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Rubaiyat of Omar Khayyam

 
Poetry: "The Rubaiyat of Omar Khayyam translated by Edward J. Fitzgerald"

by: Omar Khayyam

I.

WAKE! For the Sun, who scatter'd into flight
The Stars before him from the Field of Night,
Drives Night along with them from Heav'n, and strikes
The Sultan's Turret with a Shaft of Light.


II.

Before the phantom of False morning died,
Methought a Voice within the Tavern cried,
"When all the Temple is prepared within,
"Why nods the drowsy Worshiper outside?"


III.

And, as the Cock crew, those who stood before
The Tavern shouted--"Open then the Door!
"You know how little while we have to stay,
And, once departed, may return no more."


IV.

Now the New Year reviving old Desires,
The thoughtful Soul to Solitude retires,
Where the WHITE HAND OF MOSES on the Bough
Puts out, and Jesus from the Ground suspires.


V.

Iram indeed is gone with all his Rose,
And Jamshyd's Sev'n-ring'd Cup where no one knows;
But still a Ruby kindles in the Vine,
And many a Garden by the Water blows.


VI.

And David's lips are lockt; but in divine
High-piping Pehlevi, with "Wine! Wine! Wine!
"Red Wine!"--the Nightingale cries to the Rose
That sallow cheek of hers to' incarnadine.


VII.

Come, fill the Cup, and in the fire of Spring
Your Winter garment of Repentance fling:
The Bird of Time has but a little way
To flutter--and the Bird is on the Wing.


VIII.

Whether at Naishapur or Babylon,
Whether the Cup with sweet or bitter run,
The Wine of Life keeps oozing drop by drop,
The Leaves of Life keep falling one by one.


IX.

Each Morn a thousand Roses brings, you say:
Yes, but where leaves the Rose of Yesterday?
And this first Summer month that brings the Rose
Shall take Jamshyd and Kaikobad away.


X.

Well, let it take them! What have we to do
With Kaikobad the Great, or Kaikhosru?
Let Zal and Rustum bluster as they will,
Or Hatim call to Supper--heed not you.


XI.

With me along the strip of Herbage strown
That just divides the desert from the sown,
Where name of Slave and Sultan is forgot--
And Peace to Mahmud on his golden Throne!


XII.

A Book of Verses underneath the Bough,
A Jug of Wine, a Loaf of Bread--and Thou
Beside me singing in the Wilderness--
Oh, Wilderness were Paradise enow!


XIII.

Some for the Glories of This World; and some
Sigh for the Prophet's Paradise to come;
Ah, take the Cash, and let the Credit go,
Nor heed the rumble of a distant Drum!


XIV.

Look to the blowing Rose about us--"Lo,
Laughing," she says, "into the world I blow,
At once the silken tassel of my Purse
Tear, and its Treasure on the Garden throw."


XV.

And those who husbanded the Golden grain,
And those who flung it to the winds like Rain,
Alike to no such aureate Earth are turn'd
As, buried once, Men want dug up again.


XVI.

The Worldly Hope men set their Hearts upon
Turns Ashes--or it prospers; and anon,
Like Snow upon the Desert's dusty Face,
Lighting a little hour or two--is gone.


XVII.

Think, in this batter'd Caravanserai
Whose Portals are alternate Night and Day,
How Sultan after Sultan with his Pomp
Abode his destined Hour, and went his way.


XVIII.

They say the Lion and the Lizard keep
The courts where Jamshyd gloried and drank deep:
And Bahram, that great Hunter--the Wild Ass
Stamps o'er his Head, but cannot break his Sleep.


XIX.

I sometimes think that never blows so red
The Rose as where some buried Caesar bled;
That every Hyacinth the Garden wears
Dropt in her Lap from some once lovely Head.


XX.

And this reviving Herb whose tender Green
Fledges the River-Lip on which we lean--
Ah, lean upon it lightly! for who knows
From what once lovely Lip it springs unseen!


XXI.

Ah, my Beloved, fill the Cup that clears
TO-DAY of past Regrets and future Fears:
To-morrow--Why, To-morrow I may be
Myself with Yesterday's Sev'n thousand Years.


XXII.

For some we loved, the loveliest and the best
That from his Vintage rolling Time hath prest,
Have drunk their Cup a Round or two before,
And one by one crept silently to rest.


XXIII.

And we, that now make merry in the Room
They left, and Summer dresses in new bloom,
Ourselves must we beneath the Couch of Earth
Descend--ourselves to make a Couch--for whom?


XXIV.

Ah, make the most of what we yet may spend,
Before we too into the Dust descend;
Dust into Dust, and under Dust to lie,
Sans Wine, sans Song, sans Singer, and--sans End!


XXV.

Alike for those who for TO-DAY prepare,
And those that after some TO-MORROW stare,
A Muezzin from the Tower of Darkness cries,
"Fools! your Reward is neither Here nor There."


XXVI.

Why, all the Saints and Sages who discuss'd
Of the Two Worlds so wisely--they are thrust
Like foolish Prophets forth; their Words to Scorn
Are scatter'd, and their Mouths are stopt with Dust.


XXVII.

Myself when young did eagerly frequent
Doctor and Saint, and heard great argument
About it and about: but evermore
Came out by the same door where in I went.


XXVIII.

With them the seed of Wisdom did I sow,
And with mine own hand wrought to make it grow;
And this was all the Harvest that I reap'd--
"I came like Water, and like Wind I go."


