Omar Khayyám en de Rubaiyat in vertaling en romans. Kees Hendrikse
In: Boekenpost 10 (2002), 61, p. 34–35
In de serie onder de titel BOEKBOEKEN bespreekt Kees Hendrikse bekende en minder bekende schrijvers met hun boeken over mensen die boeken lezen, schrijven, drukken of verkopen: Garfield, Canetti, Bradbury, Hanff, e.a. Dit keer de apocriefe lotgevallen van een wereldberoemde tekst.
Rubaiyat EI-Khayyam zwischen den deutschen und den arabischen Übersetzungen. Fausia Hassan
In: Revue Traduction et Langues, 2 (2003), 1, p. 22–42
Al-Khayyam between the Arabic and German translations -This work deals with the Rubaiyat of Omar Al -Khayyam. -We will cover the life and work of Omar AlKhayyam in general, emphasizing his importance and influence on other poets. A general overview of the different translations is given. It is further examined to what extent the Arabic translations differ from the German translation and where there is a comparison. The question is also asked whether the difference involves social, political or other aspects. With 50 quatrains quoted from the translation by Mohamed Abou-Zaid.
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.
Edward FitzGerald’s Rubáiyát of Omar Khayyám. A famous poem and its influence. Edited by William H. Martin and Sandra Mason. London; New York; Delhi, Anthem press, 2011. xi, 170 p. ISBN: 9780857287700.
The Great ‘Umar Khayyám. A Global Reception of the Rubáiyát. A.A. Seyed-Gohrab. Leiden, Leiden University Press, 2012. 267 p. (Iranian Studies Series). ISBN: 9789087281571.
Edward FitzGerald and the Rediscovery of Omar Khayyám for Persian Nihilism
In: Persophilia : Persian Culture on the Global Scene. Hamid Dabashi. Cambridge (MA), Harvard University Press, [2015]. 297 pp. ISBN: 9780674495777.
Summary:
From antiquity to the Enlightenment, Persian culture has been integral to European history. Interest in all things Persian shaped not just Western views but the self-image of Iranians to the present day. Hamid Dabashi maps the changing geography of these connections, showing that traffic in ideas about Persia did not travel on a one-way street.
The influence of epicurean thought on the Rubaiyat of Omar Khayyam. Craig A. Leisy.
Manchester, Shires Press, 2015. xv, 265 pages ; 22 cm. ISBN: 978-1-60571-277-2.
Summary:
The freethinker philosophy of Omar Khayyam, as expressed in his verses, was out of step with his society in the medieval Islamic world. However, his thinking was consistent with that of other freethinkers in the Middle East and may be traced to materialists in ancient Greece such as Democritus (atomism), and Epicurus (341-271 BCE). This book explores evidence that the Persian poet Omar Khayyam, and other poets in the medieval Islamic world, were influenced by the freethinkers in ancient Greece, the source of the conflict between science and religion
Late night thoughts on reading Fitzgerald’s Omar Khayyam: my own reflections on a poem that has guided me well. Robert Gary. Independently published, 2017. 55 p. ISBN: 978-1520406756.
Summary:
This book is personal philosophical reflections on reading on Rubaiyat of Omar Khayyam, as translated by Edward Fitzgerald. Only some of the rubai are included, and the ones selected for including are taken from many different editions of the Fitzgerald translation based on the author’s own preference of which was the best. The French translations are his own amateur attempt to convey the basic meaning of a few rubai into modern French. The illustrations are Gary’s own gouache and watercolor paintings done in 1995.