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乇亘丕毓賷丕鬲 毓賲乇 丕賱禺賷丕賲
丕賱乇亘丕毓賷丕鬲 賳賵毓 賲賳 丕賱卮毓乇 賲卮賴賵乇 賮賷 丕賱卮毓乇 丕賱賮丕乇爻賷 賵賯丿 毓乇賮 亘賴 丕賱卮丕毓乇 賵 丕賱賮賷賱爻賵賮 毓賲乇 丕賱禺賷賾丕賲.
賷兀鬲賷 丕爻賲賴丕 賲賳 氐賷睾丞 丕賱噩賲毓 賱賱賰賱賲丞 丕賱毓乇亘賷丞 乇亘丕毓賷丞. 賵丕賱乇亘丕毓賷丞 賲賯胤賵毓丞 卮毓乇賷丞 賲賳 兀乇亘毓丞 兀亘賷丕鬲 鬲丿賵乇 丨賵賱 賲賵囟賵毓 賲毓賷賳貙 賵鬲賰賵賾賳 賮賰乇丞 鬲丕賲丞.
鬲鬲賲賷夭 乇亘丕毓賷丕鬲 丕賱禺賷丕賲 亘賱睾丞 爻賱爻丞貙 爻賴賱丞 丕賱亘賷丕賳 亘賱丕 鬲賰賱賮 兀賵 鬲毓賯賷丿貙 鬲賲爻 氐賲賷賲 丨賷丕丞 丕賱亘卮乇貙 丿賵賳 鬲賲丕賷夭 亘賷賳 胤亘賯丕鬲 丕賱賲噩鬲賲毓貙 賲賳 毓丕賱賲賴丕 廿賱賶 毓丕賲賷賴丕貙 賵賲賳 孬乇賷賴丕 廿賱賶 賮賯賷乇賴丕貙 賮丕賱噩賲賷毓 賷卮鬲丕賯 廿賱賶 賲毓乇賮丞 賲氐賷乇賴 賵賲孬賵丕賴 賵禺丕賱賯賴 賵噩丿賵賶 丨賷丕鬲賴.
賷兀鬲賷 丕爻賲賴丕 賲賳 氐賷睾丞 丕賱噩賲毓 賱賱賰賱賲丞 丕賱毓乇亘賷丞 乇亘丕毓賷丞. 賵丕賱乇亘丕毓賷丞 賲賯胤賵毓丞 卮毓乇賷丞 賲賳 兀乇亘毓丞 兀亘賷丕鬲 鬲丿賵乇 丨賵賱 賲賵囟賵毓 賲毓賷賳貙 賵鬲賰賵賾賳 賮賰乇丞 鬲丕賲丞.
鬲鬲賲賷夭 乇亘丕毓賷丕鬲 丕賱禺賷丕賲 亘賱睾丞 爻賱爻丞貙 爻賴賱丞 丕賱亘賷丕賳 亘賱丕 鬲賰賱賮 兀賵 鬲毓賯賷丿貙 鬲賲爻 氐賲賷賲 丨賷丕丞 丕賱亘卮乇貙 丿賵賳 鬲賲丕賷夭 亘賷賳 胤亘賯丕鬲 丕賱賲噩鬲賲毓貙 賲賳 毓丕賱賲賴丕 廿賱賶 毓丕賲賷賴丕貙 賵賲賳 孬乇賷賴丕 廿賱賶 賮賯賷乇賴丕貙 賮丕賱噩賲賷毓 賷卮鬲丕賯 廿賱賶 賲毓乇賮丞 賲氐賷乇賴 賵賲孬賵丕賴 賵禺丕賱賯賴 賵噩丿賵賶 丨賷丕鬲賴.
141 pages, Paperback
First published January 1, 1120
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About the author
Omar Khayy谩m
497听books1,259听followersArabic: Persian:
Kurdish: 毓賵賲蹠乇 禺蹠蹖蹖丕賲
Omar Khayy谩m was a Persian polymath, mathematician, philosopher, astronomer, physician, and poet. He wrote treatises on mechanics, geography, and music. His significance as a philosopher and teacher, and his few remaining philosophical works, have not received the same attention as his scientific and poetic writings. Zamakhshari referred to him as 鈥渢he philosopher of the world鈥�. Many sources have testified that he taught for decades the philosophy of Ibn Sina in Nishapur where Khayy谩m was born buried and where his mausoleum remains today a masterpiece of Iranian architecture visited by many people every year.
Outside Iran and Persian speaking countries, Khayy谩m has had impact on literature and societies through translation and works of scholars. The greatest such impact among several others was in English-speaking countries; the English scholar Thomas Hyde (1636鈥�1703) was the first non-Persian to study him. The most influential of all was Edward FitzGerald (1809鈥�83), who made Khayy谩m the most famous poet of the East in the West through his celebrated translation and adaptations of Khayy谩m's rather small number of quatrains (rubaiyaas) in 搁耻产谩颈测谩迟 of Omar Khayy谩m.'
Kurdish: 毓賵賲蹠乇 禺蹠蹖蹖丕賲
Omar Khayy谩m was a Persian polymath, mathematician, philosopher, astronomer, physician, and poet. He wrote treatises on mechanics, geography, and music. His significance as a philosopher and teacher, and his few remaining philosophical works, have not received the same attention as his scientific and poetic writings. Zamakhshari referred to him as 鈥渢he philosopher of the world鈥�. Many sources have testified that he taught for decades the philosophy of Ibn Sina in Nishapur where Khayy谩m was born buried and where his mausoleum remains today a masterpiece of Iranian architecture visited by many people every year.
Outside Iran and Persian speaking countries, Khayy谩m has had impact on literature and societies through translation and works of scholars. The greatest such impact among several others was in English-speaking countries; the English scholar Thomas Hyde (1636鈥�1703) was the first non-Persian to study him. The most influential of all was Edward FitzGerald (1809鈥�83), who made Khayy谩m the most famous poet of the East in the West through his celebrated translation and adaptations of Khayy谩m's rather small number of quatrains (rubaiyaas) in 搁耻产谩颈测谩迟 of Omar Khayy谩m.'
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October 9, 2020
丌卮賳丕蹖蹖 賲賳 亘丕 丨讴蹖賲貙 亘乇 賲蹖 诏乇丿丿 亘賴 丿賵乇丕賳 讴賵丿讴蹖. 丌賳 丿賵乇丕賳 讴賴 賴賳賵夭 夭蹖丕丿 丕夭 卮毓乇 賵 卮丕毓乇蹖 賳賲蹖 丿丕賳爻鬲賲 賵 丕诏乇 讴鬲丕亘 禺蹖丕賲貙 賲蹖丕賳 丌賳 賴賲賴 讴鬲丕亘 卮毓乇賽 讴鬲丕亘禺丕賳賴 蹖 倬丿乇賲 鬲賵噩賴 賲乇丕 噩賱亘 讴乇丿貙 亘賴 禺丕胤乇 胤乇丨 噩賱丿 乇丐蹖丕蹖蹖 丕卮 亘賵丿: 賳诏丕乇诏乇蹖 丕蹖 讴賴 毓丿賴 丕蹖 賲賳噩賲 丿爻鬲丕乇 亘賴 爻乇 乇丕 賳卮丕賳 賲蹖丿丕丿 讴賴 亘丕 丨蹖乇鬲 亘賴 丌爻賲丕賳 爻丨乇 丕賳诏蹖夭賽 亘丕賱丕蹖 爻乇卮丕賳 賳诏丕賴 賲蹖 讴乇丿賳丿. 丿乇 倬蹖卮 夭賲蹖賳賴貙 倬蹖乇蹖 亘丕 賲賵賴丕蹖 爻賮蹖丿 賵丌卮賮鬲賴 賳卮爻鬲賴 亘賵丿 賵 賱亘禺賳丿蹖 乇賳丿丕賳賴 亘乇 賱亘 丿丕卮鬲. 丿爻鬲卮 乇丕 亘丕賱丕 丌賵乇丿賴 亘賵丿 讴賴 蹖毓賳蹖: 芦賲蹖 亘蹖賳蹖丿 讴賴!禄 夭蹖乇 賳诏丕乇诏乇蹖貙 賲氐乇毓蹖 丕夭 丨讴蹖賲 賳賵卮鬲賴 亘賵丿 讴賴: 丕噩乇丕賲 讴賴 爻丕讴賳丕賳 丕蹖賳 丕蹖賵丕賳賳丿.
賮囟丕蹖 禺丕賳賴貙 賴賲蹖卮賴 賲禺丕賱賮 毓賱丕賯賴 丕蹖 亘賵丿 讴賴 賲賳 亘丿賵賳 禺賵丕賳丿賳 乇亘丕毓蹖丕鬲 禺蹖丕賲 賵 鬲賳賴丕 亘丕 丿蹖丿賳 賳诏丕乇诏乇蹖 賴丕蹖 賲賵噩賵丿 丿乇 讴鬲丕亘貙 亘賴 丕賵 倬蹖丿丕 讴乇丿賴 亘賵丿賲. 賴賲賴 丕賵 乇丕 夭賳丿蹖賯 賵 賲蹖 禺賵丕乇賴 賲蹖 禺賵丕賳丿賳丿. 丕蹖賳 鬲氐賵蹖乇 賲賳賮蹖貙 鬲丕 爻丕賱 賴丕 丿乇 匕賴賳 賲賳 亘丕賯蹖 賲丕賳丿.
诏匕卮鬲貙 鬲丕 爻丕賱 賴丕 亘毓丿貙 爻賴 乇亘丕毓蹖 丕夭 禺蹖丕賲 乇丕 丿乇 讴鬲丕亘 丕丿亘蹖丕鬲 賮丕乇爻蹖 禺賵丕賳丿賲. 丕賵賱蹖賳 乇亘丕毓蹖 賴丕蹖蹖 亘賵丿 讴賴 丕夭 丕賵 賲蹖 禺賵丕賳丿賲 賵 亘賴 讴賱蹖貙 賲睾丕蹖乇 鬲氐賵蹖乇蹖 讴賴 丕夭 丕賵 丿乇 匕賴賳賲 亘賵丿. 賴蹖趩 賲毓賳丕蹖 禺賱丕賮蹖 丿乇 丌賳 賴丕 賳蹖丕賮鬲賲. 賴賲丕賳 乇賵夭貙 賵賯鬲蹖 亘賴 禺丕賳賴 丌賲丿賲貙 倬爻 丕夭 爻丕賱 賴丕 讴鬲丕亘 賲賴噩賵乇 乇亘丕毓蹖丕鬲 禺蹖丕賲 乇丕 亘乇丿丕卮鬲賲 賵 賵乇賯 夭丿賲 賵 丕蹖賳 亘丕乇貙 賳诏丕乇诏乇蹖 賴丕 賳亘賵丿賳丿 讴賴 賲賳 乇丕 亘賴 禺蹖丕賲 毓賱丕賯賴 賲賳丿 賲蹖 讴乇丿賳丿貙 禺賵丿 乇亘丕毓蹖丕鬲 亘賵丿賳丿.
丕夭 丌賳 倬爻貙 丌賳 讴鬲丕亘 讴賴 诏匕丕乇 爻丕賱蹖丕賳 卮蹖乇丕夭賴 丕卮 乇丕 賳丕亘賵丿 讴乇丿賴 亘賵丿貙 卮丿 丿賵爻鬲 賵 賴賲乇丕賴 賲賳. 丨鬲蹖 丿乇 亘爻鬲乇 禺賵丕亘 賴賲 賴賲乇丕賴卮 丿丕卮鬲賲. 蹖丕丿賲 賳賲蹖 乇賵丿. 毓氐乇 蹖讴 乇賵夭貙 賲丕丿乇賲 丕氐乇丕乇 賲蹖 讴乇丿 讴賴 讴鬲丕亘 乇丕 讴賳丕乇 亘诏匕丕乇賲 賵 亘禺賵丕亘賲. 賲賳 讴鬲丕亘 乇丕 亘爻鬲賲貙 丕賲丕 賴賲蹖賳 讴賴 趩卮賲 賲丕丿乇 乇丕 丿賵乇 丿蹖丿賲貙 亘丕夭 诏卮賵丿賲卮 賵 禺賵丕賳丿賲卮 賵 禺賵丕賳丿賲卮 賵 禺賵丕賳丿賲卮. 鬲丕 噩丕蹖蹖 讴賴 丿蹖诏乇 趩卮賲 賴丕蹖賲 鬲賵丕賳 亘蹖丿丕乇 賲丕賳丿賳 賳丿丕卮鬲賳丿.
乇丐蹖丕蹖 亘蹖 鬲氐賵蹖乇 丌賳 乇賵夭賲貙 爻乇卮丕乇 亘賵丿 丕夭 乇亘丕毓蹖丕鬲 禺蹖丕賲. 賳賲蹖 丿丕賳賲 丌賳 賴丕 乇丕 賲蹖 禺賵丕賳丿賲 蹖丕 賲蹖 卮賳蹖丿賲 蹖丕 丕夭 匕賴賳賲 賲蹖 诏匕乇丕賳丿賲.
丕夭 丌賳 乇賵夭貙 禺蹖丕賲 卮丿 卮丕毓乇 賲賳! 賯亘賱 丕夭 丌賳貙 丕诏乇 爻毓丿蹖 賵 丨丕賮馗 乇丕 卮丕毓乇丕賳 亘夭乇诏蹖 賲蹖丿丕賳爻鬲賲 蹖丕 丕卮毓丕乇 賲賵賱賵蹖 乇丕 囟毓蹖賮 賲蹖 丿丕賳爻鬲賲貙 賮賯胤 亘賴 禺丕胤乇 丕蹖賳 亘賵丿 讴賴 倬丿乇賲 賵 亘乇丕丿乇 亘夭乇诏鬲乇賲 丕蹖賳 趩賳蹖賳 賲蹖 诏賮鬲賳丿. 丕賲丕 禺蹖丕賲貙 丕賵賱蹖賳 讴爻蹖 亘賵丿 讴賴 賲賳 亘賴 乇睾賲 賮囟丕蹖 禺丕賳賵丕丿賴 賲蹖 倬乇爻鬲蹖丿賲卮.
亘毓丿賳賵卮鬲: 爻賴 乇亘丕毓蹖 禺蹖丕賲 丕夭 讴鬲丕亘鈥屬囏й� 丿乇爻蹖 丨匕賮 卮丿賴 賵 亘丕 丕卮毓丕乇蹖 鬲亘賱蹖睾丕鬲蹖 噩丕蹖诏夭蹖賳 卮丿賴貙 賵 賲賳 亘賴 賴賲賴贁 賳賵噩賵丕賳鈥屬囏й屰� 賮讴乇 賲蹖鈥屭┵嗁� 讴賴 丕賲讴丕賳 鬲噩乇亘賴贁 噩賴丕賳鈥屬囏й屰� 噩丕丿賵蹖蹖 丕夭卮丕賳 爻賱亘 賲蹖鈥屫促堌� 賵 亘賴 噩丕蹖卮 鬲噩乇亘賴贁 丕丿亘蹖丕鬲 亘乇丕蹖卮丕賳 賲蹖鈥屫促堌� 趩蹖夭蹖 丕夭 噩賳爻 丕禺亘丕乇賴丕蹖 鬲賱賵蹖夭蹖賵賳.
賮囟丕蹖 禺丕賳賴貙 賴賲蹖卮賴 賲禺丕賱賮 毓賱丕賯賴 丕蹖 亘賵丿 讴賴 賲賳 亘丿賵賳 禺賵丕賳丿賳 乇亘丕毓蹖丕鬲 禺蹖丕賲 賵 鬲賳賴丕 亘丕 丿蹖丿賳 賳诏丕乇诏乇蹖 賴丕蹖 賲賵噩賵丿 丿乇 讴鬲丕亘貙 亘賴 丕賵 倬蹖丿丕 讴乇丿賴 亘賵丿賲. 賴賲賴 丕賵 乇丕 夭賳丿蹖賯 賵 賲蹖 禺賵丕乇賴 賲蹖 禺賵丕賳丿賳丿. 丕蹖賳 鬲氐賵蹖乇 賲賳賮蹖貙 鬲丕 爻丕賱 賴丕 丿乇 匕賴賳 賲賳 亘丕賯蹖 賲丕賳丿.
诏匕卮鬲貙 鬲丕 爻丕賱 賴丕 亘毓丿貙 爻賴 乇亘丕毓蹖 丕夭 禺蹖丕賲 乇丕 丿乇 讴鬲丕亘 丕丿亘蹖丕鬲 賮丕乇爻蹖 禺賵丕賳丿賲. 丕賵賱蹖賳 乇亘丕毓蹖 賴丕蹖蹖 亘賵丿 讴賴 丕夭 丕賵 賲蹖 禺賵丕賳丿賲 賵 亘賴 讴賱蹖貙 賲睾丕蹖乇 鬲氐賵蹖乇蹖 讴賴 丕夭 丕賵 丿乇 匕賴賳賲 亘賵丿. 賴蹖趩 賲毓賳丕蹖 禺賱丕賮蹖 丿乇 丌賳 賴丕 賳蹖丕賮鬲賲. 賴賲丕賳 乇賵夭貙 賵賯鬲蹖 亘賴 禺丕賳賴 丌賲丿賲貙 倬爻 丕夭 爻丕賱 賴丕 讴鬲丕亘 賲賴噩賵乇 乇亘丕毓蹖丕鬲 禺蹖丕賲 乇丕 亘乇丿丕卮鬲賲 賵 賵乇賯 夭丿賲 賵 丕蹖賳 亘丕乇貙 賳诏丕乇诏乇蹖 賴丕 賳亘賵丿賳丿 讴賴 賲賳 乇丕 亘賴 禺蹖丕賲 毓賱丕賯賴 賲賳丿 賲蹖 讴乇丿賳丿貙 禺賵丿 乇亘丕毓蹖丕鬲 亘賵丿賳丿.
丕夭 丌賳 倬爻貙 丌賳 讴鬲丕亘 讴賴 诏匕丕乇 爻丕賱蹖丕賳 卮蹖乇丕夭賴 丕卮 乇丕 賳丕亘賵丿 讴乇丿賴 亘賵丿貙 卮丿 丿賵爻鬲 賵 賴賲乇丕賴 賲賳. 丨鬲蹖 丿乇 亘爻鬲乇 禺賵丕亘 賴賲 賴賲乇丕賴卮 丿丕卮鬲賲. 蹖丕丿賲 賳賲蹖 乇賵丿. 毓氐乇 蹖讴 乇賵夭貙 賲丕丿乇賲 丕氐乇丕乇 賲蹖 讴乇丿 讴賴 讴鬲丕亘 乇丕 讴賳丕乇 亘诏匕丕乇賲 賵 亘禺賵丕亘賲. 賲賳 讴鬲丕亘 乇丕 亘爻鬲賲貙 丕賲丕 賴賲蹖賳 讴賴 趩卮賲 賲丕丿乇 乇丕 丿賵乇 丿蹖丿賲貙 亘丕夭 诏卮賵丿賲卮 賵 禺賵丕賳丿賲卮 賵 禺賵丕賳丿賲卮 賵 禺賵丕賳丿賲卮. 鬲丕 噩丕蹖蹖 讴賴 丿蹖诏乇 趩卮賲 賴丕蹖賲 鬲賵丕賳 亘蹖丿丕乇 賲丕賳丿賳 賳丿丕卮鬲賳丿.
乇丐蹖丕蹖 亘蹖 鬲氐賵蹖乇 丌賳 乇賵夭賲貙 爻乇卮丕乇 亘賵丿 丕夭 乇亘丕毓蹖丕鬲 禺蹖丕賲. 賳賲蹖 丿丕賳賲 丌賳 賴丕 乇丕 賲蹖 禺賵丕賳丿賲 蹖丕 賲蹖 卮賳蹖丿賲 蹖丕 丕夭 匕賴賳賲 賲蹖 诏匕乇丕賳丿賲.
丕夭 丌賳 乇賵夭貙 禺蹖丕賲 卮丿 卮丕毓乇 賲賳! 賯亘賱 丕夭 丌賳貙 丕诏乇 爻毓丿蹖 賵 丨丕賮馗 乇丕 卮丕毓乇丕賳 亘夭乇诏蹖 賲蹖丿丕賳爻鬲賲 蹖丕 丕卮毓丕乇 賲賵賱賵蹖 乇丕 囟毓蹖賮 賲蹖 丿丕賳爻鬲賲貙 賮賯胤 亘賴 禺丕胤乇 丕蹖賳 亘賵丿 讴賴 倬丿乇賲 賵 亘乇丕丿乇 亘夭乇诏鬲乇賲 丕蹖賳 趩賳蹖賳 賲蹖 诏賮鬲賳丿. 丕賲丕 禺蹖丕賲貙 丕賵賱蹖賳 讴爻蹖 亘賵丿 讴賴 賲賳 亘賴 乇睾賲 賮囟丕蹖 禺丕賳賵丕丿賴 賲蹖 倬乇爻鬲蹖丿賲卮.
亘毓丿賳賵卮鬲: 爻賴 乇亘丕毓蹖 禺蹖丕賲 丕夭 讴鬲丕亘鈥屬囏й� 丿乇爻蹖 丨匕賮 卮丿賴 賵 亘丕 丕卮毓丕乇蹖 鬲亘賱蹖睾丕鬲蹖 噩丕蹖诏夭蹖賳 卮丿賴貙 賵 賲賳 亘賴 賴賲賴贁 賳賵噩賵丕賳鈥屬囏й屰� 賮讴乇 賲蹖鈥屭┵嗁� 讴賴 丕賲讴丕賳 鬲噩乇亘賴贁 噩賴丕賳鈥屬囏й屰� 噩丕丿賵蹖蹖 丕夭卮丕賳 爻賱亘 賲蹖鈥屫促堌� 賵 亘賴 噩丕蹖卮 鬲噩乇亘賴贁 丕丿亘蹖丕鬲 亘乇丕蹖卮丕賳 賲蹖鈥屫促堌� 趩蹖夭蹖 丕夭 噩賳爻 丕禺亘丕乇賴丕蹖 鬲賱賵蹖夭蹖賵賳.
