Rubaiyat of Khayyam. In Farsi with English translation. Translated by Edward FitzGerald. Reza Nazari (Creator), Somayeh Nazari (Creator). [Sl.], Learn Persian Online, 2017. – 91 p.; 23 x 19 cm. – ISBN: 9781547000517.
51 quatrains. – Introduction and description in Farsi. Illustrated and decorated throughout, with small drawings in black and white underneath each quatrain.
Los Rubaiyat de Omar Jayam. Segundo libro de la colleción: La verdad sobre Los Rubaiyat. Introducción, investigación y versión al español de la primera versión al inglés de Edward FitzGerald. Mar Escribano. Editorial Anticuario, 2017. – 92 p.; illustrations in black and white; 23 x 15 cm. – ISBN: 9781547094875.
75 quatrains
– Introducción y versión de Mar Escribano, p. 3
– Observaciones sobre los rubaiyat, p. 7
– Los Rubaiyat de Omar Jayam, p. 9
– Notas finales, p. 79
– Ultilogo,p. 90
Das Buch Der Vierzeiler. Khaled Tobar; Salah Dschahin; Ibn Arous; Omar Chajjam. Welten, 2017. – 76 p.; illustrations in black & white. – ISBN: 978-1978164451.
The Rubáiyát: A Labour of Love. Reza Taher-Kermani.
Victoriographies, 7 (2017) 1, pp. 76-80.
This is an essay on the genesis of the Rubáiyát of Omar Khayyám. The contention is that the Rubáiyát ensued, at least, partly from the affection that Edward FitzGerald had for his friend and mentor in Persian, Edward Byles Cowell. FitzGerald used Omar Khayyám as an excuse to stay in touch with his dear friend Cowell, who left England after introducing him to Khayyám and his poetry. But FitzGerald soon fell in love with ‘Omar’, his new Persian mentor, and replaced the love that he had for Cowell with the one he developed for ‘Omar’. The result of this love was the Rubáiyát of Omar Khayyám.
The Englishing of ‘Omar Khayyám. John Drew
The Daily Star, 9-12-2017
Summary:
Drew points out that there is an Indian connection in the history of the Rubaiyat’s rise to fame, and that is the pirate Madras edition, produced by Whitley Stokes, a Dubliner who, unable to find work in London, sailed for Madras and evidently took a copy of the Rubáiyát with him. Once in Madras, Stokes met up with Thomas Evans Bell, a dissident army officer who was Hon. Sec. of the Madras Literary Society, and together they printed (anonymously) a pirate edition of the Rubáiyát. It not only reproduced Fitzgerald’s translations of Omar’s rubáiyát but also 32 by Cowell (published in the Calcutta Review, 1858), 10 in French by Garcin de Tassy and 15 versions by Stokes himself. Drew also compares some quatrains from the three translations.
Os Rubaiyat de Manuel Bandeira e de Torrieri Guimarães. Denise Botman.
In: Revista InComunidade, Edição de ABRIL de 2017.
Summary:
This article discusses a number of peculiarities in the translations into Portuguese by Bandeira and by Guimarães, both said to be based on the French translation by Toussaint. After examination and comparison of the text it appears that the translation by Guimarães is not based on Toussaint, as claimed by the translator but on Bandeira, which is considered to be an example of plagiarism or fraud, or both.
Umar Khayyam. Mehdi Aminrazavi; Glen van Brummelen
In: The Stanford Encyclopedia of Philosophy, Spring 2017
Artists of the Omar Khayyám Club of London 1892 to 1929. Danton O’Day. Emeritus Press, 2017. 86 p. ISBN: 9781389917240
Summary:
This book documents the menu artists of the Omar Khayyam Club of London from 1892-1929.
While 26 artists were credited in the two books of the Club, there actually were 28 different menu artists. Of these several were not properly credited for their contributions. For example, one artist was credited for three pictures that belonged to two other artists. Another incorrectly attributed picture was done by an, as yet, unidentified artist. This book details these issues as well as providing many other insights, firsts and interesting facts:
-First complete documentation of the artists of the Omar Khayyam Club of London Menus, 1892-1929
-First time most of the pictures have been seen since their initial publication
-Discovery of numerous incorrect artist credits
-Discovery of an “Unidentified Artist”
-Recognition of artists who were not credited for their contributions
-Corrected lists and timelines of artists and their contributions
-Learn about the artists: a cartoonist, a spy, the man who developed camouflage and more…
Sipping from the Rubáiyát’s Chalice. My journey with the Rubáiyát of Omar Khayyám. Martin Kimeldorf. Kimeldorf, 2017. 118 pp. ISBN: 9781537462608.
Contents:
Prefatory map
Introduction
Part I – My Rubáiyát memoir
Chapter 1 – Looking backward to find a way forward
Chapter 2 – Lessons from the Rubáiyát
Part II – The Poets and their Poetry
Chapter 3 – The grand collaboration
Chapter 4 – My favorite Rubáiyát quatrains
Chapter 5 – The sweet and sour chalice rim
Part III – Trying to Grasp the Scheme Entire
Chapter 6 – The artistic connections
Chapter 7 – Sipping the 21st century chalice
Chapter 8 – The Omarian Martini toast
Late night thoughts on reading Fitzgerald’s Omar Khayyam: my own reflections on a poem that has guided me well. Robert Gary. Independently published, 2017. 55 p. ISBN: 978-1520406756.
Summary:
This book is personal philosophical reflections on reading on Rubaiyat of Omar Khayyam, as translated by Edward Fitzgerald. Only some of the rubai are included, and the ones selected for including are taken from many different editions of the Fitzgerald translation based on the author’s own preference of which was the best. The French translations are his own amateur attempt to convey the basic meaning of a few rubai into modern French. The illustrations are Gary’s own gouache and watercolor paintings done in 1995.