禄 诏丕賲 賲蹖诏匕丕乇丿貨 丌賳诏丕賴 禺賵丕乇賯 賵 讴乇丕賲丕鬲 毓丕丿丕鬲貙 讴賳丕乇 賲蹖诏匕丕乇丿貙 賵 讴鬲賲丕賳 (倬賳賴丕賳 丿丕卮鬲賳) 爻賽乇賾 倬蹖卮賴 賲蹖讴賳丿貨 芦亘毓丿 丕夭蹖賳 賵丕丿蹖 丕爻鬲睾賳丕 亘賵丿貙 賳賴 丿乇 丕賵 丿毓賵蹖 賵 賳賴 賲毓賳蹖 亘賵丿貨 賲蹖噩賴丿 丕夭 亘蹖 賳蹖丕夭蹖 氐乇氐乇蹖貙 賲蹖夭賳丿 亘乇賴賲 亘賴 蹖讴丿賲 讴卮賵乇蹖禄貨 爻丕賱讴 丿乇 丕蹖賳 賵丕丿蹖 亘蹖 賳蹖丕夭蹖 丨賯 乇丕貙 賵 賳蹖丕夭 賲乇丿賲 亘賴 丨賯 丕賱蹖賯蹖賳 (禺丕賱氐 亘賵丿賳) 乇丕 卮丕賴丿 賲蹖卮賵丿貨
丿乇 賵丕丿蹖 倬賳噩賲: 亘賴 賵丕丿蹖 芦鬲賵丨蹖丿禄 賲蹖乇爻丿貙 鬲賵丨蹖丿 匕丕鬲蹖 (禺丿丕賵賳丿 賴賲丕賳賳丿蹖 賳丿丕乇丿)貙 賵 鬲賵丨蹖丿 氐賮丕鬲蹖 (夭丿丕蹖卮 氐賮丕鬲 丕夭 禺丿丕賵賳丿)貙 賵 丕賮毓丕賱蹖 (鬲賵讴賱) 乇丕貙 丿乇讴 賲蹖讴賳丿貨 芦亘毓丿 丕夭蹖賳 賵丕丿蹖 鬲賵丨蹖丿 丌蹖丿鬲貙 賲賳夭賱 鬲賮乇蹖丿 賵 鬲噩乇蹖丿 丌蹖丿鬲禄貨
丿乇 賵丕丿蹖 卮卮賲: 倬爻 丕夭 芦鬲賵丨蹖丿禄 亘賴 賵丕丿蹖 芦丨蹖乇鬲禄 賲蹖乇爻丿貙 卮蹖乇蹖賳鬲乇 丕夭 賴夭丕乇 亘蹖丿丕乇蹖 丕爻鬲貨 賲丕鬲 賵 賲亘賴賵鬲 丕爻鬲 賵 賲蹖賲丕賳丿貨
丿乇 賵丕丿蹖 賴賮鬲賲: 亘賴 賲賳夭賱 賮賯乇 賵 賮賳丕 乇丕賴卮 賲蹖丿賴賳丿貨 賮丕賳蹖 丿乇 丨賯 卮丿賴貙 亘丕賯蹖 丿乇 丕賵貙 賲蹖賲丕賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 19/03/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
April 22, 2024
Rating: 4* of five
The Publisher Says: In The Conference of the Birds Caldecott Honor-winning children's book author and illustrator Peter S铆s breathes new life into this foundational Sufi poem, revealing its profound lessons.
S铆s's deeply felt adaptation tells the story of an epic flight of birds in search of the true king, Simorgh. Drawn from all species, the band of birds is led by the hoopoe. He promises that the voyage to the mountain of Kaf, where Simorgh lives, will be perilous and many birds resist, afraid of what they might encounter. Others perish during the passage through the seven valleys: quest, love, understanding, friendship, unity, amazement, and death.
Those that continue reach the mountain to learn that Simorgh the king is, in fact, each of them and all of them. In this lyrical and richly illustrated story of love, faith, and the meaning of it all, Peter S铆s shows the pain, and beauty, of the human journey.
My Review: Oh heavy, heavy sigh. I have read a picture book and I have liked it. The floodgates are now open, I fear. I hasten to point out to the picture-book crowd that this is in no way a graphic novel! It is a poem adapted to picture-based storytelling.
The first question most Americans have is, 鈥淲hatinahell's a hoopoe?!鈥�
This is a hoopoe.
It was a symbol of virtue in Persia, and its crown of feathers and coloration make it a natural choice for the role of leader-bird. In fact, the hoopoe is also the king of the birds in Aristophanes' play The Birds, to which antique model this poem bears a glancing resemblance. I don't know of any scholarly opinion or research on this observation, but the survival of so much Greek literature in the Islamic east makes me wonder if perhaps Attar, the Sufi poet who created The Parliament of the Birds as a didactic tool for the introduction of his readers to the central tenets of Sufism (the seven valleys the birds fly through are the seven ways man has of knowing god), had encountered and was influenced by Aristophanes' work.
So what are the valleys? What is Sufism? I'll give you the logline on Sufism: Mystical Islam. The valleys, in Sis's work, are:
Now I'll level with you here: I totally don't get the Sis versions of the valleys, and what they're supposed to represent in the quest for the True King of the Birds, Simorgh. Not even a little bit. But I've read enough quest-based literature (pretty much all sci fi and definitely all fantasy, and all mystery, fiction is rooted in the quest branch of literature) to get where I'm supposed to go. The Birds meet and decide to seek out a King whose wisdom is guaranted to answer all their questions and thus provide for all their needs. This leads all the numberless birds off to the mountain Kaf, in China (sort of), where Simorgh lives. Through the many many miles of travel, most of the birds die and, in the end, the hoopoe their leader-bird gets them to Kaf, only to discover that the mountain has only a lake, which the thirty birds remaining fly over, and see themselves in its perfect and still waters...
And there it is. 鈥淭hirty Birds鈥� in Attar's native language is 鈥渟i morgh鈥�...SIMORGH! The king of the birds is...the birds themselves!
Why on earth would I, an agnostic and an old curmudgeon, like such a simplistic 鈥渢he answer was in you all along鈥� tale? Because it's true, and it's always been true, that looking within for guidance and sustenance and a moral compass is the surest way to make the journey to wisdom short and sweet. It's also been taught to us that we must rely on an external god for revelations and meaningful guidance, and Sufism says that god put all that inside us for us to find, so I find this story a useful corrective to the error and misdirection foisted on people by their religions.
Plus the artwork. Are you a person who, on seeing a maze, MUST solve it before moving on with your day? If you are, this book will please you. There are mazes and mazes and mazes. It's a blast. The meditative beauty of some of the images gave me lovely moments of contemplative trance, and at other times made me feel as though I too was flying, and always left me with the softly stroked sensation of having one's hands and face washed by a gentle, loving hand using soothing scented water.
The paper that The Penguin Press' production people chose for the book is weird, in that it's very strongly textured. This flies in the face of established custom, which dictates the use of very smoothly coated heavy paper for illustrated books. That, the received opinion has it, allows the artwork being printed to speak for itself. Sis's artwork in this book, being watercolory and soft-edged in its execution, would look weak and bland on conventional wisdom's paper, whereas on this strongly textured paper, where the whole sheet has visible large and small geometric structure, the contrast of the artwork's lovely swirls and soft curves and unplanned-looking dissolves from one color to another is made a part of the message.
It is a beautiful object, this book. It is a beautiful and simple message, and one I am already in sympathy with, too: Look. Look inside. Let the wind blow through the empty places...they are there for a reason. And, no matter how many say they will come with you, only a few will ever finish the journey. Treasure them, and the path that led you all to the calm, still lake where your reflection is sharp and clear and starkly beautifully you.
The Publisher Says: In The Conference of the Birds Caldecott Honor-winning children's book author and illustrator Peter S铆s breathes new life into this foundational Sufi poem, revealing its profound lessons.
S铆s's deeply felt adaptation tells the story of an epic flight of birds in search of the true king, Simorgh. Drawn from all species, the band of birds is led by the hoopoe. He promises that the voyage to the mountain of Kaf, where Simorgh lives, will be perilous and many birds resist, afraid of what they might encounter. Others perish during the passage through the seven valleys: quest, love, understanding, friendship, unity, amazement, and death.
Those that continue reach the mountain to learn that Simorgh the king is, in fact, each of them and all of them. In this lyrical and richly illustrated story of love, faith, and the meaning of it all, Peter S铆s shows the pain, and beauty, of the human journey.
My Review: Oh heavy, heavy sigh. I have read a picture book and I have liked it. The floodgates are now open, I fear. I hasten to point out to the picture-book crowd that this is in no way a graphic novel! It is a poem adapted to picture-based storytelling.
The first question most Americans have is, 鈥淲hatinahell's a hoopoe?!鈥�
This is a hoopoe.
It was a symbol of virtue in Persia, and its crown of feathers and coloration make it a natural choice for the role of leader-bird. In fact, the hoopoe is also the king of the birds in Aristophanes' play The Birds, to which antique model this poem bears a glancing resemblance. I don't know of any scholarly opinion or research on this observation, but the survival of so much Greek literature in the Islamic east makes me wonder if perhaps Attar, the Sufi poet who created The Parliament of the Birds as a didactic tool for the introduction of his readers to the central tenets of Sufism (the seven valleys the birds fly through are the seven ways man has of knowing god), had encountered and was influenced by Aristophanes' work.
So what are the valleys? What is Sufism? I'll give you the logline on Sufism: Mystical Islam. The valleys, in Sis's work, are:
鈾� Quest
鈾� Love
鈾� Understanding
鈾� Detachment
鈾� Unity
鈾� Amazement
鈾� Death
Now I'll level with you here: I totally don't get the Sis versions of the valleys, and what they're supposed to represent in the quest for the True King of the Birds, Simorgh. Not even a little bit. But I've read enough quest-based literature (pretty much all sci fi and definitely all fantasy, and all mystery, fiction is rooted in the quest branch of literature) to get where I'm supposed to go. The Birds meet and decide to seek out a King whose wisdom is guaranted to answer all their questions and thus provide for all their needs. This leads all the numberless birds off to the mountain Kaf, in China (sort of), where Simorgh lives. Through the many many miles of travel, most of the birds die and, in the end, the hoopoe their leader-bird gets them to Kaf, only to discover that the mountain has only a lake, which the thirty birds remaining fly over, and see themselves in its perfect and still waters...
And there it is. 鈥淭hirty Birds鈥� in Attar's native language is 鈥渟i morgh鈥�...SIMORGH! The king of the birds is...the birds themselves!
Why on earth would I, an agnostic and an old curmudgeon, like such a simplistic 鈥渢he answer was in you all along鈥� tale? Because it's true, and it's always been true, that looking within for guidance and sustenance and a moral compass is the surest way to make the journey to wisdom short and sweet. It's also been taught to us that we must rely on an external god for revelations and meaningful guidance, and Sufism says that god put all that inside us for us to find, so I find this story a useful corrective to the error and misdirection foisted on people by their religions.
Plus the artwork. Are you a person who, on seeing a maze, MUST solve it before moving on with your day? If you are, this book will please you. There are mazes and mazes and mazes. It's a blast. The meditative beauty of some of the images gave me lovely moments of contemplative trance, and at other times made me feel as though I too was flying, and always left me with the softly stroked sensation of having one's hands and face washed by a gentle, loving hand using soothing scented water.
The paper that The Penguin Press' production people chose for the book is weird, in that it's very strongly textured. This flies in the face of established custom, which dictates the use of very smoothly coated heavy paper for illustrated books. That, the received opinion has it, allows the artwork being printed to speak for itself. Sis's artwork in this book, being watercolory and soft-edged in its execution, would look weak and bland on conventional wisdom's paper, whereas on this strongly textured paper, where the whole sheet has visible large and small geometric structure, the contrast of the artwork's lovely swirls and soft curves and unplanned-looking dissolves from one color to another is made a part of the message.
It is a beautiful object, this book. It is a beautiful and simple message, and one I am already in sympathy with, too: Look. Look inside. Let the wind blow through the empty places...they are there for a reason. And, no matter how many say they will come with you, only a few will ever finish the journey. Treasure them, and the path that led you all to the calm, still lake where your reflection is sharp and clear and starkly beautifully you.
February 13, 2019
锟�
I have been wanting to read The Conference of the Birds for a very long time. The peacock in me ordered the Raficq Abdulla interpretation, lured as I was by the illustrations of Persian miniatures from The British Library (this is the only, modern illustrated edition), and they do not disappoint.
锟�
This is only a 93-page book. It serves as a delightful amuse-bouche but leaves one with a hungry appetite for more. This can be found in Peter Avery's The Speech of the Birds which the owl in me will be reading next as it is the more scholarly translation and will hopefully have more clues.
锟�
What I love, truly, deeply, passionately, emphatically love about Farid ad-Din Attar's masterpiece is coming across allegories that bring about enlightenment. Ah sublime bliss! But as always when you deal with metaphor and rhetorical riddles, you need to come prepared with a heavily-built superstructure of previously acquired knowledge beforehand to be able to correctly make your own connections and understandings of this poem. You need to have lived! The more you know, the more you will understand, and hence the constant urge to keep reading and learning!
锟�
I think that the birds led by the hoopoe are prefect parables of us as readers who are often unbearably self-aware.
锟�
The ishq of Sufism seduces us into squeezing meaning out of every word in this very intimate mystic poem. Attar absolutely delights as he takes us on this journey of life: love, understanding, detachment, unity, bewilderment, deprivation and death and our own psychological and spiritual journey as we deal with our personal flaws and disappointments.
锟�
Abdalla makes this ancient masterpiece of a poem very accessible to the modern reader.
锟�
"Nothing I know,
I understand nothing, I am surface-dead
Only loves survives, I am traveling unsurely, I go
To the Beloved unknown to this heart waiting to be read."
I have been wanting to read The Conference of the Birds for a very long time. The peacock in me ordered the Raficq Abdulla interpretation, lured as I was by the illustrations of Persian miniatures from The British Library (this is the only, modern illustrated edition), and they do not disappoint.
锟�
This is only a 93-page book. It serves as a delightful amuse-bouche but leaves one with a hungry appetite for more. This can be found in Peter Avery's The Speech of the Birds which the owl in me will be reading next as it is the more scholarly translation and will hopefully have more clues.
锟�
What I love, truly, deeply, passionately, emphatically love about Farid ad-Din Attar's masterpiece is coming across allegories that bring about enlightenment. Ah sublime bliss! But as always when you deal with metaphor and rhetorical riddles, you need to come prepared with a heavily-built superstructure of previously acquired knowledge beforehand to be able to correctly make your own connections and understandings of this poem. You need to have lived! The more you know, the more you will understand, and hence the constant urge to keep reading and learning!
锟�
I think that the birds led by the hoopoe are prefect parables of us as readers who are often unbearably self-aware.
锟�
The ishq of Sufism seduces us into squeezing meaning out of every word in this very intimate mystic poem. Attar absolutely delights as he takes us on this journey of life: love, understanding, detachment, unity, bewilderment, deprivation and death and our own psychological and spiritual journey as we deal with our personal flaws and disappointments.
锟�
Abdalla makes this ancient masterpiece of a poem very accessible to the modern reader.
锟�
"Nothing I know,
I understand nothing, I am surface-dead
Only loves survives, I am traveling unsurely, I go
To the Beloved unknown to this heart waiting to be read."
January 8, 2012
These poems about, the birds of the world gather to decide who is to be their king, as they have none. The hoopoe, the wisest of them all, suggests that they should find the legendary Simorgh, a mythical persian bird roughly equivalent to the western phoenix. It is an allegory of the quest for God (The Simorgh). The hoopoe respresents a sufi master and each of the other birds represents a human fault which prevents man from attaining enlightenment. When the group of thirty birds finally reach the dwelling place of the Simorgh, all they find is a lake in which they see their own reflection.
This entire review has been hidden because of spoilers.
March 24, 2025
鬲賵 賲賳胤賯 丕賱胤蹖乇 爻賮乇 倬乇賳丿诏丕賳 亘賴 爻賵蹖 爻蹖賲乇睾 鬲賲孬蹖賱蹖 丕夭 爻蹖乇 賵 爻賱賵讴 丌丿賲蹖 亘賴 爻賲鬲 禺丿丕爻鬲 丿乇 賳鬲蹖噩賴 賲蹖鬲賵賳蹖賲 亘诏蹖賲 讴賴 賴賮鬲 賵丕丿蹖鈥屫й� 讴賴 倬乇賳丿賴鈥屬囏� 亘乇丕 乇爻蹖丿賳 亘賴 爻蹖賲乇睾 亘丕蹖丿 丕夭卮賵賳 乇丿 賲蹖鈥屫簇嗀� 賴賲 賲乇丕丨賱 賲禺鬲賱賮 爻賱賵讴 毓乇賮丕賳蹖 乇賵 賳卮賵賳 賲蹖丿賴.
毓胤丕乇 亘毓丿 丕夭 賲毓乇賮蹖 賴乇 賵丕丿蹖 趩賳丿蹖賳 丨讴丕蹖鬲 賲禺鬲賱賮 乇賵 賴賲 賲蹖丕丿 亘蹖丕賳 賲蹖鈥屭┵嗁�.
1. 賵丕丿蹖 胤賱亘: 賲乇丨賱賴 丕賵賱賴 讴賴 爻丕賱讴 亘丕 丕卮鬲蹖丕賯 亘賴 丿賳亘丕賱 丨賯蹖賯鬲 賲蹖賵賮鬲賴貙 丕賵賳 丿丕爻鬲丕賳 丕亘賱蹖爻 毓丕卮賯 禺丿丕爻鬲 賵 鬲賳賴丕 賮乇卮鬲賴 丕蹖賴 讴賴 乇丕夭 丕賱賴蹖 乇賵 賲蹖鈥屫ㄛ屬嗁� 賲丕賱 丕蹖賳鈥屫ж池�.
亘毓丿 丕夭 丌賳 丕亘賱蹖爻 诏賮鬲 丌賳 诏賳噩 倬丕讴
趩賵賳 賲乇丕 乇賵卮賳 卮丿貙 丕夭 賱毓賳鬲 趩賴 亘丕讴
賱毓賳鬲 丌賳 鬲爻鬲 乇丨賲鬲 丌賳 鬲賵
亘賳丿賴 丌賳 鬲爻鬲 賯爻賲鬲 丌賳 鬲賵
诏乇 賲乇丕 賱毓賳爻鬲 賯爻賲鬲貙 亘丕讴 賳蹖爻鬲
夭賴乇 賴賲 亘丕蹖丿貙 賴賲賴 鬲乇蹖丕讴 賳蹖爻鬲
趩賵賳 亘丿蹖丿賲 禺賱賯 乇丕 乇丨賲鬲 胤賱亘
賱毓賳鬲 亘乇丿丕卮鬲賲 賲賳 亘蹖鈥屫ж�
2. 賵丕丿蹖 毓卮賯: 讴賴 爻丕賱讴 丕蹖賳噩丕 丿乇 丌鬲卮 毓卮賯 丕賱賴蹖 賲蹖鈥屫迟堌操�. 丕賵賳 丿丕爻鬲丕賳蹖 讴賴 毓丕卮賯 賲蹖鈥屫辟� 賲毓卮賵賯 亘蹖賲丕乇 卮丿賴鈥屫ж� 乇賵 亘讴購卮賴 鬲丕 丿乇 賯氐丕氐 丕賵賳 亘賲蹖乇賴 賴賲 亘乇丕 丕蹖賳噩丕 亘賵丿.
毓丕卮賯 丌賳 亘丕卮丿 讴賴 趩賵賳 丌鬲卮 亘賵丿
诏乇賲 乇賵 爻賵夭賳丿賴 賵 爻乇讴卮 亘賵丿
毓丕賯亘鬲 丕賳丿蹖卮 賳亘賵丿 蹖讴 夭賲丕賳
丿乇 讴卮丿 禺賵卮 禺賵卮 亘乇 丌鬲卮 氐丿 噩賴丕賳
賱丨馗賴鈥屫й� 賳賴 讴丕賮乇蹖 丿丕賳丿 賳賴 丿蹖賳
匕乇賴鈥屫й� 賳賴 卮讴 卮賳丕爻丿 賳賴 蹖賯蹖賳
賳蹖讴 賵 亘丿 丿乇 乇丕賴 丕賵 蹖讴爻丕賳 亘賵丿
禺賵丿 趩賵 毓卮賯 丌賲丿 賳賴 丕蹖賳 賳賴 丌賳 亘賵丿
丕蹖 賲亘丕丨蹖 丕蹖賳 爻禺賳 丌賳 鬲賵賳蹖爻鬲
賲乇鬲丿蹖 鬲賵貙 丕蹖賳 亘賴 丿賳丿丕賳 鬲賵 賳蹖爻鬲
3. 賵丕丿蹖 賲毓乇賮鬲: 丕蹖賳噩丕 亘賴 卮賳丕禺鬲 毓賲蹖賯 賵 丿乇讴 丨賯丕蹖賯 丕賱賴蹖 賲蹖乇爻賴.
诏乇 亘蹖丕乇蹖 丿爻鬲 鬲丕 毓乇卮 賲噩蹖丿
丿賲 賲夭賳 蹖讴 爻丕毓鬲 丕夭 賴賱 賲賳 蹖夭蹖丿
禺賵蹖卮 乇丕 丿乇 亘丨乇 毓乇賮丕賳 睾乇賯 讴賳
賵乇賳賴 亘丕乇蹖 禺丕讴 乇賴 亘乇 賮乇賯 讴賳
诏乇賳賴鈥屫й� 丕蹖 禺賮鬲賴 丕賴賱 鬲賴賳蹖鬲
倬爻 趩乇丕 禺賵丿 乇丕 賳丿丕乇蹖 鬲毓夭蹖鬲
诏乇 賳丿丕乇蹖 卮丕丿蹖蹖 丕夭 賵氐賱 蹖丕乇
禺蹖夭 亘丕乇蹖 賲丕鬲賲 賴噩乇丕賳 亘丿丕乇
诏乇 賳賲蹖 亘蹖賳蹖 噩賲丕賱 蹖丕乇 鬲賵
禺蹖夭 賲賳卮蹖賳貙 賲蹖鈥屫焚勜� 丕爻乇丕乇 鬲賵
诏乇 賳賲蹖鈥屫з嗃� 胤賱亘 讴賳 卮乇賲 丿丕乇
趩賵賳 禺乇蹖 鬲丕 趩賳丿 亘丕卮蹖 亘蹖鈥屬佖池ж�
丿丕爻鬲丕賳 毓亘丕爻賴 胤賵爻蹖 乇賵 賴賲 丕蹖賳噩丕 亘蹖丕賳 讴乇丿賴 亘賵丿.
4. 賵丕丿蹖 丕爻鬲睾賳丕: 賲乇丨賱賴 亘蹖鈥屬嗃屫ж槽� 丕夭 賴乇 趩蹖夭 噩夭 禺丿丕爻鬲 賵 丕蹖賳噩丕 賲毓乇賮蹖 噩丕賱亘蹖 丿丕卮鬲:
亘毓丿 丕夭蹖賳 賵丕丿蹖 丕爻鬲睾賳丕 亘賵丿
賳賴 丿乇賵 丿毓賵蹖 賵 賳賴 賲毓賳蹖 亘賵丿
賲蹖鈥屫囏� 丕夭 亘蹖鈥屬嗃屫ж槽� 氐乇氐乇蹖
賲蹖鈥屫操嗀� 亘乇 賴賲 亘賴 蹖讴 丿賲 讴卮賵乇蹖
氐丿 賴夭丕乇丕賳 爻亘夭 倬賵卮 丕夭 睾賲 亘爻賵禺鬲
鬲丕 讴賴 丌丿賲 乇丕 趩乇丕睾蹖 亘乇賮乇賵禺鬲
氐丿 賴夭丕乇丕賳 噩爻賲 禺丕賱蹖 卮丿 夭 乇賵丨
鬲丕 丿乇蹖賳 丨囟乇鬲 丿乇賵诏乇 诏卮鬲 賳賵丨
氐丿 賴夭丕乇丕賳 倬卮賴 丿乇 賱卮诏乇 賮鬲丕丿
鬲丕 亘乇丕賴蹖賲 丕夭 賲蹖丕賳 亘丕 爻乇賮鬲丕丿
氐丿 賴夭丕乇丕賳 胤賮賱 爻乇 亘亘乇蹖丿賴 诏卮鬲
鬲丕 讴賱蹖賲 丕賱賱賴 氐丕丨亘 丿蹖丿賴 诏卮鬲
氐丿 賴夭丕乇丕賳 禺賱賯 丿乇 夭賳丕乇 卮丿
鬲丕 讴賴 毓蹖爻蹖 賲丨乇賲 丕爻乇丕乇 卮丿
氐丿 賴夭丕乇丕賳 噩丕賳 賵 丿賱 鬲丕乇丕噩 蹖丕賮鬲
鬲丕 賲丨賲丿 蹖讴 卮亘蹖 賲毓乇丕噩 蹖丕賮鬲
5. 賵丕丿蹖 鬲賵丨蹖丿: 丕蹖賳噩丕 賲乇丨賱賴 蹖诏丕賳诏蹖 賵 丿蹖丿賳 賵丨丿鬲 丿乇 讴孬乇鬲賴.
趩賵賳 賴賲賴 賴蹖趩蹖 亘賵丿 賴蹖趩 丕蹖賳 賴賲賴
讴蹖 亘賵丿 丿賵 丕氐賱 噩夭 倬蹖趩 丕蹖賳 賴賲賴
6. 賵丕丿蹖 丨蹖乇鬲: 讴賴 卮禺氐 丿趩丕乇 卮诏賮鬲蹖 賵 爻乇诏卮鬲诏蹖 丿乇 亘乇丕亘乇 毓馗賲鬲 丕賱賴蹖 賲蹖卮賴. 丕氐賱丕 鬲賵囟蹖丨丕鬲 丕蹖賳 亘禺卮 賵 丨讴丕蹖丕鬲卮 禺蹖賱蹖 毓噩蹖亘 亘賵丿賳丿. 丕賵賳 丿丕爻鬲丕賳賴 睾賱丕賲蹖 讴賴 亘蹖賴賵卮 賲蹖讴賳賳 賲蹖亘乇賳丿 賯氐乇 倬蹖卮 丿禺鬲乇 倬丕丿卮丕賴 賵 亘乇賲蹖诏乇丿賴 毓賯賱卮賵 丕夭 丿爻鬲 賲蹖丿賴 賴賲 亘乇丕 丕蹖賳噩丕 亘賵丿.
诏乇 亘丿賵 诏賵蹖賳丿 賲爻鬲蹖 蹖丕 賳賴鈥屫й�
賳蹖爻鬲蹖 诏賵蹖蹖 讴賴 賴爻鬲蹖 蹖丕 賳賴鈥屫й�
丿乇 賲蹖丕賳蹖 蹖丕 亘乇賵賳蹖 丕夭 賲蹖丕賳
亘乇 讴賳丕乇蹖 蹖丕 賳賴丕賳蹖 蹖丕 毓蹖丕賳
賮丕賳蹖蹖 蹖丕 亘丕賯蹖蹖 蹖丕 賴乇 丿賵蹖
蹖丕 賳賴贁 賴乇 丿賵 鬲賵蹖 蹖丕 賳賴 鬲賵蹖
诏賵蹖丿 丕氐賱丕 賲蹖鈥屬嗀з嗁� 趩蹖夭 賲賳
賵丕賳 賳丿丕賳賲 賴賲 賳丿丕賳賲 賳蹖夭 賲賳
毓丕卮賯賲 丕賲丕 賳丿丕賳賲 亘乇 讴蹖賲
賳賴 賲爻賱賲丕賳賲 賳賴 讴丕賮乇貙 倬爻 趩蹖賲
賱蹖讴賳 丕夭 毓卮賯賲 賳丿丕乇賲 丌诏賴蹖
賴賲 丿賱蹖 倬乇毓卮賯 丿丕乇賲 賴賲 鬲賴蹖
7. 賵丕丿蹖 賮賳丕 賵 賮賯乇: 賳丕亘賵丿蹖 禺賵丿 賵 乇爻蹖丿賳 亘賴 禺丿丕. 丕賵賳 丿丕爻鬲丕賳 毓丕卮賯 卮丿賳 卮丕賴 亘乇 倬爻乇 賵夭蹖乇 賵 亘毓丿丕 丿乇 睾蹖乇鬲 丕賵賳 倬賵爻鬲 讴賳丿賳 賵鈥� 丿丕乇 夭丿賳卮 賴賲 丕蹖賳噩丕 亘賵丿.
賳亘賵丿 丕賵 賵 丕賵 亘賵丿貙 趩賵賳 亘丕卮丿 丕蹖賳
丕夭 禺蹖丕賱 毓賯賱 亘蹖乇賵賳 亘丕卮丿 丕蹖賳
蹖賴 賯爻賲鬲蹖 賯亘賱 丕夭 乇賮鬲賳 賲乇睾 賴丕 亘賴 爻賲鬲 賵丕丿蹖 賴丕 丿丕乇賴 讴賴 丕賵賱卮 賴乇 倬乇賳丿賴 蹖賴 趩蹖夭 賲蹖诏賴 亘毓丿 夭 丕蹖賳 讴賴 鬲氐賲蹖賲 賲蹖诏蹖乇賳 亘乇賳 賴乇 讴丿賵賲 蹖賴 亘賴賵賳賴 賲蹖丕乇賳 賵 賴丿賴丿 卮乇賵毓 賲蹖鈥屭┵嗁� 亘丕 鬲毓乇蹖賮 毓卮賯 賵 丕蹖賳 趩蹖夭丕 賯丕賳毓卮賵賳 讴賳賴.
毓卮賯 乇丕 亘丕 讴賮乇 賵 亘丕 丕蹖賲丕賳 趩賴 讴丕乇
毓丕卮賯丕賳 乇丕 賱丨馗賴鈥屫й� 亘丕 噩丕賳 趩賴 讴丕乇
毓丕卮賯 丌鬲卮 亘乇 賴賲賴 禺乇賲賳 夭賳丿
丕乇賴 亘乇 賮乇賯卮 賳賴賳丿 丕賵 鬲賳 夭賳丿
丿乇丿 賵 禺賵賳 丿賱 亘亘丕蹖丿 毓卮賯 乇丕
賯氐賴贁 賲卮讴賱 亘亘丕蹖丿 毓卮賯 乇丕
亘毓丿 丿丕爻鬲丕賳 賲毓乇賵賮 卮蹖禺 氐賳毓丕賳 乇賵 丿丕卮鬲 賵 丕蹖賳 丿丕爻鬲丕賳鈥屬囏� 丿蹖诏賴.
亘毓丿 丕夭 賵乇跇賳鈥屬囏й� 賲禺氐賵氐 賳賵噩賵丕賳丕賳卮貙 禺賵丿 賲鬲賳 丕氐賱蹖 乇賵 丕賵賱蹖賳 亘丕乇 丨丿賵丿 丿賴 爻丕賱 倬蹖卮 卮乇賵毓 讴乇丿賲 亘賴 禺賵賳丿賳卮 丕賲丕 鬲丕 賴賲蹖賳 丨丿賵丿 鬲氐賲蹖賲 倬乇賳丿賴 賴丕 亘乇丕蹖 乇賮鬲賳貙 丿賯蹖賯鈥屫� 亘禺賵丕賲 亘诏賲 丕賵賳噩丕蹖蹖 讴賴 毓胤丕乇 亘毓丿 丕夭 亘賴賵賳賴 诏乇賮鬲賳 倬乇賳丿诏丕賳 卮乇賵毓 賲蹖鈥屭┵嗁� 亘賴 匕讴乇 丨讴丕蹖鬲鈥屬囏й� 賯胤丕乇蹖 鬲丕 亘禺賵丕丿 亘诏賴 賲乇丿 乇丕賴 毓卮賯 亘丕蹖丿 亘丕卮蹖丿貙 賲蹖禺賵賳丿賲 賵 賲蹖匕丕卮鬲賳 讴賳丕乇.