XXIX.

Into this Universe, and Why not knowing
Nor Whence, like Water willy-nilly flowing;
And out of it, as Wind along the Waste,
I know not Whither, willy-nilly blowing.


XXX.

What, without asking, hither hurried Whence?
And, without asking, Whither hurried hence!
Oh, many a Cup of this forbidden Wine
Must drown the memory of that insolence!


XXXI.

Up from Earth's Center through the Seventh Gate
I rose, and on the Throne of Saturn sate,
And many a Knot unravel'd by the Road;
But not the Master-knot of Human Fate.


XXXII.

There was the Door to which I found no Key;
There was the Veil through which I might not see:
Some little talk awhile of ME and THEE
There was--and then no more of THEE and ME.


XXXIII.

Earth could not answer; nor the Seas that mourn
In flowing Purple, of their Lord Forlorn;
Nor rolling Heaven, with all his Signs reveal'd
And hidden by the sleeve of Night and Morn.


XXXIV.

Then of the THEE IN ME who works behind
The Veil, I lifted up my hands to find
A lamp amid the Darkness; and I heard,
As from Without--"THE ME WITHIN THEE BLIND!"


XXXV.

Then to the Lip of this poor earthen Urn
I lean'd, the Secret of my Life to learn:
And Lip to Lip it murmur'd--"While you live,
"Drink!--for, once dead, you never shall return."


XXXVI.

I think the Vessel, that with fugitive
Articulation answer'd, once did live,
And drink; and Ah! the passive Lip I kiss'd,
How many Kisses might it take--and give!


XXXVII.

For I remember stopping by the way
To watch a Potter thumping his wet Clay:
And with its all-obliterated Tongue
It murmur'd--"Gently, Brother, gently, pray!"


XXXVIII.

And has not such a Story from of Old
Down Man's successive generations roll'd
Of such a clod of saturated Earth
Cast by the Maker into Human mold?


XXXIX.

And not a drop that from our Cups we throw
For Earth to drink of, but may steal below
To quench the fire of Anguish in some Eye
There hidden--far beneath, and long ago.


XL.

As then the Tulip for her morning sup
Of Heav'nly Vintage from the soil looks up,
Do you devoutly do the like, till Heav'n
To Earth invert you--like an empty Cup.


XLI.

Perplext no more with Human or Divine,
To-morrow's tangle to the winds resign,
And lose your fingers in the tresses of
The Cypress-slender Minister of Wine.


XLII.

And if the Wine you drink, the Lip you press,
End in what All begins and ends in--Yes;
Think then you are TO-DAY what YESTERDAY
You were--TO-MORROW you shall not be less.


XLIII.

So when that Angel of the darker Drink
At last shall find you by the river-brink,
And, offering his Cup, invite your Soul
Forth to your Lips to quaff--you shall not shrink.


XLIV.

Why, if the Soul can fling the Dust aside,
And naked on the Air of Heaven ride,
Were't not a Shame--were't not a Shame for him
In this clay carcass crippled to abide?


XLV.

'Tis but a Tent where takes his one day's rest
A Sultan to the realm of Death addrest;
The Sultan rises, and the dark Ferrash
Strikes, and prepares it for another Guest.


XLVI.

And fear not lest Existence closing your
Account, and mine, should know the like no more;
The Eternal Saki from that Bowl has pour'd
Millions of Bubbles like us, and will pour.


XLVII.

When You and I behind the Veil are past,
Oh, but the long, long while the World shall last,
Which of our Coming and Departure heeds
As the Sea's self should heed a pebble-cast.

XLVIII.

A Moment's Halt--a momentary taste
Of BEING from the Well amid the Waste--
And Lo!--the phantom Caravan has reach'd
The NOTHING it set out from--Oh, make haste!


XLIX.

Would you that spangle of Existence spend
About THE SECRET--quick about it, Friend!
A Hair perhaps divides the False from True--
And upon what, prithee, may life depend?


L.

A Hair perhaps divides the False and True;
Yes; and a single Alif were the clue--
Could you but find it--to the Treasure-house,
And peradventure to THE MASTER too;


LI.

Whose secret Presence through Creation's veins
Running Quicksilver-like eludes your pains;
Taking all shapes from Mah to Mahi and
They change and perish all--but He remains;


LII.

A moment guessed--then back behind the Fold
Immerst of Darkness round the Drama roll'd
Which, for the Pastime of Eternity,
He doth Himself contrive, enact, behold.


LIII.

But if in vain, down on the stubborn floor
Of Earth, and up to Heav'n's unopening Door,
You gaze TO-DAY, while You are You--how then
TO-MORROW, when You shall be You no more?


LIV.

Waste not your Hour, nor in the vain pursuit
Of This and That endeavor and dispute;
Better be jocund with the fruitful Grape
Than sadden after none, or bitter, Fruit.


LV.

You know, my Friends, with what a brave Carouse
I made a Second Marriage in my house;
Divorced old barren Reason from my Bed,
And took the Daughter of the Vine to Spouse.


LVI.

For "Is" and "Is-not" though with Rule and Line
And "UP-AND-DOWN" by Logic I define,
Of all that one should care to fathom, I
was never deep in anything but--Wine.


LVII.

Ah, by my Computations, People say,
Reduce the Year to better reckoning?--Nay,
'Twas only striking from the Calendar
Unborn To-morrow and dead Yesterday.