December 24, 2022
丕賱廿毓噩丕夭 賮賶 丕賱賲噩丕夭
賲賳 賷賯乇兀 賴匕丕 丕賱賰鬲丕亘 賮賶 丕胤丕乇 丕賱賲毓賯賵賱 爻賷賰賮賾乇 丕賱卮丕毓乇 丕賵 毓賱賶 丕賱兀賯賱 爻賷鬲賴賲賴 亘丕賱夭賳丿賯賴
賱賰賳 賲丕 賴賰匕丕 賳賯乇兀 丕賱卮毓乇 賵 賱丕 賴賰匕丕 賳鬲匕賵賯 丕賱賮賳
01
爻賲毓鬲購 氐賵鬲丕賸 賴丕鬲賮丕賸 賮賷 丕賱爻賾丨賻乇
賳丕丿賶 賲賽賳 丕賱丨丕賳賽 : 睾購賮丕丞 丕賱亘卮賻乇
賴亘購賾賵丕 丕賲賱兀賵丕 賰兀爻 丕賱胤賱賶 賯亘賻賱 兀賳
鬲賻賮毓賲 賰兀爻 丕賱毓賲乇賿 賰賮賾 丕賱賯丿賻乇
02
兀丨爻購賾 賮賷 賳賮爻賷 丿亘賷亘 丕賱賮賳丕亍
賵賱賲 兀氐賻亘 賮賷 丕賱毓賷卮賽 廿賱丕賾 丕賱卮賯丕亍
賷丕 丨爻乇鬲丕 廿賳 丨丕賳賻 丨賷賳賷 賵賱賲
賷購鬲丨賿 賱賮賰乇賷 丨賱賾 賱購睾夭 丕賱賯囟丕亍
03
兀賮賯 賵賴丕鬲 丕賱賰兀爻 兀賳毓賲購 亘賴丕
賵丕賰卮賮 禺賮丕賷丕 丕賱賳賮爻 賲賽賳 丨購噩亘賴丕
賵乇賵賾 兀賵氐丕賱賷 亘賴丕 賯賻亘賱賻賲丕
賷購氐丕睾 丿賳賾 丕賱禺賲賻乇 賲賽賳 鬲購乇亘賴丕
04
鬲乇賵丨購 兀賷丕賲賷 賵賱丕 鬲睾鬲丿賷
賰賲丕 鬲賴亘購賾 丕賱乇賷丨 賮賷 丕賱賮丿賮丿賽
賵賲丕 胤賵賷鬲賻 丕賱賳賮爻 賴賲丕賸 毓賻賱賶
賷賵賲賷賳 : 兀賲爻賿 丕賱賲賳賯囟賶 賵丕賱睾丿賽
05
爻賲毓鬲購 賮賷 丨賱賲賷 氐賵鬲丕賸 兀賴丕亘賻
賲丕 賮鬲賻賾賯 丕賱賳賾賵賲 賰賲丕賲 丕賱卮亘丕亘賻
兀賮賯 賮廿賳賻賾 丕賱賳賾賵賲 氐賳賵 丕賱乇丿賶
賵丕卮乇亘 賮賲孬賵丕賰賻 賮乇丕卮 丕賱鬲乇丕亘賻
06
賱賵 兀賳賾賳賷 禺購賷賻賾乇鬲 兀賵 賰丕賳賻 賱賷
賲賮鬲丕丨購 亘丕亘 丕賱賯丿乇 丕賱賲賯賮賱賽
賱丕禺鬲乇鬲賻 毓賳 丿賳賷丕 丕賱兀爻賶 兀賳賾賳賷
賱賲 兀賴亘胤賻 丕賱丿購賳賷丕 賵賱賲 兀乇丨賱賽
07
賱賻亘爻鬲購 孬賵亘賻 丕賱毓賷卮 賱賲 兀購爻鬲卮賻乇
賵丨乇鬲購 賮賷賴 亘賷賳 卮鬲賾賶 丕賱賮賽賰賻乇
賵爻賵賮賻 兀賳囟賵 丕賱孬賵亘 毓賳賾賷 賵賱賲
兀購丿乇賰 賱賲丕匕丕 噩卅鬲購 . 兀賷賳賻 丕賱賲賯乇
08
賳賲囟賷 賵鬲亘賯賶 丕賱毓賷卮丞購 丕賱乇丕囟賷丞
賵鬲賳賲丨賷 丌孬丕乇購賳丕 丕賱賲丕囟賷丞
賮賯賻亘賱 兀賳 賳賻丨賷丕 賵賲賽賳 亘毓丿賽賳丕
賵賴匕賴 丕賱丿購賳賷丕 毓賱賻賶 賲丕 賴賷賴
09
賷丕 賳賮爻賻 賲丕賴匕丕 丕賱兀爻賶 賵丕賱賰丿乇
賯賻丿 賵賯毓賻 丕賱廿孬賲 賵囟丕毓 丕賱丨匕乇
賴賻賱 匕丕賯賻 丨賱賵 丕賱毓賮賵賻 廿賱丕賾 丕賱賻賾匕賷
兀匕賳亘賻 賵丕賱賱賴 毓賮賻丕 賵丕睾鬲賮乇
10
賳賱亘爻購 亘賷賳賻 丕賱賳丕爻 孬賵亘 丕賱乇賷丕亍
賵賳丨賳購 賮賷 賯亘囟丞賽 賰賮賾 丕賱賯囟丕亍
賵賰賲 爻毓賷賳丕 賳乇鬲噩賷 賲賴乇亘丕賸
賮賰丕賳賻 賲爻毓賻丕賳賻丕 噩賲賷毓丕賸 賴亘丕亍
11
賷丕賲賻賳 賷賻丨丕乇購 丕賱賮賻賴賲購 賮賷 賯丿乇鬲賰
賵鬲胤賱亘購 丕賱賳賻賮爻購 丨賲賶 胤丕毓鬲賰
兀爻賰乇賻賳賷 丕賱廿孬賲購 賵賱賰賳賾賳賷
氐丨賵賻鬲 亘丕賱丌賲丕賱 賮賷 乇丨賲鬲賰
12
賯賱亘賷 賮賷 氐丿乇賷 兀爻賷乇賹 爻噩賷賳
鬲購禺噩賱賴購 毓卮乇丞購 賲丕亍賺 賵胤賷賳
賵賰賲 噩乇賶 毓夭賲賷 亘鬲丨胤賷賲賴
賮賰丕賳賻 賷賻賳賴丕賳賷 賳丿丕亍購 丕賱賷賯賷賳
13
賱丕 鬲賻卮睾賱 丕賱亘賻丕賱 亘賲丕囟賷 丕賱夭賲丕賳
賵賱丕 亘賻丌鬲賷 丕賱毓賷卮 賯亘賱賻 丕賱兀賵丕賳
賵丕睾賳賲 賲賽賳 丕賱丨丕囟乇賽 賱匕賾丕鬲賴賽
賮賱賷爻賻 賮賷 胤亘毓賽 丕賱賱賻賾賷丕賱賷 丕賱兀賲丕賳
14
丕賱賯賱亘購 賯賻丿 兀囟賳丕賴購 毓賽卮賯 丕賱噩賲丕賱
賵丕賱氐丿乇購 賯賻丿 囟丕賯賻 亘賲丕 賱丕 賷購賯丕賱
賷丕 乇亘賿 賴賱 賷購乇囟賷賰 賴匕丕 丕賱馗賲丕
賵丕賱賲丕亍購 賷賳爻丕亘 兀賲丕賲賷 夭購賱丕賱
15
賵廿賳賻賾賲丕 賳丨賳購 乇禺丕禺 丕賱賯囟丕亍
賷賳賯賱賳丕 賮賷 丕賱賱賵丨賽 兀賳賾賶 賷卮丕亍
賵賰賱購賾 賲賻賳 賷賮乇睾 賲賽賳 丿賵乇賴賽
賷購賱賯賻賶 亘賴 賮賷 賲爻鬲賯賾乇賽 丕賱賮賳丕亍
16
乇兀賷鬲購 氐賮賾丕賸 賲賽賳 丿賳丕賳賺 爻乇賶
賲丕 亘賷賳賴丕 賴賲爻購 丨丿賷孬賺 噩乇賶
賰兀賳賾賴丕 鬲爻兀賱購 : 兀賷賳賻 丕賱賻賾匕賷
賯賻丿 氐丕睾賻賳丕 兀賵亘丕毓賻賳丕 兀賵 卮乇賶
17
賴賱 賮賷 賲噩丕賱賽 丕賱爻賰賵賳 卮賶亍賹 亘丿賷毓
兀丨賱賶 賲賽賳 丕賱賰兀爻賽 賵夭賴乇購 丕賱乇亘賷毓
毓噩亘鬲購 賱賱禺賲賾丕乇 賴賱 賷卮鬲乇賶
亘賲丕賱賴賽 兀丨爻賳賻 賲賲丕 賷亘賷毓 !
18
毓卮 乇丕囟賷丕賸 賵丕賴噩乇 丿賵丕毓賷 丕賱兀賱賲
賵丕毓丿賱 賲毓 丕賱馗賻丕賱賲 賲賴賲丕 馗賱賻賲
賳賴丕賷丞購 丕賱丿購賳賷丕 賮賳丕亍賹 賮賻毓卮
賮賷賴丕 胤賱賷賯丕賸 賵丕毓鬲亘乇賴丕 毓丿賲
19
賱丕 鬲兀賲賱 丕賱禺賱賻賾 丕賱賲賯賷賲 丕賱賵賮丕亍
賮廿賳賻賾賲丕 兀賳鬲賻 亘丿賳賷丕 丕賱乇賷丕亍
鬲丨賲賻賾賱 丕賱丿丕亍 賵賱丕 鬲賱鬲賲爻
賱賴購 丿賵丕亍賸 賵丕賳賮乇丿 亘丕賱卮賯丕亍
20
賱丕 鬲賵丨卮賻 丕賱賳賮爻 亘禺賵賮 丕賱馗賾賳賵賳
賵丕睾賳賲 賲賽賳 丕賱丨丕囟乇賽 兀賲賻賳賿 丕賱賷賯賷賳
賮賯丿 鬲爻丕賵賶 賮賷 丕賱孬乇賶 乇丕丨賱賹
睾丿丕賸 賵賲丕囟賺 賲賽賳 兀賱賵賮 丕賱爻賳賷賳
January 16, 2015
I kept thinking about the Rubaiyat last week while I was translating Zep's Happy Sex. I understand that Fitzgerald's translation is extremely non-literal, and almost amounts to a new poem - there is a nice piece by Borges discussing this unusual collaboration between two poets from different cultures and centuries. But what are you supposed to do when you translate poetry? Literal translation seems pointless. I had similar problems while trying to translate Zep's sexy French jokes. If the result wasn't sexy or funny, it seemed to me that I must have failed.
Well, I've worked with machine translation for a while, and I suddenly wondered if the theoretical framework it gives you makes it possible to explore these issues in a more precise way. Here's a Powerpoint slide showing the fundamental equation of statistical machine translation, the technique which for example powers Google Translate:
What this says is that decoding (translating) amounts to finding words (the e-best) which optimize the product of the translation model, P(f|e) and the language model, P(e). The translation model measures how likely it is that the translated words correspond to the original ones. The language model measures how plausible the translated words are per se.
When translating literature, the language model should presumably take into account the genre. If you're translating a moving epic love poem, the language model should measure the probability that a string of words is a moving epic love poem. Similarly, if you're translating a sexy joke, it should measure the probability that a string of words is a sexy joke.
The problem is that there's a tension between the translation model and the language model. If you optimize the translation model term, and get a very literal translation, you're going to be far from optimal on the language model term. Now (I'm thinking aloud here) why is the problem so acute when you're translating literature? It seems to me that the answer lies in the unusually strong constraints associated with the demands of literary text. Even requiring a text string to be a sexy joke is a strong constraint. Most literal translations, though they may be grammatical and even idiomatic, will have a low probability of being sexy jokes. By accepting a lower value for P(f|e), though, you have a better chance of improving your score for P(e). Your optimum tradeoff point is most likely going to have a lowish P(f|e), and hence be fairly non-literal.
Requiring a text string to be a moving epic love poem is an exceptionally strong constraint. The probability that a literal translation is going to meet this constraint is vanishingly small. So the optimum tradeoff point will most likely have an even lower P(f|e), and hence be even less literal.
Ah, my hands are getting tired from being waved around so much...
Well, I've worked with machine translation for a while, and I suddenly wondered if the theoretical framework it gives you makes it possible to explore these issues in a more precise way. Here's a Powerpoint slide showing the fundamental equation of statistical machine translation, the technique which for example powers Google Translate:
What this says is that decoding (translating) amounts to finding words (the e-best) which optimize the product of the translation model, P(f|e) and the language model, P(e). The translation model measures how likely it is that the translated words correspond to the original ones. The language model measures how plausible the translated words are per se.
When translating literature, the language model should presumably take into account the genre. If you're translating a moving epic love poem, the language model should measure the probability that a string of words is a moving epic love poem. Similarly, if you're translating a sexy joke, it should measure the probability that a string of words is a sexy joke.
The problem is that there's a tension between the translation model and the language model. If you optimize the translation model term, and get a very literal translation, you're going to be far from optimal on the language model term. Now (I'm thinking aloud here) why is the problem so acute when you're translating literature? It seems to me that the answer lies in the unusually strong constraints associated with the demands of literary text. Even requiring a text string to be a sexy joke is a strong constraint. Most literal translations, though they may be grammatical and even idiomatic, will have a low probability of being sexy jokes. By accepting a lower value for P(f|e), though, you have a better chance of improving your score for P(e). Your optimum tradeoff point is most likely going to have a lowish P(f|e), and hence be fairly non-literal.
Requiring a text string to be a moving epic love poem is an exceptionally strong constraint. The probability that a literal translation is going to meet this constraint is vanishingly small. So the optimum tradeoff point will most likely have an even lower P(f|e), and hence be even less literal.
Ah, my hands are getting tired from being waved around so much...
May 26, 2021
丕賲卮亘 禺賵賳丿賳 禺蹖丕賲 亘乇丕賲 丨丕賱 丿蹖诏賴鈥屫й� 丿丕卮鬲貙 丕卮讴鈥屬囏й� 丕賲卮亘賲 賲毓賳蹖 丿蹖诏賴鈥屫й� 丿丕卮鬲.
鄣 禺乇丿丕丿 郾鄞郯郯
----------------------------
賲賳 丌丿賲蹖 賳蹖爻鬲賲 讴賴 丕賴賱 卮毓乇 賵 卮丕毓乇蹖 亘丕卮賲 蹖丕 卮亘 蹖賱丿丕 丿賱賲 賱讴 亘夭賳賴 賵丕爻賴 卮毓乇 賴丕蹖 丨丕賮馗 賵 賴乇 爻丕賱 丨鬲賲丕 睾夭賱蹖丕鬲 賵 爻毓丿蹖 賵 丨丕賮馗 噩夭卅蹖 丕夭 爻賮乇賴 賴賮鬲 爻賷賳賲 亘丕卮賴!
鬲丕 亘賴 丨丕賱 賳鬲賵賳爻鬲賲 爻乇 蹖讴 卮毓乇 讴丕賲賱 卮丕賴賳丕賲賴 亘卮蹖賳賲 賵 丕賵賳賵 鬲丕 丌禺乇 亘禺賵賳賲!
賮乇賵睾 賵 禺賵賳丿賲 賵 丿賵爻鬲 賳丿丕卮鬲賲 賵 亘丕 爻賴乇丕亘 丨鬲丕 丕乇鬲亘丕胤 賴賲 賳诏乇賮鬲賲. 卮丕賲賱賵 乇賵 丿賵爻鬲 丿丕卮鬲賲 賵賱蹖 賴賲蹖卮賴 丨爻 賲蹖讴乇丿賲 趩蹖夭蹖 讴賲 丿丕卮鬲!
賴賲賴 蹖 丕蹖賳丕乇賵 诏賮鬲賲 讴賴 亘乇爻賲 亘賴 丕蹖賳讴賴 賲賳 丌丿賲賷賲 讴賴 丕夭 卮毓乇 禺賵卮賲 賳賲賷丕丿 賵 丕夭卮 丨爻 賳賲蹖诏蹖乇賲 丕賲丕 乇亘丕毓蹖丕鬲 禺蹖丕賲 賵 賲蹖禺賵賳賲 賵 賴賲賴 丕丨爻丕爻 毓丕賱賲 鬲賵蹖 賲賳 噩乇蹖丕賳 倬蹖丿丕 賲蹖讴賳賴. 丌乇丕賲卮 賲蹖诏蹖乇賲貙亘賴 賮讴乇 賮乇賵 賲蹖乇賲 賵 诏乇蹖賴 賲蹖讴賳賲!
丕賲丕 賲賳 禺蹖賱蹖 丕鬲賮丕賯蹖 亘丕 丕蹖賳 讴鬲丕亘 丌卮賳丕 卮丿賲!
賷丕丿賲賴 讴賱丕爻 倬賳噩賲 丿亘爻鬲丕賳 亘賵丿賲 賵 卮亘 賯亘賱 丕夭 丕賲鬲丨丕賳 乇蹖丕囟蹖 亘賵丿. 丕爻鬲乇爻 夭蹖丕丿蹖 丿丕卮鬲賲 賵 蹖賴 噩丕 亘賳丿 賳賲蹖卮丿賲. 亘丕亘丕賲 亘賴賲 诏賮鬲 亘蹖丕 鬲丕 氐亘丨 亘蹖丿丕乇 亘賲賵賳蹖賲 賵 丨乇賮 亘夭賳蹖賲. 賯亘賵賱 讴乇丿賲. 賳卮爻鬲賲 讴賳丕乇卮 賵 賲賳鬲馗乇 卮丿賲 讴賴 亘丨孬 讴乇丿賳賲賵賳 卮乇賵毓 亘卮賴. 賲賳 賵 賳卮賵賳丿 乇賵蹖 鬲禺鬲 賵 蹖賴 讴鬲丕亘 噩蹖亘蹖 賵賱蹖 賯胤賵乇 亘丕 噩賱丿 趩乇賲蹖 賯賴賵賴 丕蹖 乇賵卮賳 诏匕丕卮鬲 噩賱賵賲 賵 诏賮鬲 乇賵跇丕賳 丕蹖賳 讴鬲丕亘 乇亘丕毓蹖丕鬲 禺蹖丕賲賴. 丿丕乇賲 卮毓乇丕卮賵 丨賮馗 賲蹖讴賳賲. 丕夭 丕賵賱 亘乇丕鬲 賲蹖禺賵賳賲 亘亘蹖賳 丿乇爻鬲 賲蹖诏賲 蹖丕 賳賴.
卮乇賵毓 讴乇丿...
丕爻乇丕乇 丕夭賱 乇丕 賳賴 鬲賵 丿丕賳蹖 賵 賳賴 賲賳
賵蹖賳 丨賱 賲毓賲丕 賳賴 鬲賵 禺賵丕賳蹖 賵 賳賴 賲賳
賴爻鬲 丕夭 倬爻 倬乇丿賴 诏賮鬲 賵 诏賵蹖 賲賳 賵 鬲賵
趩賵賳 倬乇丿賴 亘乇 丕賮鬲丿 賳賴 鬲賵 賲丕賳蹖 賵 賳賴 賲賳
賲蹖禺賵賳丿 賵 賲蹖禺賵賳丿 賵 賲賳 賳丕禺賵丿丌诏丕賴 亘蹖卮鬲乇 毓賱丕賯賴 賲賳丿 賲蹖卮丿賲 讴賴 亘毓丿蹖 乇賵 亘卮賳賵賲
禺賵賳丿 賵 禺賵賳丿 賵 倬乇爻蹖丿賲 丕夭卮 鬲丕 乇爻蹖丿 亘賴 丕蹖賳 卮毓乇 讴賴 鬲賲丕賲 丕丨爻丕爻丕鬲賲 毓賲蹖賯賲 賳爻亘鬲 亘賴 禺蹖丕賲 丕夭 賴賲蹖賳 卮毓乇 卮乇賵毓 卮丿 讴賴 丕賵賳 卮亘 丕卮讴賲賵 丿乇丌賵乇丿:
丕蹖 丿賵爻鬲 亘蹖丕 鬲丕 睾賲 賮乇丿丕 賳禺賵乇蹖賲
賵蹖賳 蹖讴丿賲 毓賲乇 乇丕 睾賳賲蹖鬲 卮賲乇蹖賲
賮乇丿丕 讴賴 丕夭 丕蹖賳 丿蹖乇 賮賳丕 丿乇 诏匕乇蹖賲
亘丕 賴賮鬲 賴夭丕乇 爻丕賱诏丕賳 爻乇 亘賴 爻乇蹖賲!
賵 亘毓丿 賮賴賲蹖丿賲 鬲賲丕賲 趩蹖夭蹖 讴賴 丿賳亘丕賱卮 亘賵丿賲 鬲賵 丕蹖賳 讴鬲丕亘 賵 賱丕 亘賴 賱丕蹖 賲氐乇丕毓 丕蹖賳 丕卮毓丕乇賴
賵 賮賴賲蹖丿賲 趩賯丿 亘夭乇诏 亘賵丿賴 丕蹖賳 丌丿賲 賵 趩賯丿 賳丕亘睾賴 賵 趩賯丿 亘丕 丕丨爻丕爻 讴賴 蹖賴 亘趩賴 蹖 郾郾 爻丕賱賴 乇賵 蹖讴 卮亘賴 卮蹖賮鬲賴 蹖 禺賵丿卮 賲蹖讴賳賴.
賲蹖禺賵丕賲 亘诏賲 丕蹖賳 讴鬲丕亘 噩丿丕 丕夭 讴鬲丕亘 卮毓乇 亘賵丿賳 讴鬲丕亘蹖賴 讴賴 丕夭 賳馗乇 賲賳 "丕爻乇丕乇 丕夭賱" 鬲賵卮 賳賴賮鬲爻
丕爻乇丕乇蹖 讴賴 禺蹖賱蹖 丕锟斤拷 賲丕賴丕 乇賵夭丕賳賴 亘丿賵賳 鬲賵噩賴 讴乇丿賳 亘賴卮賵賳 丕夭 讴賳丕乇卮賵賳 賲蹖诏匕乇蹖賲
賵 賮讴乇 賲蹖讴賳賲 丿賱蹖賱 毓賱丕賯賴 卮丿蹖丿賲 亘賴 丕蹖賳 讴鬲丕亘 賴賲蹖賳賴 趩賵賳 丕賵賳 卮亘 賲賳 賵 丕夭 鬲丕乇蹖讴蹖 讴卮蹖丿 亘蹖乇賵賳 賵 亘丕 丕蹖賳 讴丕乇卮 丕卮讴賲賵 丿乇 丌賵乇丿 賵 賲賳 鬲丕 丕亘丿 丕夭卮 賲賲賳賵賳賲!
鄣 禺乇丿丕丿 郾鄞郯郯
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賲賳 丌丿賲蹖 賳蹖爻鬲賲 讴賴 丕賴賱 卮毓乇 賵 卮丕毓乇蹖 亘丕卮賲 蹖丕 卮亘 蹖賱丿丕 丿賱賲 賱讴 亘夭賳賴 賵丕爻賴 卮毓乇 賴丕蹖 丨丕賮馗 賵 賴乇 爻丕賱 丨鬲賲丕 睾夭賱蹖丕鬲 賵 爻毓丿蹖 賵 丨丕賮馗 噩夭卅蹖 丕夭 爻賮乇賴 賴賮鬲 爻賷賳賲 亘丕卮賴!
鬲丕 亘賴 丨丕賱 賳鬲賵賳爻鬲賲 爻乇 蹖讴 卮毓乇 讴丕賲賱 卮丕賴賳丕賲賴 亘卮蹖賳賲 賵 丕賵賳賵 鬲丕 丌禺乇 亘禺賵賳賲!
