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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.

 

Omaritis in de polder

Omaritis in de polder. Jos Biegstraaten
In: De Perzische muze in de polder. De receptie van de Perzische poëzie in de Nederlandse literatuur. Goud, Marco; Seyed-Gohrab, Asghar (ed.). Amsterdam, Rozenberg, 2006. p. 163–177.

The legacy of ‘Umar Khayyám in music in the Netherlands

The legacy of ‘Umar Khayyám in music in the Netherlands. Rokus de Groot.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 143-160.

De Groot studies several compositions by Dutch composers. In addition to this aspect of Khayyám’s musical reception, De Groot’s contribution explores how Dutch composers responded to Edward FitzGerald’s Rubáiyát and other translations of Khayyám’s poetry. Composers reacted differently to Khayyám’s quatrains: while a number of them concentrated on a spiritual meaning of the quatrains, others composed pieces in which hedonism is put to a central place.

How ‘Umar Khayyám inspired Dutch visual artists

How ‘Umar Khayyám inspired Dutch visual artists. Jos Biegstraaten.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 135-142.

Biegstraaten examines the work of four Dutch artists who were inspired by Khayyám’s quatrains: Willem Arondéus (1894-1943), Ger Gerrits (1893-1965), Siep van den Berg (1920-1998) and Theo Forrer (1923-2004).

Khayyam Chapel – a place of solitude and contemplation

Khayyam Chapel – a place of solitude and contemplation. Grady W. Whitaker. Texas Tech University, Architecture Faculty of the College of Architecture, 1990.

Summary

In the context of translating one art form into another, this thesis will concentrate on the the use of literature as an inspiration to design a physical object. The literature selected for this thesis is the Rubaiyat by Omar Khayyam, in which Khayyam discusses the relationship between man and God. Although the Rubaiyat is not a descriptive piece of literature, it is believed that it will provide the inspiration needed to create a great piece of architecture – a chapel. The chapel itself is to be an ecumenical structure and dedicated to Omar Khayyam’s thoughts contained in the Rubaiyat. The chapel is to be a place where a person can escape the everyday world in hope of gaining a better understanding of himself and his surroundings (be it physical or metaphysical). The goal of this chapel is to create a place of solitude and contemplation within a context that is juxtaposed.

Sipping from the Rubáiyát’s Chalice

Sipping from the Rubáiyát’s Chalice. My journey with the Rubáiyát of Omar Khayyám. Martin Kimeldorf. Kimeldorf, 2017. 118 pp. ISBN: 9781537462608.

Contents:
Prefatory map
Introduction
Part I – My Rubáiyát memoir
Chapter 1 – Looking backward to find a way forward
Chapter 2 – Lessons from the Rubáiyát
Part II – The Poets and their Poetry
Chapter 3 – The grand collaboration
Chapter 4 – My favorite Rubáiyát quatrains
Chapter 5 – The sweet and sour chalice rim
Part III – Trying to Grasp the Scheme Entire
Chapter 6 – The artistic connections
Chapter 7 – Sipping the 21st century chalice
Chapter 8 – The Omarian Martini toast