LVIII.

And lately, by the Tavern Door agape,
Came shining through the Dusk an Angel Shape
Bearing a Vessel on his Shoulder; and
He bid me taste of it; and 'twas--the Grape!


LIX.

The Grape that can with Logic absolute
The Two-and-Seventy jarring Sects confute:
The sovereign Alchemist that in a trice
Life's leaden metal into Gold transmute;


LX.

The mighty Mahmud, Allah-breathing Lord,
That all the misbelieving and black Horde
Of Fears and Sorrows that infest the Soul
Scatters before him with his whirlwind Sword.


LXI.

Why, be this Juice the growth of God, who dare
Blaspheme the twisted tendril as a Snare?
A Blessing, we should use it, should we not?
And if a Curse--why, then, Who set it there?


LXII.

I must abjure the Balm of Life, I must,
Scared by some After-reckoning ta'en on trust,
Or lured with Hope of some Diviner Drink,
To fill the Cup--when crumbled into Dust!


LXIII.

Of threats of Hell and Hopes of Paradise!
One thing at least is certain--This Life flies;
One thing is certain and the rest is Lies;
The Flower that once has blown for ever dies.


LXIV.

Strange, is it not? that of the myriads who
Before us pass'd the door of Darkness through,
Not one returns to tell us of the Road,
Which to discover we must travel too.


LXV.

The Revelations of Devout and Learn'd
Who rose before us, and as Prophets burn'd,
Are all but Stories, which, awoke from Sleep
They told their comrades, and to Sleep return'd.


LXVI.

I sent my Soul through the Invisible,
Some letter of that After-life to spell:
And by and by my Soul return'd to me,
And answer'd "I Myself am Heav'n and Hell:"


LXVII.

Heav'n but the Vision of fulfill'd Desire,
And Hell the Shadow from a Soul on fire,
Cast on the Darkness into which Ourselves,
So late emerged from, shall so soon expire.


LXVIII.

We are no other than a moving row
Of Magic Shadow-shapes that come and go
Round with the Sun-illumined Lantern held
In Midnight by the Master of the Show;


LXIX.

But helpless Pieces of the Game He plays
Upon this Chequer-board of Nights and Days;
Hither and thither moves, and checks, and slays,
And one by one back in the Closet lays.


LXX.

The Ball no question makes of Ayes and Noes,
But Here or There as strikes the Player goes;
And He that toss'd you down into the Field,
He knows about it all--HE knows--HE knows!


LXXI.

The Moving Finger writes; and, having writ,
Moves on: nor all your Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all your Tears wash out a Word of it.


LXXII.

And that inverted Bowl they call the Sky,
Whereunder crawling coop'd we live and die,
Lift not your hands to It for help--for It
As impotently moves as you or I.


LXXIII.

With Earth's first Clay They did the Last Man knead,
And there of the Last Harvest sow'd the Seed:
And the first Morning of Creation wrote
What the Last Dawn of Reckoning shall read.


LXXIV.

YESTERDAY This Day's Madness did prepare;
TO-MORROW's Silence, Triumph, or Despair:
Drink! for you not know whence you came, nor why:
Drink! for you know not why you go, nor where.


LXXV.

I tell you this--When, started from the Goal,
Over the flaming shoulders of the Foal
Of Heav'n Parwin and Mushtari they flung,
In my predestined Plot of Dust and Soul.


LXXVI.

The Vine had struck a fiber: which about
It clings my Being--let the Dervish flout;
Of my Base metal may be filed a Key
That shall unlock the Door he howls without.


LXXVII.

And this I know: whether the one True Light
Kindle to Love, or Wrath consume me quite,
One Flash of It within the Tavern caught
Better than in the Temple lost outright.


LXXVIII.

What! out of senseless Nothing to provoke
A conscious Something to resent the yoke
Of unpermitted Pleasure, under pain
Of Everlasting Penalties, if broke!


LXXIX.

What! from his helpless Creature be repaid
Pure Gold for what he lent him dross-allay'd--
Sue for a Debt he never did contract,
And cannot answer--Oh the sorry trade!


LXXX.

Oh Thou, who didst with pitfall and with gin
Beset the Road I was to wander in,
Thou wilt not with Predestined Evil round
Enmesh, and then impute my Fall to Sin!


LXXXI.

Oh Thou, who Man of baser Earth didst make,
And ev'n with Paradise devise the Snake:
For all the Sin wherewith the Face of Man
Is blacken'd--Man's forgiveness give--and take!

* * * * * * * * * * * * * * * * * * * * * * * *


LXXXII.

As under cover of departing Day
Slunk hunger-stricken Ramazan away,
Once more within the Potter's house alone
I stood, surrounded by the Shapes of Clay.


LXXXIII.

Shapes of all Sorts and Sizes, great and small,
That stood along the floor and by the wall;
And some loquacious Vessels were; and some
Listen'd perhaps, but never talk'd at all.


LXXXIV.

Said one among them--"Surely not in vain
My substance of the common Earth was ta'en
And to this Figure molded, to be broke,
Or trampled back to shapeless Earth again."


LXXXV.

Then said a Second--"Ne'er a peevish Boy
Would break the Bowl from which he drank in joy;
And He that with his hand the Vessel made
Will surely not in after Wrath destroy."


LXXXVI.

After a momentary silence spake
Some Vessel of a more ungainly Make;
"They sneer at me for leaning all awry:
What! did the Hand then of the Potter shake?"


