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The Meaning of Matter: Atoms, Energy, and the Rubáiyát of Omar Khayyám

The Meaning of Matter: Atoms, Energy, and the Rubáiyát of Omar Khayyám. Tyson Stolte
In: Victorian Studies, Volume 63, Number 3, Spring 2021
pp. 354-376

This article focuses on the bodily matter that is at the heart of Edward FitzGerald’s Rubáiyát of Omar Khayyám, returning the poem to the context of Victorian debates about atomic matter and the new energy science. Essential to this reading is FitzGerald’s comparison of Omar Khayyám to Lucretius, the latter of whom was widely seen in the 1860s and 1870s as having anticipated both Victorian atomism and thermodynamics. Arguing that FitzGerald’s translation reflects Lucretian science in its form as well as its content, this article finds in the Rubáiyát a window onto the contested status of Victorian matter, thereby complicating our narratives of the rise of scientific naturalism and underscoring the resiliency of scientific dualism in the latter half of the nineteenth century.
Abstract

The sweetest of Fitzgerald’s quatrains

The sweetest of Fitzgerald’s quatrains. Henry E. Legler
In: Book Lover, November-December 1902, p. 464-465

Compares FitzGerald’s famous quatrain no. 12 (1879) “A Book of Verses …” with translations by other authors (Le Galienne, Curtis, Pickering, Kerney, Whinfield, Garner, Keene, Anson, Costello, Cowell and Powell.

Cosmic poetry of Omar Khayyam and its artistic exposition using batik techniques

Cosmic poetry of Omar Khayyam and its artistic exposition using batik techniques. Victoria Nikulina; Muhammad Rashid Kamal Ansari
Mystic Thoughts – Research Journal of Sufism and Peace, 1 (2015) 1, pp. 61–94.

This study compares seven translations of Omar Khayyam, five in English, one in Urdu and one in Russian. These translations are free translations from the Persian. Translators in most cases have translated giving a flavor of their own views about the poetry of Omar Khayyam. So, all the translations appear different while translating the same quatrain. Eight quatrains of Omar Khayyam which this study terms as cosmic are selected and their translations are compared. Finally, eight paintings created by one of the authors Victoria Nikulina are introduced which illustrate the cosmic views of Omar Khayyam. These paintings utilize the mediums of Batik Art

Pessoa, Borges and Khayyam

Pessoa, Borges and Khayyam. Fabrizio Boscaglia
Variaciones Borges, 2015, nr. 40, pp. 41–64.

The fascinating possibility of an encounter between Pessoa and Borges in Lisbon, in May 1924, at the end of Borges’s second trip in Europe, has been the departing point for some comparative readings on these authors (Rodriguez Monegal 15-16; Ferrari and Pizarro 91; Balderston 168). The author wants to imagine that, if it had happened, they would have discussed, among other things, a work which both would later mention in their upcoming publications and that would become an important reference to both of them. It is the Rubaiyat of the Persian poet and philosopher Omar Khayyam (1048-1131), in the famous English translation by the English poet Edward FitzGerald (1809-1883), first published in 1859.

Voice in Khayyam’s Rubaiyat and FitzGerald’s English translation

Voice in Khayyam’s Rubaiyat and FitzGerald’s English translation. Saeedeh Bisayar; Mahdi Safari; Mousaahmadian
International journal of English language, literature and translation studies, 2 (2015) 1, pp. 114–124.

This study attempted to examine the concept of “voice” in Khayyam’s Rubaiyat compared with Fitzgerald’s English translation through investigating the extent of ideological changes Fitzgerald applied in his paraphrase and through analysis of the existing voice in every selected quatrain of Khayyam’s Rubaiyat. For this purpose, six Persian quatrains by Khayyam have been selected randomly and their equivalences have been traced in the first edition of the translation of Rubaiyat by Fitzgerald.

Comparison on Main Translated Versions of The Rubaiyat

Comparison on Main Translated Versions of The Rubaiyat. Jian-wei Zhang.
Journal of Mianyang Normal University, [2012] 9.

Omar Khayyam’s The Rubaiyat has a lot of Chinese versions.Owing to the time of translation and the different views of translators,these versions present for readers different aspects.Guo Moruo’ version,Huang Gaoxin’ version are translated from Fitzgerald version.Zhang Hongnian’s version is literal translated from Persian.These three versions are representative in different versions of The Rubaiyat and there are obvious distinctions in terms of internal thoughts and external patterns among them.