جستجوی مقالات مرتبط با کلیدواژه « Khayyâm » در نشریات گروه « ادبیات و زبان ها »

Cultural and spiritual heritage has been mentioned in the literary texts of nations and in their social relations and worldview, like valuable capitals from generation to generation. Considering the current era and contemporary social developments, cultural heritage is felt more in the process of globalization, and Article 5 of the UNESCO Declaration in 2001 emphasizes the importance of preserving, exchanging and developing cultural heritage as stated in Article 27 of the Universal Declaration of Human Rights. But cultural heritage cannot simply rely on its material products because culture is constantly metamorphosing and it is the intangible part of culture that forms its inherent essence and gives in different societies. It can be specific and individual. This intangible heritage (ICH), which includes all the intangible manifestations of culture, represents the diversity of the living heritage of humanity and is also the most important means of transmitting cultural diversity in the UNESCO World Convention in 2003 for the preservation of cultural heritage. Intangible emphasized that, of course, its operation was based on the model provided by the World Heritage Convention in 1972, so spiritual and intangible heritage can be defined as a part of cultural assets. Expression, which is one of the basic aspects of the social and intellectual life of nations and forms the source of identity, diversity and creativity. One of the most important means of cultural transmission and preservation of the heritage of the past is the literature of the nations, which is the expression of myths, symbols and signs, rituals, philosophy and knowledge of the lives of the ancients in the form of words. From this point of view, Persian literature is a repository of ancient teachings, and Khayyam, as one of the most influential poets of the Seljuk period, represented these elements in his quatrains. It should be said that from the collapse of the Sassanid Empire, part of the spiritual heritage of ancient Iran can be transferred to the Islamic era after Hakim Sohrvardi, who was familiar with the connection between Khosravani's thoughts and Pahlavi wisdom before and after Islam, with authentic Pahlavi and Avesta sources. be And he made direct use of that treasure, and during the Samanian era, epic works such as the Shahnameh were written to revive the national identity of Iranians. These poems, which were written in the Khorasani style, were mixed with ancient legends and heroes with a resonating order, but later he was a style poet. Iraqi replaced introspection, complexity and mysticism with openness and epicness, however, there are cultural and mythological elements of ancient Iran in the poems of the poets of the era of the Turks and the Mughal patriarchs and some of these elements in the poems of poets. It also appeared later, and Hakim Omar Khayyam was no exception to this rule and used these cultural elements many times in his quatrains.

This research is based on the qualitative method (non-quantitative, descriptive and analytical and with the tool of taking files from library sources) and follows the interpretive methodology (explaining and expanding the poems and expressing the historical records of the themes) and an attempt has been made to The question should be answered that the representation of the spiritual elements of ancient Iran in Khayyam's quatrains includes and what social and political conditions did the poet choose these elements? What areas of ancient cultural treasures did the poet pay more attention to and this How has the chain of cultural continuity worked? Based on this, by examining Khayyam's poems and looking at the historical, social and political developments of the poet's time and the literary interpretations of these quatrains in the field of representing the cultural elements of ancient Iran, the understanding of the text, its interpretation and criticism is discussed and new models are presented.

One of the most important means of transferring cultural heritage and preserving the works of the past is literature, and it must be said that some of the cultural elements of Iran during the Islamic era were influenced by ancient Iran, whose traces can be seen in the literary texts of this era. In this regard, it should be said that with the fall of the Sassanid Empire, Iran entered the Islamic era of its life by leaving behind its ancient world, but many of the tangible and intangible heritages of that era were transferred to the Islamic era, and this cultural continuity and reflection of spiritual heritage in poetry and literature in the form of legends and legendary kings, light and darkness, wine ceremony and happiness and tarb, sanctity of fire, Magus and Zoroastrian rituals, Mitraism and love, Manichean rituals, Zurvanic thought, Khosravani and Pahlavi wisdom, Nowruz and Yalda, mysticism and pantheism, the games such as Backgammon, Chovgan, Chess and other such things have been represented. In this research, an attempt has been made to find out the spiritual elements of ancient Iran, which include philosophy and religion, rituals, myths and all the intangible phenomena that are somehow reminiscent of that era and in Khayyam's poetry has reflected. These spiritual elements specifically include topics such as Zurvanic thoughts and the influence of Ferdowsi, the expression of the ancient beliefs of the Ismailis and Khorramdins in Khayyam's poetry, music, wine ceremonies, and also the manifestation of ancient Iranian mythology in Khayyam's poetry. Khayyam's poem is a mixture of deep philosophical questions in the form of a quatrain, which is a poetic form of Iran. The poet has composed these quatrains under the influence of the epics of Khorasan style as well as the historical proximity to the revival of Iranian civilization during the Samanid period and the rise of the Ismaili work during the poet's lifetime, who were themselves influenced by ancient Iran. These poems reflect the mythological and ancient themes that were transferred to Khayyam's era in the form of literature and through a series of cultural continuity.

