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Journal articles on the topic 'Rubaiyaat'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Stafne, Eric T. "(121) `Rubaiyat': An Old Cultivar with New Potential." HortScience 41, no. 4 (July 2006): 1068D—1068. http://dx.doi.org/10.21273/hortsci.41.4.1068d.

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In 2005, 212 ha of grapes were grown in Oklahoma and more than 30 licensed wineries were in operation. With this increase in grape growing and wine making comes the necessity to evaluate commercially appropriate cultivars. `Rubaiyat' was a cross between Seibel 5437 and `Bailey' made at Oklahoma State University by Herman Hinrichs in 1952. The overall genetic constitution of `Rubaiyat' (based on disomic inheritance) is 37.5% V. lincecumii, 31.25% V. vinifera, 18.75% V. labrusca, 6.25% V. rupestris, and 6.25% V. riparia. `Rubaiyat' is a dark blue-black grape that ripens in mid-August. The berries are medium-sized and round. The clusters are medium in size with a long shoulder. The vine has medium vigor and good to very good disease resistance. The juice is very dark red with about 19% sugars and tartaric acid levels of 0.63%. The wine is fruity and has good balance. A slight “foxy” flavor from the V. labrusca is sometimes evident in wine made from `Rubaiyat'. Currently, other hybrid grape cultivars such as `Chambourcin' are more popular for use as red wine varietals than `Rubaiyat'. However, in observation trials in Oklahoma, `Rubaiyat' compares favorably to `Chambourcin' in quality and may outyield it. Perhaps the greatest potential for `Rubaiyat' is as a teinturier, since it has the attribute of red flesh derived from its progenitor `Alicante Bouschet', a parent of `Alicante Ganzin'. `Rubaiyat' is not widely grown, but the potential exists for it to become an important cultivar for Oklahoma and surrounding states.

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2

Mana Aleahmad. "The Effect of Ideology on the Form and Content of Edward FitzGerald’s Translation of Khayyam's Rubaiyat." LingLit Journal Scientific Journal for Linguistics and Literature 2, no. 2 (June 24, 2021): 75–82. http://dx.doi.org/10.33258/linglit.v2i2.461.

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The present study attempted to examine Edward FitzGerald, who would translate Omar Khayyam's Rubaiyat (1859), was interested in Persian poetry. Translation deals with power and authority and most of the time the ideology of source text changes in favor of the dominant ideology of target text. Victorian people‘s scornful outlook toward East led to ideological manipulation of source texts by translators such as Fitzgerald. His strange reduction in his translations, especially in Khayyam's Rubaiyat results in the necessity of investigating his translation from ideological point of view. Surprisingly translation of Khayyam’s Rubaiyat has never been studied from ideological perspective and is unknown for many literary scholars. Victorian issues had a strong effect on FitzGerald‘s selection of some Khayyam's Rubaiyat.

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3

Whissell, Cynthia. "Emotion and Closure in the Sound Expressiveness of Quatrains from Fitzgerald's Rubaiyat of Omar Khayyam." Empirical Studies of the Arts 18, no. 2 (July 2000): 135–49. http://dx.doi.org/10.2190/r59x-f3l2-ac8f-j99e.

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This article follows two branches of Tsur's cognitive poetic theory to their logical conclusion and applies them to Fitzgerald's Rubaiyat of Omar Khayyam where they are fully validated. The first branch emphasizes the expressiveness of speech sounds (phonemes) and the second branch the importance of the Gestalt principle of closure to poetry. Rubaiyat were phonetically transcribed and their phonemes were then categorized in terms of emotional character. The closural device of a return to baseline described the preferential use of active phonemes in the rubaiyat while the closural allusion of definitive termination described the preferential use of pleasant phonemes. Clynes' concept of the essentic form for grief was used to explain the rise and fall of preferential activation in the first three lines of each quatrain. The emotional picture drawn of the rubaiyat on the basis of these procedures was one of fatalism or emotional resignation. General patterns and individual examples are discussed.

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4

Khairiyah, Khairiyah, Arfan Arfan, and Kasmiati Kasmiati. "UPAYA MENINGKATKAN KEMAMPUAN BACA TULIS ALQUR’AN (BTQ) PESERTA DIDIK MELALUI METODE RUBAIYAT DI SEKOLAH DASAR INPRES (SD) 6 LOLU PALU." IBTIDAI'Y DATOKARAMA: JURNAL PENDIDIKAN DASAR 1, no. 1 (December 13, 2019): 57–66. http://dx.doi.org/10.24239/ibtidaiy.vol1.iss1.5.

