Juan Ricardo Cole (1952), who describes himself as a public intellectual, prominent blogger and essayist, and the Richard P. Mitchell Collegiate Professor of History at the University of Michigan, recently translated a large number of quatrains from Whinfield (1883). Many of these were published in his weblog as separate posts, see: http://www.juancole.com/?s=khayyam
In a recent article Rescuing Omar Khayyam from the Victorians (Michigan Quarterly Review, vol 52, nr.2) (Abstract) Cole explains his translations by stating that “Fitzgerald’s verses are often lovely and memorable and are justly celebrated. But each generation deserves new translations of the classics. What would happen if we put the Persian instead into contemporary idiomatic English? What if we removed the distancing language and spoke of being in a bar instead of “frequenting a tavern”?”
Here is an example of what that looks like:
Since no one can trust
find a way to fill
this grieving heart
Drink up in the light of the moon –
a moon that someday
will look for us
and not find us.
In the parallel quatrain, FitzGerald, (1859, nr. 74) “neglects to mention the poet’s inconsolable broken heart or resort to wine to dull the pain”, as Cole notes, for not finding “the now-deceased revelers” in the light of the moon that keeps on shining when we all are gone.
In his article Cole gives a few more arguments for a new translation. One is that “the poems attributed to Khayyam are in a simple, direct, irreverent, and bawdy language”. That doesn’t imply, I trust, that we also need hiphop versions of Alle Menschen werden Brüder or a comic version of the Nightwatch.
I feel that Cole has a point though, and of course, some of FitzGerald’s renderings are mysterious and hard to grasp, but that is part of the magic. Surely we can live on water and bread, but we want something on it.
Omar Khayyam’s quatrains can survive the changing tastes and language. Basically Omar writes a single idea condensed into a stanza.