It should be said that the Shahnameh epic was the most important factor influencing Khayyam's influence from ancient Iran. This influence was reflected in Khayyam's poetry, especially in the form of fatalistic and Zarvanian ideas, in the form of concepts such as the unreliability of the world, taking advantage of opportunities, accepting Sepehr's rule, and determinism. In a way, Khayyam's era should be seen as the era of expansion of the mystical and philosophical thoughts of the Ismailis and esotericists. The existence of philosophical questioning in Khayyam's poetry cannot be considered unrelated to the esoteric environment and intellectual currents of that era, which were themselves influenced by ancient Iran, especially that Neyshabur of The most important centers of the Ismailis were in Khorasan. We can see in Khayyam’s poetry the Bateni and Khorramdini beliefs in concepts such as keeping secrets, paying attention to the teacher and mentor, living happily, not hurting others, paying attention to the conflict between the rich and the poor, and shared beliefs, as well as beautiful reincarnation in the form of plants growing from the graves of beautiful women and princes, and personification into a jar. Khayyam's other influences from ancient Iran are things like the influence of music and many references to Iranian musical instruments and gatherings of joy and drinking and mention of common terms in these ceremonies. In addition, he repeatedly referred to Iranian mythology and ancient kings.

Khayyam Neyshabouri, one of the most famous poets in the field of Persian language, achieved a universal reputation, and his quatrains were translated into different languages. The high circulation of this work has caused many poets and writers worldwide to be influenced by his fascinating philosophy and particular ethics. One of the writers who were influenced by the thought of Khayyam is Greek Nikos Kazantzakis. Kazantzakis, in developing his novel; that is, "Greek Zorba" as much as the votes and Khayyam's ethics are affected as if the hero of his novel, the same is Khayyam Neyshaburi which has appeared in the old, worldly-wise and hedonism. After adjusting the Greek Zorba and Khayyam ethics and thinking based on the American comparative critique, it was concluded that their most important intellectual and personality traits are: thinking about death, worth knowing the moment, tent about leniency and happiness, praising dance, wine, and lover, fighting religious hypocrites, wonder and skepticism, and interference in the affairs of the creator, materialism, hate to humanity and...
  

In recent decades, interdisciplinary studies in literary research have made literary research new and attractive. Considering the capacity of the quatrain as one of the forms of Persian poetry and emotion which are one of the main components of the poem, in this research, Khayyam’s quatrains have been studied and analyzed from a psychological perspective. The theoretical framework of this article is Plutchik’s theory. According to this theory, eight emotions are common to all living things. These eight emotions include Destruction, Joy, Incorporation, Orientation, Protection, Deprivation, Rejection, and Exploration. All the emotional dimensions of Plutchik can be deduced in Khayyam’s quatrains. The dimensions of Destruction were 37 items, Joy 90 items, Incorporation 107 items, Orientation 61 items, Protection 32 items, Deprivation 130 items, Rejection 43 items, and Exploration 103 items. Although the prevailing view is that the core of Khayyam’s intellectual system focuses on happiness and debauch, this psychological study reveals that in these quatrains, anguish dominates happiness and joy. The results of this study reveal a part of the dimensions of Khayyam’s emotional personality.

