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Title: Rubaiyat of Omar Khayyam
Translated into English Verse
Author: Omar Khayyam
Illustrator: Edmund Dulac
Translator: Edward Fitzgerald
Release Date: February 12, 2011 [EBook #35260]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK RUBAIYAT OF OMAR KHAYYAM ***
Produced by Fritz Ohrenschall, Sania Ali Mirza and the
Online Distributed Proofreading Team at https://www.pgdp.net
RENDERED INTO ENGLISH VERSE BY
Edward Fitzgerald
WITH ILLUSTRATIONS BY
Edmund Dulac
DE LUXE EDITION
GARDEN CITY PUBLISHING CO., INC.
Garden City, New York
1937
GARDEN CITY PUBLISHING CO., INC.
CL
RUBÁIYÁT OF OMAR KHAYYÁM
PRINTED IN THE UNITED STATES OF AMERICA
| FACING | |
| PAGE | |
| QUATRAIN I p. 41 | xxxviii |
| QUATRAIN XI p. 46 | xxxix |
| QUATRAIN XXIV p. 52 | 54 |
| QUATRAIN XLII p. 61 | 55 |
| QUATRAIN LXXII p. 76 | 86 |
| QUATRAIN XI p. 86 | 87 |
| QUATRAIN XX p. 90 | 102 |
| QUATRAIN XLIV p. 102 | 103 |
| QUATRAIN LXXII p. 116 | 134 |
| QUATRAIN XIV p. 145 | 135 |
| QUATRAIN XXXVII p. 157 | 150 |
| QUATRAIN XLI p. 159 | 151 |
EDWARD FITZGERALD
Edward Fitzgerald, whom the world has already learned, in spite of his own efforts to remain within the shadow of anonymity, to look upon as one of the rarest poets of the last century, was born at Bredfield, in Suffolk, on the 31st March, 1809. He was the third son of John Purcell, of Kilkenny, in Ireland, who, marrying Miss Mary Frances Fitzgerald, daughter of John Fitzgerald, of Williamstown, County Waterford, added that distinguished name to his own patronymic; and the future Omar was thus doubly of Irish extraction. (Both the families of Purcell and Fitzgerald claim descent from Norman warriors of the eleventh century.) This circumstance is thought to have had some influence in attracting him to the study of Persian poetry, Iran and Erin being almost convertible terms in the early days of modern ethnology. After some years of primary education at the grammar school of Bury St. Edmunds, he entered Trinity College, Cambridge, in 1826, and there formed acquaintance with several young men of great abilities, most of whom rose to distinction before him, but never ceased to regard with affectionate remembrance the quiet and amiable associate of their college-days. Amongst them were [x]Alfred Tennyson, James Spedding, William Bodham Donne, John Mitchell Kemble, and William Makepeace Thackeray; and their long friendship was touchingly referred to by Tennyson in dedicating his last poem to the memory of Edward Fitzgerald. "Euphranor," our author's earliest printed work, affords a curious picture of his academic life and associations. Its substantial reality is evident beneath the thin disguise of the symbolical or classical names which he gives to the personages of the colloquy; and the speeches which he puts into his own mouth are full of the humorous gravity, and whimsical and kindly philosophy, which remained his distinguishing characteristics till the end. This book was first published in 1851; a second and a third edition were printed some years later; all anonymous, and each of the latter two differing from its predecessor by changes in the text which were not indicated on the title-pages.
"Euphranor" furnishes a good many characterizations which would be useful for any writer treating upon Cambridge society in the third decade of this century. Kenelm Digby, the author of the "Broadstone of Honour," had left Cambridge before the time when Euphranor held his "dialogue," but he is picturesquely recollected as "a grand swarthy fellow who might have stepped out of the canvas of some knightly portrait in his father's hall—perhaps the living image of one sleeping under some cross-legged effigies in the church." In "Euphranor," it is easy to discover the earliest phase of the unconquerable attachment which Fitzgerald entertained for his college and his life-long friends,[xi] and which induced him in later days to make frequent visits to Cambridge, renewing and refreshing the old ties of custom and friendship. In fact, his disposition was affectionate to a fault, and he betrayed his consciousness of weakness in that respect by referring playfully at times to "a certain natural lubricity" which he attributed to the Irish character, and professed to discover especially in himself. This amiability of temper endeared him to many friends of totally dissimilar tastes and qualities; and, by enlarging his sympathies, enabled him to enjoy the fructifying influence of studies pursued in communion with scholars more profound than himself, but less gifted with the power of expression. One of the younger Cambridge men with whom he became intimate during his periodical pilgrimages to the university, was Edward B. Cowell, a man of the highest attainment in Oriental learning, who resembled Fitzgerald himself in the possession of a warm and genial heart and the most unobtrusive modesty. From Cowell he could easily learn that the hypothetical affinity between the names of Erin and Iran belonged to an obsolete stage of etymology; but the attraction of a far-fetched theory was replaced by the charm of reading Persian poetry in companionship with his young friend, who was equally competent to enjoy and to analyze the beauties of a literature that formed a portion of his regular studies. They read together the poetical