Omar Khayyam (also spelled Omer Khayam, Persian: عمر خیام‎, 1048–1131 CE) was a Persian polymath — a mathematician, astronomer, philosopher, and poet — best known in the Western world for his collection of quatrains (rubāʿiyāt).

FitzGerald’s Rubáiyát is not a literal or faithful translation; it is a poetic recreation, an adaptation, or even a reinterpretation. He selected about 75 quatrains (out of hundreds) and arranged them into a thematic sequence to form a coherent philosophical poem, something the original Persian rubāʿiyāt do not have, since they are independent quatrains, not a continuous narrative.

1. Prepared by
Dr. Ilyas Babar Awan
For BSL&TS -Sem VI
National University of Modern Languages, Islamabad







OMAR KHAYYAM
Omar Khayyam (1048–1131) was a Persian polymath (ر ہام اک مولع فل

ت

خم, known as a poet,
mathematician, astronomer, and philosopher. His best-known literary work is The
Rubáiyát, a collection of quatrains (rubaiyat in Persian) that explore themes of love,
life, and existential reflection. Although he was celebrated in his time for his
scholarly contributions, including major advancements in algebra and calendar
reform, Khayyam’s poetry achieved global fame centuries later through Edward
FitzGerald’s 19th-century English translation. His verses often reflect a skeptical
view of life’s purpose and religious dogma, using the simplicity of wine, love, and
nature to highlight the transient beauty of existence. His philosophical and scientific
contributions and his introspective, sometimes hedonistic poetry have made him an
enduring and multifaceted figure in both Persian literature and world philosophy.

EXISTENTIALISM
Existentialism is a philosophical movement that emphasizes individual freedom,
choice, and the search for meaning in a seemingly indifferent or absurd universe.

2. Originating in the 19th and 20th centuries with philosophers like Søren Kierkegaard,
Friedrich Nietzsche, Jean-Paul Sartre, and Martin Heidegger, existentialism focuses
on the human experience, especially the feelings of anxiety, alienation, and freedom
that arise from personal responsibility and the absence of any pre-given meaning in
life.


Key ideas in existentialism include:

1. Individual Freedom and Responsibility: Existentialists believe that people are
radically free to make their own choices, but with this freedom comes the weight of
responsibility for those choices.

2. Existence Precedes Essence: Popularized by Sartre, this concept means that
individuals are not born with a pre-defined purpose or "essence" but must create
their own identity and meaning through their actions.

3. Absurdity: Life often lacks inherent purpose or logic. The "absurd" is the conflict
between humans' desire for meaning and the universe's indifference to that desire.

4. Authenticity: Living authentically involves making choices based on personal
values rather than conforming to societal pressures. It requires facing one's true self
and acting according to one’s beliefs, even when it leads to discomfort.

5. Alienation and Angst ٹسگ

ت یا: Feelings of isolation and existential anxiety are central
in existentialism, as people confront the void of meaning and the burden of freedom.

Existentialism has influenced literature, psychology, and art, inspiring writers like
Albert Camus and Fyodor Dostoevsky to explore themes of choice, freedom, and the

3. human condition. Ultimately, it invites people to accept life's uncertainties, face the
realities of freedom, and take responsibility for their existence, creating meaning in
a seemingly meaningless world.




The Rubáiyát of Omar Khayyám has been translated into English by several notable
poets and scholars, each bringing a unique interpretation to Khayyam’s verses. Here
are some of the most famous translations:

1. Edward FitzGerald (1859)
FitzGerald's translation is by far the most famous and influential. First published in
1859, his version transformed Khayyam’s quatrains into a lyrical, Victorian style
that captured the imaginations of Western readers. However, FitzGerald took
liberties with the text, sometimes modifying or reinterpreting Khayyam’s verses to
fit his own philosophical and aesthetic preferences. Despite this, his translation
became a classic and made Khayyam a household name in the English-speaking
world.

