A Coleção Rubáiyát. Denise Bottmann
In: Cadernos de Tradução, vol. 43 (2023) 1
This article draws a sketch of the so-called Coleção Rubáiyát, published by Livraria José Olympio Editora since 1943 through 1961, presenting its previous roots in another series of books, and a complete list of its published works, as well as a brief iconography with some cover images.
Edward FitzGerald’s „Rubáiyát of Omar Khayyám“ and Related Materials. The John Roger Paas Collection. Edited by John Roger Paas. Wiesbaden, Harrassowitz Verlag, 2023. 1184 pages, 3 parts. Part 1+2: Text, XXII, 872 pages; Part 3: Plates, 312 pages. ISBN 9783447120906
Bernard Quaritch and ‘My Omar’ – The struggle for FitzGerald’s Rubáiyát. Arthur Freeman.
In: Edward FitzGerald’s The Rubáiyát of Omar Khayyám. Ed. by H. Bloom. Philadelphia, Chelsea House, 2004. p. 169-183.
(From The Book Collector, special issue. 1997)
As a publisher, Bernard Quaritch’s principal claim to memory lies in his association with Edward FitzGerald. Quaritch’s imprint appears on the first four editions of The Rubaiyat of Omar Khayyam. His instrumentality in popularising The Rubaiyat was well recognised in its time. The publication history of The Rubaiyat is narrated.
The illustration of FitzGerald’s Rubáiyát and its contribution to enduring popularity. W.H. Martin, S. Mason.
In: FitzGerald’s Rubáiyát of Omar Khayyám. Popularity and neglect. Ed. by A. Poole et al. London, Anthem Press, 2011. pp. 233-248.
In this paper, the authors aim to shed more light on how it is that Edward FitzGerald’s short poem became one of the most widely illustrated books of all time. They consider the social and economic framework within which publication of FitzGerald’s Rubáiyát reached its zenith and the critical role played by technical change in this important period. They examine in more detail the role of certain key actors, notably individual publishers and their illustrators, in the process of Rubáiyát publishing. And, by looking at the longer term evolution of Rubáiyát publishing through the twentieth century, they try to reach a clearer view of the importance of illustration to the enduring popularity of the poem.
‘Under Omar’s subtle spell’: American Reprint Publishers and the Omar Craze. J.R. Paas.
In: FitzGerald’s Rubáiyát of Omar Khayyám. Popularity and neglect. Ed. by A. Poole et al. London, Anthem Press, 2011. pp. 127-146.
By 1900 a cult of sorts with Omar and FitzGerald as the focus existed on both sides of the Atlantic, but what has yet to be clarified is the seminal role that American reprint publishers played as they first responded to the public’s interest in the Rubáiyát and then contributed to the spread of the cult. These enterprising publishers offered the public a range of inexpensive reprint editions of FitzGerald’s poem and in the process developed clever marketing strategies that continue to this day. The impact which they had on the cultural acceptance of the Rubáiyát cannot be overestimated, and the purpose of this essay is to shed light on how this happened.
Bernard Quaritch as an antiquarian bookseller. E. Glasgow.
Library review 47 (1998) nr. 1, p. 38-41.
A wanderer’s note-book : “Young Parker”. E.V. Lucas
In: The Sunday Times, January 16, 1938.
E.V. Lucas wonders why none of the employees at Parker’s recognized the qualities of the verses that Fitzgerald sent them to be published in Fraser’s Magazine