attar

Abū Hamīd bin Abū Bakr Ibrāhīm (born 1145-46 in Nishapur Iran – died c. 1221), much better known by his pen-names Farīd ud-Dīn (فریدالدین) and ‘Attār (عطار - the pharmacist), was a Persian Muslim poet, theoretician of Sufism, and hagiographer from Nīshāpūr who left an everlasting influence on Persian poetry and Sufism.

[edit] Biography
Information about Attar's life is rare. He is mentioned by only two of his contemporaries, `Awfi and Nasir ud-Din 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. 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.[1]

[edit] Life

`Attar's mausoleum in Nishapur, Iran`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.[1] 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 Kufa, Mecca, Damascus, Turkistan, and India, meeting with Sufi Shaykhs - and returned promoting Sufi ideas.[2]

`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 - comes within the bounds of possibility. The only certainty in this regard is `Attar's own statement that he once met him.[3]

In any 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.[4]

`Attar reached an age of over 70 and died a violent death in the massacre which the Mongols inflicted on Nishabur in April 1221.[1] 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. A well-known story regarding his death goes as follows:

`Attar was taken prisoner by a Mongol during the invasion of Nishabur. Someone soon came and tried to ransom him with a thousand pieces of silver. `Attar advised the Mongol not to sell him for that price. The Mongol, thinking to gain an even greater sum of money, refused the silver. Later, another person came, this time offering only a sack of straw to free him. `Attar then told the Mongol to sell him, for that was all he was worth. Outraged at being made a fool, the Mongol cut off `Attar's head.

[edit] Teachings
The thought-world 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.[5] 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.[1] 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 sources for study of the historical persons whom he introduces. As sources on the hagiology and phenomenology of Sufism, however, his works have immense value.

Judging from `Attar's writings, he viewed the ancient Aristotelian heritage with skepticism and dislike.[6][7] 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.

[edit] 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.[8] He also states that the effort of poetical composition threw him into a state of trance in which he could not sleep.[9]

Like his contemporary Khaqani, `Attar was not only convinced that his poetry had far surpassed all previous poetry, but that it was to be intrinsically unsurpassable at any time in the future, seeing himself as the “seal of the poets” and his poetry as the “seal of speech.”[10]

[edit] Works

Statue of the German orientalist Hellmut Ritter beside `Attar's mausoleum. It was made by order of Goethe and Hafez fans in Germany.The question whether all the works that have been ascribed to him are really from his pen, has not been solved. This is due to two facts that have been observed in his works:[1]

There are considerable differences of style among these works.
Some of them indicate a Sunnite, 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 poet. He distinguished three phases of `Attar's creativity:

Works in which mysticism is in perfect balance with a finished, story-teller's art.
Works in which a pantheistic zeal gains the upper hand over literary interest.
Works in which the aging poet idolizes Imam Ali ibn Abu Talib while there is no trace of ordered thoughts and descriptive skills.[2]
Ritter surmised that the last phase, that of old age, was coincidental with a conversion to Shi'ism.[11] 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.[1] 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 A.D.). 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.[1]

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[12]. 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[13].

In the introductions of Mokhtār-Nāma (مختارنامه) and Khosrow-Nāma (خسرونامه), `Attar lists the titles of further products of his pen:


“Manteq at-Ṭayr” (“Conference of the Birds”)Dīvān (دیوان)
Asrār-Nāma (اسرار نامه)
Maqāmāt-e Toyūr (= Manteq aṭ-Ṭayr; مقامات الطیور or منطق الطیر)
Moṣībat-Nāma (مصیب نامه)
Elāhī-Nāma (الهی نامه)
Jawāher-Nāma (جواهر نامه)
Šarḥ al-Qalb[14] (شرح القلب)
He also states, in the introduction of the Mokhtār-Nāma, that he destroyed the Jawāher-Nāma' and the Šarḥ al-Qalb with his own hand.

Although the contemporary sources confirm only `Attar's authorship of the Dīvān and the Manteq al-Ṭayr, there are no grounds for doubting the authenticity of the Mokhtār-Nāma and Khosrow-Nāma and their prefaces.[1] One work is missing from these lists, namely the Tadhkerat al-Awlīya, 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 entitled Šarḥ al-Qalb, presumably the same that he destroyed. The nature of the other two, entitled Kašf al-Asrār and Ma'refat al-Nafs, remains unknown.[15]

[edit] Manteq aṭ-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 (thirty) murgh (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[16]. The poem's title possibly served as inspiration for jazz bassist Dave Holland's 1972 album of the same name.

[edit] `Attar's Seven Valleys of Love in the Manteq al-Tayr
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
[edit] Tadhkerat al-Awlīya
Main article: Tadhkirat al-awliya
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.

[edit] Divan
This consists 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[1]. 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.




[edit] Legacy
[edit] Influence on Rumi
`Attar is one of the most famous mystic poets of Iran. His works were 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 roamed the seven cities of love -- We are still just in one alley".
[edit] As a pharmacist
`Attar was a pen-name which he took for his occupation. `Attar means herbalist, druggist and perfumist, 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.