2. E.H. Whinfield (1882)
Edward Henry Whinfield published a more literal translation of 253 quatrains. His
work was intended to be more faithful to the original Persian text than FitzGerald's,
offering readers a more direct experience of Khayyam’s themes and imagery.
Whinfield's translation is often seen as more straightforward, with less poetic flair
than FitzGerald’s.

3. Justin Huntly McCarthy (1889)
McCarthy's translation is more comprehensive, containing around 500 quatrains. He
sought to present a version that was true to the Persian text while also capturing its

4. poetic qualities. McCarthy’s work is considered significant, though it remains less
well-known compared to FitzGerald’s.

4. Richard Le Gallienne (1901)
Le Gallienne’s translation is a more interpretative and free-verse adaptation, adding
a more romantic and mystical dimension to Khayyam’s verses. His work offers a
poetic reinterpretation that prioritizes mood and atmosphere over strict accuracy.

5. Robert Graves and Omar Ali-Shah (1967)
This translation, produced by poet Robert Graves and Persian scholar Omar Ali-
Shah, aimed to correct what they saw as misconceptions in FitzGerald’s version.
This translation emphasizes the Sufi mysticism in Khayyam’s work and provides a
scholarly approach, though it has been somewhat controversial among scholars for
its approach to translation and interpretation.

6. Peter Avery and John Heath-Stubbs (1979)
Avery and Heath-Stubbs produced a translation that seeks to be true to the original
Persian text, offering a more scholarly rendition that includes extensive notes on the
translation choices. Their work gives a more nuanced and historically accurate view
of Khayyam’s philosophical and poetic contributions.

Each of these translators has added a new dimension to the Rubáiyát, allowing
readers from different backgrounds to appreciate Khayyam's wisdom, humor, and
existential reflections through various lenses.
__________________________________________________________________
Here are some of Omar Khayyam's famous rubaiyat (quatrains) in Persian, along
with English translations. These verses capture his reflections on life, fate, and the
fleeting nature of existence.

Persian:

5. در ب م

هاو

خ رس ه ب و

ت ا ب یمد هک ید تما ه ب
در ب م

هاو

خ رط

خ ه ب لد مه

ن ی
ت یوک ه ب رس
ی

شک شزاو

ن ی لواط

ت ه بد تما زا ب ما
در ب م

هاو

خ ر ب ه ب زا ب یور ب ی یوگ و خ هک

English Translation:
With hope that I may spend a moment with you,
I lay my head at your feet and put my heart at risk.
With the cruelty of your caresses, you may cast me away,
But with the slightest sign, I shall return to your embrace.

Persian:
تسا ن یا ی

یادوا ج رمع هک شو

ت یم
تسا ن یا ی

یاو خ رود زا تلصاج دو

خ
تسمرس نارا ب و هدا ب و ل
گ
ماگ

ن ه
تسا ن یا ی

یاگد

بز هک یمد شا ب شو

خ

English Translation:
Drink wine, for eternal life, is this,
This moment is the harvest of your youth.
It’s the season of flowers, wine, and intoxicated friends—
Rejoice in this moment, for life is this.

6. Persian:
تسا هدو ت یراز ق

شاع نم و خ هزوک ن یا
تسا هدو ت یراگ

ت فلز رس د

ت ی رد
یم وا ندرگ ر ب هک ه

تسد ن یای

ن ی ب

تسا هدو ت یرا ب ندرگ ر ب هک تسا ی

نسد

English Translation:
This jug, like me, was once a lover distressed,
Bound to the curls of a beautiful maiden’s tress.
The handle you see on its neck today—
Was once the arm of a friend in a loving caress.


Persian:
تس یرگ هز بس رس ر ب زا ب و دمآ ر با
یم

ن
گ

برلگ
ٔ
هدا ب ی ی تس یز د با ب
تسام هگا

شام

ن زورما هک هز بس ن یا
تس یک هگا

شام

ن ام کا

ج
ٔ
هز بس ا

ب

English Translation:
The cloud weeps once more over the green fields,
Without the red wine, one should not live.
This green field, our place of delight today—

7. Who knows whose resting place it will be tomorrow?

These quatrains encapsulate Omar Khayyam’s meditations on the impermanence of
life, love, and the fleeting nature of joy. His poetry invites readers to seize the
moment and find beauty in the present.