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This research discusses the efforts of teachers in improving the literacy ability of the Qur’an students through the rubaiyat method at SD Inpres 6 Lolu Palu. The formulation of the problem in this research is how is the teacher's effort to improve the students' literacy in reading and writing through the rubaiyat method in SD Inpres 6 Lolu Palu? and what are the supporting factors and inhibiting factors in improving students' literacy in the Qur’an through the rubaiyat method? This type of research used in this thesis is qualitative research. Data collection techniques used were observation (interviews) and documentation. Furthermore, the data analysis used is data reduction and data presentation. In an effort to improve the literacy skills of the Qur’an (BTQ) students through the rubaiyat method in SD Inpres 6 Lolu Palu, teachers as educators give efforts to give the task of writing verses that are in the Qur’an namely, memorizing short suras, and teaching recitation. Based on the results of research conducted by the author In an effort to improve the literacy skills of students through the rubaiyat method there are several factors, namely supporting factors and inhibiting factors. As for the supporting factors in improving the students' literacy in the Qur’an, students are facilities such as books, fans, the Qur’an and iqra, as well as a comfortable classroom. While the inhibiting factor is the lack of media or teaching aids that are used during the learning process. The implication in this research is the government, all schools, especially school principals, PAI teachers, and BTQ teachers can work together in improving the students' literacy skills through the rubaiyat method in order to be able to emphasize students more about the importance of learning the Qur’an and reading it according to science Tajweed.

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5

Gray, Erik Irving. "Forgetting FitzGerald's Rubaiyat." SEL Studies in English Literature 1500-1900 41, no. 4 (2001): 765–83. http://dx.doi.org/10.1353/sel.2001.0038.

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6

Gray, Erik. "Forgetting FitzGerald's "Rubaiyat"." Studies in English Literature, 1500-1900 41, no. 4 (2001): 765. http://dx.doi.org/10.2307/1556206.

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7

Dávila, José María. "Retrotraducción, publicidad y "post-colonialismo"." Estudios Humanísticos. Filología, no. 29 (December 1, 2007): 431. http://dx.doi.org/10.18002/ehf.v0i29.2825.

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En su artículo «The tale of the inimitable Rubaiyat», T. Leacock- Seghatolislami replantea el debate sobre la traducción que el poeta y académico inglés Edward FitzGerald realizó del clásico persa Rubaiyat. Estudiante ocasional del persa, los conocimientos que FitzGerald tenía de esta lengua eran rudimentarios y, en su trabajo, según se documentó con posterioridad, echaba mano de una técnica de interpretación del texto basada en el uso indiscriminado del diccionario y en un sentido muy laxo de la fidelidad

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8

Minakar, Milad, and Amir Hossein Chitsazian. "The Study of Rubaiyat attributed to Khayyam in Movies." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 324–52. http://dx.doi.org/10.5195/cinej.2020.271.

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Among the literati and men of culture of Iran, it is not exaggerated to call Khayyam one of the vaguest figures. One might recognize him certainly and resolutely through his philosophical and scientific works; however, it was his Rubaiyat attributed to him which created many arguments. This paper studies Hakim Omar Khayyam’s Rubaiyat in English and Persian language feature and non-biographical movies; hence, biographical movies depicting factual or imaginary life of Khayyam or any serials, TV productions, documentaries, non- English, non- Persian movies are not included. The aim is to expound any relationships between the film and Rubaiyat; therefore, according to the type of the applied quatrain, movie genre, plot, some categories are propounded to classify the movies in which Khayyam’s quatrains are quoted such as Transiency-Death, Transiency-Carpe Diem, Heaven and Hell, and Determinism. Indeed, these categories can be applied to the theme of the movies or a single scene in which the stanza is quoted.

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9

Vitali, Valentina. "Interview with Rubaiyat Hossain." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 92–95. http://dx.doi.org/10.1177/0974927620935755.

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10

Davoudian, Armen. "Swan Boats, and: Rubaiyat." Hopkins Review 13, no. 3 (2020): 391–92. http://dx.doi.org/10.1353/thr.2020.0058.

