H. IBRAHIM TÜRKDOGANOmar Khayyam and Max Stirner
Translated by Ulrike Hirschhäuser
![]() “Moreover
I don´t want to keep this a secret: My
assessment of three Persian geniuses, which
I made on page 205 has
shifted in favour of Omar Khajjam after
taking note of his writings in greater detail. I regard Omar Khajjam as the most genuine of the three.” [1] - Ludwig Klages, German philosopher and psychologisthe -
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Omar's
Rubai: Structural Aspects
Omar´s
verse has the form of a Ruba´i, pl. Rubaijat.
A Ruba´i only consists of four lines. Each Rubai is an independent
poem of its own. One of its typical features is its rhyme scheme: The first, the
second and the fourth line end on the same rhyme, whereas the third is rhymeless.
The fourth line frequently is the most important as it contains the poet´s
message. It stresses an emotion, a concept that the poet only alludes to in the
preceding lines. The Persian poet named Saeb once stated, “The last line of a Ruba´i hits your heart.”
The first two lines must be considered an unfinished poem, the third line
functions as a break to develop a new idea, which is an explosive one. Even
though the third line suggests a synthesis, the fourth line may contain
something deviating from this synthesis. That´s the essence of the art of
making a Ruba´i. The fourth line can be a conclusion, or it may negate
everything that is expressed in the preceding lines. It can end on a note
suggesting meaninglessness, depression, sadness, though the first two lines
express contrasting emotions. The concluding line always comes as a surprise,
represents the climax, which completes the poem however contradictory the lines
may appear. [1] Ludwig Klages: Der Geist als Widersacher der Seele Bonn, p. XI (The Mind As Soul´s Adversary)
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