Archives

Love and Death in Elihu Vedder’s Rubáiyát of Omar Khayyám

Love and Death in Elihu Vedder’s Rubáiyát of Omar Khayyám. Akela Reason.
American Art, 29 (2015), 2, pp. 119–125.

Spiritual uncertainty figured in many of Elihu Vedder’s works. The artist acknowledged his fascination with this theme, writing in his autobiography, The Digressions of V., “it delights me to tamper and potter with the unknowable, and I have a strong tendency to see in things more than meets the eye.” Especially preoccupied by the mystery of death, Vedder returned to the subject again and again. Death comes in many forms in Vedder’s art—from “all-devouring” sphinxes presiding over desert wastes to the fratricidal conflict of the Old Testament, and devastating medieval plagues.

Méditation sur les mystères de la création. Paul Valéry et Omar al Khayyâm

Méditation sur les mystères de la création. Paul Valéry et Omar al Khayyâm. Mohammad Reza Mohseni.
Revue Annales du patrimoine, (2012) Nr. 12, pp. 57-71.

La méditation sur la mort, l’ordre de l’existence ainsi que les mystères de la Genèse constitue l’objet principal des études philosophiques dont s’inspirent, de temps à autre, la poésie et la littérature. Cette recherche se fixe comme objectif de démontrer si l’attitude des poètes Paul Valéry et Omar al Khayyâm à l’encontre des notions telles que la mort et l’existence tire son origine de leur affres de la mort, ou bien elle prend ses sources dans leurs préoccupations philosophiques. Nous allons étudier les attributs narcissiques des poèmes de Valéry, en pleine contra diction avec des vers cosmopolites et regorgés de sagesse de Khayyâm.

La thématique de la mort chez Khayyâm et Gautier

La thématique de la mort chez Khayyâm et Gautier. Akram Ayati.
Plume 7 (2012) 15, pp. 45–69.

Thinking of the death occupied, for a long time, the spirit of the human being and it changed constantly the image of his life. The death is registered in the depths of us, as an inseparable certainty of our destiny, however thinking the death is already thinking about life, because it is the perception of the death that forms the way of life. The theme of the death and its connotations impose in a privileged way, in Theophile Gautier’s poems, writer and poet French of the 19th century. The reading of these poems with a touch pessimistic revives Omar Khayyam’s quatrains in the minds which are familiar with Persian poetry.

Death Deemed Undead. The Fragility of Life and the Theme of Mortality and Melancholia In Omar Khayyam’s ‘Rubaiyat’

Death Deemed Undead. The Fragility of Life and the Theme of Mortality and Melancholia In Omar Khayyam’s ‘Rubaiyat’. Abhik Maiti.
American Research Journal on English and Literature. [2018, in Press]

Summary

he term “Vairagya” refers to a deeply ruminative cynicism arising out of wisdom, knowledge and awareness about the ways of the world especially its perplexing transience and man’s search for meaning in the grand scheme of things. No other topic engenders as much vairagic thinking as does the imponderability of life’s purpose, its relevance and meaning. The manifestation of this thinking can be seen in prose tracts, poetry, schools of philosophy, expositions, sayings and aphorisms. Omar Khayyam’s Rubaiyat belongs to this manifestation. With death as the final and unyielding reality it was but natural for Omar Khayyam to bring out the perplexing nature of human existence and passions there in for questioning in his rubai.

The Study of Rubaiyat attributed to Khayyam in Movies

The Study of Rubaiyat attributed to Khayyam in Movies. Milad Minakar, Amir Hossein Chitsazian.
In: CINEJ Cinema Journal, Vol. 8, no. 2 (2020), p. 324-352.

Summary

Among the literati and men of culture of Iran, it is not exaggerated to call Khayyam one of the vaguest figures. One might recognize him certainly and resolutely through his philosophical and scientific works; however, it was his Rubaiyat attributed to him which created many arguments. This paper studies Hakim Omar Khayyam’s Rubaiyat in English and Persian language feature and non-biographical movies; hence, biographical movies depicting factual or imaginary life of Khayyam or any serials, TV productions, documentaries, non- English, non- Persian movies are not included. The aim is to expound any relationships between the film and Rubaiyat; therefore, according to the type of the applied quatrain, movie genre, plot, some categories are propounded to classify the movies in which Khayyam’s quatrains are quoted such as Transiency-Death, Transiency-Carpe Diem, Heaven and Hell, and Determinism. Indeed, these categories can be applied to the theme of the movies or a single scene in which the stanza is quoted.