ف روا یرعا

ش یک ما ت

خ ں یم زاد

با ے

ن یا ے

ن م جر

بم ر ہ روا ،ے ہ ا تک هم جر

ب ے

ن ن یم ج
ر

بم فل

ت

خم ں یم ودرا روا یز برگ

با اک تا تعا بر یک ما ت

خ رمع وک ه

فسل
ے ہ ا تگ ا تک رکذ اک م جار

ب ودرا روا یز برگ

با فورعم ھ چک ںاہ ی ۔ے ہ ا تک نا ت ی:

ڈلار ب جز

ب

ف ڈروڈ با (1859)
را ب یل
ہ ی
۔ے ہ هم جر

ب یز برگ

با روہ

شم ےس بس اک تا تعا بر یک ما ت

خ رمع هم جر

ب اک ڈلار ب جز

ب

ف ڈروڈ با1859 یز برگ

با هم جر

ب ه ب لااو ے

نو

ہ ع

ت
ا

ش ں یم
ی

یر

ب هرا بود وک نا ق
تاطم ےک تاح
ی
خر

ب ی

ن یا روا ں یل ںا بدازآ ی

فاک ں یم تا تعا بر یک ما ت

خ ے

ن ڈلار ب جز

ب

ف ۔ے ہ ا

تھکر ه جرد اک کشلاک ں یم بدا ،ا بد ب
۔ا بآ ے

نماش ےک ن ی

برا

ف ی یر

عم ں یم زاد

با در

ف

نم ک با ه

فسل

ف اک ما ت

خ ےس س

ج

دمچم لد ه جاو

خ (1940s)
- ما ت

خ تا تعا بر ے

ن دمچم لد ه جاو

خ اک نا ۔ا تک ب یر

ق ےک ن ی

برا

ف ودرا وک ے

فسل

ف
روا یرعا

ش یک ما ت

خ ے

ن س

ج ،ا تک هم جر

ب س یلش
ں یم ودرا اک
۔ے ہ ا

تھکر م

ئا

ف ک

ب دج یڑ ب وک ی

یارہگ روا ی

یروص تو

خ یک تا تعا بر یک ما ت

خ ں یم ودرا هم جر

ب

یرو نھکروگ قار

ق (1970s)

