In Section 37 of Farid al-Din Attar's Khosrow Nameh, the mesmerizing performance of a musician (motreb) serves as an allegory for divine inspiration and spiritual resonance. The enchanting melodies played by the musician act as a catalyst for spiritual ecstasy, stirring the soul of the Sufi to tear their cloak (kherqeh-kashi) in a state of mystical intoxication. Attar uses this description to illustrate how aesthetic beauty and celestial music can transcend worldly sensory boundaries, awakening the human spirit to its divine origin and drawing the seeker closer to the ultimate Beloved.