From FitzGerald’s Omar to Pessoa’s Rubaiyat. Jerónimo Pizarro.
In: Castro (Ed.) 2013 – Fernando Pessoa’s modernity without frontiers, pp. 87-100.
Essay on Pessoa’s interests in Khayyám’s rubáiyát, his translations and his publications on Khayyám.
Archives
A Comparative Study of Modulation in English Translations of Khayyam’s Quatrains
A Comparative Study of Modulation in English Translations of Khayyam’s Quatrains. Mojtaba Delzendehrooy ; Amin Karimnia.
Procedia – Social and Behavioral Sciences 70 (2013), pp. 28–40.
During the process of translation, the relatedness of content and form sometimes leads to some changes in semantics or point of view of the original text. This study tries to investigate the instances of modulation occurred in the translation of poetry. To this end, two English translations of Khayyam’s quatrains (FitzGerald and Emami) were studied to see what kinds of modulation have been used by the translators and consequently how they have changed the semantics and points of view of the original work; i.e. Khayyam’s quatrains. The two translations were studied carefully to identify the instances of modulations occurred.
Victorian Poetry and Translation
Victorian Poetry and Translation. Richard Cronin
In: Reading Victorian Poetry. Richard Cronin. Chichester, Wiley-Blackwell, 2012, pp. 114-140.
It was not a great age of poetic translation, but in D.G. Rossetti and Edward FitzGerald it had two great translators, and almost all the most important Victorian poets produced translations of one kind or another. Greek tragedy proved particularly attractive: Barrett Browning translated Aeschylus’s Prometheus Bound not once but twice (1833 and 1850), and Augusta Webster translated it too, before going on to publish a version of Euripides’ Medea (1866 and 1868). Robert Browning accommodated within two of his later poems, Balaustion’s Adventure (1871) and Aristophanes’ Apology (1875), complete translations of two other plays by Euripides, Alcestis and Heracles . Edward FitzGerald translated the Agamemnon (1865) as well as Omar Khayyám.
Quatrains of ‘Umar Khayyám in Turkish, and Turkish quatrains
Quatrains of ‘Umar Khayyám in Turkish, and Turkish quatrains. S. Sötemann.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 97-104
Sötemann explains that while Ottoman poets were deeply influenced by Persian poetry, they avoided composing quatrains, preferring other literary forms. Yahya Kemal Beyatlı (1884-1958) was an exception, as he tried to master all the forms and genres of Ottoman poetry. In his efforts, Beyatlı translated Khayyám and introduced his poetry to Turkish people.
Orientalism translated – Omar Khayyam through Persian, English and Hindi
Orientalism translated – Omar Khayyam through Persian, English and Hindi. Harish Trivedi.
In: Colonial transactions. English literature in India. Manchester, Manchester University Press, 1995., p. 29-52.
The Khayyam texts assembled in this essay constitute a partial but significant narrative of the formation of the modem Indian identity not only in terms of a Perso-Indian response to a Perso-Anglian poetic construct, but also in terms of the constantly shifting grounds of the linguistic basis of that response. The progress of Khayyam from Persian not initially into Hindi but into English into Hindi into English-English into Indian-English not only reflects closely the linguistic-cultural evolution of modem India from c. 1780 to 1989: it also provides a complex ‘oriëntalist’ sub-text of our colonial and post-colonial condition over this period.
Khaiyâmî
Khaiyâmî. F. de Blois.
In: Persian literature. Vol. 5, part 2. London, The Royal Asiatic Society of Great Britain and Ire, 1994, p. 356-380.
Biographical and bibliographical survey of Khayyám’s life, works and the study and translations of his rubáiyát.
Omar Khayyâm en breton
Omar Khayyâm en breton. J.L. Backès.
Revue de littérature comparée 99 (1992) nr. 4 (Oct./Déc.), 419-437.
A la fin du volume de ses Poèmes publié en 1967, Roparz Hemon propose à son lecteur soixante-dix-sept quatrains réunis sous le titre général “Diwar Omar C’hayyam”, ce qui s’entend: “D’après Omar Khayyâm”. Honnêtement, le poète ajoute entre parenthèses: “hervez E. FitzGerald”, ce qui signifie: “selon FitzGerald”.