The fame of Hakim Omar Khayyam Neishaburi (440-517 AH) was mentioned in ancient sources as a famous philosopher, sage, doctor, algebra and geometry scholar, mathematician and astronomer. Although in some sources from the 6th to the 8th century AH, quatrains of Khayyam have been quoted in Arabic and Persian, but his reputation as a quatrain poet began in the early 19th century AD/13 AH with Fitzgerald's English translation, followed by a wave of praise and Khayyam's poetry and thought are welcomed in Iran and the Western world. The land of Anatolia (today's Turkey) was not spared from this wave either. So much so that the Turkish language poets who were fascinated by the Persian language and literature from the Seljuk period and especially the Ottoman period, always compared themselves with famous Iranian poets in a boastful position and sometimes considered themselves superior to them. A number of Ottoman poets and writers and modernist poets of the republic era, influenced by Khayyam's quatrains and thought, besides praising him, they sang quatrains in the style of Khayyam and wrote many translations and commentaries on his quatrains. In this essay, the presence of Khayyam and the influence of his quatrains in the Anatolian domain are examined in three sections: Khayyam and Ottoman poets; the Translation of Rabaiyat in Turkish language from the beginning until now Based on Hossein Danesh and Reza Tofigh's translation; Khayyam from the eyes of some Turkish critics.

One of the main ambiguities in Khayyam's research record is the attribution or non-attribution of quatrains to this Neyshabour philosopher. According to the opponents of attributing the quatrains to Khayyam, to equate their poet with Khayyam, a religious philosopher, is a community of contradictions and impossibilities. The result of such a belief is the claim of the existence of two Khayyams and the creation of a confrontation (rational philosopher and twentieth-century poet) between them; On one side is a wise philosopher who is immersed in philosophical concepts for the rest of his life, and on the other side is a poet who has no desire except luxury.But this confrontation does not resist dealing with Khayyam's works and the surviving reports about Khayyam Tab, because not only in Khayyam's works and the reports of his contemporaries, points such as being in the House of Ishrat and referring to the disinterestedness of creation have been seen. It may contaminate the ideal image of the rationalist religious philosopher, but there is also a rationality in the content and structure of the quatrains that makes it impossible to attribute them to a twentieth-century poet. The existence of these contradictions on both sides of the above-mentioned confrontation destroys the constructed confrontation from within and increases the possibility of attributing the quatrains to Khayyam by denying the fictitious poets.

Khayyam’s quatrains have been translated into many languages ​​and have brought worldwide fame to this poet and a great honor for Iranian literature. Khayyam’s quatrains have been translated several times into Kurdish. One of the most successful translations is the translation of the famous Kurdish poet, writer and translator, Abdul Rahman Sharafkandi, nicknamed “Hejar”. While faithful to the structure and content of Khayyam’s poetry, this translation is a kind of free and conceptual translation. The translator tries to convey Khayyam’s view of the world inside and outside, his main message, and his poems’ general spirit to the Kurdish audience. He attempts to transmit the semantic and formal features of the original poem such as meter and form, tone and firmness of Khayyam’s speech, and its external and internal music in his translation. The present study critically analyzes this translation formally and semantically, adopting a descriptive-analytical method and relying on library and documentary data. It explores the translator’s method in translating Khayyam’s poetry. The results of the study indicated the following factors led to the translator’s success in his translation: the poet being a translator himself, his complete mastery of the source and target languages, his correct understanding of the content of the source text, and the intention of the original author, avoiding literal translation, choosing tone and words appropriately and recreating the internal and spiritual music of Khayyam’s poetry.