賮乇賵睾 賵 禺賵賳丿賲 賵 丿賵爻鬲 賳丿丕卮鬲賲 賵 亘丕 爻賴乇丕亘 丨鬲丕 丕乇鬲亘丕胤 賴賲 賳诏乇賮鬲賲. 卮丕賲賱賵 乇賵 丿賵爻鬲 丿丕卮鬲賲 賵賱蹖 賴賲蹖卮賴 丨爻 賲蹖讴乇丿賲 趩蹖夭蹖 讴賲 丿丕卮鬲!
賴賲賴 蹖 丕蹖賳丕乇賵 诏賮鬲賲 讴賴 亘乇爻賲 亘賴 丕蹖賳讴賴 賲賳 丌丿賲賷賲 讴賴 丕夭 卮毓乇 禺賵卮賲 賳賲賷丕丿 賵 丕夭卮 丨爻 賳賲蹖诏蹖乇賲 丕賲丕 乇亘丕毓蹖丕鬲 禺蹖丕賲 賵 賲蹖禺賵賳賲 賵 賴賲賴 丕丨爻丕爻 毓丕賱賲 鬲賵蹖 賲賳 噩乇蹖丕賳 倬蹖丿丕 賲蹖讴賳賴. 丌乇丕賲卮 賲蹖诏蹖乇賲貙亘賴 賮讴乇 賮乇賵 賲蹖乇賲 賵 诏乇蹖賴 賲蹖讴賳賲!
丕賲丕 賲賳 禺蹖賱蹖 丕鬲賮丕賯蹖 亘丕 丕蹖賳 讴鬲丕亘 丌卮賳丕 卮丿賲!
賷丕丿賲賴 讴賱丕爻 倬賳噩賲 丿亘爻鬲丕賳 亘賵丿賲 賵 卮亘 賯亘賱 丕夭 丕賲鬲丨丕賳 乇蹖丕囟蹖 亘賵丿. 丕爻鬲乇爻 夭蹖丕丿蹖 丿丕卮鬲賲 賵 蹖賴 噩丕 亘賳丿 賳賲蹖卮丿賲. 亘丕亘丕賲 亘賴賲 诏賮鬲 亘蹖丕 鬲丕 氐亘丨 亘蹖丿丕乇 亘賲賵賳蹖賲 賵 丨乇賮 亘夭賳蹖賲. 賯亘賵賱 讴乇丿賲. 賳卮爻鬲賲 讴賳丕乇卮 賵 賲賳鬲馗乇 卮丿賲 讴賴 亘丨孬 讴乇丿賳賲賵賳 卮乇賵毓 亘卮賴. 賲賳 賵 賳卮賵賳丿 乇賵蹖 鬲禺鬲 賵 蹖賴 讴鬲丕亘 噩蹖亘蹖 賵賱蹖 賯胤賵乇 亘丕 噩賱丿 趩乇賲蹖 賯賴賵賴 丕蹖 乇賵卮賳 诏匕丕卮鬲 噩賱賵賲 賵 诏賮鬲 乇賵跇丕賳 丕蹖賳 讴鬲丕亘 乇亘丕毓蹖丕鬲 禺蹖丕賲賴. 丿丕乇賲 卮毓乇丕卮賵 丨賮馗 賲蹖讴賳賲. 丕夭 丕賵賱 亘乇丕鬲 賲蹖禺賵賳賲 亘亘蹖賳 丿乇爻鬲 賲蹖诏賲 蹖丕 賳賴.
卮乇賵毓 讴乇丿...
丕爻乇丕乇 丕夭賱 乇丕 賳賴 鬲賵 丿丕賳蹖 賵 賳賴 賲賳
賵蹖賳 丨賱 賲毓賲丕 賳賴 鬲賵 禺賵丕賳蹖 賵 賳賴 賲賳
賴爻鬲 丕夭 倬爻 倬乇丿賴 诏賮鬲 賵 诏賵蹖 賲賳 賵 鬲賵
趩賵賳 倬乇丿賴 亘乇 丕賮鬲丿 賳賴 鬲賵 賲丕賳蹖 賵 賳賴 賲賳
賲蹖禺賵賳丿 賵 賲蹖禺賵賳丿 賵 賲賳 賳丕禺賵丿丌诏丕賴 亘蹖卮鬲乇 毓賱丕賯賴 賲賳丿 賲蹖卮丿賲 讴賴 亘毓丿蹖 乇賵 亘卮賳賵賲
禺賵賳丿 賵 禺賵賳丿 賵 倬乇爻蹖丿賲 丕夭卮 鬲丕 乇爻蹖丿 亘賴 丕蹖賳 卮毓乇 讴賴 鬲賲丕賲 丕丨爻丕爻丕鬲賲 毓賲蹖賯賲 賳爻亘鬲 亘賴 禺蹖丕賲 丕夭 賴賲蹖賳 卮毓乇 卮乇賵毓 卮丿 讴賴 丕賵賳 卮亘 丕卮讴賲賵 丿乇丌賵乇丿:
丕蹖 丿賵爻鬲 亘蹖丕 鬲丕 睾賲 賮乇丿丕 賳禺賵乇蹖賲
賵蹖賳 蹖讴丿賲 毓賲乇 乇丕 睾賳賲蹖鬲 卮賲乇蹖賲
賮乇丿丕 讴賴 丕夭 丕蹖賳 丿蹖乇 賮賳丕 丿乇 诏匕乇蹖賲
亘丕 賴賮鬲 賴夭丕乇 爻丕賱诏丕賳 爻乇 亘賴 爻乇蹖賲!
賵 亘毓丿 賮賴賲蹖丿賲 鬲賲丕賲 趩蹖夭蹖 讴賴 丿賳亘丕賱卮 亘賵丿賲 鬲賵 丕蹖賳 讴鬲丕亘 賵 賱丕 亘賴 賱丕蹖 賲氐乇丕毓 丕蹖賳 丕卮毓丕乇賴
賵 賮賴賲蹖丿賲 趩賯丿 亘夭乇诏 亘賵丿賴 丕蹖賳 丌丿賲 賵 趩賯丿 賳丕亘睾賴 賵 趩賯丿 亘丕 丕丨爻丕爻 讴賴 蹖賴 亘趩賴 蹖 郾郾 爻丕賱賴 乇賵 蹖讴 卮亘賴 卮蹖賮鬲賴 蹖 禺賵丿卮 賲蹖讴賳賴.
賲蹖禺賵丕賲 亘诏賲 丕蹖賳 讴鬲丕亘 噩丿丕 丕夭 讴鬲丕亘 卮毓乇 亘賵丿賳 讴鬲丕亘蹖賴 讴賴 丕夭 賳馗乇 賲賳 "丕爻乇丕乇 丕夭賱" 鬲賵卮 賳賴賮鬲爻
丕爻乇丕乇蹖 讴賴 禺蹖賱蹖 丕锟斤拷 賲丕賴丕 乇賵夭丕賳賴 亘丿賵賳 鬲賵噩賴 讴乇丿賳 亘賴卮賵賳 丕夭 讴賳丕乇卮賵賳 賲蹖诏匕乇蹖賲
賵 賮讴乇 賲蹖讴賳賲 丿賱蹖賱 毓賱丕賯賴 卮丿蹖丿賲 亘賴 丕蹖賳 讴鬲丕亘 賴賲蹖賳賴 趩賵賳 丕賵賳 卮亘 賲賳 賵 丕夭 鬲丕乇蹖讴蹖 讴卮蹖丿 亘蹖乇賵賳 賵 亘丕 丕蹖賳 讴丕乇卮 丕卮讴賲賵 丿乇 丌賵乇丿 賵 賲賳 鬲丕 丕亘丿 丕夭卮 賲賲賳賵賳賲!
February 15, 2024
- 賰丕賳 丕賱禺賷丕賲 毓丕賱賲丕賸 賮賷 兀賲賵乇 丕賱賮賱爻賮丞貙 亘丕賱廿囟丕賮丞 廿賱賶 兀賳賾賴 賰丕賳 胤亘賷亘丕賸 亘丕乇毓丕賸貙 鬲禺氐賾氐 丕賱禺賷丕賲 賮賷 毓賱賵賲 丕賱賱睾丞 賵丕賱丿賷賳貙 賲孬賱: 丕賱賮賯賴貙 賵丕賱丨丿賷孬貙 賵丕賱賲賳胤賯貙 賵丕賱賯乇丕亍丕鬲貙 賵丕賱爻賷乇貙 賵丕賱賳丨賵貙 賵丕賱氐乇賮貙 賵丕賱毓賱賵賲 丕賱胤亘賷毓丞. (匕賰乇鬲 賲丕 爻亘賯 賰賷 賷丿乇賷 賲賳 賱丕 賷丿乇賷 丕賳賴 亘氐丿丿 賴丕賲丞 賰亘賷乇丞 賵賱賷爻 卮丕毓乇 賷乇賲賷 丕賱卮毓乇 亘毓丿 賰兀爻賷 禺賲乇!).
- 賷賱鬲賯賷 丕賱禺賷丕賲 亘兀亘賷 丕賱毓賱丕亍 丕賱賲毓乇賷 賮賷 胤亘賷毓丞 賮賱爻賮鬲賴貙 賵賷亘丿賵 丕賳賴 賰丕賳 賲鬲兀孬乇丕賸 噩丿丕賸 亘賴.
- 丕賱鬲乇噩賲丞 噩賲賷賱丞 賵卮丕毓乇賷丞 賵丕馗賳賴丕 丕賱兀賯乇亘 丕賱賶 丕賱爻賲毓 丕賱毓乇亘賷 賲賳 丕賱鬲乇噩賲丕鬲 丕賱兀禺乇賶貙 賵賴匕丕 賷丨爻亘 賱兀丨賲丿 乇丕賲賷.
- 丕賱乇亘丕毓賷丕鬲 鬲丨鬲賵賷 賲賳 丕賱丨賰賲丞貙 賵丕賱丨亘貙 賵丕賱毓卮賯貙 賵丕賱噩匕亘貙 賵丕賱禺賲乇貙 賵丕賱賳馗乇丞 丕賱禺丕氐丞 丕賱賶 丕賱賲丕賵乇丕卅賷丕鬲貙 賵丕賱孬賵乇丞 毓賱賶 丕爻丕賱賷亘 匕賱賰 丕賱毓氐乇貙 賵丕賱賴夭亍 賲賲賳 賷丿毓賵賳 丕賱賵乇毓 賵丕賱夭賴丿 (丕賱賲賲鬲丿 丕賱賶 丕賱賷賵賲) 丕賱賰孬賷乇 丕賱賰孬賷乇貙 賮賱丕 賷賲賰賳 賯乇丕亍丞 丕賱乇亘丕毓賷丕鬲 亘乇賵丨 "丕賱賯丕囟賷" 賵丕賱丕 爻鬲鬲毓亘 賲賳 賷賯乇兀賴丕 賰孬賷乇丕賸...
- 賱丕 丕賳氐丨 亘賴丕 賱"丨丕賲賱賷 賲賮丕鬲賷丨 丕賱噩賳丞"
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賷丕 乇亘 賮賷 賮賴賲賰 丨丕乇 丕賱亘卮乇
賵賯氐賾乇 丕賱毓丕噩夭 賵丕賱賲賯鬲丿乇
鬲亘毓孬 賳噩賵丕賰 賵鬲亘丿賵 賱賴賲
賵賴賲 亘賱丕 爻賲毓 賷毓賷 丕賵 亘氐乇
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- 賷賱鬲賯賷 丕賱禺賷丕賲 亘兀亘賷 丕賱毓賱丕亍 丕賱賲毓乇賷 賮賷 胤亘賷毓丞 賮賱爻賮鬲賴貙 賵賷亘丿賵 丕賳賴 賰丕賳 賲鬲兀孬乇丕賸 噩丿丕賸 亘賴.
- 丕賱鬲乇噩賲丞 噩賲賷賱丞 賵卮丕毓乇賷丞 賵丕馗賳賴丕 丕賱兀賯乇亘 丕賱賶 丕賱爻賲毓 丕賱毓乇亘賷 賲賳 丕賱鬲乇噩賲丕鬲 丕賱兀禺乇賶貙 賵賴匕丕 賷丨爻亘 賱兀丨賲丿 乇丕賲賷.
- 丕賱乇亘丕毓賷丕鬲 鬲丨鬲賵賷 賲賳 丕賱丨賰賲丞貙 賵丕賱丨亘貙 賵丕賱毓卮賯貙 賵丕賱噩匕亘貙 賵丕賱禺賲乇貙 賵丕賱賳馗乇丞 丕賱禺丕氐丞 丕賱賶 丕賱賲丕賵乇丕卅賷丕鬲貙 賵丕賱孬賵乇丞 毓賱賶 丕爻丕賱賷亘 匕賱賰 丕賱毓氐乇貙 賵丕賱賴夭亍 賲賲賳 賷丿毓賵賳 丕賱賵乇毓 賵丕賱夭賴丿 (丕賱賲賲鬲丿 丕賱賶 丕賱賷賵賲) 丕賱賰孬賷乇 丕賱賰孬賷乇貙 賮賱丕 賷賲賰賳 賯乇丕亍丞 丕賱乇亘丕毓賷丕鬲 亘乇賵丨 "丕賱賯丕囟賷" 賵丕賱丕 爻鬲鬲毓亘 賲賳 賷賯乇兀賴丕 賰孬賷乇丕賸...
- 賱丕 丕賳氐丨 亘賴丕 賱"丨丕賲賱賷 賲賮丕鬲賷丨 丕賱噩賳丞"
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賷丕 乇亘 賮賷 賮賴賲賰 丨丕乇 丕賱亘卮乇
賵賯氐賾乇 丕賱毓丕噩夭 賵丕賱賲賯鬲丿乇
鬲亘毓孬 賳噩賵丕賰 賵鬲亘丿賵 賱賴賲
賵賴賲 亘賱丕 爻賲毓 賷毓賷 丕賵 亘氐乇
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March 17, 2021
A great Sufi poet, Omar Khayyam, has written in his Ruba鈥檌yat, his world-famous collection of poetry: "I am going to drink, to dance, to love. I am going to commit every kind of sin because I trust God is compassionate -- he will forgive. My sins are very small; his forgiveness is immense."
He was a famous mathematician too, renowned in his country. Omar Khayyam's book was burned in his day. Whenever a copy was found, it was burned by the priests, because this man was teaching such a dangerous idea. One of the enlightened Sufi mystics, what he is saying has immense truth in it. He does not mean that you should commit sin. Whatever you do -- if it is not right, don't do it again. If you feel it hurts somebody, don't do it again.
The songs of Omar Khayyam were translated by Western writers, but were not correctly understood. Edward Fitzgerald, who did an admirable rendering of Khayyam's songs, was not a Sufi. He took the word `wine' literally, for example. He also took the word `lover' literally, and did the same with `wineshop'. He read the Rubaiyat and tried to understand it with the help of a dictionary. Omar Khayyam was a Sufi fakir, a Sufi saint. When he speaks of wine, he is speaking of the wine about which Kabir is speaking: 鈥楢nd I鈥檓 drunk with boundless youth鈥�.
Omar Khayyam is speaking of this too. The wineshop is the temple, the lover is the master, and the wine is none other than the wine of God. Fitzgerald made a great mistake when he translated the songs of Omar Khayyam literally, and many people in the West thought Khayyam was a drunkard and had written these songs in praise of wine. Many adaptations of the Rubaiyat were made from these translations of Fitzgerald's and were published all over the world, and so the wineshop of Omar Khayyam became world-famous. To understand a madman one must be mad, so if you wish to understand an enlightened man you will have to become enlightened yourself. The sign-language used by a dumb person can only be understood by another who is dumb. Fitzgerald did not realize this. If Omar Khayyam were to return to the world he would not be so displeased with anyone as he would be with Edward Fitzgerald. Fitzgerald made Khayyam's name famous throughout the world, but he did it in a very wrong way.
The Ruba鈥檌yat is one of the most misunderstood books in the whole world. It is understood in its translation, it is misunderstood in its spirit. The translator could not bring the spirit to it.
Ruba鈥檌yat is symbolic.
The Ruba鈥檌yat talks of wine and women and nothing else; it sings of wine and women. The translators -- and there are many -- are all wrong. They are bound to be wrong because Omar Khayyam was a Sufi, a man who knows. When he talks of the woman he is talking about God. That is the way Sufis address God: "Beloved, O my beloved." And they always use the feminine for God. Nobody else in the world, in the whole history of humanity, has addressed God as a woman. Only Sufis address God as the beloved. And the 'wine' is that which happens between the lover and the beloved, it has nothing to do with grapes. The alchemy which happens between the lover and the beloved, between the disciple and the master, between the seeker and the sought, between the worshipper and his God -the alchemy. The transmutation-that is the wine. Ruba鈥檌yat is so misunderstood鈥�
鈥淒rink wine that is life everlasting,
The source of youthful delight;
It burns like fire, but puts an end to grief,
It鈥檚 like the water of life, drink it.鈥�
He was a famous mathematician too, renowned in his country. Omar Khayyam's book was burned in his day. Whenever a copy was found, it was burned by the priests, because this man was teaching such a dangerous idea. One of the enlightened Sufi mystics, what he is saying has immense truth in it. He does not mean that you should commit sin. Whatever you do -- if it is not right, don't do it again. If you feel it hurts somebody, don't do it again.
The songs of Omar Khayyam were translated by Western writers, but were not correctly understood. Edward Fitzgerald, who did an admirable rendering of Khayyam's songs, was not a Sufi. He took the word `wine' literally, for example. He also took the word `lover' literally, and did the same with `wineshop'. He read the Rubaiyat and tried to understand it with the help of a dictionary. Omar Khayyam was a Sufi fakir, a Sufi saint. When he speaks of wine, he is speaking of the wine about which Kabir is speaking: 鈥楢nd I鈥檓 drunk with boundless youth鈥�.
Omar Khayyam is speaking of this too. The wineshop is the temple, the lover is the master, and the wine is none other than the wine of God. Fitzgerald made a great mistake when he translated the songs of Omar Khayyam literally, and many people in the West thought Khayyam was a drunkard and had written these songs in praise of wine. Many adaptations of the Rubaiyat were made from these translations of Fitzgerald's and were published all over the world, and so the wineshop of Omar Khayyam became world-famous. To understand a madman one must be mad, so if you wish to understand an enlightened man you will have to become enlightened yourself. The sign-language used by a dumb person can only be understood by another who is dumb. Fitzgerald did not realize this. If Omar Khayyam were to return to the world he would not be so displeased with anyone as he would be with Edward Fitzgerald. Fitzgerald made Khayyam's name famous throughout the world, but he did it in a very wrong way.
The Ruba鈥檌yat is one of the most misunderstood books in the whole world. It is understood in its translation, it is misunderstood in its spirit. The translator could not bring the spirit to it.
Ruba鈥檌yat is symbolic.
The Ruba鈥檌yat talks of wine and women and nothing else; it sings of wine and women. The translators -- and there are many -- are all wrong. They are bound to be wrong because Omar Khayyam was a Sufi, a man who knows. When he talks of the woman he is talking about God. That is the way Sufis address God: "Beloved, O my beloved." And they always use the feminine for God. Nobody else in the world, in the whole history of humanity, has addressed God as a woman. Only Sufis address God as the beloved. And the 'wine' is that which happens between the lover and the beloved, it has nothing to do with grapes. The alchemy which happens between the lover and the beloved, between the disciple and the master, between the seeker and the sought, between the worshipper and his God -the alchemy. The transmutation-that is the wine. Ruba鈥檌yat is so misunderstood鈥�
鈥淒rink wine that is life everlasting,
The source of youthful delight;
It burns like fire, but puts an end to grief,
It鈥檚 like the water of life, drink it.鈥�
Read
August 20, 2020It is a flash from the stage of non-belief to faith,
There is no more than a syllable between doubt and certainty:
Prize this precious moment dearly,
It is our life's only fruit.
I had a palm size edition of Edward Fitzgerald's translation. He changed his translation over the years and there are big differences between some of the different published editions. Reading this, the Avery translation, was a shock because none of the verses were recognisable. At first I found myself like hankering after a wayward translation because it had its own strange music.
Nobody has known anything better than sparkling wine
Since the morning star and the moon graced the sky:
Wine-sellers astonish me because
What can they buy better than what they sell?
I'm not sure if Fitzgerald knew Persian, but in any case Avery's intention was to write a literal translation. Avery in the introduction is generous towards Fitzgerald's translation, which is well known and much loved. When it comes to translating poetry what the ill-tempered might call inaccuracy can be creativity, a reinvention of the original in an alien language which has its own foreign rhythm.
The year's caravan goes by swiftly,
Seize the cheerful moment:
Why sorrow, boy, over tomorrow's grief for friends?
Bring out the cup - the night passes.
Rereading what struck me was how repetitive many of the verses were. Some seem like variations of each other and the effect of reading them a little similar to reading Pascal's . The themes are the impermanence of life, the unknowability of the future and afterlife, the enjoyment of the present moment and Dust Thou Art, and Unto Dust Shalt Thou Return. A pie chart illustrating Khayyam's poetic impulses would not need many slices.
How long shall I grieve for what I have or have not,
Over whether to pass my life in pleasure?
Fill the wine-bowl - it is not certain
That I shall breathe out again the breath I now draw.
Khayyam was a mathematician, astrologer and philosopher. The attribution of verses to his name was made only after his death. Some were also attributed to other writers and it seems that only one four line verse can be reliably thought to have actually been composed by Khayyam (and this because tells us that some of the survivors of the sack of Baghdad recited it in his history of the Mongol conquests). I suppose our ignorance over the authorship only proves the poet's point about the impermanence of life.
These few odd days of life have passed
Like water down the brook, wind across the desert;
There are two days I have never been plagued with regret for,
Yesterday that has gone, tomorrow that will come.
December 23, 2024
丕爻乇丕乇 丕賻夭賻賱 乇丕 賳賴 鬲賵 丿丕賳蹖 賵 賳賴 賲賳
賵蹖賳 丨乇賮賽 賲毓賲賾丕 賳賴 鬲賵 禺賵丕賳蹖 賵 賳賴 賲賳
賴爻鬲 丕夭 倬爻 倬乇丿賴 诏賮鬲鈥屬堏堐� 賲賳 賵 鬲賵
趩賵賳 倬乇丿賴 亘乇丕賮鬲丿貙 賳賴 鬲賵 賲丕賳蹖 賵 賳賴 賲賳
賵蹖賳 丨乇賮賽 賲毓賲賾丕 賳賴 鬲賵 禺賵丕賳蹖 賵 賳賴 賲賳
賴爻鬲 丕夭 倬爻 倬乇丿賴 诏賮鬲鈥屬堏堐� 賲賳 賵 鬲賵
趩賵賳 倬乇丿賴 亘乇丕賮鬲丿貙 賳賴 鬲賵 賲丕賳蹖 賵 賳賴 賲賳
June 7, 2010
In 1942, when my father was in the South Pacific, he asked for only one thing for Christmas...this book of poetry. My mother sent it to him with an inscription in the frontispiece which spoke wistfully of days to come. Later, he sent her a photo of him, reading this book, leaning back on a palm tree, with a bottle of wine and a loaf of bread on the cloth beside him...on the back of the photo, he wrote, "...all I'm missing is thou..."
