In Section 24 of Jami's Haft Awrang, the poet distinguishes between the superficial, ego-driven dancing (raqs) of the spiritually deficient and the genuine, transcendent movement (jonbesh) of the perfect wayfarers. While the dance of the imperfect is oriented toward worldly deficiency, the movement of the perfect represents the 'bird of the soul' (morgh-e jan) flapping its wings to escape the abyss of material misery. Jami warns that merely leaping at every sound is not true spiritual ecstasy, but rather a superficial distraction from the genuine vertical ascent of the spirit.