Attar of Nishapur 1

Attar of Nishapur
Attar of Nishapur

Attar of Nishapur

Mystic Poet

Born c. 1145
Nishapur, Persia

Died c. 1220 (aged 74–75)

Nishapur, Persia

Honored in Islam

Influences Ferdowsi, Sanai, Khwaja Abdullah Ansari, Mansur Al-Hallaj, Abu-Sa'id Abul-Khayr, Bayazid Bastami

Influenced Rumi, Hafez, Jami, Ali-Shir Nava'i and many other later Sufi Poets

Tradition/Genre Mystic poetry

Major work(s) Memorial of the Saints

The Conference of the Birds

Abū Ḥamīd bin Abū Bakr Ibrāhīm (c. 1145 – c. 1221; Persian: ‫)ﺍﺑﻮ ﺣﺎﻣﺪ ﺑﻦ ﺍﺑﻮﺑﮑﺮ ﺍﺑﺮﺍﻫﯿﻢ‬, better known by his
pen-names Farīd ud-Dīn (‫ )ﻓﺮﯾﺪ ﺍﻟﺪﯾﻦ‬and ʿAṭṭār (‫ﻋﻄﺎﺭ‬, "the perfumer"), was a Persian[1][2][3] Muslim poet, theoretician
of Sufism, and hagiographer from Nishapur who had an immense and lasting influence on Persian poetry and
Sufism.

Biography
Information about Attar's life is rare and scarce. He is mentioned by only two of his contemporaries, `Awfi and Tusi.
However, all sources confirm that he was from Nishapur, a major city of medieval Khorasan (now located in the
northeast of Iran), and according to `Awfi, he was a poet of the Seljuq period.
According to Reinert: It seems that he was not well known as a poet in his own lifetime, except at his home town, and
his greatness as a mystic, a poet, and a master of narrative was not discovered until the 15th century.[2] At the same
time, the mystic Persian poet Rumi has mentioned: "Attar was the spirit, Sanai his eyes twain, And in time thereafter,
Came we in their train"[4] and mentions in another poem: "Attar has traversed the seven cities of Love, We are still at
the turn of one street".[5]
Attar of Nishapur 2

`Attar was probably the son of a prosperous chemist, receiving an

excellent education in various fields. While his works say little else
about his life, they tell us that he practiced the profession of pharmacy
and personally attended to a very large number of customers.[2] The
people he helped in the pharmacy used to confide their troubles in
`Attar and this affected him deeply. Eventually, he abandoned his
pharmacy store and traveled widely - to Baghdad, Basra, Kufa, Mecca,
Medina, Damascus, Khwarizm, Turkistan, and India, meeting with Sufi
Shaykhs - and returned promoting Sufi ideas.[6]

`Attar's initiation into Sufi practices is subject to much speculation and

fabrication. Of all the famous Sufi Shaykhs supposed to have been his
teachers, only one - Majd ud-Din Baghdadi a disciple of Najmuddin
Kubra- comes within the bounds of possibility. The only certainty in
this regard is `Attar's own statement that he once met him.[7] In any
`Attar's mausoleum in Nishapur, Iran case it can be taken for granted that from childhood onward `Attar,
encouraged by his father, was interested in the Sufis and their sayings
and way of life, and regarded their saints as his spiritual guides.[8] `Attar reached an age of over 70 and died a violent
death in the massacre which the Mongols inflicted on Nishapur in April 1221.[2] Today, his mausoleum is located in
Nishapur. It was built by Ali-Shir Nava'i in the 16th century. Like many aspects of his life, his death, too, is blended
with legends and speculation.

Teachings
The thoughts depicted in `Attar's works reflects the whole evolution of
the Sufi movement. The starting point is the idea that the body-bound
soul's awaited release and return to its source in the other world can be
experienced during the present life in mystic union attainable through
inward purification.[9] In explaining his thoughts, 'Attar uses material
not only from specifically Sufi sources but also from older ascetic
legacies. Although his heroes are for the most part Sufis and ascetics,
he also introduces stories from historical chronicles, collections of
anecdotes, and all types of high-esteemed literature.[2] His talent for
perception of deeper meanings behind outward appearances enables
him to turn details of everyday life into illustrations of his thoughts.
The idiosyncrasy of `Attar's presentations invalidates his works as Ayaz kneeling before Sultan Mahmud of Ghazni.
sources for study of the historical persons whom he introduces. As A miniature painting made in the year 1472, is
sources on the hagiology and phenomenology of Sufism, however, his used to illustrate the six poems by Attar of
Nishapur.
works have immense value.