Obviously, this book is a family treasure, and I cannot read it without remembering my parent's great love affair.
"Come, fill the Cup, and in the Fire of Spring
The Winter Garment of Repentance fling:
The Bird of Time has but a little way
To fly--and Lo! the Bird is on the Wing."
"Here with a Loaf of Bread beneath the Bough,
A Flask of Wine, A Book of Verse--and Thou
Beside me singing in the Wilderness--
And Wilderness is Paradise enow."
Obviously, this book is a family treasure, and I cannot read it without remembering my parent's great love affair.
"Come, fill the Cup, and in the Fire of Spring
The Winter Garment of Repentance fling:
The Bird of Time has but a little way
To fly--and Lo! the Bird is on the Wing."
"Here with a Loaf of Bread beneath the Bough,
A Flask of Wine, A Book of Verse--and Thou
Beside me singing in the Wilderness--
And Wilderness is Paradise enow."
April 26, 2016
I feel a bit awkward reviewing a book this short, so I鈥檒l keep my review short as well. There are some very fine verses here, especially good to read before a night of drunken foolery. Although FitzGerald鈥檚 translation is known for being somewhat inaccurate, I wouldn鈥檛 even consider trading it for a more scrupulous edition. Instead, why not view the poems as an artistic collaboration between two great poets, across time and space?
When small-minded tin-eared scholars
Take a look at his verse and holler:
"Why! what grave and fatal inaccuracies!"
Resist the urge to grab them by the collar
When pencil-pushing professors sneer:
鈥淔itzGerald鈥檚 version does not adhere
To the original Persian manuscript here!鈥�
Pat them on the back and have another beer
October 22, 2021
賯氐丕卅丿 丕賱卮丕毓乇 毓賲乇 丕賱禺賷丕賲 鬲毓賰爻 賮賱爻賮鬲賴 賵乇丐賷鬲賴 賱賱丨賷丕丞 賵丕賱賲賵鬲
賲丕 亘賷賳 丕賱賲鬲毓丞 賵丕賱毓卮賯 賵丕賱爻毓丕丿丞 賵亘賷賳 丕賱賷賯賷賳 賵丕賱兀賲賱 賮賷 丕賱毓賮賵 賵丕賱賲睾賮乇丞
丕賱卮丕毓乇 兀丨賲丿 乇丕賲賷 鬲乇噩賲 丕賱乇亘丕毓賷丕鬲 毓賳 丕賱賮丕乇爻賷丞.. 賵丕賱鬲乇噩賲丞 噩賲賷賱丞 賵毓匕亘丞
賳賲囟賷 賵鬲亘賯賶 丕賱毓賷卮丞 丕賱乇丕囟賷丞
賵鬲賳賲丨賷 丌孬丕乇賳丕 丕賱賲丕囟賷丞
賮賯亘賱 兀賳 賳丨賷丕 賵賲賳 亘毓丿賳丕
賵賴匕賴 丕賱丿賳賷丕 毓賱賶 賲丕賴賷賻
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廿賳 賱賲 兀賻賰購賳 兀賻禺賱氐鬲購 賮賷 胤丕毓鬲賽賰
賮廿賳賳賷 兀胤賲毓購 賮賷 乇丨賲鬲賽賰
賵廿賳賲丕 賷賻卮賮毓購 賱賷 兀賳賳賷
賯丿 毓賽卮賿鬲購 賱丕 兀購卮乇賰購 賮賷 賵賻丨丿賻鬲賽賰
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兀賵賱賶 亘賴匕丕 丕賱賯賱亘賽 兀賳 賷賻禺賿賮賽賯丕
賵賮賷 囟賽乇丕賲賽 丕賱丨購亘賽賾 兀賳賿 賷購丨乇賻賯丕
賲丕 兀囟賿賷賻毓賻 丕賱賷賵賲賻 丕賱匕賷 賲賻乇賻賾 亘賷
賲賳 睾賷乇 兀賳 兀賴賿賵賶 賵兀賳 兀毓賿卮賻賯丕
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亘賷賳賷 賵亘賷賳 丕賱賳賮爻賽 丨乇亘賹 爻賽噩丕賱
賵兀賳鬲 賷丕 乇亘 卮丿賷丿購 丕賱賲賽丨丕賱
兀賳鬲馗乇購 丕賱毓賮賵賻 賵賱賰賳賳賷
禺噩賱丕賳賹 賲賳 毓賽賱賲賽賰賻 爻賵亍 丕賱賮賽毓丕賱
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氐賮賻丕 賱賰賻 丕賱賷賵賲 賵乇賯賻賾 丕賱賳爻賷賲
賵噩丕賱賻 賮賷 丕賱兀夭賴丕乇賽 丿賲毓 丕賱睾賷賵賲
賵乇噩賾毓賻 丕賱亘賱亘賱 兀賱丨丕賳賴購
賷賯賵賱 賴賷賾丕 丕胤乇亘 賵禺賱賾 丕賱賴賲賵賲
賲丕 亘賷賳 丕賱賲鬲毓丞 賵丕賱毓卮賯 賵丕賱爻毓丕丿丞 賵亘賷賳 丕賱賷賯賷賳 賵丕賱兀賲賱 賮賷 丕賱毓賮賵 賵丕賱賲睾賮乇丞
丕賱卮丕毓乇 兀丨賲丿 乇丕賲賷 鬲乇噩賲 丕賱乇亘丕毓賷丕鬲 毓賳 丕賱賮丕乇爻賷丞.. 賵丕賱鬲乇噩賲丞 噩賲賷賱丞 賵毓匕亘丞
賳賲囟賷 賵鬲亘賯賶 丕賱毓賷卮丞 丕賱乇丕囟賷丞
賵鬲賳賲丨賷 丌孬丕乇賳丕 丕賱賲丕囟賷丞
賮賯亘賱 兀賳 賳丨賷丕 賵賲賳 亘毓丿賳丕
賵賴匕賴 丕賱丿賳賷丕 毓賱賶 賲丕賴賷賻
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廿賳 賱賲 兀賻賰購賳 兀賻禺賱氐鬲購 賮賷 胤丕毓鬲賽賰
賮廿賳賳賷 兀胤賲毓購 賮賷 乇丨賲鬲賽賰
賵廿賳賲丕 賷賻卮賮毓購 賱賷 兀賳賳賷
賯丿 毓賽卮賿鬲購 賱丕 兀購卮乇賰購 賮賷 賵賻丨丿賻鬲賽賰
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兀賵賱賶 亘賴匕丕 丕賱賯賱亘賽 兀賳 賷賻禺賿賮賽賯丕
賵賮賷 囟賽乇丕賲賽 丕賱丨購亘賽賾 兀賳賿 賷購丨乇賻賯丕
賲丕 兀囟賿賷賻毓賻 丕賱賷賵賲賻 丕賱匕賷 賲賻乇賻賾 亘賷
賲賳 睾賷乇 兀賳 兀賴賿賵賶 賵兀賳 兀毓賿卮賻賯丕
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亘賷賳賷 賵亘賷賳 丕賱賳賮爻賽 丨乇亘賹 爻賽噩丕賱
賵兀賳鬲 賷丕 乇亘 卮丿賷丿購 丕賱賲賽丨丕賱
兀賳鬲馗乇購 丕賱毓賮賵賻 賵賱賰賳賳賷
禺噩賱丕賳賹 賲賳 毓賽賱賲賽賰賻 爻賵亍 丕賱賮賽毓丕賱
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氐賮賻丕 賱賰賻 丕賱賷賵賲 賵乇賯賻賾 丕賱賳爻賷賲
賵噩丕賱賻 賮賷 丕賱兀夭賴丕乇賽 丿賲毓 丕賱睾賷賵賲
賵乇噩賾毓賻 丕賱亘賱亘賱 兀賱丨丕賳賴購
賷賯賵賱 賴賷賾丕 丕胤乇亘 賵禺賱賾 丕賱賴賲賵賲
July 2, 2023
蹖讴 爻丕賱 禺蹖丕賲鈥屫堌з嗃� 賲賳 亘丕賱丕禺乇賴 亘賴 倬丕蹖丕賳 乇爻蹖丿貙 賵賱蹖 賯胤毓丕賸 丿乇 胤賵賱 丕賲爻丕賱 賵 爻丕賱鈥屬囏й� 亘毓丿 賴賲 丕蹖賳 讴鬲丕亘 賴賲乇丕賴賲賴. 賴乇賵賯鬲 卮丿蹖丿丕賸 丿趩丕乇 丕囟胤乇丕亘 賲蹖鈥屫簇� 乇亘丕毓蹖鈥屬囏й� 禺蹖丕賲 倬賳丕賴 賲賳 亘賵丿. 丕賳诏丕乇 亘丕賴丕賲 丨乇賮 賲蹖鈥屫藏� 賵 賲蹖鈥屭佖� 亘爻賴 丌乇夭賵 噩賵賳 :))) 丕蹖賳鈥屬傌� 丨乇氐 丿賳蹖丕 乇賵 賳禺賵乇 :))) 丕賵賳鈥屬傌必з� 讴賴 賮讴乇 賲锟斤拷鈥屭┵嗃� 丕乇夭卮卮賵 賳丿丕乇賴.
May 23, 2017
賲丕鬲夭丕賱 鬲乇噩賲丞 乇丕賲賷 兀丨爻賳 鬲乇丕噩賲 賴匕賴 丕賱乇亘丕毓賷丕鬲貙 賵賴賷 賰匕賱賰 賱丕 鬲賱睾賷 鬲乇噩賲丞 兀丨賲丿 賮丕乇爻 丕賱卮丿賷丕賯貙 賵丕賱賳噩賮賷 賵丕賱夭賴丕賵賷 賵賲丨賲丿 丕賱爻亘丕毓賷貙 賵廿賳 賰丕賳鬲 鬲乇噩賲丞 丕賱爻亘丕毓賷 匕丕鬲 賰賱賲丕鬲 賲賵丨卮丞 賲賴噩賵乇丞 廿賱丕 兀賳 亘賴丕 乇亘丕毓賷丕鬲 氐賵乇賴丕 賯賵賷丞 賵睾丕賷丞 賮賷 丕賱賯賵丞 廿賱丕 兀賳賴丕 賰睾賷乇賴丕 丕毓鬲賲丿鬲 毓賱賶 丕賱鬲乇噩賲丞 丕賱廿賳噩賱賷夭賷丞 丕賱鬲賷 賯丕賲 亘賴丕 丕賱兀丿賷亘 丕賱廿賳噩賱賷夭賷 Edward FitzGerald - 賮賷 丕賱賯乇賳 丕賱鬲丕爻毓 毓卮乇
孬賲 噩賱 賲賳 噩丕亍 賲賳 亘毓丿賴 賯丕賲 亘賳賭卮乇 丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞 賳賯賱賸丕 毓賳 鬲乇噩賲丞 賴匕丕 丕賱兀禺賷乇賲賳 丕賱賮丕乇爻賷丞 賱賱廿賳噩賱賷夭賷丞
亘廿爻鬲孬賳丕亍 賯賱丞 賲賳 鬲乇噩賲賴丕 賲亘丕卮乇丞 賲賳 賱睾鬲賴丕 丕賱兀賲 賲孬賱 兀丨賲丿 乇丕賲賷 賵噩賲賷賱 丕賱夭賴丕賵賷 丕賱鬲賷 賳卮乇賴丕 賳孬乇賸丕 賵卮毓乇賸丕
賱鬲賮賴賲 卮丕毓乇賷丞 賴匕丕 丕賱卮丕毓乇 毓賲乇 丕賱禺賷丕賲 賷賯丕賱 : 毓賱賷賰 兀賳 鬲賮賴賲 賵鬲毓賷 亘毓囟 丕賱賭卮賷亍 毓賳 丕賱氐賵賮賷丞 賵賲丕匕賱賰 廿賱丕 賲賳 賲丨丕賵賱丕鬲 亘毓囟 丕賱氐賵賮賷丞 鬲賯丿賷爻 丕賱禺賷丕賲
乇亘丕毓賷丕鬲 丕賱禺賷丕賲 鬲丨鬲丕噩 賮賯胤 - 賲賳 賵噩賴丞 賳馗乇賷 丕賱廿賷賲丕賳 亘乇賵丨 賴匕丕 丕賱卮丕毓乇 兀賳賴丕 賲丕鬲夭丕賱 丨賵賱賳丕 賮賯胤
孬賲 噩賱 賲賳 噩丕亍 賲賳 亘毓丿賴 賯丕賲 亘賳賭卮乇 丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞 賳賯賱賸丕 毓賳 鬲乇噩賲丞 賴匕丕 丕賱兀禺賷乇賲賳 丕賱賮丕乇爻賷丞 賱賱廿賳噩賱賷夭賷丞
亘廿爻鬲孬賳丕亍 賯賱丞 賲賳 鬲乇噩賲賴丕 賲亘丕卮乇丞 賲賳 賱睾鬲賴丕 丕賱兀賲 賲孬賱 兀丨賲丿 乇丕賲賷 賵噩賲賷賱 丕賱夭賴丕賵賷 丕賱鬲賷 賳卮乇賴丕 賳孬乇賸丕 賵卮毓乇賸丕
賱鬲賮賴賲 卮丕毓乇賷丞 賴匕丕 丕賱卮丕毓乇 毓賲乇 丕賱禺賷丕賲 賷賯丕賱 : 毓賱賷賰 兀賳 鬲賮賴賲 賵鬲毓賷 亘毓囟 丕賱賭卮賷亍 毓賳 丕賱氐賵賮賷丞 賵賲丕匕賱賰 廿賱丕 賲賳 賲丨丕賵賱丕鬲 亘毓囟 丕賱氐賵賮賷丞 鬲賯丿賷爻 丕賱禺賷丕賲
乇亘丕毓賷丕鬲 丕賱禺賷丕賲 鬲丨鬲丕噩 賮賯胤 - 賲賳 賵噩賴丞 賳馗乇賷 丕賱廿賷賲丕賳 亘乇賵丨 賴匕丕 丕賱卮丕毓乇 兀賳賴丕 賲丕鬲夭丕賱 丨賵賱賳丕 賮賯胤
July 29, 2023
搁耻产腻鈥榠测腻迟 is simply the plural for 谤耻产腻鈥樐�, a Persian term referring to a quatrain or four-line poem. Therefore there is no need to be put off by the title 搁耻产谩颈测谩迟 of Omar Khayy谩m. Think of the title as Quatrains of Omar Khayy谩m, or as Four-Line Poems of Omar Khayy谩m, if that will be more comfortable to you. But don鈥檛 miss out on reading these little poems, which hold their own unique power to delight, and additionally may be among the most influential and important poems ever written.
The poems鈥� author, Omar Khayy谩m (1048-1131), is one of those polymaths who did everything well and achieved in every field of endeavour. He is known today as 鈥淭he Astronomer-Poet of Persia,鈥� and he excelled not only as an astronomer-poet, but also as mathematician and philosopher. Conducting his work near court, at the time when the Kara-Khanid Khanate and the Seljuq dynasty held power, Omar Khayy谩m lived amidst the turbulent times of the First Crusade; but one would not know any of that from reading these poems, all of which resound with a full-throated appreciation of life, as when Omar Khayy谩m calls upon the reader of 谤耻产腻鈥樐� VII to
Come, fill the Cup, and in the Fire of Spring
The Winter Garment of Repentance fling.
The Bird of Time has but a little way
To fly 鈥� and Lo! the Bird is on the Wing.
The reader who is new to the 搁耻产谩颈测谩迟 certainly gets a strong sense of the depth and extent of the poems鈥� influence by the time he or she arrives at 谤耻产腻鈥樐� XI:
Here with a Loaf of Bread beneath the Bough,
A Flask of Wine, a Book of Verse 鈥� and Thou
Beside me singing in the Wilderness 鈥�
And Wilderness is Paradise enow.
This sentiment 鈥� usually shortened to 鈥渁 loaf of bread, a jug of wine, and thou鈥� 鈥� has no doubt been spoken at many picnics down the years, all over North America and Western Europe. I鈥檓 sure that the same idea has been expressed on countless Saint Valentine鈥檚 Day greeting cards. Yet how many of those who thus invoke this archetype know that they have a 12th-century Persian poet to thank for the manner in which they thus invoked the spirit of Romance? Not many, I think.`
The brevity and uncertainty of life is a major theme of the 搁耻产谩颈测谩迟, as when Omar Khayy谩m encourages the reader to seize the day:
Ah, make the most of what we yet may spend,
Before we too into the Dust Descend:
Dust into Dust, and under Dust, to lie,
Sans Wine, sans Song, sans Singer, and 鈥� sans End!
Here, in 谤耻产腻鈥樐� XXIII, Omar Khayy谩m sets forth his ideas in a manner that invites comparison with Genesis 3:19 鈥� 鈥渇or dust thou art, and unto dust thou shalt return.鈥�
It is a pleasant thing to travel with Omar Khayy谩m, who even steps into his own poetry for a moment to invite the reader to travel with him, in 谤耻产腻鈥樐� XXVI:
Oh, come with old Khayyam, and leave the Wise
To talk; one thing is certain, that Life flies;
One thing is certain, and the Rest is Lies;
The Flower that once has blown for ever dies.
Omar Khayy谩m, so well-educated and brilliant himself, sets at naught the self-proclaimed wisdom of 鈥淒octor and Saint,鈥� of 鈥淪aints and Sages,鈥� culminating in one unforgettable image from 谤耻产腻鈥樐� XXIV, addressed to people who focus on either today or tomorrow:
A Muezzin from the Tower of Darkness cries,
鈥淔ools! Your Reward is neither Here nor There.鈥�
I appreciated Omar Khayy谩m鈥檚 invocation, in 谤耻产腻鈥樐� XXXI, of the Ptolemaic system of astronomy, according to which the Earth was at the center of the Universe, with the sun, moon, and the five then-known planets all revolving in great concentric spheres around the Earth. Thus Omar Khayy谩m describes his journey up through the Ptolemaic spheres, in search of an answer to the insoluble mysteries of life:
Up from Earth鈥檚 Centre through the seventh Gate
I rose, and on the Throne of Saturn sat,
And many Knots unravelled by the Road;
But not the Knot of Human Death and Fate.
And 谤耻产腻鈥樐� XLVI seemed to evoke the Allegory of the Cave from Plato鈥檚 Republic, where prisoners, imprisoned in a cave for all their lives, look at shadows on the back wall of the cave and believe they are seeing reality:
For in and out, above, about, below,
鈥橳is nothing but a Magic Shadow-Show,
Played in a Box whose Candle is the Sun,
Round which we Phantom Figures come and go.
Another of the most powerful metaphors in the 搁耻产谩颈测谩迟 comes when Omar Khayy谩m, in 谤耻产腻鈥樐� XLVIX, depicts human beings as little more than game-pieces in the hands of an infinitely more powerful force:
鈥橳is all a Chequerboard of Nights and Days
Where Destiny, with Men for Pieces, plays:
Hither and thither moves, and mates, and slays,
And one by one back in the Closet lays.
Here, I found myself thinking of images from the Ray Harryhausen movie Jason and the Argonauts (1963). Throughout the film, Zeus and Hera treat Jason of Thessaly鈥檚 quest for the Golden Fleece as a game being played on a board, with the bronze giant Talos and the Clashing Rocks and the sea-god Triton as pieces to be deployed as needed for different turns in the game. No doubt many of us, at many different points in our lives, have felt like pawns in some such game.
The history of the Western publication of the 搁耻产谩颈测谩迟 is itself just as compelling and intriguing as the poems themselves. In 1859, the English poet Edward FitzGerald published a translation of the 搁耻产谩颈测谩迟 of Omar Khayy谩m; and that translation, initially a failure in financial terms, eventually took off and became a literary and cultural phenomenon. Dante Gabriel Rossetti, John Ruskin, and other writers and artists of the Pre-Raphaelite movement, with their embrace of colour and spontaneity and their hostility to mannerism, seized upon the 搁耻产谩颈测谩迟 as a sort of cultural manifesto 鈥� and its 鈥渆xotic鈥� elements contributed to its allure amidst the Orientalism that was such a strong feature of late 19th-century British culture.
Thus the 搁耻产谩颈测谩迟 became central to the Western literary conversation. Mark Twain wrote a parody of it in 1898. And when R.M.S. Titanic sank in 1912, with an expensive, jewel-encrusted copy of the 搁耻产谩颈测谩迟 on board, the accumulated lore surrounding the poem only grew.
It has influenced literary work by Isaac Asimov, Jorge Luis Borges, Allen Drury, Daphne du Maurier, Christopher Hitchens, James Michener, Eugene O鈥橬eill, Se谩n O鈥機asey, O. Henry, Saki, and Rex Stout. There are references to it in all sorts of movies: The Picture of Dorian Grey (1945), Duel in the Sun (1946), Back to the Future (1985), 12 Monkeys (1995). Even Rocky and Bullwinkle, the I Dream of Jeannie television show, and Charles Schulz鈥檚 Peanuts comic strip have referenced the 搁耻产谩颈测谩迟.
And another of the most famous lines from the 搁耻产谩颈测谩迟 鈥� one that many people may not originally identify with this book of poetry 鈥� comes when Omar Khayy谩m writes in 谤耻产腻鈥樐� LI that 鈥淭he Moving Finger writes; and, having writ,/Moves on鈥�.
This 谤耻产腻鈥樐� may draw upon Chapter 5 of the Book of Daniel, when the wicked Babylonian crown prince Belshazzar, contemptuously drinking from golden cups taken from the Temple of Jerusalem, witnesses unmistakable evidence of divine disapproval of his actions: 鈥淚n the same hour came forth fingers of a man鈥檚 hand, and wrote over against the candlestick upon the plaister of the wall of the king鈥檚 palace: and the king saw the part of the hand that wrote鈥� (Daniel 5:5).
Whatever the passage鈥檚 origins, it fits right in with Omar Khayy谩m鈥檚 thematic emphasis on the brevity of life; but this line, all by itself, has taken on a life of its own. Agatha Christie gave a 1942 detective novel the title The Moving Finger. The Hollies, the British rock band, made Moving Finger the U.S. title of their 1970 album. Stephen King published his short story 鈥淭he Moving Finger鈥� in 1990.
And, as a scholar at the University of Leiden has pointed out, the moving-finger image, when combined with the rest of the quatrain 鈥� 鈥渘or all thy Piety nor Wit/Shall lure it back to cancel half a Line,/Nor all thy Tears wash out a Word of it鈥� 鈥� has been used by politicians to emphasize the idea that actions have consequences that cannot be revoked. Martin Luther King Jr. invoked the quatrain in a 1967 speech setting forth the shameful U.S. record in the Vietnam War and calling upon Americans to speak out openly in acknowledgement of the war鈥檚 human cost. And then-U.S. President Bill Clinton quoted the line in 1998 to emphasize his awareness that the Monica Lewinsky scandal would always be part of his legacy.