remains of Khayyám—a choice of reading which sufficiently indicates the depth and range of Mr. Cowell's knowledge. Omar Khayyám, although not quite forgotten, enjoyed[xii] in the history of Persian literature a celebrity like that of Occleve and Gower in our own. In the many Tazkirát (memoirs or memorials) of Poets, he was mentioned and quoted with esteem; but his poems, laboring as they did under the original sin of heresy and atheism, were seldom looked at, and, from lack of demand on the part of readers, had become rarer than those of most other writers since the days of Firdausi. European scholars knew little of his works beyond his Arabic treatise on Algebra, and Mr. Cowell may be said to have disentombed his poems from oblivion. Now, thanks to the fine taste of that scholar, and to the transmuting genius of Fitzgerald, no Persian poet is so well known in the western world as Abu-'l-fat'h 'Omar, son of Ibrahim the tentmaker of Naishápúr, whose manhood synchronizes with the Norman conquest of England, and who took for his poetic name (takhallus) the designation of his father's trade (Khayyám). The "Rubá'iyyát" (Quatrains) do not compose a single poem divided into a certain number of stanzas; there is no continuity of plan in them, and each stanza is a distinct thought expressed in musical verse. There is no other element of unity in them than the general tendency of the Epicurean idea, and the arbitrary divan form by which they are grouped according to the alphabetical arrangement of the final letters; those in which the rhymes end in a constituting the first division, those with b the second, and so on. The peculiar attitude towards religion and the old questions of fate, immortality, the origin and the destiny of man, which educated thinkers have assumed[xiii] in the present age of Christendom, is found admirably foreshadowed in the fantastic verses of Khayyám, who was no more of a Mohammedan than many of our best writers are Christians. His philosophical and Horatian fancies—graced as they are by the charms of a lyrical expression equal to that of Horace, and a vivid brilliance of imagination to which the Roman poet could make no claim—exercised a powerful influence upon Fitzgerald's mind, and colored his thoughts to such a degree that even when he oversteps the largest license allowed to a translator, his phrases reproduce the spirit and manner of his original with a nearer approach to perfection than would appear possible. It is usually supposed that there is more of Fitzgerald than of Khayyám in the English "Rubá'iyyát," and that the old Persian simply afforded themes for the Anglo-Irishman's display of poetic power; but nothing could be further from the truth. The French translator, J. B. Nicolas, and the English one, Mr. Whinfield, supply a closer mechanical reflection of the sense in each separate stanza; but Mr. Fitzgerald has, in some instances, given a version equally close and exact; in others, rejointed scattered phrases from more than one stanza of his original, and thus accomplished a feat of marvelous poetical transfusion. He frequently turns literally into English the strange outlandish imagery which Mr. Whinfield thought necessary to replace by more intelligible banalities, and in this way the magic of his genius has successfully transplanted into the garden of English poesy exotics that bloom like native flowers.[xiv]
One of Mr. Fitzgerald's Woodbridge friends was Bernard Barton, the Quaker poet, with whom he maintained for many years the most intimate and cordial intercourse, and whose daughter Lucy he married. He wrote the memoir of his friend's life which appeared in the posthumous volume of Barton's poems. The story of his married life was a short one. With all the overflowing amiability of his nature, there were mingled certain peculiarities or waywardnesses which were more suitable to the freedom of celibacy than to the staidness of matrimonial life. A separation took place by mutual agreement, and Fitzgerald behaved in this circumstance with the generosity and unselfishness which were apparent in all his whims no less than in his more deliberate actions. Indeed, his entire career was marked by an unchanging goodness of heart and a genial kindliness; and no one could complain of having ever endured hurt or ill-treatment at his hands. His pleasures were innocent and simple. Amongst the more delightful, he counted the short coasting trips, occupying no more than a day or two at a time, which he used to make in his own yacht from Lowestoft, accompanied only by a crew of two men, and such a friend as Cowell, with a large pasty and a few bottles of wine to supply their material wants. It is needless to say that books were also put into the cabin, and that the symposia of the friends were thus brightened by communion with the minds of the great departed. Fitzgerald's enjoyment of gnomic wisdom enshrined in words of exquisite propriety was evinced by the frequency with[xv] which he used to read Montaigne's essays and Madame de Sévigné's letters, and the various works from which he extracted and published his collection of wise saws entitled "Polonius." This taste was allied to a love for what was classical and correct in literature, by which he was also enabled to appreciate the prim and formal muse of Crabbe, in whose grandson's house he died.