LXXXVII.

Whereat some one of the loquacious Lot--
I think a Sufi pipkin--waxing hot--
"All this of Pot and Potter--Tell me then,
Who is the Potter, pray, and who the Pot?"


LXXXVIII.

"Why," said another, "Some there are who tell
Of one who threatens he will toss to Hell
The luckless Pots he marr'd in making--Pish!
He's a Good Fellow, and 'twill all be well."


LXXXIX.

"Well," murmured one, "Let whoso make or buy,
My Clay with long Oblivion is gone dry:
But fill me with the old familiar Juice,
Methinks I might recover by and by."


XC.

So while the Vessels one by one were speaking,
The little Moon look'd in that all were seeking:
And then they jogg'd each other, "Brother! Brother!
Now for the Porter's shoulders' knot a-creaking!"

* * * * * * * * * * * * * * * * * * * *


XCI.

Ah, with the Grape my fading life provide,
And wash the Body whence the Life has died,
And lay me, shrouded in the living Leaf,
By some not unfrequented Garden-side.


XCII.

That ev'n buried Ashes such a snare
Of Vintage shall fling up into the Air
As not a True-believer passing by
But shall be overtaken unaware.


XCIII.

Indeed the Idols I have loved so long
Have done my credit in this World much wrong:
Have drown'd my Glory in a shallow Cup,
And sold my reputation for a Song.


XCIV.

Indeed, indeed, Repentance oft before
I swore--but was I sober when I swore?
And then and then came Spring, and Rose-in-hand
My thread-bare Penitence apieces tore.


XCV.

And much as Wine has play'd the Infidel,
And robb'd me of my Robe of Honor--Well,
I wonder often what the Vintners buy
One half so precious as the stuff they sell.


XCVI.

Yet Ah, that Spring should vanish with the Rose!
That Youth's sweet-scented manuscript should close!
The Nightingale that in the branches sang,
Ah whence, and whither flown again, who knows!


XCVII.

Would but the Desert of the Fountain yield
One glimpse--if dimly, yet indeed, reveal'd,
To which the fainting Traveler might spring,
As springs the trampled herbage of the field!


XCVIII.

Would but some winged Angel ere too late
Arrest the yet unfolded Roll of Fate,
And make the stern Recorder otherwise
Enregister, or quite obliterate!


XCIX.

Ah Love! could you and I with Him conspire
To grasp this sorry Scheme of Things entire,
Would not we shatter it to bits--and then
Re-mold it nearer to the Heart's Desire!


C.

Yon rising Moon that looks for us again--
How oft hereafter will she wax and wane;
How oft hereafter rising look for us
Through this same Garden--and for one in vain!


CI.

And when like her, oh Saki, you shall pass
Among the Guests Star-scatter'd on the Grass,
And in your joyous errand reach the spot
Where I made One--turn down an empty Glass!


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Wikipedia: Rubaiyat of Omar Khayyam
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Rubaiyat of Omar Khayyam (Persian: رباعیات عمر خیام) is the title that Edward FitzGerald gave to his translation of a selection of poems, originally written in the Persian language and of which there are about a thousand, attributed to Omar Khayyám (1048–1131), a Persian poet, mathematician and astronomer. A Persian ruba'i is a two line stanza with two parts (or hemistechs) per line, hence the word "Rubaiyat", (derived from the Arabic root word for 4), meaning "quatrains".

Contents

Translations

The nature of a translation very much depends on what interpretation one places on Khayyam's philosophy. The fact that the rubaiyat are a collection of quatrains - and may be selected and rearranged subjectively to support one interpretation or another - has led to widely differing versions. Nicolas took the view that Khayyam himself clearly was a Sufi. Others have seen signs of mysticism, even atheism, or conversely devout and orthodox Islam. FitzGerald gave the Rubaiyat a distinct fatalistic spin, although it has been claimed that he softened the impact of Khayyam's nihilism and his preoccupation with the mortality and transience of all things. Even such a question as to whether Khayyam was pro- or anti-alcohol gives rise to more discussion than might at first glance have seemed plausible.

Edward FitzGerald versions

illustration for The Rubaiyat of Omar Khayyam: "Earth could not answer; nor the Seas that mourn"
Page of illuminated manuscript by William Morris, illustrated by Edward Burne-Jones, 1870s.
Illustration by Arthur Szyk for 1940 edition

The translations that are best known in English are those of about a hundred of the verses by Edward FitzGerald (1809–1883).

  • 1st edition – 1859
  • 2nd edition – 1868
  • 3rd edition – 1872
  • 4th edition – 1879
  • 5th edition – 1889

Of the five editions published, four were published under the authorial control of FitzGerald. The fifth edition, which contained only minor changes from the fourth, was edited after his death on the basis of manuscript revisions FitzGerald had left.

FitzGerald also produced Latin translations of certain rubaiyat.

As a work of English literature FitzGerald's version is a high point of the 19th century and has been greatly influential. Indeed, The term "Rubaiyat" by itself has come to be used to describe the quatrain rhyme scheme that FitzGerald used in his translations: AABA.[citation needed]

However, as a translation of Omar Khayyam's quatrains, it is not noted for its fidelity. Many of the verses are paraphrased, and some of them cannot be confidently traced to any one of Khayyam's quatrains at all. Some critics informally refer to the FitzGerald's English versions as "The Rubaiyat of FitzOmar", a nickname that both recognizes the liberties FitzGerald inflicted on his purported source and also credits FitzGerald for the considerable portion of the "translation" that is his own creation.

