رباعی

The compilers of certain poetic safines (manuscripts) often used sources beyond the divans of poets, including other safīnes and collections. A comparative study of the contents of these sources reveals notable overlaps, suggesting that these collections were interrelated. This research examines the rubaʿis (quatrains) of Aṭṭar Nishaburi in Munis al-Aḥrar and Mukhtar-Nama, particularly focusing on the sections where these rubaʿis appear. The analysis indicates that Jajarmi likely referred to Mukhtar-Nama as a source when compiling his work. Similarly, a comparative examination of the thematic organization and shared rubaʿis in Rubaʿi-Nama (MS No. 2051, Aya Sofya Library) and Nuzhat al-Majalis demonstrates that the compiler of the Aya Sofya manuscript was influenced by Nuzhat al-Majalis in both structure and content, utilizing Jamal Khalil Shirwan’is selection alongside other sources. Furthermore, Safina-yi Kohan-i Rubaʿiyat and MS No. 487 (Lala İsmail Library) share numerous rubaʿis, suggesting a common source used by their compilers. A detailed comparison of the rubaʿis attributed to Fakhr al-Din Mubarakshah and other shared quatrains between these two sources supports this hypothesis.

Roman Jacobson’s verbal communication theory, in which the main functions and roles (sender, message, and receiver) and secondary roles (topic, symbols, and communication channel) of language are considered, is one of the most consistent theories in the field of linguistics and literary criticism. Based on this theory, directing the message towards each of these roles causes the emergence of special functions such as emotional, persuasive, literary, referential, meta-linguistic, and empathy. In the study of Sana'i Ghaznavi’s quatrains, according to the six functions of language, it was found that in addition to the literary role, which all quatrains have due to the use of poetic elements, the emotional role also has the greatest function. In the emotional role in which the direction of the message is towards the speaker, the poet has expressed his emotions and feelings in a simple and intimate language regarding issues such as beloved, admired, or his opponents. Therefore, the purpose and centrality of the speech in these quatrains are with the sender (the poet) and the literary type of these quatrains is the type of lyric literature in which the structure of description is considered the most important structure and the poet has described categories such as love, lover, praise, man, world, and God.

This paper examines the translation of Khayyam's quatrains by three translators based on Yarmohammadi's model. Yarmohammadi's model, originally developed as a discourse analysis of Edward Fitzgerald's translation, emphasizing that Fitzgerald's discourse remains aligned with Khayyam's discourse throughout his translations. The paper has reviewed this model and applied it in the discourse analysis of the translations of Khayyam's quatrains by three translators, including the translations of Fitzgerald, E. H. Winfield, Abbas and Mansour Arianpour, and analyzed eight selected quatrains. The findings show that the translation strategies in these works have significant differences: Fitzgerald changed the images and contextual elements to match the taste of his readers, while Winfield showed more loyalty to Khayyam's ideology, although he made changes in some cases for greater clarity and did not translate some parts. Arianpour's translation is closer to the original text, but in some cases due to excessive adherence to the source text, it may cause misunderstanding in the readers. These observations show that while Yarmohammadi's model is useful for analyzing discourse at the macro level, a complementary framework is also needed at the micro level to examine poetic elements such as rhyme, phonology, phonetic balance, and imagery.

The collection of poems by Molana Jalal al-Din Balkhi (Rumi) contains 1983 rubaiyat (quatrains). In the Divan-e Shams, there are rubaiyat that we find either in their exact wording or with minor and major variations in other texts. Part of this issue relates to a phenomenon in the history of Persian rubaiyat known as “wandering or itinerant rubaiyat”. Many famous rubaiyat are shared among Abu Sa'id Abul Khair, Khaje Abdullah Ansari, Attar, Afzal Kashani, Ouhad Kermani, Molana, and several other poets.              

A close study of Ruba'iyat (quatrains) by Rumi reveals that not all shared quatrains between Rumi and other poets can be categorized under the title of “wandering quatrains”. Reducing the commonalities between Rumi and others to issues of interference, mixing, or misattributions overlooks the manner in which Rumi engaged with literary heritage, which is an integral part of his personal style. Rumi was constantly reinterpreting, updating, and correcting literary heritage. His interventions in the works of others sometimes had an aesthetic and literary aspect, while at other times they had a doctrinal and educational dimension. Often, these interventions were made with the intention of elevating the original text, highlighting certain sections, or adapting it to the existing context.              