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11

Freitas, Marcus Vinicius. "Tagore e a Coleção Rubaiyat." Aletria: Revista de Estudos de Literatura 21, no. 2 (August 30, 2011): 57–63. http://dx.doi.org/10.17851/2317-2096.21.2.57-63.

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Este trabalho visa a uma reflexão sobre o contexto editorial e intelectual da difusão da obra de Rabindranath Tagore no Brasil, no contexto do Modernismo. Enfatiza-se o trabalho editorial da José Olympio Editora nesse processo, e ainda os desdobramentos pedagógicos da presença da obra de Tagore no Brasil.

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12

Bowers, John. "The rubaiyat of Omar Gudniz." Mathematical Intelligencer 10, no. 1 (December 1988): 48–49. http://dx.doi.org/10.1007/bf03023852.

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13

Decker, C. "Echoes and Parallels in Fitzgerald's Rubaiyat." Notes and Queries 49, no. 1 (March 1, 2002): 65–68. http://dx.doi.org/10.1093/nq/49.1.65.

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14

Decker, Christopher. "Echoes and Parallels in Fitzgerald's Rubaiyat." Notes and Queries 49, no. 1 (March 1, 2002): 65–68. http://dx.doi.org/10.1093/nq/490065.

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15

Bumatova, Aidakhon Merganovna. "Harmonic translations of rubaiyat of Pahlavan Mahmood." Asian Journal of Multidimensional Research (AJMR) 9, no. 9 (2020): 16. http://dx.doi.org/10.5958/2278-4853.2020.00250.5.

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16

Khalil, Ahmed,H. "Mathematical Figures in the Rubaiyat of omar khayyam." مجلة کلیة الآداب بقنا 5, no. 4 (June 1, 1995): 63–85. http://dx.doi.org/10.21608/qarts.1995.113617.

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17

Cole, Juan. "The Rubaiyat of Omar Khayyam and Muslim secularism." Studies in People's History 3, no. 2 (November 22, 2016): 138–50. http://dx.doi.org/10.1177/2348448916665716.

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The fact that quatrains known as Rubiyat of Omar Khayyam were not really composed by the twelfth century astronomer of that name, but composed by various hands and made into collections later, is widely accepted. This paper examines under what political and social atmosphere in later times, the collections began to be compiled, and what elements of scepticism, irreligion, mysticism and even rationalism entered into them. It is argued that the collections retained their popularity and freely circulated wherever Persian was cultivated down to modern times.

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18

Soleymani Yazdi, Sajad. "Dis-contenting Khayyam in the Context of Comparative Literature: An Invitation to Translating Rubaiyat with a Focal Shift from Content to Form." International Journal of Comparative Literature and Translation Studies 7, no. 1 (January 31, 2019): 24. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.1p.24.

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Since its conception in France in 1877, Comparative Literature, always subject to a critique of Eurocentrism, has been in a state of perpetual crisis. In “The Old/New Question of Comparison in Literary Studies: A Post-European Perspective” (2004), Ray Chow argued for a Post-European perspective in which comparatists begin with the home culture and look outwards to the European cultures, contrary to the dominant approach of doing just otherwise. Missing in Chow’s argument is the position of translation in this post-European perspective. In the 14 years between 2004 and 2018, the grandiose claims of comparative literature have been problematized and addressed; the lay of the land, however, remains predominantly Eurocentric, as it still focuses on content disproportionately. In this paper, through a study of English translations of Khayyam’s Rubaiyat, and taking Chow’s argument further, I argue that with its commitment to transfer the form of a text as much as the content, translation studies can further help comparative literature to distance itself from Europe. To exemplify the implication of this, I suggest that a translation of Khayyam’s Rubaiyat from Farsi to English would be more faithful to the original if its translations were to focus on the poem’s form rather than the content. I argue that translating with a focus on form would foreignize Khayyam’s poetry, hence an act of resistance against cultural hegemony.

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19

Bumatova, Aidakhon Merganovna. "Poetic harmony in the translations of rubaiyat of Babur." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 9 (2020): 264. http://dx.doi.org/10.5958/2249-7137.2020.01056.3.