Except the quatrain theme, what makes it more salient than any other feature is its verbal simplicity, expressive unpretentiousness, brevity and melodious music. The contribution of music in acceptability the quatrain format has received less attention the instant that The Robai form is more related to music than other forms of poetry and meter is one of the distinguishing components of this format. an comparative study of the music of the first Persian Robaies with its climax can explain the role of music in the course of Persian Robaies and  the climax of that. In this article, in descriptive-analytical methods and based on statistical data, the musical characteristics of Rudaki's Robaies have been compared with Khayyam's Robaies. Therefore, Roudaki's quatrains are based on 34 quatrains of Nafisi and Braginsky prints and with comparison to Daneshpazhuh and Jahangir Mansour editions are used. Khayyam's quatrains have been selected due to the wide differences between different editions and the unanimity of Khayyam researchers on the originality of the quatrains in the books of Mersad al-Ebad, the history of Jahangosha Jovini, Nozhat al-Majalis, Tarikh Wassaf and history Gozide and according to the 34 quatrains in this Books are the basis of this research.The research shows that Roudaki, by making more use of his poetic licences and not paying attention to subtleties such as the consonant and vowel letters of the hemistiches, paying little attention to the side and inner music and neglecting the intimate music Persian words have not been able to use the musical attractions of the Robai to attract the audience, while Khayyam carefully uses the poetic licences quantitatively and qualitatively, more adherence to the musical characteristics of the main meter of the Robai, enjoyment Moderation of the capacities of side and inner music along with creating an intimate song using original Persian words has benefited from the prominence of Robai music in attracting the audience and the perfection of this format

The question of determinism is one of the very old issues that has always preoccupied human mind. The key question is whether one is autonomous in onechr('39')s actions or they do not have any intentional behavior and that all they do is through deterministic measures. In this descriptive-analytic article, we attempt to examine the issue of determinism and authoritarianism in the poems of Khayyam, Hafez, and IlyaAboumazi comparatively and based on a library method. The results show that Hafezchr('39')s contribution to the case of "determinism and will" and "fate and fortune" is greater than those of Khayyam and IlyaAboumadi.

Khayyam’s fame is largely due to free translation of Fitzgerald of his Rubaiyat. By the time of publishing of Fitzgerald translation, a variety of artists tried illustrating it. In west, a special inclination has been raised in illustrators to represent the Rubaiyat beginning with Elihu Veddar’s works continuing to the present. Nevertheless, the history of illustration of Rubaiyat traces back to 826 AH and to Mahfuz Ul-Hagh manuscript version containing some Persian miniatures. Some artists have focused on the whole concept of Rubaiyat and some on one or some words. Some artists have represented the superficial meaning of the poems and some have taken a more symbolic approach. Western, orientalist and Persian approaches toward the representation of Rubaiyat can be seen among the illustrators. This research is a comparative study of Rubaiyat illustrations, according to three poems translated by Fitzgerald and its main purposes are the study of the representation of key concepts of Rubaiyat in illustrations of some artists, and the study of the effects of artistic movements, cultural atmosphere and also the aesthetic tradition on the illustrations. This research is descriptive-analytic and gathering of information is based upon desk study.

This study emphasizes the importance of interdisciplinary studies in achieving the goals of comparative literature based on the American literary school and the archetype of death and rebirth. It also uses analytical descriptive and inductive methods to test the theoretical capacities of Jung's collective unconscious and the archetypes to analyze the why and the how of literary similarities between Iran and Arabi literature, and especially in Khayyam and Bayati's poetry, the study explores and reveals the deep and common layers of archeology of these two texts, while emphasizing the relationship between literature and psychology which confirms the use of archetypes in the creation of the best literary works of different nations of the world and, most importantly, it shows the role of archetypes in justifying the literary similarities between Iran and Arab literature. The results indicate that both texts have deep and common foundations of the archetype of death and rebirth, which have led to widespread literary similarities and the closeness of the aforementioned texts. In the meantime, their minor differences in the manifestation of these archetypes can be seen in the manifestation of archetype, fore example, in Bayati's poetry, the archetype of death and rebirth are mostly expressed in the form of the Sumerian myth of Ishtar and Tammuz, the Egyptian myth of Isis and Osiris, and in the symbol made by Bayati, named: Aisha; but in Khayyam's poetry, it is mainly reflected in the transformation of man into dust and its transformation into greenery and plants and vegetables