Previously, articles have been written on the source identification and authenticity of Ruba'iyat by Rumi. Most of these articles, depending on their writing context, have a limited scope and have only mentioned a few similarities. In this regard, it is worth noting one book and one academic thesis.              

Dr. Ali Baradaran Rad, in the second chapter of the book Rubaiyat of Molana (Mashhad, 1398 SH), has examined 212 shared rubaiyat between Molana and others, noting the differences in the narratives. Ms. Mahnaz Nazemi Anbaran, in her valuable research titled Examining the Authenticity of Molana's Rubaiyat, which is her academic thesis (Tabriz, 1399), has extracted and analyzed 384 shared and similar rubaiyat between the Divan-e Shams and other texts, evaluating them in detail. Out of these 384 rubaiyat, 259 have been found in other texts either in the exact wording or with slight variation.              

The approach of both studies is the source identification of Rumi's Ruba'iyat. Source identification and authenticity determination are the first and indeed important steps in establishing intertextual relationships. Rumi's method of engaging with earlier texts has been one of adaptation and revision. With the help of his memory and creativity, he would recall the Ruba'iyat he had memorized and, depending on the occasion, would modify them in his texts. Such occurrences have been repeated numerous times in his Ruba'iyat. The extent of Rumi's modifications to the pretexts varies widely. At times, he has recited or written down the exact same lines (in his prose works), and his disciples have included them in his poetry collection. The Divan-e Shams is full of Ruba'iyat by others, and I believe that most of them were recited by Rumi in the company of friends and disciples or quoted in his writings. In some cases, Rumi has made significant creative alterations to the poetry of others, producing new works. In these latter instances, it can be very challenging to determine what the original text was and to what extent the later text has drawn from it. In any case, Rumi's engagement with pretexts is considered part of his personal style in composing Ruba'iyat.              

The Rubaiyat of Molana reflects a mirror of diverse voices and countless intertextual implications. Recognizing these voices and uncovering earlier texts aids in a better understanding of Molana's works and the quality of the emergence of his Rubaiyat (as a subsequent text). Source tracing involves peeling back the astonishing layers of Molana's mind and its accumulated treasures. It can be claimed that reading the Rubaiyat of others was one of the factors that strengthened Molana's poetic ability and served as a starting point for many of his poems. Molana possessed a rich memory and a dynamic mind, engaging in the rereading and reproduction of the Rubaiyat of others.              

Some of Rumi's adaptations can also be studied and examined under the term “plagiarism”. What we encounter in Rumi's poetry is a re-creation of literary heritage. He engages in an active dialogue with literary texts and contributes to this dialogue by elevating the words of his predecessors. Another type of intertextual relationship in Rumi's quatrains is “responding”. “In the terminology of ancient poets, responding to a poem with another poem is meant”. The poet's aim in this act is to demonstrate his superiority over others. Rumi employs this method to respond to one of Khayyam's quatrains. In his quatrain, Khayyam considers asceticism to be futile in the face of divine will; Rumi replies that futile asceticism is not true asceticism but merely a semblance of it.Genealogy, authenticity verification, and source tracing of Ruba'iyat by Molana is an important step in understanding the vast field of studies related to Molana and in grasping his critical perspective on ancient texts. It reveals the various levels of lexical and conceptual relationships between his Ruba'iyat and the heritage of Persian poetry. The very high frequency of this editorial behavior prompts us to consider Molana's quotations from earlier texts as a significant stylistic factor. Molana's critical view of previous texts and his manipulation of them goes beyond what is typically discussed in literary studies as inspiration and adaptation.              

To say that the compilers of the Divan-e Shams included the rubaiyat of others as the words of Rumi and incorporated them into his poetry, while not incorrect, should not lead us to overlook Rumi's interest in such works and their role in shaping his poetic world. In my opinion, it is not permissible to exclude these rubaiyat from the Divan-e Shams. However, to ensure that the contributions of other poets in creating this magical world are preserved, we must carefully note each of these instances in the commentary and explanations. Although, due to the loss of many texts available to Rumi and because of his integrative mind, finding all of these instances is impossible.

