In Section 39 of Farid al-Din Attar's Khosrow Nameh, the poet describes the harp (chang) through vivid anthropomorphic and musical metaphors. The instrument is personified as a bent old man whose exposed veins and nerves represent the strings, and as a modest daughter under a veil receiving her mother's touch. Attar's description of the harpist drawing twelve musical modes (deh o do pardeh) from the instrument serves as an allegory for how outward form and physical manipulation reveal inner, hidden spiritual melodies, bridging the sensory world with the transcendent realm of beauty.