 Some similarities are observed between two or more ideas which seem to be chronologically and geographically unrelated to each other. These similarities might rise from the identical roots between different nations. Qualities like life and death, good and evil, justice, cruelty, love, sacrifice, patricide, filicide and etc. are transnational and universal and appear more and less similarly in different nations’ literature. The reason behind these similarities might be found in their oral literature, mythology, myths or subconscious of the nations. The more universal one nations’ thoughts, the more important they become. Among these thoughts, thinking about death has been considered of high importance in Muslim and western intellectuals. Khayyam is the representative of Iranian old theoretical thoughts in whose philosophical quatrains has asked questions about death and its stress and incomprehensible features by using different similes and metaphors. In order to overcome these difficulties he proposed some solutions which violated the religious convictions. This is when he lived in a society whose foundations were based on strong religious beliefs. However, the idea of the transcendent future is related to the modern world which thinks about death in a non-religious way and suggests some solutions as well. Since there was no comprehensive research on the topic, the main objective of this paper is to compare and contrast the visions of Khayyam and western ideologists who think of death as the transcendent future. Thus the research questions are:What are the transcendent future and thinking about death in Khayyam’s point of view?How do these two views consider overcoming the stress of death?How do these two views consider immortality, heaven and hell?What is the effect of thinking about death on seizing the day?

 This paper is a comparative analysis and uses library resources and written texts. Therefore, Zimbardo’s transcendent future theory and Khayyam’s quatrains were analyzed to compare and contrast.

 Khayyam’s thinking about death arises from his personal thoughts and has a materialistic and nihilistic look on death. (Nowruzi, Davoodkhani, 2000,110; Nafisi,2006:23),  While the transcendent future vision believes in the life after death .(Ortuño,., Paixão. & Janeiro, 2013;11). Khayyam’s belief in body and soul and metempsychosis is in line with the transcendent future (Khatat,. Shouhani,2006:59). Nonetheless, the theory of transcendent future is the result of different research and religious beliefs which attempts to present a concept which is acceptable to all religions without considering any specific culture. The other bold concept in the transcendent future view is believing in the life after death as a transcendent feature  (Boyd& Zimbardo 1996:38), whereas Khayyam does not think of death as a transcendent concept which probably is their most obvious difference. However, according to the differences between the meanings of the words, it is not easy to claim that they had similar view of a transcendent concept.For the stress of death, it needs to be said that since the time is short, both views propose confronting mechanism; for Khayyam they are: having fun, seizing the day and vinosity in order to enjoy more (Rahmdel,2006:139) . In the transcendent future view, these mechanisms are positive attention to suicide, building and positive attention (Boyd, & Zimbardo,2005:191). Positive attention is almost similar to being happy and seizing the day in Khayyam’s view. Since the life after death is meaningless to Khayyam, being happy and enjoying life is to reduce the stress of death up to the point a human being is alive. However, in the view of the transcendent future which believe in the life after death, the focus is on building and creating over time. They believe in this sentence that “I go but my generation continues.”  And it reduces the worries (Urien,2007:369).Heaven and hell exist in both views. For Khayyam these exist within the human being and they are the center (Ebrahimi Dinani,2011:257). Followers of the transcendent future also believe in the heaven and hell as they will be after death (Van Beek, Karieyz, 2015:82). The concept of immortality also exists in both views. Immortality for Khayyam is worldly; it is to convert into other elements (Kohandani, 2005:80). For the followers of transcendent future, there are five forms of immortality which people will face based on their culture and religion (Hood, Mooris,1983:354).Both views give high importance to seizing the day and living in the moment; however, since the findings were gathered from older people (Scheibe,Carstensen,2010:137), it cannot be said the youngsters who believe in the transcendent future also think the same of seizing the opportunities.

Through analyzing and comparing Khayyam’s views which were done only based on his quatrains and the idea of the transcendent future which is a rather modern psychological theory, it can be said that both believe in death. For transcendent future followers, which is a more scientific view on death, dying is not the end and there is life after it while Khayyam think of death as the end of life. In order to escape from the worries of death, he suggest to be happy, drink and live in the moment while transcendent future theorist think of suicide as a solution which can please human beings and help them overcome the stress and fears of death.Also, while Khayyam sees Heaven and Hell within himself, the vision of a transcendent future believer, unlike him, is believed to be an outer land based on people's future view of them. The concept of immortality is also expressed differently in each perspective; while Khayyam suggests the belief in worldly immortality and the return to the material cycle, the perspective of the transcendent future suggests different forms of symbolic immortality that each individual may tend to one. But perhaps the most similar in the two perspectives is the issue of seizing opportunity. Both visions insist on enjoying the life in the moment; the issue is called hedonism for the transcendent future view.