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20

Rashid, Frank D. "Transparent Eye, Voice Howling Within: Codes of Violence in Lawrence Joseph's Poetry." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1611–20. http://dx.doi.org/10.1632/pmla.2008.123.5.1611.

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In the early quatrains of “Rubaiyat,” a poem in Lawrence Joseph's fourth book, into it, The poet adopts a curious perspective for an American poet of Arab ancestry who is intensely critical of American military aggression. Taking on the “eye” of the aggressor, he pulls up the “satellite image of a major / military target, a 3-D journey / into a landscape of hills and valleys.” He follows the lens as it zooms closer to the ground:Zoom in close enough—the shadowsof statues, the swimming pools of palaces …closer—a garden of palm trees,oranges and lemons, chickens, sheep. … (41)

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21

Wulan, S., and D. Pratiwy. "The Spiritual States (Ahwal) in the Rubaiyat of Omar Khayyam." KnE Social Sciences 3, no. 4 (April 19, 2018): 864. http://dx.doi.org/10.18502/kss.v3i4.1993.

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22

Nagumanova, El'vira Firdavil'evna. "Rubaiyat Genre in the Tatar Poetry: Functioning and Translating Peculiarities." Filologičeskie nauki. Voprosy teorii i praktiki, no. 7 (July 2020): 64–68. http://dx.doi.org/10.30853/filnauki.2020.7.12.

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23

AKBAROV, Azamat. "INTERPRETATIONS OF TRANSLATIONS OF ALISHER NAVOIY'S RUBAIYAT INTO RUSSIAN AND EN." Motif Akademi Halk Bilimi Dergisi 2016, no. 2016-1 (January 1, 2016): 47. http://dx.doi.org/10.12981/motif.359.

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24

Drozhzhina, Marina N., and Sitora D. Davlatova. "Sufi Symbolism in Tolib Shakhidi’s Televised Ballet The Rubaiyat of Omar Khayyam." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2018): 66–73. http://dx.doi.org/10.17674/1997-0854.2018.1.066-073.

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25

Katz, Nathan. "THE IDENTITY OF A MYSTIC: THE CASE OF SA'ID SARMAD, A JEWISH-YOGI-SUFI COURTIER OF THE MUGHALS." Numen 47, no. 2 (2000): 142–60. http://dx.doi.org/10.1163/156852700511478.

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AbstractSa'id Sarmad's dargah (saint's tomb) dominates the entryway to Delhi's imposing Jama Masjid. But Sarmad was a Jew, both by birth and affirmation. He was also, according to his Rubaiyat, "a follower of the Furqan (i.e., a Sufi), a (Catholic) priest, a (Buddhist) monk, a Jewish rabbi, an infidel, and a Muslim." Indeed, it is hard to imagine a mystic with a more complex confessional identity. This paper explores both Sarmad's apparently contradictory religious self-identification and the complex religious context which Sarmad found in seventeenth-century North India. It will trace Sarmad's spiritual path as it meandered between Judaism, Islam and Hinduism, as recorded in his poetry and in the hagiographical (taskira) traditions which surround him, and will contribute to the discussion of the relationship between the mystic and his or her religion of birth or adoption.

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26

Decker, C. "Edward Fitzgerald and Other Men's Flowers: Allusion in the Rubaiyat of Omar Khayyam." Literary Imagination 6, no. 2 (January 1, 2004): 213–39. http://dx.doi.org/10.1093/litimag/6.2.213.

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27

Kaiserlian, Michelle. "The Art of Omar Khayyam: Illustrating FitzGerald's "Rubaiyat.". William H. Martin , Sandra Mason." Papers of the Bibliographical Society of America 102, no. 4 (December 2008): 537–39. http://dx.doi.org/10.1086/pbsa.102.4.24293699.

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28

Chowdhury, Elora Halim. "War, Healing, and Trauma: Reading the Feminine Aesthetics and Politics in Rubaiyat Hossain’s Meherjaan." Feminist Formations 28, no. 3 (2016): 27–45. http://dx.doi.org/10.1353/ff.2016.0042.

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29

Chowdhury, Elora Halim. "When Love and Violence Meet: Women's Agency and Transformative Politics in Rubaiyat Hossain's Meherjaan." Hypatia 30, no. 4 (2015): 760–77. http://dx.doi.org/10.1111/hypa.12178.