丕蹖賳 爻乇蹖 丿賵亘丕乇賴 賯卮賳诏 丕夭 丕賵賱 卮乇賵毓 讴乇丿賲 賴賲 賲鬲賳 乇賵 禺賵賳丿賲 賴賲 鬲賵囟蹖丨丕鬲 乇賵 賵 賴賲 氐賵鬲蹖 禺丕賳賲 賲丨亘賵亘 乇賵 诏賵卮 丿丕丿賲(讴賴 丕賳氐丕賮丕 趩賯丿乇 禺賵亘 禺賵丕賳丿賴鈥屫з嗀�. 丕賱亘鬲賴 亘丕 爻乇毓鬲 郾.鄣 亘乇丕亘乇.) 賵 賴賲 賲賯丿丕乇蹖 賲賯丕賱賴 丿乇 丕乇鬲亘丕胤 亘丕賴丕卮 禺賵賳丿賲.
賯爻賲鬲鈥屬囏й屰屫� 讴賴 亘乇丕 禺賵丿賲 噩匕丕亘 亘賵丿 乇賵 亘丕夭 噩丿丕 讴乇丿賲 賵 诏匕丕卮鬲賲 讴丕賳丕賱賲.
賮乇賵乇丿蹖賳 郾鄞郯鄞
毓胤丕乇 亘毓丿 丕夭 賲毓乇賮蹖 賴乇 賵丕丿蹖 趩賳丿蹖賳 丨讴丕蹖鬲 賲禺鬲賱賮 乇賵 賴賲 賲蹖丕丿 亘蹖丕賳 賲蹖鈥屭┵嗁�.
1. 賵丕丿蹖 胤賱亘: 賲乇丨賱賴 丕賵賱賴 讴賴 爻丕賱讴 亘丕 丕卮鬲蹖丕賯 亘賴 丿賳亘丕賱 丨賯蹖賯鬲 賲蹖賵賮鬲賴貙 丕賵賳 丿丕爻鬲丕賳 丕亘賱蹖爻 毓丕卮賯 禺丿丕爻鬲 賵 鬲賳賴丕 賮乇卮鬲賴 丕蹖賴 讴賴 乇丕夭 丕賱賴蹖 乇賵 賲蹖鈥屫ㄛ屬嗁� 賲丕賱 丕蹖賳鈥屫ж池�.
亘毓丿 丕夭 丌賳 丕亘賱蹖爻 诏賮鬲 丌賳 诏賳噩 倬丕讴
趩賵賳 賲乇丕 乇賵卮賳 卮丿貙 丕夭 賱毓賳鬲 趩賴 亘丕讴
賱毓賳鬲 丌賳 鬲爻鬲 乇丨賲鬲 丌賳 鬲賵
亘賳丿賴 丌賳 鬲爻鬲 賯爻賲鬲 丌賳 鬲賵
诏乇 賲乇丕 賱毓賳爻鬲 賯爻賲鬲貙 亘丕讴 賳蹖爻鬲
夭賴乇 賴賲 亘丕蹖丿貙 賴賲賴 鬲乇蹖丕讴 賳蹖爻鬲
趩賵賳 亘丿蹖丿賲 禺賱賯 乇丕 乇丨賲鬲 胤賱亘
賱毓賳鬲 亘乇丿丕卮鬲賲 賲賳 亘蹖鈥屫ж�
2. 賵丕丿蹖 毓卮賯: 讴賴 爻丕賱讴 丕蹖賳噩丕 丿乇 丌鬲卮 毓卮賯 丕賱賴蹖 賲蹖鈥屫迟堌操�. 丕賵賳 丿丕爻鬲丕賳蹖 讴賴 毓丕卮賯 賲蹖鈥屫辟� 賲毓卮賵賯 亘蹖賲丕乇 卮丿賴鈥屫ж� 乇賵 亘讴購卮賴 鬲丕 丿乇 賯氐丕氐 丕賵賳 亘賲蹖乇賴 賴賲 亘乇丕 丕蹖賳噩丕 亘賵丿.
毓丕卮賯 丌賳 亘丕卮丿 讴賴 趩賵賳 丌鬲卮 亘賵丿
诏乇賲 乇賵 爻賵夭賳丿賴 賵 爻乇讴卮 亘賵丿
毓丕賯亘鬲 丕賳丿蹖卮 賳亘賵丿 蹖讴 夭賲丕賳
丿乇 讴卮丿 禺賵卮 禺賵卮 亘乇 丌鬲卮 氐丿 噩賴丕賳
賱丨馗賴鈥屫й� 賳賴 讴丕賮乇蹖 丿丕賳丿 賳賴 丿蹖賳
匕乇賴鈥屫й� 賳賴 卮讴 卮賳丕爻丿 賳賴 蹖賯蹖賳
賳蹖讴 賵 亘丿 丿乇 乇丕賴 丕賵 蹖讴爻丕賳 亘賵丿
禺賵丿 趩賵 毓卮賯 丌賲丿 賳賴 丕蹖賳 賳賴 丌賳 亘賵丿
丕蹖 賲亘丕丨蹖 丕蹖賳 爻禺賳 丌賳 鬲賵賳蹖爻鬲
賲乇鬲丿蹖 鬲賵貙 丕蹖賳 亘賴 丿賳丿丕賳 鬲賵 賳蹖爻鬲
3. 賵丕丿蹖 賲毓乇賮鬲: 丕蹖賳噩丕 亘賴 卮賳丕禺鬲 毓賲蹖賯 賵 丿乇讴 丨賯丕蹖賯 丕賱賴蹖 賲蹖乇爻賴.
诏乇 亘蹖丕乇蹖 丿爻鬲 鬲丕 毓乇卮 賲噩蹖丿
丿賲 賲夭賳 蹖讴 爻丕毓鬲 丕夭 賴賱 賲賳 蹖夭蹖丿
禺賵蹖卮 乇丕 丿乇 亘丨乇 毓乇賮丕賳 睾乇賯 讴賳
賵乇賳賴 亘丕乇蹖 禺丕讴 乇賴 亘乇 賮乇賯 讴賳
诏乇賳賴鈥屫й� 丕蹖 禺賮鬲賴 丕賴賱 鬲賴賳蹖鬲
倬爻 趩乇丕 禺賵丿 乇丕 賳丿丕乇蹖 鬲毓夭蹖鬲
诏乇 賳丿丕乇蹖 卮丕丿蹖蹖 丕夭 賵氐賱 蹖丕乇
禺蹖夭 亘丕乇蹖 賲丕鬲賲 賴噩乇丕賳 亘丿丕乇
诏乇 賳賲蹖 亘蹖賳蹖 噩賲丕賱 蹖丕乇 鬲賵
禺蹖夭 賲賳卮蹖賳貙 賲蹖鈥屫焚勜� 丕爻乇丕乇 鬲賵
诏乇 賳賲蹖鈥屫з嗃� 胤賱亘 讴賳 卮乇賲 丿丕乇
趩賵賳 禺乇蹖 鬲丕 趩賳丿 亘丕卮蹖 亘蹖鈥屬佖池ж�
丿丕爻鬲丕賳 毓亘丕爻賴 胤賵爻蹖 乇賵 賴賲 丕蹖賳噩丕 亘蹖丕賳 讴乇丿賴 亘賵丿.
4. 賵丕丿蹖 丕爻鬲睾賳丕: 賲乇丨賱賴 亘蹖鈥屬嗃屫ж槽� 丕夭 賴乇 趩蹖夭 噩夭 禺丿丕爻鬲 賵 丕蹖賳噩丕 賲毓乇賮蹖 噩丕賱亘蹖 丿丕卮鬲:
亘毓丿 丕夭蹖賳 賵丕丿蹖 丕爻鬲睾賳丕 亘賵丿
賳賴 丿乇賵 丿毓賵蹖 賵 賳賴 賲毓賳蹖 亘賵丿
賲蹖鈥屫囏� 丕夭 亘蹖鈥屬嗃屫ж槽� 氐乇氐乇蹖
賲蹖鈥屫操嗀� 亘乇 賴賲 亘賴 蹖讴 丿賲 讴卮賵乇蹖
氐丿 賴夭丕乇丕賳 爻亘夭 倬賵卮 丕夭 睾賲 亘爻賵禺鬲
鬲丕 讴賴 丌丿賲 乇丕 趩乇丕睾蹖 亘乇賮乇賵禺鬲
氐丿 賴夭丕乇丕賳 噩爻賲 禺丕賱蹖 卮丿 夭 乇賵丨
鬲丕 丿乇蹖賳 丨囟乇鬲 丿乇賵诏乇 诏卮鬲 賳賵丨
氐丿 賴夭丕乇丕賳 倬卮賴 丿乇 賱卮诏乇 賮鬲丕丿
鬲丕 亘乇丕賴蹖賲 丕夭 賲蹖丕賳 亘丕 爻乇賮鬲丕丿
氐丿 賴夭丕乇丕賳 胤賮賱 爻乇 亘亘乇蹖丿賴 诏卮鬲
鬲丕 讴賱蹖賲 丕賱賱賴 氐丕丨亘 丿蹖丿賴 诏卮鬲
氐丿 賴夭丕乇丕賳 禺賱賯 丿乇 夭賳丕乇 卮丿
鬲丕 讴賴 毓蹖爻蹖 賲丨乇賲 丕爻乇丕乇 卮丿
氐丿 賴夭丕乇丕賳 噩丕賳 賵 丿賱 鬲丕乇丕噩 蹖丕賮鬲
鬲丕 賲丨賲丿 蹖讴 卮亘蹖 賲毓乇丕噩 蹖丕賮鬲
5. 賵丕丿蹖 鬲賵丨蹖丿: 丕蹖賳噩丕 賲乇丨賱賴 蹖诏丕賳诏蹖 賵 丿蹖丿賳 賵丨丿鬲 丿乇 讴孬乇鬲賴.
趩賵賳 賴賲賴 賴蹖趩蹖 亘賵丿 賴蹖趩 丕蹖賳 賴賲賴
讴蹖 亘賵丿 丿賵 丕氐賱 噩夭 倬蹖趩 丕蹖賳 賴賲賴
6. 賵丕丿蹖 丨蹖乇鬲: 讴賴 卮禺氐 丿趩丕乇 卮诏賮鬲蹖 賵 爻乇诏卮鬲诏蹖 丿乇 亘乇丕亘乇 毓馗賲鬲 丕賱賴蹖 賲蹖卮賴. 丕氐賱丕 鬲賵囟蹖丨丕鬲 丕蹖賳 亘禺卮 賵 丨讴丕蹖丕鬲卮 禺蹖賱蹖 毓噩蹖亘 亘賵丿賳丿. 丕賵賳 丿丕爻鬲丕賳賴 睾賱丕賲蹖 讴賴 亘蹖賴賵卮 賲蹖讴賳賳 賲蹖亘乇賳丿 賯氐乇 倬蹖卮 丿禺鬲乇 倬丕丿卮丕賴 賵 亘乇賲蹖诏乇丿賴 毓賯賱卮賵 丕夭 丿爻鬲 賲蹖丿賴 賴賲 亘乇丕 丕蹖賳噩丕 亘賵丿.
诏乇 亘丿賵 诏賵蹖賳丿 賲爻鬲蹖 蹖丕 賳賴鈥屫й�
賳蹖爻鬲蹖 诏賵蹖蹖 讴賴 賴爻鬲蹖 蹖丕 賳賴鈥屫й�
丿乇 賲蹖丕賳蹖 蹖丕 亘乇賵賳蹖 丕夭 賲蹖丕賳
亘乇 讴賳丕乇蹖 蹖丕 賳賴丕賳蹖 蹖丕 毓蹖丕賳
賮丕賳蹖蹖 蹖丕 亘丕賯蹖蹖 蹖丕 賴乇 丿賵蹖
蹖丕 賳賴贁 賴乇 丿賵 鬲賵蹖 蹖丕 賳賴 鬲賵蹖
诏賵蹖丿 丕氐賱丕 賲蹖鈥屬嗀з嗁� 趩蹖夭 賲賳
賵丕賳 賳丿丕賳賲 賴賲 賳丿丕賳賲 賳蹖夭 賲賳
毓丕卮賯賲 丕賲丕 賳丿丕賳賲 亘乇 讴蹖賲
賳賴 賲爻賱賲丕賳賲 賳賴 讴丕賮乇貙 倬爻 趩蹖賲
賱蹖讴賳 丕夭 毓卮賯賲 賳丿丕乇賲 丌诏賴蹖
賴賲 丿賱蹖 倬乇毓卮賯 丿丕乇賲 賴賲 鬲賴蹖
7. 賵丕丿蹖 賮賳丕 賵 賮賯乇: 賳丕亘賵丿蹖 禺賵丿 賵 乇爻蹖丿賳 亘賴 禺丿丕. 丕賵賳 丿丕爻鬲丕賳 毓丕卮賯 卮丿賳 卮丕賴 亘乇 倬爻乇 賵夭蹖乇 賵 亘毓丿丕 丿乇 睾蹖乇鬲 丕賵賳 倬賵爻鬲 讴賳丿賳 賵鈥� 丿丕乇 夭丿賳卮 賴賲 丕蹖賳噩丕 亘賵丿.
賳亘賵丿 丕賵 賵 丕賵 亘賵丿貙 趩賵賳 亘丕卮丿 丕蹖賳
丕夭 禺蹖丕賱 毓賯賱 亘蹖乇賵賳 亘丕卮丿 丕蹖賳
蹖賴 賯爻賲鬲蹖 賯亘賱 丕夭 乇賮鬲賳 賲乇睾 賴丕 亘賴 爻賲鬲 賵丕丿蹖 賴丕 丿丕乇賴 讴賴 丕賵賱卮 賴乇 倬乇賳丿賴 蹖賴 趩蹖夭 賲蹖诏賴 亘毓丿 夭 丕蹖賳 讴賴 鬲氐賲蹖賲 賲蹖诏蹖乇賳 亘乇賳 賴乇 讴丿賵賲 蹖賴 亘賴賵賳賴 賲蹖丕乇賳 賵 賴丿賴丿 卮乇賵毓 賲蹖鈥屭┵嗁� 亘丕 鬲毓乇蹖賮 毓卮賯 賵 丕蹖賳 趩蹖夭丕 賯丕賳毓卮賵賳 讴賳賴.
毓卮賯 乇丕 亘丕 讴賮乇 賵 亘丕 丕蹖賲丕賳 趩賴 讴丕乇
毓丕卮賯丕賳 乇丕 賱丨馗賴鈥屫й� 亘丕 噩丕賳 趩賴 讴丕乇
毓丕卮賯 丌鬲卮 亘乇 賴賲賴 禺乇賲賳 夭賳丿
丕乇賴 亘乇 賮乇賯卮 賳賴賳丿 丕賵 鬲賳 夭賳丿
丿乇丿 賵 禺賵賳 丿賱 亘亘丕蹖丿 毓卮賯 乇丕
賯氐賴贁 賲卮讴賱 亘亘丕蹖丿 毓卮賯 乇丕
亘毓丿 丿丕爻鬲丕賳 賲毓乇賵賮 卮蹖禺 氐賳毓丕賳 乇賵 丿丕卮鬲 賵 丕蹖賳 丿丕爻鬲丕賳鈥屬囏� 丿蹖诏賴.
亘毓丿 丕夭 賵乇跇賳鈥屬囏й� 賲禺氐賵氐 賳賵噩賵丕賳丕賳卮貙 禺賵丿 賲鬲賳 丕氐賱蹖 乇賵 丕賵賱蹖賳 亘丕乇 丨丿賵丿 丿賴 爻丕賱 倬蹖卮 卮乇賵毓 讴乇丿賲 亘賴 禺賵賳丿賳卮 丕賲丕 鬲丕 賴賲蹖賳 丨丿賵丿 鬲氐賲蹖賲 倬乇賳丿賴 賴丕 亘乇丕蹖 乇賮鬲賳貙 丿賯蹖賯鈥屫� 亘禺賵丕賲 亘诏賲 丕賵賳噩丕蹖蹖 讴賴 毓胤丕乇 亘毓丿 丕夭 亘賴賵賳賴 诏乇賮鬲賳 倬乇賳丿诏丕賳 卮乇賵毓 賲蹖鈥屭┵嗁� 亘賴 匕讴乇 丨讴丕蹖鬲鈥屬囏й� 賯胤丕乇蹖 鬲丕 亘禺賵丕丿 亘诏賴 賲乇丿 乇丕賴 毓卮賯 亘丕蹖丿 亘丕卮蹖丿貙 賲蹖禺賵賳丿賲 賵 賲蹖匕丕卮鬲賳 讴賳丕乇.
丕蹖賳 爻乇蹖 丿賵亘丕乇賴 賯卮賳诏 丕夭 丕賵賱 卮乇賵毓 讴乇丿賲 賴賲 賲鬲賳 乇賵 禺賵賳丿賲 賴賲 鬲賵囟蹖丨丕鬲 乇賵 賵 賴賲 氐賵鬲蹖 禺丕賳賲 賲丨亘賵亘 乇賵 诏賵卮 丿丕丿賲(讴賴 丕賳氐丕賮丕 趩賯丿乇 禺賵亘 禺賵丕賳丿賴鈥屫з嗀�. 丕賱亘鬲賴 亘丕 爻乇毓鬲 郾.鄣 亘乇丕亘乇.) 賵 賴賲 賲賯丿丕乇蹖 賲賯丕賱賴 丿乇 丕乇鬲亘丕胤 亘丕賴丕卮 禺賵賳丿賲.
賯爻賲鬲鈥屬囏й屰屫� 讴賴 亘乇丕 禺賵丿賲 噩匕丕亘 亘賵丿 乇賵 亘丕夭 噩丿丕 讴乇丿賲 賵 诏匕丕卮鬲賲 讴丕賳丕賱賲.
賮乇賵乇丿蹖賳 郾鄞郯鄞
May 29, 2013
丕賷賴 丕賱毓馗賲賴 丿賷
賰鬲丕亘 賲賳胤賯 丕賱胤賷乇 賰鬲丕亘 賲鬲毓賲賯 賮賷 丕賱噩丕賳亘 丕賱乇賵丨丕賳賷 亘丿乇噩賴 賲賲鬲丕夭
亘丿丕賷賴 賮丕賳 賲鬲乇噩賲 丕賱賰鬲丕亘 賵賲丨賯賯賴 丕賱丿賰賳賵乇 亘丿賷毓 賲丨賲丿 噩賲毓賴 賰鬲亘 賲賯丿賲賴 丿爻賲賴 亘丿賷毓賴 丕賮丕囟 賮賷賴丕 亘丕賱賰孬賷乇 毓賳 丨賷丕賴 丕賱賲丐賱賮 賮乇賷丿 丕賱丿賷賳 丕賱毓胤丕乇 賵丨賷丕鬲賴 賵賲匕賴亘賴 亘丕賱丕囟丕賮賴 丕賱賷 鬲毓賱賷賯賴 毓賱賷 丕賱賲賳馗賵賲賴 賵睾賷乇賴丕 賲賳 氐賳賵賮 丕賱卮毓乇 丕賱賲孬賳賵賷 丕賱賮丕乇爻賷 賵丕賱鬲氐賵賮 賵睾賷乇賴 賰賲丕 丕囟丕賮 賮賷 鬲丨賯賷賯賴 毓賳 賰賱 丕賱卮禺氐賷丕鬲 丕賱賲匕賰賵乇賴 賮賷 丕賱賰鬲丕亘 賵睾賷乇 匕賱賰 賲賳 賲鬲卮丕亘賴丕鬲 丕賵 乇賲賵夭 賯丿 鬲賯賮 毓孬乇賴 丕賲丕賲 丕賱賯丕乇卅
賵賱賲 賷鬲乇賰 賱睾賷乇賴 丕賱賰孬賷乇 毓賳 丕賱賰賱丕賲 毓賳 丕賱賲賳馗賲賴 賮賳毓賲 丕賱賲鬲乇噩賲 賵丕賱賲丨賯賯
丕賵賱丕 丨賷丕賴 丕賱賲丐賱賮 賮乇賷丿 丕賱丿賷賳 丕賱毓胤丕乇 丕賱賳賷爻丕亘賵乇賷 :賱賲 賷氐賱 丕賱賲鬲乇噩賲 丕賱亘丿賷毓 毓賳 丕賳亘丕亍 賲丨賯賯賴 毓賳 賴賳 丨賷丕鬲賴 賵賲賷賱丕丿賴 賵賵賮丕鬲賴 賵賱賰賳 丕賱乇丕噩丨 丕賳賴 賵賱丿 毓丕賲 545 賴噩乇賷賴 賵丕賳 賵賮丕鬲賴 賰丕賳鬲 賮賷 627
賯賷賱 丕賳 丕賱毓胤丕乇 丕賳賴 丕卮鬲睾賱 亘丕賱胤亘 賵丕賱毓胤丕乇賴 賵賰丕賳 睾賳賷丕 賲卮賴賵乇丕 賮賷 賲噩丕賱賴 賯亘賱 丕賳 賷鬲乇賰 匕賱賰 賰賱賴 賱賷鬲賮乇睾 丕賱賷 丕賱鬲氐賵賮 賵毓卮賯賴 賵胤乇賷賯賴 丕賱賷 丕賱賱賴
賵賴賴賳丕 賷匕賰乇 毓亘丿 丕賱乇丨賲賳 噩丕賲賷 賮賷 賰鬲丕亘賴 賳賮丨丕鬲 丕賱丕賳爻 賯氐賴 鬲丨賵賱 丕賱毓胤丕乇 賲賳 丕賱胤亘 賵丕賱毓胤丕乇賴 丕賱賷 丕賱鬲氐賵賮 賮賷賯賵賱 ( 匕丕鬲 賷賵賲 賰丕賳 丕賱毓胤丕乇 賮賷 丿賰丕賳 毓胤丕乇鬲賴 賮噩丕亍賴 賮賯賷乇 賵賯丕賱 賱賴 毓丿賴 賲乇丕鬲 : 丕毓胤賳賷 卮賷卅丕 賱賱賴 賮賱賲 賷丕亘賴 亘丕賱賮賯賷乇 賮賯丕賱 丕賱賮賯賷乇 : 丕賷賴丕 丕賱爻賷丿 賰賷賮 鬲賲賵鬲 責 賮賯丕賱 丕賱毓胤丕乇 :賰賲丕 爻鬲賲賵鬲 丕賳鬲. 賮賯丕賱 丕賱賮賯賷乇 : 丕賷賲賰賳賰 丕賳 鬲賲賵鬲 賲孬賱賷 責 賮賯丕賱 丕賱毓胤丕乇 : 賳毓賲 . 賮賵囟毓 丕賱賮賯賷乇 賯丿丨賴 鬲丨鬲 乇丕爻賴 賵賯丕賱 丕賱賱賴 賵丕爻賱賲 丕賱乇賵丨 賮鬲睾賷乇 丨丕賱 丕賱毓胤丕乇 賵鬲禺賱氐 賲賳 賲鬲噩乇賴 鬲賵丕 賵噩丕亍 丕賱賷 賴匕丕 丕賱胤乇賷賯 ) 賵賴賳丕 賳乇賷 賰賷賮賷賴 鬲丨賵賱 丕賱毓胤丕乇 賵丕賳 賰賳鬲 丕乇賷 丕賳 丕賱賯氐賴 賴賴賳丕 鬲毓鬲亘乇 丕爻胤賵乇賴 禺丕氐賴 丕賳賴丕 賰鬲亘鬲 亘毓丿 賵賮丕鬲賴 賱丕囟丕賮賴 丕賱賰孬賷乇 賲賳 丕賱賳賮丨丕鬲 賵丕賱賰乇丕賲丕鬲 賱賱毓胤丕乇 賮賷 毓氐乇 亘丿丕鬲 丕賱氐賵賮賷賴 鬲鬲丨賵賱 丕賱賷 丿乇賵卮賴
賵賰匕賱賰 賯氐賴 賵賮丕鬲賴 毓賳丿 賴噩賵賲 丕賱鬲鬲丕乇 賵賲丕 鬲丨賲賱賴 賲賳 丿乇賵卮賴 賵丕丨賷賱 丕賱賯丕乇卅 丕賱賷賴丕 賮賷 賲賯丿賲賴 丕賱賰鬲丕亘 賵賲賱禺氐賴丕 丕賳賴 亘毓丿 丕賳 囟乇亘鬲 毓賳賯賴 丕賱賮 (賰鬲丕亘 丕賱賲賯胤賵毓 丕賱乇丕爻)
賵賯丿 賰丕賳 丕賱毓胤丕乇 賲毓鬲夭 亘賳賮爻賴 丕賷賲丕 丕毓鬲夭丕夭 賮賷賯賵賱 丕賳賴 賱賲 賷賱噩兀 賷賵賲丕 丕賱賷 賯氐乇 賵賱賲 賷賰賳 匕賱賷賱丕 賱賰賱 丨賯賷乇 賵賱賲 賷胤毓賲 賲賳 禺亘夭 馗丕賱賲 賲胤賱賯丕 賵賱賲 賷禺鬲賲 賰鬲丕亘賴 賱賴 亘匕賰乇 丕丨丿賴賲
賵賯丿 賯丕賱 丕賱毓胤丕乇 毓賳 賳賮爻賴 賵賰鬲亘賴
_賵賳馗賲賷 賷鬲爻賲 亘禺丕氐賷賴 毓噩賷亘賴 賮賴賵 賷賵賱丿 賲毓賳賷 噩丿賷丿丕 賮賷 賰賱 丕賵賳賴
_ 夭丨鬲賷 賷賵賲 丕賱賯賷丕賲賴 賱賳 賷賰鬲亘 卮禺氐 賯胤 賰賱丕賲丕 賲孬賱賷 丕賳丕 丕賱賵賱賴丕賳 ( 孬賯賴 鬲氐賱 賱丨丿 丕賱睾乇賵乇)
孬丕賳賷丕 丕賱賲賳馗賵賲賴
賱賲 鬲賰賳 丕賱賮賰乇賴 亘噩丿賷丿賴 毓賳丿賲丕 氐丕睾賴丕 丕賱毓胤丕乇 賮賯丿 爻亘賯賴 丕賱卮賷禺 丕賱乇卅賷爻 _丨亘賷亘賷_丕亘賳 爻賷賳丕 賮賷 乇爻丕賱賴 丕賱胤賷乇 賵丕賳 賰丕賳鬲 乇爻丕賱賴 亘賳 爻賷賳丕 賮賱爻賮賷賴 賲乇賴賯賴賴 賵賲賳馗賵賲賴 丕賱毓胤丕乇 氐賵賮賷賴 賲卮乇賯賴
賵賰匕賱賰 鬲丕孬乇賴 亘丕賱睾夭丕賱賷 賮賷 賯氐鬲賴 毓賳 丕賱胤賷乇 賵丕賳 賱賲 賷賰賳 鬲丕孬乇賴 賴賳丕 亘丕賱賮賰乇賴 賮賮胤 賵賱賰賳 鬲丕孬乇 亘丕賱毓丿賷丿 賲賳 丕賮賰丕乇 丕賱睾夭丕賱賷
丕賲丕 乇爻丕賱賴 丕賱睾賮乇丕賳 賮賯丿 丨丕賵賱 丕賱賰孬賷乇賷賳 丕孬亘丕鬲 鬲丕孬乇 丕賱毓胤丕乇 亘賴丕 賱賰賳 丕賱丨賯賷賯賴 (賲毓乇賮卮) 鬲丕孬乇 亘賴丕 賵賱丕 賱丕
賵賷噩亘 丕賱鬲賳賵賷賴 丕賱賷 鬲賳賴 賵賱賵 賰丕賳 丕賱毓胤丕乇 賯丿 丕禺匕 賮賰乇鬲賴 賲賳 賲賳 爻亘賯賴 丕賱丕 丕賳賴 丕亘丿毓 賵丕囟丕賮 賵噩丿丿
鬲亘丿丕 丕賱賲賳馗賵賲賴 亘丕賱賲賯丿賲賴 丕賱鬲賷 賷丨丕賵賱 賮賷賴丕 丕賱毓胤丕乇 丕毓胤丕亍 賰賱 禺賱賷賮賴 丨賯賴 賲賳 丕亘賵 亘賰乇 丕賱賷 毓賲乇 賵毓孬賲丕賳 賵毓賱賷 賵賳亘匕 丕賱鬲毓氐亘 賮賷賯賵賱 : 賷丕 賲賳 賵賯毓鬲 丕爻賷乇 丕賱鬲毓氐亘 賵馗賱賱鬲 丕亘丿丕 丕爻賷乇 丕賱亘睾囟 賵丕賱丨亘 丕匕丕 賰賳鬲 鬲賮丕禺乇 亘丕賱毓賯賱 賵丕賱賱亘 賮賰賷賮 鬲賳胤賯 亘毓毓丿 匕賱賰 亘丕賱鬲毓氐亘
賵賴賳丕 賷鬲噩乇丿 丕賱毓胤丕乇 毓賳 丕賱賲賳丕夭毓丕鬲 賵丕賱鬲毓氐亘 賵睾賷乇賴 賲賳 丕爻丕賱賷亘 丕賱亘睾囟 賵丕賱賮乇賯賴 賵賴匕丕 賴丿賮 丕賱鬲氐賵賮 丕賱匕匕賷 賳乇丕賴 賯丿 鬲噩賱賷 賱丿賷 丕賱毓胤丕乇 丕賱匕賷 賰丕賳 睾乇囟賴 賮賷 丕賱賳賴丕賷賴 丕賱鬲賱賯賷 賵丕賱賵氐賵賱 丕賱賷 丨丿 丕賱賮賳丕亍 賮賷 丕賱賱賴賵賲賳 孬賲 丕賱亘賯丕亍 亘毓丿 丕賱賮賳丕亍 ( 賵賴匕丕 賰賲丕 丕乇賷 睾乇囟 賰鬲丕亘 丕賱毓胤丕乇 )
賵鬲亘丿丕 丕賱賲賳馗賵賲賴 亘噩賲毓 賱賱胤賷賵乇 賷鬲賵噩賴賵賳 賮賷賴 丕賱賷 丕賱賴 賵丕丨丿 賱賱毓亘丕丿賴 ( 賵賴賳丕 丕賳胤賯 丕賱毓胤丕乇 丕賱胤賷賵乇 毓賰爻 乇爻丕賱賴 丕賱睾夭丕賱賷 ) 賱丕賳賴賲 賱丕 賷爻鬲胤賷毓賵丕 丕賱毓賷卮 丿賵賳 賲賱賰 賵賴賳丕 賷馗賴乇 丿賵賳 丕賱賵賱丕賷賴 賵丕賱賲乇賷丿賷賳 賮賳乇賷 賴賳丕 丕賱胤賷賵乇 賲乇賷丿賷賳 賵賱丕 亘丿 亘賴賲 賲賳 胤乇賷賯
孬賲 賷賯毓 丕賱丕禺鬲賷丕乇 毓賱賷 丕賱賴丿賴丿 賱賷賰賵賳 丕賱賲乇卮丿 賱賴賲 丕賱賷 丕賱胤乇賷賯 ( 賵賴賳丕 賳乇賷 丿賵乇 丕賱賴丿賴丿 丕賱鬲丕乇賷禺賷 賮賷 丕賱鬲乇丕孬 丕賱丕爻賱丕賲賷 賵匕賱賰 亘爻亘亘 匕賰乇賴 賮賷 丕賱賯乇丕賳 丕賱賰乇賷賲 賵賱賰賵賳賴 賰丕賳 丕賱爻亘亘 賮賷 賴丿丕賷賴 丕賴賱 爻亘丕 賵賰匕賱賰 賱賲丕 賷賲鬲賱賰賴 丕賱賴丿賴丿 賲賳 禺賵丕氐 賮賷賯賵賱 丕賱噩丕丨馗 毓賳 丕賱賴丿賴丿 : 夭毓賲賵丕 丕賳賴 賴賵 丕賱匕賷 賰丕賳 賷丿賱 爻賱賷賲丕賳 毓賱賷 賲賵丕囟毓 丕賱賲丕亍 賮賷 賯毓乇 丕賱丕乇囟 ) 賮賰丕賳 賳毓賲 丕賱丕禺鬲賷丕乇 賲賳 丕賱毓胤丕乇
賵賴賳丕 賷胤賱亘 丕賱賴丿賴丿 賲賳 丕賱胤賷賵乇 丕賱鬲賵噩賴 丕賱賷 爻賷賲乇噩 丕賱丕賱賴 丕賱賲賳卮賵丿 ( 賵爻賷賲乇噩 賴賳丕 鬲毓亘賷乇 毓賳 丕賱鬲乇丕孬 丕賱丕爻胤賵乇賷 丕賱賮丕乇爻賷 丕賱匕賷 賷氐賵乇 爻賷賲乇噩 胤丕卅乇 禺乇丕賮賷 毓卮賴 毓賱爻 卮噩乇賴 胤賷亘賴 賵丕毓鬲賯丿 丕賳賴 賷賲丕孬賱 丕賱毓賳賯丕亍 賮賷 丕賱鬲乇丕孬 丕賱毓乇亘賷 賵賴賳丕 賷賵囟丨 丕賱毓胤丕乇 丕賱氐賱賴 亘賷賳 丕賱爻賷賲乇噩 賵丕賱胤賷乇 毓賳丿賲丕 賯丕賲 丕丨丿 丕賱胤賷賵乇 亘丕賱爻丐丕賱 毓賳 丕賱氐賱賴 亘賷賳賴賲 賵亘賷賳 丕賱爻賷賲乇噩 賮丕賵囟丨 丕賱毓胤丕乇 丕賳 賱賱賴 賵噩賵丿 賮賷 禺賱賯賴 賵囟乇亘 賲孬丕賱 亘丕賱馗賱 賵丕賱卮賲爻 丕賵 丕賱亘丨乇 賵丕賱賯胤乇賴 ..賮賲丕 丕賱毓丕賱賲 丕賱賷 賯胤乇賴
孬賲 賷亘丿丕 爻乇丿 丕賱丕毓匕丕乇 賱噩賲賷毓 丕賱胤賷賵乇 丕賱匕賷賳 賷乇賷丿賵賳 丕賱鬲禺賱賷 毓賳 丕賱胤乇賷賯 丕賱賷 丕賱賱賴 賵賴賳丕 賳乇賷 丕賱丕毓匕丕乇 賴賷 賲卮賰賱丕鬲 丕賱丨賷丕賴 賲賳 卮賴賵丕鬲 賵卮乇賰 賵賰匕亘 賵賰爻賱 賵睾乇賵乇
孬賲 乇丿 丕賱賴丿賴丿 毓賱賷賴賲 賵賮賳丿 丕毓匕丕乇賴賲 賵丕賯賳毓賴賲 亘丕賱賲爻賷乇 賲毓賴 賳丨賵 丕賱爻賷賲乇噩
孬賲 丕賱丕鬲賮丕賯 毓賱賷 丕賱鬲賵噩賴 賳丨賵 丕賱爻賷賲乇噩 賵毓賯亘丕鬲 丕賱胤乇賷賯 賮丕賱胤乇賷賯 賴賳丕 賲噩丕賴丿賴 賲賱卅 亘丕賱丕禺胤丕乇
孬賲 毓乇囟 丕賱毓胤丕乇 賱賱丕賵丿賷賴 丕賱爻亘毓賴 賱賱賵氐賵賱 賵賴賷 亘丕賱鬲乇鬲賷亘 賵丕丿賷 丕賱胤賱亘 _ 丕賱毓卮賯 _ 丕賱賲毓乇賮賴
丕賱丕爻鬲睾賳丕亍 _ 丕賱鬲賵丨賷丿 _ 丕賱丨賷乇賴 _丕賱賮賳丕亍
賮賵丕丿賷 丕賱胤賱亘 賲賱卅 亘丕賱賲卮丕賯 賵丕賱丕賱賲 賵丕賱噩賴丿 賵丕賱鬲胤賴乇 . 賵賵丕丿賷 丕賱毓卮賯 賲賱卅 亘丕賱丕丨鬲乇丕賯 賵丕賱賱賴賮賴 賵鬲乇賰 丕賱毓賯賱 . 賵賵丕丿賷 丕賱賲毓乇賮賴 賷鬲胤賱亘 丕賱夭賷丕丿賴 賲賳 丕賱賲毓乇賮賴 賵丕賱丕爻乇丕乇 . 賵賵丕丿賷 丕賱丕爻鬲睾賳丕亍 賷鬲胤賱亘 丕賱鬲禺賱賷 毓賳 丕賱丿賳賷丕 賵賲丕 賮賷賴丕 . 賵賵丕丿賷 丕賱鬲賵丨賷丿 賷禺鬲賮賷 丕賱賰賱 賮賷 賵丕丨丿 . 賵賵丕丿賷 丕賱丨賷乇賴 ( 丿丕 丨賰丕賷賴 賱賵丨丿賴 ) 賷馗賱 丕賱賲乇賷丿 賮賷 丨賷乇賴 賵丕賱賲 賵丨爻乇賴 賲鬲賵丕氐賱賴 賮賱丕 賷毓乇賮 丕賳 賰丕賳 賲賵噩賵丿丕 丕賲 賱丕 丕賴賵 賲毓 丕賱禺賱賯 丕賲 禺丕乇噩賴賲 丕賴賵 丨賯 丕賲 亘丕胤賱 賮賴賵 賵丕丿賷 賵毓乇 賵賰丕賳賴 胤乇亘賯 賲賳丨丿乇 亘賷賳 噩亘賱賷賳 . 賵賵丕丿賷 丕賱賮賳丕亍 賴賵 丕禺乇 丕賱賲胤丕賮 賵賴賵 睾乇囟 丕賱賲乇賷丿 賵賴賵 丕賱賮賳丕亍 賮賷 丕賱賱賴 賵丕賱賮賳丕亍 毓賳 丕賱賮賳丕亍 賴賵 丕賱亘賯丕亍 亘毓丿 丕賱賮賳丕亍 賵賱賰賳 丨匕丕乇 丨匕丕乇 賲賳 丕賱賳爻賷丕賳 賵賲賳 丕賱禺胤丕賷丕 賵丕賱匕賳賵亘
賮丕賱胤乇賷賯 丕賱賷 丕賱賱賴 賲鬲毓丿丿 亘毓丿丿 丕賳賮爻 丕賱禺賱丕卅賯
孬賲 賳乇賷 丕賳 孬賱丕孬賷賳 胤丕卅乇 賮賯胤 賴賲丕 賲賳 丕爻鬲胤丕毓賵丕 丕賱賵氐賵賱 丕賱賷 丕 賱爻賷賲乇噩 賵丕賱賲孬賵賱 丕賲丕賲 丨囟乇鬲賴 賵丕賱賮賳丕亍 賲毓賴
賵賳乇賷 丕賱賰孬賷乇 賲賳 丕賱丨賰丕賷丕鬲 亘賷賳 丕賱賮氐賵賱 賱賱鬲丕賰賷丿 毓賱賷 賮賰乇賴 丕賱毓胤丕乇 賵賴賷 丨賰丕賷丕鬲 毓馗賷賲賴 丕賱丕孬乇 賵丕賴賲賴丕 賵丕賱鬲賷 丕禺匕鬲 噩丕賳亘 賰亘賷乇 賲賳 丕賱賲丐賱賮 賵賰匕賱賰 賮賷 賲賯丿賲賴 丕賱賲鬲乇噩賲 賵賴賷 丨賰丕賷賴 丕賱卮賷禺 氐賳毓丕賳 丕賱鬲賷 鬲丨賰賷 毓賳 賵毓賵乇賴 丕賱毓卮賯 賵氐毓賵亘丕鬲賴
賵賱賰賳賷 丕乇賷 丕賳 丕賱丨賰丕賷丕鬲 丕賱鬲賷 鬲賱鬲 賵丕丿賷 丕賱丨賷乇賴 賴賷 丕賰孬乇 噩賲丕賱丕 賵囟賷丕毓丕 賵丿賴卮賴
賵賰匕賱賰 賳乇賷 賰乇賴 丕賱毓胤丕乇 賱賱賮賱爻賮賴 賮賷賯賵賱 賵賰丕賮 丕賱賰賮乇 賴賳丕 賱丕賮囟賱 賰孬賷乇丕 賲賳 賮丕亍 丕賱賮賱爻賮賴 . 賵賳乇賷 賰乇賴 丕賱毓胤丕乇 賱賱賮賱爻賮賴 賴賵 賲丕 鬲丐丿賷 丕賱賷賴 賲賳 胤乇賯 賲爻丿賵丿賴 賵胤乇賯 噩丕賲丿賴 毓賰爻 丕賱鬲氐賵賮 賵丕賱噩丕賳亘 丕賱乇賵丨丕賳賷 丕賱匕賷 賷丨鬲賵賷 毓賱賷 丕賱賳賮丨丕鬲 賵丕賱鬲噩賱賷丕鬲 賵丕賱丕丨賵丕賱 賮丕賱鬲氐賵賮 賷噩毓賱 丕賱丕賳爻丕賳 賲丨賱賯 賮賵賯 丕賱禺賱丕賮丕鬲 賵賮賵賯 丕賱鬲毓氐亘 賵丕賱胤乇賯 丕賱囟賷賯賴
賵賰匕賱賰 賳乇賷 賮賷 賲賯丿賲賴 丕賱賰鬲亘 賱賱賲鬲乇噩賲 丕賳 丕賱毓胤丕乇 賰丕賳 囟丿 賵丨丿賴 丕賱賵噩賵丿 賵丕賳 賰丕賳 賲毓 賵丨丿賴 丕賱卮賴賵丿 賵賱賰賳 賳乇賷 賮賷 丕賱賲賳馗賵賲賴 賰賷賮賷賴 丕賱丕鬲丨丕丿 賲毓 丕賱爻賷賲乇噩 賵丕賳 丕賱胤賷賵乇 丕丿乇賰鬲 丕賳賴丕 賴賷 丕賱爻賷賲乇噩 賲賲丕 賷賵丿賷 亘丕賱丕毓鬲賯丕丿 亘賵丨丿賴 丕賱賵噩賵丿 丕賱鬲賷 賷乇賮囟賴丕 丕賱毓胤丕乇 賵賴賳丕 賷噩亘 丕賱鬲賮乇賯賴 亘賷賳 丕賱毓胤丕乇 丕賱卮丕毓乇 賵亘賷賳 丕賮賰丕乇賴 丕賱毓賯丕卅丿賷賴 賮賴賵 卮丕毓乇 ( 賵丕禺丿鬲賴 丕賱噩賱丕賱賴 ) 賮鬲睾賱亘 毓賱賷賴 卮毓乇賴 賵賵噩丿賴. 賵賴賳丕 丕丨賷賱 丕賱賯丕乇卅 丕賱賷 賰鬲丕亘 賱丕丨賲丿 亘賴噩鬲 賵賴賵 亘丨丕乇 丕賱丨亘 毓賳丿 丕賱氐賵賮賷賴 賵賷乇賷 丕賳賳丕 賷噩亘 丕賳 賳賳馗乇 賱丕卮毓丕乇 丕賱賲鬲氐賵賮賴 亘丕毓鬲亘丕乇賴 賮賳丕 賱丕 丿賷賳 賮丕卮毓丕乇 丕賱丨賱丕噩 賵賲丨賷 丕賱丿賷賳 丕賱毓乇亘賷 賵丕賱毓胤丕乇 賵睾賷乇賴賲 賰丕賳鬲 賮賳丕 鬲毓亘賷乇 毓賳 丨丕賱賴 丕賱賵噩丿 賵丕賱毓卮賯 賵丕賱卮丕毓乇 丿丕卅賲丕 賲丕 賷賰賵賳 賲卮鬲鬲 丕賱賮賰乇 賱丕 賷毓乇賮 賱賳賮爻賴 丨丿賵丿
賮禺賱丕氐賴 丕賱賰鬲丕亘 ( 丕賱亘賴乇丕賷夭 ) 賴賷 氐乇丕毓 丕賱丕賳爻丕賳 賲賳 丕噩賱 丕賱賵氐賵賱 丕賱賷 丕賱賱賴 亘丕賱丕鬲丨丕丿 賲毓賴 賮賷 賵丨丿賴 卮賴賵丿賷賴
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_ 賷丕 禺丕賱賯賷 賱賯丿 賵賯毓鬲 賮賷 丕賱丨賷乇賴 賵丕賱丕囟胤乇丕亘 丕賲丕 丕賳鬲 賮馗賱賱鬲 賮賷 爻鬲乇賰 禺賱賮 丕賱賳賯丕亘 賮賱鬲乇賮毓 丕賱賳賯丕亘 賵賱丕 鬲丨乇賯 乇賵丨賷 賵賱丕 鬲毓匕亘賳賷 丕賰孬乇 賲賲丕 丕賳丕 賮賷賴 賮賯丿 睾乇賯鬲 賮噩丕賴 賮賷 丕賲賵丕噩 亘丨乇賰 賮賱鬲賳賯匕賳賷 賲賳 賰賱 賴匕丕 丕賱丕囟胤乇丕亘賵鬲賱賰 丕賱丨賷乇賴 賮賰賲 亘賯賷鬲 賵爻胤 賱噩賴 亘丨乇 丕賱賮賱賰 賵賱賰賳賳賷 馗賱賱鬲 禺丕乇噩 鬲賱賰 丕賱丨噩亘 賮賲賳 賴匕丕 丕賱亘丨乇 丕賱賲鬲賱丕胤賲 丕賳賯匕賳賷 賱賯丿 丕賱賯賷鬲賳賷 賮賷賴 .賮賲賳賴 禺賱氐賳賷. 賱賯丿 爻賷胤乇鬲 賳賮爻賷 毓賱賷 賰賱賷 賮丕賳 賱賲 鬲丕禺匕 亘賷丿賷 賮丕賱賵賷賱 賱賷 賰賲丕 賱賵孬 丕賱毓亘孬 乇賵丨賷 賵賱賲 鬲毓丿 賱賷 胤丕賯賴 賱鬲丨賲賱 毓亘孬 賮丕賲丕 丕賳 鬲禺賱氐賳賷 賲賳 賴匕丕 丕賱賮爻丕丿 賵丕賱丕 賮賱鬲賳賴 丨賷丕鬲賷 賵賱鬲賵丕乇賳賷 丕賱鬲乇丕亘 丕賱禺賱賯 賷禺卮賵賳賰 賵丕賳丕 丕禺卮賷 賳賮爻賷 賮賲丕 乇丕賷鬲 賲賳賰 丕賱丕 賰賱 禺賷乇 賵賲丕 乇丕賷鬲 賲賳 賳賮爻賷 丕賱丕 賰賱 卮乇
賰鬲丕亘 賲賳胤賯 丕賱胤賷乇 賰鬲丕亘 賲鬲毓賲賯 賮賷 丕賱噩丕賳亘 丕賱乇賵丨丕賳賷 亘丿乇噩賴 賲賲鬲丕夭
亘丿丕賷賴 賮丕賳 賲鬲乇噩賲 丕賱賰鬲丕亘 賵賲丨賯賯賴 丕賱丿賰賳賵乇 亘丿賷毓 賲丨賲丿 噩賲毓賴 賰鬲亘 賲賯丿賲賴 丿爻賲賴 亘丿賷毓賴 丕賮丕囟 賮賷賴丕 亘丕賱賰孬賷乇 毓賳 丨賷丕賴 丕賱賲丐賱賮 賮乇賷丿 丕賱丿賷賳 丕賱毓胤丕乇 賵丨賷丕鬲賴 賵賲匕賴亘賴 亘丕賱丕囟丕賮賴 丕賱賷 鬲毓賱賷賯賴 毓賱賷 丕賱賲賳馗賵賲賴 賵睾賷乇賴丕 賲賳 氐賳賵賮 丕賱卮毓乇 丕賱賲孬賳賵賷 丕賱賮丕乇爻賷 賵丕賱鬲氐賵賮 賵睾賷乇賴 賰賲丕 丕囟丕賮 賮賷 鬲丨賯賷賯賴 毓賳 賰賱 丕賱卮禺氐賷丕鬲 丕賱賲匕賰賵乇賴 賮賷 丕賱賰鬲丕亘 賵睾賷乇 匕賱賰 賲賳 賲鬲卮丕亘賴丕鬲 丕賵 乇賲賵夭 賯丿 鬲賯賮 毓孬乇賴 丕賲丕賲 丕賱賯丕乇卅
賵賱賲 賷鬲乇賰 賱睾賷乇賴 丕賱賰孬賷乇 毓賳 丕賱賰賱丕賲 毓賳 丕賱賲賳馗賲賴 賮賳毓賲 丕賱賲鬲乇噩賲 賵丕賱賲丨賯賯
