Faridoldin Abu Hamed Mohammad Attar Neyshaburi (c. 1145 – c. 1221), better known by his pen-names Faridoldin and ʿAttar of Nishapur Attar means apothecary), was an Iranian poet, theoretician of Sufism, and hagiographer from Nishapur who had an immense and lasting influence on Persian poetry and Sufism. He wrote a collection of lyrical poems and number of long poems in the philosophical tradition of Islamic mysticism, as well as a prose work with biographies and sayings of famous Muslim mystics. The Conference of the Birds, Book of the Divine, and Memorial of the Saints are among his best known works.
‘Attar – Divan 76
Whichever way shall I go? To the wine-tavern or the mosque?
Both are off-limits to poor me.
They don’t let me into the mosque, saying, “He’s a knave,”
Nor in the tavern, saying, “He’s too green.”
Between the mosque and the tavern, there is a path.
Find out, O dear ones, which path you’re on now.
In the tavern, the Imam is passed-out drunk.
I don’t know what to call that idol.
Today, my Mecca* is the tavern.
My drinking companion is the Judge, and my cupbearer, the Imam.
Go, ‘Attar, for [only] He knows, who is the leader, and who is bewildered.
*Literally, the Ka’ba.
ره میخانه و مسجد کدام است
که هر دو بر من مسکین حرام است
نه در مسجد گذارندم که رند است
نه در میخانه کین خمار خام است
میان مسجد و میخانه راهی است
بجوئید ای عزیزان کین کدام است
به میخانه امامی مست خفته است
نمیدانم که آن بت را چه نام است
مرا کعبه خرابات است امروز
حریفم قاضی و ساقی امام است
برو عطار کو خود میشناسد
که سرور کیست سرگردان کدام است
In this first poem, ‘Aṭṭār mixes the imagery of the tavern and the mosque. The mix results in paradoxes that encourage the reader to break down his or her traditional understanding of mosque as sacred, tavern as profane. The speaker fits in neither world, since he is beyond both. By the end of the poem, the tavern is converted into the ‘true’ Islamic holy site. ‘Attar argues that one must not censure the mystic lover, represented as the drunkard of the tavern, for only God knows who is closest to Him, and appearances are deceiving.
‘Attar – Divan 76
Whichever way shall I go? To the wine-tavern or the mosque?
Both are off-limits to poor me.
They don’t let me into the mosque, saying, “He’s a knave,”
Nor in the tavern, saying, “He’s too green.”
Between the mosque and the tavern, there is a path.
Find out, O dear ones, which path you’re on now.
In the tavern, the Imam is passed-out drunk.
I don’t know what to call that idol.
Today, my Mecca* is the tavern.
My drinking companion is the Judge, and my cupbearer, the Imam.
Go, ‘Attar, for [only] He knows, who is the leader, and who is bewildered.
*Literally, the Ka’ba.
ره میخانه و مسجد کدام است
که هر دو بر من مسکین حرام است
نه در مسجد گذارندم که رند است
نه در میخانه کین خمار خام است
میان مسجد و میخانه راهی است
بجوئید ای عزیزان کین کدام است
به میخانه امامی مست خفته است
نمیدانم که آن بت را چه نام است
مرا کعبه خرابات است امروز
حریفم قاضی و ساقی امام است
برو عطار کو خود میشناسد
که سرور کیست سرگردان کدام است
In this first poem, ‘Aṭṭār mixes the imagery of the tavern and the mosque. The mix results in paradoxes that encourage the reader to break down his or her traditional understanding of mosque as sacred, tavern as profane. The speaker fits in neither world, since he is beyond both. By the end of the poem, the tavern is converted into the ‘true’ Islamic holy site. ‘Attar argues that one must not censure the mystic lover, represented as the drunkard of the tavern, for only God knows who is closest to Him, and appearances are deceiving.
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