In fact, FitzGerald himself referred to his work as "transmogrification". "My translation will interest you from its form, and also in many respects in its detail: very unliteral as it is. Many quatrains are mashed together: and something lost, I doubt, of Omar's simplicity, which is so much a virtue in him" (letter to E. B. Cowell, 9/3/58). And, "I suppose very few People have ever taken such Pains in Translation as I have: though certainly not to be literal. But at all Cost, a Thing must live: with a transfusion of one’s own worse Life if one can’t retain the Original’s better. Better a live Sparrow than a stuffed Eagle" (letter to E. B. Cowell, 4/27/59).

Perhaps the most famous of FitzGerald's verses is this one, which can be traced back to at least two original quatrains that FitzGerald conflated into one:

Quatrain XI in his 1st edition:

Here with a Loaf of Bread beneath the Bough,
A Flask of Wine, a Book of Verse - and Thou
Beside me singing in the Wilderness -
And Wilderness is Paradise enow.

Quatrain XII in his 5th edition [1]:

"A Book of Verses underneath the Bough,
A Jug of Wine, a Loaf of Bread--and Thou
Beside me singing in the Wilderness--
Oh, Wilderness were Paradise enow!"

The following are several samples of Fitzgerald's translation, concluding with another well-known verse (FitzGerald's quatrain LI in his 1st edition):


Some for the pleasures here below
Others yearn for The Prophet's Paradise to come;
Ah, take the cash and let the credit go,
Nor heed the rumble of a distant drum

And much as Wine has played the Infidel
And robbed me of my robe of Honour, well ...
I often wonder what the vintners buy
One half so precious as the stuff they sell

For some we loved, the loveliest and best
That from His rolling vintage Time has pressed,
Have drunk their glass a round or two before,
And one by one crept silently to rest

But helpless pieces in the game He plays
Upon this chequer-board of Nights and Days
He hither and thither moves, and checks ... and slays
Then one by one, back in the Closet lays

"The Moving Finger writes: and, having writ,
Moves on: nor all thy Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it."

Graf von Schack

Adolf Friedrich von Schack (1815-1894) published a German translation in 1878.

Quatrain 151 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

Gönnt mir, mit dem Liebchen im Gartenrund
Zu weilen bei süßem Rebengetränke,
Und nennt mich schlimmer als einen Hund,
Wenn ferner an’s Paradies ich denke!

Friedrich von Bodenstedt

Friedrich Martinus von Bodenstedt (1819-1892) published a German translation in 1881. The translation eventually consisted of 395 quatrains.

Quatrain IX, 59 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

Im Frühling mag ich gern im Grüne weilen
Und Einsamkeit mit einer Freundin teilen
Und einem Kruge Wein. Mag man mich schelten:
Ich lasse keinen andern Himmel gelten.

Edward Henry Whinfield

Two English editions by Whinfield (1836-?) consisted of 253 quatrains in 1882 and 500 in 1883.

Quatrain 84 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

In the sweet spring a grassy bank I sought
And thither wine and a fair Houri brought;
And, though the people called me graceless dog,
Gave not to Paradise another thought!

J.B. Nicolas

The first French translation, of 464 quatrains in prose, was made by J.B. Nicolas, chief interpreter at the French Embassy in Persia in 1867.

Prose stanza (equivalent of Fitzgerald's quatrain XI in his 1st edition, as above):

Au printemps j’aime à m’asseoir au bord d’une prairie, avec une idole semblable à une houri et une cruche de vin, s’il y en a, et bien que tout cela soit généralement blâmé, je veux être pire qu’un chien si jamais je songe au paradis.

John Leslie Garner

An English translation of 152 quatrains, published in 1888.

Quatrain I. 20 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

Yes, Loved One, when the Laughing Spring is blowing,
With Thee beside me and the Cup o’erflowing,
I pass the day upon this Waving Meadow,
And dream the while, no thought on Heaven bestowing.

Justin Huntly McCarthy

Justin Huntly McCarthy (1859-1936) (MP for Athlone) published prose translations of 466 quatrains in 1888.

Quatrain 177 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

In Spring time I love to sit in the meadow with a paramour
perfect as a Houri and a goodly jar of wine, and though
I may be blamed for this, yet hold me lower
than a dog if ever I dream of Paradise.

Richard Le Gallienne

Richard Le Gallienne (1866-1947) produced a verse translation, subtitled "a paraphrase from several literal translations", in 1897. In his introductory note to the reader, Le Gallienne cites McCarthy's "charming prose" as the chief influence on his version. Some example quatrains follow:

Look not above, there is no answer there;
Pray not, for no one listens to your prayer;
Near is as near to God as any Far,
And Here is just the same deceit as There.

And do you think that unto such as you;
A maggot-minded, starved, fanatic crew:
God gave the secret, and denied it me?--
Well, well, what matters it! Believe that, too.

"Did God set grapes a-growing, do you think,
And at the same time make it sin to drink?
Give thanks to Him who foreordained it thus--
Surely He loves to hear the glasses clink!"

Edward Heron-Allen

Edward Heron-Allen (1861-1943) published a prose translation in 1898. He also wrote an introduction to an edition of Frederick Rolfe (Baron Corvo)’s translation into English of Nicolas’s French translation.