All in all, the 搁耻产谩颈测谩迟 are just as challenging now as they were in the time of their publication. The theocrats who rule over contemporary Iran would probably not appreciate this great Persian鈥檚 repeated references to the joys of wine 鈥� even if one can make a good argument that the wine references are meant metaphorically, as an allusion to the idea of enjoying all the good things of life. Nor, I think, would they appreciate Omar Khayy谩m鈥檚 forthright statement that 鈥淚 myself am Heaven and Hell.鈥� But be that as it may, the 搁耻产谩颈测谩迟, many centuries after their composition, still give the reader much food for thought, expressed in quatrains as brief as they are evocative.
The poems鈥� author, Omar Khayy谩m (1048-1131), is one of those polymaths who did everything well and achieved in every field of endeavour. He is known today as 鈥淭he Astronomer-Poet of Persia,鈥� and he excelled not only as an astronomer-poet, but also as mathematician and philosopher. Conducting his work near court, at the time when the Kara-Khanid Khanate and the Seljuq dynasty held power, Omar Khayy谩m lived amidst the turbulent times of the First Crusade; but one would not know any of that from reading these poems, all of which resound with a full-throated appreciation of life, as when Omar Khayy谩m calls upon the reader of 谤耻产腻鈥樐� VII to
Come, fill the Cup, and in the Fire of Spring
The Winter Garment of Repentance fling.
The Bird of Time has but a little way
To fly 鈥� and Lo! the Bird is on the Wing.
The reader who is new to the 搁耻产谩颈测谩迟 certainly gets a strong sense of the depth and extent of the poems鈥� influence by the time he or she arrives at 谤耻产腻鈥樐� XI:
Here with a Loaf of Bread beneath the Bough,
A Flask of Wine, a Book of Verse 鈥� and Thou
Beside me singing in the Wilderness 鈥�
And Wilderness is Paradise enow.
This sentiment 鈥� usually shortened to 鈥渁 loaf of bread, a jug of wine, and thou鈥� 鈥� has no doubt been spoken at many picnics down the years, all over North America and Western Europe. I鈥檓 sure that the same idea has been expressed on countless Saint Valentine鈥檚 Day greeting cards. Yet how many of those who thus invoke this archetype know that they have a 12th-century Persian poet to thank for the manner in which they thus invoked the spirit of Romance? Not many, I think.`
The brevity and uncertainty of life is a major theme of the 搁耻产谩颈测谩迟, as when Omar Khayy谩m encourages the reader to seize the day:
Ah, make the most of what we yet may spend,
Before we too into the Dust Descend:
Dust into Dust, and under Dust, to lie,
Sans Wine, sans Song, sans Singer, and 鈥� sans End!
Here, in 谤耻产腻鈥樐� XXIII, Omar Khayy谩m sets forth his ideas in a manner that invites comparison with Genesis 3:19 鈥� 鈥渇or dust thou art, and unto dust thou shalt return.鈥�
It is a pleasant thing to travel with Omar Khayy谩m, who even steps into his own poetry for a moment to invite the reader to travel with him, in 谤耻产腻鈥樐� XXVI:
Oh, come with old Khayyam, and leave the Wise
To talk; one thing is certain, that Life flies;
One thing is certain, and the Rest is Lies;
The Flower that once has blown for ever dies.
Omar Khayy谩m, so well-educated and brilliant himself, sets at naught the self-proclaimed wisdom of 鈥淒octor and Saint,鈥� of 鈥淪aints and Sages,鈥� culminating in one unforgettable image from 谤耻产腻鈥樐� XXIV, addressed to people who focus on either today or tomorrow:
A Muezzin from the Tower of Darkness cries,
鈥淔ools! Your Reward is neither Here nor There.鈥�
I appreciated Omar Khayy谩m鈥檚 invocation, in 谤耻产腻鈥樐� XXXI, of the Ptolemaic system of astronomy, according to which the Earth was at the center of the Universe, with the sun, moon, and the five then-known planets all revolving in great concentric spheres around the Earth. Thus Omar Khayy谩m describes his journey up through the Ptolemaic spheres, in search of an answer to the insoluble mysteries of life:
Up from Earth鈥檚 Centre through the seventh Gate
I rose, and on the Throne of Saturn sat,
And many Knots unravelled by the Road;
But not the Knot of Human Death and Fate.
And 谤耻产腻鈥樐� XLVI seemed to evoke the Allegory of the Cave from Plato鈥檚 Republic, where prisoners, imprisoned in a cave for all their lives, look at shadows on the back wall of the cave and believe they are seeing reality:
For in and out, above, about, below,
鈥橳is nothing but a Magic Shadow-Show,
Played in a Box whose Candle is the Sun,
Round which we Phantom Figures come and go.
Another of the most powerful metaphors in the 搁耻产谩颈测谩迟 comes when Omar Khayy谩m, in 谤耻产腻鈥樐� XLVIX, depicts human beings as little more than game-pieces in the hands of an infinitely more powerful force:
鈥橳is all a Chequerboard of Nights and Days
Where Destiny, with Men for Pieces, plays:
Hither and thither moves, and mates, and slays,
And one by one back in the Closet lays.
Here, I found myself thinking of images from the Ray Harryhausen movie Jason and the Argonauts (1963). Throughout the film, Zeus and Hera treat Jason of Thessaly鈥檚 quest for the Golden Fleece as a game being played on a board, with the bronze giant Talos and the Clashing Rocks and the sea-god Triton as pieces to be deployed as needed for different turns in the game. No doubt many of us, at many different points in our lives, have felt like pawns in some such game.
The history of the Western publication of the 搁耻产谩颈测谩迟 is itself just as compelling and intriguing as the poems themselves. In 1859, the English poet Edward FitzGerald published a translation of the 搁耻产谩颈测谩迟 of Omar Khayy谩m; and that translation, initially a failure in financial terms, eventually took off and became a literary and cultural phenomenon. Dante Gabriel Rossetti, John Ruskin, and other writers and artists of the Pre-Raphaelite movement, with their embrace of colour and spontaneity and their hostility to mannerism, seized upon the 搁耻产谩颈测谩迟 as a sort of cultural manifesto 鈥� and its 鈥渆xotic鈥� elements contributed to its allure amidst the Orientalism that was such a strong feature of late 19th-century British culture.
Thus the 搁耻产谩颈测谩迟 became central to the Western literary conversation. Mark Twain wrote a parody of it in 1898. And when R.M.S. Titanic sank in 1912, with an expensive, jewel-encrusted copy of the 搁耻产谩颈测谩迟 on board, the accumulated lore surrounding the poem only grew.
It has influenced literary work by Isaac Asimov, Jorge Luis Borges, Allen Drury, Daphne du Maurier, Christopher Hitchens, James Michener, Eugene O鈥橬eill, Se谩n O鈥機asey, O. Henry, Saki, and Rex Stout. There are references to it in all sorts of movies: The Picture of Dorian Grey (1945), Duel in the Sun (1946), Back to the Future (1985), 12 Monkeys (1995). Even Rocky and Bullwinkle, the I Dream of Jeannie television show, and Charles Schulz鈥檚 Peanuts comic strip have referenced the 搁耻产谩颈测谩迟.
And another of the most famous lines from the 搁耻产谩颈测谩迟 鈥� one that many people may not originally identify with this book of poetry 鈥� comes when Omar Khayy谩m writes in 谤耻产腻鈥樐� LI that 鈥淭he Moving Finger writes; and, having writ,/Moves on鈥�.
This 谤耻产腻鈥樐� may draw upon Chapter 5 of the Book of Daniel, when the wicked Babylonian crown prince Belshazzar, contemptuously drinking from golden cups taken from the Temple of Jerusalem, witnesses unmistakable evidence of divine disapproval of his actions: 鈥淚n the same hour came forth fingers of a man鈥檚 hand, and wrote over against the candlestick upon the plaister of the wall of the king鈥檚 palace: and the king saw the part of the hand that wrote鈥� (Daniel 5:5).
Whatever the passage鈥檚 origins, it fits right in with Omar Khayy谩m鈥檚 thematic emphasis on the brevity of life; but this line, all by itself, has taken on a life of its own. Agatha Christie gave a 1942 detective novel the title The Moving Finger. The Hollies, the British rock band, made Moving Finger the U.S. title of their 1970 album. Stephen King published his short story 鈥淭he Moving Finger鈥� in 1990.
And, as a scholar at the University of Leiden has pointed out, the moving-finger image, when combined with the rest of the quatrain 鈥� 鈥渘or all thy Piety nor Wit/Shall lure it back to cancel half a Line,/Nor all thy Tears wash out a Word of it鈥� 鈥� has been used by politicians to emphasize the idea that actions have consequences that cannot be revoked. Martin Luther King Jr. invoked the quatrain in a 1967 speech setting forth the shameful U.S. record in the Vietnam War and calling upon Americans to speak out openly in acknowledgement of the war鈥檚 human cost. And then-U.S. President Bill Clinton quoted the line in 1998 to emphasize his awareness that the Monica Lewinsky scandal would always be part of his legacy.
All in all, the 搁耻产谩颈测谩迟 are just as challenging now as they were in the time of their publication. The theocrats who rule over contemporary Iran would probably not appreciate this great Persian鈥檚 repeated references to the joys of wine 鈥� even if one can make a good argument that the wine references are meant metaphorically, as an allusion to the idea of enjoying all the good things of life. Nor, I think, would they appreciate Omar Khayy谩m鈥檚 forthright statement that 鈥淚 myself am Heaven and Hell.鈥� But be that as it may, the 搁耻产谩颈测谩迟, many centuries after their composition, still give the reader much food for thought, expressed in quatrains as brief as they are evocative.
December 8, 2013
賲賳 馗丕賴乇 賳蹖爻鬲蹖 賵 賴爻鬲蹖 丿丕賳賲
賲賳 亘丕胤賳 賴乇 賮乇丕夭 賵 倬爻鬲蹖 丿丕賳賲
亘丕 丕蹖賳 賴賭賲賴 丕夭 丿丕賳卮 禺賵丿 卮乇賲賲 亘丕丿
诏賭乇 賲乇鬲亘賴 丕蹖 賵乇丕蹖 賲爻鬲蹖 丿丕賳賲
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蹖丕乇丕賳 趩賵 亘賴 丕鬲賮丕賯 丿蹖丿丕乇 讴賳蹖丿
亘丕蹖丿 讴賴 夭 丿賵爻鬲 蹖丕丿 亘爻蹖丕乇 讴賳蹖丿
趩賵賳 亘丕丿賴 禺賵卮诏賵丕乇 賳賵卮蹖丿 亘賴 賴賲
賳賵亘鬲 趩賵 亘賴 賲丕 乇爻丿 賳诏賵賳爻丕乇 讴賳蹖丿
賲賳 亘丕胤賳 賴乇 賮乇丕夭 賵 倬爻鬲蹖 丿丕賳賲
亘丕 丕蹖賳 賴賭賲賴 丕夭 丿丕賳卮 禺賵丿 卮乇賲賲 亘丕丿
诏賭乇 賲乇鬲亘賴 丕蹖 賵乇丕蹖 賲爻鬲蹖 丿丕賳賲
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蹖丕乇丕賳 趩賵 亘賴 丕鬲賮丕賯 丿蹖丿丕乇 讴賳蹖丿
亘丕蹖丿 讴賴 夭 丿賵爻鬲 蹖丕丿 亘爻蹖丕乇 讴賳蹖丿
趩賵賳 亘丕丿賴 禺賵卮诏賵丕乇 賳賵卮蹖丿 亘賴 賴賲
賳賵亘鬲 趩賵 亘賴 賲丕 乇爻丿 賳诏賵賳爻丕乇 讴賳蹖丿
May 4, 2015
毓賲乇 丕賱禺賷丕賲 :) ... 賵丕囟丨 噩丿丕 賲賳 丕卮毓丕乇賴 丕賳賴 賰丕賳 賲賳 丕賱丿賴乇賷賷賳 .. 丕賱賲丐賲賳賷賳 亘丕賱賱賴 賵 亘丕賱丕爻賱丕賲 賵 丕賱賯乇丌賳 (賱賰賳 亘賷兀賵賱賵丕 賲毓丕賳賷賴 賵 丕丨賰丕賲賴 毓賱賶 賴賵丕賴賲) ..貙 賵 丕賱睾賷乇 賲丐賲賳賷賳 亘丕賱亘毓孬 賵 丕賱丨爻丕亘 賵 丕賱噩賳丞 賵 丕賱賳丕乇 貙
丕賱卮賷胤丕賳 毓賳丿賴賲 丕乇賯賶 賵 丕賮囟賱 賲賳 丕賱丕賳爻丕賳 .. 賲丕丿賷賷賳 賱兀賯氐賶 丨丿 .. 賵 丕賱禺賲乇 賵 丕賱賳爻丕亍 賵 丕賱兀賲賵丕賱 賵 丕賱賱匕丞 丕賱賯乇賷亘丞 .. 賴賷 賲賯丿爻丕鬲賴賲 丕賱賱賶 亘賷賴賷賲賵丕 亘賷賴丕 ..
賵 ( 毓氐賮賵乇 賮賷 丕賱賷丿 禺賷乇 賲賳 毓卮乇丞 毓賱賶 丕賱卮噩乇丞) .. 丨賰賲鬲賴賲 丕賱兀孬賷乇丞 丕賱賱賷 亘鬲毓亘乇 毓賳 鬲賮賰賷乇 囟丨賱 賵賲丕丿賷 .. 丨賷賵丕賳賷 .. 賵 爻賮賷賴 賱賱睾丕賷丞 ! ..貙 賷毓賳賷 賱匕丞 賯乇賷亘丞 賲賳 禺賲乇 丕賵 夭賳丕 丕賮囟賱 賱賴賲 賲賳 賲鬲毓丞 乇賵丨賷丞 賮賷 丕賱丿賳賷丕 賲毓 賵毓丿 亘賴丕 賵 丕囟毓丕賮 賲孬賱賴丕 賮賷 丕賱丌禺乇丞 丕賷囟丕
賵 賲毓 匕賱賰 丕爻鬲卮毓乇鬲 鬲乇丿丿賴 鬲噩丕賴 毓賯賷丿鬲賴 鬲賱賰 賲賳 丨賷賳 賱丌禺乇 丕孬賳丕亍 賯乇丕卅鬲賷 賱兀卮毓丕乇賴 .. 賵 賰兀賳賴 丨丕爻爻 丕賳 賮賱爻賮鬲賴 賵 毓賯賷丿鬲賴 亘丕胤賱丞 賵 丕賳 囟毓賮賴 丕賲丕賲 丕賱禺賲乇 貙 賵 賴賵丕賴 賴賵 賲丕 丨匕賶 亘賴 丕賱賶 丕賱賲賷賱 賱賴丕 .. 賮賰丕賳 賲賳 賵賯鬲 賱丌禺乇 亘賷胤賱亘 丕賱賲睾賮乇賴 賲賳 乇亘賳丕 賵 賷爻鬲毓胤賮賴 亘睾賳丕賴 毓夭 賵 噩賱 毓賳 丨爻丕亘賴 .. 賵 亘賷賯乇 亘匕賳亘賴 賵 亘囟毓賮賴 丕賲丕賲 丕賱禺賲乇 .. 丕賱丕 丕賳賴 亘毓丿 賰賱 丿毓丕亍 賲孬賱 賴匕丕 貙 賰丕賳 亘賷毓賵丿 賱賲孬賱 賯賵賱賴 賵 丕賰孬乇 毓賳 丕賱亘毓孬 賵 丕賱丨爻丕亘 亘兀賳賴賲 禺乇丕賮丞 賵 賱鬲睾夭賱賴 賮賷 丕賱禺賲乇 賵 賴賷丕賲賴 亘賴丕 .. !!
賵 賮賷 丕賱賳賴丕賷丞 賱賲丕 丕爻鬲爻賱賲 賱賳賮爻賴 賵 賱丕賴賵丕卅賴 賯丕胤亘丞 亘賯賶 (賷禺亘胤) 賵 賷賮賱爻賮 賱賳賮爻賴 夭賷丕丿丞 賵 賷賱胤卮 賴賳丕 卮賵賷賴 賵 賴賳丕 卮賵賷賴 :) 賵 賷噩賷亘 賲賳 賴賳丕 賵 賲賳 賴賳丕賰 ! .. 貙 賷鬲賰賱賲 毓賳 丕賱噩亘乇賷丞 賵 毓賳 丕賳 乇亘賳丕 禺賱賯賴 賰丿賴 賵 丕乇丕丿賱賴 賰丿賴 卮賵賷賴 ..
...
賵 賷賯賵賱 丕賳 乇亘賳丕 禺賱賯 丕賱賲賮丕鬲賳 丿賷 賰賱賴丕 毓卮丕賳 賳爻鬲賲鬲毓 亘賷賴丕 賵 賷鬲爻丕亍賱 丕賵賲丕賱 賴賵 禺賱賯賴丕 賱賷賴 責責 卮賵賷賴
貙 賵 賲賵卮 賵丕氐賱 賱賴 丕賳 賴賵 丿丕 丕禺鬲亘丕乇賳丕 賵 丕賲鬲丨丕賳賳丕 賵 丕賳 丕賱賲胤賱賵亘 賲賳賳丕 賳氐賲丿 丕賲丕賲 丕賱賮鬲賳 丿賷 賵 賳賱噩賲 丕賳賮爻賳丕 賵 賳毓賱賷 丕乇賵丕丨賳丕 賵 賳爻賱賲賴丕 丕賱匕賲丕賲 ..
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賵 卮賵賷丞 賷賱賵賲 毓賱賶 乇亘賳丕 毓夭 賵 噩賱 亘毓亘孬賷丞 賵 賷氐賮賴 亘丕賱馗丕賱賲
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賵 亘毓丿賷賳 賷乇噩毓 賱賱丿賴乇賷丞 鬲丕賳賷
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丕賱賲賴賲 賷亘乇乇 賱賳賮爻賴 賵 禺賱丕氐 :) 賲賰丕亘乇丞 賲賳賴 賵 毓賳丿 貙 乇睾賲 丕賳 丕賱賲賵囟賵毓 亘爻賷胤
!
賵 賰兀賷 爻賮賷賴 .. 亘賷禺胤兀 賵 亘丿賱 賲丕賷丨丕賵賱 賷賯賵賲 賳賮爻賴 賵 賷丨丕爻亘 賳賮爻賴 .. 賵 賷鬲丨賰賲 賮賷 賳賮爻賴 .. 亘賷賴乇亘 賲賳 丿丕 亘兀賳賴 賷丨丕賵賱 賷噩乇 丕賱賳丕爻 賰賱賴丕 賵 賷鬲賴賲賴賲 亘丕賱賱賷 賮賷賴 ! .. 賵 賰賱 卮賵賷丞 賷鬲賴賲 丕賱賳丕爻 亘丕賱乇賷丕亍 ! .. 丕賱氐丕卅賲賷賳 賲乇丕亍賷賳 貙 賵 丕賱賯丕卅賲賷賳 賲乇丕亍賷賳 貙 賵 丕賱匕丕賰乇賷賳 賲乇丕亍賷賳 !! 賯賲丞 丕賱爻賮賴 賵 丕賳鬲 賰賳鬲 丿禺賱鬲 噩賵丕 賯賱賵亘賴賲 責! :) .. 胤亘 賵 賱賵 賯丕氐丿 鬲卮鬲賲 賲賳賴賲 丕賱氐丕卅賲賷賳 賵 丕賱賯丕卅賲賷賳 賵 丕賱匕丕賰乇賷賳 .. 丕賱賲乇丕亍賷賳 賮賯胤 .. 賲賵卮 丿丕 賲毓賳丕賴 丕賳 賮賷賴 丌禺乇賷賳 睾賷乇 賲乇丕亍賷賳 賲丕亘鬲卮睾賱卮 賳賮爻賰 亘賷賴賲 賱賷賴 胤賷亘 .. 賲丕亘鬲鬲賰賱賲卮 毓賳賴賲 賱賷賴 丿賵賱 .. 賵 鬲丨丕賵賱 鬲賮賰乇 賴賲丕 賱賷賴 氐丕丿賯賷賳 賵 賲賵卮 賲乇丕亍賷賳 .. 賵 賱丕 禺賱丕氐 賰賱 丕賱賳丕爻 賷丕 丕賲丕 賲乇丕亍賷賳 賷丕 丕賲丕 亘賱賴丕亍 .. 貙
賵 丨囟乇鬲賰 (賷丕 丕賱賱賷 賲賵卮 毓丕乇賮 鬲鬲丨賰賲 賮賷 賳賮爻锟斤拷 賵 鬲爻賷亘 丕賱禺賲乇 丕賱賱賶 賲禺賱賷 毓賯賱賰 賮賶 丕噩丕夭丞 賵 亘鬲賴乇亘 亘賷賴丕 賲賳 丕賱鬲賮賰賷乇 丕氐賱丕) 丕賱賱賷 丨賰賲鬲 亘丿丕 !!!責
:) !! 賯賲丞 丕賱爻賮賴 賵 丕賱毓噩夭 丨賯賷賯丞
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丨鬲賶 賱賲丕 鬲匕賰乇 丕賱噩賳丞 賵 賯乇乇 賷賰鬲亘 毓賳賴丕 賳馗乇 賱賴丕 賳馗乇丞 賲丕丿賷丞 亘丨鬲丞 貙 毓賱賶 丕賳賴丕 賲賰丕賳 丕賱丨賵乇 ! 賵 賲丕賯丿乇卮 賷鬲氐賵乇 賯賷賲鬲賴丕 丕賱乇賵丨賷丞 賵 賯丕乇賳 賲丕亘賷賳賴丕 賵 賲丕亘賷賳 丕賱丿賳賷丕 賲賯丕乇賳丞 馗丕賱賲丞 賲噩丨賮丞 亘丕賱鬲丕賱賶 貙 丕賳鬲氐乇 賮賷賴丕 賱賱丿賳賷丕 賵 賱賮賱爻賮鬲賴 丕賱賲丕丿賷丞 賵 賯丕賱 :
賵 丕賳丕 亘亘爻丕胤丞 亘丕丐賲賳 亘丕賱乇賵丨 賵 亘丕賱亘毓孬 :) 賵 亘毓丿丕賱丞 丕賱賱賴 .. 賵 亘丨乇賷鬲賳丕 丕賱賱賶 賵賴亘賴丕 賱賳丕 毓夭 賵 噩賱 賮賷 丕賱丕禺鬲賷丕乇 貙 賵 亘丕賱鬲丕賱賷 丕賱賱賷 賰丕鬲亘賴 丿丕 亘丕賱賳爻亘丞 賱賶 賲丨囟 賴乇丕亍 貙 賵 丕賳 賰賳鬲 丕毓胤賷鬲賴 賳噩賲丞 丕禺乇賶 賵賰賳鬲 亘丕賮賰乇 丕夭賵丿賴丕 亘賳噩賲丞 鬲丕賱鬲賴 賰賲丕賳 .. 賮丿丕 賰丕賳 毓賱賶 兀亘賷丕鬲 賯賱賷賱丞 毓噩亘鬲賳賷 賮賷 丿賷賵丕賳賴 .. 賳賯賱鬲 亘毓囟賴丕 賴賳丕 賮賷 丕賯鬲亘丕爻丕鬲
(賵 丕毓噩亘鬲賳賶 亘賳丕亍 毓賱賶 鬲兀賵賷賱賷 賵 賳賷鬲賷 丕賳丕 賵 賱賷爻 賳賷鬲賴 丕賵 鬲兀賵賷賱賴 賱賴丕 !)