His second printed work was the "Polonius," already referred to, which appeared in 1852. It exemplifies his favorite reading, being a collection of extracts, sometimes short proverbial phrases, sometimes longer pieces of characterization or reflection, arranged under abstract headings. He occasionally quotes Dr. Johnson, for whom he entertains sincere admiration; but the ponderous and artificial fabric of Johnsonese did not please him like the language of Bacon, Fuller, Sir Thomas Browne, Coleridge, whom he cites frequently. A disproportionate abundance of wise words was drawn from Carlyle; his original views, his forcible sense, and the friendship with which Fitzgerald regarded him, having apparently blinded the latter to the ungainly style and ungraceful mannerisms of the Chelsea sage. (It was Thackeray who first made them personally acquainted; and Fitzgerald remained always loyal to his first instincts of affection and admiration.) Polonius also marks the period of his earliest attention to Persian studies, as he quotes in it the great Súfi poet, Jalál-ud-dín-Rúmi, whose "Masnavi" has been translated into English by Mr. Redhouse, but whom Fitzgerald can only have seen in the original. He, however,[xvi] spells the name Jallaladin, an incorrect form of which he could not have been guilty at the time when he produced Omar Khayyám, and which thus betrays that he had not long been engaged with Irani literature. He was very fond of Montaigne's essays, and of Pascal's "Pensées"; but his "Polonius" reveals a sort of dislike and contempt for Voltaire. Amongst the Germans, Jean Paul, Goethe, Alexander von Humboldt and August Wilhelm von Schlegel attracted him greatly; but he seems to have read little German, and probably only quoted translations. His favorite motto was "Plain Living and High Thinking," and he expresses great reverence for all things manly, simple, and true. The laws and institutions of England were, in his eyes, of the highest value and sacredness; and whatever Irish sympathies he had would never have diverted his affections from the Union to Home Rule. This is strongly illustrated by some original lines of blank verse at the end of "Polonius," annexed to his quotation, under "Æsthetics," of the words in which Lord Palmerston eulogized Mr. Gladstone for having devoted his Neapolitan tour to an inspection of the prisons.
Fitzgerald's next printed work was a translation of Six Dramas of Calderon, published in 1853, which was unfavorably received at the time, and consequently withdrawn by him from circulation. His name appeared on the title-page,—a concession to publicity which was so unusual with him that it must have been made under strong pressure from his friends. The book is in nervous blank verse, a mode of composition which he handled with great[xvii] ease and skill. There is no waste of power in diffuseness and no employment of unnecessary epithets. It gives the impression of a work of the Shakespearean age, and reveals a kindred felicity, strength, and directness of language. It deserves to rank with his best efforts in poetry, but its ill-success made him feel that the publication of his name was an unfavorable experiment, and he never again repeated it. His great modesty, however, would sufficiently account for his shyness. Of "Omar Khayyám," even after the little book had won its way to general esteem, he used to say that the suggested addition of his name on the title would imply an assumption of importance which he considered that his "transmogrification" of the Persian poet did not possess.
Fitzgerald's conception of a translator's privilege is well set forth in the prefaces of his versions from Calderon, and the "Agamemnon" of Æschylus. He maintained that, in the absence of the perfect poet, who shall re-create in his own language the body and soul of his original, the best system is that of a paraphrase conserving the spirit of the author,—a sort of literary metempsychosis. Calderon, Æschylus, and Omar Khayyám were all treated with equal license, so far as form is concerned,—the last, perhaps, the most arbitrarily; but the result is not unsatisfactory as having given us perfect English poems instinct with the true flavor of their prototypes. The Persian was probably somewhat more Horatian and less melancholy, the Greek a little less florid and mystic, the Spaniard more lyrical and fluent, than their metaphrast[xviii] has made them; but the essential spirit has not escaped in transfusion. Only a man of singular gifts could have performed the achievement, and these works attest Mr. Fitzgerald's right to rank amongst the finest poets of the century. About the same time as he printed his Calderon, another set of translations from the same dramatist was published by the late D. F. MacCarthy, a scholar whose acquaintance with Castilian literature was much deeper than Mr. Fitzgerald's, and who also possessed poetical abilities of no mean order, with a totally different sense of the translator's duty. The popularity of MacCarthy's versions has been considerable, and as an equivalent rendering of the original in sense and form his work is valuable. Spaniards familiar with the English language rate its merit highly; but there can be little question of the very great superiority of Mr. Fitzgerald's work as a contribution to English literature. It is indeed only from this point of view that we should regard all the literary labors of our author. They are English poetical work of fine quality, dashed with a pleasant outlandish flavor which heightens their charm; and it is as English poems, not as translations, that they have endeared themselves even more to the American English than to the mixed Britons of England.
