Abstract
Other than Khwaja Fariduddin Attar's prosaic masterpiece Tazkira-e Auliya, his
corpus consists entirely of poetry including the masnavis Mantiqut Tair,
Ilahinama, Museebatnama and Asrarnama, which are undoubtedly his own
works. Pandnama has been verified to a large extent to be his own works.
However, Khusronama, Ashtarnama and JauharuzZaat are seen with some
skepticism when compared to other masnavis owing to differences in subjects
and style. Researchers state that Mazhar al Aja'ib, LisaanulGhaib, Kanz al Asrar,
MiftahulFutooh and Wasiyyatnama came to be associated with Attar after the
passage of a long time. In addition to these works, Attar's divan comprises of
ghazals and qasidas survive as well as a collection of rubai'iyat.
The MantiqutTair is a masnavi composed of approximately 4200 couplets
known as Hamasa Irfani, that are among the best known Farsi masterpieces, and
where Attar describes stages of gnosis and mysticism through the language of
birds. Attar's birds convene to discuss their desire for a king or chieftain and
decide to set out in his search. Among them, the wordly-wise woodpecker
proclaims that Simorgh is their King and lives in Koh-e-Qaaf, where they can
only reach through traversing seven valleys or stations whose journey brings
both peril and sorrow. The valleys are (1) Search, (2) Love, (3) Knowledge, (4)
Unity, (5) Contentment, (6) Wonderment, and (7) Poverty and Nothingness.
ڈاکٹر علی کمیل قزلباش . (2016) خواجہ فرید الدین عطار کی مثنوی: منطق الطیر: کی سات وادیوں کا سفر, Mayar , Volume 15-16, Issue 1 .
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