There are many translations of Ruba’iyyat-i Khayyam in the Kurdish language in which translators have tried to convey the precise meanings and beautiful concepts of Khayyam’s poetry to the target language. Using the descriptive-analytical method, and collecting data through desk research, the present study seeks to compare three Kurdish translations of Ruba’iyyat-i Khayyam, namely the translations conducted by Kamran Ali Badrkhan, Guran, and Hazhar. The study found out that Kamran Ali’s work is a word-for-word and prosed translation and that due to lack of familiarity with figurative meanings of Khayyam’s words and the poetic subtleties, he has failed to convey Khayyam’s particular tone and language to Kurdish. Guran too does not succeed in presenting a picture of Khayyam’s poetry proportionate to Kurdish literature and culture, and his translation has not found a high status among the Kurdish speaking audience. In Hazhar’s translation which is of a free or communicative nature, however, the translator conveys well not only Khayyam’s view of inner and outer worlds, but also the spirit and main message as well as the semantic and formal features of his poetry, including form, metre, tone and the robustness of the words of the well-known wise man, which is what makes the translation more eloquent and acceptable.

Khayyam's thinking and worldview are based on the belief in the fate and dignity of all things and the inability of man to understand the secrets of creation and the issues of creation. Poets before and after Khayyam also have poems with Khayyam themes. In this paper, which has been done in a library manner, after expressing the roots of Khayyam's thoughts, the course of Khayyam's thoughts in the three pre-Khayyam (Samanian and Ghaznavian), Khayyam (Seljukian and Kharazmshahian) and postKhayyam (Mongol and Timor) has been investigated. The results show that Khayyam's thoughts in the pre-Khayyam period are less frequent than the other two periods and mainly include the subject of spoils and congratulations for escaping philosophical thought by poets. But in the Khayyam period and after the Khayyam period, due to the sociopolitical reasons and the religious and intellectual fanaticism of the Seljuks and the Kharazmshahis, Khayyam's thoughts are in fact a reaction to the oppression in these two periods.

Domain of discourse refers to a set of norms, knowledge, customs, concepts, and ideologies accepted by the poet or writer that appear in his works. In translating the literary work, the study of the quality of representation domain of discourse in target language, in addition to crossing the linguistic and literary boundaries, emphasizes the importance of how it is represented, as the translator's approach to the discourse elements of the source text and how it is translated into the target language requires careful attention. Khayyam Nīshāpūrī 's quatrains (526-439 AH), an Iranian well-known Persian poet, has long been the focus of translators' attention as one of the most valuable literary works. Poet and contemporary critic of the Emirate (1976), Mohammed Abdullah Nur-al-din is also a translator who has translated these quatrain into Arabic by converting format of quatrain into new poetry and incorporating new ideologies and evolving some of the poetic elements of poetry to incorporate the essence of own thoughts according to the needs and desires of the age. The present investigation seeks to study the apparent changes in the Arabic translation of Nur al-Din by studying the elements of discourse in Khayyam's quatrains using a descriptive-analytical method and from the perspective of discourse analysis, and has described and explains the method of translating these elements into the poetic elements of these quatrains. Studying the analysis of Nur al-Din's translation of Khayyam's quatrains shows that this translation as any other translation.

Ru'ba'yyat of Khayyami, as a representative of a tradition, has evolved throughout the centuries and years of Persian literature. Many poets in this wise tradition, formed in opposition to the deterministic thinker system, played a lot, and many morals were performed, but ultimately, the collection of these mental lesions, known as Hakim Khayyam, is called Neyshaburi. The type of thought that has been described and described in the form of Rubaiyat Khayyami has been continually imitated and followed by many poets including Mohammad Hossein Kebriayi, the prominent poet of the Nebhndani. By referring to the Ruba'iyat of Khayyami (as the later text), he has referred to various wisdom matters, including "the philosophy of the revolution of the world." In the present article, with the comparative approach and descriptive-analytical method, the manifestations of this influence and the possible innovations of the poet are considered. The results of the research indicate that the totality of what is described and represented in the Khayyami and Kebriayi are identical, and the continuity of the same tradition of scholarship in Quranic poetry is clearly seen, but what the poets of the poet give special privilege, the proper use of arrays The rhetoric is especially the likeness and metaphor and the use of indigenous terms in the Nehbandan area, which was used to simplify the process of perceiving the audience towards the details of the "philosophy of the revolution of the world."