Judging from `Attar's writings, he viewed the ancient Aristotelian heritage with skepticism and dislike.[10][11]
Interestingly, he did not want to uncover the secrets of nature. This is particularly remarkable in the case of
medicine, which fell within the scope of his profession. He obviously had no motive for showing off his secular
knowledge in the manner customary among court panegyrists, whose type of poetry he despised and never practiced.
Such knowledge is only brought into his works in contexts where the theme of a story touches on a branch of natural
science.
Attar of Nishapur 3

Poetry
`Attar speaks of his own poetry in various contexts including the epilogues of his long narrative poems. He confirms
the guess likely to be made by every reader that he possessed an inexhaustible fund of thematic and verbal
inspiration. He writes that when he composed his poems, more ideas came into his mind than he could possibly
use.[12] He also states that the effort of poetical composition threw him into a state of trance in which he could not
sleep.[13]

Works
The question whether all the works that
have been ascribed to him are really from
his pen has not been resolved. This is due to
two facts that have been observed in his
works:[2]
1. There are considerable differences of
style among these works.
2. Some of them indicate a Sunni, and
others a Shia, allegiance of the author.
Classification of the various works by these
two criteria yields virtually identical results.
The German orientalist Hellmut Ritter at
first thought that the problem could be
explained by a spiritual evolution of the
Manuscript by Farid Al Din Attar kept in the Pergamon Museum
poet. He distinguished three phases of
`Attar's creativity:

1. Works in which mysticism is in perfect balance with a finished, story-teller's art.

2. Works in which a pantheistic zeal gains the upper hand over literary interest.
3. Works in which the aging poet idolizes Imam Ali ibn Abu Talib while there is no trace of ordered thoughts and
descriptive skills.[6]
Ritter surmised that the last phase, that of old age, was coincidental with a conversion to Shi'ism.[14] However, in
1941, the Persian scholar Nafisi was able to prove that the works of the third phase in Ritter's classification were
written by another `Attar who lived about two hundred and fifty years later at Mashhad and was a native of Tun.[2]
Ritter accepted this finding in the main, but doubted whether Nafisi was right in attributing the works of the second
group also to this `Attar of Tun. One of Ritter's arguments is that the principal figure in the second group is not Ali,
as in the third group, but Hallaj, and that there is nothing in the explicit content of the second group to indicate a Shia
allegiance of the author. Another is the important chronological point that a manuscript of the Jawhar al-Dāt, the
chief work in the second group, bears the date 735 A.H. (= 1334-35 AD). While `Attar of Tun's authorship of the
second group is untenable, Nafisi was certainly right in concluding that the style difference (already observed by
Ritter) between the works in the first group and those in the second group is too great to be explained by a spiritual
evolution of the author. The authorship of the second group remains an unsolved problem.[2]
According to Edward G. Browne, Attar as well as Rumi and Sana'i were all Sunni Muslims and their poetry abound
with praise for the first two caliphs Abu Bakr and Umar ibn al-Khattāb.[15] According to Annemarie Schimmel, the
tendency among Shia authors to include leading mystical poets such as Rumi and Attar among their own ranks,
became stronger after the introduction of Twelver Shia as the state religion in the Safavid Empire in 1501.[16]
Attar of Nishapur 4