Example quatrain (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

I desire a little ruby wine and a book of verses,
Just enough to keep me alive, and half a loaf is needful;
And then, that I and thou should sit in a desolate place
Is better than the kingdom of a sultan.

Franz Toussaint

The best-known version in French is the free verse edition by Franz Toussaint (1879-1955) published in 1924. This translation consisting of 170 quatrains was done from the original Persian text, while most of the other French translations were themselves translations of FitzGerald's work. The Éditions d'art Henri Piazza published the book almost unchanged between 1924 and 1979. Toussaint's translation has served as the basis of subsequent translations into other languages, but Toussaint did not live to witness the influence his translation has had.

A. J. Arberry

In 1959, Professor A. J. Arberry, a distinguished scholar of Persian and Arabic, attempted to produce a scholarly edition of Khayyam, based on thirteenth-century manuscripts. However, his manuscripts were subsequently exposed as twentieth-century forgeries.[1]

Robert Graves and Omar Ali-Shah

While Arberry’s work had been misguided, it was published in good faith. The 1967 translation of the Rubáiyat by Robert Graves and Omar Ali-Shah, however, created a scandal. The authors claimed it was based on a twelfth-century manuscript located in Afghanistan, where it was allegedly utilised as a Sufi teaching document. But the manuscript was never produced, and British experts in Persian literature were easily able to prove that the translation was in fact based on Edward Heron Allen's analysis of possible sources for FitzGerald’s work.[1][2]

Quatrains 11 and 12 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

Should our day's portion be one mancel loaf,
A haunch of mutton and a gourd of wine
Set for us two alone on the wide plain,
No Sultan's bounty could evoke such joy.

A gourd of red wine and a sheaf of poems —
A bare subsistence, half a loaf, not more —
Supplied us two alone in the free desert:
What Sultan could we envy on his throne?

Peter Avery and John Heath-Stubbs

A modern version of 235 quatrains, claiming to be "as literal an English version of the Persian originals as readability and intelligibility permit", published in 1979. Their edition provides two versions of the thematic quatrain, the first (98) considered by the Persian writer Sadeq Hedayat to be a spurious attribution.

98.
I need a jug of wine and a book of poetry,
Half a loaf for a bite to eat,
Then you and I, seated in a deserted spot,
Will have more wealth than a Sultan's realm.

234.
If chance supplied a loaf of white bread,
Two casks of wine and a leg of mutton,
In the corner of a garden with a tulip-cheeked girl,
There'd be enjoyment no Sultan could outdo.

Karim Emami

In 1988, for the very first time the Rubaiyat were translated by a Persian translator.[citation needed] Karim Emami translated the Rubaiyat in his title "The Wine of Nishapour" which was published in Paris. The Wine of Nishapour is the collection of Khayyam's poetry by Shahrokh Golestan, it includes Golestan's pictures in front of each poem. Emami was an outstanding translator of English in Iran, who had also translated many of the contemporary Persian poetry along with his translation of Ommar Khayyam's Rubaiyat. Emami died in 2005 at his home in Tehran, due to cancer, his death has been a huge loss to the society of translators and writers in Iran.[3]

Example from Emami's work:

It's early dawn, my love, open your eyes and arise
Gently imbibing and playing the lyre;
For those who are here will not tarry long,
And those who are gone will not return.

Example quatrain 160 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

In spring if a houri-like sweetheart
Gives me a cup of wine on the edge of a green cornfield,
Though to the vulgar this would be blasphemy,
If I mentioned any other Paradise, I'd be worse than a dog.

Ahmed Rami

Ahmed Rami, a famous late Egyptian poet, translated the work into Arabic. His translation is considered to be a most fascinating work of modern Arabic literature, and was sung by Umm Khultum.

Other languages

  • Many Russian language translations have been undertaken, reflecting the popularity of the Rubaiyat in Russia since the late 19th century and the increasingly popular tradition of using it for the purposes of bibliomancy. The earliest verse translation (by V.L. Velichko) was published in 1891. The version by Osip Rumer published in 1914 is a translation of FitzGerald's version. Rumer later published a version of 304 rubaiyat translated directly from Persian. A lot of poetic translations (some based on verbatim translations into prose by others) were also written by German Plisetsky, Konstantin Bal'mont, Ts. Banu, I. Tkhorzhevsky, L. Pen'kovsky, and others.
  • Poet Cornelis Jacobus Langenhoven (1873–1932, author of Die Stem van Suid-Afrika) produced the first translation in Afrikaans. Herman Charles Bosman wrote a translation in Afrikaans published in 1948.
  • Eric Hermelin translated the Rubaiyat into Swedish in 1928.
  • G Sankara Kurup produced a translation into Malayalam (1932)
  • Duvvoori Ramireddy translated the Rubaiyat into Telugu in 1935.
  • Maithili Sharan Gupt and Harivanshrai Bachchan translated the book into Hindi in 1959.
  • Kazi Nazrul Islam (in 1958) and Muhammad Shahidullah produced translations into Bangla in 1942
  • D. V. Gundappa translated the work into Kannada as a collection of poems titled "Umarana Osage" in 1952
  • Gopal Chandra Kanungo illustrated and translated the book into Oriya in 1954
  • Thomas Ifor Rees produced a Welsh translation, published in Mexico City in 1939.
  • Francesco Gabrieli produced an Italian translation (Le Rubaiyyàt di Omar Khayyàm) in 1944. Alessandro Bausani produced another translation in 1965.
  • Fraînque Le Maistre produced a Jèrriais version (based on FitzGerald's 1st edition) during the German occupation of the Channel Islands 1940–1945.
  • Robert Bin Shaaban produced a version in Swahili (dated 1948, published 1952)
  • Kerson Huang based a Chinese version on FitzGerald's version.
  • In 1990, Jowann Richards produced a Cornish translation.
  • Scottish poet Rab Wilson published a version in Scots in 2004.
  • Fan Noli produced an Albanian translation, the melody and poetics of which are highly regarded.
  • At least four versions exist in the Thai language. These translations were made from the work of Edward FitzGerald many years ago. Their respective authors are HRH Prince Narathip Prapanpong, Rainan Aroonrungsee (pen name: Naan Gitirungsi), Pimarn Jamjarus (pen name: Kaen Sungkeet), and Suriyachat Chaimongkol.
  • Haljand Udam produced an Estonian translation.
  • The poet J. H. Leopold (1865-1925) rendered a number of Rubaiyat in Dutch.
  • The Kurdish poet Hajar translated the Rubaiyat in his Chwar Parchakani Xayam, which is also available as an audiobook in which the narrator sings the verses.
  • Armenian poet Kevork Emin has translated several verses of the Rubaiyat.
  • The Assyrian journalist and poet Naum Faiq translated the Rubaiyat into the Assyrian language.
  • In Finnish language first translations were made by Toivo Lyy in 1929. More recently Jaakko Hämeen-Anttila (1999 and 2008) and Kiamars Baghban with Leevi Lehto (2009) have translated Khayyam in Finnish.