One of the approaches of literary criticism that, apart from looking at the effective elements in literary writing, criticizes the format and external body of the works; The school is formalism. The present research deals with the aesthetic analysis of some selected quatrains of Iraj Zebardast, a contemporary Iranian poet, using the approach of formalist criticism. Formalist criticism, as one of the most important approaches of literary criticism in the 20th century, focuses on the structure and form of the literary work and believes that the meaning and beauty of the work can be understood primarily through its formal elements. In this research, first, the theoretical foundations of formalist criticism are briefly explained; Then, by selecting some important quatrains from the mentioned poet, a detailed analysis of their formal elements is done. These elements include weight, rhyme, row, literary arrays such as (pun, metaphor, irony and simile), syntactic structure, and how these elements relate to each other in creating meaning and aesthetic effect. The results of this analysis show that in his quatrains, Zebardast has skilfully used the formal capacities of this poetic form. The artistic use of the weight and inner music of words, the use of pristine and non-repetitive rhymes, the use of literary techniques in the service of meaning, and the creation of a link between form and content are among the distinctive features of his quatrains. This research also examines how the elements of form affect the transfer of concepts and themes intended by the poet and shows how form and content are intermingled in Zebardast’s quatrains and have formed a coherent and effective whole.

The Juvayni family is one of the prominent Iranian families, whose members held governmental and administrative positions from the Seljuk era to the early Ilkhanid period. In addition to their patronage of the arts and promotion of scholars and intellectuals, the Juvaynis themselves were also scholars, literati, and patrons of art. In various sources, poetry has been attributed to some members of this family, including several rubaiyat (quatrains). This study collects and examines the rubaiyat attributed to six prominent members of the Juvayni family from ancient sources.

The meaning and concept of unity of existence has been of interest to mystical poetry since ancient times and before Ibn Arabi, although they did not use the specific term of unity of existence. Abu Sa'id Kamal al-Din Najafi Estarabadi, known as Sahabi, is a poet and mystic of the tenth century AH and one of the philosophical quatrain poets who has expressed the mystical-philosophical thought of Ibn Arabi's unity of existence with the language of metaphor. The present study is the result of examining 480 quatrains out of 4000 quatrains of Sahabi Estarabadi, which reflected the issue of unity of existence in some way, and among them, the quatrains that expressed the mystical metaphors of the unity of existence more clearly were separated and analyzed. It was determined that Sahabi used the metaphors of " particle(light) and sun", "shadow", "sea", "image and mirror", "illusion", "squint", "dream", "number", "alif and letters" and "color and colorlessness" to make the idea of unity of existence tangible and portrayed his mystical and intellectual themes in the best possible way for the audience. Estarabadi also used other metaphors to express the unity of existence, but he refrained from mentioning them because there were only one or two quatrains of his poetry as examples. The research method is library-based and analysis of Estarabadi's quatrains, and the aim is to introduce Najafi Estarabadi as one of the greatest quatrain poets of Persian literature to the society, and to access his philosophical thoughts by examining the quatrains that have reached us from him.

Among the rare manuscripts prepared for the library of Jalal al-Din Iskandar (the grandson of Timur Gurkani), is a collection of poems and writings compiled in 813 AH, which is now housed in the Gulbenkian Museum Library in Lisbon. This precious manuscript contains two separate volumes bound together, one dedicated to poetic works and the other to writings. The poems in the first volume include works by prominent Persian poets and scholars from the 5th to the early 9th century, written by two scribes of Iskandar Mirza’s court: Hassan al-Hafiz and Mahmoud al-Hosseini. Among the poems in this anthology are seven quatrains attributed to Khayyām and 22 quatrains attributed to Mahasti Ganjavi, which we introduce and examine in this article. Additionally, we provide a brief report on the quatrains section of the manuscript.

Introduction:

Throughout the history of Persian language and literature, the rubāʿī (quatrain) has enjoyed special popularity among both the lay and literati. This popularity has also introduced certain challenges and complexities to this poetic form over time. One such challenge is the issue of “wandering” rubāʿīs, that is, quatrains attributed to more than one poet. Studying these wandering rubāʿīs is only feasible with the aid of all available ancient sources.At various times, literature enthusiasts in Persian-speaking communities have compiled anthologies of different types of poetry and prose. The rubāʿī has often held a special place in such collections and anthologies. In addition to collections exclusively dedicated to rubāʿīs of various poets, many safīne compilers have allocated sections to rubāʿīs. The abundance and significance of scattered rubāʿīs in ancient safīnes necessitate independent research on them.The two manuscripts examined in this study are valuable examples of such sources. These two manuscripts, namely Manuscript No. 3775 from the Esma’il Sa’ib Library in Turkey and Manuscript No. F.738 from the Istanbul University Library, are originally two parts of the same Jung. According to the Esma’il Sa’ib manuscript, the Jung was transcribed in 681 AH (1282/83) by a literary figure, likely from Anatolia, named Yunus ibn Abi Bakr.