1. Introduction Iranians have been one of the pioneers of gardening in the world and have developed a special form of garden with the name of Iranian Garden. Although the gardens had different and sometimes conflicting uses for them, they were often localized for comfort and relaxation. An Iranian effort to construct a parody of Paradise/ Ferdows or Grantham of Zoroastrianism has given the holy gardens a great value. Accordingly, the thought of Garden - Paradise has also had an effect on the Iranian worldview in the Islamic religion. The description of the Holy Qur'an from Paradise, in many respects, is in accordance with Persian Ferdows, as the name of the Avestaan of Ferdows, Roza and Rezvan in the Quran also expresses it. Iranians have long been interested in buried in gardens; these types of gardens known as "Gardens of Gardens" have a special place in the study of Iranian garden culture. Nowadays, in large cities, where there is no possibility of burials in gardens, most Iranians work on trees over the tomb of the dead. Some of the great gardens in Iran have such a material and spiritual value that their name has remained in history. Historical gardens of Tabriz, Shiraz, Herat, Nishapur and Balkh, Isfahan and Kerman are among the archipelago of Paradise. One of these famous gardens in Nishapur is Shadyakh, which is the subject of our study here. 2. Methodology Although the meaningful relationship between the poems of all Iranian poets can be interpreted and explained in relation to nature and history around them, the distinctive features of the character of Khayyam and his hometown are more obvious than the causal relation of man-nature. The purpose of this research is to examine the effect of a very important part of Khayyam's poetry, which has influenced not only the fate of Nishapur, but also politically and culturally in other fateful places. To achieve this goal, first, the effect of geography on this poet's thoughts is investigated, then, the state and history of .... is taken into consideration, and finally, the effect of this atmosphere in the formation of Khayyam's poetry is analyzed. This essay is targeted by theoretical foundations, because due to its specific dependence on the epistemic domain, it is considered to be a knowledge-driven aspect; we are, by nature, descriptive-analytical-comparative. Hence, after explaining the subject, it explains how the situation is and the dimensions of it, and tilt to the argumentative basis through the matching of elements of the image with the poem of Khayyam in a similar subject. This way, of course, is the qualitative method of the criterion. The compilation of the information necessary to start the research, in the form of a library, and a collection tool, has been the index card. The research question is: Has Khayyam used Nishapur Gardens in his poetry? And what more are the themes of Khayyam as the significance of reflection in the form of poetry? Discussion The garden of Shadyakh and its surroundings as a separate gardens from Nishapur have, over time, run a very variable role for their motherland, sometimes Dar Al Saltanah, sometimes a gardener and an agricultural site, and sometimes also a place for the reconstruction of the lost identity of Nishapur. It happened many times that people who escaped from natural disasters, massacres and wounded people and patients and prisoners came from the corners of the ruins of the city to the Shadyakh and lived in its beautiful nature and reconstructed the identity of Nishapur, and when they realized they could build another Nishapur, Returned to the ruins and rebuilt the city. Shadyakh has repeatedly served as a mother for Nishapur. The joy was like a beautiful paradise, where the innocent person from Nishapur was never driven out, he was allowed to take refuge in his lap several times. The collapse of houses and walls and the great destruction of the ruins and ruins of the palace built inShadyakh were once again destroyed by an invading people or other founders of other clans, a permanent wheel in its life.And every time a Nishapur who survived these catastrophes intended to live in joy or herself, he used clay, soil, and building materials to build old neighborhoods to build a new residence. Those of the great emperors of the great poet, who refer to the disbelief of the world and the burrowing of masters and crowns and palaces, certainly refer to the story of Shadyak which remained in the memory of the unconscious Nishapourians. The explanation and interpretation of the thoughts of the scholars in relation to the environment and the geography of his life can be a key to the approach to the elements of his thinking. The question of why Khayyam was Khayyam, on the one hand, has its answer in Iranian culture, the events of that time, and on the other hand, in the historical geography of Nishapur. 4. Conclusion The period in which Khayyam lived was one of the most turbulent historical periods in Iran, especially Khorasan. In his time, Khorasan was still familiar with the memory of Iran's pre-Islamic culture, perhaps some still hoped that in the not too distant future, Iran would regain its former glory; however, the descent of the tribes of Ghaz, Tatar, followed by the Mongols, this Made Dream a tough nightmare and created a demagogic and disinterested philosophy of the world among the people. The Khorasan era of Khayyam was a scene of successive uprisings and destruction, as Khayyam likened this continuous cycle to "bombardment on the seas" in one of his quibbles. Obviously, in such an environment, the possibility of hope for happiness and happiness in it is somewhat overwhelming. Also, external aggression should be accompanied by conflicts among Sunnis and Shiites who caused some wars and devastation. The contemporary world of Khayyam was the birth of these riots and turbulences. According to a study, over the course of his life, 32 emperors and sons of various dynasties sat on the throne, many of them consigned to conspiracies and drowned or killed. Of these, there were three emirs of the Imam of Dalaili of Iraq, Khuzestan and Kerman, 12 Shah of Ghaznavids, 2 emirs of the Ziyaran dynasty, 5 Shahs of the Great Salajeq, 7 Shah of the Seljukites of Kerman, 1 Shah of Khwarazmshahians, 1 Amir of the Dalimians of Persia and 1 The Shah was from the Seljuqs of Iraq. The study of Khayyam's poetry, given the historical and geographical characteristics of his life environment, should first be sought in his contemporary world,However, if we can link these poems to a specific point, based on this link, all the poems can be adapted to its environment and geography, the garden of Shadyakh is a very good example that can be matched to any one of Khayyam's poems From the continuity with the history of ancient Iran, the riots, the transient beauties of nature, and the world's coldness to the Taliban, all existed in the form of this garden complex and influenced the poetry of the Eastern Philosophers. The findings suggest that a large number of Khayyam's poems, especially those referring to the destruction of palaces and the death of kings and intellectuals, are of course influenced by the history of Shadyakh. It shows the poet's influence on his surroundings. The cause of the matter must be sought in the state of the hapless and mournful history of Shadyakh.