Authenticity and analysis

The number of quatrains attributed to Khayyam varies from about 1,200 (according to Saeed Nafisi) to over 2,000. Many scholars believe that not all the attributed quatrains are authentic and some have been added to Khayyam's Diwan in later years for various reasons. A few literary researchers, for example, Mohammad-Ali Foroughi and Farzaneh Aghaeipour[4] have selected and published a subset of the quatrains believed to be original using various research methods.

Mystical interpretation

"Wine of the Mystic" by Paramahansa Yogananda, is an illustrated interpretation of the FitzGerald translation. Each quatrain is accompanied with Persian text, a glossary of terms, Yoganada's spiritual interpretation, and practical interpretation. It won the 1994 Benjamin Franklin Award in the field of Religion. Yogananda makes an argument for the mystical basis of Khayyam's Rubaiyat.

Influence

Like Shakespeare's works, Omar Khayyám's verses have provided later authors with quotations to use as titles:

The British composer Granville Bantock produced a choral setting of FitzGerald's translation 1906-1909.

Using FitzGerald's translation, the Armenian-American composer Alan Hovhaness set a dozen of the quatrains to music. This work, The Rubaiyat of Omar Khayyam, Op. 308, calls for narrator, orchestra, and solo accordion.

The artist/illustrator Edmund Dulac produced some much-beloved illustrations [2] for the Rubaiyat, 1909.

Filmmaker D.W. Griffith planned a film based on the poems as a follow up to Intolerance in 1916. It was to star Miriam Cooper, but when she left the Griffith company the plans were dropped;[5] he would ultimately film Broken Blossoms instead.

The Argentinian writer Jorge Luis Borges discusses The Rubaiyat and its history in an essay, "The Enigma of Edward FitzGerald" ("El Enigma de Edward FitzGerald") in his book "Other Inquisitions" ("Otras Inquisiciones", 1952). He also references it in some of his poems, including "Rubaiyat" in "The Praise of the Shadow" ("Elogio de la Sombra", 1969), and "Chess" ("Ajedrez") in "The Maker" ("El Hacedor", 1960). Borges' father Jorge Guillermo Borges was the author of a translation to Spanish of the FitzGerald version of The Rubaiyat.

The Lebanese writer Amin Maalouf based his story "Samarkand" on the life of Omar Khayyam, and the creation of the Rubaiyat. It details the Assassin sect as well, and includes a fictional telling of how the (non-existent) original manuscript came to be on the RMS Titanic.

Science fiction author Paul Marlowe's story "Resurrection and Life" featured a character who could only communicate using lines from the Rubaiyat.

The Supreme Court of the Philippines, through a unanimous opinion penned in 2005 by Associate Justice Leonardo Quisumbing, quoted The Moving Finger when it ruled that the widow of defeated presidential candidate Fernando Poe Jr. could not substitute her late husband in his pending election protest against Philippine President Gloria Macapagal Arroyo, thus leading to the dismissal of the protest.

In Cyberflix's PC game, Titanic: Adventure Out of Time, the object is to save three important items, the Rubaiyat of Omar Khayyam, one of Adolf Hitler's paintings, and a notebook that proves German officials were attempting to gain geo-political advantage by instigating communist revolution.

The Rubaiyat was quoted in the 1946 King Vidor Western film "Duel in the Sun," which starred Gregory Peck and Jennifer Jones: "Oh threats of hell and hopes of paradise! One thing at least is certain: This life flies. One thing is certain and the rest is Lies; The Flower that once is blown for ever dies."

A canto was quoted and used as an underlying theme of the 1945 screen adaptation of The Picture of Dorian Gray. "I sent my soul through the invisible, some letters of that after-life to spell, and by and by my soul did return, and answered, 'I myself am Heaven and Hell.'"