丕賵賱丕 丨賷丕賴 丕賱賲丐賱賮 賮乇賷丿 丕賱丿賷賳 丕賱毓胤丕乇 丕賱賳賷爻丕亘賵乇賷 :賱賲 賷氐賱 丕賱賲鬲乇噩賲 丕賱亘丿賷毓 毓賳 丕賳亘丕亍 賲丨賯賯賴 毓賳 賴賳 丨賷丕鬲賴 賵賲賷賱丕丿賴 賵賵賮丕鬲賴 賵賱賰賳 丕賱乇丕噩丨 丕賳賴 賵賱丿 毓丕賲 545 賴噩乇賷賴 賵丕賳 賵賮丕鬲賴 賰丕賳鬲 賮賷 627
賯賷賱 丕賳 丕賱毓胤丕乇 丕賳賴 丕卮鬲睾賱 亘丕賱胤亘 賵丕賱毓胤丕乇賴 賵賰丕賳 睾賳賷丕 賲卮賴賵乇丕 賮賷 賲噩丕賱賴 賯亘賱 丕賳 賷鬲乇賰 匕賱賰 賰賱賴 賱賷鬲賮乇睾 丕賱賷 丕賱鬲氐賵賮 賵毓卮賯賴 賵胤乇賷賯賴 丕賱賷 丕賱賱賴
賵賴賴賳丕 賷匕賰乇 毓亘丿 丕賱乇丨賲賳 噩丕賲賷 賮賷 賰鬲丕亘賴 賳賮丨丕鬲 丕賱丕賳爻 賯氐賴 鬲丨賵賱 丕賱毓胤丕乇 賲賳 丕賱胤亘 賵丕賱毓胤丕乇賴 丕賱賷 丕賱鬲氐賵賮 賮賷賯賵賱 ( 匕丕鬲 賷賵賲 賰丕賳 丕賱毓胤丕乇 賮賷 丿賰丕賳 毓胤丕乇鬲賴 賮噩丕亍賴 賮賯賷乇 賵賯丕賱 賱賴 毓丿賴 賲乇丕鬲 : 丕毓胤賳賷 卮賷卅丕 賱賱賴 賮賱賲 賷丕亘賴 亘丕賱賮賯賷乇 賮賯丕賱 丕賱賮賯賷乇 : 丕賷賴丕 丕賱爻賷丿 賰賷賮 鬲賲賵鬲 責 賮賯丕賱 丕賱毓胤丕乇 :賰賲丕 爻鬲賲賵鬲 丕賳鬲. 賮賯丕賱 丕賱賮賯賷乇 : 丕賷賲賰賳賰 丕賳 鬲賲賵鬲 賲孬賱賷 責 賮賯丕賱 丕賱毓胤丕乇 : 賳毓賲 . 賮賵囟毓 丕賱賮賯賷乇 賯丿丨賴 鬲丨鬲 乇丕爻賴 賵賯丕賱 丕賱賱賴 賵丕爻賱賲 丕賱乇賵丨 賮鬲睾賷乇 丨丕賱 丕賱毓胤丕乇 賵鬲禺賱氐 賲賳 賲鬲噩乇賴 鬲賵丕 賵噩丕亍 丕賱賷 賴匕丕 丕賱胤乇賷賯 ) 賵賴賳丕 賳乇賷 賰賷賮賷賴 鬲丨賵賱 丕賱毓胤丕乇 賵丕賳 賰賳鬲 丕乇賷 丕賳 丕賱賯氐賴 賴賴賳丕 鬲毓鬲亘乇 丕爻胤賵乇賴 禺丕氐賴 丕賳賴丕 賰鬲亘鬲 亘毓丿 賵賮丕鬲賴 賱丕囟丕賮賴 丕賱賰孬賷乇 賲賳 丕賱賳賮丨丕鬲 賵丕賱賰乇丕賲丕鬲 賱賱毓胤丕乇 賮賷 毓氐乇 亘丿丕鬲 丕賱氐賵賮賷賴 鬲鬲丨賵賱 丕賱賷 丿乇賵卮賴
賵賰匕賱賰 賯氐賴 賵賮丕鬲賴 毓賳丿 賴噩賵賲 丕賱鬲鬲丕乇 賵賲丕 鬲丨賲賱賴 賲賳 丿乇賵卮賴 賵丕丨賷賱 丕賱賯丕乇卅 丕賱賷賴丕 賮賷 賲賯丿賲賴 丕賱賰鬲丕亘 賵賲賱禺氐賴丕 丕賳賴 亘毓丿 丕賳 囟乇亘鬲 毓賳賯賴 丕賱賮 (賰鬲丕亘 丕賱賲賯胤賵毓 丕賱乇丕爻)
賵賯丿 賰丕賳 丕賱毓胤丕乇 賲毓鬲夭 亘賳賮爻賴 丕賷賲丕 丕毓鬲夭丕夭 賮賷賯賵賱 丕賳賴 賱賲 賷賱噩兀 賷賵賲丕 丕賱賷 賯氐乇 賵賱賲 賷賰賳 匕賱賷賱丕 賱賰賱 丨賯賷乇 賵賱賲 賷胤毓賲 賲賳 禺亘夭 馗丕賱賲 賲胤賱賯丕 賵賱賲 賷禺鬲賲 賰鬲丕亘賴 賱賴 亘匕賰乇 丕丨丿賴賲
賵賯丿 賯丕賱 丕賱毓胤丕乇 毓賳 賳賮爻賴 賵賰鬲亘賴
_賵賳馗賲賷 賷鬲爻賲 亘禺丕氐賷賴 毓噩賷亘賴 賮賴賵 賷賵賱丿 賲毓賳賷 噩丿賷丿丕 賮賷 賰賱 丕賵賳賴
_ 夭丨鬲賷 賷賵賲 丕賱賯賷丕賲賴 賱賳 賷賰鬲亘 卮禺氐 賯胤 賰賱丕賲丕 賲孬賱賷 丕賳丕 丕賱賵賱賴丕賳 ( 孬賯賴 鬲氐賱 賱丨丿 丕賱睾乇賵乇)
孬丕賳賷丕 丕賱賲賳馗賵賲賴
賱賲 鬲賰賳 丕賱賮賰乇賴 亘噩丿賷丿賴 毓賳丿賲丕 氐丕睾賴丕 丕賱毓胤丕乇 賮賯丿 爻亘賯賴 丕賱卮賷禺 丕賱乇卅賷爻 _丨亘賷亘賷_丕亘賳 爻賷賳丕 賮賷 乇爻丕賱賴 丕賱胤賷乇 賵丕賳 賰丕賳鬲 乇爻丕賱賴 亘賳 爻賷賳丕 賮賱爻賮賷賴 賲乇賴賯賴賴 賵賲賳馗賵賲賴 丕賱毓胤丕乇 氐賵賮賷賴 賲卮乇賯賴
賵賰匕賱賰 鬲丕孬乇賴 亘丕賱睾夭丕賱賷 賮賷 賯氐鬲賴 毓賳 丕賱胤賷乇 賵丕賳 賱賲 賷賰賳 鬲丕孬乇賴 賴賳丕 亘丕賱賮賰乇賴 賮賮胤 賵賱賰賳 鬲丕孬乇 亘丕賱毓丿賷丿 賲賳 丕賮賰丕乇 丕賱睾夭丕賱賷
丕賲丕 乇爻丕賱賴 丕賱睾賮乇丕賳 賮賯丿 丨丕賵賱 丕賱賰孬賷乇賷賳 丕孬亘丕鬲 鬲丕孬乇 丕賱毓胤丕乇 亘賴丕 賱賰賳 丕賱丨賯賷賯賴 (賲毓乇賮卮) 鬲丕孬乇 亘賴丕 賵賱丕 賱丕
賵賷噩亘 丕賱鬲賳賵賷賴 丕賱賷 鬲賳賴 賵賱賵 賰丕賳 丕賱毓胤丕乇 賯丿 丕禺匕 賮賰乇鬲賴 賲賳 賲賳 爻亘賯賴 丕賱丕 丕賳賴 丕亘丿毓 賵丕囟丕賮 賵噩丿丿
鬲亘丿丕 丕賱賲賳馗賵賲賴 亘丕賱賲賯丿賲賴 丕賱鬲賷 賷丨丕賵賱 賮賷賴丕 丕賱毓胤丕乇 丕毓胤丕亍 賰賱 禺賱賷賮賴 丨賯賴 賲賳 丕亘賵 亘賰乇 丕賱賷 毓賲乇 賵毓孬賲丕賳 賵毓賱賷 賵賳亘匕 丕賱鬲毓氐亘 賮賷賯賵賱 : 賷丕 賲賳 賵賯毓鬲 丕爻賷乇 丕賱鬲毓氐亘 賵馗賱賱鬲 丕亘丿丕 丕爻賷乇 丕賱亘睾囟 賵丕賱丨亘 丕匕丕 賰賳鬲 鬲賮丕禺乇 亘丕賱毓賯賱 賵丕賱賱亘 賮賰賷賮 鬲賳胤賯 亘毓毓丿 匕賱賰 亘丕賱鬲毓氐亘
賵賴賳丕 賷鬲噩乇丿 丕賱毓胤丕乇 毓賳 丕賱賲賳丕夭毓丕鬲 賵丕賱鬲毓氐亘 賵睾賷乇賴 賲賳 丕爻丕賱賷亘 丕賱亘睾囟 賵丕賱賮乇賯賴 賵賴匕丕 賴丿賮 丕賱鬲氐賵賮 丕賱匕匕賷 賳乇丕賴 賯丿 鬲噩賱賷 賱丿賷 丕賱毓胤丕乇 丕賱匕賷 賰丕賳 睾乇囟賴 賮賷 丕賱賳賴丕賷賴 丕賱鬲賱賯賷 賵丕賱賵氐賵賱 丕賱賷 丨丿 丕賱賮賳丕亍 賮賷 丕賱賱賴賵賲賳 孬賲 丕賱亘賯丕亍 亘毓丿 丕賱賮賳丕亍 ( 賵賴匕丕 賰賲丕 丕乇賷 睾乇囟 賰鬲丕亘 丕賱毓胤丕乇 )
賵鬲亘丿丕 丕賱賲賳馗賵賲賴 亘噩賲毓 賱賱胤賷賵乇 賷鬲賵噩賴賵賳 賮賷賴 丕賱賷 丕賱賴 賵丕丨丿 賱賱毓亘丕丿賴 ( 賵賴賳丕 丕賳胤賯 丕賱毓胤丕乇 丕賱胤賷賵乇 毓賰爻 乇爻丕賱賴 丕賱睾夭丕賱賷 ) 賱丕賳賴賲 賱丕 賷爻鬲胤賷毓賵丕 丕賱毓賷卮 丿賵賳 賲賱賰 賵賴賳丕 賷馗賴乇 丿賵賳 丕賱賵賱丕賷賴 賵丕賱賲乇賷丿賷賳 賮賳乇賷 賴賳丕 丕賱胤賷賵乇 賲乇賷丿賷賳 賵賱丕 亘丿 亘賴賲 賲賳 胤乇賷賯
孬賲 賷賯毓 丕賱丕禺鬲賷丕乇 毓賱賷 丕賱賴丿賴丿 賱賷賰賵賳 丕賱賲乇卮丿 賱賴賲 丕賱賷 丕賱胤乇賷賯 ( 賵賴賳丕 賳乇賷 丿賵乇 丕賱賴丿賴丿 丕賱鬲丕乇賷禺賷 賮賷 丕賱鬲乇丕孬 丕賱丕爻賱丕賲賷 賵匕賱賰 亘爻亘亘 匕賰乇賴 賮賷 丕賱賯乇丕賳 丕賱賰乇賷賲 賵賱賰賵賳賴 賰丕賳 丕賱爻亘亘 賮賷 賴丿丕賷賴 丕賴賱 爻亘丕 賵賰匕賱賰 賱賲丕 賷賲鬲賱賰賴 丕賱賴丿賴丿 賲賳 禺賵丕氐 賮賷賯賵賱 丕賱噩丕丨馗 毓賳 丕賱賴丿賴丿 : 夭毓賲賵丕 丕賳賴 賴賵 丕賱匕賷 賰丕賳 賷丿賱 爻賱賷賲丕賳 毓賱賷 賲賵丕囟毓 丕賱賲丕亍 賮賷 賯毓乇 丕賱丕乇囟 ) 賮賰丕賳 賳毓賲 丕賱丕禺鬲賷丕乇 賲賳 丕賱毓胤丕乇
賵賴賳丕 賷胤賱亘 丕賱賴丿賴丿 賲賳 丕賱胤賷賵乇 丕賱鬲賵噩賴 丕賱賷 爻賷賲乇噩 丕賱丕賱賴 丕賱賲賳卮賵丿 ( 賵爻賷賲乇噩 賴賳丕 鬲毓亘賷乇 毓賳 丕賱鬲乇丕孬 丕賱丕爻胤賵乇賷 丕賱賮丕乇爻賷 丕賱匕賷 賷氐賵乇 爻賷賲乇噩 胤丕卅乇 禺乇丕賮賷 毓卮賴 毓賱爻 卮噩乇賴 胤賷亘賴 賵丕毓鬲賯丿 丕賳賴 賷賲丕孬賱 丕賱毓賳賯丕亍 賮賷 丕賱鬲乇丕孬 丕賱毓乇亘賷 賵賴賳丕 賷賵囟丨 丕賱毓胤丕乇 丕賱氐賱賴 亘賷賳 丕賱爻賷賲乇噩 賵丕賱胤賷乇 毓賳丿賲丕 賯丕賲 丕丨丿 丕賱胤賷賵乇 亘丕賱爻丐丕賱 毓賳 丕賱氐賱賴 亘賷賳賴賲 賵亘賷賳 丕賱爻賷賲乇噩 賮丕賵囟丨 丕賱毓胤丕乇 丕賳 賱賱賴 賵噩賵丿 賮賷 禺賱賯賴 賵囟乇亘 賲孬丕賱 亘丕賱馗賱 賵丕賱卮賲爻 丕賵 丕賱亘丨乇 賵丕賱賯胤乇賴 ..賮賲丕 丕賱毓丕賱賲 丕賱賷 賯胤乇賴
孬賲 賷亘丿丕 爻乇丿 丕賱丕毓匕丕乇 賱噩賲賷毓 丕賱胤賷賵乇 丕賱匕賷賳 賷乇賷丿賵賳 丕賱鬲禺賱賷 毓賳 丕賱胤乇賷賯 丕賱賷 丕賱賱賴 賵賴賳丕 賳乇賷 丕賱丕毓匕丕乇 賴賷 賲卮賰賱丕鬲 丕賱丨賷丕賴 賲賳 卮賴賵丕鬲 賵卮乇賰 賵賰匕亘 賵賰爻賱 賵睾乇賵乇
孬賲 乇丿 丕賱賴丿賴丿 毓賱賷賴賲 賵賮賳丿 丕毓匕丕乇賴賲 賵丕賯賳毓賴賲 亘丕賱賲爻賷乇 賲毓賴 賳丨賵 丕賱爻賷賲乇噩
孬賲 丕賱丕鬲賮丕賯 毓賱賷 丕賱鬲賵噩賴 賳丨賵 丕賱爻賷賲乇噩 賵毓賯亘丕鬲 丕賱胤乇賷賯 賮丕賱胤乇賷賯 賴賳丕 賲噩丕賴丿賴 賲賱卅 亘丕賱丕禺胤丕乇
孬賲 毓乇囟 丕賱毓胤丕乇 賱賱丕賵丿賷賴 丕賱爻亘毓賴 賱賱賵氐賵賱 賵賴賷 亘丕賱鬲乇鬲賷亘 賵丕丿賷 丕賱胤賱亘 _ 丕賱毓卮賯 _ 丕賱賲毓乇賮賴
丕賱丕爻鬲睾賳丕亍 _ 丕賱鬲賵丨賷丿 _ 丕賱丨賷乇賴 _丕賱賮賳丕亍
賮賵丕丿賷 丕賱胤賱亘 賲賱卅 亘丕賱賲卮丕賯 賵丕賱丕賱賲 賵丕賱噩賴丿 賵丕賱鬲胤賴乇 . 賵賵丕丿賷 丕賱毓卮賯 賲賱卅 亘丕賱丕丨鬲乇丕賯 賵丕賱賱賴賮賴 賵鬲乇賰 丕賱毓賯賱 . 賵賵丕丿賷 丕賱賲毓乇賮賴 賷鬲胤賱亘 丕賱夭賷丕丿賴 賲賳 丕賱賲毓乇賮賴 賵丕賱丕爻乇丕乇 . 賵賵丕丿賷 丕賱丕爻鬲睾賳丕亍 賷鬲胤賱亘 丕賱鬲禺賱賷 毓賳 丕賱丿賳賷丕 賵賲丕 賮賷賴丕 . 賵賵丕丿賷 丕賱鬲賵丨賷丿 賷禺鬲賮賷 丕賱賰賱 賮賷 賵丕丨丿 . 賵賵丕丿賷 丕賱丨賷乇賴 ( 丿丕 丨賰丕賷賴 賱賵丨丿賴 ) 賷馗賱 丕賱賲乇賷丿 賮賷 丨賷乇賴 賵丕賱賲 賵丨爻乇賴 賲鬲賵丕氐賱賴 賮賱丕 賷毓乇賮 丕賳 賰丕賳 賲賵噩賵丿丕 丕賲 賱丕 丕賴賵 賲毓 丕賱禺賱賯 丕賲 禺丕乇噩賴賲 丕賴賵 丨賯 丕賲 亘丕胤賱 賮賴賵 賵丕丿賷 賵毓乇 賵賰丕賳賴 胤乇亘賯 賲賳丨丿乇 亘賷賳 噩亘賱賷賳 . 賵賵丕丿賷 丕賱賮賳丕亍 賴賵 丕禺乇 丕賱賲胤丕賮 賵賴賵 睾乇囟 丕賱賲乇賷丿 賵賴賵 丕賱賮賳丕亍 賮賷 丕賱賱賴 賵丕賱賮賳丕亍 毓賳 丕賱賮賳丕亍 賴賵 丕賱亘賯丕亍 亘毓丿 丕賱賮賳丕亍 賵賱賰賳 丨匕丕乇 丨匕丕乇 賲賳 丕賱賳爻賷丕賳 賵賲賳 丕賱禺胤丕賷丕 賵丕賱匕賳賵亘
賮丕賱胤乇賷賯 丕賱賷 丕賱賱賴 賲鬲毓丿丿 亘毓丿丿 丕賳賮爻 丕賱禺賱丕卅賯
孬賲 賳乇賷 丕賳 孬賱丕孬賷賳 胤丕卅乇 賮賯胤 賴賲丕 賲賳 丕爻鬲胤丕毓賵丕 丕賱賵氐賵賱 丕賱賷 丕 賱爻賷賲乇噩 賵丕賱賲孬賵賱 丕賲丕賲 丨囟乇鬲賴 賵丕賱賮賳丕亍 賲毓賴
賵賳乇賷 丕賱賰孬賷乇 賲賳 丕賱丨賰丕賷丕鬲 亘賷賳 丕賱賮氐賵賱 賱賱鬲丕賰賷丿 毓賱賷 賮賰乇賴 丕賱毓胤丕乇 賵賴賷 丨賰丕賷丕鬲 毓馗賷賲賴 丕賱丕孬乇 賵丕賴賲賴丕 賵丕賱鬲賷 丕禺匕鬲 噩丕賳亘 賰亘賷乇 賲賳 丕賱賲丐賱賮 賵賰匕賱賰 賮賷 賲賯丿賲賴 丕賱賲鬲乇噩賲 賵賴賷 丨賰丕賷賴 丕賱卮賷禺 氐賳毓丕賳 丕賱鬲賷 鬲丨賰賷 毓賳 賵毓賵乇賴 丕賱毓卮賯 賵氐毓賵亘丕鬲賴
賵賱賰賳賷 丕乇賷 丕賳 丕賱丨賰丕賷丕鬲 丕賱鬲賷 鬲賱鬲 賵丕丿賷 丕賱丨賷乇賴 賴賷 丕賰孬乇 噩賲丕賱丕 賵囟賷丕毓丕 賵丿賴卮賴
賵賰匕賱賰 賳乇賷 賰乇賴 丕賱毓胤丕乇 賱賱賮賱爻賮賴 賮賷賯賵賱 賵賰丕賮 丕賱賰賮乇 賴賳丕 賱丕賮囟賱 賰孬賷乇丕 賲賳 賮丕亍 丕賱賮賱爻賮賴 . 賵賳乇賷 賰乇賴 丕賱毓胤丕乇 賱賱賮賱爻賮賴 賴賵 賲丕 鬲丐丿賷 丕賱賷賴 賲賳 胤乇賯 賲爻丿賵丿賴 賵胤乇賯 噩丕賲丿賴 毓賰爻 丕賱鬲氐賵賮 賵丕賱噩丕賳亘 丕賱乇賵丨丕賳賷 丕賱匕賷 賷丨鬲賵賷 毓賱賷 丕賱賳賮丨丕鬲 賵丕賱鬲噩賱賷丕鬲 賵丕賱丕丨賵丕賱 賮丕賱鬲氐賵賮 賷噩毓賱 丕賱丕賳爻丕賳 賲丨賱賯 賮賵賯 丕賱禺賱丕賮丕鬲 賵賮賵賯 丕賱鬲毓氐亘 賵丕賱胤乇賯 丕賱囟賷賯賴
賵賰匕賱賰 賳乇賷 賮賷 賲賯丿賲賴 丕賱賰鬲亘 賱賱賲鬲乇噩賲 丕賳 丕賱毓胤丕乇 賰丕賳 囟丿 賵丨丿賴 丕賱賵噩賵丿 賵丕賳 賰丕賳 賲毓 賵丨丿賴 丕賱卮賴賵丿 賵賱賰賳 賳乇賷 賮賷 丕賱賲賳馗賵賲賴 賰賷賮賷賴 丕賱丕鬲丨丕丿 賲毓 丕賱爻賷賲乇噩 賵丕賳 丕賱胤賷賵乇 丕丿乇賰鬲 丕賳賴丕 賴賷 丕賱爻賷賲乇噩 賲賲丕 賷賵丿賷 亘丕賱丕毓鬲賯丕丿 亘賵丨丿賴 丕賱賵噩賵丿 丕賱鬲賷 賷乇賮囟賴丕 丕賱毓胤丕乇 賵賴賳丕 賷噩亘 丕賱鬲賮乇賯賴 亘賷賳 丕賱毓胤丕乇 丕賱卮丕毓乇 賵亘賷賳 丕賮賰丕乇賴 丕賱毓賯丕卅丿賷賴 賮賴賵 卮丕毓乇 ( 賵丕禺丿鬲賴 丕賱噩賱丕賱賴 ) 賮鬲睾賱亘 毓賱賷賴 卮毓乇賴 賵賵噩丿賴. 賵賴賳丕 丕丨賷賱 丕賱賯丕乇卅 丕賱賷 賰鬲丕亘 賱丕丨賲丿 亘賴噩鬲 賵賴賵 亘丨丕乇 丕賱丨亘 毓賳丿 丕賱氐賵賮賷賴 賵賷乇賷 丕賳賳丕 賷噩亘 丕賳 賳賳馗乇 賱丕卮毓丕乇 丕賱賲鬲氐賵賮賴 亘丕毓鬲亘丕乇賴 賮賳丕 賱丕 丿賷賳 賮丕卮毓丕乇 丕賱丨賱丕噩 賵賲丨賷 丕賱丿賷賳 丕賱毓乇亘賷 賵丕賱毓胤丕乇 賵睾賷乇賴賲 賰丕賳鬲 賮賳丕 鬲毓亘賷乇 毓賳 丨丕賱賴 丕賱賵噩丿 賵丕賱毓卮賯 賵丕賱卮丕毓乇 丿丕卅賲丕 賲丕 賷賰賵賳 賲卮鬲鬲 丕賱賮賰乇 賱丕 賷毓乇賮 賱賳賮爻賴 丨丿賵丿
賮禺賱丕氐賴 丕賱賰鬲丕亘 ( 丕賱亘賴乇丕賷夭 ) 賴賷 氐乇丕毓 丕賱丕賳爻丕賳 賲賳 丕噩賱 丕賱賵氐賵賱 丕賱賷 丕賱賱賴 亘丕賱丕鬲丨丕丿 賲毓賴 賮賷 賵丨丿賴 卮賴賵丿賷賴
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_ 賷丕 禺丕賱賯賷 賱賯丿 賵賯毓鬲 賮賷 丕賱丨賷乇賴 賵丕賱丕囟胤乇丕亘 丕賲丕 丕賳鬲 賮馗賱賱鬲 賮賷 爻鬲乇賰 禺賱賮 丕賱賳賯丕亘 賮賱鬲乇賮毓 丕賱賳賯丕亘 賵賱丕 鬲丨乇賯 乇賵丨賷 賵賱丕 鬲毓匕亘賳賷 丕賰孬乇 賲賲丕 丕賳丕 賮賷賴 賮賯丿 睾乇賯鬲 賮噩丕賴 賮賷 丕賲賵丕噩 亘丨乇賰 賮賱鬲賳賯匕賳賷 賲賳 賰賱 賴匕丕 丕賱丕囟胤乇丕亘賵鬲賱賰 丕賱丨賷乇賴 賮賰賲 亘賯賷鬲 賵爻胤 賱噩賴 亘丨乇 丕賱賮賱賰 賵賱賰賳賳賷 馗賱賱鬲 禺丕乇噩 鬲賱賰 丕賱丨噩亘 賮賲賳 賴匕丕 丕賱亘丨乇 丕賱賲鬲賱丕胤賲 丕賳賯匕賳賷 賱賯丿 丕賱賯賷鬲賳賷 賮賷賴 .賮賲賳賴 禺賱氐賳賷. 賱賯丿 爻賷胤乇鬲 賳賮爻賷 毓賱賷 賰賱賷 賮丕賳 賱賲 鬲丕禺匕 亘賷丿賷 賮丕賱賵賷賱 賱賷 賰賲丕 賱賵孬 丕賱毓亘孬 乇賵丨賷 賵賱賲 鬲毓丿 賱賷 胤丕賯賴 賱鬲丨賲賱 毓亘孬 賮丕賲丕 丕賳 鬲禺賱氐賳賷 賲賳 賴匕丕 丕賱賮爻丕丿 賵丕賱丕 賮賱鬲賳賴 丨賷丕鬲賷 賵賱鬲賵丕乇賳賷 丕賱鬲乇丕亘 丕賱禺賱賯 賷禺卮賵賳賰 賵丕賳丕 丕禺卮賷 賳賮爻賷 賮賲丕 乇丕賷鬲 賲賳賰 丕賱丕 賰賱 禺賷乇 賵賲丕 乇丕賷鬲 賲賳 賳賮爻賷 丕賱丕 賰賱 卮乇
December 30, 2021
Viena gra啪iausi懦 kada nors skaityt懦 knyg懦, o gal ir pati gra啪iausia! Ka啪k膮 i拧klibino viduj, vos neapsiverkiau vietomis skaitydama i拧 ka啪kokios estez臈s (ar sinestez臈s). Tas gro啪is net keliasluoksnis - ne 拧iaip sau gra啪奴s paveiksliukai, gal tai ir atima 啪ad膮.
Peteris S铆sas, autorius, perskait臈 mano irgi k膮 tik skaityt膮 Attaro "Conference of the Birds" ir vis膮 t膮 poem膮 nupai拧臈. Jis aps臈stas pauk拧膷i懦, taigi i拧met臈 per lang膮 visokius Attaro pasakojimus apie 拧eichus ir karalius, liko tik PAUK艩膶IAI. Kai dingo apskritai bet koks istorinis kontekstas, liko tik labai bendra istorija apie dvasin臋 (ir neb奴tinai religin臋) kelion臋, tokia "D啪onatano Livingstono 啪uv臈dros" versija (tik D啪onatanas Livingstonas yra labiau , o S铆so pauk拧膷iai - ). Liko net ne tiek alegoriniai, kiek poetiniai-metafori拧ki pasakojimai apie supanikavus寞 pauk拧tel寞, kuris dykumoje per r臈t寞 sijojo sm臈l寞, nes nor臈jo rast "esm臋", ir kiti. Visi - visi拧kai apvalyti, su ai拧kiom potekst臈m ir, paradoksaliai, su ma啪iau moralo, nes n臈ra to pobjaurio kuku膷io, kuris nuolat ai拧kina, kaip gyventi ir kas k膮 negerai daro. Kukutis 膷ia - vienas i拧 daugelio pauk拧膷i懦, kuri懦 kiekvienas pilnas nerimo ir baim臈s, bet ok, skrenda per visokius sl臈nius, jei jau reikia, gal bus gerai. Apskritai neb臈ra joki懦 nuorod懦 寞 koki膮 nors dvasin臋 lyderyst臋 ar "teisingesn寞" gyvenimo b奴d膮, ir tai man atrodo pats geriausias adaptacinis 啪ingsnis, kok寞 tik buvo galima 拧itai poemai padaryti.
Kas yra - pie拧iniai, kurie ir perteikia t膮 mikroistorij懦, ma啪懦 pasakojim懦 derm臋 ir tai, kaip visi tie pasakojimai susilieja. Pa啪i奴r臈kit:
,
,
,
,
,
ir toliau.
Nusipirkau "Eurekoj", rekomendavo Benas, esu be galo d臈kinga - tokia sukoncentruota knygin臈 laim臈. Visiems rekomenduoju, ir ypa膷 - gyv膮 knyg膮, t膮 popieri懦, kuris imituoja papirus膮 (nes taigi senovin臈 poema!). Ir pauk拧膷ius, kurie ne ezopi拧kai mums ai拧kina, kaip geriau daryti, o tiesiog skrenda ir skrenda t膮 savo kelion臋 knygoj. Ypa膷 dabar, kai kur tik i拧eini, visur toks pauk拧膷i懦 ermyderis!
Peteris S铆sas, autorius, perskait臈 mano irgi k膮 tik skaityt膮 Attaro "Conference of the Birds" ir vis膮 t膮 poem膮 nupai拧臈. Jis aps臈stas pauk拧膷i懦, taigi i拧met臈 per lang膮 visokius Attaro pasakojimus apie 拧eichus ir karalius, liko tik PAUK艩膶IAI. Kai dingo apskritai bet koks istorinis kontekstas, liko tik labai bendra istorija apie dvasin臋 (ir neb奴tinai religin臋) kelion臋, tokia "D啪onatano Livingstono 啪uv臈dros" versija (tik D啪onatanas Livingstonas yra labiau , o S铆so pauk拧膷iai - ). Liko net ne tiek alegoriniai, kiek poetiniai-metafori拧ki pasakojimai apie supanikavus寞 pauk拧tel寞, kuris dykumoje per r臈t寞 sijojo sm臈l寞, nes nor臈jo rast "esm臋", ir kiti. Visi - visi拧kai apvalyti, su ai拧kiom potekst臈m ir, paradoksaliai, su ma啪iau moralo, nes n臈ra to pobjaurio kuku膷io, kuris nuolat ai拧kina, kaip gyventi ir kas k膮 negerai daro. Kukutis 膷ia - vienas i拧 daugelio pauk拧膷i懦, kuri懦 kiekvienas pilnas nerimo ir baim臈s, bet ok, skrenda per visokius sl臈nius, jei jau reikia, gal bus gerai. Apskritai neb臈ra joki懦 nuorod懦 寞 koki膮 nors dvasin臋 lyderyst臋 ar "teisingesn寞" gyvenimo b奴d膮, ir tai man atrodo pats geriausias adaptacinis 啪ingsnis, kok寞 tik buvo galima 拧itai poemai padaryti.
Kas yra - pie拧iniai, kurie ir perteikia t膮 mikroistorij懦, ma啪懦 pasakojim懦 derm臋 ir tai, kaip visi tie pasakojimai susilieja. Pa啪i奴r臈kit:
,
,
,
,
,
ir toliau.
Nusipirkau "Eurekoj", rekomendavo Benas, esu be galo d臈kinga - tokia sukoncentruota knygin臈 laim臈. Visiems rekomenduoju, ir ypa膷 - gyv膮 knyg膮, t膮 popieri懦, kuris imituoja papirus膮 (nes taigi senovin臈 poema!). Ir pauk拧膷ius, kurie ne ezopi拧kai mums ai拧kina, kaip geriau daryti, o tiesiog skrenda ir skrenda t膮 savo kelion臋 knygoj. Ypa膷 dabar, kai kur tik i拧eini, visur toks pauk拧膷i懦 ermyderis!
April 1, 2019
Amazing, mystical, philosophical, & anti-philosophical all wrapped into beautifully translated couplets.
Dick Davis stayed as true to the original format as possible. This edition includes the previously untranslated Prologue & Epilogue. The "Note on Translation" says the original Persian poem has rhyming couplets with a similar meter as the English "Heroic Couplet" of twenty syllables. The flow of Davis' translation lets the story sing, his rhyme scheme is never clunky and actually enhances the pairing of the couplets.
From the Prologue:
"Your soul will be the talisman then bidden
To be the body bearing what is hidden."
(Lines 139-158)
The story itself is essentially an allegory of birds being compared to human nature. They go on a quest to find the Simorgh; a mystical King to become their leader. It's actually a potpourri of many little parables, problems told in story snippets that are replied with scenes of wisdom. Overall, it's told from both a very macro & micro point of view.
