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Young Eliot’s Rebellion

Young Eliot’s Rebellion. V.M. d’Ambrosio.
In: Edward FitzGerald’s The Rubáiyát of Omar Khayyám. Ed. by H. Bloom. Philadelphia, Chelsea House, 2004. p. 119-149.
(From Eliot Possessed: T. S. Eliot and FitzGerald’s Rubaiyat. 1989)

The reception to the Rubaiyat in America is presented in “Young Eliot’s Rebellion” (pp. 119-149), where Vinni Marie D’Ambrosio introduces us to the influence it had on T.S. Eliot who discovered it in 1902. The ambiance of the time was pervaded by the rage for or against the Rubaiyat, which was considered to have played a role in the breakdown of America’s Protestant religion and of the Temperance ethic that the religion had subsumed. This cultural milieu of Eliot as a youth explains several of his poems and, as the author concludes, the youthful Eliot may have felt he was “not an imitator of Omar, but a manly, if secret, disciple of him”. (Abstract from: Abstracta Iranica)

FitzGerald’s Approach to Translation

FitzGerald’s Approach to Translation. Habibollah Mashhady, Mahbube Noura.
International Journal of Scientific & Engineering Research 3 (2012) 4, pp. 370–384.

The present paper attempts to explore FitzGerald’s overall approach to translation by examining his translated works and particularly by focusing on his translation of Khayyam’s Rubaiyat. Khayyam Rubaiyat is selected as the text to gather data and it is compared to its English translation by FitzGerald in order to identify the strategies he used in translating it into English.

Attempts at locating the Rubaiyat in Indian philosophical thought

Attempts at locating the Rubaiyat in Indian philosophical thought. A. Rangarajan.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 233–243.

In this article Rangarajan gives a metaphysical reading of Khayyám’s quatrains by comparing Khayyám’s description of human existence with the supernatural order of Hinduism. Moreover, the author concentrates on other religions such as Buddhism, Jainism and Ajivika, showing how Khayyám’s philosophy matches the tenets of these religions.

Some ‘Umarian quatrains from the lifetime of ‘Umar Khayyám

Some ‘Umarian quatrains from the lifetime of ‘Umar Khayyám. Alexander H. Morton.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 55-65.

Morton draws attention to an overlooked anthology compiled by Abu ‘l-Qásim Nasr b. Amad b. who was writing during the reign of the Ghaznavid Mas ‘ùd III (492-508/1099-1115).

Bitter certainty: J.H. Leopold on ‘Umar Khayyám

Bitter certainty: J.H. Leopold on ‘Umar Khayyám. J.D.F. van Halsema.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 129-134.

In this contribution Van Halsema discusses how the poet J.H. Leopold (1865-1925) focused on philosophy between 1900 and 1906, seeking to solve the problem of human loneliness. He studied Stoa, Epicurus, Spinoza, Descartes, Hume, and Kant closely, and then, in 1904, he found ‘Umar Khayyám.

Khayyám’s universal appeal: man, wine, and the hereafter in the quatrains

Khayyám’s universal appeal: man, wine, and the hereafter in the quatrains. A.A. Seyed-Gohrab.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 11-38.

Introductory essay, in which the author discusses a number of aspects in respect to the study of Omar Khayyám and his rubáiyát: the contents of the quatrains; man, the world and the hereafter; doubt versus certainty; the knot of death; flora and fauna; the pot and the pot-maker; who is the beloved; people with discernment; in vino veritas; activities in the world.

The legacy of ‘Umar Khayyám in music in the Netherlands

The legacy of ‘Umar Khayyám in music in the Netherlands. Rokus de Groot.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 143-160.

De Groot studies several compositions by Dutch composers. In addition to this aspect of Khayyám’s musical reception, De Groot’s contribution explores how Dutch composers responded to Edward FitzGerald’s Rubáiyát and other translations of Khayyám’s poetry. Composers reacted differently to Khayyám’s quatrains: while a number of them concentrated on a spiritual meaning of the quatrains, others composed pieces in which hedonism is put to a central place.