In the introductions of Mukhtār-Nāma (‫ )ﻣﺨﺘﺎﺭﻧﺎﻣﻪ‬and Khusraw-Nāma (‫)ﺧﺴﺮﻭﻧﺎﻣﻪ‬, Attar lists the titles of further
products of his pen:
• Dīwān (‫)ﺩﯾﻮﺍﻥ‬
• Asrār-Nāma (‫)ﺍﺳﺮﺍﺭﻧﺎﻣﻪ‬
• Manṭiq-uṭ-Ṭayr (‫)ﻣﻨﻄﻖ ﺍﻟﻄﯿﺮ‬, also known as Maqāmāt-uṭ-Ṭuyūr (‫ﻣﻘﺎﻣﺎﺕ‬
‫)ﺍﻟﻄﯿﻮﺭ‬
• Muṣībat-Nāma (‫)ﻧﺎﻣﻪﻣﺼﯿﺒﺖ‬
• Ilāhī-Nāma (‫)ﻧﺎﻣﻪﺍﻟﻬﯽ‬
• Jawāhir-Nāma (‫)ﺟﻮﺍﻫﺮﻧﺎﻣﻪ‬
• Šarḥ al-Qalb[17] (‫)ﺷﺮﺡ ﺍﻟﻘﻠﺐ‬
He also states, in the introduction of the Mukhtār-Nāma, that he
destroyed the Jawāhir-Nāma' and the Šarḥ al-Qalb with his own hand.
Although the contemporary sources confirm only `Attar's authorship of
the Dīwān and the Manṭiq-uṭ-Ṭayr, there are no grounds for doubting
the authenticity of the Mukhtār-Nāma and Khusraw-Nāma and their
prefaces.[2] One work is missing from these lists, namely the
Tadhkirat-ul-Awliyā, which was probably omitted because it is a prose
work; its attribution to `Attar is scarcely open to question. In its
introduction `Attar mentions three other works of his, including one
Manṭiq-uṭ-Ṭayr
entitled Šarḥ al-Qalb, presumably the same that he destroyed. The
nature of the other two, entitled Kašf al-Asrār (‫ )ﮐﺸﻒ ﺍﻻﺳﺮﺍﺭ‬and Maʿrifat
al-Nafs (‫)ﻣﻌﺮﻓﺖ ﺍﻟﻨﻔﺲ‬, remains unknown.[18]

Manṭiq-uṭ-Ṭayr
Led by the hoopoe, the birds of the world set forth in search of their king, Simurgh. Their quest takes them through
seven valleys in the first of which a hundred difficulties assail them. They undergo many trials as they try to free
themselves of what is precious to them and change their state. Once successful and filled with longing, they ask for
wine to dull the effects of dogma, belief, and unbelief on their lives. In the second valley, the birds give up reason for
love and, with a thousand hearts to sacrifice, continue their quest for discovering the Simurgh. The third valley
confounds the birds, especially when they discover that their worldly knowledge has become completely useless and
their understanding has become ambivalent. There are different ways of crossing this Valley, and all birds do not fly
alike. Understanding can be arrived at variously—some have found the Mihrab, others the idol.
The fourth valley is introduced as the valley of detachment, i.e., detachment from desire to possess and the wish to
discover. The birds begin to feel that they have become part of a universe that is detached from their physical
recognizable reality. In their new world, the planets are as minute as sparks of dust and elephants are not
distinguishable from ants. It is not until they enter the fifth valley that they realize that unity and multiplicity are the
same. And as they have become entities in a vacuum with no sense of eternity. More importantly, they realize that
God is beyond unity, multiplicity, and eternity. Stepping into the sixth valley, the birds become astonished at the
beauty of the Beloved. Experiencing extreme sadness and dejection, they feel that they know nothing, understand
nothing. They are not even aware of themselves. Only thirty birds reach the abode of the Simurgh. But there is no
Simurgh anywhere to see. Simurgh's chamberlain keeps them waiting for Simurgh long enough for the birds to
figure out that they themselves are the si-murgh — si (‫ﺳﯽ‬, "thirty") + murgh (‫ﻣﺮﻍ‬, "bird"). The seventh valley is the
valley of deprivation, forgetfulness, dumbness, deafness, and death. The present and future lives of the thirty
successful birds become shadows chased by the celestial Sun. And themselves, lost in the Sea of His existence, are
the Simurgh.[19]
Attar of Nishapur 5

The Seven Valleys of spirituality(conference of the birds)

Attar has described the seven stages of spirituality in the conference of the birds:
• The Valley of Quest
• The Valley of Love
• The Valley of Understanding
• The Valley of Independence and Detachment
• The Valley of Unity
• The Valley of Astonishment and Bewilderment
• The Valley of Deprivation and Death

Tadhkirat-ul-Awliyā
Attar's only known prose work which he worked on throughout much of his life and which was available publicly
before his death, is a biography of Muslim saints and mystics. In what is considered the most compelling entry in
this book, `Attar relates the story of the execution of Hallaj, the mystic who had uttered the words "I am the Truth" in
a state of ecstatic contemplation.

