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Omariana. A descriptive catalogue of the collection owned by Leone Fulmer Nash and Paul Tausig with contributions from other sources, including illustrated editions, academic editions, press copies, secondary literature, parodies and so on

Omariana. A descriptive catalogue of the collection owned by Leone Fulmer Nash and Paul Tausig with contributions from other sources, including illustrated editions, academic editions, press copies, secondary literature, parodies and so on. Marc-Edouard, Enay, Kent Nielsen. [Hamburg, Orient-Antiquariat, ca. 1990]

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.

FitzGerald’s Rubáiyát: A Victorian Invention

FitzGerald’s Rubáiyát: A Victorian Invention. Esmail Zare-Behtash. The Australian National University, 1997.

Summary:
This study was written in the belief that FitzGerald did not so much translate a poem as invent a persona based on the Persian astronomer and mathematician (but not poet) Omar Khayyám. This ‘invention’ opened two different lines of interpretation and scholarship, each forming its own idea of a ‘real’ Omar based on FitzGerald’s invention. One line sees Omar as a hedonist and nihilist; the other as a mystic or Sufi. My argument first is that the historical Omar was neither the former nor the latter; second, FitzGerald’s Rubáiyát is a ‘Victorian’ product even if the raw material of the poem belongs to the eleventh-century Persia. The Introduction tries to find a place for the Rubáiyát in the English nineteenth-century era.

Edward FitzGerald. Rubáiyát of Omar Khayyám: A Critical Edition

Edward FitzGerald. Rubáiyát of Omar Khayyám: A Critical Edition. Edited by Christopher Decker. Charlotteville ; London, University Press of Virginia, 1997. lxxii, 258 p. (Victorian Literature and Culture Series). ISBN: 0813916895.

Summary:
In this critical edition all extent states of FitzGerald’s versions of the translation are published for the first time, providing a full record of its complicated textual evoluation. Decker illuminated the complex process of revision by providing a textual appendix in which a comparative printing lays down each stratum of the composition.

Contents

Acknowledgements p. ix
Abbreviations p. xi
Introduction p. xiii
Textual note p. xlix
Emendations p. lxii
Select bibliography p. lxix
Critical text of FitzGerald’s Rubáiyát of Omar Khayyám
1859 p. 1
1868 p. 25
1872 p. 57
1879 p. 87
Appendix I. Comparative texts, with a table of the sequences of quatrains in the Rubáiyát p. 117
Appendix 2. FitzGerald’s Latin translation p. 233
Appendix 3. The pronunciation of Persian words in the Rubáiyát p. 238
Appendix 4. Select glossary p. 250
Index p. 255