There are many references to the earliest books of the Koran/Torah/Bible. I'd recommend this great book to folks of all 3 faiths because there is some solid common ground for everyone. I'd also recommend it for people who enjoy philosophy about universal concepts or folks who enjoy a good story about bygone days.
It's my first real experience with Persian poetry & certainly will not be my last.
Here's a little quote video I made for this amazing book (spoiler free & the best parts are left out of course)
My finished review on my blog:
Conference of the Birds: Allegory for Humanity
Dick Davis stayed as true to the original format as possible. This edition includes the previously untranslated Prologue & Epilogue. The "Note on Translation" says the original Persian poem has rhyming couplets with a similar meter as the English "Heroic Couplet" of twenty syllables. The flow of Davis' translation lets the story sing, his rhyme scheme is never clunky and actually enhances the pairing of the couplets.
From the Prologue:
"Your soul will be the talisman then bidden
To be the body bearing what is hidden."
(Lines 139-158)
The story itself is essentially an allegory of birds being compared to human nature. They go on a quest to find the Simorgh; a mystical King to become their leader. It's actually a potpourri of many little parables, problems told in story snippets that are replied with scenes of wisdom. Overall, it's told from both a very macro & micro point of view.
There are many references to the earliest books of the Koran/Torah/Bible. I'd recommend this great book to folks of all 3 faiths because there is some solid common ground for everyone. I'd also recommend it for people who enjoy philosophy about universal concepts or folks who enjoy a good story about bygone days.
It's my first real experience with Persian poetry & certainly will not be my last.
Here's a little quote video I made for this amazing book (spoiler free & the best parts are left out of course)
My finished review on my blog:
Conference of the Birds: Allegory for Humanity
November 29, 2013
袘懈褋械褉懈! 袙 褌邪蟹懈 泻薪懈谐邪 懈屑邪 写褍屑懈, 芯斜褉邪蟹懈 懈 懈写械懈, 泻芯懈褌芯 褋邪 褋泻褗锌芯褑械薪薪懈 懈 泻褉芯褌泻芯 斜谢褟褋泻邪胁懈 泻邪褌芯 斜懈褋械褉懈, 芯褌泻褉懈褌懈 褋谢褍褔邪泄薪芯 懈 锌邪蟹械薪懈 蟹邪胁懈薪邪谐懈. 袪邪蟹泻芯褕薪邪 械.
August 27, 2023
小褌邪褉邪 锌械褉褋懈泄褋泻邪 谢械谐械薪写邪 芯褌 蟹谢邪褌薪邪褌邪 械锌芯褏邪 薪邪 锌械褉褋懈泄褋泻邪褌邪 锌芯械蟹懈褟 (锌褉械写懈 屑芯薪谐芯谢懈褌械 写邪 褟 褋褗褋懈锌褟褌 褔邪泻 写芯 写薪械褋, 褍薪懈褖芯卸邪胁邪泄泻懈 芯褋薪芯胁懈褌械 薪邪 薪械泄薪懈褟 锌褉芯褋胁械褌械薪 褋胁褟褌) 械 褋懈薪褌械蟹懈褉邪薪邪 胁 泻褉邪褌褗泻 屑芯写械褉械薪 锌褉芯褔懈褌 锌褉械蟹 泻邪褉褌懈薪懈 芯褌 屑邪薪写邪谢懈, 泻褉褗谐芯胁械, 谢邪斜懈褉懈薪褌懈, 泻谢械褌泻懈 锌芯写 屑懈泻褉芯褋泻芯锌, 袣芯褋屑芯褋, 褑胁械褌芯胁械, 锌褌懈褔懈 邪斜褋褌褉邪泻褑懈懈 懈 锌褌懈褔懈 锌芯褉褌褉械褌懈.
袠薪褌械褉械褋薪懈 懈谢褞褋褌褉邪褑懈懈, 锌芯写泻邪薪褟褖懈 泻褗屑 褋褗蟹械褉褑邪褌械谢械薪 褉邪蟹屑懈褋褗谢 懈谢懈 锌褉芯褋褌芯 泻褗屑 褋褗蟹械褉褑邪薪懈械, 褋 褍屑械谢芯 胁锌谢械褌械薪 褌械泻褋褌. 小懈屑胁芯谢懈泻邪 薪邪 褑胁械褌芯胁械褌械 懈 褋屑褟薪邪 薪邪 锌械褉褋锌械泻褌懈胁懈褌械. 效褍写械褋薪芯 懈蟹写邪薪懈械-斜懈卸褍 薪邪 袞邪薪械褌-45.
袗写褋泻懈 斜懈褏 褋械 褉邪写胁邪谢邪 写邪 懈蟹写邪写邪褌 懈 锌褗谢薪邪褌邪 锌械褉褋懈泄褋泻邪 胁械褉褋懈褟! 袠薪褌械褉锌褉械褌邪褑懈褟褌邪 薪邪 小懈褋 械 褋邪屑芯 薪械卸薪芯 胁褗胁械写械薪懈械 懈 芯斜芯褋褌褉褟 邪锌械褌懈褌邪 蟹邪 芯褉懈谐懈薪邪谢邪.
***
馃 鈥溞斝拘恍感叫把傂� 薪邪 蟹薪邪薪懈锟斤拷褌芯 - 褌褍泻 胁褋懈褔泻懈 褋懈 懈蟹斜懈褉邪屑械 褉邪蟹谢懈褔械薪 锌褗褌 懈 褉邪蟹谢懈褔薪懈 锌褉邪胁懈谢邪, 薪邪 泻芯懈褌芯 写邪 薪械 褋械 锌芯写褔懈薪褟胁邪屑械.鈥�
袠薪褌械褉械褋薪懈 懈谢褞褋褌褉邪褑懈懈, 锌芯写泻邪薪褟褖懈 泻褗屑 褋褗蟹械褉褑邪褌械谢械薪 褉邪蟹屑懈褋褗谢 懈谢懈 锌褉芯褋褌芯 泻褗屑 褋褗蟹械褉褑邪薪懈械, 褋 褍屑械谢芯 胁锌谢械褌械薪 褌械泻褋褌. 小懈屑胁芯谢懈泻邪 薪邪 褑胁械褌芯胁械褌械 懈 褋屑褟薪邪 薪邪 锌械褉褋锌械泻褌懈胁懈褌械. 效褍写械褋薪芯 懈蟹写邪薪懈械-斜懈卸褍 薪邪 袞邪薪械褌-45.
袗写褋泻懈 斜懈褏 褋械 褉邪写胁邪谢邪 写邪 懈蟹写邪写邪褌 懈 锌褗谢薪邪褌邪 锌械褉褋懈泄褋泻邪 胁械褉褋懈褟! 袠薪褌械褉锌褉械褌邪褑懈褟褌邪 薪邪 小懈褋 械 褋邪屑芯 薪械卸薪芯 胁褗胁械写械薪懈械 懈 芯斜芯褋褌褉褟 邪锌械褌懈褌邪 蟹邪 芯褉懈谐懈薪邪谢邪.
***
馃 鈥溞斝拘恍感叫把傂� 薪邪 蟹薪邪薪懈锟斤拷褌芯 - 褌褍泻 胁褋懈褔泻懈 褋懈 懈蟹斜懈褉邪屑械 褉邪蟹谢懈褔械薪 锌褗褌 懈 褉邪蟹谢懈褔薪懈 锌褉邪胁懈谢邪, 薪邪 泻芯懈褌芯 写邪 薪械 褋械 锌芯写褔懈薪褟胁邪屑械.鈥�
January 27, 2023
鈥楳antiq-al-Tayr鈥� or The Conference of the Birds - The foundational epic twelfth century Sufi poem - has immense doctrinal as well as literary value. The best way to read it is aloud, alone, at night, savoring every syllable and syntax, and absorbing every inflection and nuance. For this is after all a work of passion and an output of devotion. Not only has this outstanding work of spiritual introspection and sublime allegorical poetry influenced mystical thought in the centuries that followed but indeed it has left a lasting imprint as an allegory, due to its underlying quest and message and in terms of its symbolism on multiple cultures and literatures. This translation works quite well and while using this I intend to read the Persian original which because of what Urdu owes to it, become resonant and intelligible to fluent Urdu speakers and readers.
I must confess that I have always had trouble reading longer verse but The Conference of the Birds flows lyrically and is a wonderful exception. The initial part where the hoopoe is persuading the various birds to join in the pursuit for the mythical Simorgh in order to achieve true happiness is particularly delightful. The birds depict various facets and archetypes of human character and personality; this makes their doubts and reservations and their various ruses to evade the perilous journey appear so familiar and relatable. However, the hoopoe adroitly takes apart these excuses and explains that the ultimate truth and pursuit of the same is what really matters; that everything else is transient and ephemeral. The examples from Islamic beliefs, history and lore are frequent:
'Khezr sought companionship with one whose mind
Was set on God alone. The man declined
And said to Khezr: "We two could not be friends,
For our existences have different ends.
The waters of immortal life are yours,
And you must always live; life is your cause
And death is mine - you wish to live, whilst I
Impatiently prepare myself to die;
I leave you as quick birds avoid a snare,
To soar up in the free, untrammeled air."
Allegorically explaining and elaborating upon sufism, its pursuit, its trials and tribulations, its various stages and their toll, and of course its ultimate rapture, the great mystical poem abounds in parables, tales, sayings, and episodes from the lives of famous Islamic mystics and sufis. It is, therefore, also a veritable Who is Who of illustrious spiritual figures who have followed the same path and Attar's additional works on their lives and quests reflect here as well. I read this pencil in hand as time and again the profundity and beauty of the lines captured me. A major preoccupation of course is the spiritual quest itself which is akin to all-consuming love, and arduous, often painful and rather esoteric in nature:
鈥淵ou could not know
The hidden ways by which we lovers go;鈥�
And also:
"Love thrives on inextinguishable pain,
Which tears the soul, then knits the threads again."
Attar is often passionate so that he breaks free of the confines of doctrine, dogma and ritual and exhorts for one to follow the message from the heart. It is unsurprising that there were objections to and consequences of some of his more irreverent lines:
"Begin the journey without fear; be calm;
Forget what is and what is not Islam"
Another theme that emerges frequently is that of the importance of divine grace without which it is not possible to find the right course:
"The man on whom that quickening glance alights
Is raised to heaven's unsuspected heights;
Indeed this glance discovers you;
Your life's a mystery without a clue"
And then there is the all-important need for a spiritual guide:
"You need a skillful guide; you cannot start
This ocean voyage with blindness in your heart."
There are those whose pride will always be an impediment in their way and others who while seemingly mired in sin will be fortunate to be rescued; hence finding the right path and success appears not just an outcome of endeavor but also mercy.
"A sinner died, and, as his coffin passed,
A man who practiced every prayer and fast
Turned ostentatiously aside - how could
He pray for one of whom he knew no good?
He saw the sinner in his dreams that night,
His face transfigured with celestial light.
'How did you enter heaven's gate," he said,
"A sinner stained with faith from foot to head?"
"God saw your merciless, disdainful pride,
And spited my poor soul," the man replied.
Self-love brings one to a dead-end and overcoming the self is what allows one to transcend all obstacles:
"My study is to reach Truth's inmost shrine -
And I am not my Self's ass, he is mine;
Now since the beast I ride on rides on you.
That I am your better is quite plainly true.
You love the Self- it's lit in you a fire
Of nagging lust, insatiable desire,"
Equally corrosive and harmful is greed and love for worldly goods. The famous female saint Rabia of Basra is quoted to say:
"...I fear the harm
That follows from the clink of coin on coin,
The sleepless nights when sums of money join."
Like all great sufic literature Attar sublime poem also drives home the ephemeral nature of human existence and its insignificance given the grand scheme of things:
"As you are reared to live, so from your birth
You're also reared to one day leave this earth.
Which sunset fills with blood from pole to pole -
The sun seems then an executioner,
Beheading thousands with his scimitar.
If you are profligate, if you are pure,
You are but water mixed with dirt, no more -
A drop of trembling instability,
And can a drop resist the surging sea?
Though in the world you are a king, you must
In sorrow and despair return to dust."
More on the same theme - no matter how mighty, they all come to nothingness:
"King Solomon, whose seal subdued all lands,
I dust compounded with the desert sands,
And tyrants whose decrees spelled bloody dooms
Decay to nothing the narrow tomb:"
The hoopoe's persistent exhortation to all the birds is to not be bound by cold reason but to seek out the truth through love:
"Give up the intellect for love and see
In one brief moment all eternity"
The lovingly referred to Simorgh who lives far away is steeped in mystique:
"We have a King; beyond Kaf's mountain peak
The Simorgh lives, the sovereign whom you seek
And He is always near to us, though we
Live far from his transcendent majesty
A hundred thousand veils of dark and light
Withdrew his presence from our mortal sight
And in both worlds no being shares the throne
That marks the Simorgh's power and His alone -
He reigns in undisturbed omnipotence
Bathed in the light of His magnificence
No mind, no intellect can penetrate
The mystery of His unending state:"
The invitation is to explore an insight and a state of knowledge and existence that far exceeds the life and experience that the birds are reconciled to:
"The Truth we seek is like a shoreless sea,
Of which your paradise is but a drop.
This ocean can be yours; why should you stop
Beguiled by dreams of evanescent dew?
The secret of the sun are yours, but you
Content yourselves with motes trapped in its beams"
The poem abounds in beautiful lines employing wonderful metaphors that draw a contrast between worldly existence and a much more elevated consciousness:
"The unseen world and that which we can see
Are like a water-drop which instantly
Is and is not. A water-drop was formed
When time began, and on its surface swarmed
The world's appearances. If they were made
Of all-resting iron they would fade;
Hard iron is mere water, after all -
Dispersing like a dream, impalpable."