It was an occasion of no small moment to Mr. Fitzgerald's fame, and to the intellectual gratification of many thousands of readers, when he took his little packet of "Rubá'iyyát" to Mr. Quaritch in the latter part of the year 1858. It was printed as a small quarto pamphlet, bearing the publisher's[xix] name but not the author's; and although apparently a complete failure at first,—a failure which Mr. Fitzgerald regretted less on his own account than on that of his publisher, to whom he had generously made a present of the book,—received, nevertheless, a sufficient distribution by being quickly reduced from the price of five shillings and placed in the box of cheap books marked a penny each. Thus forced into circulation, the two hundred copies which had been printed were soon exhausted. Among the buyers were Dante Gabriel Rossetti, Swinburne, Sir Richard Burton, and William Simpson, the accomplished artist of the Illustrated London News. The influence exercised by the first three, especially by Rossetti, upon a clique of young men who later grew to distinction, was sufficient to attract observation to the singular beauties of the poem anonymously translated from the Persian. Most readers had no possible opportunity of discovering whether it was a disguised original or an actual translation;—even Burton enjoyed probably but little chance of seeing a manuscript of the Persian "Rubá'iyyát." The Oriental imagery and allusions were too thickly scattered throughout the verses to favor the notion that they could be the original work of an Englishman; yet it was shrewdly suspected by most of the appreciative readers that the "translator" was substantially the author and creator of the poem. In the refuge of his anonymity, Fitzgerald derived an innocent gratification from the curiosity that was aroused on all sides. After the first edition had disappeared, inquiries for the little book became frequent,[xx] and in the year 1868 he gave the MS. of his second edition to Mr. Quaritch, and the "Rubá'iyyát" came into circulation once more, but with several alterations and additions by which the number of stanzas was somewhat increased beyond the original seventy-five. Most of the changes were, as might have been expected, improvements; but in some instances the author's taste or caprice was at fault,—notably in the first Rubá'iy. His fastidious desire to avoid anything that seemed baroque or unnatural or appeared like plagiarism, may have influenced him; but it was probably because he had already used the idea in his rendering of Jámí's "Salámán," that he sacrificed a fine and novel piece of imagery in his first stanza and replaced it by one of much more ordinary character. If it were from a dislike to pervert his original too largely, he had no need to be so scrupulous, since he dealt on the whole with the "Rubá'iyyát" as though he had the license of absolute authorship, changing, transposing, and manipulating the substance of the Persian quatrains with a singular freedom. The vogue of "old Omar" (as he would affectionately call his work) went on increasing, and American readers took it up with eagerness. In those days the mere mention of Omar Khayyám between two strangers meeting fortuitously acted like a sign of freemasonry and established frequently a bond of friendship. Some curious instances of this have been related. A remarkable feature of the Omar-cult in the United States was the circumstance that single individuals bought numbers of copies for gratuitous distribution before[xxi] the book was reprinted in America. Its editions have been relatively numerous, when we consider how restricted was the circle of readers who could understand the peculiar beauties of the work. A third edition appeared in 1872, with some further alterations, and may be regarded as virtually the author's final revision, for it hardly differs at all from the text of the fourth edition, which appeared in 1879. This last formed the first portion of a volume entitled "Rubáiyát of Omar Khayyám; and the Salámán and Absál of Jámí; rendered into English verse." The "Salámán" (which had already been printed in separate form in 1856) is a poem chiefly in blank verse, interspersed with various meters (although it is all in one measure in the original) embodying a love-story of mystic significance; for Jámí was, unlike Omar Khayyám, a true Súfi, and indeed differed in other respects, his celebrity as a pious Mussulman doctor being equal to his fame as a poet. He lived in the fifteenth century, in a period of literary brilliance and decay; and the rich exuberance of his poetry, full of far-fetched conceits, involved expressions, overstrained imagery, and false taste, offers a strong contrast to the simpler and more forcible language of Khayyám. There is little use of Arabic in the earlier poet; he preferred the vernacular speech to the mongrel language which was fashionable among the heirs of the Saracen conquerors; but Jámí's composition is largely embroidered with Arabic.
Mr. Fitzgerald had from his early days been thrown into contact with the Crabbe family; the[xxii] Reverend George Crabbe (the poet's grandson) was an intimate friend of his, and it was on a visit to Morton Rectory that Fitzgerald died. As we know that friendship has power to warp the judgment, we shall not probably be wrong in supposing that his enthusiastic admiration for Crabbe's poems was not the product of sound, impartial criticism. He attempted to reintroduce them to the world by publishing a little volume of "Readings from Crabbe," produced in the last year of his life, but without success. A different fate awaited his "Agamemnon: a tragedy taken from Æschylus," which was first printed privately by him, and afterwards published with alterations in 1876. It is a very free rendering from the Greek, and full of a poetical beauty which is but partly assignable to Æschylus. Without attaining to anything like the celebrity and admiration which have followed Omar Khayyám, the "Agamemnon" has achieved much more than a succès d'estime. Mr. Fitzgerald's renderings from the Greek were not confined to this one essay; he also translated the two Œdipus dramas of Sophocles, but left them unfinished in manuscript till Prof. Eliot Norton had a sight of them and urged him to complete his work. When this was done, he had them set in type, but only a very few proofs can have been struck off, as it seems that, at least in England, no more than one or two copies were sent out by the author. In a similar way he printed translations of two of Calderon's plays not included in the published "Six Dramas"—namely, "La Vida es Sueño," and "El Magico Prodigioso" (both ranking among[xxiii] the Spaniard's finest work); but they also were withheld from the public and all but half a dozen friends.
