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.
FitzGerald’s Anglo-Persian Rubáiyát. R. Taher-Kermani.
Translation and Literature, 23 (2014), nr. 3 (324-335)
This article examines Edward FitzGerald’s translation practice and the poetics of his Rubáiyát of Omar Khayyám (1859) in order to to enrich and supplement previous critiques. FitzGerald succeeded in ‘Persianising’ his re-writing of the rubáiyát by importing matter of peculiar Persian significance. In order to identify it, his translation of Khayyám needs to be read with, so to speak, a Persian eye; it has to be scrutinized as a native critic would read and analyse the poetry of, for example, Hāfiz. This is the fundamental approach of this essay.
The benefits of reading the Rubaiyat of Omar Khayyam as pastoral. Giuseppe Albano.
Victorian Poetry, 46 (2008), nr 1, p. 55-67.
On the publication of J. B. Nicolas’ French translations of Omar Khayyam –collected in book form as Les quatrains de Kheyam in 1867, having initially appeared in the Revue de l’Orient, de l’Algerie et des Colonies four years earlier–Edward FitzGerald was provoked into a caustic disagreement with its translator. The Frenchman held that Omar’s testaments to the benefits of drinking wine should not be taken literally, but should be seen in Sufi terms as representing an enlightened state of being.
Traduire c’est trahir: des Arabian Nights aux Rubaiyat of Omar Khayyam. Laurent Bury.
In: L’orientalisme victorien dans les arts visuels et la littérature. Laurent Bury. Grenoble, ELLUG, 2011. ISBN: 978-2843101762
Il est une forme de colonisation plus pacifique, mais aussi moins univoque, puisqu’elle autorise une influence réciproque : l’assimilation d’une culture par une autre que suppose l’exercice de la traduction. Avec l’engouement qu’elle suscite pour les langues lointaines, la « Renaissance orientale » est à l’origine d’une floraison d’arrangements et d’adaptations, dans lesquels les Victoriens refusent de s’effacer humblement, préférant rester auteurs à part entière. Comme le montrera l’exemple de quelques traductions orientales produites au XIXe siècle, l’intervention de l’interprète y est souvent très visible.
Astronomical References In The Ruba’iyât Of Omar Khayyam. Imad-Ad-Dean Ahmad.
Delivered to the Third International Conference on the Inspiration of Astronomical Phenomena, Mondell, Sicily, January, 2001.
Omar Khayyam was both an astronomer and a poet. We examine the astronomical references in different translations of his poetry and in Elihu Vedder’s illustrations of the first American edition of Edward Fitzgerald’s famous translation as the takeoff points for discussing the controversy as to the meaning of his poetry and the differences in culture between 11th-century Iran where he wrote them and 19th-century Britain and America where Fitzgerald and Vedder respectively were born.
‘Umar Khayyám au mirroir de quelques interprétations modernes, de FitzGerald à Hedáyat. Jacques Huré.
Luqmán 17 (2001) nr. 1, p. 7-15.
‘Umar Khayyám peut être vu, aujouid’hui, comme un «agitateur d’idées», le carrefour où se rassemblent ceux qui s’interrogent sur la portée des textes anciens d’où émane cette notion moderne qu’est l’incertitude du sens, ceux qui s’interrogent sur le rapport entre le discours spirituel et le discours philosophique, et, plus généralement ceux qui discutent de la pensee “oriëntale”, telle qu’elle doit prendre place dans tout débat ouvert aujourd’hui en Occident.
Il giardino del perfetto edonista: Le Rubāiyāt di Edward FitzGerald. F. Quaglia.
Quaderni del Dipartimento di Lingue e Letterature Straniere Moderne, Università di Genova 8 (1996), p. 155-192.