Ilāhī-Nama
The Ilāhī-Nama (Persian: ‫ )ﺍﻟﻬﯽ ﻧﺎﻣﻪ‬is another famous poetic work of Attar consisting of 6500 verses. In terms of form
and content, it has some similarities with Bird Parliament. The story is about a king who is confronted with the
materialistic and worldly demands of his six sons. The King tries to show the temporary and senseless desires of his
six son by retelling them a large number of spiritual stories. The first son asks for the daughter of the king of fairies
(Pariyaan).

Mukhtār-Nāma
Mukhtār-Nāma (Persian: ‫)ﻣﺨﺘﺎﺭ ﻧﺎﻣﻪ‬, a wide-ranging collection of quatrains (2088 in number). In the Mokhtar-nama, a
coherent group of mystical and religious subjects is outlined (search for union, sense of uniqueness, distancing from
the world, annihilation, amazement, pain, awareness of death, etc.), and an equally rich group of themes typical of
lyrical poetry of erotic inspiration adopted by mystical literature (the torment of love, impossible union, beauty of the
loved one, stereotypes of the love story as weakness, crying, separation).[20]
Attar of Nishapur 6

Divan
The Diwan of Attar (Persian: ‫ )ﺩﯾﻮﺍﻥ ﻋﻄﺎﺭ‬consists almost entirely of
poems in the Ghazal ("lyric") form, as he collected his Ruba'i
("quatrains") in a separate work called the Mokhtar-nama. There are
also some Qasida ("Odes"), but they amount to less than one-seventh
of the Divan. His Qasidas expound upon mystical and ethical themes
and moral precepts. They are sometimes modeled after Sanai. The
Ghazals often seem from their outward vocabulary just to be love and
wine songs with a predilection for libertine imagery, but generally
imply spiritual experiences in the familiar symbolic language of
classical Islamic Sufism.[2] Attar's lyrics express the same ideas that
are elaborated in his epics. His lyric poetry does not significantly differ
from that of his narrative poetry, and the same may be said of the
rhetoric and imagery.

Legacy

Influence on Rumi A miniature painting by Bihzad illustrating the

funeral of the elderly Attar of Nishapur after he
`Attar is one of the most famous mystic poets of Iran. His works were was held captive and killed by a Mongol invader.
the inspiration of Rumi and many other mystic poets. `Attar, along
with Sanai were two of the greatest influences on Rumi in his Sufi views. Rumi has mentioned both of them with the
highest esteem several times in his poetry. Rumi praises `Attar as follows:
Attar has roamed through the seven cities of love while we have barely turned down the first street.[21]

As a pharmacist
`Attar was a pen-name which he took for his occupation. `Attar means herbalist, druggist, perfumist or alchemist,
and during his lifetime in Persia, much of medicine and drugs were based on herbs. Therefore, by profession he was
similar to a modern-day town doctor and pharmacist. Rose oil means attar.

In popular culture
Several musical artists have albums or songs which share the name of his most famous work, Conference of the
Birds, as well as the themes of enlightenment contained therein. Notably, jazz bassist David Holland's album, which
was written as a metaphor for his own enlightenment, and Om's Conference of the Birds, which deals with extremely
esoteric themes often connected with metaphors of flight, inward vision, destruction of self, and oneness with the
cosmos
Attar of Nishapur 7