8. - ل
م
ا

ش یھ
ت
تاح

یر

ش

ی ه

با ت

فسل

ف ھ چک ں یم ر

ظا

ت

ی ےک بدا ودرا ھ

تاش ےک سا روا ا تک هم جر

ب ں یم ودرا وک تا تعا بر یک ما ت

خ ے

ن یرو نھکروگ قار

ق
۔یک ش

شوک یک ے

نرک نا ت ی وک ی

یاعم ے

نو

ہ ے نھ
ج ں یم ملاک ےک ما ت

خ ے

ن ںوہ

یا روا او

ہ لو ن

فم
ی

فاک ں یم ن ی

برا

ف ےک ودرا هم جر

ب اک نا ۔ں یک

مدع د تمچلاد تع (1980s)
- ے

نل ےک ن ی

برا

ف ماع ےک ودرا وک یرعا

ش ه

با ت

فسل

ف یک ما ت

خ ے

ن ںوہ

یا ۔ا تک هم جر

ب اک تا تعا بر یک ما ت

خ یھ
ت
ے

ن مدع د تمچلاد تع رعا

ش ودرا
۔ے ہ ل
ص
اج ما

قم م

ها ں یم بدا ودرا وک هم جر

ب سا ےک نا روا ،یک ش

شوک یک ے

نلاھڈ ں یم نا بز ںاور روا ل
ہس


)ں یم تا

فوا فل

ت

خم(رازلگ روا ن

ی یلاگ یل ڈر چر
- ےک ودرا ،ںازا دع ت ۔ا تک ںا بام

ن وک ولہ ی ی

یا بذ ج روا یو

تامور یک ملاک ےک ما ت

خ ے

ن ںوہ

یا ں یم س

ج ا تک هم جر

ب دازآ ک با ے

ن ن

ی یلاگ یل ڈر چر
۔ا تک ش ی
ب ں یم گ

بر ےک یرعا

ش ودرا د بد ج وک ے

فسل

ف
ےک ما ت

خ ے

ن ںوہ

یا ں یم س

ج ،ا تک هم جر

ب اک تا تعا بر یک ما ت

خ یھ
ت
ے

ن رازلگ رعا

ش روہ

شم

هم جر

ب یز برگ

با روا ودرا اک تا تعا بر روہ

شم د

ت خ یک ما ت

خ رمع

: یسرا

ف
در ب م

هاو

خ رس ه ب و

ت ا ب یمد هک ید تما ه ب
در ب م

هاو

خ رط

خ ه ب لد مه

ن ی
ت یوک ه ب رس
ی

شک شزاو

ن ی لواط

ت ه بد تما زا ب ما
در ب م

هاو

خ ر ب ه ب زا ب یور ب ی یوگ و خ هک

اهم جر

ب یز برگ

ب :

9. With hope that I may spend a moment with you,
I lay my head at your feet and put my heart at risk.
With the cruelty of your caresses, you may cast me away,
But with the slightest sign, I shall return to your embrace.

راهم جر

ب ود:
،ںوکش رازگ هحم
ل کا ھ

تاش ےر ب

ت هک یک تا ب سا د تم
ُ
ا
۔ںود لاڈ ں یم ےرط

خ وک لد روا ںوھکر رس ں یم ںومد

ف ےر ب

ت
،ےد رک رود ےھ
چم و
ُ
ت د با

ش ےس ںو ن

ی

خس یر ب

ت
۔اگ ںؤا ج آ سا ب ےر ب

ت ےس رھ ت ،اگ ےرک هرا

شا و خ و
ُ
ت نک تل

:

ف یسرا
تسا هدو ت یراز ق

شاع نم و خ هزوک ن یا
تسا هدو ت یراگ

ت فلز رس د

ت ی رد
یم وا ندرگ ر ب هک ه

تسد ن یای

ن ی ب

تسا هدو ت یرا ب ندرگ ر ب هک تسا ی

نسد
هم جر

ب یز برگ

با :
This jug, like me, was once a lover distressed,
Bound to the curls of a beautiful maiden’s tress.
The handle you see on its neck today—
Was once the arm of a friend in a loving caress.

10. هم جر

ب ودرا:
،اھ

ت حرظ یک ق

شاع یشک یھ
ت
هزوک اک ی

نم ه ب
۔ا ہر ر بسا اک ںو

فلز یک ن یسج یشک
،و

ہ ے

نھک ب
د ر ب ندرگ ےک سا م

ئ ه

تسد و خ ه ب
۔ے ہ نا

ش

ی اک ںو

ہا ب ی

یو

ہ یھد

با ب ں یم ےلگ ےک بو نخم یشک

هصلا

ج :
م جر

ب ر ہ روا ،ے ہ ا تک ق
تاطم ےک ے

ف

تاذ ےک نا بز روا بولشا ے

ن یا ے

ن یا ے

ن ن یم ج
ر

بم فل

ت

خم هم جر

ب ودرا روا یز برگ

با اک تا تعا بر یک ما ت

خ رمع ه
ے ہ ی

نھک
ر نا حہ
ی صا

ج ک با ی

ن یا ر ب حط
س
یم
ل
اع یرعا

ش یک ما ت

خ تلود ب یک م جار

ب نا ۔ے ہ ا

بلا ے

نماش وک تاہ ج فل

ت

خم یک ے

فسل

ف
ےک ما ت

خ ۔

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