.. 賮丕賱卮毓乇 賴賵 丕丨丕爻賷爻 賵 賲卮丕毓乇 丕賱賱賷 亘賷賰鬲亘賴 .. 亘賷丨氐賱 丕賳賴丕 亘鬲鬲賵丕賮賯 賲毓 賵噩賴丞 賳馗乇 丕賱賱賷 亘賷賯乇兀 丕賵 賲毓 賲卮丕毓乇賴 賵 丕丨丕爻賷爻賴 夭賷 賱賵 賵丕丨丿 賰鬲亘 毓賳 丕賱丨亘 丕賵 丕賱禺賷丕賳丞 賵 丕賱賱賷 亘賷賯乇兀 亘賷毓賷卮 丨丕賱丞 丨亘 賲毓 丕賳爻丕賳 丕賵 賲毓 丕賱禺丕賱賯 毓夭 賵 噩賱 ..
丕賵 亘賷毓丕賳賷 賲賳 丌孬丕乇 禺賷丕賳丞
賰賱賴丕 賲卮丕毓乇 丕賳爻丕賳賷丞 亘賳鬲卮丕乇賰賴丕 賰賱賳丕 .. 毓賲賵賲丕 .. 乇亘賳丕 亘賷賴亘 亘毓囟賳丕 賲賵賴亘丞 丕賱鬲毓亘賷乇 毓賳賴丕 卮毓乇丕 丕賵 鬲賲孬賷賱丕 丕賵 睾賳丕亍 .. 丕賱禺 貙 賵 丕賱賱賶 亘賷賰鬲亘 毓賳 丕賱丨亘 丕賵 丕賱夭賲賳 丕賵 丕賱賵賮丕亍 亘賷賰鬲亘 毓賳 賲毓賳丕賴賲 丕賱賲噩乇丿 賵 亘丕賱鬲丕賱賶 賰賱 賵丕丨丿 亘賷禺氐氐 丕賱賲毓賳賶 丕賱賲噩乇丿 丿丕 賵 亘賷兀賵賱賴 亘賳丕亍 毓賱賶 丨丕賱鬲賴 丕賱卮禺氐賷丞 賵 丕賮賰丕乇賴 丨鬲賶 賵 丕賳 賰丕賳賵丕 賱丕賷鬲賮賯賵丕 賲毓 賲丕賯氐丿賴 丕賱卮丕毓乇 ...
(丿丕 鬲賯乇賷亘丕 賰丕賳 賲賱禺氐 賱賲丨丕囟乇丞 丨囟乇鬲賴丕 毓賳 丕賱卮毓乇 賱丿賰鬲賵乇 賲賵卮 賮丕賰乇丞 丕爻賲賴 賮賷 噩丕賲毓丞 丨賱賵丕賳 賲毓 鬲毓夭賷夭 亘乇兀賷賷 丕賱卮禺氐賷)
:)
賴賵 賷賯氐丿 亘丨賯賷賯丞 丕賱丿賴乇 毓賯賷丿鬲賴 丕賱丿賴乇賷丞 丕賱賱賷 禺賱丕氐 亘賯鬲 丨賯賷賯丞 亘丕賱賳爻亘丞 賱賴 :) .. 賱賰賳賶 兀賵賱鬲 丕賱亘賷鬲 毓賱賶 賴賵丕賷丕 :) 賵 毓賯賷丿鬲賷 .. 賮毓噩亘賳賷
賷賯氐丿 賷賳馗乇 毓賱賶 丕賱賲丐賲賳賷賳 亘丕賱丨爻丕亘 賵 賷賯賵賱賴賲 丕賳 乇亘賳丕 賲丕亘賷丨丕爻亘卮 (夭賷 丕賱亘卮乇 丕賱賱賷 亘賷丨丕爻亘賵丕 亘毓囟賴賲 賵 丕賱丕 賮賲丕 丕賱賮乇賯 亘賷賳 乇亘賳丕 毓夭 賵 噩賱 賵 亘賷賳賴賲) .. 賱賰賳賴 賳爻賷 丕賳 乇亘賳丕 毓丕丿賱 賵賲賳 丕爻賲丕卅賴 丕賱毓丿賱 賵 丕賳 賲丨丕爻亘鬲賴 賴賷 鬲胤亘賷賯 賱賱毓丿賱 ..賱賰賳賴 睾賳賶 毓賳 丨爻丕亘賳丕 胤亘毓丕 (賰丕賳 丿賰鬲賵乇 賲氐胤賮賶 賲丨賲賵丿 丕賱賱賴 賷乇丨賲賴 丕鬲賰賱賲 毓賳 丕賱賲賵囟賵毓 丿丕 亘丕爻鬲賮丕囟丞 丕賰鬲乇 賮賶 賰鬲亘賴 ) .. 賵 丕賳 賰丕賳 丕賱亘賷鬲 賲賳 丕賱丕亘賷丕鬲 丕賱賱賷 毓噩亘鬲賳賷 賮丿丕 賱兀賳賷 兀賵賱鬲賴 毓賱賶 毓賯賷丿鬲賷 丕賷囟丕 .. 毓賱賶 乇丨賲丞 乇亘賳丕
:)
丕賱卮賷胤丕賳 毓賳丿賴賲 丕乇賯賶 賵 丕賮囟賱 賲賳 丕賱丕賳爻丕賳 .. 賲丕丿賷賷賳 賱兀賯氐賶 丨丿 .. 賵 丕賱禺賲乇 賵 丕賱賳爻丕亍 賵 丕賱兀賲賵丕賱 賵 丕賱賱匕丞 丕賱賯乇賷亘丞 .. 賴賷 賲賯丿爻丕鬲賴賲 丕賱賱賶 亘賷賴賷賲賵丕 亘賷賴丕 ..
賵 ( 毓氐賮賵乇 賮賷 丕賱賷丿 禺賷乇 賲賳 毓卮乇丞 毓賱賶 丕賱卮噩乇丞) .. 丨賰賲鬲賴賲 丕賱兀孬賷乇丞 丕賱賱賷 亘鬲毓亘乇 毓賳 鬲賮賰賷乇 囟丨賱 賵賲丕丿賷 .. 丨賷賵丕賳賷 .. 賵 爻賮賷賴 賱賱睾丕賷丞 ! ..貙 賷毓賳賷 賱匕丞 賯乇賷亘丞 賲賳 禺賲乇 丕賵 夭賳丕 丕賮囟賱 賱賴賲 賲賳 賲鬲毓丞 乇賵丨賷丞 賮賷 丕賱丿賳賷丕 賲毓 賵毓丿 亘賴丕 賵 丕囟毓丕賮 賲孬賱賴丕 賮賷 丕賱丌禺乇丞 丕賷囟丕
賵 賲毓 匕賱賰 丕爻鬲卮毓乇鬲 鬲乇丿丿賴 鬲噩丕賴 毓賯賷丿鬲賴 鬲賱賰 賲賳 丨賷賳 賱丌禺乇 丕孬賳丕亍 賯乇丕卅鬲賷 賱兀卮毓丕乇賴 .. 賵 賰兀賳賴 丨丕爻爻 丕賳 賮賱爻賮鬲賴 賵 毓賯賷丿鬲賴 亘丕胤賱丞 賵 丕賳 囟毓賮賴 丕賲丕賲 丕賱禺賲乇 貙 賵 賴賵丕賴 賴賵 賲丕 丨匕賶 亘賴 丕賱賶 丕賱賲賷賱 賱賴丕 .. 賮賰丕賳 賲賳 賵賯鬲 賱丌禺乇 亘賷胤賱亘 丕賱賲睾賮乇賴 賲賳 乇亘賳丕 賵 賷爻鬲毓胤賮賴 亘睾賳丕賴 毓夭 賵 噩賱 毓賳 丨爻丕亘賴 .. 賵 亘賷賯乇 亘匕賳亘賴 賵 亘囟毓賮賴 丕賲丕賲 丕賱禺賲乇 .. 丕賱丕 丕賳賴 亘毓丿 賰賱 丿毓丕亍 賲孬賱 賴匕丕 貙 賰丕賳 亘賷毓賵丿 賱賲孬賱 賯賵賱賴 賵 丕賰孬乇 毓賳 丕賱亘毓孬 賵 丕賱丨爻丕亘 亘兀賳賴賲 禺乇丕賮丞 賵 賱鬲睾夭賱賴 賮賷 丕賱禺賲乇 賵 賴賷丕賲賴 亘賴丕 .. !!
賵 賮賷 丕賱賳賴丕賷丞 賱賲丕 丕爻鬲爻賱賲 賱賳賮爻賴 賵 賱丕賴賵丕卅賴 賯丕胤亘丞 亘賯賶 (賷禺亘胤) 賵 賷賮賱爻賮 賱賳賮爻賴 夭賷丕丿丞 賵 賷賱胤卮 賴賳丕 卮賵賷賴 賵 賴賳丕 卮賵賷賴 :) 賵 賷噩賷亘 賲賳 賴賳丕 賵 賲賳 賴賳丕賰 ! .. 貙 賷鬲賰賱賲 毓賳 丕賱噩亘乇賷丞 賵 毓賳 丕賳 乇亘賳丕 禺賱賯賴 賰丿賴 賵 丕乇丕丿賱賴 賰丿賴 卮賵賷賴 ..
...
賵 賷賯賵賱 丕賳 乇亘賳丕 禺賱賯 丕賱賲賮丕鬲賳 丿賷 賰賱賴丕 毓卮丕賳 賳爻鬲賲鬲毓 亘賷賴丕 賵 賷鬲爻丕亍賱 丕賵賲丕賱 賴賵 禺賱賯賴丕 賱賷賴 責責 卮賵賷賴
貙 賵 賲賵卮 賵丕氐賱 賱賴 丕賳 賴賵 丿丕 丕禺鬲亘丕乇賳丕 賵 丕賲鬲丨丕賳賳丕 賵 丕賳 丕賱賲胤賱賵亘 賲賳賳丕 賳氐賲丿 丕賲丕賲 丕賱賮鬲賳 丿賷 賵 賳賱噩賲 丕賳賮爻賳丕 賵 賳毓賱賷 丕乇賵丕丨賳丕 賵 賳爻賱賲賴丕 丕賱匕賲丕賲 ..
...
賵 卮賵賷丞 賷賱賵賲 毓賱賶 乇亘賳丕 毓夭 賵 噩賱 亘毓亘孬賷丞 賵 賷氐賮賴 亘丕賱馗丕賱賲
...
賵 亘毓丿賷賳 賷乇噩毓 賱賱丿賴乇賷丞 鬲丕賳賷
.....
丕賱賲賴賲 賷亘乇乇 賱賳賮爻賴 賵 禺賱丕氐 :) 賲賰丕亘乇丞 賲賳賴 賵 毓賳丿 貙 乇睾賲 丕賳 丕賱賲賵囟賵毓 亘爻賷胤
!
賵 賰兀賷 爻賮賷賴 .. 亘賷禺胤兀 賵 亘丿賱 賲丕賷丨丕賵賱 賷賯賵賲 賳賮爻賴 賵 賷丨丕爻亘 賳賮爻賴 .. 賵 賷鬲丨賰賲 賮賷 賳賮爻賴 .. 亘賷賴乇亘 賲賳 丿丕 亘兀賳賴 賷丨丕賵賱 賷噩乇 丕賱賳丕爻 賰賱賴丕 賵 賷鬲賴賲賴賲 亘丕賱賱賷 賮賷賴 ! .. 賵 賰賱 卮賵賷丞 賷鬲賴賲 丕賱賳丕爻 亘丕賱乇賷丕亍 ! .. 丕賱氐丕卅賲賷賳 賲乇丕亍賷賳 貙 賵 丕賱賯丕卅賲賷賳 賲乇丕亍賷賳 貙 賵 丕賱匕丕賰乇賷賳 賲乇丕亍賷賳 !! 賯賲丞 丕賱爻賮賴 賵 丕賳鬲 賰賳鬲 丿禺賱鬲 噩賵丕 賯賱賵亘賴賲 責! :) .. 胤亘 賵 賱賵 賯丕氐丿 鬲卮鬲賲 賲賳賴賲 丕賱氐丕卅賲賷賳 賵 丕賱賯丕卅賲賷賳 賵 丕賱匕丕賰乇賷賳 .. 丕賱賲乇丕亍賷賳 賮賯胤 .. 賲賵卮 丿丕 賲毓賳丕賴 丕賳 賮賷賴 丌禺乇賷賳 睾賷乇 賲乇丕亍賷賳 賲丕亘鬲卮睾賱卮 賳賮爻賰 亘賷賴賲 賱賷賴 胤賷亘 .. 賲丕亘鬲鬲賰賱賲卮 毓賳賴賲 賱賷賴 丿賵賱 .. 賵 鬲丨丕賵賱 鬲賮賰乇 賴賲丕 賱賷賴 氐丕丿賯賷賳 賵 賲賵卮 賲乇丕亍賷賳 .. 賵 賱丕 禺賱丕氐 賰賱 丕賱賳丕爻 賷丕 丕賲丕 賲乇丕亍賷賳 賷丕 丕賲丕 亘賱賴丕亍 .. 貙
賵 丨囟乇鬲賰 (賷丕 丕賱賱賷 賲賵卮 毓丕乇賮 鬲鬲丨賰賲 賮賷 賳賮爻锟斤拷 賵 鬲爻賷亘 丕賱禺賲乇 丕賱賱賶 賲禺賱賷 毓賯賱賰 賮賶 丕噩丕夭丞 賵 亘鬲賴乇亘 亘賷賴丕 賲賳 丕賱鬲賮賰賷乇 丕氐賱丕) 丕賱賱賷 丨賰賲鬲 亘丿丕 !!!責
:) !! 賯賲丞 丕賱爻賮賴 賵 丕賱毓噩夭 丨賯賷賯丞
...
丨鬲賶 賱賲丕 鬲匕賰乇 丕賱噩賳丞 賵 賯乇乇 賷賰鬲亘 毓賳賴丕 賳馗乇 賱賴丕 賳馗乇丞 賲丕丿賷丞 亘丨鬲丞 貙 毓賱賶 丕賳賴丕 賲賰丕賳 丕賱丨賵乇 ! 賵 賲丕賯丿乇卮 賷鬲氐賵乇 賯賷賲鬲賴丕 丕賱乇賵丨賷丞 賵 賯丕乇賳 賲丕亘賷賳賴丕 賵 賲丕亘賷賳 丕賱丿賳賷丕 賲賯丕乇賳丞 馗丕賱賲丞 賲噩丨賮丞 亘丕賱鬲丕賱賶 貙 丕賳鬲氐乇 賮賷賴丕 賱賱丿賳賷丕 賵 賱賮賱爻賮鬲賴 丕賱賲丕丿賷丞 賵 賯丕賱 :
賯丕賱 賯賵賲 兀胤賷亘 丕賱丨賵乇 賮賷 丕賱噩賳
丞 賯賱鬲 丕賱賲丿丕賲 毓賳丿賷 兀胤賷亘
賮丕睾賳賲 丕賱賳賯丿 賵 丕鬲乇賰 丕賱丿賷賳 賵 丕毓賱賲 兀賳
氐賵鬲 丕賱胤亘賵賱 賮賷 丕賱亘毓丿 丕毓匕亘
賵 丕賳丕 亘亘爻丕胤丞 亘丕丐賲賳 亘丕賱乇賵丨 賵 亘丕賱亘毓孬 :) 賵 亘毓丿丕賱丞 丕賱賱賴 .. 賵 亘丨乇賷鬲賳丕 丕賱賱賶 賵賴亘賴丕 賱賳丕 毓夭 賵 噩賱 賮賷 丕賱丕禺鬲賷丕乇 貙 賵 亘丕賱鬲丕賱賷 丕賱賱賷 賰丕鬲亘賴 丿丕 亘丕賱賳爻亘丞 賱賶 賲丨囟 賴乇丕亍 貙 賵 丕賳 賰賳鬲 丕毓胤賷鬲賴 賳噩賲丞 丕禺乇賶 賵賰賳鬲 亘丕賮賰乇 丕夭賵丿賴丕 亘賳噩賲丞 鬲丕賱鬲賴 賰賲丕賳 .. 賮丿丕 賰丕賳 毓賱賶 兀亘賷丕鬲 賯賱賷賱丞 毓噩亘鬲賳賷 賮賷 丿賷賵丕賳賴 .. 賳賯賱鬲 亘毓囟賴丕 賴賳丕 賮賷 丕賯鬲亘丕爻丕鬲
(賵 丕毓噩亘鬲賳賶 亘賳丕亍 毓賱賶 鬲兀賵賷賱賷 賵 賳賷鬲賷 丕賳丕 賵 賱賷爻 賳賷鬲賴 丕賵 鬲兀賵賷賱賴 賱賴丕 !)
.. 賮丕賱卮毓乇 賴賵 丕丨丕爻賷爻 賵 賲卮丕毓乇 丕賱賱賷 亘賷賰鬲亘賴 .. 亘賷丨氐賱 丕賳賴丕 亘鬲鬲賵丕賮賯 賲毓 賵噩賴丞 賳馗乇 丕賱賱賷 亘賷賯乇兀 丕賵 賲毓 賲卮丕毓乇賴 賵 丕丨丕爻賷爻賴 夭賷 賱賵 賵丕丨丿 賰鬲亘 毓賳 丕賱丨亘 丕賵 丕賱禺賷丕賳丞 賵 丕賱賱賷 亘賷賯乇兀 亘賷毓賷卮 丨丕賱丞 丨亘 賲毓 丕賳爻丕賳 丕賵 賲毓 丕賱禺丕賱賯 毓夭 賵 噩賱 ..
丕賵 亘賷毓丕賳賷 賲賳 丌孬丕乇 禺賷丕賳丞
賰賱賴丕 賲卮丕毓乇 丕賳爻丕賳賷丞 亘賳鬲卮丕乇賰賴丕 賰賱賳丕 .. 毓賲賵賲丕 .. 乇亘賳丕 亘賷賴亘 亘毓囟賳丕 賲賵賴亘丞 丕賱鬲毓亘賷乇 毓賳賴丕 卮毓乇丕 丕賵 鬲賲孬賷賱丕 丕賵 睾賳丕亍 .. 丕賱禺 貙 賵 丕賱賱賶 亘賷賰鬲亘 毓賳 丕賱丨亘 丕賵 丕賱夭賲賳 丕賵 丕賱賵賮丕亍 亘賷賰鬲亘 毓賳 賲毓賳丕賴賲 丕賱賲噩乇丿 賵 亘丕賱鬲丕賱賶 賰賱 賵丕丨丿 亘賷禺氐氐 丕賱賲毓賳賶 丕賱賲噩乇丿 丿丕 賵 亘賷兀賵賱賴 亘賳丕亍 毓賱賶 丨丕賱鬲賴 丕賱卮禺氐賷丞 賵 丕賮賰丕乇賴 丨鬲賶 賵 丕賳 賰丕賳賵丕 賱丕賷鬲賮賯賵丕 賲毓 賲丕賯氐丿賴 丕賱卮丕毓乇 ...
(丿丕 鬲賯乇賷亘丕 賰丕賳 賲賱禺氐 賱賲丨丕囟乇丞 丨囟乇鬲賴丕 毓賳 丕賱卮毓乇 賱丿賰鬲賵乇 賲賵卮 賮丕賰乇丞 丕爻賲賴 賮賷 噩丕賲毓丞 丨賱賵丕賳 賲毓 鬲毓夭賷夭 亘乇兀賷賷 丕賱卮禺氐賷)
:)
賰賱 匕乇丕鬲 賴匕賴 丕賱兀乇囟 賰丕賳鬲
兀賵噩賴賴丕 賰丕賱卮賲賵爻 匕丕鬲 亘賴丕亍
賲賳 鬲丨乇賶 丨賯賷賯丞 丕賱丿賴乇 兀囟丨賶
毓賳丿賴 丕賱丨夭賳 賵 丕賱爻乇賵乇 爻賵丕亍
賴賵 賷賯氐丿 亘丨賯賷賯丞 丕賱丿賴乇 毓賯賷丿鬲賴 丕賱丿賴乇賷丞 丕賱賱賷 禺賱丕氐 亘賯鬲 丨賯賷賯丞 亘丕賱賳爻亘丞 賱賴 :) .. 賱賰賳賶 兀賵賱鬲 丕賱亘賷鬲 毓賱賶 賴賵丕賷丕 :) 賵 毓賯賷丿鬲賷 .. 賮毓噩亘賳賷
賱丕 鬲賳馗乇賳 廿賱賶 丕賱賮鬲賶 賵 賮賳賵賳賴
賵 丕賳馗乇 賱丨賮馗 毓賴賵丿賴 賵 賵賮丕卅賴
賮廿匕丕 乇兀賷鬲 丕賱賲乇亍 賯丕賲 亘毓賴丿賴
賮丕丨爻亘賴 賮丕賯 丕賱賰賱 賮賷 毓賱賷丕卅賴
廿賱賴賷 賯賱 賱賷 賲賳 禺賱賶 賲賳 禺胤賷卅丞賵賰賷賮 鬲乇賶 毓丕卮 丕賱亘乇卅 賲賳 丕賱匕賳亘
廿匕丕 賰賳鬲 鬲噩乇賷 丕賱匕賳亘 賲賳賷 亘賲孬賱賴
賮賲丕 丕賱賮乇賯 賲丕亘賷賳賷 賵 亘賷賳賰 賷丕乇亘賷
賷賯氐丿 賷賳馗乇 毓賱賶 丕賱賲丐賲賳賷賳 亘丕賱丨爻丕亘 賵 賷賯賵賱賴賲 丕賳 乇亘賳丕 賲丕亘賷丨丕爻亘卮 (夭賷 丕賱亘卮乇 丕賱賱賷 亘賷丨丕爻亘賵丕 亘毓囟賴賲 賵 丕賱丕 賮賲丕 丕賱賮乇賯 亘賷賳 乇亘賳丕 毓夭 賵 噩賱 賵 亘賷賳賴賲) .. 賱賰賳賴 賳爻賷 丕賳 乇亘賳丕 毓丕丿賱 賵賲賳 丕爻賲丕卅賴 丕賱毓丿賱 賵 丕賳 賲丨丕爻亘鬲賴 賴賷 鬲胤亘賷賯 賱賱毓丿賱 ..賱賰賳賴 睾賳賶 毓賳 丨爻丕亘賳丕 胤亘毓丕 (賰丕賳 丿賰鬲賵乇 賲氐胤賮賶 賲丨賲賵丿 丕賱賱賴 賷乇丨賲賴 丕鬲賰賱賲 毓賳 丕賱賲賵囟賵毓 丿丕 亘丕爻鬲賮丕囟丞 丕賰鬲乇 賮賶 賰鬲亘賴 ) .. 賵 丕賳 賰丕賳 丕賱亘賷鬲 賲賳 丕賱丕亘賷丕鬲 丕賱賱賷 毓噩亘鬲賳賷 賮丿丕 賱兀賳賷 兀賵賱鬲賴 毓賱賶 毓賯賷丿鬲賷 丕賷囟丕 .. 毓賱賶 乇丨賲丞 乇亘賳丕
:)
賱卅賳 噩丕賱爻鬲 賲賳 鬲賴賵丕賴 毓賲乇丕賵 匕賯鬲 賱匕丕鬲 丕賱賵噩賵丿
賮爻賵賮 鬲賮丕乇賯 丕賱丿賳賷丕 賰兀賳
丕賱匕賷 卮丕賴丿鬲 丨賱賲 賮賷 賴噩賵丿
賱卅賳 毓賲乇鬲 氐丕丨賷 兀賱賮 丨賵賱
賮爻賵賮 鬲毓丕賮 賴匕賷 丕賱丿丕乇 賯賴乇丕
April 10, 2021
A big civilization is going to be extinct if they no longer use their own language for writing in Arabic had been highly suggested!...
