Provocative readings recently have featured a half dozen or so works that circle about “visionary recitals,” hoping for exposure to the numinous, moving like Rilke’s orbits around the ancient tower, perhaps to gain personal guidance on this journey, probing the beyond. Rilke’s imagery suggests the way:
“I live my life in growing orbits
which move out over the things of the world.
Perhaps I can never achieve the last,
but that will be my attempt.
I am circling around God, around the ancient tower,
and I have been circling for a thousand years,
and I still don’t know if I am a falcon, or a storm,
or a great song.”
Translation by Robert Bly, Selected Poems of Rainer Maria Rilke, pp. 12-13.
[see also, Going in Circles]
The “tower” centers a life by providing the gravity that holds against the centrifugal force. The orbits drawn by guidance are building the character needed to prevent the accumulated life experience from dissipating into nothingness. This guidance protects from being drawn into false idols of power-mad cults as well as from the seductions of narcissism. Finding and refining the “tower” directs the journey to heaven. The theme of “visionary recitals” offers such a tower.
A visionary recital that carries particular magnetism for me comes in Attar’s [d. 1229] Conference of the Birds. Yearning for the Divine, as Rilke tells, distinguishes this tower with its orbital power, and my connection with Attar’s masterpiece has been engaged for at least a decade or so … “if one sigh rises from the inmost soul…”
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| Eleven minutes after the previous photo |
This magnetism of Attar’s work prompted an orbit into Avicenna [d. 1037] to explore source material drawn upon by Attar. The significance of this exploration receives fascinating elaboration by Henry Corbin who summarizes the importance: “With Attar’s poem, the end of the celestial ascent finally marks full mystical consciousness of encountering, attaining to, the Self to which one says ‘Thou’” (p. 169, Avicenna and the Visionary Recital). Corbin’s study led to consideration of Salaman and Absal as well as Ibn Tufayl’s Hayy Ibn Yaqzan (translation and commentary by Lenn Evan Goodman). The trace soon focused on Ian Richard Netton’s Islam, Christianity and the Mystic Journey which includes particular reference to Qushayriya’s Sufi Book of Spiritual Ascent. The spin also led into Austin O’Malley’s The Poetics of Spiritual Instruction: Farid al-Din ʿAttar and Persian Sufi Didacticism.
Netton synthesizes the central theme on page one:
“like the great Persian mystical poet, Jalal al-Din Rumi (AD 1207-73), before her, [Professor Annemarie] Schimmel expresses the essence of Sufism best in her poetry [referencing p. 42 from Nightingales Under the Snow “… I wait for the silent night/ when the archangel’s purple wing/ will cover the eyes of my heart/ and there will be nothing but You.”]. The verse captures one of the most commonplace, and yet deepest, of all sufi themes, the yearning of the terrestrial-bound soul for communion, intimacy and ultimate union (whatever that might mean!) with the Divine ‘Object’ and focus of sufi love, God Himself.”
Manna for going along life’s way comes in the imagery of orbiting around the tower and/or of traveling with a guide (as Attar’s sojourners or Dante’s descent or so many stories tell). Corbin suggests:
The idea of the journey into the Orient—that is, of the soul’s return to its “home” under the conduct of its Guide, its celestial Self—implies an “angelic pedagogy” that makes the being of the particular soul and the notion of soul in general concurrent with an angelology. This concurrence is particularly clear in the Recital of Ḥayy ibn Yaqẓān, in which the Avicennan angelology propounds its triple hierarchy: there are the Archangels or pure Intelligences, the Kerubim (Cherubs). There are the Angels who emanate from them and who are the moving Souls of the celestial spheres. There are the human souls, or ‘terrestrial angels,’ who move and govern earthly human bodies (p. 46) …
This recital is an initiation into the Orient: the meaning of the Orient is announced to the adept by a messenger from that Orient itself, who shows him its direction, describes the difficult stages of the journey thither, sets forth the conditions for undertaking it, and finally concludes with the invitation: “If thou wilt, follow me.” (p. 123, Avicenna and the Visionary Recital)
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| Sunset, August 27, 2026 |





