According to some critics and literates, the translation of the contemporary Iraqi poet, Ahmad Safi Najafi from Khayyam's quatrains is at a high level of poetry and beauty. Apart from the positive features of this translation, we witness some changes in the discourse and the implications of Khayyam poetry in the quatrains’ translation. The present paper seeks to analyze the translation based on the cohesion principle and cohesive devices of the text, which was proposed by Michael Halliday and Ruqaiya Hasan, and to observe the changes that have been made in the Khayyam's temporal discourse and the time element in the quatrains, observing, and it can point to the importance of the imperious and form relations of the text in the translation so. According to the analyses carried out, lack of attention to the cohesive devices such as conjunctions (casual and temporal conjunctions) and lexical factors and eliminations in the translation process has caused the collapse of multiple time implications in the Khayyam quatrains’.

Omar Khayyam has long been known with the title of Hakim. On the other hand, everybody knows Khayam with “Khayyam's philosophy” drawing attention to the death, pessimism, species extinction, blending of sadness and joy and recommending to get drunk and using opportunity, reflecting on these two points, one mind is engaged with this question “ why has this title been given to Khayam? Is he a thinker who firstly thought of death and “has watched power in people’s harvest? Do drinking and taking advantage of opportunities can be seen only in the thoughts of Khayyam ? And does this kind of attitude to life and existence is sufficient for someone to grant him/her the title of Hakim? In order to answer these questions we have depicted that the title of Khayyam has been given by the same reason that considers Ferdowsi a Hakim and the reason is too much wise concepts that have root in the culture and thought of ancient Iranian and these two Hakim are fully equipped with. The exaggeration of drinking wine, taking the pleasant time, carpe diem in Khayyam’s quatrains caused the intelligence of this Iranian Hakim left latent of researchers, the same point that made him called Hakim.