Now it's high time that an autonomous Persian government is established to revitalise the fading culture of the past. In Rubaiyat, there's a high sense of nostalgia towards old Persian settings with all its mythological kings as Jamshid and Keikhosru. Compared to his contemporaries creating hypocritical literature; he unveils the truth. The sorry state is that in his contemporary poets you'll find worthless eulogies miserably written in praise of authorities whereas Omar Khayyam is a daring man who depicts a real mistress, he talks about being and time, a lost identity where he questions death, doomsday, and orthodox Muslims. He is certainly the odd one out! ,...It's clear that the mistress of Rubaiyat is a real woman and not an imaginary character or probably a man as it was very common at that very time. Mysticism for centuries has suggested a range of vocabulary which is repetitive, addictive, and cliche whereas the choice of vocabulary in Khayyam is vigorous and real. His question of death is the most common question of the human being through time and death and rebirth archetype is the main theme of Rubaiyat.
That's a pity that he lived anonymously as a poet although his work has been recognised and always celebrated after his death.
Now it's high time that an autonomous Persian government is established to revitalise the fading culture of the past. In Rubaiyat, there's a high sense of nostalgia towards old Persian settings with all its mythological kings as Jamshid and Keikhosru. Compared to his contemporaries creating hypocritical literature; he unveils the truth. The sorry state is that in his contemporary poets you'll find worthless eulogies miserably written in praise of authorities whereas Omar Khayyam is a daring man who depicts a real mistress, he talks about being and time, a lost identity where he questions death, doomsday, and orthodox Muslims. He is certainly the odd one out! ,...It's clear that the mistress of Rubaiyat is a real woman and not an imaginary character or probably a man as it was very common at that very time. Mysticism for centuries has suggested a range of vocabulary which is repetitive, addictive, and cliche whereas the choice of vocabulary in Khayyam is vigorous and real. His question of death is the most common question of the human being through time and death and rebirth archetype is the main theme of Rubaiyat.
That's a pity that he lived anonymously as a poet although his work has been recognised and always celebrated after his death.
June 5, 2020
This book was owned by my late uncle, passed on to my late brother and passed on to me. Published in 1900, it is a treasure in our family and I have read it too many times to count. But that was before I became a GR member....so it will show up as my first read. I picked it up yesterday and read it one more time and reacted to it as I did the first time. Fascinated and amazed. It is such a joy.
July 3, 2014
丕賱賱賴賲 廿賳賷 毓乇賮鬲賰 毓賱賶 賲亘賱毓 廿賲賰丕賳賷 賮丕睾賮乇 賱賷 貙 賮廿賳 賲毓乇賮鬲賷 廿賷丕賰 賵爻賷賱鬲賷 廿賱賷賰
May 26, 2025
I want to absorb every word into my soul, THIS WAS INCREDIBLE!!! I'm so serious, the whole thing could be one giant highlight.
A+ for the audiobook as well, the Russian translation was really good and the narrator was perfectly chosen. I literally want to listen to it again and again. Mayhaps I'll give it a try in English at some point, and hopefully Persian (I'm being ambitious here, I gotta get to an advanced level first).
A+ for the audiobook as well, the Russian translation was really good and the narrator was perfectly chosen. I literally want to listen to it again and again. Mayhaps I'll give it a try in English at some point, and hopefully Persian (I'm being ambitious here, I gotta get to an advanced level first).
December 25, 2015
If you were ever to compile the different odes to alcohol (there are likely to be very many in different languages and dialects, recited in different stages of inebriation), then this would have to rank right at the very top. The beauty and wonder with which Omar Khayyam has constructed his poem is a joy to behold. The comparisons stun you, for you'd have never seen it that way before. You almost get the feeling that you're sitting in one of those taverns in Arabia, that we so often see in movies and cartoons, and every gust of wind brings in a little sand and a bit of Khayyam's poetry with it.
I can only imagine how must it feel to read this poem in its original form, which I hope to do some day, if even the translation is able to sweep you off your feet.
For instance, this:
The Grape(wine) that can with Logic
absolute
The Two-and-Seventy jarring Sects
confute :
The subtle Alchemist that in a
Trice
Life's leaden Metal into Gold transmute.
Wow, just fucking wow. I feel a little guilty of trivializing a poem of this stature which has so many layers of meaning, stacked one on top of the other, into an ode to drinking. But then the sense you get from the many metaphysical meanings of this poem is to be drunk on life, or atleast go about with a sense of wonder and that stupid smile that is so often a characteristic of drunkards. For,
Think, in this batter'd Caravanserai
Whose Doorways are alternate Night
and Day,
How Sultan after Sultan with his
Pomp
Abode his Hour or two, and went
his way.
I can only imagine how must it feel to read this poem in its original form, which I hope to do some day, if even the translation is able to sweep you off your feet.
For instance, this:
The Grape(wine) that can with Logic
absolute
The Two-and-Seventy jarring Sects
confute :
The subtle Alchemist that in a
Trice
Life's leaden Metal into Gold transmute.
Wow, just fucking wow. I feel a little guilty of trivializing a poem of this stature which has so many layers of meaning, stacked one on top of the other, into an ode to drinking. But then the sense you get from the many metaphysical meanings of this poem is to be drunk on life, or atleast go about with a sense of wonder and that stupid smile that is so often a characteristic of drunkards. For,
Think, in this batter'd Caravanserai
Whose Doorways are alternate Night
and Day,
How Sultan after Sultan with his
Pomp
Abode his Hour or two, and went
his way.
November 30, 2024
兀賳丕 賮賷 丨乇亘 賲購乇丞 賲毓 賳賮爻賷
兀賳丕 賲賲丕 賯丿賲鬲賴 賳丿賲丕賳
賴亘賰 賷賵賲賸丕 毓賮賵鬲 毓賳賷 賵賱賰賳
兀賳丕 賲賲丕 兀鬲賷鬲賴 禺噩賱丕賳
毓賲乇 丕賱禺賷丕賲..睾賳賷 毓賳 丕賱鬲毓乇賷賮 胤亘毓丕賸 ..賴賵 丕賱卮丕毓乇 賵丕賱賮賷賱爻賵賮 賵毓丕賱賲 丕賱乇賷丕囟賷丕鬲 賵丕賱賮賱賰 賵 丕卮鬲賴乇 亘乇亘丕毓賷丕鬲賴 丕賱鬲賷 鬲毓亘乇 毓賱賶 賮賱爻賮鬲賴 賮賷 丕賱丨賷丕丞 賵賲匕賴亘賴 賮賷 丕賱丕噩鬲賲丕毓 賵賮賷賴丕 禺賱丕氐丞 兀乇丕卅賴 賲氐乇丨賸丕 亘丨賯丕卅賯 賰丕賳鬲 丕賱兀噩賷丕賱 丕賱鬲賷 爻亘賯鬲 鬲噩亘賳 毓賳 丕賱鬲氐乇賷丨 亘賴丕...
賯乇兀鬲 丕賱乇亘丕毓賷丕鬲 毓賱賷 鬲胤亘賷賯 兀亘噩丿 賲賳 鬲乇噩賲丞 丕賱卮丕毓乇 賵丕賱賲賮賰乇 丕賱毓乇丕賯賷 噩賲賷賱 氐丿賯賷 丕賱夭賴丕賵賷 賵丕賱氐乇丕丨丞 賲丨爻賷鬲卮 丕賱鬲乇噩賲丞 賰丕賳鬲 賲賵賮賯丞 兀賵賷 賵賲丨鬲丕噩丞 兀丿賵乇 毓賱賷 賳爻禺丞 鬲丕賳賷丞 亘鬲乇噩賲丞 兀禺乇賷 亘爻 毓賱賷 丕賱乇睾賲 賲賳 賰丿丞 丕賱賰鬲丕亘 賲賰鬲賵亘 丨賱賵 賵 賮賷 卮乇丨 賱賰賱 丕賱兀亘賷丕鬲 亘鬲賵囟丨 丕賱賲毓賳賷 賲賲丕 噩毓賱 賯乇丕亍丞 丕賱賰鬲丕亘 賲賲鬲毓丞..
兀賳鬲 兀賳卮兀鬲賳丕 賵卮卅鬲 賱賳丕 毓氐賷丕賳
賲丕 賯丿 兀賲乇鬲賳丕 賮毓氐賷賳丕
賰賱 賲丕 賳兀鬲賷賴 賲賳 丕賱禺賷乇 賵丕賱卮乇
賮兀賳鬲 丕賱匕賷 賰鬲亘鬲 毓賱賷賳丕
兀賷賴丕 丕賱乇亘 丌孬賲 兀賳丕 賮丕乇丨賲
賱賷 賯賱亘賸丕 賲賳 禺賮賯賴 賲丕 丕爻鬲乇丕丨丕
孬賲 乇噩賱賸丕 賰丕賳鬲 廿賱賶 丕賱丨丕賳 鬲賲卮賷
賵賷丿賸丕 賰丕賳鬲 鬲賲爻賰 丕賱兀賯丿丕丨丕
丕乇鬲卮賮 禺賲乇丞 賵賱丕 鬲鬲賮賰乇
賮賷 丨賷丕丞 賲氐賷乇賴丕 賱賳賮丕丿
兀丨乇 亘丕賱毓賲乇 禺賱賮賴 丕賱賲賵鬲 兀賳 賷購氐乇賮
賮賷 丨丕賱 丕賱爻購賾賰乇 兀賵 賮賷 丕賱乇購賾賯丕丿
賱丕 鬲賮賰乇 賮賷 噩賳丞 賵噩丨賷賲
賵丕胤乇丿 丕賱兀賵賴丕賲 毓賳賰 亘賰兀爻
賲賳 鬲乇賶 夭噩 賮賷 丕賱噩丨賷賲 賵賲賳 匕丕
噩丕亍 賷賵賲賸丕 賲賳 噩賳丞 丕賱賮乇丿賵爻
禺賲乇丞 廿賳 賵丕氐賱鬲賴丕 丕乇鬲丕丨 賮賰乇賷
賵廿匕丕 賲丕 賴噩乇鬲賴丕 囟丕賯 氐丿乇賷
廿賳賳賷 兀禺卮賶 兀賳 賷毓丿賵丕 夭賲丕賳賸丕
賱賲 兀匕賯 賮賷賴 胤毓賲賴丕 賲賳 毓賲乇賷
禺匕 賲賳 丕賱毓賷卮 賮賷 丕賱爻乇賵乇 賳氐賷亘賸丕
賵鬲賲鬲毓 亘禺賲乇丞 賮賷 丨賷丕鬲賰
廿賳賲丕 丕賱賱賴 毓賳 鬲賯丕賰 睾賳賷
賮鬲賮乇睾 賲賳賴丕 廿賱賶 賱匕丕鬲賰
兀賳丕 賲賲丕 賯丿賲鬲賴 賳丿賲丕賳
賴亘賰 賷賵賲賸丕 毓賮賵鬲 毓賳賷 賵賱賰賳
兀賳丕 賲賲丕 兀鬲賷鬲賴 禺噩賱丕賳
毓賲乇 丕賱禺賷丕賲..睾賳賷 毓賳 丕賱鬲毓乇賷賮 胤亘毓丕賸 ..賴賵 丕賱卮丕毓乇 賵丕賱賮賷賱爻賵賮 賵毓丕賱賲 丕賱乇賷丕囟賷丕鬲 賵丕賱賮賱賰 賵 丕卮鬲賴乇 亘乇亘丕毓賷丕鬲賴 丕賱鬲賷 鬲毓亘乇 毓賱賶 賮賱爻賮鬲賴 賮賷 丕賱丨賷丕丞 賵賲匕賴亘賴 賮賷 丕賱丕噩鬲賲丕毓 賵賮賷賴丕 禺賱丕氐丞 兀乇丕卅賴 賲氐乇丨賸丕 亘丨賯丕卅賯 賰丕賳鬲 丕賱兀噩賷丕賱 丕賱鬲賷 爻亘賯鬲 鬲噩亘賳 毓賳 丕賱鬲氐乇賷丨 亘賴丕...
賯乇兀鬲 丕賱乇亘丕毓賷丕鬲 毓賱賷 鬲胤亘賷賯 兀亘噩丿 賲賳 鬲乇噩賲丞 丕賱卮丕毓乇 賵丕賱賲賮賰乇 丕賱毓乇丕賯賷 噩賲賷賱 氐丿賯賷 丕賱夭賴丕賵賷 賵丕賱氐乇丕丨丞 賲丨爻賷鬲卮 丕賱鬲乇噩賲丞 賰丕賳鬲 賲賵賮賯丞 兀賵賷 賵賲丨鬲丕噩丞 兀丿賵乇 毓賱賷 賳爻禺丞 鬲丕賳賷丞 亘鬲乇噩賲丞 兀禺乇賷 亘爻 毓賱賷 丕賱乇睾賲 賲賳 賰丿丞 丕賱賰鬲丕亘 賲賰鬲賵亘 丨賱賵 賵 賮賷 卮乇丨 賱賰賱 丕賱兀亘賷丕鬲 亘鬲賵囟丨 丕賱賲毓賳賷 賲賲丕 噩毓賱 賯乇丕亍丞 丕賱賰鬲丕亘 賲賲鬲毓丞..
兀賳鬲 兀賳卮兀鬲賳丕 賵卮卅鬲 賱賳丕 毓氐賷丕賳
賲丕 賯丿 兀賲乇鬲賳丕 賮毓氐賷賳丕
賰賱 賲丕 賳兀鬲賷賴 賲賳 丕賱禺賷乇 賵丕賱卮乇
賮兀賳鬲 丕賱匕賷 賰鬲亘鬲 毓賱賷賳丕
兀賷賴丕 丕賱乇亘 丌孬賲 兀賳丕 賮丕乇丨賲
賱賷 賯賱亘賸丕 賲賳 禺賮賯賴 賲丕 丕爻鬲乇丕丨丕
孬賲 乇噩賱賸丕 賰丕賳鬲 廿賱賶 丕賱丨丕賳 鬲賲卮賷
賵賷丿賸丕 賰丕賳鬲 鬲賲爻賰 丕賱兀賯丿丕丨丕
丕乇鬲卮賮 禺賲乇丞 賵賱丕 鬲鬲賮賰乇
賮賷 丨賷丕丞 賲氐賷乇賴丕 賱賳賮丕丿
兀丨乇 亘丕賱毓賲乇 禺賱賮賴 丕賱賲賵鬲 兀賳 賷購氐乇賮
賮賷 丨丕賱 丕賱爻購賾賰乇 兀賵 賮賷 丕賱乇購賾賯丕丿
賱丕 鬲賮賰乇 賮賷 噩賳丞 賵噩丨賷賲
賵丕胤乇丿 丕賱兀賵賴丕賲 毓賳賰 亘賰兀爻
賲賳 鬲乇賶 夭噩 賮賷 丕賱噩丨賷賲 賵賲賳 匕丕
噩丕亍 賷賵賲賸丕 賲賳 噩賳丞 丕賱賮乇丿賵爻
禺賲乇丞 廿賳 賵丕氐賱鬲賴丕 丕乇鬲丕丨 賮賰乇賷
賵廿匕丕 賲丕 賴噩乇鬲賴丕 囟丕賯 氐丿乇賷
廿賳賳賷 兀禺卮賶 兀賳 賷毓丿賵丕 夭賲丕賳賸丕
賱賲 兀匕賯 賮賷賴 胤毓賲賴丕 賲賳 毓賲乇賷
禺匕 賲賳 丕賱毓賷卮 賮賷 丕賱爻乇賵乇 賳氐賷亘賸丕
賵鬲賲鬲毓 亘禺賲乇丞 賮賷 丨賷丕鬲賰
廿賳賲丕 丕賱賱賴 毓賳 鬲賯丕賰 睾賳賷
賮鬲賮乇睾 賲賳賴丕 廿賱賶 賱匕丕鬲賰
August 14, 2021
兀丨爻賳 廿賱賶 丕賱兀毓丿丕亍 賵丕賱兀氐丿賯丕亍
賮廿賳賻賾賲丕 兀購賳爻 丕賱賯賱賵亘 丕賱氐賮賻丕亍
賵丕睾賮乇 賱兀氐丨丕亘賰賻 夭賱丕賾鬲賴賲
賵爻丕賲丨 丕賱兀毓丿丕亍 鬲賻賲賿丨購 丕賱毓賽丿丕亍
賵兀爻毓丿賿 丕賱禺賱賯賿 賯賱賷賱 丕賱賮囟賵賱
賲賻賳 賷賴噩乇 丕賱賳丕爻 賵賷乇囟賶 丕賱賯賱賷賱
賰兀賳賴購 毓賳賯丕亍賻 毓賳丿賻 丕賱爻賾賴賶
賱丕 亘賵賲丞賹 鬲賳毓亘購 亘賷賳賻 丕賱胤賱賵賱
賷丕賲賻賳 賷賻丨丕乇購 丕賱賮賻賴賲購 賮賷 賯丿乇鬲賰
賵鬲胤賱亘購 丕賱賳賻賮爻購 丨賲賶 胤丕毓鬲賰
兀爻賰乇賻賳賷 丕賱廿孬賲購 賵賱賰賳賾賳賷
氐丨賵賻鬲 亘丕賱丌賲丕賱 賮賷 乇丨賲鬲賰
廿賳 賱賲 兀賰賳賿 兀禺賱氐鬲購 賮賷 胤丕毓鬲賰
賮廿賳賾賳賷 兀胤賲毓購 賮賷 乇丨賲鬲賰
賵廿賳賻賾賲丕 賷卮賮毓購 賱賷 兀賳賾賳賷
賯賻丿 毓卮鬲購 賱丕 兀購卮乇賰 賮賷 賵丨丿鬲賰
丕賱賱賴購 賷丿乇賷 賰賱購賾 賲丕 鬲購囟賲乇
賷毓賱賲購 賲丕 鬲購禺賮賷 賵賲丕 鬲購馗賴乇
賵廿賳 禺丿毓鬲賻 丕賱賳丕爻 賱賲 鬲爻鬲胤毓
禺丿賽丕毓 賲賻賳 賷胤賵賷 賵賲賻賳 賷賻賳卮乇
兀賳丕 丕賱賻賾匕賷 兀亘丿毓鬲 賲賽賳 賯丿乇鬲賰
賮毓卮鬲購 兀乇毓賶 賮賷 丨賲賶 賳毓賲鬲賰
丿毓賳賷 廿賱賶 丕賱丌孬丕賲 丨鬲賶 兀乇賶
賰賷賮賻 賷匕賵亘 丕賱廿孬賲購 賮賷 乇丨賲鬲賰
鬲購禺賮賷 毓賳 丕賱賳丕爻 爻賳賻丕 胤賱毓鬲賰
賵賰賱購賾 賲丕賮賷 丕賱賰賵賳 賲賽賳 氐賳毓鬲賰
賮兀賳鬲賻 賲噩賱丕賴購 賵兀賳鬲賻 丕賱賻賾匕賷
鬲賻乇賶 亘丿賷毓 丕賱氐購賳毓 賮賷 丌賷鬲賰
賮廿賳賻賾賲丕 兀購賳爻 丕賱賯賱賵亘 丕賱氐賮賻丕亍
賵丕睾賮乇 賱兀氐丨丕亘賰賻 夭賱丕賾鬲賴賲
賵爻丕賲丨 丕賱兀毓丿丕亍 鬲賻賲賿丨購 丕賱毓賽丿丕亍
賵兀爻毓丿賿 丕賱禺賱賯賿 賯賱賷賱 丕賱賮囟賵賱
賲賻賳 賷賴噩乇 丕賱賳丕爻 賵賷乇囟賶 丕賱賯賱賷賱
賰兀賳賴購 毓賳賯丕亍賻 毓賳丿賻 丕賱爻賾賴賶
賱丕 亘賵賲丞賹 鬲賳毓亘購 亘賷賳賻 丕賱胤賱賵賱
賷丕賲賻賳 賷賻丨丕乇購 丕賱賮賻賴賲購 賮賷 賯丿乇鬲賰
賵鬲胤賱亘購 丕賱賳賻賮爻購 丨賲賶 胤丕毓鬲賰
兀爻賰乇賻賳賷 丕賱廿孬賲購 賵賱賰賳賾賳賷
氐丨賵賻鬲 亘丕賱丌賲丕賱 賮賷 乇丨賲鬲賰
廿賳 賱賲 兀賰賳賿 兀禺賱氐鬲購 賮賷 胤丕毓鬲賰
賮廿賳賾賳賷 兀胤賲毓購 賮賷 乇丨賲鬲賰
賵廿賳賻賾賲丕 賷卮賮毓購 賱賷 兀賳賾賳賷
賯賻丿 毓卮鬲購 賱丕 兀購卮乇賰 賮賷 賵丨丿鬲賰
丕賱賱賴購 賷丿乇賷 賰賱購賾 賲丕 鬲購囟賲乇
賷毓賱賲購 賲丕 鬲購禺賮賷 賵賲丕 鬲購馗賴乇
賵廿賳 禺丿毓鬲賻 丕賱賳丕爻 賱賲 鬲爻鬲胤毓
禺丿賽丕毓 賲賻賳 賷胤賵賷 賵賲賻賳 賷賻賳卮乇
兀賳丕 丕賱賻賾匕賷 兀亘丿毓鬲 賲賽賳 賯丿乇鬲賰
賮毓卮鬲購 兀乇毓賶 賮賷 丨賲賶 賳毓賲鬲賰
丿毓賳賷 廿賱賶 丕賱丌孬丕賲 丨鬲賶 兀乇賶
賰賷賮賻 賷匕賵亘 丕賱廿孬賲購 賮賷 乇丨賲鬲賰
鬲購禺賮賷 毓賳 丕賱賳丕爻 爻賳賻丕 胤賱毓鬲賰
賵賰賱購賾 賲丕賮賷 丕賱賰賵賳 賲賽賳 氐賳毓鬲賰
賮兀賳鬲賻 賲噩賱丕賴購 賵兀賳鬲賻 丕賱賻賾匕賷
鬲賻乇賶 亘丿賷毓 丕賱氐購賳毓 賮賷 丌賷鬲賰
April 18, 2020
賲噩賲賵毓丞 丕賳鬲賯丕賴丕 兀丨賲丿 乇丕賲賷 亘丿乇丕爻丞 賲丿賯賯丞 賲毓鬲賳賷丞 賵亘丨丿爻 卮丕毓乇 賲賳 乇亘丕毓賷丕鬲 毓賲乇 丕賱禺賷丕賲. 鬲賱賰 丕賱乇賵丨 丕賱賰亘賷乇丞 丕賱鬲賷 賱賲 賷亘賯 賲賳 丌孬丕乇賴丕 爻賵賶 爻胤賵乇 亘孬賴丕 丨賷乇鬲賴 賵睾乇亘鬲賴. 鬲乇噩賲 乇丕賲賷 丕賱乇亘丕毓賷丕鬲 毓賳 丕賱賮丕乇爻賷丞 賲亘丕卮乇丞 廿賱賶 丕賱毓乇亘賷丞 卮毓乇丕. 賵賯丿 氐丿乇 毓賳 賴匕丕 丕賱賰鬲丕亘 兀賰孬乇 賲賳 禺賲爻 賵毓卮乇賷賳 胤亘毓丞 兀賵賱賴丕 賮賷 丕賱賯丕賴乇丞 賮賷 氐賷賮 毓丕賲 1924.