In an honest quest, in self-abnegation, in passionate contemplation, and in modesty lies the escape and the remedy:
"How many years I wandered far and wide
Until I found the fortress that you seek -
It is the knee, bend it, accept, be meek;
I found no other way - this remedy,
And only this, will cure your misery."
But once more, the right guidance is essential:
"Whoever will be guided finds relief
From Fate's adversity, from inward grief;
One hour of guidance benefits you more
Than all your mortal life, however pure."
And indeed honest and steadfast intent:
"The heart that does not strive can never gain
The endless kingdom's gates and lives in vain;"
And once the heart is maddened by ecstasy the one in love finds himself moving beyond the world of ordinary perceptions:
"As Egypt's noble maids swooned to see
Dear Joseph's radiant face, so ecstasy
Is mirrored in the sufi's maddened heart -
Then he has lost himself and moves apart
From all that we perceive - the world grows dim
As all the world resolves to follow him."
Attar cautions that those in love or in spiritual ecstasy endure much in their journey and hence ought to be left alone, unmolested and unjudged. The drawing of parallels between true love for a person and love of God (Ishq-e-Majazi and Ishq-e-Haqeeqi) is common in eastern spiritual poetry in Persian, Urdu and other regional languages and contributes greatly to choice of common metaphors.
"Don't meddle with their conduct, don't reprove
Those given up to madness and to love.
You would excuse them - nothing is more sure -
If you could share the darkness they endure."
It is the 'I' that has to be suppressed if one is to transcend to a higher plane of consciousness and spirituality and draw closer to the divine:
" If you put all your trust in "I" and "Me"
You've chosen both worlds as your enemy -
But if you kill the Self, the darkest night
Will be illuminated with your light.
If you would flee from evil and its pain
Swear never to repeat this "I" again!"
Those who find fault with others are neglectful of their own state, which is what really ought to be what they should be focusing on. Also, one so sanctimonious and critical is incapable of loving. And if you cannot love fellow-humans how can you have the capacity to love the divine:
"He saw the other's state but not his own,
And in his blindness he is not alone;
You cannot love, and this is why you seek
To find men vicious, or depraved, or weak -
If you could search for love and persevere
The sins of other men would disappear."
Attar's poem also offers philosophical questions about the very meaning of existence as well as the impermanence of everything:
"Where are the earth, the mountains and the sea?
Where are the angels and humanity?
Where are the bodies buried underground?
Where are their minds so subtle and profound?
Where is the pain of death? Where is the soul?
Where are the sundered parts? Where is the whole?
Sift through the universe, and it will seem
An airy maze, an insubstantial dream."
The moth and the flame are ancient metaphors for the lover and the beloved as well as for the all-consuming and annihilating nature of love; for the quest on part of the true lover to become one with the beloved even if it means that he loses his own identity and existence. Attar carries on the tradition in his own glorious way:
"Another moth flew out - his dizzy flight
Turned to an ardent wooing of the light;
He dipped and soared, and in his frenzied trance
Both Self and fire were mingled by his dance -
The flame engulfed his wing-tips, body, head;
His being glowed a fierce translucent red;
And when the mentor saw that sudden blaze,
The moth's form lost within the glowing rays,
He said: "He knows, he knows the truth we seek,
The hidden truth of which we cannot speak."
Quite apart from the quality of the verse the various parables, sayings, moral stories and shorter allegories are painstakingly weaved together and display great harmony. Amongst others we find mention of great sufis, mystics, philosophers, scholars and ascetics such as Bayazid Bastami, Mansoor Al-Hallaj, Ibrahim Ibn Adham, Ayaz Ibn Aymaq, Ahmad Ibn Hanbal, Junaid Baghdadi, Abul Qasim Nasrabadi, Abu al-Husain al-Nouri, Rabia Al-Basri, Abu Ali Roudbar, Abu Bakr Al-Shibli, Abu Abdullah Tirmazi, Abu Ali Tousi, Abu-Bakr Al-Wasiti, Yousef of Hamadan, Abul Faiz Zulnoon, and others, thus showing how The Conference of the Birds is an important link in an older spiritual tradition and one that then inspired the guided the likes of Rumi.
The beautiful hoopoe (In Urdu Hud Hud 蹃丿購蹃丿購購) is of course a bird of mystical significance. A messenger of Prophet Solomon, the hoopoe is central to the poem as it acts as the motivator, guide & leader of the birds, who set off in pursuit of the celestial Simorgh. The way is arduous and the great Simorgh dwells far away beyond the mythical Mountain of Qaf and harsh and forbidding landscapes comprising of seven valleys - the Valleys of Quest, Love, Insight into Mystery, Detachment and Serenity, Unity, Awe, and finally, Poverty and Nothingness. The ultimate insight of what we seek actually existing within ourselves; of the Divine being present everywhere including us; and the answers to our questions lying in what we choose and who we become and want to be and how honestly and passionately we strive for them; are the essential and central insights of Sufism that also characterize this classic poem. The Simorgh here symbolizing not just the mythical and ethereal bird but also literally meaning thirty birds (which is the paltry number which exhausted and spent finally manages to complete the arduous journey from amongst the thousands that set off but failed). Time and again the perilousness nature of the spiritual pursuit is highlighted and the necessity of self-abnegation and bidding farewell to bonds and aspirations material and worldly. As Attar says:
"Your heart is not a mirror bright and clear
If there the Simorgh's form does not appear;
No one can bear His beauty face to face,
And for this reason, of His perfect grace,
He makes a mirror in our hearts - look there
To see Him, search your hearts with anxious care."
I must confess that I have always had trouble reading longer verse but The Conference of the Birds flows lyrically and is a wonderful exception. The initial part where the hoopoe is persuading the various birds to join in the pursuit for the mythical Simorgh in order to achieve true happiness is particularly delightful. The birds depict various facets and archetypes of human character and personality; this makes their doubts and reservations and their various ruses to evade the perilous journey appear so familiar and relatable. However, the hoopoe adroitly takes apart these excuses and explains that the ultimate truth and pursuit of the same is what really matters; that everything else is transient and ephemeral. The examples from Islamic beliefs, history and lore are frequent:
'Khezr sought companionship with one whose mind
Was set on God alone. The man declined
And said to Khezr: "We two could not be friends,
For our existences have different ends.
The waters of immortal life are yours,
And you must always live; life is your cause
And death is mine - you wish to live, whilst I
Impatiently prepare myself to die;
I leave you as quick birds avoid a snare,
To soar up in the free, untrammeled air."
Allegorically explaining and elaborating upon sufism, its pursuit, its trials and tribulations, its various stages and their toll, and of course its ultimate rapture, the great mystical poem abounds in parables, tales, sayings, and episodes from the lives of famous Islamic mystics and sufis. It is, therefore, also a veritable Who is Who of illustrious spiritual figures who have followed the same path and Attar's additional works on their lives and quests reflect here as well. I read this pencil in hand as time and again the profundity and beauty of the lines captured me. A major preoccupation of course is the spiritual quest itself which is akin to all-consuming love, and arduous, often painful and rather esoteric in nature:
鈥淵ou could not know
The hidden ways by which we lovers go;鈥�
And also:
"Love thrives on inextinguishable pain,
Which tears the soul, then knits the threads again."
Attar is often passionate so that he breaks free of the confines of doctrine, dogma and ritual and exhorts for one to follow the message from the heart. It is unsurprising that there were objections to and consequences of some of his more irreverent lines:
"Begin the journey without fear; be calm;
Forget what is and what is not Islam"
Another theme that emerges frequently is that of the importance of divine grace without which it is not possible to find the right course:
"The man on whom that quickening glance alights
Is raised to heaven's unsuspected heights;
Indeed this glance discovers you;
Your life's a mystery without a clue"
And then there is the all-important need for a spiritual guide:
"You need a skillful guide; you cannot start
This ocean voyage with blindness in your heart."
There are those whose pride will always be an impediment in their way and others who while seemingly mired in sin will be fortunate to be rescued; hence finding the right path and success appears not just an outcome of endeavor but also mercy.
"A sinner died, and, as his coffin passed,
A man who practiced every prayer and fast
Turned ostentatiously aside - how could
He pray for one of whom he knew no good?
He saw the sinner in his dreams that night,
His face transfigured with celestial light.
'How did you enter heaven's gate," he said,
"A sinner stained with faith from foot to head?"
"God saw your merciless, disdainful pride,
And spited my poor soul," the man replied.
Self-love brings one to a dead-end and overcoming the self is what allows one to transcend all obstacles:
"My study is to reach Truth's inmost shrine -
And I am not my Self's ass, he is mine;
Now since the beast I ride on rides on you.
That I am your better is quite plainly true.
You love the Self- it's lit in you a fire
Of nagging lust, insatiable desire,"
Equally corrosive and harmful is greed and love for worldly goods. The famous female saint Rabia of Basra is quoted to say:
"...I fear the harm
That follows from the clink of coin on coin,
The sleepless nights when sums of money join."
Like all great sufic literature Attar sublime poem also drives home the ephemeral nature of human existence and its insignificance given the grand scheme of things:
"As you are reared to live, so from your birth
You're also reared to one day leave this earth.
Which sunset fills with blood from pole to pole -
The sun seems then an executioner,
Beheading thousands with his scimitar.
If you are profligate, if you are pure,
You are but water mixed with dirt, no more -
A drop of trembling instability,
And can a drop resist the surging sea?
Though in the world you are a king, you must
In sorrow and despair return to dust."
More on the same theme - no matter how mighty, they all come to nothingness:
"King Solomon, whose seal subdued all lands,
I dust compounded with the desert sands,
And tyrants whose decrees spelled bloody dooms
Decay to nothing the narrow tomb:"
The hoopoe's persistent exhortation to all the birds is to not be bound by cold reason but to seek out the truth through love:
"Give up the intellect for love and see
In one brief moment all eternity"
The lovingly referred to Simorgh who lives far away is steeped in mystique:
"We have a King; beyond Kaf's mountain peak
The Simorgh lives, the sovereign whom you seek
And He is always near to us, though we
Live far from his transcendent majesty
A hundred thousand veils of dark and light
Withdrew his presence from our mortal sight
And in both worlds no being shares the throne
That marks the Simorgh's power and His alone -
He reigns in undisturbed omnipotence
Bathed in the light of His magnificence
No mind, no intellect can penetrate
The mystery of His unending state:"
The invitation is to explore an insight and a state of knowledge and existence that far exceeds the life and experience that the birds are reconciled to:
"The Truth we seek is like a shoreless sea,
Of which your paradise is but a drop.
This ocean can be yours; why should you stop
Beguiled by dreams of evanescent dew?
The secret of the sun are yours, but you
Content yourselves with motes trapped in its beams"
The poem abounds in beautiful lines employing wonderful metaphors that draw a contrast between worldly existence and a much more elevated consciousness:
"The unseen world and that which we can see
Are like a water-drop which instantly
Is and is not. A water-drop was formed
When time began, and on its surface swarmed
The world's appearances. If they were made
Of all-resting iron they would fade;
Hard iron is mere water, after all -
Dispersing like a dream, impalpable."
In an honest quest, in self-abnegation, in passionate contemplation, and in modesty lies the escape and the remedy:
"How many years I wandered far and wide
Until I found the fortress that you seek -
It is the knee, bend it, accept, be meek;
I found no other way - this remedy,
And only this, will cure your misery."
But once more, the right guidance is essential:
"Whoever will be guided finds relief
From Fate's adversity, from inward grief;
One hour of guidance benefits you more
Than all your mortal life, however pure."
And indeed honest and steadfast intent:
"The heart that does not strive can never gain
The endless kingdom's gates and lives in vain;"
And once the heart is maddened by ecstasy the one in love finds himself moving beyond the world of ordinary perceptions:
"As Egypt's noble maids swooned to see
Dear Joseph's radiant face, so ecstasy
Is mirrored in the sufi's maddened heart -
Then he has lost himself and moves apart
From all that we perceive - the world grows dim
As all the world resolves to follow him."
Attar cautions that those in love or in spiritual ecstasy endure much in their journey and hence ought to be left alone, unmolested and unjudged. The drawing of parallels between true love for a person and love of God (Ishq-e-Majazi and Ishq-e-Haqeeqi) is common in eastern spiritual poetry in Persian, Urdu and other regional languages and contributes greatly to choice of common metaphors.
"Don't meddle with their conduct, don't reprove
Those given up to madness and to love.
You would excuse them - nothing is more sure -
If you could share the darkness they endure."
It is the 'I' that has to be suppressed if one is to transcend to a higher plane of consciousness and spirituality and draw closer to the divine:
" If you put all your trust in "I" and "Me"
You've chosen both worlds as your enemy -
But if you kill the Self, the darkest night
Will be illuminated with your light.
If you would flee from evil and its pain
Swear never to repeat this "I" again!"
Those who find fault with others are neglectful of their own state, which is what really ought to be what they should be focusing on. Also, one so sanctimonious and critical is incapable of loving. And if you cannot love fellow-humans how can you have the capacity to love the divine:
"He saw the other's state but not his own,
And in his blindness he is not alone;
You cannot love, and this is why you seek
To find men vicious, or depraved, or weak -
If you could search for love and persevere
The sins of other men would disappear."
Attar's poem also offers philosophical questions about the very meaning of existence as well as the impermanence of everything:
"Where are the earth, the mountains and the sea?
Where are the angels and humanity?
Where are the bodies buried underground?
Where are their minds so subtle and profound?
Where is the pain of death? Where is the soul?
Where are the sundered parts? Where is the whole?
Sift through the universe, and it will seem
An airy maze, an insubstantial dream."
The moth and the flame are ancient metaphors for the lover and the beloved as well as for the all-consuming and annihilating nature of love; for the quest on part of the true lover to become one with the beloved even if it means that he loses his own identity and existence. Attar carries on the tradition in his own glorious way:
"Another moth flew out - his dizzy flight
Turned to an ardent wooing of the light;
He dipped and soared, and in his frenzied trance
Both Self and fire were mingled by his dance -
The flame engulfed his wing-tips, body, head;
His being glowed a fierce translucent red;
And when the mentor saw that sudden blaze,
The moth's form lost within the glowing rays,
He said: "He knows, he knows the truth we seek,
The hidden truth of which we cannot speak."
Quite apart from the quality of the verse the various parables, sayings, moral stories and shorter allegories are painstakingly weaved together and display great harmony. Amongst others we find mention of great sufis, mystics, philosophers, scholars and ascetics such as Bayazid Bastami, Mansoor Al-Hallaj, Ibrahim Ibn Adham, Ayaz Ibn Aymaq, Ahmad Ibn Hanbal, Junaid Baghdadi, Abul Qasim Nasrabadi, Abu al-Husain al-Nouri, Rabia Al-Basri, Abu Ali Roudbar, Abu Bakr Al-Shibli, Abu Abdullah Tirmazi, Abu Ali Tousi, Abu-Bakr Al-Wasiti, Yousef of Hamadan, Abul Faiz Zulnoon, and others, thus showing how The Conference of the Birds is an important link in an older spiritual tradition and one that then inspired the guided the likes of Rumi.
The beautiful hoopoe (In Urdu Hud Hud 蹃丿購蹃丿購購) is of course a bird of mystical significance. A messenger of Prophet Solomon, the hoopoe is central to the poem as it acts as the motivator, guide & leader of the birds, who set off in pursuit of the celestial Simorgh. The way is arduous and the great Simorgh dwells far away beyond the mythical Mountain of Qaf and harsh and forbidding landscapes comprising of seven valleys - the Valleys of Quest, Love, Insight into Mystery, Detachment and Serenity, Unity, Awe, and finally, Poverty and Nothingness. The ultimate insight of what we seek actually existing within ourselves; of the Divine being present everywhere including us; and the answers to our questions lying in what we choose and who we become and want to be and how honestly and passionately we strive for them; are the essential and central insights of Sufism that also characterize this classic poem. The Simorgh here symbolizing not just the mythical and ethereal bird but also literally meaning thirty birds (which is the paltry number which exhausted and spent finally manages to complete the arduous journey from amongst the thousands that set off but failed). Time and again the perilousness nature of the spiritual pursuit is highlighted and the necessity of self-abnegation and bidding farewell to bonds and aspirations material and worldly. As Attar says:
"Your heart is not a mirror bright and clear
If there the Simorgh's form does not appear;
No one can bear His beauty face to face,
And for this reason, of His perfect grace,
He makes a mirror in our hearts - look there
To see Him, search your hearts with anxious care."
August 29, 2022
丕蹖賳 讴賴 亘夭乇诏丕賳 丕丿亘蹖丕鬲 賲丕 賴賲诏蹖 亘賴 丌蹖丕鬲 賵 乇賵丕蹖丕鬲 丿蹖賳蹖 賴賲 賲爻賱胤 亘賵丿賳 賵 賴賲蹖賳 胤賵乇 鬲賮丕賵鬲 丿丕賳爻鬲賴 賴丕蹖 夭賲丕賳 賯丿蹖賲 賵 丨丕賱 賵 賴賲趩賳蹖賳 夭蹖亘丕蹖蹖 賴丕 賵 賮賳賵賳 卮丕毓乇丕賳賴 丕蹖噩丕亘 賲蹖 讴賳賴 趩賳蹖賳 讴鬲丕亘 賴丕蹖蹖 乇賵 亘丕 卮乇丨 賵 鬲賮爻蹖乇卮賵賳 亘禺賵賳蹖賲.
丕诏乇趩賴 賴乇 噩丕蹖蹖 讴賴 亘乇丕賲 賳丕丌卮賳丕 亘賵丿 亘賴 丿賳亘丕賱 賲賯氐賵丿 卮丕毓乇 诏卮鬲賲 賵賱蹖 丕诏乇 丨賵氐賱賴 蹖 讴丕賮蹖 丿丕卮鬲賲 亘賴鬲乇 亘賵丿 卮乇丨卮 乇賵 賴賲 賲蹖 禺賵賳丿賲.
..
禺蹖賱蹖 丕夭 丨讴丕蹖鬲 賴丕蹖蹖 乇賵 讴賴 丿乇 爻丕賱 賴丕蹖 讴賵丿讴蹖 賵 丕賵丕蹖賱 賳賵噩賵賵賳蹖 卮賳蹖丿賴 亘賵丿賲 賵 丨鬲蹖 蹖丕丿賲 賳賲賵賳丿賴 亘賵丿 丕夭 趩賴 讴鬲丕亘蹖 賴爻鬲賳 丕蹖賳噩丕 倬蹖丿丕 讴乇丿賲.
January 12, 2012
If I ever had a reason to ban ereaders for all of eternity, it would be this book. Peter Sis' adaptation of Farid ud-Din Attar's epic, 4500 plus line poem, The Conference of Birds, uses some of the most gorgeous images I've ever had the privilege to behold. The images some in simple hues, others in sumptuous colors, leap off the page and tell the story more than the words.
I was not familiar with the poem before this, and what little of it I have experienced by reading this adaptation, makes me want to read the entire poem. It tells the story of a hoopoe bird that gathers all of his kin from around the world in a quest to find their true king, Simorgh. All the birds from around the globe meet together and the hoopoe convince them to take part in the journey. Many of them fall away through despair of cowardice along the way, many of them die, and only a few of them make it to the mountain of Kar where Simorgh is said to reside.
Along the way the birds must travel through seven valleys that test their emotional, intellectual, and spiritual levels. The Valleys of Quest, Love, Understanding, Detachment, Unity, Amazement, and Death all have their own perils but it's only through making that journey that the remaining birds are prepared to accept the final outcome. Simorgh, the true king, has already been found. He resides in each one of the birds, it's their better, noble nature that they discover, but only through a journey of self discovery first.
The few poetic words that Peter Sis uses in this book are really just their to accent the richness of the illustrations. It's in the tea stained pages, or the labyrinths in each of the valleys that really tell the story. The book is full of symbols and other visual storytelling techniques that keep the eye on the beauty of it all as each page is turned. The tactile nature of the pages, the texture and thickness of it just helped the process along.
This will be a book that stays around my house for a very long time to come. It's one that is truly a honor to own and one that I can't wait to share with others.
I was not familiar with the poem before this, and what little of it I have experienced by reading this adaptation, makes me want to read the entire poem. It tells the story of a hoopoe bird that gathers all of his kin from around the world in a quest to find their true king, Simorgh. All the birds from around the globe meet together and the hoopoe convince them to take part in the journey. Many of them fall away through despair of cowardice along the way, many of them die, and only a few of them make it to the mountain of Kar where Simorgh is said to reside.
Along the way the birds must travel through seven valleys that test their emotional, intellectual, and spiritual levels. The Valleys of Quest, Love, Understanding, Detachment, Unity, Amazement, and Death all have their own perils but it's only through making that journey that the remaining birds are prepared to accept the final outcome. Simorgh, the true king, has already been found. He resides in each one of the birds, it's their better, noble nature that they discover, but only through a journey of self discovery first.
The few poetic words that Peter Sis uses in this book are really just their to accent the richness of the illustrations. It's in the tea stained pages, or the labyrinths in each of the valleys that really tell the story. The book is full of symbols and other visual storytelling techniques that keep the eye on the beauty of it all as each page is turned. The tactile nature of the pages, the texture and thickness of it just helped the process along.
This will be a book that stays around my house for a very long time to come. It's one that is truly a honor to own and one that I can't wait to share with others.
May 13, 2023
The Conference f Birds is an allegory of a spiritual journey written by XIIth century Persian poet Farid Din Attar. He is not the household name when it comes to Sufism and Islamic mysticism, yet his work is such a complete representation of the peculiarities of Sufi writings, with a striking and powerful imagery, elaborated paradoxes, and excellently thought-provoking similes.
The spiritual journey being itself a mystery which cannot be clearly related, it is only through this allegory that the poet tries to convey what cannot be analytically described. Most of times he is only making signs, never fully giving an answer, since any answer have to be realized and understood by the seeker himself, no one can stand for him in walking this journey, which for the majority, seems quit an obscure and absurd endeavor.
Perhaps one of the first questions that comes to mind, is the motivation of those who intend to embark on a spiritual journey and turn their backs on the world. For most of us this seems quite distant and unlikely. After all we spend most of our lives striving after worldly belongings, status and success, and conformity to social expectations. The spiritual path is for those who have seen the futility of these attempts, who realized the fickleness of the world, the despair that comes up from seeking praise and avoiding blame, the wasting of efforts in trying to get this only to want otherwise in the next moment. The quest is in a sort a way out of all this turmoil of life that we are born to. In walking the path of detachment, one can find a refuge, and maybe the stillness of peace.
It is a calling for seekers to leave worldly concerns behind, it is described by Attar in the form of a longing, the imagery of a longing lover is abundant throughout the poem. This intense attraction that pushes one away from all other distractions, and absorbs all his efforts to direct them towards one goal. It also strips every thing else from value, so that the object of love remains the sole matter of concern.
Yet not all experience this intense longing nor do they hold on to it until the end of the journey. Distractions are real and do have a powerful hold on the will of seekers. They come in the form of excuses, like cowardice, fear and laziness, but also ignorance of the real value of things. Our attachment to what we believe a real source of happiness, and our fear of losing it and inability to gave it up for this unknown goal that is the fulfillment of spiritual life, stops prematurely all attempts. In Attar鈥檚 Poem, greed for acquiring possessions, attachment to what is fickle and changing, to the sense of selfhood and the pride found in it, are all obstacles to even the conceptual understanding of the spiritual path, let along embarking on it.
In the spirit of Islam which upholds the absolute oneness of God, this is portrayed by Sufis as a form of Idolatry. It is indeed the most sophisticated and intimate idolatry that exists. Because next to God, one places another object of worship, glorifying it without being aware of the extend of his delusion. Although the objects of delusion are diverse, and the analytic mind roams around endlessly to justify this or that, the core of the delusion remains one and only, and that is the notion of the Self.
The Self occupies a pivotal role in Attar鈥檚 poem, it is that which pulls us away from the path, the master who enslaves us and drives us to despair. It is the source of greed and pride, of forgetfulness and neglect. The spiritual quest from beginning to the end is about the abandoning of the symptoms of this slavery but also the total annihilation of the source of the disease. God鈥檚 chosen ones, through the power of his calling, the intensity of their longing, are pulled away from the idolatry of the Self towards coming back to the original Oneness with God.
Even if one is fortuned enough to see beyond these illusions, there are still many dangers that lay ahead. The path is plagued with difficulties such as doubt, weakness and many abundant distractions. Even if one leaves behind greed and pride in worldly affair, more intimate and subtler forms of these defilements arise within himself, like greed in the reward in the next life, and conceit arising because of spiritual achievement. The aim of the spiritual life is the total abandoning of even the slightest traces of the Self, the letting go of all this whirlpool of greed and conceit, and the realization of the purity of Nothingness, the dwelling in God鈥檚 glory and in the Peace of his Bliss.
At the climax of the journey, Attar tries to convey the bewilderment of the seekers as they discover the Truth hidden for so long from there sight. To their great astonishment, the birds discover that what they were seeking once belonged to them, it was a part of them, but because of ignorance, ingratitude and pride they sold it, they sold it for what was way below its true value. Attar elaborates magnificent similes to describe the foolishness of the one who gives away the priceless for a cheap price, and therefore condemns himself to an existence of misery by his own hands. It is by this realization that the seeker comes back to God, retrieves what he has lost, becomes complete and not lacking anything in the Nothingness of the Annihilation in God. His painful separation from God was a sin that he committed with his own hand, but through God鈥檚 Grace and Mercy this fatal error was pardoned.
In his epilogue, Attar acknowledges the difficulty of this endeavor of describing something which is realized in silence and not by word. But he seems to be confident in the power of his poetry, and hopes that it will provide other seekers with signs which will help them on their path. But beyond our efforts to see our existence with insight, and Attar鈥檚 help to point the way, there remains only God鈥檚 Grace to hope for, He is the Ultimate Guide and the Ultimate Savor able to pull us from our ignorance. It is through His Mercy that we can hope to advance on this path, for as weak and deluded as we are, we have nothing to offer Him in return.
The spiritual journey being itself a mystery which cannot be clearly related, it is only through this allegory that the poet tries to convey what cannot be analytically described. Most of times he is only making signs, never fully giving an answer, since any answer have to be realized and understood by the seeker himself, no one can stand for him in walking this journey, which for the majority, seems quit an obscure and absurd endeavor.
Perhaps one of the first questions that comes to mind, is the motivation of those who intend to embark on a spiritual journey and turn their backs on the world. For most of us this seems quite distant and unlikely. After all we spend most of our lives striving after worldly belongings, status and success, and conformity to social expectations. The spiritual path is for those who have seen the futility of these attempts, who realized the fickleness of the world, the despair that comes up from seeking praise and avoiding blame, the wasting of efforts in trying to get this only to want otherwise in the next moment. The quest is in a sort a way out of all this turmoil of life that we are born to. In walking the path of detachment, one can find a refuge, and maybe the stillness of peace.
It is a calling for seekers to leave worldly concerns behind, it is described by Attar in the form of a longing, the imagery of a longing lover is abundant throughout the poem. This intense attraction that pushes one away from all other distractions, and absorbs all his efforts to direct them towards one goal. It also strips every thing else from value, so that the object of love remains the sole matter of concern.
Yet not all experience this intense longing nor do they hold on to it until the end of the journey. Distractions are real and do have a powerful hold on the will of seekers. They come in the form of excuses, like cowardice, fear and laziness, but also ignorance of the real value of things. Our attachment to what we believe a real source of happiness, and our fear of losing it and inability to gave it up for this unknown goal that is the fulfillment of spiritual life, stops prematurely all attempts. In Attar鈥檚 Poem, greed for acquiring possessions, attachment to what is fickle and changing, to the sense of selfhood and the pride found in it, are all obstacles to even the conceptual understanding of the spiritual path, let along embarking on it.
In the spirit of Islam which upholds the absolute oneness of God, this is portrayed by Sufis as a form of Idolatry. It is indeed the most sophisticated and intimate idolatry that exists. Because next to God, one places another object of worship, glorifying it without being aware of the extend of his delusion. Although the objects of delusion are diverse, and the analytic mind roams around endlessly to justify this or that, the core of the delusion remains one and only, and that is the notion of the Self.
The Self occupies a pivotal role in Attar鈥檚 poem, it is that which pulls us away from the path, the master who enslaves us and drives us to despair. It is the source of greed and pride, of forgetfulness and neglect. The spiritual quest from beginning to the end is about the abandoning of the symptoms of this slavery but also the total annihilation of the source of the disease. God鈥檚 chosen ones, through the power of his calling, the intensity of their longing, are pulled away from the idolatry of the Self towards coming back to the original Oneness with God.
Even if one is fortuned enough to see beyond these illusions, there are still many dangers that lay ahead. The path is plagued with difficulties such as doubt, weakness and many abundant distractions. Even if one leaves behind greed and pride in worldly affair, more intimate and subtler forms of these defilements arise within himself, like greed in the reward in the next life, and conceit arising because of spiritual achievement. The aim of the spiritual life is the total abandoning of even the slightest traces of the Self, the letting go of all this whirlpool of greed and conceit, and the realization of the purity of Nothingness, the dwelling in God鈥檚 glory and in the Peace of his Bliss.
At the climax of the journey, Attar tries to convey the bewilderment of the seekers as they discover the Truth hidden for so long from there sight. To their great astonishment, the birds discover that what they were seeking once belonged to them, it was a part of them, but because of ignorance, ingratitude and pride they sold it, they sold it for what was way below its true value. Attar elaborates magnificent similes to describe the foolishness of the one who gives away the priceless for a cheap price, and therefore condemns himself to an existence of misery by his own hands. It is by this realization that the seeker comes back to God, retrieves what he has lost, becomes complete and not lacking anything in the Nothingness of the Annihilation in God. His painful separation from God was a sin that he committed with his own hand, but through God鈥檚 Grace and Mercy this fatal error was pardoned.
In his epilogue, Attar acknowledges the difficulty of this endeavor of describing something which is realized in silence and not by word. But he seems to be confident in the power of his poetry, and hopes that it will provide other seekers with signs which will help them on their path. But beyond our efforts to see our existence with insight, and Attar鈥檚 help to point the way, there remains only God鈥檚 Grace to hope for, He is the Ultimate Guide and the Ultimate Savor able to pull us from our ignorance. It is through His Mercy that we can hope to advance on this path, for as weak and deluded as we are, we have nothing to offer Him in return.
January 8, 2014
兀禺胤兀鬲 毓賳丿賲丕 賯乇兀鬲 賲賳胤賯 丕賱胤賷乇 賮賷 噩賱爻丞 賵丕丨丿丞 亘丨噩丞 丕賱爻賱賵賶 毓賳 丕賱賲乇囟..
賷賮鬲乇囟 兀賳 賷賯乇兀 賲賯爻賲丕 毓賱賶 賮鬲乇丞 胤賵賷賱丞...
賰賱 賷賵賲 氐賮丨丞 乇亘賲丕..
賵丕賱氐丿賯 兀賳賳賷 兀爻賯胤鬲 伲 氐賮丨丕鬲 毓賲丿丕 賵賱賳 兀賯乇兀賴丕 兀亘丿丕..
兀丨爻爻鬲 亘丕賱禺噩賱..
賰丕賳鬲 賱丿賷 兀毓匕丕乇 丕賱胤賷賵乇 丕賱賵丕賴賷丞 丕賱賯亘賷丨丞 匕丕鬲賴丕..
丕賱兀賮賰丕乇 丕賱賲賵噩賵丿丞 賴賳丕 賱賲 鬲賰賳 亘丕賱噩丿賷丿丞 毓賱賷..
賵賱匕賱賰 賮賯丿 賲賱賱鬲 賵囟賯鬲 匕乇毓丕 亘丕賱賲賯丿賲丞 賵丕賱卮乇丨..
賵囟賯鬲 匕乇毓丕 兀賰孬乇 亘賲丨丕賵賱丞 鬲氐賳賷賮賴 賲匕賴亘賷丕..
