One of eight major works that can reliably be ascribed to Attar, Ilahi-Nama (Book of God or, sometimes, Divine Book) has, according to Encyclopedia Iranica, been translated once into English, by John A. Boyle in 1976, and once into French, by F. Rouhani in 1961. Four of Attar’s eight works—Ilahi-Nama is part of this subset — are mystical narratives, each one dealing with a different aspect of Sufi thought and experience. Ilahi-Nama’s subject is zuhd, or asceticism, which Sufis understand to mean a disciplined stance of detachment and indifference towards one’s desires so that one will not be ruled by them. This focus on the interior world of human emotion differentiates Ilahi-Nama from the other of Attar’s poems with which it is often compared, Manteq al-tayr (Conference of the Birds), his best known work in English. The two poems are similar in form (they are each frame stories) and message (the key to enlightenment exists within each human being, not in the external world), but the framing narrative of Manteq al-tayr, an allegory about a group of birds in search of a king, is essentially a critique of people’s need to find a master who will lead them on the path to true understanding. Ilahi-Nama, on the other hand, is about learning to master oneself.
The framing narrative of Ilahi-Nama is about a caliph who asks his six sons what they desire most. The first son says he wants the daughter of the king of the peris (faeries); the second wants to learn the art of magic; the third son desires Jamshid’s cup because it will reveal to him the secrets of the world; the fourth seeks the water of life; the fifth son covets the ring Solomon used to control demons; and the sixth son wants to master alchemy. As each son gives his answer, the father tells stories to illustrate, first, how shallow and materialistic the son is for wanting what he wants and, second, how the son should understand his desire so he can use it on the path to enlightenment. None of the sons, however, accept their father’s lessons at face value, arguing that he has misunderstood their desires and that the lessons he wants them to learn, therefore, are misguided. When the father tells his first son what has come to be known as “The Tale of Marjuma,” for example — about a beautiful and righteous woman who, after her husband leaves on pilgrimage to Mecca, must fend off a series of men who are so overcome with lust when they glimpse her beauty that they will stop at nothing to have her — the son accuses his father of wanting to eliminate sex. “God forbid[!]” the father replies, explaining that “The Tale of Marjuma” illustrates how sex, properly comprehended and entered into, is a first step on the path to enlightenment:
But when your desire achieves apotheosis,
sex gives birth to a love without limits;
and when this love is pushed by passion to the edge
of its strength, spiritual love emerges; and when
spiritual love can grow no further, your soul
will vanish into the Beloved’s endlessness. (My translation)
Given that the surface of the narrative in “The Tale of Marjuma” feels more like a Perils-of-Pauline-type story in which the depraved and debauched men get their comeuppance than one about the spiritual nature of sexuality, the son’s misreading of the tale is an easy one to fall into. Such a reading, however, fails to account for, among other things, the fact that not all the men who try to possess the woman give in to their desires without a struggle. They are, in other words, neither evil nor merely slaves to their desires; they are human and flawed and, more to the point, they are, in the end, able and willing to repent. Indeed, they must repent, for God has punished them with a paralysis from which — in an irony that is at the core of the story’s meaning — they can be healed only by confessing to the woman everything they did to her. Continue reading