Ich kam wie Wasser und ich geh wie Wind. Fünfundsiebzig Rubaijat. Roland Phleps. [S.l. : s.n.], 2016. – Unp. [iii, 150, ix p.]
– Vorwort
– Rubaijat
– Omar Khayyam
“Dieser Gedichtband ist nicht käuflich, er ist als Geschenk für meine Freunde und für Freunde von Omar Chaijam gedacht.”
75 quatrains, printed on one side of the leave only. English (in italics) and German
With gift inscription by author: “Mir herzlichen Grüssen, lieve Frau Grupp”.
Persische Sinnsprüche. Vierzeiler von Omar Chajjâm. Nachgedichtet von Wolfgang Kosack. Basel; Berlin, Brunner, 2016. – 255 p.; 15,5 x 21,5 cm – ISBN: 9783906206370.
285 quatrains. – Previously issued in 1983, privately published in a limited edition of 20 copies.
– Vorwort, p. 6
– Zur Entstehung des Buches, p. 9
– Warum eine Nachdichtung von Omar, p. 11
– Über den Text der Verse, p. 12
– Die Quellenfrage, p. 15
– Wertung der bisherigen Übertragungen, p. 17
– Zum Verständnis der Poesie, p. 20
– Ausstattungen zu Omar, p. 22
– Zum Verfasser, p. 23
– Verwendete Autoren, p. 29
– Worterläuterungen, p. 29
– Sinnsprüche, p. 33.
Les Roubaíyats de Omar Khayyam. Illustration [par Paul Wardé] des Quatrains d’Omar Khàyyàm, traduit du Persan par Charles Grolleau sur le manuscrit de la Bodleian Library d’Oxford. Paris, Paul Wardé, 2016. – 42 l.; 25 colour illustrations; 30 x 21 cm.
158 quatrains. – Printed on 40 loose leaves.
Rubaiyat by Omar Khayyam. Translated in Farsi, English, German, French and Arabic. Tehran, Gooya House of Culture and Art, 2016. 297 p.; 17 x 12,5 cm.; illustrated. – ISBN: 9789647610773.
92 quatrains from 11 translators: Fitzgerald, Etessam Zadeh, Monteil, Kavoussi, Jamálí, Rami, Arriz, Najafi, Sabai, Bostani and Rosen.
Humanity. Rubaiyat of Omar Khayyam. [Translation Edward FitzGerald]. Cape Codd, 21st Editions, 2016. – 22,5 x 31,5 cm.
75 quatrains.
9 bound and 3 free-standing platinum prints, each signed.
Photographs by Steve McCurry
The Rubáiyát of Omar Khayyám
Edward Fitzgerald’s complete first (1859) edition
Introduction by John Stauffer
Edition of fifty copies
9 bound and 3 free-standing platinum prints, each signed*
11 x 14 inches
Handcrafted in New England
The mystic Rubáiyát. [Translated by Edward FitzGerald. Illustrated by Penelope Cline]. Fig Tree Press, 2016. – 75 illustrations in colour; 17 x 11 cm.
75 quatrains. – 100 numbered sets of tarot playing cards.
Edward Fitzgerald’s Rubaiyat of Omar Khayyam. Introduction and notes by Robert D. Richardson; original art by Lincoln Perry. New York, Bloomsbury, 2016. – xvii, 116 p. p.; 35 illustrations in colour; 20 x 14 cm. – ISBN 9781620406564.
101 quatrains.
– Introduction: The joyous errand of Edward FitzGerald
– The Rubaiyat of Omar Khayyam
– Note on the text
– Explanatory texts.
Rubai’yat. Selected poems of Khayyam. Transated by Edward FitzGerald. Tehran, Kalhor Publishing House, [ca. 2016]. – 24 x 18 cm. – 32, 192 p. – ISBN: 9789648751772.
96 quatrains by FitzGerald, 176 quatrains in Farsia (Nastaliq style).
The quatrains of Omar Khayyam. Translated from the Persian by Joobin Bekhrad. Bloomington, Balboa Press, 2016. – 52 p.; 23 x 15 cm. – ISBN 9781504362542.
143 quatrains. – Translation after Hedayat’s “The songs of Khayyam”.
With Bibliography, p. 50.
– Acknowledgements, p. 3
– Translator’s Preface, p. 4
– A note on the translation, p. 5
– Introduction, p. 7
– The quatrains of Omar Khayyam, p. 9
– Bibliography, p. 50
– Endnotes, p. 51
Photopoetry and the Problem of Translation in FitzGerald’s Rubáiyát. Michael Nott.
Victorian Studies, 58 (2016), 4, pp. 661-695.
In the early twentieth century, two photographers produced illustrated editions of Edward FitzGerald’s Rubáiyát of Omar Khayyám (1859). This essay examines the photographs of Mabel Eardley-Wilmot and Adelaide Hanscom Leeson, and explores how the Rubáiyát, while not an Orientalist poem, prompted Orientalist responses in photography. Eardley-Wilmot and Hanscom Leeson’s photobooks are early examples of photopoetry, a neglected art form in which combinations of poems and photographs create illustrative, evocative, and symbiotic relationships between text and image. Given FitzGerald’s own interest in photographic culture and the poem’s concerns with literal and metaphorical truths, the Rubáiyát illuminates practices of understanding and translating other cultures in the Victorian period.