Abstract:
Quatrain is one of the forms of much interest for Farsi- speaking poets. Ibn Yamin Faryumadi ، the famous poet and Qat’ah writer of the eighth century، was especially fascinated by this form. His quatrains enjoy a big variety in content; they can be considered among the colorful quatrains of Farsi language. They can be classified into eight groups; each of them highlights a particular aspect of his worldview and poetic creativity. Since the opening of the seventh century، quatrain form went to lose its prosperity and currency; hence، the variety in content and subtle points of Ibn Yamin’s quatrains drew attentions to this form again. The quatrain form provided opportunity for the themes and contents، already dealt with by the poet in detail in his Qat’ahs، to be expressed briefly in another form.
Machine summary:
Scientific-Research Quarterly "Persian Language and Literature Research" Sixteenth Issue, Spring 1398: 04-12 Date of Receipt: 1388/04/10 Date of Acceptance: 1388/08/11 Thematic Classification of Ibn Yamin's Rubaiyat Nasrullah Emami* Zahra Nasiri Shiraz** Abstract The Rubai (quatrain) has been and remains one of the forms of interest to Persian-speaking poets, and among them, Ibn Yamin Fayrumadi, the famous and highly skilled master of fragment poetry (qit'a) in the eighth century, also had special attachments to this form.
And or in the following Rubai, it is as if, with the help of the expertise gained from the complex and mature Persian ghazal of the seventh and eighth centuries, he has manifested a certain delicacy and refinement in creating a novel image in the second verse: تا مردم چشم پرنمم روز وصال دیدست رخ آن صنم زهرهجمال با سوزن مژگان همه شب مشغولست بر کارگه دیده به تحریر خیال (Ibn Yamin, ibid: 286) which this Rubai also recalls the famous verse of Hafez and is also a key to resolving some ambiguities in its final meaning: خیال روی تو در کارگاه دیده کشیدم به صورت تو نگاری ندیدم و نشنیدم (Hafez, G/513) Philosophical Rubais The presentation of philosophical issues in the Rubai has long been common among Persian-speaking poets, and the most prominent manifestation and presence of these themes in the Rubai form is from Khayyam (Hedayat, 2431: 24).
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