Literature Review:

Both fragments of this Jung have previously been introduced in detail and separately, with references to the connection between these two manuscripts. The Esma’il Sa’ib manuscript is one of the sources used by J. Bashari in his edition of Poetic Translation of Imam Ali’s Will to Imam Husayn, where he extensively introduces this manuscript in the introduction (Seyyed Hasan Ghaznavi, 681AH/1282-83: XXXVI-XLIV). Furthermore, S. A. Mirafzali, discussing a quatrain attributed to Khayyam found in this source, briefly describes and mentions this manuscript (Mirafzali, 1382/2003: 49). The manuscript from Istanbul University Library has been meticulously introduced by Mohammad Afshin Vafaee in his note on Ferdowsi’s satire in this Jung (Afshin Vafaee, 1400/2021: 163-172). 

Research Methodology:

In the present study, all rubāʿīs from the two fragments of this Jung have been edited and compared with other ancient sources to provide a comprehensive report on their attributions. Finally, an analysis of the status of these rubāʿīs from this ancient source is presented based on the collected information. 

Discussion:

In total, the two parts of this Jung contain 59 rubāʿīs (excluding those in Niṣāb al-Ṣibyān), with only four rubāʿīs in the first part (the Esma’il Sa’ib manuscript) having attributed authors. Among known rubāʿī collections, this Jung shows the closest affinity to Nuzhāt al-Majālis, sharing 16 rubāʿīs out of 59.As mentioned, the Jung contains four rubāʿīs with attributed authors, each of significant importance. Apart from the rubāʿī attributed to Khayyam, the other three which are attributed to Mahsati, Ayyuqi, and Kamal Isma’il do not appear in other ancient sources by these poets’ names, making this Jung unique in this regard.The scribe (compiler) of the Jung has generally refrained from naming the poets of the rubāʿīs, transferring most without attribution. In this study, the authorship of some of these rubāʿīs has been identified with the help of other sources, with Kamal Isma’il contributing the most with 15 rubāʿīs. Nonetheless, many rubāʿīs appear only in this source and are absent in other ancient texts. Recording and preserving these rubāʿīs in this Jung, even without the names of the poets, is valuable.The Jung contains rubāʿīs that share one or more half-verses with rubāʿīs in other sources, indicating that poets might have borrowed from each other—a practice common among early Persian poets, though more prominent and problematic in the rubāʿī form due to its brevity. These borrowings often led to confusion and uncertainty among literary scholars regarding the correct attribution of these rubāʿīs.

Conclusion:

Compiling and editing collections of Persian and Arabic poetry and prose was widespread in Anatolia during the 7th, 8th, and 9th centuries AH (13th-15th centuries AD). The numerous surviving collections from this period and region suggest that the rubāʿī had a particular appeal among literature enthusiasts in that area. The number of rubāʿīs in the two parts of the Jung under study is significant relative to the remaining folios of the collection.The number of shared rubāʿīs between the studied Jung and Nuzhat al-Majālis may indicate Yunus ibn Abi Bakr’s use of this Jung. However, discrepancies in attribution and recording of some shared rubāʿīs prevent a definitive conclusion.As discussed, the attributions in this Jung are all significant and mostly unique. Additionally, the unnamed rubāʿīs found exclusively in it are noteworthy and important. Some of these rubāʿīs might be the work of local poets from the region where the Jung was compiled (Anatolia).

Shihāb al-Dīn Abu''l- Ḥasan Ṭalheh Mivazī was a prominent quatrain poet of the late 5th and early 6th centuries Hijri. His name first appears in Tadhkirat al-Lubāb -ul-Albāb by Sadīd al-Dīn Muḥammad ‘Awfī in the section on poets of Khorasan. ‘Awfī has quoted eighteen quatrains from Ṭalheh’s works, and other biographers have also recorded these details and poems in their books. Seifī Neishābūrī, in the late 6th century Hijri, cited Ṭalheh''s quatrains in his book "Rasā''il al-''Ushāq" and included 34 couplets in the midst of his writings. "Nuzhat al-Majālis" by Jamāl Khalīl Shirwānī is another important source on the quatrains of Abu''l-Ḥasan Ṭalheh. In this article, the scarce information about the life of this poet and 85 quatrains attributed to him is provided from the three mentioned sources and five other references. The predominant themes of Ṭalheh''s quatrains revolve around love and the depiction of the states of lover and beloved.