When his old boatman died, he abandoned his nautical exercises and gave up his yacht forever. During the last few years of his life, he divided his time between Cambridge, Crabbe's house, and his own home at Little Grange, near Woodbridge, where he received occasional visits from friends and relatives. He was one of the most modest men who have enriched English literature with poetry of distinct and permanent value, and his best epitaph is found in Tennyson's "Tiresias and other Poems," published immediately after our author's quiet exit from life, in 1883, in the seventy-fifth year of his age.
The Astronomer-Poet of Persia
(BY EDWARD FITZGERALD)
Omar Khayyám was born at Naishápúr in Khorassán in the latter half of our Eleventh, and died within the First Quarter of our Twelfth Century. The slender story of his life is curiously twined about that of two other very considerable Figures in their Time and Country: one of whom tells the Story of all Three. This was Nizám ul Mulk, Vizyr to Alp Arslan the Son, and Malik Shah the Grandson, of Toghrul Beg the Tartar, who had wrested Persia from the feeble Successor of Mahmúd the Great, and founded that Seljukian Dynasty which finally roused Europe into the Crusades. This Nizám ul Mulk, in his Wasiyat—or Testament—which he wrote and left as a Memorial for future Statesmen—relates the following, as quoted in the Calcutta Review, No. 59, from Mirkhond's History of the Assassins.
"One of the greatest of the wise men of Khorassán was the Imám Mowaffak of Naishápúr, a man highly honored and reverenced,—may God rejoice his soul: his illustrious years exceeded eighty-five, and it was the universal belief that every boy who read the Koran or studied the traditions in his presence, would assuredly attain to honor and happiness. For this cause did my father send me from[xxvi] Tús to Naishápúr with Abd-us-samad, the doctor of law, that I might employ myself in study and learning under the guidance of that illustrious teacher. Towards me he ever turned an eye of favor and kindness, and as his pupil I felt for him extreme affection and devotion, so that I passed four years in his service. When I first came there, I found two other pupils of mine own age newly arrived, Hakim Omar Khayyám, and the ill-fated Ben Sabbáh. Both were endowed with sharpness of wit and the highest natural powers; and we three formed a close friendship together. When the Imám rose from his lectures, they used to join me, and we repeated to each other the lessons we had heard. Now Omar was a native of Naishápúr, while Hasan Ben Sabbáh's father was one Ali, a man of austere life and practice, but heretical in his creed and doctrine. One day Hasan said to me and to Khayyám, 'It is a universal belief that the pupils of the Imám Mowaffak will attain to fortune. Now, even if we all do not attain thereto, without doubt one of us will; what then shall be our mutual pledge and bond?' We answered, 'Be it what you please.' 'Well,' he said, let us make a vow, that to whomsoever this fortune falls, he shall share it equally with the rest, and reserve no pre-eminence for himself.' 'Be it so,' we both replied, and on those terms we mutually pledged our words. Years rolled on, and I went from Khorassán to Transoxiana and wandered to Ghazni and Cabul; and when I returned, I was invested with office, and rose to be administrator of affairs during the Sultanate of Sultan Alp Arslan.[xxvii]
"He goes on to state, that years passed by, and both his old school-friends found him out, and came and claimed a share in his good fortune, according to the school-day vow. The Vizier was generous and kept his word. Hasan demanded a place in the government, which the Sultan granted at the Vizier's request; but discontented with a gradual rise, he plunged into the maze of intrigue of an oriental court, and, failing in a base attempt to supplant his benefactor, he was disgraced and fell. After many mishaps and wanderings, Hasan became the head of the Persian sect of the Ismailians,—a party of fanatics who had long murmured in obscurity, but rose to an evil eminence under the guidance of his strong and evil will. In A.D. 1090, he seized the castle of Alamút, in the province of Rúdbar, which lies in the mountainous tract south of the Caspian Sea; and it was from this mountain home he obtained that evil celebrity among the Crusaders as the Old Man of the Mountains, and spread terror through the Mohammedan world; and it is yet disputed whether the word Assassin, which they have left in the language of modern Europe as their dark memorial, is derived from the hashish, or opiate of hemp-leaves (the Indian bhang), with which they maddened themselves to the sullen pitch of oriental desperation, or from the name of the founder of the dynasty, whom we have seen in his quiet collegiate days, at Naishápúr. One of the countless victims of the Assassin's dagger was Nizám-ul-Mulk himself, the old schoolboy friend.