Coldcut produced an album with a song called Rubyaiyat on their album, Let us Play! This song contains what appears to be some words from the English translation. See album This was probably influenced by the 1970 album by jazz-soul harpist Dorothy Ashby [3], "The Rubaiyat of Dorothy Ashby", which has become something of a cult classic. Its highly-stylised and heavily-reverberated production values and kitsch pop mysticism, quoting from several of the poem's verses, have made it a favourite for samplers and beat-diggers.

In one 6-episode story of The Rocky and Bullwinkle Show, Bullwinkle finds the Ruby Yacht of Omar Khayyam in the town of Frostbite Falls (on the shores of Veronica Lake, no less).

Woody Guthrie recorded an excerpt of the Rubaiyat set to music that was released on Hard Travelin' (The Asch Recordings Vol. 3).

In the play and film The Music Man, town librarian Marian Paroo draws down the wrath of the mayor's wife for encouraging the woman's daughter to read a book of "dirty Persian poetry." Summarizing what she calls the "Ruby Hat," the mayor's wife paraphrases FitzGerald's Quatrain XII from his 5th edition: "People lying out in the woods eating sandwiches, and drinking directly out of jugs with innocent young girls."

The satirist and short story writer Hector Hugh Monro took his pen name of 'Saki' from Edward FitzGerald's translation of the Rubaiyat.

The Rubaiyat have also influenced Arabic music. Indeed, Oum Koulthoum, a legend of Arabic music, has sung one of those poems and made her song "robaaiyet el khayam" become one of her most beautiful songs.

A copy of the Rubaiyat plays a role in an episode of the TV series New Amsterdam and is shown to be the inspiration for the name of one of the lead character's children, Omar York.

The famed "skull and roses" poster for a Grateful Dead show at the Avalon Ballroom done by Alton Kelley and Stanley Mouse was adapted from "The Rubaiyat of Omar Khayyam".[6]

The play "The Shadow of a Gunman" by Sean O'Casey contains a reference to the Rubaiyat as the character Donal Davoren quotes "grasp this sorry scheme of things entire, and mould life nearer to the heart's desire."

Wendy Cope's poem "Strugnell's Rubiyat" is a close parody of the FitzGerald translation, relocated to modern day Tulse Hill.

Oliver Herford released a parody of the Rubaiyat called "The Rubaiyat of A Persian Kitten " in 1904, which is notable for its charming illustrations of the kitten in question on his philosophical adventures.[7]

One of the title pages of Principia Discordia, a co-author of which went by the pen-name Omar Khayyam Ravenhurst, features its own spin on the quatrain most quoted above:

A jug of wine,
A leg of lamb
And thou!
Beside me,
Whistling in
the darkness.[8]

In the opening chapter of his book God is Not Great, Christopher Hitchens quotes from Richard Le Gallienne translation Khayyam's famous quatrain:
"And do you think that unto such as you
A maggot-minded, starved, fanatic crew
God gave the secret, and denied it me?
Well, well-what matters it? Believe that, too!"

Anniversary events

2009 marks the 150th anniversary of Fitzgerald's translation, and the 200th anniversary of Fitzgerald's birth. Events marking these anniversaries include:

  • The Smithsonian's traveling exhibition Elihu Vedder's Drawings for the Rubaiyat at the Phoenix Art Museum, November 15, 2008–February 8, 2009
  • The exhibition Edward Fitzgerald & The Rubaiyat from the collection of Nicholas B. Scheetz at the Grolier Club, January 22–March 13, 2009.
  • The exhibition Omar Khayyám. Een boek in de woestijn. 150 jaar in Engelse vertaling at the Museum Meermanno, The Hague, January 31–April 5, 2009
  • The exhibition The Persian Sensation: The Rubaiyat of Omar Khayyam in the West at the Harry Ransom Humanities Research Center at The University of Texas at Austin, February 3–August 2, 2009
  • An exhibition at the Cleveland Public Library Special Collections, opening February 15, 2009
  • The joint conference, Omar Khayyam, Edward FitzGerald and The Rubaiyat, held at Cambridge University and Leiden University, July 6–10, 2009
  • The Folio Society published a limited edition (1,000 copies) of the Rubáiyát to mark the 150th anniversary.[9]

References

  1. ^ a b Irwin, Robert. "Omar Khayyam's Bible for drunkards". The Times Literary Supplement. http://tls.timesonline.co.uk/article/0,,25336-1947980,00.html. Retrieved 2008-10-05. 
  2. ^ Aminrazavi, Mehdi: The Wine of Wisdom. Oneworld 2005, ISBN 1851683550, p. 155
  3. ^ Ups and Downs of Translation, Tehran, 1988, Emami, Karim. Pg 134-169
  4. ^ "Omar Khayam (in Persian)" (PDF). http://www.afarzaneh.com/khayam.pdf. Retrieved 2008-01-20. 
  5. ^ Cooper, Miriam (1973). Dark Lady of the Silents. Bobbs Merrill. pp. 104. ISBN 0-672-51725-6. 
  6. ^ Selvin, Joel. "Alton Kelley, psychedelic poster creator, dies". San Francisco Chronicle. 2008-06-03. Retrieved 2008-06-25.
  7. ^ Old Fashioned American Humor
  8. ^ Principia Discordia, the book of Chaos, Discord and Confusion
  9. ^ http://www.foliosociety.com/book/RKS/1rubaiyat

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