Paying attention to the alphabet letters for the arrangement of the date material and syntactical calculations has been considered and used since a long time. Using the alphabet letters to reflect the material of history requires special artistry and mastery. One of the poets with good taste who has commented on it in his valuable divan is Mirza Sayyed Yahya Madras, devoted to Fadai Yazdi (1282 AH), one of the poets of the return period. The purpose of writing this article is to get familiar with the history of the subject of history, then to calculate it in two formats of pieces and quatrains by citing examples of it in the Fadaei Yazdi’s Diwan. This research was done analytically and with library tools, and the scope of its study was in the form of Qat’e of an authentic manuscript in the handwriting of the poet in the personal library of Seyed Yahya Modaresi Vamegh, and in the form of Robaei from an authentic manuscript in the library of Ayatollah Marashi. Fadaei Yazdi, in his poem history words, mentioned the history in meaningful sentences and words, and used it to express issues such as birth, construction, book authoring, memory, and death of people. The death of people, especially the death of scholars and after that the birth of people has a high frequency. Out of a total of 88 pieces, in 32 pieces, he considered bringing the material of history, and its use in the form of quatrains is small.

Jalil Safarbeigi’s use of ‘satire’ and ‘argot’, has given quatrains an explicit and attractive appearance. Interweaving satire and argot, coupled with the ambiguity of poetic language, has made Safarbeigi’s quatrains somewhat superior to common language. Simplicity is another advantage of Safarbeigi’s poetry. He uses the most tangible meanings and human experiences in his poetry. When reading his quatrains, the reader understands what is in his mind without much effort. Also, his chosen themes for his poetry make his quatrains prominent and special. These themes include scenes from the real life of the poet, the romance of a tribesman, short but efficient presence of different types of modern people, recreation of the concept of ‘calendar’ and passing of time, and complaints of the poet for having lost all hope to solve the problems. Safarbeigi is also known for breaking the norms, using playful language, and having occasional hints to history, culture and stories. In this research, using an analytical-critical method, we attempt to study the principle of "communication" in Safarbeigi's Rubaiyat to investigate and analyze the two elements of "satire" and "argot", in order to provide a model for analysis of the poetry of those poets who have not been in the center of critical attention so far.

A hopeful attitude towards the future is considered an important principle in the eternal civilizations of the world.  In the Islamic school, this theory has been accepted as a principle since the beginning. Since Persian literature and poetry are the treasure of the culture and values of this land, they have reflected such a view. This article aims to examine the attitude towards the future with apocalyptic concepts and themes by examining the quatrains of the eighties decade, when the concepts of revolution and war have matured to perfection. To achieve this goal, the quatrains of famous poets who wrote poems in this decade are analyzed. Through the investigations, it was determined that the issue of Karbala and the martyrdom of Imam Hussein was the driving force of this revolution, but also the world of Shiism and the rise of the Imam of the Age and the attempt to create a platform for rise as a hopeful prospect are among the frequent motifs of the quatrains of this are considered period.  This research is descriptive and analytical and has been carried out with a library method.

One of the eloquent poets of the Safavid period mentioned by the author of Latāef al-Khiāl (author:1665-1667A.H.) is Āref-e īgī/ījī (1568-1625A.H.). The author of Latāef al-Khiāl after mentioning "Āref-e ījī-e Isfahāni",from "Khiāli-eIsfahāni",which from the passage of the poems he brought from him,it seems that he means Khiāli-e Bokhārāi/Heravi's imaginary (Deceased:about1446A.H.),he was one of the poets of the ghazal poets of the 15 th century of Hijri and a contemporary of Ologh Beyg (reign:1446-1449A.H.),he spoke and gave eleven verses of the ghazals and three quatrains under the name of Khiāli-eIsfahāni,while the author realized that six verses,that is,three A quatrain,from the total of these seventeen verses,is mentioned in the sources under the name of HakimĀref.In the present article,with descriptive-analytical method,this central problem,that is,the analysis of the wrong attribution of three quatrains from Āref-eījī to Khiāli-e Isfahāni by the author of Latāef al Khiāl,has been addressed,in order to answer two questions,that is,to explain the necessity of identifying the attribution of three quatrains from Āref. It is necessary to respond to Bokhārāi's fiction in this tazkereh,as well as the reasons that can be given for the falseness of Isfahāni's fictional lineage in Latāef al-Khiāl.Also,in the third part of the article,the aim of the current research,which is the complete investigation of Isfahani's imaginary poems in this tazkereh,has been discussed and it has been shown through the sources that apart from the eleven verses which are from Bokhārāi's imaginary and mistakenly named as Isfahani's imaginary,three A quartet by Āref-eījī is attributed to Khiāli-eIsfahāni in Latāef al-Khiāl.

