The Conference of the Birds

The Conference of the Birds or Speech of the Birds (منطق الطیر, Manṭiq-uṭ-Ṭayr, also known as مقامات الطیور Maqāmāt-uṭ-Ṭuyūr; 1177) is a Persian poem by Sufi poet Farid ud-Din Attar, commonly known as Attar of Nishapur. The title is taken directly from the Qur’an, 27:16, where Sulayman (Solomon) and Dāwūd (David) are said to have been taught the language, or speech, of the birds (manṭiq al-ṭayr). Attar’s death, as with his life, is subject to speculation. He is known to have lived and died a violent death in the massacre inflicted by Genghis Khan and the Mongol army on the city of Nishapur in 1221, when he was seventy years old.

Synopsis
In the poem, the birds of the world gather to decide who is to be their sovereign, as they have none. The hoopoe, the wisest of them all, suggests that they should find the legendary Simorgh. The hoopoe leads the birds, each of whom represents a human fault which prevents humanity from attaining enlightenment.

The hoopoe tells the birds that they have to cross seven valleys in order to reach the abode of Simorgh. These valleys are as follows:

Sholeh Wolpé writes, "When the birds hear the description of these valleys, they bow their heads in distress; some even die of fright right then and there. But despite their trepidations, they begin the great journey. On the way, many perish of thirst, heat or illness, while others fall prey to wild beasts, panic, and violence. Finally, only thirty birds make it to the abode of Simorgh. In the end, the birds learn that they themselves are the Simorgh; the name “Simorgh” in Persian means thirty (si) birds (morgh). They eventually come to understand that the majesty of that Beloved is like the sun that can be seen reflected in a mirror. Yet, whoever looks into that mirror will also behold his or her own image."

Commentary
Attar's use of symbolism is a key, driving component of the poem. This handling of symbolisms and allusions can be seen reflected in these lines:

Beside the symbolic use of the Simorgh, the allusion to China is also very significant. According to Idries Shah, China as used here, is not the geographical China, but the symbol of mystic experience, as inferred from the Hadith (declared weak by Ibn Adee, but still used symbolically by some Sufis): "Seek knowledge; even as far as China". There are many more examples of such subtle symbols and allusions throughout the Mantiq. Within the larger context of the story of the journey of the birds, Attar masterfully tells the reader many didactic short, sweet stories in captivating poetic style.

Sholeh Wolpé, in the foreword of her modern translation of this work writes: "The parables in this book trigger memories deep within us all. The stories inhabit the imagination, and slowly over time, their wisdom trickles down into the heart. The process of absorption is unique to every individual, as is each person’s journey. We are the birds in the story. All of us have our own ideas and ideals, our own fears and anxieties, as we hold on to our own version of the truth. Like the birds of this story, we may take flight together, but the journey itself will be different for each of us. Attar tells us that truth is not static, and that we each tread a path according to our own capacity. It evolves as we evolve. Those who are trapped within their own dogma, clinging to hardened beliefs or faith, are deprived of the journey toward the unfathomable Divine, which Attar calls the Great Ocean."

Wolpé further writes: "The book is meant to be not only instructive but also entertaining."

English translations

 * , reissued by Routledge and Kegan Paul Ltd, 1961.
 * , re-edited as The Canticle of the Birds, Diane de Sellier Éditeur, 2013.
 * , re-edited as The Canticle of the Birds, Diane de Sellier Éditeur, 2013.

La Conférence des oiseaux and other theatrical adaptations
Peter Brook and Jean-Claude Carrière adapted the poem into a play titled La Conférence des oiseaux (The Conference of the Birds), which they published in 1979. Brook toured embryonic versions of the play around rural Africa during the visit of his International Centre for Theatre Research to that continent in 1972–73, before presenting two extremely successful productions to Western audiences—one in New York City at La MaMa E.T.C., and one in Paris. John Heilpern gives an account of the events surrounding the early development of the play in his 1977 book Conference of the Birds: The Story of Peter Brook in Africa.

Sholeh Wolpe's stage adaptation of The Conference of the Birds was premiered by Inferno Theatre and Ubuntu Theater Project (now Oakland Theater Project), in Oakland California in November 2018.

Illustrations
Collection at the Metropolitan Museum of Art, New York. Folio from an illustrated Persian manuscript dated c.1600. Paintings by Habiballah of Sava (active ca. 1590–1610), in ink, opaque watercolor, gold, and silver on paper, dimensions 25,4 x 11,4 cm.

In popular culture
ARTE France will launch 30 Birds, an upcoming puzzle video game inspired by Persian art and The Conference of the Birds. Set in the magical city of The Lanterns, the player takes on the role of Zig, a female detective assigned to track down an internationally wanted criminal known as "The Scientist", who is also the prime suspect in the kidnapping of the city's patron bird goddess, Simurgh. For Zig to both apprehend The Scientist and rescue Simurgh, she must recruit the eponymous thirty birds while solving complex puzzles along the way.