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D’Omar Khayyam à Fernando Pessoa et à Pierre Seghers

D’Omar Khayyam à Fernando Pessoa et à Pierre Seghers : traduction, recréation, transfert? Ana Maria Binet
In: Synergies Portugal, (2020), 8, pp. 83-95,165-166

The constant attraction for Eastern world on the part of Western world became particularly relevant in the XIXth century, bringing about a special interest for oriental poetry, which was abundantly translated, mainly to English and French. Omar Khayyam, a great Persian medieval poet, was one of the objects of this fascination, having been translated, among others, by Edward FitzGerald, in 1859, which made him famous through English speaking world. Fernando Pessoa used this translation to adapt Khayyam’s poetry to his own inspiration. In 1982, Pierre Seghers published his French translation, which is perhaps, among those we present here, the only one we can consider as being one.

 

Les lectures de Khayyâm en France

Les lectures de Khayyâm en France. Sarah Mirdâmâdi.
La Revue de Tehran (2010) 59 (Octobre)

Les célèbres Robâiyât de Khayyâm ont fait l’objet d’un très grand nombre de traductions en différentes langues occidentales. Si la première et la plus fameuse fut la traduction anglaise de Fitzgerald, à partir de la seconde moitié du XIXe siècle, plusieurs traductions françaises des Quatrains ne tardèrent pas à être publiées. Les fameux poèmes suscitèrent de nombreux débats concernant la personnalité de leur auteur : Khayyâm était-il un hédoniste ou même un ivrogne aux penchants nihilistes avide de profiter des jouissances de l’instant présent ?

Rubaiyat of Omar Khayyam in the Eyes of Lazard

Rubaiyat of Omar Khayyam in the Eyes of Lazard. Dina Gamal Abou El Ezz
Faits de Langues, 38 (2011), p. 103–122.

A linguistic analysis depends on the strength of the implied meaning which allows two different mirror images to reflect the same text being:”The Rubáiyát of Omar Khayyám” through the perspective of Gibert Lazard and Abolgassem Etessam Zadeh. The rhetoric strength of Lazard’s poem and his superiority in the art of translation are clearly demonstrated by way of a study based on the micro-structural element of the poem.

Omar Khayyam, la Poésie Persane et Max Rouquette …

Omar Khayyam, la Poésie Persane et Max Rouquette: Max Rouquette, traducteur, Occitan d’Omar Khayyam: Choix de Roubaïates de Omar Khayyam Traduits en Occitan par Max Rouquette. Roland Pécout.
Les Cahiers Max Rouquette, 2012, 6, pp. 19-39.

Etude critique des traductions en français d’un quatrain d’Omar Khayyâm

Etude critique des traductions en français d’un quatrain d’Omar Khayyâm. Saidi Bouroujeni, Sara; Dadvar, Elmira.
Plume 6 (2011) 13, pp. 127–142

In the XXe, translation is changing. Slowly, we go from language to speech, with text as unity. We are discovering the oral of literature, not like in theatre only. Intuitively, the greatest translators have ever known it. We discover that the translation of a literal text must do what a literal text do through its prosody, its rhythm, its significance, such as o kind of individualization, a kind of form-topic that radically move the precepts of transparency and faithfulness of the traditional theory. As part of our doctorate thesis Reception of the quatrains of Omar Khayyam in France (XIX-XXIe centuries), because of failure to analyze all the quatrains, we propose to compare the translations of one of the high frequently translated robâ’i or quatrain in most of the French translations of the Quatrains.

Gilbert Lazard, translator of Omar Khayyam

Gilbert Lazard, translator of Omar Khayyam. Mohammad Ziar.
Faits de Langues 38 (2011), pp. 97-102.

Summary

Besides his Grammar of Contemporary Persian (1957) and French-Persian Dictionary (1990) Gilbert Lazard is also the translator of twelve books, including One Hundred and One Quatrains of Omar Khayyam (1994) where he tried to translate robaïat from the great Persian poet and philosopher, a translation more consistent with the taste of French readers and francophones. Obviously Gilbert Lazard has read but did not like many of the translations of Omar Khayyam’s quatrains done before him, finding them too solemn, which according to him, would not accord very well with robâï lightness and flexibility. So that’s why he decided that a new poetic translation would be better than those of Jean-Baptiste Nicolas: The quatrains of Omar Kheyyam, (1867), Charles Grolleau: The quatrains of Omar Kheyyam (1902), Claude Anet: Robais 144, (1920), Franz Toussaint (1924), Arthur Guy: The Robaï Kheyyam Omer (1935), P. Seghers: Omar Khayyam, his life and his quatrains, (1982), Mostafa Farzaneh and Jean Malapate: Cats of Omar Khayyam) (1993) … We, therefore, propose that some of these translations as well as One Hundred and one Quatrains be compared with the original text to see the strength of each and examine the quality of Gilbert Lazard’s translation.