In numerous online platforms and consequently in the ninth-grade Persian textbook, the quatrain "Speak little, and speak only for your own interest..." has been erroneously attributed to Khājeh Naṣīral-Dīn Ṭūsī. This note endeavors to trace the misattributions of this quatrain to various poets throughout the history of Persian literature, ultimately identifying its original author

Sheikh Owḥad al-Dīn Kirmānī (561-635 AH) is a prominent figure in the history of Iranian Sufism and Persian Sufi poetry, with around two thousand quatrains attributed to him. He spent most of his life in Anatolia, nurturing numerous disciples. Some of his followers in the latter half of the 7th century AH undertook the task of collecting and compiling his quatrains. The author of "Nuzhat al-Majālis," a contemporary of Owḥad al-Dīn Kirmānī, included 53 quatrains in his book. Among the ancient manuscripts of Owḥad al-Dīn Kirmānī's quatrains is manuscript No. 2910 at the Hagia Sophia Library, containing 1641 quatrains compiled into 12 chapters, transcribed around 706 AH. Another manuscript, containing 1136 quatrains, titled "Anīs al-Ṭālibīn va Jalīs al-Ṣāliḥīn," was compiled by the son of one of Owḥad al-Dīn's disciples in the second half of the 7th century AH and is preserved in Istanbul University Library. This manuscript is also thematically organized into 76 chapters. In this article, we introduce another ancient manuscript of Owḥad al-Dīn’s quatrains, compiled thematically in the late 7th or early 8th century AH, containing 1349 quatrains. This manuscript is part of the Amir Khwaja Collection in the library of Haji Salim Agha in Istanbul.

One of the valuable sources of ancient Persian poetry is the notes written by the owners of handwritten manuscripts on the first and last blank pages, the intervals between chapters, and the margins of manuscript pages. The older the manuscripts and the more ancient the recording of these notes, the more valuable they become. In this article, 57 quatrains from five ancient manuscripts are extracted and presented with necessary explanations. These quatrains are attributed to poets such as Khayyām, Mahastī Ganjavī, Owḥaddīn Kirmānī, Kamāl Esmāīl Isfahani, and others. Some quatrains are without a specified author. Two quatrains in these sources are translations of Arabic verses, or vice versa, and are of considerable importance and reference from the perspective of comparative literature.

After the innovations that occurred in the contemporary ghazal known as the ghazal of the 1970s; Raba'i also succumbed to innovation and novelty resulting from the contemporary literary atmosphere and a new type of it emerged. Charank or mini-quartet is a group of quatrains that overcomes the specific number of stanzas in a quatrain and by keeping and accompanying the principle of internal compression and mental form, it seeks to innovate in the quatrain genre. This article, which was compiled in a descriptive-analytical method and using library sources, aims to pay attention to the types of quatrains in the published works, while examining the innovations in the quartet genre, and by analyzing and examining the types of written forms of the quatrain, the two components of compression. Examine and define the inner and mental form.As a result, these changes in the field of quatrains until the presentation of Charanq in quatrains are unprecedented and a form of heresy.

Speaking to the audience in Sayeri quatrains
This study examines the address and its forms in Sayeri quatrains. Although the literary form of the quatrain does not play a significant role compared to the sonnets in sayeri divans, it is important because he has expressed part of his feelings and insights in this literary form. The purpose of this research is to introduce this anonymous poet in the mirror of his quatrains. The method used in this research is descriptive-analytical. The result shows that most sayeri quatrains begin with addressing God, self, praiseworthy, non-human, singer and their punishment, and to express their meaning and purpose, they use commanding, forbidding and informing the audience along with incitement, warning, and rebuke.

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...