賵賱賵 兀賳 賱丿賷 鬲賰賴賳賷 丕賱氐睾賷乇 丕賱禺丕氐 賮賷 賴匕丕 丕賱賲賵囟賵毓.. :)
賱賰賳 賱賷爻 賰賱 賲丕賷禺胤乇 賮賷 丕賱亘丕賱 賷賯丕賱...
賲賳匕 兀賳 兀睾賱賯鬲 丕賱賰鬲丕亘 賵丨鬲賶 丕賱丌賳..
賷丐乇賯賳賷 氐丿賶 賱卮胤乇 亘賷鬲
"廿賳 丕賱賲丨亘 賱賲賳 兀丨亘 賲胤賷毓"
賮兀賷賳 胤丕毓鬲賷!責
賱賰賳賰 鬲毓賱賲 賷丕賱賱賴.. 兀賳賷 兀丨爻賳 賲賳 匕丕賰 丕賱胤丕卅乇 亘賯賱賷賱...
廿匕 兀賳賳賷 賱丕兀禺噩賱 賲賳 胤乇賯 亘丕亘賰 賲乇丕乇丕 賵鬲賰乇丕乇丕...
賮賲賳 賯丿 賷丨亘 氐賮賷賯丕 賳丕賰孬 丕賱賵毓丿 賲孬賱賷 睾賷乇賰!責
賵兀賳賰 鬲毓乇賮..
"賱賻卅賽賳賿 兀賻丿賿禺賻賱賿鬲賻賳賽賷 丕賱賳賾丕乇 賱丕購禺賿亘賽乇賻賳賻賾 兀賻賴賿賱賻 丕賱賳賾丕乇賽 亘賽丨購亘賽賾賷 賱賻賰賻"..
賵賰賳鬲 兀賮賰乇...
賴賱 亘丕亘賰 丨賯丕 賱丕賷購賮鬲丨 廿賱丕 賱賰賱 賵丕丨丿 賲賳 兀賱賮責!
賮兀賳賯亘囟鬲... 賵賳囟亘 丕賱丿賲 賲賳 兀胤乇丕賮賷...
廿匕丕 兀賳賰 兀賷囟丕 鬲毓乇賮 賷丕丕賱賱賴..
兀賳賳賷 兀購賯亘賱 賵丨丿賷 毓賱賶 兀賲乇 噩賱賱....
賯丿 賮乇 賲賳賴 乇噩丕賱 賰孬賷乇賵賳..
賵賱丕兀胤賱亘 爻賵賶 兀賳 鬲賰賵賳 孬丕賱孬賳丕 賷丕賱賱賴...
-丌賲賷賳.
賷賮鬲乇囟 兀賳 賷賯乇兀 賲賯爻賲丕 毓賱賶 賮鬲乇丞 胤賵賷賱丞...
賰賱 賷賵賲 氐賮丨丞 乇亘賲丕..
賵丕賱氐丿賯 兀賳賳賷 兀爻賯胤鬲 伲 氐賮丨丕鬲 毓賲丿丕 賵賱賳 兀賯乇兀賴丕 兀亘丿丕..
兀丨爻爻鬲 亘丕賱禺噩賱..
賰丕賳鬲 賱丿賷 兀毓匕丕乇 丕賱胤賷賵乇 丕賱賵丕賴賷丞 丕賱賯亘賷丨丞 匕丕鬲賴丕..
丕賱兀賮賰丕乇 丕賱賲賵噩賵丿丞 賴賳丕 賱賲 鬲賰賳 亘丕賱噩丿賷丿丞 毓賱賷..
賵賱匕賱賰 賮賯丿 賲賱賱鬲 賵囟賯鬲 匕乇毓丕 亘丕賱賲賯丿賲丞 賵丕賱卮乇丨..
賵囟賯鬲 匕乇毓丕 兀賰孬乇 亘賲丨丕賵賱丞 鬲氐賳賷賮賴 賲匕賴亘賷丕..
賵賱賵 兀賳 賱丿賷 鬲賰賴賳賷 丕賱氐睾賷乇 丕賱禺丕氐 賮賷 賴匕丕 丕賱賲賵囟賵毓.. :)
賱賰賳 賱賷爻 賰賱 賲丕賷禺胤乇 賮賷 丕賱亘丕賱 賷賯丕賱...
賲賳匕 兀賳 兀睾賱賯鬲 丕賱賰鬲丕亘 賵丨鬲賶 丕賱丌賳..
賷丐乇賯賳賷 氐丿賶 賱卮胤乇 亘賷鬲
"廿賳 丕賱賲丨亘 賱賲賳 兀丨亘 賲胤賷毓"
賮兀賷賳 胤丕毓鬲賷!責
賱賰賳賰 鬲毓賱賲 賷丕賱賱賴.. 兀賳賷 兀丨爻賳 賲賳 匕丕賰 丕賱胤丕卅乇 亘賯賱賷賱...
廿匕 兀賳賳賷 賱丕兀禺噩賱 賲賳 胤乇賯 亘丕亘賰 賲乇丕乇丕 賵鬲賰乇丕乇丕...
賮賲賳 賯丿 賷丨亘 氐賮賷賯丕 賳丕賰孬 丕賱賵毓丿 賲孬賱賷 睾賷乇賰!責
賵兀賳賰 鬲毓乇賮..
"賱賻卅賽賳賿 兀賻丿賿禺賻賱賿鬲賻賳賽賷 丕賱賳賾丕乇 賱丕購禺賿亘賽乇賻賳賻賾 兀賻賴賿賱賻 丕賱賳賾丕乇賽 亘賽丨購亘賽賾賷 賱賻賰賻"..
賵賰賳鬲 兀賮賰乇...
賴賱 亘丕亘賰 丨賯丕 賱丕賷購賮鬲丨 廿賱丕 賱賰賱 賵丕丨丿 賲賳 兀賱賮責!
賮兀賳賯亘囟鬲... 賵賳囟亘 丕賱丿賲 賲賳 兀胤乇丕賮賷...
廿匕丕 兀賳賰 兀賷囟丕 鬲毓乇賮 賷丕丕賱賱賴..
兀賳賳賷 兀購賯亘賱 賵丨丿賷 毓賱賶 兀賲乇 噩賱賱....
賯丿 賮乇 賲賳賴 乇噩丕賱 賰孬賷乇賵賳..
賵賱丕兀胤賱亘 爻賵賶 兀賳 鬲賰賵賳 孬丕賱孬賳丕 賷丕賱賱賴...
-丌賲賷賳.
February 15, 2016
賲賳胤賯 鈥屫з勜粉屫� 丕睾賱亘 讴賳丕乇 賲孬賳賵蹖 賵 丨丿蹖賯賴 丕賱丨賯蹖賯賴 賲蹖丕丿. 賴賲蹖賳讴賴 賲禺夭賳 丕賱丕爻乇丕乇 (賱毓賳鬲 丕賱賱賴 毓賱蹖賴) 丿乇蹖賳 爻賴鈥屭з嗁� 乇丕賴 倬蹖丿丕 賳讴乇丿賴 亘丕毓孬 禺賵卮丨丕賱蹖賴. 丕賲丕 亘趩卮賲 賲賳 賲賳胤賯 丕賱胤蹖乇 囟毓蹖賮鬲乇蹖賳 丕蹖賳 爻賴鈥屭з嗁� 丕爻鬲貨 趩賵賳 鬲賯乇蹖亘丕 賴蹖趩 賳讴鬲賴 禺丕氐蹖 賳丿丕乇賴 賵 亘丿卮丕賳爻蹖蹖 讴賴 丌賵乇丿賴 讴賳丕乇 丕蹖賳 丿賵 丕孬乇 丕賵賲丿賴 讴賴 卮丕毓乇丕賳卮 賵丕賯毓丕 賮蹖賵夭 毓賯賱 乇賵 爻賵夭賵賳丿賴 亘賵丿賳丿 賵 禺賱 亘賵丿賳丿. 賮讴乇 賳賲蹖讴賳賲 賲賳胤賯 丕賱胤蹖乇 亘鬲賵賳賴 讴賳丕乇 賲孬賳賵蹖 賵 丨丿蹖賯賴 噩賱賵賴鈥屫й� 亘讴賳賴.
丨丕賱 丕蹖賳讴賴 賲賳胤賯 丕賱胤蹖乇 亘賱丨丕馗 丿爻鬲賵乇蹖 丿乇爻鬲鬲乇 丕夭蹖賳 丿賵鬲丕蹖 丿蹖诏賴鈥屫池�. 鬲賵 丕蹖賳 賲賳馗賵賲賴 睾賱胤 賮丕丨卮 丿爻鬲賵乇蹖 丿蹖丿賴 賳賲蹖卮賴 賵 亘賳馗乇賲 丕賵賳 趩賳丿 鬲丕 睾賱胤 乇賵鬲蹖賳 賴賲 讴賴 丿蹖丿賴 賲蹖卮賴 丕夭 賳爻禺賴 賲蹖鬲賵賳賴 亘丕卮賴. 夭亘丕賳 爻丕賱賲 賵 亘爻蹖丕乇 毓丕丿蹖 丿丕乇賴 賵 賳賴丕蹖鬲丕 趩賳丿噩丕 讴賱賲賴丕蹖蹖 丕夭 诏賵蹖卮 讴丿讴賳蹖 鬲賵卮 賲蹖丕丿. 丿乇丨丕賱蹖讴賴 丕賵賳 丿賵 毓夭蹖夭 鬲賵 丿爻鬲賵乇 亘乇丕賴 丿蹖诏賴鈥屫й� 乇賮鬲賴鈥屬嗀� 丕賲丕 丕賵賳 賳丨賵 夭蹖亘丕 乇賵 賲乇鬲讴亘 卮丿賴鈥屬嗀�.
賴賲蹖賳胤賵乇 丕蹖賳讴賴 賲賳胤賯 丕賱胤蹖乇 亘蹖卮鬲乇 鬲賵氐蹖賮 乇丕亘胤賴 禺丿丕 賵 亘賳丿賴 賵 爻禺鬲蹖賴丕蹖 乇丕賴 乇賴乇賵爻鬲. 禺卮讴賴貙 禺蹖賱蹖 賲蹖鬲賵賳賴 丌賲賵夭卮蹖 亘丕卮賴 賵 卮丕毓乇丕賳诏蹖蹖 鬲賵卮 賳蹖爻鬲. 賵 賲鬲丕爻賮丕賳賴 噩賳亘賴 鬲毓賱蹖賲蹖鈥屫� 讴賲乇賳诏賴. 亘蹖鬲賴丕蹖 丕賲乇蹖 賵 賳賴蹖蹖 丿賳蹖丕爻賵夭 禺蹖賱蹖 讴賲 丿丕乇賴 賵 丕诏乇 丿丕乇賴 趩賳丿丕賳 賲賵孬乇 賳蹖爻鬲賳丿. 丨丿丕賯賱 卮禺氐 賲賳 丿乇 胤賵賱 讴賱 丕蹖賳 賲賳馗賵賲賴 鄞鄯郯郯 亘蹖鬲蹖 丿賵亘丕乇 禺蹖賱蹖 鬲丨鬲 鬲丕孬蹖乇 賯乇丕乇 诏乇賮鬲賲. 丿乇 蹖讴 讴賱丕賲 賲賳胤賯 丕賱胤蹖乇 爻賵夭 賳丿丕乇賴 賵 亘蹖讴 賲毓賳蹖 毓乇賮丕賳蹖 賳蹖爻鬲 亘賱讴賴 亘蹖卮鬲乇 丿乇 賲賵乇丿 毓乇賮丕賳賴貨 賲賳馗賵乇 丕蹖賳讴賴 鬲噩乇亘賴 毓乇賮丕賳蹖 乇賵 賲賳 賳賲蹖亘蹖賳賲 賵賱蹖 賲蹖亘蹖賳賲 讴賴 丕夭卮 丨乇賮 賲蹖夭賳賴.
丕蹖賳 賲賳馗賵賲賴 倬乇 丕夭 丨讴丕蹖鬲 賵 鬲賲孬蹖賱賴 丕賲丕 賮讴乇 賲蹖讴賳賲 亘噩夭 賲賵乇丿 丿丕爻鬲丕賳 卮蹖禺 氐賳毓丕賳 爻乇 賵 鬲賴 丿丕爻鬲丕賳賴丕 賴賲 丕賵賲丿賴 賵 禺蹖賱蹖 丕氐賱丕 賲胤乇丨 賳亘賵丿賴. 丿丕爻鬲丕賳賴丕 氐乇賮丕 賲孬丕賱賴丕蹖 賵爻胤 丨乇賮賳丿 賵 亘毓賳賵丕賳 丿丕爻鬲丕賳 禺丕賲 賵 賳丕倬乇丿丕禺鬲賴鈥屬嗀�.
亘丕 丕蹖賳 丕賵氐丕賮 賲賲讴賳賴 亘賳馗乇 亘蹖丕丿 讴賴 賲賳 丕夭蹖賳 賲孬賳賵蹖 賳賮乇鬲 丿丕乇賲 賵 賮讴乇 賲蹖讴賳賲 禺爻鬲賴 讴賳賳丿賴 鬲乇蹖賳 賳賵卮鬲賴 丿賳蹖丕爻鬲 丕賲丕 丕亘丿丕 丕蹖賳噩賵乇蹖 賳蹖爻鬲. 亘賳馗乇賲 丕孬乇 賲鬲賵爻胤 賵 賯丕亘賱 丕丨鬲乇丕賲蹖賴貙 丕爻鬲丕賳丿丕乇丿賴丕乇賵 丿丕乇賴 賵 丿爻鬲讴賲 亘丿 賳蹖爻鬲. 丕賲丕 丿乇 賳賴丕蹖鬲 賳禺賵丿蹖 丕賵賳 丿賵 亘夭乇诏賵丕乇賴.
丿乇 賲賵乇丿 丕蹖賳 趩丕倬:
丿爻鬲 卮賮蹖毓蹖 丿乇丿 賳讴賳賴 亘乇丕蹖 鬲氐丨蹖丨 賵 鬲丨賯蹖賯卮. 賲賯丿賲賴 噩丕賱亘蹖 賳賵卮鬲賴鈥� 賵 鬲賵囟蹖丨丕鬲蹖 讴賴 乇丕噩毓 亘丕賮乇丕丿 賵丕乇丿 卮乇丨卮 讴乇丿賴 禺蹖賱蹖 禺賵亘賴. 丕賲丕 賲賳 丕夭 卮乇丨 丕氐賱丕 丕爻鬲賮丕丿賴鈥屫й� 賳鬲賵賳爻鬲賲 亘讴賳賲. 賲孬賱 賴賲蹖卮賴 丿卮賵丕乇蹖賴丕蹖 丕氐賱蹖 賲鬲賳 賲爻讴賵鬲 賲賵賳丿賴 丕賲丕 鬲賵囟蹖丨 賵丕囟丨丕鬲蹖 讴賴 丿乇 賲賵乇丿 亘賯蹖賴 趩蹖夭賴丕 賲蹖丿賴 亘賳丿賵 丌亘 賲蹖丿賴. 賲賵丕賯毓蹖 賴賲 讴賴 丕蹖賳胤賵乇 賳蹖爻鬲 賳賲蹖丿賵賳賲 趩乇丕 丕蹖賳 賲乇丿 亘夭乇诏 丕蹖賳 丕禺賱丕賯 倬爻賳丿蹖丿賴 乇賵 賳丿丕乇賴 讴賴 亘乇丕蹖 鬲丕賲賱丕鬲卮 卮丕賴丿 賵 賯乇蹖賳賴鈥屫й� 亘蹖丕乇賴. 丕噩丕夭賴 賳賲蹖丿賴 丌丿賲 丕丨爻丕爻 讴賳賴 丿丕乇賴 讴丕乇 毓賱賲蹖 賲蹖禺賵賳賴. 禺蹖賱蹖 賵賯鬲賴丕 賵賯鬲蹖 賲毓賳蹖 趩蹖夭蹖 賲毓賱賵賲卮 賳蹖爻鬲 賲蹖賳賵蹖卮賴 馗丕賴乇丕 賮賱丕賳 丕爻鬲. 賮讴乇 賲蹖讴賳賲 丌丿賲 丕诏賴 丕賵賳 趩賴丕乇 賴噩丕蹖 賳丕夭賳蹖賳 賳賲蹖丿丕賳賲 乇賵 亘诏賴 禺蹖賱蹖 亘賴鬲乇賴 鬲丕 賲毓賳丕蹖蹖 讴賴 賲蹖卮賴 丕夭 賯乇丕蹖賳 賲鬲賳 丨丿爻 夭丿 乇賵 亘丕 馗丕賴乇丕 賵 亘丿賵賳 賴蹖趩 鬲賵囟蹖丨蹖 亘蹖丕乇賴. 亘賴乇丨丕賱 禺丿丕 丨賮馗卮 讴賳賴.
丨丕賱 丕蹖賳讴賴 賲賳胤賯 丕賱胤蹖乇 亘賱丨丕馗 丿爻鬲賵乇蹖 丿乇爻鬲鬲乇 丕夭蹖賳 丿賵鬲丕蹖 丿蹖诏賴鈥屫池�. 鬲賵 丕蹖賳 賲賳馗賵賲賴 睾賱胤 賮丕丨卮 丿爻鬲賵乇蹖 丿蹖丿賴 賳賲蹖卮賴 賵 亘賳馗乇賲 丕賵賳 趩賳丿 鬲丕 睾賱胤 乇賵鬲蹖賳 賴賲 讴賴 丿蹖丿賴 賲蹖卮賴 丕夭 賳爻禺賴 賲蹖鬲賵賳賴 亘丕卮賴. 夭亘丕賳 爻丕賱賲 賵 亘爻蹖丕乇 毓丕丿蹖 丿丕乇賴 賵 賳賴丕蹖鬲丕 趩賳丿噩丕 讴賱賲賴丕蹖蹖 丕夭 诏賵蹖卮 讴丿讴賳蹖 鬲賵卮 賲蹖丕丿. 丿乇丨丕賱蹖讴賴 丕賵賳 丿賵 毓夭蹖夭 鬲賵 丿爻鬲賵乇 亘乇丕賴 丿蹖诏賴鈥屫й� 乇賮鬲賴鈥屬嗀� 丕賲丕 丕賵賳 賳丨賵 夭蹖亘丕 乇賵 賲乇鬲讴亘 卮丿賴鈥屬嗀�.
賴賲蹖賳胤賵乇 丕蹖賳讴賴 賲賳胤賯 丕賱胤蹖乇 亘蹖卮鬲乇 鬲賵氐蹖賮 乇丕亘胤賴 禺丿丕 賵 亘賳丿賴 賵 爻禺鬲蹖賴丕蹖 乇丕賴 乇賴乇賵爻鬲. 禺卮讴賴貙 禺蹖賱蹖 賲蹖鬲賵賳賴 丌賲賵夭卮蹖 亘丕卮賴 賵 卮丕毓乇丕賳诏蹖蹖 鬲賵卮 賳蹖爻鬲. 賵 賲鬲丕爻賮丕賳賴 噩賳亘賴 鬲毓賱蹖賲蹖鈥屫� 讴賲乇賳诏賴. 亘蹖鬲賴丕蹖 丕賲乇蹖 賵 賳賴蹖蹖 丿賳蹖丕爻賵夭 禺蹖賱蹖 讴賲 丿丕乇賴 賵 丕诏乇 丿丕乇賴 趩賳丿丕賳 賲賵孬乇 賳蹖爻鬲賳丿. 丨丿丕賯賱 卮禺氐 賲賳 丿乇 胤賵賱 讴賱 丕蹖賳 賲賳馗賵賲賴 鄞鄯郯郯 亘蹖鬲蹖 丿賵亘丕乇 禺蹖賱蹖 鬲丨鬲 鬲丕孬蹖乇 賯乇丕乇 诏乇賮鬲賲. 丿乇 蹖讴 讴賱丕賲 賲賳胤賯 丕賱胤蹖乇 爻賵夭 賳丿丕乇賴 賵 亘蹖讴 賲毓賳蹖 毓乇賮丕賳蹖 賳蹖爻鬲 亘賱讴賴 亘蹖卮鬲乇 丿乇 賲賵乇丿 毓乇賮丕賳賴貨 賲賳馗賵乇 丕蹖賳讴賴 鬲噩乇亘賴 毓乇賮丕賳蹖 乇賵 賲賳 賳賲蹖亘蹖賳賲 賵賱蹖 賲蹖亘蹖賳賲 讴賴 丕夭卮 丨乇賮 賲蹖夭賳賴.
丕蹖賳 賲賳馗賵賲賴 倬乇 丕夭 丨讴丕蹖鬲 賵 鬲賲孬蹖賱賴 丕賲丕 賮讴乇 賲蹖讴賳賲 亘噩夭 賲賵乇丿 丿丕爻鬲丕賳 卮蹖禺 氐賳毓丕賳 爻乇 賵 鬲賴 丿丕爻鬲丕賳賴丕 賴賲 丕賵賲丿賴 賵 禺蹖賱蹖 丕氐賱丕 賲胤乇丨 賳亘賵丿賴. 丿丕爻鬲丕賳賴丕 氐乇賮丕 賲孬丕賱賴丕蹖 賵爻胤 丨乇賮賳丿 賵 亘毓賳賵丕賳 丿丕爻鬲丕賳 禺丕賲 賵 賳丕倬乇丿丕禺鬲賴鈥屬嗀�.
亘丕 丕蹖賳 丕賵氐丕賮 賲賲讴賳賴 亘賳馗乇 亘蹖丕丿 讴賴 賲賳 丕夭蹖賳 賲孬賳賵蹖 賳賮乇鬲 丿丕乇賲 賵 賮讴乇 賲蹖讴賳賲 禺爻鬲賴 讴賳賳丿賴 鬲乇蹖賳 賳賵卮鬲賴 丿賳蹖丕爻鬲 丕賲丕 丕亘丿丕 丕蹖賳噩賵乇蹖 賳蹖爻鬲. 亘賳馗乇賲 丕孬乇 賲鬲賵爻胤 賵 賯丕亘賱 丕丨鬲乇丕賲蹖賴貙 丕爻鬲丕賳丿丕乇丿賴丕乇賵 丿丕乇賴 賵 丿爻鬲讴賲 亘丿 賳蹖爻鬲. 丕賲丕 丿乇 賳賴丕蹖鬲 賳禺賵丿蹖 丕賵賳 丿賵 亘夭乇诏賵丕乇賴.
丿乇 賲賵乇丿 丕蹖賳 趩丕倬:
丿爻鬲 卮賮蹖毓蹖 丿乇丿 賳讴賳賴 亘乇丕蹖 鬲氐丨蹖丨 賵 鬲丨賯蹖賯卮. 賲賯丿賲賴 噩丕賱亘蹖 賳賵卮鬲賴鈥� 賵 鬲賵囟蹖丨丕鬲蹖 讴賴 乇丕噩毓 亘丕賮乇丕丿 賵丕乇丿 卮乇丨卮 讴乇丿賴 禺蹖賱蹖 禺賵亘賴. 丕賲丕 賲賳 丕夭 卮乇丨 丕氐賱丕 丕爻鬲賮丕丿賴鈥屫й� 賳鬲賵賳爻鬲賲 亘讴賳賲. 賲孬賱 賴賲蹖卮賴 丿卮賵丕乇蹖賴丕蹖 丕氐賱蹖 賲鬲賳 賲爻讴賵鬲 賲賵賳丿賴 丕賲丕 鬲賵囟蹖丨 賵丕囟丨丕鬲蹖 讴賴 丿乇 賲賵乇丿 亘賯蹖賴 趩蹖夭賴丕 賲蹖丿賴 亘賳丿賵 丌亘 賲蹖丿賴. 賲賵丕賯毓蹖 賴賲 讴賴 丕蹖賳胤賵乇 賳蹖爻鬲 賳賲蹖丿賵賳賲 趩乇丕 丕蹖賳 賲乇丿 亘夭乇诏 丕蹖賳 丕禺賱丕賯 倬爻賳丿蹖丿賴 乇賵 賳丿丕乇賴 讴賴 亘乇丕蹖 鬲丕賲賱丕鬲卮 卮丕賴丿 賵 賯乇蹖賳賴鈥屫й� 亘蹖丕乇賴. 丕噩丕夭賴 賳賲蹖丿賴 丌丿賲 丕丨爻丕爻 讴賳賴 丿丕乇賴 讴丕乇 毓賱賲蹖 賲蹖禺賵賳賴. 禺蹖賱蹖 賵賯鬲賴丕 賵賯鬲蹖 賲毓賳蹖 趩蹖夭蹖 賲毓賱賵賲卮 賳蹖爻鬲 賲蹖賳賵蹖卮賴 馗丕賴乇丕 賮賱丕賳 丕爻鬲. 賮讴乇 賲蹖讴賳賲 丌丿賲 丕诏賴 丕賵賳 趩賴丕乇 賴噩丕蹖 賳丕夭賳蹖賳 賳賲蹖丿丕賳賲 乇賵 亘诏賴 禺蹖賱蹖 亘賴鬲乇賴 鬲丕 賲毓賳丕蹖蹖 讴賴 賲蹖卮賴 丕夭 賯乇丕蹖賳 賲鬲賳 丨丿爻 夭丿 乇賵 亘丕 馗丕賴乇丕 賵 亘丿賵賳 賴蹖趩 鬲賵囟蹖丨蹖 亘蹖丕乇賴. 亘賴乇丨丕賱 禺丿丕 丨賮馗卮 讴賳賴.
August 10, 2017
ii.
Bacaan kali kedua selesai dengan mengambil manfaat daripada pengangkutan awam MRT. Patut ada ulasan yang berasingan untuk terjemahan yang dibaca kali ini kerana ada perubahan metodologi penterjemahan yang mengasingkan puisi soal jawab para unggas daripada contoh yang dibawa oleh Attar terhadap isu yang dibincangkan.
i.
Perjalanan kerohanian atau kalau boleh disebut sebagai 'penerbangan' kerohanian hanya berlaku pada hujung Mantiq at-Tayr atau The Conference of the Birds atau dalam bahasa Melayu diterjemah kepada Sidang Burung sebenarnya. Pada awal-awal mathnawi yang panjang ini, berlaku perdebatan antara para unggas dengan burung hudhud yang dianggap paling bijaksana sehingga layak berada di balai kehormatan istana Nabi Sulaiman.
Burung hudhud ibarat guru murshid yang cuba mengajak para unggas untuk melakukan perjalanan yang panjang, perit dan pedih tetapi sangat mustahak untuk mengadap serta menyaksikan Simurgh. Bagaimanapun, sekalian burung memiliki alasan sendiri mengapa berasa ragu-ragu dan berat hati untuk menyahut seruan suci itu.
Setiap keluhan dan alasan para unggas yang ragu-ragu itu dijawab setiap satu oleh Sang Hudhud - dengan kisah para anbiya dan auliya serta fable yg menarik tetapi mendalam, sekaligus menunjukkan kearifannya. Selesai soal jawab, maka Sang Hudhud membentangkan pula tujuh lembah yang perlu direntasi mereka - tujuh maqamat yang memiliki cabaran yang setiap satu akan mengorbankan banyak diri.
Apa yang dikarang oleh Attar memperlihatkan beliau bukanlah penyair biasa atau tidak lebih perakam zaman, sebaliknya beliau sendiri ialah guru murshid yang setiap jawapan diberikan olehnya bukan hanya menewaskan keraguan para unggas, bahkan seolah-olah menempelak kita sebagai pembaca.
Perjalanan sebenar hanyalah pendek kerana memang dalam tasawuf, manisnya gula tidak mungkin dapat dibicarakan dengan lisan dan rasional, sebaliknya hanya dapat diketahui lewat rasa. Bagaimanapun, membaca buku ini adalah ibarat menepuk-nepuk kepala kita kerana masih enggan merasai manisnya gula meski sudah membaca sekian banyak kajian mengenai gula!
Bacaan kali kedua selesai dengan mengambil manfaat daripada pengangkutan awam MRT. Patut ada ulasan yang berasingan untuk terjemahan yang dibaca kali ini kerana ada perubahan metodologi penterjemahan yang mengasingkan puisi soal jawab para unggas daripada contoh yang dibawa oleh Attar terhadap isu yang dibincangkan.
i.
Perjalanan kerohanian atau kalau boleh disebut sebagai 'penerbangan' kerohanian hanya berlaku pada hujung Mantiq at-Tayr atau The Conference of the Birds atau dalam bahasa Melayu diterjemah kepada Sidang Burung sebenarnya. Pada awal-awal mathnawi yang panjang ini, berlaku perdebatan antara para unggas dengan burung hudhud yang dianggap paling bijaksana sehingga layak berada di balai kehormatan istana Nabi Sulaiman.
Burung hudhud ibarat guru murshid yang cuba mengajak para unggas untuk melakukan perjalanan yang panjang, perit dan pedih tetapi sangat mustahak untuk mengadap serta menyaksikan Simurgh. Bagaimanapun, sekalian burung memiliki alasan sendiri mengapa berasa ragu-ragu dan berat hati untuk menyahut seruan suci itu.
Setiap keluhan dan alasan para unggas yang ragu-ragu itu dijawab setiap satu oleh Sang Hudhud - dengan kisah para anbiya dan auliya serta fable yg menarik tetapi mendalam, sekaligus menunjukkan kearifannya. Selesai soal jawab, maka Sang Hudhud membentangkan pula tujuh lembah yang perlu direntasi mereka - tujuh maqamat yang memiliki cabaran yang setiap satu akan mengorbankan banyak diri.
Apa yang dikarang oleh Attar memperlihatkan beliau bukanlah penyair biasa atau tidak lebih perakam zaman, sebaliknya beliau sendiri ialah guru murshid yang setiap jawapan diberikan olehnya bukan hanya menewaskan keraguan para unggas, bahkan seolah-olah menempelak kita sebagai pembaca.
Perjalanan sebenar hanyalah pendek kerana memang dalam tasawuf, manisnya gula tidak mungkin dapat dibicarakan dengan lisan dan rasional, sebaliknya hanya dapat diketahui lewat rasa. Bagaimanapun, membaca buku ini adalah ibarat menepuk-nepuk kepala kita kerana masih enggan merasai manisnya gula meski sudah membaca sekian banyak kajian mengenai gula!
