Farid al-Din Attar frequently uses the execution of Mansur al-Hallaj to illustrate supreme spiritual realization, but he adapts the allegory's symbolism to fit different contexts. In the Elahi Nameh, Hallaj rubs his severed, bleeding hands on his face to perform an 'ablution' (wudu) for the prayer of love, emphasizing total devotion and the sacredness of martyrdom. In contrast, in the Mantiq al-Tayr (The Conference of the Birds), Hallaj uses his blood as a 'rouge' to mask his paleness, ensuring onlookers do not mistake his physical blood loss for spiritual fear. Comparing these two parallel narratives reveals Attar's nuanced portrayal of Hallaj: as both a devout lover fulfilling an ultimate religious duty and a fearless mystic maintaining his dignity in the face of death.