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:
- 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.
Ritter surmised that the last phase, that of old age, was coincidental with a conversion to Shi'ism. 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. 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-D?t, 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.
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-Khatt?b. 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.
In the introductions of
Mokht?r-N?ma (
?????????) and
Khosrow-N?ma (
????????), `Attar lists the titles of further products of his pen:
- D?v?n (?????)
- Asr?r-N?ma (????? ????)
- Maq?m?t-e Toy?r (= Manteq a?-?ayr; ?????? ?????? or ???? ?????)
- Mo??bat-N?ma (???? ????)
- El?h?-N?ma (???? ????)
- Jaw?her-N?ma (????? ????)
- ?ar? al-Qalb (??? ?????)
He also states, in the introduction of the
Mokht?r-N?ma, that he destroyed the
Jaw?her-N?ma' and the ?ar? al-Qalb
with his own hand.Although the contemporary sources confirm only `Attar's authorship of the
D?v?n and the
Manteq al-?ayr, there are no grounds for doubting the authenticity of the
Mokht?r-N?ma and
Khosrow-N?ma and their prefaces. One work is missing from these lists, namely the
Tadhkerat al-Awl?ya, 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
?ar? al-Qalb, presumably the same that he destroyed. The nature of the other two, entitled
Ka?f al-Asr?r and
Ma'refat al-Nafs, remains unknown.
Manteq a?-?ayr
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 Central Asia and Iran. The poem's title possibly served as inspiration for jazz bassist Dave Holland's 1972 album of the same name.
`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
Tadhkerat al-Awl?ya
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.
Ilahi-Nama
The Ilahi-Nama () is 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).
Mokhtar Nama
Mokhtar-Nama(), 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).
Divan
The Divan() of Attar 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. 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.