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Vernacularizing Rubaiyat: the politics of Madhushala in the context of the Indian nationalism

Vernacularizing Rubaiyat: the politics of Madhushala in the context of the Indian nationalism. A. Castaing.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 215–232.

Anne Castaing shows the influence of Khayyám on the young Hindi poet Harivansh Rai Bacchan (1907-2003), who translated the quatrains into Hindi under the title of Umar khayyám kī Madhuśálá (“Omar Khayyám’s House of Wine”). Bacchan wrote his own collection of quatrains entitled Madhuśálá (“The house of wine,” 1935) that deals with the same motifs and symbolism and are interpreted as an “allegory of poetic creation, homeland, universe, love etc., with wine and intoxication symbolising the duality of existence, both sweet and bitter.” By using themes and motifs from Khayyám’s poetry, Bacchan readdresses the questions of orthodoxy versus free thinking, hierarchy of being and man’s place in the universe.

Other Persian quatrains in Holland: the Roseraie du savoir of Husayn-i Ázád

Other Persian quatrains in Holland: the Roseraie du savoir of Husayn-i Ázád. J.T.P. de Bruijn.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 105-114.

De Bruijn explains how, from the nineteenth century onwards, Persian quatrains became fashionable in Dutch poetry. After briefly referring to two great Dutch poets, P.C. Boutens (1870-1943) and J.H. Leopold (1865-1925), De Bruijn concentrates on their common source, an anthology of Persian quatrains in two parts published in 1906 under the titles Gulzár-i ma ‘rifat and La Roseraie du Savoir respectively. The author of these Persian and French anthologies was a Persian by the name of Husayn-i Ázád, who was a physician at the provincial Qajar court of Isfahan. He travelled to London and Paris, but later settled in Paris, where he concentrated on European and Persian poetry. In his chapter, De Bruijn gives a vivid picture of Husayn-i Ázád’s life and how he tried to introduce treasures from the Persian literary tradition to a western public.

How ‘Umar Khayyám inspired Dutch visual artists

How ‘Umar Khayyám inspired Dutch visual artists. Jos Biegstraaten.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 135-142.

Biegstraaten examines the work of four Dutch artists who were inspired by Khayyám’s quatrains: Willem Arondéus (1894-1943), Ger Gerrits (1893-1965), Siep van den Berg (1920-1998) and Theo Forrer (1923-2004).

Between tavern and madrassa: ‘Umar Khayyám the scientist

Between tavern and madrassa: ‘Umar Khayyám the scientist. Bagheri, Mohammad.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 67-72.

This contribution focuses on Khayyám as a scientist and how his scientific merits are combined with his literary genius. Bagheri’s study includes Khayyám’s classification of cubic equations, his commentary on Euclid’s Elements, and Khayyám’s scientific achievements.

Reading the Rubá’iyyát as “resistance literature”

Reading the Rubá’iyyát as “resistance literature”. Mehdi Aminrazavi.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 39-53.

Aminrazavi argues that many of the Rubáiyát were written as a reaction to the rise of Islamic orthodoxy and the demise of the intellectual freedom which was so prevalent in the first four centuries of the Islamic history. He argues that once Khayyám’s Rubáiyát are placed within the historical context of his time, they will no longer appear to be the pessimistic existential bemoaning of a poet-philosopher like Schopenhauer. Rather, one can see the Rubáiyát as an intellectual critique of the rise of orthodox and legalistic Islam as represented by the faith-based theology of the Ash‘arite.

The Arab ‘Umar Khayyám

The Arab ‘Umar Khayyám. M. Alsulami.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 73-84.

After their counterparts in the West had started collecting and translating the Rubáiyát of Khayyám during the nineteenth century, Arab intellectuals followed suit. A huge number of Arabic translations of Khayyám’s quatrains, and studies of his life, philosophy and literary works, were produced, and the broader interaction between Arabic and Persian literature was revived. In this chapter Alsulami focusses on translations from European languages, direct poetic translations from the Persian language and translations into Arabic dialects. He concludes with a brief discussion on Arab intellectuals’ reception of Khayyám.

The Russian perception of Khayyam: from text to image

The Russian perception of Khayyam: from text to image. F. Abdullaeva, N. Chalisova, N., Ch. Melville.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 161–188.

The authors show the extreme popularity of Khayyám in Russia, even before Fitzgerald’s translations were published. The English translation only added to Khayyám’s popularity. The authors investigate how different translations of a single quatrain were made and how a large number of illustrated translations usually erotic, were made based on these translations. They also examine the contemporary popularity of Khayyám and the ready availability of editions of his quatrains, from large bookstores to tiny book-stalls. The authors examine different translations in each generation and how these translations helped to popularize Khayyám. Attention is also paid to literary forgery and how it acquires national value and prestige: D. Serebryakov “claimed Omar Khayyám for the nation” in 2000 by stating that Khayyám’s native town was in Tataria.