References
[1] Farīd al-Dīn ʿAṭṭār, in Encyclopaedia Britannica, online edition - accessed December 2012. (http:/ / www. britannica. com/ EBchecked/ topic/
42112/ Farid-al-Din-Attar)
[2] B. Reinert, "`Attar" (http:/ / www. iranicaonline. org/ articles/ attar-farid-al-din-poet), in Encyclopædia Iranica, Online Edition
[3] Ritter, H. (1986), “Attar”, Encyclopaedia of Islam, New Ed., vol. 1: 751-755. Excerpt: "ATTAR, FARID AL-DIN MUHAMMAD B.
IBRAHIM.Persian mystical poet."
[4] "A. J. Arberry, "Sufism: An Account of the Mystics of Islam",Courier Dover Publications, Nov 9, 2001. p. 141
[5] Seyyed Hossein Nasr, "The Garden of Truth: The Vision and Promise of Sufism, Islam's Mystical Tradition" HarperCollins, Sep 2, 2008.
page 130: "Attar has traversed the seven cities of Love, We are still at the turn of one street!"
[6] Iraj Bashiri, " Farid al-Din `Attar (http:/ / www. angelfire. com/ rnb/ bashiri/ Poets/ Attar. html)"
[7] Taḏkerat al-Awliyā; pp. 1,6,21
[8] Taḏkerat al-Awliyā; pp. 1,55,23 ff
[9] F. Meier, "Der Geistmensch bei dem persischen Dichter `Attar", Eranos-Jahrbuch 13, 1945, pp. 286 ff
[10] Muṣībat-Nāma, p. 54 ff
[11] Asrār-Nāma, pp. 50, 794 ff
[12] Asrār-Nāma; p. 185: verse 3146, and p. 186: verse 3151
[13] Asrār-Nāma; p. 185: verse 3148
[14] H. Rittner, "Philologika X," pp. 143 f
[15] Edward G. Browne, A Literary History of Persia from the Earliest Times Until Firdawsi, 543 pp., Adamant Media Corporation, 2002, ISBN
1-4021-6045-3, ISBN 978-1-4021-6045-5 (see p.437)
[16] Annemarie Schimmel, Deciphering the Signs of God, 302 pp., SUNY Press, 1994, ISBN 0-7914-1982-7, ISBN 978-0-7914-1982-3 (see
p.210)
[17] quoted in H. Ritter, "Philologika X," pp. 147-53
[18] Ritter, "Philologika XIV," p. 63
[20] Daniela Meneghini, "MOḴTĀR-NĀMA" (http:/ / www. iranica. com/ newsite/ index. isc?Article=http:/ / www. iranica. com/ newsite/
articles/ unicode/ ot_grp12/ ot_mokhtarnama_20080407. html)
[21] Fodor's Iran (1979) by Richard Moore and Peter Sheldon, p. 277

Sources
• E.G. Browne. Literary History of Persia. 1998. ISBN 0-7007-0406-X.
• Jan Rypka, History of Iranian Literature. Reidel Publishing Company. 1968 OCLC  460598 (http://www.
worldcat.org/oclc/460598). ISBN 90-277-0143-1

External links
• A few wikiquotes
• Attar in Encyclopedia Iranica by B. Reinert (http://www.iranicaonline.org/articles/
attar-farid-al-din-persian-poet-and-sufi)
• Attar, Farid ad-Din (http://www.angelfire.com/rnb/bashiri/Poets/Attar.html#Farid). A biography by
Professor Iraj Bashiri, University of Minnesota.
• Poetry by `Attar (http://www.poetseers.org/spiritual_and_devotional_poets/sufi/attar/attarp/)
• Fifty Poems of `Attar (http://www.re-press.org/content/view/50/38/). A Translation of 50 poems with the
Persian on the facing page.
• Attar's works in original Persian (http://ganjoor.net/) at Ganjoor Persian Library
• Deewan-e-Attar in original Persian single pdf file uploaded by javed Hussen (http://www.scribd.com/doc/
29159138/Attar-Complete)
• Panoramic Images of Attar Tombs (http://551.ir/en/about-neyshabur/tourism/
174-panoramic-images-of-attar-and-kamalalmolk-tombs)
Attar of Nishapur 8