"Omar Khayyám also came to the Vizier to[xxviii] claim his share; but not to ask for title or office. 'The greatest boon you can confer on me,' he said, 'is to let me live in a corner under the shadow of your fortune, to spread wide the advantages of Science, and pray for your long life and prosperity.' The Vizier tells us, that when he found Omar was really sincere in his refusal, he pressed him no further, but granted him a yearly pension of 1200 mithkáls of gold from the treasury of Naishápúr.
"At Naishápúr thus lived and died Omar Khayyám, 'busied,' adds the Vizier, 'in winning knowledge of every kind, and especially in Astronomy, wherein he attained to a very high pre-eminence. Under the Sultanate of Malik Shah, he came to Merv, and obtained great praise for his proficiency in science, and the Sultan showered favors upon him.'
"When the Malik Shah determined to reform the calendar, Omar was one of the eight learned men employed to do it; the result was the Jaláli era (so called from Jalál-ud-din, one of the King's names)—'a computation of time,' says Gibbon, 'which surpasses the Julian, and approaches the accuracy of the Gregorian style.' He is also the author of some astronomical tables, entitled Zíji-Maliksháhí," and the French have lately republished and translated an Arabic Treatise of his on Algebra.
"His Takhallus or poetical name (Khayyám) signifies a Tent-maker, and he is said to have at one time exercised that trade, perhaps before Nizám-ul-Mulk's generosity raised him to independence. Many Persian poets similarly derive their names from their occupations; thus we have[xxix] Attár, 'a druggist,' Assár, 'an oil presser,' etc. Omar himself alludes to his name in the following whimsical lines:—
"We have only one more anecdote to give of his Life, and that relates to the close; it is told in the anonymous preface which is sometimes prefixed to his poems; it has been printed in the Persian in the Appendix to Hyde's Veterum Persarum Religio, p. 499; and D'Herbelot alludes to it in his Bibliothèque, under Khiam,—
"It is written in the chronicles of the ancients that this King of the Wise, Omar Khayyám, died at Naishápúr in the year of the Hegira, 517 (A.D. 1123); in science he was unrivaled,—the very paragon of his age. Khwájah Nizámi of Samarcand, who was one of his pupils, relates the following story: 'I often used to hold conversations with my teacher, Omar Khayyám, in a garden; and one day he said to me, "My tomb shall be in a spot where the north wind may scatter roses over it." I wondered at the words he spake, but I knew that his were no idle words. Years after, when I chanced to revisit Naishápúr, I went to his final resting-place, and lo! it was just outside a garden, and trees laden with fruit stretched their boughs[xxx] over the garden wall, and dropped their flowers upon his tomb, so that the stone was hidden under them.'"
Thus far—without fear of Trespass—from the Calcutta Review. The writer of it, on reading in India this story of Omar's Grave, was reminded, he says, of Cicero's account of finding Archimedes' Tomb at Syracuse, buried in grass and weeds. I think Thorwaldsen desired to have roses grow over him; a wish religiously fulfilled for him to the present day, I believe. However, to return to Omar.
Though the Sultan "shower'd Favors upon him," Omar's Epicurean Audacity of Thought and Speech caused him to be regarded askance in his own Time and Country. He is said to have been especially hated and dreaded by the Súfis, whose Practise he ridiculed, and whose Faith amounts to little more than his own, when stript of the Mysticism and formal recognition of Islamism under which Omar would not hide. Their Poets, including Háfiz, who are (with the exception of Firdausi) the most considerable in Persia, borrowed largely, indeed, of Omar's material, but turning it to a mystical Use more convenient to Themselves and the People they addressed; a People quite as quick of Doubt as of Belief; as keen of Bodily Sense as of Intellectual; and delighting in a cloudy composition of both, in which they could float luxuriously between Heaven and Earth, and this World and the next, on the wings of a poetical expression, that might serve indifferently for either. Omar was too honest of Heart as well of Head[xxxi] for this. Having failed (however mistakenly) of finding any Providence but Destiny, and any World but This, he set about making the most of it; preferring rather to soothe the Soul through the Senses into Acquiescence with Things as he saw them, than to perplex it with vain disquietude after what they might be. It has been seen, however, that his Worldly Ambition was not exorbitant; and he very likely takes a humorous or perverse pleasure in exalting the gratification of Sense above that of the Intellect, in which he must have taken great delight, although it failed to answer the Questions in which he, in common with all men, was most vitally interested.
