Quatrains of Many Receptions: A Survey of Perceptions of ‘Omar Khayyām in Ottoman and Turkish Translations. Efe Murat Balıkçıoğlu
In: Iranian Studies, Vol. 57 (2024), 2, pp. 221–239
This article explores the wide range of responses to Persian polymath and poet ‘Omar Khayyām (d. ca. 526/1132) in Ottoman and Turkish literary sources. There is an extensive bibliography of translations and secondary literature.
The Mysticism of the Ruba’iyat of Omar Khayyam. A.N.J. Whymant
In: Islamic Review and Arab Affairs, Vol. 3 (1915), 10, pp. 540–546
The Psychology of the Persian (Mystic) Philosophers. No. 1. Omar Khayyám. A.N.J. Whymant
In: Islamic Review and Arab Affairs, Vol. 3 (1915), 7, pp. 346-350
Scherf onder aarden scherven : Jesaja 45: 9-10. N. Matsier.
In: Een verbeelde God. Red. J. Goud. Zoetermeer : Meinema, 2001, p. 37-43
ISBN 90-211-3846-8
Eerder verschenen als onderdeel van twee lezingencycli, in Trouw van 23 mei 1998, al dan niet in verkorte vorm.
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
The Rubáiyát and its compass. Annmarie Drury.
In: Translation as Transformation in Victorian. Annmarie Drury. Cambridge, Cambridge University Press, 2015. pp. 147-191.
Edward FitzGerald described his translation of Omar Khayyám’s Rubáiyát, which he produced in four versions ranging from 75 to 101 stanzas, as centered on the theme of carpe diem. In musical terms, the poem might be described as variations on that theme; in visual terms, as a kaleidoscopic exploration of it. Following the lead of Omar Khayyám (1048–1131), a Persian poet and scientist, FitzGerald made his Rubáiyát elaborate a philosophy of “seizing the day”: through lamentation, through the recounting of personal experience, through bald assertions of defiance against conventional piety, through metaphorical representations of a world in which human beings lack meaningful volition, and through vignettes – especially the longest, most fanciful one, in which the poem’s speaker overhears a group of pots speculating about their creator.
Veiling the Mystic in the Hedonist’s Gear: A Comparative Rereading of Omar Khayyam’s The Rubaiyat and Harivansh Rai Bachchan’s Madhuśālā. Prasun Banerjee.
The Contour, 1 (2015) 4 (April), pp. 14-21.
Despite the conspicuous mystic perspectives, the recognition of the Rubaiyat to the Western literary discourse has essentially been as a hedonist poem celebrating the paganistic wine-intoxicated revelry and joys of earthly life and that of Omar Khayyam as the poet of the sharab (wine), saki (wine-girl) and peyala(wine-pot). But a careful scrutiny of the Persian and oriental tradition of poetry would reveal that the Rubaiyat is fraught with poetic devices that indicate at established Sufistic discourses in Khayyam’s verses, almost akin to the poets like Rumi, Hafeez or Ferdowsi.