January 17, 2012
鬲丨丿賷孬:廿囟丕賮丞 乇丕亘胤 賲賯丕賱 毓賳 賲賯丕乇賳丞 亘爻賷胤丞 亘賷賳 賲賳胤賯 丕賱胤賷乇 賱賱毓胤丕乇 賵 乇爻丕賱丞 丕賱胤賷乇 賱賰賱 賲賳 丕賱睾夭丕賱賷 賵 丕亘賳 爻賷賳丕
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兀賲丕 亘丕賱賳爻亘丞 賱賲賳胤賯 丕賱胤賷乇 賱賱毓胤丕乇
賮賴賷 賲賳馗賵賲丞 卮毓乇賷丞 賯氐氐賷丞 賮丕乇爻賷丞 氐賵賮賷丞 乇賲夭賷丞 賲賳 丕賱賯乇賳 丕賱孬丕賳賷 毓卮乇 賵 丕賱孬丕賱孬 毓卮乇 丕賱賲賷賱丕丿賷貙 賲賳 兀卮賴乇 丕賱賲賳馗賵賲丕鬲 丕賱氐賵賮賷丞...0
丨賷孬 丕噩鬲賲毓鬲 丕賱胤賷賵乇 賷賵賲丕 賱鬲賯賵賲 亘乇丨賱丞 氐賵亘 丕賱胤丕卅乇 丕賱兀賰賲賱 賵 丕賱兀噩賲賱 賵 丕賱爻賱胤丕賳 丕賱賲胤賱賯 賵 丕賱賲爻賲賶 "丕賱爻賷賲乇睾" 賵 丕賳鬲丿亘賵丕 丕賱賴丿賴丿 賱賷賰賵賳 乇卅賷爻丕 賱賴賲 賵 賲乇卮丿丕... 賮胤賮賯鬲 丕賱胤賷賵乇 鬲賯丿賲 丕賱鬲亘乇賷乇丕鬲 丕賱賲禺鬲賱賮丞 丨鬲賶 賱丕 鬲鬲賰亘丿 賲卮丕賯 丕賱乇丨賱丞 賵 亘毓囟賴丕 乇丕丨鬲 鬲爻兀賱 毓賳 丕賱胤乇賷賯 卮鬲賶 丕賱兀爻卅賱丞... 賵 丕賱賴丿賴丿 賷噩賷亘 毓賳 賰賱 賴匕丕 賵 賷賮賳丿 賰賱 丕賱兀賵賴丕賲 賵 賷丨孬賴賲 賱賱鬲禺賱賷 毓賳 賰賱 丕賱毓賱丕卅賯 賵 丕賱賲囟賷 賳丨賵 毓卮賯 丕賱兀賰賲賱 賲賳 禺賱丕賱 丕賱賲賵丕毓馗 賵 丕賱賯氐氐 丕賱賲禺鬲賱賮丞 賵 賷禺亘乇賴賲 毓賳 丕賱兀賵丿賷丞 丕賱鬲賷 爻賷賲乇賵賳 亘賴丕 賵丕丿賷 丕賱胤賱亘 孬賲 丕賱毓卮賯 孬賲 丕賱賲毓乇賮丞 孬賲 丕賱丕爻鬲睾賳丕亍 孬賲 丕賱鬲賵丨賷丿 孬賲 丕賱丨賷乇丞 賵 兀禺賷乇丕 丕賱賮賳丕亍 賵 丕賱亘賯丕亍... 賵 賴賰匕丕 丕賳胤賱賯賵丕 噩賲賷毓丕 賵 鬲賰亘丿賵丕 丕賱賲卮丕賯 毓賱賶 兀賳賵丕毓賴丕 賵 賲丕鬲 賲賳 賲丕鬲 賵 賮賳賷 賲賳 賮賳賷 丨鬲賶 賵氐賱 孬賱丕孬賵賳 胤丕卅乇丕 廿賱賶 丕賱丨囟乇丞 賱賷乇賮毓 丕賱丨噩丕亘 賵 賷賰鬲卮賮賵丕 兀賳 丕賱爻賷賲乇睾 賱賲 賷賰賳 廿賱丕 丕賳毓賰丕爻丕 賱氐賵乇鬲賴賲! 0
乇亘賲丕 賱賲 兀爻鬲賲鬲毓 賰孬賷乇丕 賰賲丕 賰賳鬲 兀乇噩賵貙 亘丕賱賳賰賴丞 丕賱氐賵賮賷丞 賵 匕賱賰 亘爻亘亘 丕賱兀爻賱賵亘
丕賱賵氐賮賷 丕賱賲亘丕賱睾 賮賷賴 亘賵賮乇丞 賵 賴賵 兀賲乇 賷賯賵丿賳賷 賱賱噩賳賵賳 賵 賱丕 兀爻鬲胤賷毓 丕賱氐亘乇 賲毓賴 賰孬賷乇丕 賵 亘爻亘亘 亘毓囟 丕賱卮胤丨丕鬲 丕賱鬲賷 賱賲 鬲毓噩亘賳賷 賵 亘毓囟 丕賱乇賲夭賷丞 丕賱鬲賷 賱賲 兀賮賴賲賴丕貙 賵 賱賰賳 賱丕 亘兀爻 亘賴丕 賮兀爻賱賵亘賴丕 睾乇賷亘 賵 賱丕 賲兀賱賵賮
賰賲丕 兀賳 丕賱丿乇丕爻丞 丕賱鬲賷 賯丿賲賴丕丕賱賲鬲乇噩賲 亘丿賷毓 賲丨賲丿 噩賲毓丞 賮賷 亘丿丕賷丞 丕賱賲賳馗賵賲丞 賯賷賲丞 賱賱睾丕賷丞
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兀賲丕 亘丕賱賳爻亘丞 賱賲賳胤賯 丕賱胤賷乇 賱賱毓胤丕乇
賮賴賷 賲賳馗賵賲丞 卮毓乇賷丞 賯氐氐賷丞 賮丕乇爻賷丞 氐賵賮賷丞 乇賲夭賷丞 賲賳 丕賱賯乇賳 丕賱孬丕賳賷 毓卮乇 賵 丕賱孬丕賱孬 毓卮乇 丕賱賲賷賱丕丿賷貙 賲賳 兀卮賴乇 丕賱賲賳馗賵賲丕鬲 丕賱氐賵賮賷丞...0
丨賷孬 丕噩鬲賲毓鬲 丕賱胤賷賵乇 賷賵賲丕 賱鬲賯賵賲 亘乇丨賱丞 氐賵亘 丕賱胤丕卅乇 丕賱兀賰賲賱 賵 丕賱兀噩賲賱 賵 丕賱爻賱胤丕賳 丕賱賲胤賱賯 賵 丕賱賲爻賲賶 "丕賱爻賷賲乇睾" 賵 丕賳鬲丿亘賵丕 丕賱賴丿賴丿 賱賷賰賵賳 乇卅賷爻丕 賱賴賲 賵 賲乇卮丿丕... 賮胤賮賯鬲 丕賱胤賷賵乇 鬲賯丿賲 丕賱鬲亘乇賷乇丕鬲 丕賱賲禺鬲賱賮丞 丨鬲賶 賱丕 鬲鬲賰亘丿 賲卮丕賯 丕賱乇丨賱丞 賵 亘毓囟賴丕 乇丕丨鬲 鬲爻兀賱 毓賳 丕賱胤乇賷賯 卮鬲賶 丕賱兀爻卅賱丞... 賵 丕賱賴丿賴丿 賷噩賷亘 毓賳 賰賱 賴匕丕 賵 賷賮賳丿 賰賱 丕賱兀賵賴丕賲 賵 賷丨孬賴賲 賱賱鬲禺賱賷 毓賳 賰賱 丕賱毓賱丕卅賯 賵 丕賱賲囟賷 賳丨賵 毓卮賯 丕賱兀賰賲賱 賲賳 禺賱丕賱 丕賱賲賵丕毓馗 賵 丕賱賯氐氐 丕賱賲禺鬲賱賮丞 賵 賷禺亘乇賴賲 毓賳 丕賱兀賵丿賷丞 丕賱鬲賷 爻賷賲乇賵賳 亘賴丕 賵丕丿賷 丕賱胤賱亘 孬賲 丕賱毓卮賯 孬賲 丕賱賲毓乇賮丞 孬賲 丕賱丕爻鬲睾賳丕亍 孬賲 丕賱鬲賵丨賷丿 孬賲 丕賱丨賷乇丞 賵 兀禺賷乇丕 丕賱賮賳丕亍 賵 丕賱亘賯丕亍... 賵 賴賰匕丕 丕賳胤賱賯賵丕 噩賲賷毓丕 賵 鬲賰亘丿賵丕 丕賱賲卮丕賯 毓賱賶 兀賳賵丕毓賴丕 賵 賲丕鬲 賲賳 賲丕鬲 賵 賮賳賷 賲賳 賮賳賷 丨鬲賶 賵氐賱 孬賱丕孬賵賳 胤丕卅乇丕 廿賱賶 丕賱丨囟乇丞 賱賷乇賮毓 丕賱丨噩丕亘 賵 賷賰鬲卮賮賵丕 兀賳 丕賱爻賷賲乇睾 賱賲 賷賰賳 廿賱丕 丕賳毓賰丕爻丕 賱氐賵乇鬲賴賲! 0
乇亘賲丕 賱賲 兀爻鬲賲鬲毓 賰孬賷乇丕 賰賲丕 賰賳鬲 兀乇噩賵貙 亘丕賱賳賰賴丞 丕賱氐賵賮賷丞 賵 匕賱賰 亘爻亘亘 丕賱兀爻賱賵亘
丕賱賵氐賮賷 丕賱賲亘丕賱睾 賮賷賴 亘賵賮乇丞 賵 賴賵 兀賲乇 賷賯賵丿賳賷 賱賱噩賳賵賳 賵 賱丕 兀爻鬲胤賷毓 丕賱氐亘乇 賲毓賴 賰孬賷乇丕 賵 亘爻亘亘 亘毓囟 丕賱卮胤丨丕鬲 丕賱鬲賷 賱賲 鬲毓噩亘賳賷 賵 亘毓囟 丕賱乇賲夭賷丞 丕賱鬲賷 賱賲 兀賮賴賲賴丕貙 賵 賱賰賳 賱丕 亘兀爻 亘賴丕 賮兀爻賱賵亘賴丕 睾乇賷亘 賵 賱丕 賲兀賱賵賮
賰賲丕 兀賳 丕賱丿乇丕爻丞 丕賱鬲賷 賯丿賲賴丕丕賱賲鬲乇噩賲 亘丿賷毓 賲丨賲丿 噩賲毓丞 賮賷 亘丿丕賷丞 丕賱賲賳馗賵賲丞 賯賷賲丞 賱賱睾丕賷丞
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April 8, 2018
The premise of Farid ud-Din Attar's poems in The Conference of the Birds is simple: the birds gather to seek the king of the birds, the Simorgh. One of the birds, the hoopoe, tells them that the Simorgh lives far away and that the journey there is hazardous.
First, the birds are enthusiastic to begin their search for the Simorgh -- a metaphor for Almighty God in Sufi mysticism -- but when they realize how difficult the journey will be, they start to make excuses. For instance, the finch says that he is too weak and cowardly. The hawk says he is satisfied with his position at the court waiting on the kings. The nightingale says he cannot leave his beloved the rose, and so on. The birds are identified by their species, and each species indicates a human type, and their excuses for not going on the journey are given according to their kind.
The hoopoe, on the other hand, represents the birds鈥� guide, and he is the equivalent of a Sheikh in Sufism leading a group of Sufis. He answers each of the bird鈥檚 excuses with anecdotes, and each anecdote shows how their desires and fears are mistaken.
Finally, the group formally accepts the hoopoe as a leader. They fly a little, and then before proceeding further, they ask him a series of questions about the journey. Again, the hoopoe answers them with anecdotes. Each answer contains two or three stories, illustrating the particular point the hoopoe is making. All the stories are linked together by admonition and commentary.
The last questions are about the length of the journey, on which they must cross seven valleys. Why "seven" valleys? The number "seven" in Islam is significant because in the Koran it is the most repeated number after the number "One", which represents God. Seventh heaven, above which is the throne of God. Seven doorways to paradise, which are represented by the seven valleys in The Conference of the Birds, through which the birds must pass to finally reach God. The seventh day for 鈥楢qeeqa鈥�, one of the four stages in Sufism. Seven stages for the completion of man鈥檚 creation....
In The Conference of the Birds, Attar frequently stresses one doctrine: the soul is trapped within the cage of the body. It can reach God if it wishes, but to unite with God, the soul must look inward and make an internal journey to pass the seven valleys to reach God.
The journey is quickly completed. The birds reach the court of the Simorgh. But when they first arrive, they are turned back. Finally, they understand that the Simorgh they have sought is none other than themselves, and that they have completed their internal journey.
The Conference of the Birds is beautifully written, and I highly recommend it.
Qais Akbar Omar
First, the birds are enthusiastic to begin their search for the Simorgh -- a metaphor for Almighty God in Sufi mysticism -- but when they realize how difficult the journey will be, they start to make excuses. For instance, the finch says that he is too weak and cowardly. The hawk says he is satisfied with his position at the court waiting on the kings. The nightingale says he cannot leave his beloved the rose, and so on. The birds are identified by their species, and each species indicates a human type, and their excuses for not going on the journey are given according to their kind.
The hoopoe, on the other hand, represents the birds鈥� guide, and he is the equivalent of a Sheikh in Sufism leading a group of Sufis. He answers each of the bird鈥檚 excuses with anecdotes, and each anecdote shows how their desires and fears are mistaken.
Finally, the group formally accepts the hoopoe as a leader. They fly a little, and then before proceeding further, they ask him a series of questions about the journey. Again, the hoopoe answers them with anecdotes. Each answer contains two or three stories, illustrating the particular point the hoopoe is making. All the stories are linked together by admonition and commentary.
The last questions are about the length of the journey, on which they must cross seven valleys. Why "seven" valleys? The number "seven" in Islam is significant because in the Koran it is the most repeated number after the number "One", which represents God. Seventh heaven, above which is the throne of God. Seven doorways to paradise, which are represented by the seven valleys in The Conference of the Birds, through which the birds must pass to finally reach God. The seventh day for 鈥楢qeeqa鈥�, one of the four stages in Sufism. Seven stages for the completion of man鈥檚 creation....
In The Conference of the Birds, Attar frequently stresses one doctrine: the soul is trapped within the cage of the body. It can reach God if it wishes, but to unite with God, the soul must look inward and make an internal journey to pass the seven valleys to reach God.
The journey is quickly completed. The birds reach the court of the Simorgh. But when they first arrive, they are turned back. Finally, they understand that the Simorgh they have sought is none other than themselves, and that they have completed their internal journey.
The Conference of the Birds is beautifully written, and I highly recommend it.
Qais Akbar Omar
April 3, 2015
賷賯賵賱 賮乇賷丿 丕賱丿賷賳 丕賱毓胤丕乇
丕賱毓卮賯 賳丕乇 賴賳丕賰 丕賲丕 丕賱毓賯賱 賮丿禺丕賳 貙 賮賲丕 丕賳 賷賯亘賱 丕賱毓卮賯 丨鬲賶 賷賮乇 丕賱毓賯賱 賲爻乇毓丕賸
賵丕賳丕 毓卮賯鬲 賰鬲丕亘賰 賷丕 毓胤丕乇 賵賮乇賻 毓賯賱賷
丕賱毓卮賯 賳丕乇 賴賳丕賰 丕賲丕 丕賱毓賯賱 賮丿禺丕賳 貙 賮賲丕 丕賳 賷賯亘賱 丕賱毓卮賯 丨鬲賶 賷賮乇 丕賱毓賯賱 賲爻乇毓丕賸
賵丕賳丕 毓卮賯鬲 賰鬲丕亘賰 賷丕 毓胤丕乇 賵賮乇賻 毓賯賱賷
February 16, 2023
A拧 nieko nera拧ysiu, nes gra啪iau nei cypt nei pamatyt, nei para拧yt, nei suprast nemoku.
January 30, 2019
It's a lovely thing to have this book in your hands. The paper is thick and textured and the pictures have a patterned rhythm that makes turning each page a joy. I really enjoy illustrations in books and reading this made me remember it. The poem is very secondary to the art in the book--just the barest thread of the story in the original poem, told in many fewer words, with the art taking on much of the burden of imparting meaning. Very enjoyable.
May 4, 2021
袗褌邪褉 薪械褋谢褍褔邪泄薪芯 械 斜懈谢 褋褔懈褌邪薪 蟹邪 械褉械褌懈泻. 孝邪蟹懈 薪械谐芯胁邪 锌芯械屑邪 蟹邪 写褍褕邪褌邪 - 锌褌懈褑邪, 褍褋褌褉械屑械薪邪 泻褗屑 锌褗褉胁芯懈蟹褌芯褔薪懈泻邪, 泻褗屑 屑懈褌懈褔薪懈褟 胁谢邪写械褌械谢 小懈屑褍褉谐, 写邪胁邪 褋褗胁褋械屑 薪械 芯薪械蟹懈 芯褌谐芯胁芯褉懈, 泻芯懈褌芯 褉械谢懈谐懈芯蟹薪懈褟褌 泻邪薪芯薪 锌褉械写胁懈卸写邪. 袦懈褋褌懈褔薪懈褟褌 褋褍褎懈蟹褗屑, 懈蟹褔懈褋褌械薪 芯褌 锌芯薪褟泻芯谐邪 薪械锌芯薪褟褌薪邪褌邪 褋懈屑胁芯谢懈泻邪, 胁褋褗褖薪芯褋褌 械 屑薪芯谐芯 斜谢懈蟹褗泻 写芯 褋褗胁褉械屑械薪薪芯褋褌褌邪. 袟邪褖芯褌芯 锌芯胁写懈谐邪 胁芯邪谢懈褌械 薪邪 褋芯斜褋褌胁械薪邪褌邪 薪懈 写褍褕邪, 蟹邪 写邪 锌芯褋芯褔懈 褋泻褉懈褌懈褌械 胁 褋邪屑邪褌邪 薪械褟 芯褌谐芯胁芯褉懈 懈 褋褗泻褉芯胁懈褖邪. 袧芯 锌褗褌褟褌 锌褉械蟹 蟹邪斜谢褍写懈褌械 械 褌械卸褗泻, 邪 懈蟹泻褍褕械薪懈褟褌邪 懈 懈蟹胁懈薪械薪懈褟褌邪 懈蟹芯斜褖芯 写邪 薪械 锌芯械屑械屑 锌芯 薪械谐芯 - 斜械蟹斜褉芯泄.
袗 锌芯褋谢邪薪懈械褌芯 械 芯褌 12-褌懈 胁械泻!
袝写懈薪懈褟褌 芯褌 邪薪谐谢懈泄褋泻懈褌械 锌褉械胁芯写懈 (薪邪 Edward Fitzgerald) 械 写芯褋褌邪 锌芯械褌懈褔械薪, 薪芯 薪邪 屑械褋褌邪 懈 写芯褋褌邪 薪械褉邪蟹斜懈褉邪械屑 懈 邪褉褏邪懈褔械薪. 袣谢褞褔芯胁懈 屑芯屑械薪褌懈 芯褌 褋褗屑薪械薪懈褟褌邪 薪邪 锌褌懈褑懈褌械 蟹邪 锌芯褋芯褔械薪懈褟 锌褗褌 褋邪 褋 锌芯卸械褉褌胁邪薪邪 褟褋薪芯褌邪 蟹邪 褋屑械褌泻邪 薪邪 褉懈屑邪. 袚褍斜懈 褋械 薪邪锌褗谢薪芯 懈 褋屑懈褋褗谢褗褌 薪邪 锌褉懈褌褔懈褌械, 胁锌谢械褌械薪懈 胁 懈褋褌芯褉懈褟褌邪. 袙褋械 锌邪泻 懈屑邪 薪褟泻芯懈 褏褍斜邪胁懈 屑芯屑械薪褌懈:
馃鈥漌ho then this Travel to Result would bring
Needs both a Lion's Heart beneath the Wing,
And even more, a Spirit purified
Of Worldly Passion, Malice, Lust, and Pride:鈥�
馃鈥漈housands may knock for one that enters in.鈥�
馃鈥漈he Sun of my Perfection is a Glass
Wherein from Seeing into Being pass
All who, reflecting as reflected see
Themselves in Me, and Me in Them: not Me,
But all of Me that a contracted Eye
Is comprehensive of Infinity:
Nor yet Themselves: no Selves, but of The All
Fractions, from which they split and whither fall.鈥�
馃鈥滳ome you lost Atoms to your Centre draw,
And be the Eternal Mirror that you saw:鈥�
袛褉褍谐懈褟褌 锌褉械胁芯写 械 胁 锌褉芯蟹邪 - 薪邪 Sholeh Wolpe, 薪芯 写芯褋褌邪 锌芯-褟褋械薪 (锌褉械胁芯写邪褔泻邪褌邪 械 懈 薪邪锌芯谢芯胁懈薪邪 懈褉邪薪泻邪!) 懈 懈蟹写邪薪懈械褌芯 械 褋 写械褌邪泄谢械薪 泻芯屑械薪褌邪褉 芯褌 锌褉械胁芯写邪褔邪. 袠褋褌芯褉懈褟褌邪 胁 褌邪蟹懈 懈 胁械褉褋懈褟 械 锌褉械泻褉邪褋薪邪 懈 写褗谢斜芯泻邪, 懈 蟹邪 屑械薪 械 芯褔械胁懈写薪芯, 褔械 褉懈屑懈褌械 胁 锌褉械写薪懈褟 锌褉械胁芯写 褋邪 斜懈谢懈 懈蟹褑褟谢芯 蟹邪 褋屑械褌泻邪 薪邪 褔懈褌邪褌械谢褟. 孝邪蟹懈 胁械褉褋懈褟 械 褌芯褔薪芯 懈褋褌芯褉懈褟褌邪, 泻芯褟褌芯 屑懈 褋褌邪薪邪 谢褞斜懈屑邪 懈 写邪薪芯 胁懈写褟 锌褉械胁械写械薪邪 薪邪 斜褗谢谐邪褉褋泻懈:
馃鈥滻f you have the Ocean, you have the drop.
Don鈥檛 settle for less, don鈥檛 seek anything but the Ocean.鈥�
馃鈥漌hen a door is cracked open, sunlight pours in.
Shadows suddenly vanish.
What remains will be the Sun and you.鈥�
馃鈥滾ove is above heresy and faith.鈥�
馃鈥滺eaven and Hell are of your own making.鈥�
馃鈥滲ody is not separate from the soul; it鈥檚 a part of it.
Soul is not separate from the universe; it鈥檚 a part of it.鈥�
馃鈥漈he devil said: 鈥淜now and remember only this:
To avoid becoming me, never say 鈥業.鈥欌€濃€�
馃鈥滻f you busy yourself with finding faults, when will you find the time to rejoice in the Beauty of the Unseen?鈥�
馃鈥滾ove is the business of the experienced.
Love is the business of the free.鈥�
馃鈥漌hen the ocean tosses and breaks,
how can patterns that shimmer
on the surface endure?
Both worlds are reflected in those patterns
dancing on the sea.鈥�
袗 锌芯褋谢邪薪懈械褌芯 械 芯褌 12-褌懈 胁械泻!
袝写懈薪懈褟褌 芯褌 邪薪谐谢懈泄褋泻懈褌械 锌褉械胁芯写懈 (薪邪 Edward Fitzgerald) 械 写芯褋褌邪 锌芯械褌懈褔械薪, 薪芯 薪邪 屑械褋褌邪 懈 写芯褋褌邪 薪械褉邪蟹斜懈褉邪械屑 懈 邪褉褏邪懈褔械薪. 袣谢褞褔芯胁懈 屑芯屑械薪褌懈 芯褌 褋褗屑薪械薪懈褟褌邪 薪邪 锌褌懈褑懈褌械 蟹邪 锌芯褋芯褔械薪懈褟 锌褗褌 褋邪 褋 锌芯卸械褉褌胁邪薪邪 褟褋薪芯褌邪 蟹邪 褋屑械褌泻邪 薪邪 褉懈屑邪. 袚褍斜懈 褋械 薪邪锌褗谢薪芯 懈 褋屑懈褋褗谢褗褌 薪邪 锌褉懈褌褔懈褌械, 胁锌谢械褌械薪懈 胁 懈褋褌芯褉懈褟褌邪. 袙褋械 锌邪泻 懈屑邪 薪褟泻芯懈 褏褍斜邪胁懈 屑芯屑械薪褌懈:
馃鈥漌ho then this Travel to Result would bring
Needs both a Lion's Heart beneath the Wing,
And even more, a Spirit purified
Of Worldly Passion, Malice, Lust, and Pride:鈥�
馃鈥漈housands may knock for one that enters in.鈥�
馃鈥漈he Sun of my Perfection is a Glass
Wherein from Seeing into Being pass
All who, reflecting as reflected see
Themselves in Me, and Me in Them: not Me,
But all of Me that a contracted Eye
Is comprehensive of Infinity:
Nor yet Themselves: no Selves, but of The All
Fractions, from which they split and whither fall.鈥�
馃鈥滳ome you lost Atoms to your Centre draw,
And be the Eternal Mirror that you saw:鈥�
袛褉褍谐懈褟褌 锌褉械胁芯写 械 胁 锌褉芯蟹邪 - 薪邪 Sholeh Wolpe, 薪芯 写芯褋褌邪 锌芯-褟褋械薪 (锌褉械胁芯写邪褔泻邪褌邪 械 懈 薪邪锌芯谢芯胁懈薪邪 懈褉邪薪泻邪!) 懈 懈蟹写邪薪懈械褌芯 械 褋 写械褌邪泄谢械薪 泻芯屑械薪褌邪褉 芯褌 锌褉械胁芯写邪褔邪. 袠褋褌芯褉懈褟褌邪 胁 褌邪蟹懈 懈 胁械褉褋懈褟 械 锌褉械泻褉邪褋薪邪 懈 写褗谢斜芯泻邪, 懈 蟹邪 屑械薪 械 芯褔械胁懈写薪芯, 褔械 褉懈屑懈褌械 胁 锌褉械写薪懈褟 锌褉械胁芯写 褋邪 斜懈谢懈 懈蟹褑褟谢芯 蟹邪 褋屑械褌泻邪 薪邪 褔懈褌邪褌械谢褟. 孝邪蟹懈 胁械褉褋懈褟 械 褌芯褔薪芯 懈褋褌芯褉懈褟褌邪, 泻芯褟褌芯 屑懈 褋褌邪薪邪 谢褞斜懈屑邪 懈 写邪薪芯 胁懈写褟 锌褉械胁械写械薪邪 薪邪 斜褗谢谐邪褉褋泻懈:
馃鈥滻f you have the Ocean, you have the drop.
Don鈥檛 settle for less, don鈥檛 seek anything but the Ocean.鈥�
馃鈥漌hen a door is cracked open, sunlight pours in.
Shadows suddenly vanish.
What remains will be the Sun and you.鈥�
馃鈥滾ove is above heresy and faith.鈥�
馃鈥滺eaven and Hell are of your own making.鈥�
馃鈥滲ody is not separate from the soul; it鈥檚 a part of it.
Soul is not separate from the universe; it鈥檚 a part of it.鈥�
馃鈥漈he devil said: 鈥淜now and remember only this:
To avoid becoming me, never say 鈥業.鈥欌€濃€�
馃鈥滻f you busy yourself with finding faults, when will you find the time to rejoice in the Beauty of the Unseen?鈥�
馃鈥滾ove is the business of the experienced.
Love is the business of the free.鈥�
馃鈥漌hen the ocean tosses and breaks,
how can patterns that shimmer
on the surface endure?
Both worlds are reflected in those patterns
dancing on the sea.鈥�
May 8, 2016
I doubt my doubt, doubt itself is unsure
I love, but who is it for whom I sigh?
I love, but who is it for whom I sigh?
August 17, 2016
鬲乇噩賲鬲賴 爻賷卅丞 噩丿丕 丕賱賱賶 噩毓賱 賮賶 賮賴賲賴 亘毓囟 丕賱氐毓賵亘丞
賵賰鬲賮爻賷乇 賱賮賱爻賮丞 丕賱氐賵賮賷丞 亘賭 (兀賳丕 兀賳鬲 賵兀賳鬲 兀賳丕 賵兀賳鬲 賴賵 兀賳丕) 丕賳賴賲 乇賵丨 丕賱賱賴 賵氐賮丕鬲賴
賵賰賲噩賲賱 賰鬲丕亘 賲丕賷賮賴賲賵卮 睾賷乇 賯賱亘 毓丕卮賯
賵賰鬲賮爻賷乇 賱賮賱爻賮丞 丕賱氐賵賮賷丞 亘賭 (兀賳丕 兀賳鬲 賵兀賳鬲 兀賳丕 賵兀賳鬲 賴賵 兀賳丕) 丕賳賴賲 乇賵丨 丕賱賱賴 賵氐賮丕鬲賴
賵賰賲噩賲賱 賰鬲丕亘 賲丕賷賮賴賲賵卮 睾賷乇 賯賱亘 毓丕卮賯
May 24, 2018
賲賳胤賯 丕賱胤賷乇 賴賷 亘丨賯 乇丕卅毓丞 賲賳 乇賵丕卅毓 丕賱鬲氐賵賮 丕賱丕爻賱丕賲賷貙 賷丨賰賷 賮乇賷丿 丕賱丿賷賳 丕賱毓胤丕乇 賮賷 賴匕丕 丕賱賰鬲丕亘 丨賰丕賷丞 賰亘乇賶 賲丨賵乇賷丞 賵賷丿丕禺賱 賮賷賴丕 毓卮乇丕鬲 丕賱丨賰丕賷丕 賵丕賱賯氐氐 丕賱孬丕賳賵賷丞貙 鬲鬲丨丿孬 丕賱丨賰丕賷丞 丕賱賰亘乇賶 -賵賷丕 賱賴丕 賲賳 丕卮乇丕锟斤拷丞 乇賵丨賷丞 亘丕賴乇丞- 毓賳 丿毓賵丞 丕賱賴丿賴丿 賱爻丕卅乇 丕賱胤賷賵乇 賱賱匕賴丕亘 賮賷 乇丨賱丞 卮丕賯丞 廿賱賶 "噩亘賱 賯丕賮" 丨賷孬 爻賷氐賱賵賳 廿賱賶 爻賷丿 丕賱胤賷賵乇 胤丕卅乇 丕賱爻賷賲乇睾 (丕賱毓賳賯丕亍)貙 賵鬲亘丿兀 丕賱乇丨賱丞 丕賱賲賱丨賲賷丞 賱賱爻賷乇 賵賷鬲禺賱賮 丕賱賲鬲禺賱賮賵賳 賵賷囟毓賵賳 丕賱兀毓匕丕乇 賵賱丕 賷禺賱氐 賲賳賴賲 丕賱丕 丕賱賯賱賷賱貙 賮賷 廿卮丕乇丞 乇賲夭賷丞 丕賱賶 爻賷乇 丕賱賲丐賲賳賷賳 賳丨賵 丕賱賱賴 毓夭 賵噩賱.
賲賳胤賯 丕賱胤賷乇 賴賵 丿賷賵丕賳 卮毓乇賷 亘丕賱賮丕乇爻賷丞貙 賮賲丕 賯乇兀鬲賴 賱賷爻 爻賵賶 毓賲賱 賲鬲乇噩賲 賵亘賳氐 賳孬乇賷貙 賵賱賰賳 賲賳 賯賵丞 賴匕丕 丕賱卮毓乇 賮廿賳賴 賷丨丕賮馗 毓賱賶 氐賱丕亘鬲賴 賲賴賲丕 鬲亘丿賱 丕賱賵夭賳 賵鬲睾賷乇鬲 丕賱賱睾丞貙 丕賱丕爻賱賵亘 賮賷 睾丕賷丞 丕賱乇賵毓丞 賵賮賷賴丕 毓匕賵亘丞 賮乇賷丿丞貙 賵禺丕氐丞 丨賷賳 賷丨賰賷 丕賱賯氐氐 賵賷爻乇丿 丕賱丕丨丿丕孬貙 鬲禺鬲賱胤 丕賱丕丨丿丕孬 亘丕賱禺賷丕賱 賵丕賱鬲卮亘賷賴丕鬲 賮賷 氐賷丕睾丞 賵賱丕 丕乇賵毓
兀賳丕 丕毓乇賮 亘毓丿 賯乇丕亍鬲賷 賱賴匕丕 丕賱賰鬲丕亘貙 丕賳 賴匕丕 丕賱毓丕賱賲 丕賱噩賲賷賱 賲賳 丕賱胤賷賵乇 賵丕賱爻賷乇 賵丕賱毓卮賯 丕賱丕賱賴賷 賲賲賷夭 賵禺丕氐 噩丿丕 亘丨賷孬 賱賳 賳噩丿賴 毓賳丿 卮丕毓乇 丕賵 賲鬲氐賵賮 丕禺乇貙 賵賱賰賳
毓夭丕丐賳丕 亘兀賳 賳毓賵丿 賱賱賰鬲丕亘 賰賱賲丕 丕卮鬲賯賳丕 賱匕丕賰 丕賱毓丕賱賲
賲丕賷賯丕乇亘 丕賱爻賳丞 賯囟賷鬲賴丕 賮賷 賯乇丕亍丞 賴匕丕 丕賱賰鬲丕亘
鬲賳賵賷賴: 丕賳丕 賷賴賲賳賷 丕賱賳氐 賲賳 丕賱賳丕丨賷丞 丕賱兀丿亘賷丞 賵賮賷 禺賷丕賱賴 賵鬲兀賲賱丕鬲賴貙 賵賱賷爻 賲賳 丕賴鬲賲丕賲賷 丕賳 丕丨丕賰賲 丕賱毓胤丕乇 亘兀賳賴 卮胤丨 賴賳丕 兀賵 賱賴 賯氐丕卅丿 禺賲乇賷丞 兀賵 賱賴 毓賯丕卅丿 賱丕 丕鬲亘賳丕賴丕..