For whatever Reason, however, Omar, as before said, has never been popular in his own Country, and therefore has been but scantily transmitted abroad. The MSS. of his Poems, mutilated beyond the average Casualties of Oriental Transcription, are so rare in the East as scarce to have reached Westward at all, in spite of all the acquisitions of Arms and Science. There is no copy at the India House, none at the Bibliothèque Nationale of Paris. We know but one in England: No. 140 of the Ouseley MSS. at the Bodleian, written at Shiráz, A.D. 1460. This contains but 158 Rubáiyát. One in the Asiatic Society's Library at Calcutta (of which we have a copy) contains (and yet incomplete) 516, though swelled to that by all kinds of Repetition and Corruption. So Von Hammer speaks of his Copy as containing about 200, while Dr. Sprenger catalogues the Lucknow MSS. at double that number. The[xxxii] Scribes, too, of the Oxford and Calcutta MSS. seem to do their Work under a sort of Protest; each beginning with a Tetrastich (whether genuine or not) taken out of its alphabetical order; the Oxford with one of Apology; the Calcutta with one of Expostulation, supposed (says a Notice prefixed to the MS.) to have arisen from a Dream, in which Omar's mother asked about his future fate. It may be rendered thus:—
The Bodleian Quatrain pleads Pantheism by way of Justification.
The Reviewer to whom I owe the Particulars of Omar's Life concludes his Review by comparing him with Lucretius, both as to natural Temper and Genius, and as acted upon by the Circumstances in which he lived. Both indeed were men of subtle, strong, and cultivated Intellect, fine Imagination, and Hearts passionate for Truth and Justice; who justly revolted from their Country's false Religion, and false, or foolish, Devotion to it; but who fell short of replacing what they subverted by such[xxxiii] better Hope as others, with no better Revelation to guide them, had yet made a Law to themselves. Lucretius indeed, with such material as Epicurus furnished, satisfied himself with the theory of a vast machine fortuitously constructed and acting by a Law that implied no Legislator; and so composing himself into a Stoical rather than Epicurean severity of Attitude, sat down to contemplate the mechanical Drama of the Universe which he was part Actor in; himself and all about him (as in his own sublime description of the Roman Theatre) discolored with the lurid reflex of the Curtain suspended between the Spectator and the Sun. Omar, more desperate, or more careless of any so complicated System as resulted in nothing but hopeless Necessity, flung his own Genius and Learning with a bitter or humorous jest into the general Ruin which their insufficient glimpses only served to reveal; and, pretending sensual pleasure, as the serious purpose of Life, only diverted himself with speculative problems of Deity, Destiny, Matter and Spirit, Good and Evil, and other such questions, easier to start than to run down, and the pursuit of which becomes a very weary sport at last!
With regard to the present Translation. The original Rubáiyát (as, missing an Arabic Guttural, these Tetrastichs are more musically called) are independent Stanzas, consisting each of four Lines of equal though varied Prosody; sometimes all rhyming, but oftener (as here imitated) the third line a blank. Somewhat as in the Greek Alcaic, where the penultimate line seems to lift and suspend[xxxiv] the Wave that falls over in the last. As usual with such kind of Oriental Verse, the Rubáiyát follow one another according to Alphabetic Rhyme—a strange succession of Grave and Gay. Those here selected are strung into something of an Eclogue, with perhaps a less than equal proportion of the "Drink and make-merry," which (genuine or not) recurs over-frequently in the Original. Either way, the Result is sad enough: saddest perhaps when most ostentatiously merry: more apt to move Sorrow than Anger toward the old Tent-maker, who, after vainly endeavoring to unshackle his Steps from Destiny, and to catch some authentic Glimpse of To-morrow, fell back upon To-day (which has outlasted so many To-morrows!) as the only ground he had got to stand upon, however momentarily slipping from under his feet.
While the second Edition of this version of Omar was preparing, Monsieur Nicolas, French Consul at Resht, published a very careful and very good Edition of the Text from a lithograph copy at Teheran, comprising 464 Rubáiyát, with translation and notes of his own.
Mons. Nicolas, whose Edition has reminded me of several things, and instructed me in others, does not consider Omar to be the material Epicurean that I have literally taken him for, but a Mystic, shadowing the Deity under the figure of Wine, Wine-bearer, etc., as Háfiz is supposed to do; in short, a Súfi Poet like Háfiz and the rest.
I cannot see reason to alter my opinion, formed as it was more than a dozen years ago when Omar[xxxv] was first shown me by one to whom I am indebted for all I know of Oriental, and very much of other, literature. He admired Omar's genius so much that he would gladly have adopted any such interpretation of his meaning as Mons. Nicolas' if he could. That he could not, appears by his Paper in the Calcutta Review already so largely quoted; in which he argues from the Poems themselves, as well as from what records remain of the Poet's Life.