兀丨賲丿 丕賱丿賷亘
賷賳丕賷乇 2010
鬲丨丿賷孬: 賯乇丕亍丞 兀禺乇賶 亘毓丿 兀賰孬乇 賲賳 毓卮乇 爻賳賷賳貙 丕爻鬲毓丿丕丿賸丕 賱廿丿丕乇丞 賳賯丕卮 丨賵賱 丕賱賰鬲丕亘 賮賷 賳丕丿賷 賰鬲丕亘 賲賰鬲亘丞 丕賱廿爻賰賳丿乇賷丞貙 賮賷 噩賱爻丞 禺丕氐丞 毓賱賶 丕賱廿賳鬲乇賳鬲 毓亘乇 鬲胤亘賷賯 夭賵賵賲 丕賱賷賵賲 丕賱兀丨丿 12 兀亘乇賷賱 丕賱爻丕毓丞 8 賲爻丕亍賸貙 賵賴匕丕 乇丕亘胤 丕賱丨丿孬:
賵賴匕丕 鬲爻噩賷賱 亘丕賱賮賷丿賷賵 賱賱賲賳丕賯卮丞:
兀亘乇賷賱 2020
兀丨賲丿 丕賱丿賷亘
賷賳丕賷乇 2010
鬲丨丿賷孬: 賯乇丕亍丞 兀禺乇賶 亘毓丿 兀賰孬乇 賲賳 毓卮乇 爻賳賷賳貙 丕爻鬲毓丿丕丿賸丕 賱廿丿丕乇丞 賳賯丕卮 丨賵賱 丕賱賰鬲丕亘 賮賷 賳丕丿賷 賰鬲丕亘 賲賰鬲亘丞 丕賱廿爻賰賳丿乇賷丞貙 賮賷 噩賱爻丞 禺丕氐丞 毓賱賶 丕賱廿賳鬲乇賳鬲 毓亘乇 鬲胤亘賷賯 夭賵賵賲 丕賱賷賵賲 丕賱兀丨丿 12 兀亘乇賷賱 丕賱爻丕毓丞 8 賲爻丕亍賸貙 賵賴匕丕 乇丕亘胤 丕賱丨丿孬:
賵賴匕丕 鬲爻噩賷賱 亘丕賱賮賷丿賷賵 賱賱賲賳丕賯卮丞:
兀亘乇賷賱 2020
January 25, 2016
禺蹖丕賲 乇丕 禺蹖賱蹖 丿賵爻鬲 丿丕乇賲貙 丕賵賱蹖賳 丌卮賳丕蹖蹖 賲賳 亘丕 禺蹖丕賲 丕夭 乇丕賴 丕爻鬲丕丿 賴跇丕乇 (賲鬲乇噩賲 乇亘丕毓蹖丕鬲 禺蹖丕賲 亘賴 讴乇丿蹖) 亘賵丿貙 賵丕賯毓丕 胤賵乇蹖 鬲乇噩賲賴鈥� 丕卮 讴乇丿賴 讴賴 丨爻 賲蹖讴賳蹖 禺蹖丕賲 亘賴 夭亘丕賳 讴乇丿蹖 乇亘丕毓蹖丕鬲卮 乇丕 爻乇賵丿賴鈥� 丕爻鬲! 亘毓丿丕 卮乇賵毓 讴乇丿賲 讴賴 乇亘丕毓蹖丕鬲 乇丕 亘賴 賮丕乇爻蹖 亘禺賵丕賳賲 賵 賴賳賵夭賲 賲蹖禺賵丕賳賲卮賵賳 趩賵賳 賵丕賯毓丕 亘蹖鈥屬嗀港屫辟�.
蹖賴 亘丕乇 丿乇 乇賵夭 禺蹖丕賲 乇丕 亘丕 禺賵丕賳丿賳 蹖讴 丕夭 乇亘丕毓蹖丕鬲卮 丿乇 賵蹖跇賴 亘乇賳丕賲賴 禺蹖丕賲 丿乇 乇丕丿蹖賵倬賱 丕卮鬲乇丕讴 讴乇丿賲
貙丕蹖賳 亘賵丿:
亘賳诏乇 夭 噩賴丕賳 趩賴 胤乇賮 亘乇 亘爻鬲賲 責 賴蹖趩
賵夭 丨丕氐賱 毓賲乇 趩蹖爻鬲 丿乇 丿爻鬲賲 責 賴蹖趩
卮賭賲毓 胤賭乇亘賲 賵賱蹖 趩賭賵 亘賳賭卮爻鬲賲 賴蹖趩
賲賳 噩丕賲 噩賲賲 賵賱蹖 趩賵 亘卮讴爻鬲賲 賴蹖趩
May 25, 2018
丨賷賳 賳賯賵賱 乇亘丕毓賷丕鬲 丕賱禺賷丕賲 貙 賮廿賳賳丕 毓賳 噩賲丕賱 丕賱卮毓乇 丕賱賮丕乇爻賷 賳鬲丨丿孬 ...
毓賳 丕賱丨賰賲丞 賵 賲賳丕噩丕丞 丕賱賱賴 貙 毓賳 鬲爻丕丐賱丕鬲 丕賱賳賮爻 賵 丕賱鬲賮賰乇 亘丕賱賯丿乇 貙 毓賳 兀賴賵丕亍 丕賱賯賱亘 賵 夭賴丿 丕賱丿賳賷丕 ... 賵 丕賱賰孬賷乇 .
噩賲賷賱丞 賰賰賱 貙 鬲噩賲毓 亘賷賳 爻賱丕爻丞 丕賱賰賱丕賲 賵 賲鬲丕賳丞 丕賱鬲毓亘賷乇 .
賷丕 毓丕賱賲 丕賱兀爻乇丕乇 毓賱賲 丕賱賷賯賷賳
賷丕 賰丕卮賮 丕賱囟乇 毓賳 丕賱亘丕卅爻賷賳
賷丕 賯丕亘賱 丕賱兀毓匕丕乇 賮卅賳丕 廿賱賶
馗賱賾賰听賮丕賯亘賱 鬲賵亘丞 丕賱鬲丕卅亘賷賳
*
兀賮賳賷鬲購 毓賲乇賷 賮賷 丕乇鬲賯丕亘賽 丕賱賲購賳賶
賵 賱賲 兀匕賯 賮賷 丕賱毓賷卮 胤毓賲 丕賱賴賳丕
賵 廿賳賻賾賳賷 兀購卮賮賯 兀賳 賷賳賯囟賷
毓賲乇賷听賵 賲丕 賮丕乇賯鬲 賴匕丕 丕賱毓賻賳丕
*
毓丕卮乇 賲賳 丕賱賳丕爻 賰亘丕乇 丕賱毓賯賵賱
賵 噩丕賳亘 丕賱噩賴丕賱 兀賴賱 丕賱賮囟賵賱
賵 丕卮乇亘 賳賯賷毓 丕賱爻賲賾 賲賳 毓丕賯賱賺
賵 丕爻賰亘 毓賱賶 丕賱兀乇囟 丿賵丕亍 丕賱噩賴賵賱
毓賳 丕賱丨賰賲丞 賵 賲賳丕噩丕丞 丕賱賱賴 貙 毓賳 鬲爻丕丐賱丕鬲 丕賱賳賮爻 賵 丕賱鬲賮賰乇 亘丕賱賯丿乇 貙 毓賳 兀賴賵丕亍 丕賱賯賱亘 賵 夭賴丿 丕賱丿賳賷丕 ... 賵 丕賱賰孬賷乇 .
噩賲賷賱丞 賰賰賱 貙 鬲噩賲毓 亘賷賳 爻賱丕爻丞 丕賱賰賱丕賲 賵 賲鬲丕賳丞 丕賱鬲毓亘賷乇 .
賷丕 毓丕賱賲 丕賱兀爻乇丕乇 毓賱賲 丕賱賷賯賷賳
賷丕 賰丕卮賮 丕賱囟乇 毓賳 丕賱亘丕卅爻賷賳
賷丕 賯丕亘賱 丕賱兀毓匕丕乇 賮卅賳丕 廿賱賶
馗賱賾賰听賮丕賯亘賱 鬲賵亘丞 丕賱鬲丕卅亘賷賳
*
兀賮賳賷鬲購 毓賲乇賷 賮賷 丕乇鬲賯丕亘賽 丕賱賲購賳賶
賵 賱賲 兀匕賯 賮賷 丕賱毓賷卮 胤毓賲 丕賱賴賳丕
賵 廿賳賻賾賳賷 兀購卮賮賯 兀賳 賷賳賯囟賷
毓賲乇賷听賵 賲丕 賮丕乇賯鬲 賴匕丕 丕賱毓賻賳丕
*
毓丕卮乇 賲賳 丕賱賳丕爻 賰亘丕乇 丕賱毓賯賵賱
賵 噩丕賳亘 丕賱噩賴丕賱 兀賴賱 丕賱賮囟賵賱
賵 丕卮乇亘 賳賯賷毓 丕賱爻賲賾 賲賳 毓丕賯賱賺
賵 丕爻賰亘 毓賱賶 丕賱兀乇囟 丿賵丕亍 丕賱噩賴賵賱
August 16, 2020
I can't say how good Omar Khayyam's original work was,because it's in Persian.If it weren't for the translation by Edwatd FitzGerald,I wouldn't have been familiar with him.
It is brilliant,awesome,majestic.No matter how many times I read it,it leaves me awestruck.
FitzGerald took liberties with the original text.It is more of a paraphrase,than a translation.And then he wrote several different versions,sometimes improving his original work,sometimes not.
But the quality of FitzGerald's poetry remains consistently good :
We are no more than a moving row
Of visionary shapes that come and go
Round with this sun -illumin'd lantern held
In midnight by the master of the show
And
Strange,is it not ? that of the myriads who
Before us pass'd the door of darkness through
Not one returns to tell us of the road
Which to discover we must travel too.
Each of the Rubiyat is superbly rendered by FitzGerald.
Could it be that FitzGerald's work is better than that of Omar Khayyam ? Can't say,but FitzGerald was a great poet in his own right.
It is brilliant,awesome,majestic.No matter how many times I read it,it leaves me awestruck.
FitzGerald took liberties with the original text.It is more of a paraphrase,than a translation.And then he wrote several different versions,sometimes improving his original work,sometimes not.
But the quality of FitzGerald's poetry remains consistently good :
We are no more than a moving row
Of visionary shapes that come and go
Round with this sun -illumin'd lantern held
In midnight by the master of the show
And
Strange,is it not ? that of the myriads who
Before us pass'd the door of darkness through
Not one returns to tell us of the road
Which to discover we must travel too.
Each of the Rubiyat is superbly rendered by FitzGerald.
Could it be that FitzGerald's work is better than that of Omar Khayyam ? Can't say,but FitzGerald was a great poet in his own right.
April 7, 2019
禺蹖賱蹖 卮毓乇賴丕卮 讴賲 賲毓乇賵賮賳.
丕蹖賳 賵乇跇賳 讴鬲丕亘 乇丕 丿乇 讴鬲丕亘禺丕賳賴 丿賵乇丕賳 賳賵噩賵丕賳蹖 賲丕丿乇賲 倬蹖丿丕 讴乇丿賴 亘賵丿賲 賵 賴蹖 賯丕蹖賲讴蹖 賲蹖乇賮鬲賲 賲蹖禺賵賳丿賲.(賴賳賵夭 賲丿乇爻賴 賳賲蹖鈥屫辟佖�!)
丕蹖賳 賵乇跇賳 讴鬲丕亘 乇丕 丿乇 讴鬲丕亘禺丕賳賴 丿賵乇丕賳 賳賵噩賵丕賳蹖 賲丕丿乇賲 倬蹖丿丕 讴乇丿賴 亘賵丿賲 賵 賴蹖 賯丕蹖賲讴蹖 賲蹖乇賮鬲賲 賲蹖禺賵賳丿賲.(賴賳賵夭 賲丿乇爻賴 賳賲蹖鈥屫辟佖�!)
November 7, 2017
Her sabah yeni bir g眉n do臒arken,
Bir g眉n de eksilir 枚m眉rden;
Her 艧afak bir h谋rs谋z gibidir
Elinde bir fenerle gelen.
Bir g眉n de eksilir 枚m眉rden;
Her 艧afak bir h谋rs谋z gibidir
Elinde bir fenerle gelen.
Read
April 26, 2014Omar Khayyam (Ghiy膩th ad-D墨n Abu'l-Fat岣� 士Umar ibn Ibr膩h墨m al-Khayy膩m N墨sh膩p奴r墨: 1048 - 1131), born in Nishapur, educated in Samarkand and professionally active in Bukhara, was a brilliant mathematician, astronomer and philosopher who wrote poetry during the last years of his life,(*) when, after his patrons were killed or removed from power towards the end of the Seljuk sultanate and while new waves of Turkic tribes were breaking over the crumbling walls of Central Asian cities, he gave up science and returned to Nishapur, broke and despondent. His poetry took the form of quatrains (谤耻产腻士墨 in the singular) written in New Persian, and he was able to wrest some interesting results from this very constrained form.
My GRamazon friend Jan-Maat has written a fine review
/review/show...
about the the Ruba'iyat of Omar Khayyam in which he points out the rather limited range of topics of Khayyam's verse:
"The themes are the impermanence of life, the unknowability of the future and afterlife, the enjoyment of the present moment and Dust Thou Art, and Unto Dust Shalt Thou Return. A pie chart illustrating Khayyam's poetic impulses would not need many slices."
True enough - he graciously didn't mention the innumerable paeans to wine which do tend to become a bit tedious. But there is another aspect to Khayyam's poetry which should be mentioned; his skepticism was expressed in the face of, nay, against the burgeoning movement of dogmatic certainty and intellectual suppression led by stock conservative Islamic theologians and aided by Ghazali (Ab奴 岣つ乵id Mu岣mmad ibn Mu岣mmad al-Ghaz膩l墨: c. 1058 - 1111), an extremely gifted theologian and jurist trained in Greek philosophy who wrote lucidly against the role of reason and logic in any matter touched upon by religion. The imams were already beginning to significantly tighten the screws on the freedom of thought and expression and producing tens of thousands of cookie cutter ideologues in their new madrasas (Ghazali was the headmaster of one with 3,000 students), and the Sunnis and Shiites were merrily sending each other to Hell in internecine wars for having the temerity of disagreeing.(**) This is the setting in which Khayyam wrote(***)
Oh Canon Jurists, we work better than you,
With all this drunkenness, we're more sober:
You drink men's blood; we, the vine's.
Be honest - which of us is more bloodthirsty?
The imams were executing people for less. Ghazali demanded in one of his principal texts that those soiled by Greek philosophy should be put to death. That Ghazali himself had studied the Greeks intensively was passed over quietly.
A religious man said to a whore, "you're drunk,
Caught every moment in a different snare."
She replied, "Oh Shaikh, I am what you say,
Are you what you seem?"
And how about this denial of religious certainty?
How long shall I lay bricks on the face of the seas?
I am sick of idolators and the temple.
Khayyam, who said that there will be a hell?
Who's been to hell, and who's been to heaven?
Granted, Khayyam probably didn't go down to the bazaar, read these to the general public and call for insurrection (after all, he lived into his 80's).
As the relative intellectual freedom of his youth slowly disappeared, as the armies protecting the high civilization of the Central Asian oases met defeat again and again - and let's not forget the personal anguish of an older man whose wealth and success is an unretrievable matter of the past - it is not so difficult to understand his despondency, a despondency which verged upon despair. He even went so far as to deny the value of the intellectual efforts he made as a younger man.
My mind has never lacked learning,
Few mysteries remained unconned;
I have meditated for seventy-two years night and day,
To learn that nothing has been learned at all.
A number of persons have exerted themselves to demonstrate that Khayyam could not be the author of the most pessimistic quatrains, claiming that he could not be hypocritical or self-contradictory (with respect to his earlier, confident philosophical tomes). Perhaps, but what is more likely is that those authors have some other axe to grind or have never met one of the many elderly persons who end their lives in bitter disappointment under circumstances less crushing than Khayyam's. We don't all go out with the smile of wisdom and serenity upon our faces...
(*) S. Frederick Starr is not the least uncertain about this in his excellent Lost Enlightenment
/review/show...
(**) The fact that things are no better in these respects one thousand years later is..., well, words fail me.
(***) The translations above are the relatively recent renderings of Avery and Heath-Stubbs reviewed by Jan-Maat. They are accounted to be much more faithful to the meaning of the originals, as opposed to the famous English versions of Edward FitzGerald. FitzGerald acknowledged freely that he was "rendering" and not translating Khayyam's verses. I own an edition which contains all five versions of FitzGerald's Ruba'iyat. Here is one of the more heretical poems in FitzGerald's words:
The Revelations of Devout and Learn'd
Who rose before us, and as Prophets burn'd
Are all but Stories, which, awoke from Sleep
They told their fellows, and to Sleep return'd.
And who, pray tell, would be willing to discard this?
The Moving Finger writes; and, having writ,
Moves on: nor all your Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all your Tears wash out a Word of it.
I'm keeping my FitzGerald, but it now shares a shelf with Avery and Heath-Stubbs, who, along with other considerations, translated more than twice as many quatrains as FitzGerald did.
Rating
My GRamazon friend Jan-Maat has written a fine review
/review/show...
about the the Ruba'iyat of Omar Khayyam in which he points out the rather limited range of topics of Khayyam's verse:
"The themes are the impermanence of life, the unknowability of the future and afterlife, the enjoyment of the present moment and Dust Thou Art, and Unto Dust Shalt Thou Return. A pie chart illustrating Khayyam's poetic impulses would not need many slices."
True enough - he graciously didn't mention the innumerable paeans to wine which do tend to become a bit tedious. But there is another aspect to Khayyam's poetry which should be mentioned; his skepticism was expressed in the face of, nay, against the burgeoning movement of dogmatic certainty and intellectual suppression led by stock conservative Islamic theologians and aided by Ghazali (Ab奴 岣つ乵id Mu岣mmad ibn Mu岣mmad al-Ghaz膩l墨: c. 1058 - 1111), an extremely gifted theologian and jurist trained in Greek philosophy who wrote lucidly against the role of reason and logic in any matter touched upon by religion. The imams were already beginning to significantly tighten the screws on the freedom of thought and expression and producing tens of thousands of cookie cutter ideologues in their new madrasas (Ghazali was the headmaster of one with 3,000 students), and the Sunnis and Shiites were merrily sending each other to Hell in internecine wars for having the temerity of disagreeing.(**) This is the setting in which Khayyam wrote(***)
Oh Canon Jurists, we work better than you,
With all this drunkenness, we're more sober:
You drink men's blood; we, the vine's.
Be honest - which of us is more bloodthirsty?
The imams were executing people for less. Ghazali demanded in one of his principal texts that those soiled by Greek philosophy should be put to death. That Ghazali himself had studied the Greeks intensively was passed over quietly.
A religious man said to a whore, "you're drunk,
Caught every moment in a different snare."
She replied, "Oh Shaikh, I am what you say,
Are you what you seem?"
And how about this denial of religious certainty?
How long shall I lay bricks on the face of the seas?
I am sick of idolators and the temple.
Khayyam, who said that there will be a hell?
Who's been to hell, and who's been to heaven?
Granted, Khayyam probably didn't go down to the bazaar, read these to the general public and call for insurrection (after all, he lived into his 80's).
As the relative intellectual freedom of his youth slowly disappeared, as the armies protecting the high civilization of the Central Asian oases met defeat again and again - and let's not forget the personal anguish of an older man whose wealth and success is an unretrievable matter of the past - it is not so difficult to understand his despondency, a despondency which verged upon despair. He even went so far as to deny the value of the intellectual efforts he made as a younger man.
My mind has never lacked learning,
Few mysteries remained unconned;
I have meditated for seventy-two years night and day,
To learn that nothing has been learned at all.
A number of persons have exerted themselves to demonstrate that Khayyam could not be the author of the most pessimistic quatrains, claiming that he could not be hypocritical or self-contradictory (with respect to his earlier, confident philosophical tomes). Perhaps, but what is more likely is that those authors have some other axe to grind or have never met one of the many elderly persons who end their lives in bitter disappointment under circumstances less crushing than Khayyam's. We don't all go out with the smile of wisdom and serenity upon our faces...
(*) S. Frederick Starr is not the least uncertain about this in his excellent Lost Enlightenment
/review/show...
(**) The fact that things are no better in these respects one thousand years later is..., well, words fail me.
(***) The translations above are the relatively recent renderings of Avery and Heath-Stubbs reviewed by Jan-Maat. They are accounted to be much more faithful to the meaning of the originals, as opposed to the famous English versions of Edward FitzGerald. FitzGerald acknowledged freely that he was "rendering" and not translating Khayyam's verses. I own an edition which contains all five versions of FitzGerald's Ruba'iyat. Here is one of the more heretical poems in FitzGerald's words:
The Revelations of Devout and Learn'd
Who rose before us, and as Prophets burn'd
Are all but Stories, which, awoke from Sleep
They told their fellows, and to Sleep return'd.
And who, pray tell, would be willing to discard this?
The Moving Finger writes; and, having writ,
Moves on: nor all your Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all your Tears wash out a Word of it.
I'm keeping my FitzGerald, but it now shares a shelf with Avery and Heath-Stubbs, who, along with other considerations, translated more than twice as many quatrains as FitzGerald did.
Rating
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