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In official and unofficial histories, and in cultural memorializations of the 1971 war for Bangladeshi independence, the treatment of women's experiences—more specifically the unresolved question of acknowledgment of and accountability to birangonas, “war heroines” (or rape survivors)—has met with stunning silence or erasure, on the one hand, or with narratives of abject victimhood, on the other. By contrast, the film Meherjaan (2011) revolves around the stories of four women during and after the war, and most centrally the relationship between a Bengali woman and a Pakistani soldier. In this article, I investigate the anxieties underlying the responses to Meherjaan, particularly in association with themes of trauma—its absence or omnipresence—to nonnormative gender frames of national sexuality, and the notion of loving the Other. Drawing from feminist theories of vulnerability, ethics, and love, I want to explore these themes at two levels: the political message the film transmits, and its aesthetic choices and affects. Finally, I want to comment on the potential of this film, as feminist art, in furthering a dialogue around healing and ethical memorialization in relation to 1971 in Bangladesh.

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30

LEWIS, FRANK. "GERTRUDE BELL, The Hafez Poems of Gertrude Bell (Bethesda, Md.: Iranbooks, 1995). Pp. 176." International Journal of Middle East Studies 33, no. 1 (February 2001): 117–19. http://dx.doi.org/10.1017/s0020743801221060.

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Though Sir William Jones's captivating English version of a ghazal of Hafez, first published in 1771, inspired many translators in the final years of the 18th and early years of the 19th century, none succeeded in producing a living, breathing body of Hafez's work in English. Goethe, of course, lavished his admiration on Hafez in the West–Östliche Divan, and Ralph Waldo Emerson echoed and amplified this praise in America with a number of English translations of von Hammer-Purgstall's German renditions of Hafez. All this attention from trend- and style-setting literary figures did Hafez the favor of creating an interest in and a ready market for translations of his poems. At the same time, however, it burdened him with a literary reputation the expectations of which were difficult for translators to meet. Once FitzGerald's Rubaiyat of Omar Khayyam, perhaps the most successful English verse translation in history, demonstrated the possibility of creating a native English idiom for a poet such as Khayyam, readers' expectations for Hafez only intensified. Though a score of translators have tried their hand at Hafez, none has managed anything more than a satisfactory result.

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31

Hashemi, Faranak. "History of translations of Khayyam's Rubaiyat into German and study of formal-aesthetic Equivalence of literary translations based on examples of these translations." Critical Language and Literary studies 17, no. 25 (January 20, 2021): 293–322. http://dx.doi.org/10.52547/clls.17.25.293.

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32

Siahaan, Safnidar. "ANALYSIS OF THE IMAGERY RELATING TO THE CARPE DIEM IDEA IN THE POEM “THE RUBAIYAT”." ANGLO-SAXON: Jurnal Ilmiah Program Studi Pendidikan Bahasa Inggris 9, no. 2 (December 19, 2018). http://dx.doi.org/10.33373/anglo.v9i2.1660.

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This research is presented to discuss about the imagery of the poetry entitled “The Rubaiyat”. The Rubaiyat is a poem in the 11th century written by a Persian poet named Omar Khayyam. One of the poets who had translated the poem "The Rubaiyat" into English was Edward FitzGerald in 1859, which attracted much controversy. The Rubaiyat is a poem containing with the religious teachings and philosophical symbols that produce a harmonious effect. In this research, the writer used qualitative method with descriptive approach. The writer used the theory of Imagery in analyzing the use of imagery in the poetry relating the idea of carpe diem. Furthermore; the writer collects the data from the poem “The Rubaiyat” written by Omar and classify the kinds of imagery refers to carpe diem ideas that can be found in the poem

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33

"Eliot possessed: T.S. Eliot and FitzGerald's Rubaiyat." Choice Reviews Online 27, no. 04 (December 1, 1989): 27–1974. http://dx.doi.org/10.5860/choice.27-1974.

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34

"Rubaiyat of Omar Khayyam: a critical edition." Choice Reviews Online 34, no. 10 (June 1, 1997): 34–5533. http://dx.doi.org/10.5860/choice.34-5533.

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"The art of Omar Khayyam: illustrating FitzGerald's Rubaiyat." Choice Reviews Online 45, no. 04 (December 1, 2007): 45–1882. http://dx.doi.org/10.5860/choice.45-1882.