賲賳胤賯 丕賱胤賷乇 賴賵 丿賷賵丕賳 卮毓乇賷 亘丕賱賮丕乇爻賷丞貙 賮賲丕 賯乇兀鬲賴 賱賷爻 爻賵賶 毓賲賱 賲鬲乇噩賲 賵亘賳氐 賳孬乇賷貙 賵賱賰賳 賲賳 賯賵丞 賴匕丕 丕賱卮毓乇 賮廿賳賴 賷丨丕賮馗 毓賱賶 氐賱丕亘鬲賴 賲賴賲丕 鬲亘丿賱 丕賱賵夭賳 賵鬲睾賷乇鬲 丕賱賱睾丞貙 丕賱丕爻賱賵亘 賮賷 睾丕賷丞 丕賱乇賵毓丞 賵賮賷賴丕 毓匕賵亘丞 賮乇賷丿丞貙 賵禺丕氐丞 丨賷賳 賷丨賰賷 丕賱賯氐氐 賵賷爻乇丿 丕賱丕丨丿丕孬貙 鬲禺鬲賱胤 丕賱丕丨丿丕孬 亘丕賱禺賷丕賱 賵丕賱鬲卮亘賷賴丕鬲 賮賷 氐賷丕睾丞 賵賱丕 丕乇賵毓
兀賳丕 丕毓乇賮 亘毓丿 賯乇丕亍鬲賷 賱賴匕丕 丕賱賰鬲丕亘貙 丕賳 賴匕丕 丕賱毓丕賱賲 丕賱噩賲賷賱 賲賳 丕賱胤賷賵乇 賵丕賱爻賷乇 賵丕賱毓卮賯 丕賱丕賱賴賷 賲賲賷夭 賵禺丕氐 噩丿丕 亘丨賷孬 賱賳 賳噩丿賴 毓賳丿 卮丕毓乇 丕賵 賲鬲氐賵賮 丕禺乇貙 賵賱賰賳
毓夭丕丐賳丕 亘兀賳 賳毓賵丿 賱賱賰鬲丕亘 賰賱賲丕 丕卮鬲賯賳丕 賱匕丕賰 丕賱毓丕賱賲
賲丕賷賯丕乇亘 丕賱爻賳丞 賯囟賷鬲賴丕 賮賷 賯乇丕亍丞 賴匕丕 丕賱賰鬲丕亘
鬲賳賵賷賴: 丕賳丕 賷賴賲賳賷 丕賱賳氐 賲賳 丕賱賳丕丨賷丞 丕賱兀丿亘賷丞 賵賮賷 禺賷丕賱賴 賵鬲兀賲賱丕鬲賴貙 賵賱賷爻 賲賳 丕賴鬲賲丕賲賷 丕賳 丕丨丕賰賲 丕賱毓胤丕乇 亘兀賳賴 卮胤丨 賴賳丕 兀賵 賱賴 賯氐丕卅丿 禺賲乇賷丞 兀賵 賱賴 毓賯丕卅丿 賱丕 丕鬲亘賳丕賴丕..
April 23, 2021
12th century Persian Poet Farid Ud-Din Attar鈥檚 poem of a man who transforms in to a hoopoe bird is graphically and visually portrayed in this modern edition. A convention of birds take flight to ask their king for guidance and follow a quest through seven valleys to the Mountain of Kaf. Highly recommend.
December 8, 2017
The Conference of the Birds is a Sufi allegorical story听written by Attar about multiple birds quest to find God.
Each bird represents a certain type of person with certain virtues or vices. The birds are greedy, lazy, fearful, arrogant, and so on.
Attar's poem is a mirror which we can use to see parts of ourselves and others.
Attar's hope was that his birds quest could serve as a mirror we can use to become more self aware. Here is Attar's verse at the poems conclusion: 听
I, with my words,
Have shown to sleeping men their souls as birds.
And if these words can prompt one heart to wake
From lifelong stupor for their mystery鈥檚 sake,
I鈥檒l know, I鈥檒l have no doubt, that all my pain
And grief are over, and were not in vain-
I will have been a lamp, a candle鈥檚 light
That burns itself, and makes the whole world bright.
Attar's poem is a mirror for cultivating self awareness.
Attar's poem begins with the birds electing the Hoopoe as their guide. As soon as the journey begins so do the birds excuses, doubts, and questions. The Hoopoe answers each bird with听3-4 allegorical stories. This pattern of question and multiple stories as an answer repeats and makes up most of the Conference of the Birds.听
For example, one bird fears death. So the Hoopoe tells a story about听Socrates:
When Socrates lay close to death, a youth-
Who was his student in the search for Truth-
Said: 鈥楳aster, when we鈥檝e washed the man we knew
And brought your shroud, where should we bury听you?'
He said: 'If you can find me when I鈥檝e died,
Then bury me wherever you decide.-
I鈥檝e never found myself; I cannot see
How when I鈥檓 dead you could discover me.
Throughout my life not one small particle
Had any knowledge of itself at all!'
Sounds like the ever whimsical Socrates to me.
Attar听mimics and, I think, surpasses听Plato's听story about this same moment:听
[Crito said] 'how shall we bury you?' 'In any way you like,' said Socrates, 'if you can catch me and I do not escape you.' And laughing quietly, looking at us, he said: 'I do not convince Crito that I am this Socrates talking to you here and ordering all I say, but he thinks that I am the thing which he will soon be looking at as a corpse, and so he asks how he shall bury me.' (Plato's Phaedo at 115c-116a.)
Platonic echo aside, Attar's Conference of Bird's听also resembles听Dante's Inferno; both stories are framed as journeys to God which explore human virtues and vices for listener and or readers benefit.
Like Dante, Attar had a soft spot for the virtuous of other religious traditions. As we've seen for example, noble non-Muslims such as Socrates are approved of by Attar.
But despite this soft spot for specific virtuous Greek philosophers, such as as Socrates, Attar听condemns Greek philosophy in general:
How will you know the truths religion speaks
While your鈥檙e philosophizing with the Greeks?
How can you be a man of faith while you鈥檙e still wrapped in their philosophic lore?
If someone traveling on love鈥檚 Way should say
'Philosophy', he doesn鈥檛 know loves way;听[...]
Philosophy, though, snares you with its 鈥榳hy鈥檚
And 鈥榟ow鈥檚, and it mostly ensnares the wise. [...]
Medina鈥檚 wisdom is enough, my friend,
Throw dirt on Greece, and all that Greece might send.
Attar sees that love is the true path to wisdom and God, and that Greek philosophy leads us away from love.
I have to disagree with Attar.
Generally, Greek philosophers saw love and the proper practice of it as the key to self awareness and self improvement. Take Plato for example, he thought that the sight of beauty quickens love which through the use of reason leads to the truth.听Philosophy, is after all, a love of wisdom.
Generally speaking, proper reason mirrors proper love in the Greek philosophical tradition; one cannot reason well without love or love well without reason; reason and love act in harmony when either is done well.
But Attar, unlike his Greek predecessors, sees reason as always in opposition to love.听As he puts it so eloquently:
My book鈥檚 all madness, Reason won鈥檛 appear
Within it鈥檚 pages, she鈥檚 a stranger here,
And till the soul breathes in this madness she
Remains a stranger to eternity.
I've spent too much time philosophizing with the Greeks to be able to agree with Attar's complete rejection of reason.
But, thankfully, we don't need to agree with Attar entirely to see how we can use his poem as a mirror to ritually channel our awareness for the sake of self improvement.
We simply need to be very clear about why Attar distrusts reason...
So, what's the reason Attar distrusts 'reason'?
I think we all can benefit from taking Attar seriously here, especially if you're the kind of person attached to seeing themselves as 'logical' or 'rational' rather than 'emotional.'
It would be easy, boring and lazy to dismiss Attar's distrust of reason as complete nonsense. More to the point, such a lazy dismissal would make it much harder to enjoy or benefit from Attar's听Conference of Bird's.
Whether or not we agree with Attar's reasons for distrusting reason we need to understand them to understand him, or give a real reason why he might be wrong.
Here's what I think Attar is up to...
Now, I'm certain you've noticed at some point in your life that you can rarely -if ever- convince people to believe something based on pure logic, reason, or empirical claims.
That's because a more reliable way -perhaps the only reliable way- to change someone's mind is telling them stories that appeal indirectly to them.
This is of course, exactly what Attar does.
Attar's poem is a bunch of stories, not a bunch of systematic 'reasons.'
Still, there is a recurring pattern behind most of Attar's enjoyable stories, one which amounts to a kind of reasoned argument when we examine his poem as a whole.
In Attar's stories,听usually听a lover falls in love with someone they are perceived as being unworthy to love: a beggar for a prince, an ascetic for a princess, a Sufi for God, etc,
Generally, the pattern in Attar's poem is that a social inferior falls in love with a social superior. This love is usually seen as scandalous, and as a rule of thumb the lovers love for the beloved is questioned and challenged by society.听
Most of Attar's stories end badly for the social inferior. Often in death.
But this 'death' is shown as a metaphor for our egos death and changes in our self understanding. Death is seen as only a kind of change, and change as a kind of death.
This is why Attar's and Plato's Socrates laughs when his followers desire to bury 'him.' 'Socrates' won't be around after death. Nor will 'Socrates' experience his own death. In other words, death is not an event 'we' experience in life.
There's some wisdom in distrusting reason in favor of intuitive love.
For it is only when we let go of who we think we are -and what we are attached to thinking we look like to others- that we can become more aware of who we truly are, which is the first step in any process of self improvement.
The problem with Attar, as I see it, is that I doubt he would be satisfied with this conclusion, he would want more of us than 'just' cultivating our self awareness for the sake of self and societal improvement.
Attar would want us to go even further, to dissolve our Self听and loyalty to others into a mystic rapture of 'oneness' with the world; by submitting to a true听and un-reasoned intuitive and spontaneous love for God, the universe, and everyone in it.
Here's why I think Attar would want us to go one step farther. As the translators of my the Conference of Birds, Dick Davis and Afkham Darbani, put it in their introduction:
Certain of the beliefs central to Sufism seem to engage Attar鈥檚 imagination more than others. Two themes in particular are diffused throughout the whole poem -the necessity for destroying the Self, and the importance of passionate love. Both are mentioned in every conceivable context and not only at the 鈥榓ppropriate鈥� moments in the narrative. The two [themes] are connected: the Self is seen as an entity dependent on pride and reputation, there can be no progress until the pilgrim is indifferent to both, and the surest way of making him indifferent is the experience of overwhelming love.
Attar's stories show again, and again, and again, that through the right kind of love we over come our selfish vanity and find the nature of god, the universe, and ourselves as more interrelated than we imagined.
Attar wishes us to see that we are the universe witnessing itself -that we are all 'god'- and that the right kind of love is indiscriminate, universal, and impartial to all 'differences.' After all, if 'we' are 'everything' and all 'god' then preferring to love some people or things more than others is downright foolish, because all we are doing is rejecting 'ourselves.'
This is why the Conference of the Birds听ends the way it does.
At the very end of the story, the birds that persevered throughout the poem and heard all of the Hoopoes stories find themselves looking into a pond. Within it, they see God within themselves reflected, the very thing they started their journey in search of.
Attar's prologue succinctly states what we are to take away from that scene and听the Conference of the Birds听as a whole:
The things you seek and know are you, and so
It鈥檚 you a hundred ways, you're forced to know.
I think this is the reason why Attar distrusts reason in general.
Reasoning with others always creates conceptual differences between things, otherwise we can't speak of one thing being different than another. And if we are the universe witnessing itself, then 'reason,' as well as language, merely creates false categories and abstractions, enslaving us to concepts, blinding us to听how interconnected everything and everyone is.
While I think this is all a fine metaphor听we benefit from learning, I don't think it's literally true and I also think this metaphor creates just as many problems as it solves.
Let me first explain where I think Attar is right, and helpful to us all, before I move on to places where he creates problems for us if we value social relationships, friendship, or family.
We can all agree that I am not the same person I was when I was 10.
The only reason I think of there being a continuity between 10 year old me and present day me is because I automatically use the concept of the Self.听
As I imagine Attar might wisely say: I am a fool if I out of loyalty to 10 year old me, I refuse to try a new activity because I want to be 'true to myself.'
For example, 10 year old me thought that skateboarding was something dumb punks did because 10 year old me recited the opinions of his Catholic grandma. Spongebob Squarepants was also suspect, for her, and thus for me, just in case you were wondering. The early 2000s Kids Tv Show Rocket Power was also suspect in my childhood. Why? It glorified the great satan of skateboarding.
Anyway, years later, I only realized how silly my suspicion of Spongebob and skateboarding was as friends of mine told me stories about their love of Spongebob and skateboarding.
These friends opened up new (and truer) ways of seeing the world for me.
My reasons to distrust Spongebob and skateboarding were ridiculous, but if someone had tried to reason or argue me out of them, I likely wouldn't have listened. My 'reasons' came from a foolish, if understandable, loyalty to the opinions of a loved one.
Attar is, like a good friend, excellent at telling us stories which help us get rid of silly ideas we get from ourselves and others about who we really are, can be, and whether Spongebob is corrupting the youth.
Sometimes 'reason' is just a convenient and socially respected cudgel we -or society- use on ourselves and others as a means of creating a conformity as meaningless as it is misguided or damaging. This is Attar's concern, and why he can help us.
Attar is great at helping us see and imagine who we really are, and could become, because his stories constantly remind us how fluid who we are really is.
So that's what sound about Attar's distrust of reason, and why he's especially worth a read, but here's the rub.
Attar doesn't distrust reason in specific cases; he doubts reason is ever useful. Because if we are the universe witnessing itself, reason can only ever divide and blind us into partial, foolish, and selfish love.
From Attar's way of seeing things, my 10 year old preferential beliefs about skateboarding and Spongebob are as delusional as my preferential love for close friends and family.
After all, where do we usually get get our reasons from, and who do we usually address them to? While we can marginally reason on our own, we primarily do so because of, with, and for others we have social relationships with.
Reason is primarily a social tool, like storytelling, that we use to renew, repair, and reform our social relationships and society.
This is why Attar's categorical distrust of reason leads to a categorical distrust all social relationships.
From Attar's way of seeing things, both reason and social relationships imprison us into a partial, limited, and distinct sense of self apart from the universe as a whole -think of my reliance on my beloved Grandma's reasoning about skateboarding and spongebob.
If you're like me, you probably don't find this side of Attar helpful, and want to pinpoint where he went wrong, especially because he's so helpful at freeing us from foolishly hating things, such as Spongebob.
Plato can help us answer Attar.
Plato's answer is one Attar might not agree with, but Plato's answer will let us read, enjoy, and make sense of Attar whether or not we fully agree with Attar's categorical distrust of reason.
Plato has Socrates argue that a categorical distrust of reason is as foolish, misguided, and silly as hating all humanity.
SOCRATES: We must not become haters of reason as people become haters of humanity. There is no greater evil one can suffer than to hate reasonable discourse. A hatred of reason and a hatred of humanity arise in the same way.
A hatred of humanity comes when someone without knowledge or skill has placed great trust in someone else and believes him to be altogether truthful, sound and trustworthy.
Then a short time afterwards, they find him to be wicked and unreliable. Then this happens in another case. When this happens enough, especially with those you believed to be close friends, then in the end, after many such blows, people come to hate all humanity and to believe that no one is sound in any way at all.
Such a hatred of humanity comes most easily to those that have little experience and skill in social relationships. For great experience would lead one to believe -what is in fact true- that the very good and the very wicked are both quite rare, and that most people are between these two extremes. (A paraphrase of Plato's Phaedo at 89d-90a.)
A complete distrust of reason, verging on hatred, arises when we have frequently been let down by arguments. But this does not mean we should give up on our ability to talk clearly, truthfully, and honestly to each other.
If we find ourselves constantly let down by others, or arguments, this means we have something to learn, not that we should give up on our ability to learn.
Plato compared the hatred of reason to the hatred of humanity for a very good reason.
For Plato, and much of the rest of Greek philosophy, reason was something you did by speaking with others, it was a social act, not a private mental one. Thus, to give up on reason did not mean giving up on your own ability to think or speak, but giving up on our collective ability to clearly discuss things, learn, and have plans and relationships with each other.
Reason and love, on this view, are mean't to harmonize with each other, however exactly that harmony works out...
I think, with Plato, that we should not hate everyone else, or all reason, but take courage, and eagerly question and wonder -in the company of trusted friends and storytellers- what led us to mistaken love or reason in the first place.听听
Still, whether we prefer to see love and reason like Plato or Attar, we can benefit from the Conference of the Birds by using it's stories as a mirror for cultivating self awareness. His poem, is like a journal, a way of regularly ritually reviewing the direction of our life.
Attar's stories are enjoyable and useful with or without us fully agreeing with his views on love, reason, or God.
Just please don't give up on reason or humanity because of a few bad apples.
POSTSCRIPT:
Each bird represents a certain type of person with certain virtues or vices. The birds are greedy, lazy, fearful, arrogant, and so on.
Attar's poem is a mirror which we can use to see parts of ourselves and others.
Attar's hope was that his birds quest could serve as a mirror we can use to become more self aware. Here is Attar's verse at the poems conclusion: 听
I, with my words,
Have shown to sleeping men their souls as birds.
And if these words can prompt one heart to wake
From lifelong stupor for their mystery鈥檚 sake,
I鈥檒l know, I鈥檒l have no doubt, that all my pain
And grief are over, and were not in vain-
I will have been a lamp, a candle鈥檚 light
That burns itself, and makes the whole world bright.
Attar's poem is a mirror for cultivating self awareness.
Attar's poem begins with the birds electing the Hoopoe as their guide. As soon as the journey begins so do the birds excuses, doubts, and questions. The Hoopoe answers each bird with听3-4 allegorical stories. This pattern of question and multiple stories as an answer repeats and makes up most of the Conference of the Birds.听
For example, one bird fears death. So the Hoopoe tells a story about听Socrates:
When Socrates lay close to death, a youth-
Who was his student in the search for Truth-
Said: 鈥楳aster, when we鈥檝e washed the man we knew
And brought your shroud, where should we bury听you?'
He said: 'If you can find me when I鈥檝e died,
Then bury me wherever you decide.-
I鈥檝e never found myself; I cannot see
How when I鈥檓 dead you could discover me.
Throughout my life not one small particle
Had any knowledge of itself at all!'
Sounds like the ever whimsical Socrates to me.
Attar听mimics and, I think, surpasses听Plato's听story about this same moment:听
[Crito said] 'how shall we bury you?' 'In any way you like,' said Socrates, 'if you can catch me and I do not escape you.' And laughing quietly, looking at us, he said: 'I do not convince Crito that I am this Socrates talking to you here and ordering all I say, but he thinks that I am the thing which he will soon be looking at as a corpse, and so he asks how he shall bury me.' (Plato's Phaedo at 115c-116a.)
Platonic echo aside, Attar's Conference of Bird's听also resembles听Dante's Inferno; both stories are framed as journeys to God which explore human virtues and vices for listener and or readers benefit.
Like Dante, Attar had a soft spot for the virtuous of other religious traditions. As we've seen for example, noble non-Muslims such as Socrates are approved of by Attar.
But despite this soft spot for specific virtuous Greek philosophers, such as as Socrates, Attar听condemns Greek philosophy in general:
How will you know the truths religion speaks
While your鈥檙e philosophizing with the Greeks?
How can you be a man of faith while you鈥檙e still wrapped in their philosophic lore?
If someone traveling on love鈥檚 Way should say
'Philosophy', he doesn鈥檛 know loves way;听[...]
Philosophy, though, snares you with its 鈥榳hy鈥檚
And 鈥榟ow鈥檚, and it mostly ensnares the wise. [...]
Medina鈥檚 wisdom is enough, my friend,
Throw dirt on Greece, and all that Greece might send.
Attar sees that love is the true path to wisdom and God, and that Greek philosophy leads us away from love.
I have to disagree with Attar.
Generally, Greek philosophers saw love and the proper practice of it as the key to self awareness and self improvement. Take Plato for example, he thought that the sight of beauty quickens love which through the use of reason leads to the truth.听Philosophy, is after all, a love of wisdom.
Generally speaking, proper reason mirrors proper love in the Greek philosophical tradition; one cannot reason well without love or love well without reason; reason and love act in harmony when either is done well.
But Attar, unlike his Greek predecessors, sees reason as always in opposition to love.听As he puts it so eloquently:
My book鈥檚 all madness, Reason won鈥檛 appear
Within it鈥檚 pages, she鈥檚 a stranger here,
And till the soul breathes in this madness she
Remains a stranger to eternity.
I've spent too much time philosophizing with the Greeks to be able to agree with Attar's complete rejection of reason.
But, thankfully, we don't need to agree with Attar entirely to see how we can use his poem as a mirror to ritually channel our awareness for the sake of self improvement.
We simply need to be very clear about why Attar distrusts reason...
So, what's the reason Attar distrusts 'reason'?
I think we all can benefit from taking Attar seriously here, especially if you're the kind of person attached to seeing themselves as 'logical' or 'rational' rather than 'emotional.'
It would be easy, boring and lazy to dismiss Attar's distrust of reason as complete nonsense. More to the point, such a lazy dismissal would make it much harder to enjoy or benefit from Attar's听Conference of Bird's.
Whether or not we agree with Attar's reasons for distrusting reason we need to understand them to understand him, or give a real reason why he might be wrong.
Here's what I think Attar is up to...
Now, I'm certain you've noticed at some point in your life that you can rarely -if ever- convince people to believe something based on pure logic, reason, or empirical claims.
That's because a more reliable way -perhaps the only reliable way- to change someone's mind is telling them stories that appeal indirectly to them.
This is of course, exactly what Attar does.
Attar's poem is a bunch of stories, not a bunch of systematic 'reasons.'
Still, there is a recurring pattern behind most of Attar's enjoyable stories, one which amounts to a kind of reasoned argument when we examine his poem as a whole.
In Attar's stories,听usually听a lover falls in love with someone they are perceived as being unworthy to love: a beggar for a prince, an ascetic for a princess, a Sufi for God, etc,
Generally, the pattern in Attar's poem is that a social inferior falls in love with a social superior. This love is usually seen as scandalous, and as a rule of thumb the lovers love for the beloved is questioned and challenged by society.听
Most of Attar's stories end badly for the social inferior. Often in death.
But this 'death' is shown as a metaphor for our egos death and changes in our self understanding. Death is seen as only a kind of change, and change as a kind of death.
This is why Attar's and Plato's Socrates laughs when his followers desire to bury 'him.' 'Socrates' won't be around after death. Nor will 'Socrates' experience his own death. In other words, death is not an event 'we' experience in life.
There's some wisdom in distrusting reason in favor of intuitive love.
For it is only when we let go of who we think we are -and what we are attached to thinking we look like to others- that we can become more aware of who we truly are, which is the first step in any process of self improvement.
The problem with Attar, as I see it, is that I doubt he would be satisfied with this conclusion, he would want more of us than 'just' cultivating our self awareness for the sake of self and societal improvement.
Attar would want us to go even further, to dissolve our Self听and loyalty to others into a mystic rapture of 'oneness' with the world; by submitting to a true听and un-reasoned intuitive and spontaneous love for God, the universe, and everyone in it.
Here's why I think Attar would want us to go one step farther. As the translators of my the Conference of Birds, Dick Davis and Afkham Darbani, put it in their introduction:
Certain of the beliefs central to Sufism seem to engage Attar鈥檚 imagination more than others. Two themes in particular are diffused throughout the whole poem -the necessity for destroying the Self, and the importance of passionate love. Both are mentioned in every conceivable context and not only at the 鈥榓ppropriate鈥� moments in the narrative. The two [themes] are connected: the Self is seen as an entity dependent on pride and reputation, there can be no progress until the pilgrim is indifferent to both, and the surest way of making him indifferent is the experience of overwhelming love.
Attar's stories show again, and again, and again, that through the right kind of love we over come our selfish vanity and find the nature of god, the universe, and ourselves as more interrelated than we imagined.
Attar wishes us to see that we are the universe witnessing itself -that we are all 'god'- and that the right kind of love is indiscriminate, universal, and impartial to all 'differences.' After all, if 'we' are 'everything' and all 'god' then preferring to love some people or things more than others is downright foolish, because all we are doing is rejecting 'ourselves.'
This is why the Conference of the Birds听ends the way it does.
At the very end of the story, the birds that persevered throughout the poem and heard all of the Hoopoes stories find themselves looking into a pond. Within it, they see God within themselves reflected, the very thing they started their journey in search of.
Attar's prologue succinctly states what we are to take away from that scene and听the Conference of the Birds听as a whole:
The things you seek and know are you, and so
It鈥檚 you a hundred ways, you're forced to know.
I think this is the reason why Attar distrusts reason in general.
Reasoning with others always creates conceptual differences between things, otherwise we can't speak of one thing being different than another. And if we are the universe witnessing itself, then 'reason,' as well as language, merely creates false categories and abstractions, enslaving us to concepts, blinding us to听how interconnected everything and everyone is.
While I think this is all a fine metaphor听we benefit from learning, I don't think it's literally true and I also think this metaphor creates just as many problems as it solves.
Let me first explain where I think Attar is right, and helpful to us all, before I move on to places where he creates problems for us if we value social relationships, friendship, or family.
We can all agree that I am not the same person I was when I was 10.
The only reason I think of there being a continuity between 10 year old me and present day me is because I automatically use the concept of the Self.听
As I imagine Attar might wisely say: I am a fool if I out of loyalty to 10 year old me, I refuse to try a new activity because I want to be 'true to myself.'
For example, 10 year old me thought that skateboarding was something dumb punks did because 10 year old me recited the opinions of his Catholic grandma. Spongebob Squarepants was also suspect, for her, and thus for me, just in case you were wondering. The early 2000s Kids Tv Show Rocket Power was also suspect in my childhood. Why? It glorified the great satan of skateboarding.
Anyway, years later, I only realized how silly my suspicion of Spongebob and skateboarding was as friends of mine told me stories about their love of Spongebob and skateboarding.
These friends opened up new (and truer) ways of seeing the world for me.
My reasons to distrust Spongebob and skateboarding were ridiculous, but if someone had tried to reason or argue me out of them, I likely wouldn't have listened. My 'reasons' came from a foolish, if understandable, loyalty to the opinions of a loved one.
Attar is, like a good friend, excellent at telling us stories which help us get rid of silly ideas we get from ourselves and others about who we really are, can be, and whether Spongebob is corrupting the youth.
Sometimes 'reason' is just a convenient and socially respected cudgel we -or society- use on ourselves and others as a means of creating a conformity as meaningless as it is misguided or damaging. This is Attar's concern, and why he can help us.
Attar is great at helping us see and imagine who we really are, and could become, because his stories constantly remind us how fluid who we are really is.
So that's what sound about Attar's distrust of reason, and why he's especially worth a read, but here's the rub.
Attar doesn't distrust reason in specific cases; he doubts reason is ever useful. Because if we are the universe witnessing itself, reason can only ever divide and blind us into partial, foolish, and selfish love.
From Attar's way of seeing things, my 10 year old preferential beliefs about skateboarding and Spongebob are as delusional as my preferential love for close friends and family.
After all, where do we usually get get our reasons from, and who do we usually address them to? While we can marginally reason on our own, we primarily do so because of, with, and for others we have social relationships with.
Reason is primarily a social tool, like storytelling, that we use to renew, repair, and reform our social relationships and society.
This is why Attar's categorical distrust of reason leads to a categorical distrust all social relationships.
From Attar's way of seeing things, both reason and social relationships imprison us into a partial, limited, and distinct sense of self apart from the universe as a whole -think of my reliance on my beloved Grandma's reasoning about skateboarding and spongebob.
If you're like me, you probably don't find this side of Attar helpful, and want to pinpoint where he went wrong, especially because he's so helpful at freeing us from foolishly hating things, such as Spongebob.
Plato can help us answer Attar.
Plato's answer is one Attar might not agree with, but Plato's answer will let us read, enjoy, and make sense of Attar whether or not we fully agree with Attar's categorical distrust of reason.
Plato has Socrates argue that a categorical distrust of reason is as foolish, misguided, and silly as hating all humanity.
SOCRATES: We must not become haters of reason as people become haters of humanity. There is no greater evil one can suffer than to hate reasonable discourse. A hatred of reason and a hatred of humanity arise in the same way.
A hatred of humanity comes when someone without knowledge or skill has placed great trust in someone else and believes him to be altogether truthful, sound and trustworthy.
Then a short time afterwards, they find him to be wicked and unreliable. Then this happens in another case. When this happens enough, especially with those you believed to be close friends, then in the end, after many such blows, people come to hate all humanity and to believe that no one is sound in any way at all.
Such a hatred of humanity comes most easily to those that have little experience and skill in social relationships. For great experience would lead one to believe -what is in fact true- that the very good and the very wicked are both quite rare, and that most people are between these two extremes. (A paraphrase of Plato's Phaedo at 89d-90a.)
A complete distrust of reason, verging on hatred, arises when we have frequently been let down by arguments. But this does not mean we should give up on our ability to talk clearly, truthfully, and honestly to each other.
If we find ourselves constantly let down by others, or arguments, this means we have something to learn, not that we should give up on our ability to learn.
Plato compared the hatred of reason to the hatred of humanity for a very good reason.
For Plato, and much of the rest of Greek philosophy, reason was something you did by speaking with others, it was a social act, not a private mental one. Thus, to give up on reason did not mean giving up on your own ability to think or speak, but giving up on our collective ability to clearly discuss things, learn, and have plans and relationships with each other.
Reason and love, on this view, are mean't to harmonize with each other, however exactly that harmony works out...
I think, with Plato, that we should not hate everyone else, or all reason, but take courage, and eagerly question and wonder -in the company of trusted friends and storytellers- what led us to mistaken love or reason in the first place.听听
Still, whether we prefer to see love and reason like Plato or Attar, we can benefit from the Conference of the Birds by using it's stories as a mirror for cultivating self awareness. His poem, is like a journal, a way of regularly ritually reviewing the direction of our life.
Attar's stories are enjoyable and useful with or without us fully agreeing with his views on love, reason, or God.
Just please don't give up on reason or humanity because of a few bad apples.
POSTSCRIPT:
December 25, 2024
丕賴賱 氐賵乇鬲 睾乇賯 诏賮鬲丕乇 賲賳鈥屫з嗀� / 丕賴賱 賲毓賳蹖 賲乇丿 丕爻乇丕乇 賲賳鈥屫з嗀�
...
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...
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...
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诏乇 賲乇丕 丿乇 乇丕賴 丕賵 亘賵丿蹖 賲賯丕賲 / 卮蹖賳 卮毓乇賲 卮蹖賳 卮乇 诏卮鬲蹖 賲丿丕賲
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...
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...
亘爻 讴賴 禺賵丿 乇丕 趩賵賳 趩乇丕睾蹖 爻賵禺鬲賲 / 鬲丕 噩賴丕賳蹖 乇丕 趩賵 卮賲毓 丕賮乇賵禺鬲賲
...
诏乇 丿賲蹖 亘乇 乇丕賴 丕賵 丿乇 讴丕乇賲蹖 / 讴蹖 趩賳蹖賳 賲爻鬲睾乇賯 丕卮毓丕乇賲蹖
诏乇 賲乇丕 丿乇 乇丕賴 丕賵 亘賵丿蹖 賲賯丕賲 / 卮蹖賳 卮毓乇賲 卮蹖賳 卮乇 诏卮鬲蹖 賲丿丕賲
卮毓乇 诏賮鬲賳 丨噩鬲 亘蹖鈥屫ж蒂勠屸€屫池� / 禺賵蹖卮賳 賵丕 丿蹖丿 讴乇丿賳 噩丕賴賱蹖鈥屫池�.
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