Sufism and
Tariqa

Portal
Article Sources and Contributors 9

Article Sources and Contributors

Attar of Nishapur  Source: http://en.wikipedia.org/w/index.php?oldid=567378116  Contributors: 19thPharaoh, AdibMasumian, Airplaneman, Al-Andalusi, Al-Fanā, Alex756, Alireza Hashemi,
Amir85, Annielogue, Appleseed, Attilios, Auc, Bahram.zahir, Bahramm 2, BehnamFarid, Bejnar, Cabolitae, Charles Matthews, ChrisCork, Closedmouth, Colonies Chris, CommonsDelinker,
Courcelles, Cuchullain, Cunado19, Cuñado, DanielCD, Danieliness, David Straub, Dialectric, Dimadick, Dogru144, Drbreznjev, Dreadstar, Falconkhe, Farhikht, FeanorStar7, Gadfium,
Gangasrotogati, GiantSnowman, Goatasaur, Good Olfactory, Haiduc, Hanbrook, Hinio, Hom sepanta, Hydrogen Iodide, Imadjafar, Infocidal, Isa alcala, J JMesserly, JaGa, Jahangard, John
Vandenberg, JohnI, JuJube, Juliette0007, K1, Kalki, Kansas Bear, Khabir786, Khodabandeh14, Kingboyk, Linguiste, Lmstearn, Locaracle, Lotje, MER-C, MaKi, Mani1, McNoddy, Mdann52,
Mfcayley, Mmehdi.g, NSH001, Nepaheshgar, Nersy, Nick Number, Nishaburday, Odhikarjvd, Pahlavannariman, Paul August, Paul Laurence Smith, Pegship, Personal2x, Pouya, R1000R1000,
Rami radwan, Refdoc, Regulus, RimeNaguib, Rocastelo, Roozbeh, Sadads, Salijazayeri, Sandover, Siba, Signalhead, Siyavash, Sonia Sevilla, Soroush Mesry, Soroush83, StAnselm,
Stevenmitchell, Syarir, Tabletop, Tajik, Takabeg, Talmage, Tassedethe, Texture, Thadswanek, TimBentley, Topbanana, Total-MAdMaN, U-571, Wayiran, Who, Wik, Wiki-uk, WikiLaurent,
William M. Connolley, WordyGirl90, Xashaiar, Yahia.barie, Zereshk, ZxxZxxZ, Zyma, ‫ﻋﻠﯽ ﻭﯾﮑﯽ‬, 150 anonymous edits

Image Sources, Licenses and Contributors

File:Attar.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Attar.jpg  License: Public Domain  Contributors: Fifty Percent Normal
File:Image-Attaar0b.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Image-Attaar0b.jpg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: Nik_Pendaar
File:Mahmoud and Ayaz.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Mahmoud_and_Ayaz.jpg  License: Public Domain  Contributors: Amir85, Felix Folio Secundus,
Gryffindor, Haiduc, Johnbod, Mani1, Officer, 2 anonymous edits
File:Farid Al Din Attar.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Farid_Al_Din_Attar.JPG  License: Creative Commons Attribution-Sharealike 3.0  Contributors: User:Rami
radwan
File:The Mantiq al-tair.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:The_Mantiq_al-tair.jpg  License: Public Domain  Contributors: Habibulla Meshedi Original uploader was
Евгений Ардаев at ru.wikipedia
File:Bihhzad 004.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Bihhzad_004.jpg  License: Public Domain  Contributors: Original uploader was Евгений Ардаев at ru.wikipedia
File:Shrine_of_Abdul_Qadir_Jilani..jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Shrine_of_Abdul_Qadir_Jilani..jpg  License: Creative Commons Attribution-Sharealike 3.0
 Contributors: VrMUSLIM
File:Portal-puzzle.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Portal-puzzle.svg  License: Public Domain  Contributors: Anomie
File:Mosque02.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Mosque02.svg  License: Creative Commons Attribution-ShareAlike 3.0 Unported  Contributors: DarkPhoenix,
Electron, Herbythyme, Indolences, Krun, Liftarn, William Avery, Wst, と あ る 白 い 猫, 12 anonymous edits

License
Creative Commons Attribution-Share Alike 3.0 Unported
//creativecommons.org/licenses/by-sa/3.0/