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"The poetry of indifference: from the Romantics to the Rubaiyat." Choice Reviews Online 43, no. 05 (January 1, 2006): 43–2669. http://dx.doi.org/10.5860/choice.43-2669.

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37

Shafiei, Shilan. "FitzGerald or Fitz-Omar: Ideological Reconsideration of the English Translation of Khayyam’s Rubaiyat." English Language and Literature Studies 2, no. 1 (February 26, 2012). http://dx.doi.org/10.5539/ells.v2n1p128.

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38

Mammadova, I. "Feminist ideas in the poetics of XII century: the Rubaiyat of Mahsаti Ganjavi." British journal for social and economic research, February 28, 2018, 37–40. http://dx.doi.org/10.22406/bjser-18-3.1-37-40.

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39

Salah, Bouregbi. "Intentionality And The Sense Dis / Location In Translation:, A Case Study Rubaiyat Of Omar Khayyam." مجلة المترجم, 2015, 17. http://dx.doi.org/10.46314/1704-000-030-011.

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40

"Creating literature out of life: the making of four masterpieces: Death in Venice, Treasure island, The rubaiyat of Omar Khayyam, War and peace." Choice Reviews Online 34, no. 09 (May 1, 1997): 34–4891. http://dx.doi.org/10.5860/choice.34-4891.

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41

Luebcke, Emily, Sandra Peterson, Eric Stafne, Stephen Clarke, Arpita Basu, Brenda Smith, and Edralin Lucas. "The Effects of the Extract of Rubaiyat, an Oklahoma Grape Variety, and Resveratrol on Cellular Proliferation and Apoptosis of MCF‐7 Human Breast Cancer Cells." FASEB Journal 24, S1 (April 2010). http://dx.doi.org/10.1096/fasebj.24.1_supplement.928.23.

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42

Ruymbeke, Christine Van. "Edward Fitzgerald’s The Rubaiyat of Omar Khayyam. Bloom’s Modern Critical Interpretations, edited and with an introduction by Harold Bloom, Philadelphia, Chelsea House Publishers, 2004, 252 p." Abstracta Iranica, Volume 27 (May 15, 2006). http://dx.doi.org/10.4000/abstractairanica.6378.

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43

Nizamova, Feruza. "STUDY OF AMIR KHUSROW DEHLAVIY’S RUBA’IS." Light of Islam, September 10, 2020, 150–58. http://dx.doi.org/10.47980/tloi/2020/3/16.

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The article provides data on the manuscripts and studies of the legacy of Amir Khusrow Dehlavi, stored in the Institute of Oriental Studies named after Abu Rayhan Biruni of the Academy of Sciences of the Republic of Uzbekistan. In the manuscripts we examined, there is information about the origin of ghazals, but there is no mention of the origin of the ruba’is. In many manuscripts, the order of fling the ruba’is is not based on any principle. Only a few of them are arranged alphabetically, either by the frst letter of the verse or by the last letter of the rhyme. It should be noted that the mixed order of transmission of the ruba’is in fve divans in the manuscripts involved in the study can be explained by the long-standing tendency of the poet’s attempts to include them in the framework of one collection. As the main sources of research under the heading of Amir Khusrow Dehlavi can be used the manuscripts of the poet’s works stored at the Abu Rayhan Biruni Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan. The study of these sources will help to address the gaps in the available publications and to bring the ruba’is to a fuller scale. The materials concerning the rubaiyat of Amir Khusrow Dehlavi, published in Kanpur, Tehran, Dushanbe, do not fully cover the works of the poet of this genre. Therefore, they can only be used as auxiliary resources for research. Our research on the ruba’is of Dehlavi shows that the manuscripts of the Abu Reikhan Biruni Institute of Oriental Studies are reliable and important sources for compiling a complete collection of poetry in this genre. The opinions of previous and current researchers of works about the impossibility of compiling a complete collection of the poetic heritage of Amir Khusrow Dehlavi also apply to his ruba’is. But our research shows that it is possible to create the largest collection of Amir Khusrov Dehlavi’s ruba’is based on the poet’s manuscripts from the funds of Uzbekistan. The large number of handwritten copies of the works of Amir Khusrow Dehlavi allows us to determine when and how many works of this genre were copied, which makes it possible to carry out further research in this area.

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