And if more were needed to disprove Mons. Nicolas' Theory, there is the Biographical Notice which he himself has drawn up in direct contradiction to the Interpretation of the Poems given in his Notes. (See pp. xiii-xiv of his Preface.) Indeed I hardly knew poor Omar was so far gone till his Apologist informed me. For here we see that, whatever were the Wine that Háfiz drank and sang, the veritable Juice of the Grape it was which Omar used, not only when carousing with his friends, but (says Mons. Nicolas) in order to excite himself to that pitch of Devotion which others reached by cries and "Hurlemens." And yet, whenever Wine, Wine-bearer, etc., occur in the text—which is often enough—Mons. Nicolas carefully annotates "Dieu," "La Divinité," etc.: so carefully indeed that one is tempted to think that he was indoctrinated by the Súfi with whom he read the Poems. A Persian would naturally wish to vindicate a distinguished Countryman; and a Súfi to enrol him in his own sect, which already comprises all the chief Poets of Persia.
What historical Authority has Mons. Nicolas to show that Omar gave himself up "avec passion à[xxxvi] l'étude de la philosophie des Soufis?" (Preface, p. xiii.) The Doctrines of Pantheism, Materialism, Necessity, etc., were not peculiar to the Súfi; nor to Lucretius before them; nor to Epicurus before him; probably the very original Irreligion of Thinking men from the first; and very likely to be the spontaneous growth of a Philosopher living in an Age of social and political barbarism, under shadow of one of the Two and Seventy Religions supposed to divide the world. Von Hammer (according to Sprenger's Oriental Catalogue) speaks of Omar as "a Free-thinker, and a great opponent of Sufism;" perhaps because, while holding much of their Doctrine, he would not pretend to any inconsistent severity of morals. Sir W. Ouseley has written a note to something of the same effect on the fly-leaf of the Bodleian MS. And in two Rubáiyát of Mons. Nicolas' own Edition Súf and Súfi are both disparagingly named.
No doubt many of these Quatrains seem unaccountable unless mystically interpreted; but many more as unaccountable unless literally. Were the Wine spiritual, for instance, how wash the Body with it when dead! Why make cups of the dead clay to be filled with—"La Divinité"—by some succeeding Mystic? Mons. Nicolas himself is puzzled by some "bizarres and trop Orientals" allusions and images—"d'une sensualité quelquefois révoltante" indeed—which "les convenances" do not permit him to translate, but still which the reader cannot but refer to "La Divinité." No doubt also many of the Quatrains in the Teheran, as in the Calcutta Copies, are spurious; such Rubáiyát being the common form of Epigram in[xxxvii] Persia. But this, at best, tells as much one way as another; nay, the Súfi, who may be considered the Scholar and Men of Letters in Persia, would be far more likely than the careless Epicure to interpolate what favors his own view of the Poet. I observe that very few of the more mystical Quatrains are in the Bodleian MS. which must be one of the oldest, as dated at Shiraz, A.H. 865, A.D. 1460. And this, I think, especially distinguishes Omar (I cannot help calling him by his—no, not Christian—familiar name) from all other Persian Poets: That, whereas with them the Poet is lost in his Song, the Man in Allegory and Abstraction; we seem to have the Man—the Bonhomme—Omar himself, with all his Humors and Passions, as frankly before us as if we were really at Table with him, after the Wine had gone round.
I must say that I, for one, never wholly believed in the mysticism of Háfiz. It does not appear there was any danger in holding and singing Súfi Pantheism, so long as the Poet made his Salaam to Mohammed at the beginning and end of his Song. Under such conditions Jeláluddín, Jámí, Attár, and others sang; using Wine and Beauty indeed as Images to illustrate, not as a Mask to hide, the Divinity they were celebrating. Perhaps some Allegory less liable to mistake or abuse had been better among so inflammable a People: much more so when, as some think with Háfiz and Omar, the abstract is not only likened to, but identified with, the sensual Image; hazardous, if not to the Devotee himself, yet to his weaker Brethren; and worse for the Profane in proportion as the Devotion of the Initiated grew warmer. And all for what? To be[xxxviii] tantalized with Images of sensual enjoyment which must be renounced if one would approximate a God, who, according to the Doctrine, is Sensual Matter as well as Spirit, and into whose Universe one expects unconsciously to merge after Death, without hope of any posthumous Beatitude in another world to compensate for all one's self-denial in this. Lucretius' blind Divinity certainly merited, and probably got, as much self-sacrifice as this of the Súfi; and the burden of Omar's Song—if not "Let us eat"—is assuredly—"Let us drink, for To-morrow we die!" And if Háfiz meant quite otherwise by a similar language, he surely miscalculated when he devoted his Life and Genius to so equivocal a Psalmody as, from his Day to this, has been said and sung by any rather than Spiritual Worshipers.
However, as there is some traditional presumption, and certainly the opinion of some learned men, in favor of Omar's being a Súfi—and even something of a Saint—those who please may so interpret his Wine and Cup-bearer. On the other hand, as there is far more historical certainty of his being a Philosopher, of scientific Insight and Ability far beyond that of the Age and Country he lived in; of such moderate worldly Ambition as becomes a Philosopher, and such moderate wants as rarely satisfy a Debauchee; other readers may be content to believe with me that, while the Wine Omar celebrates is simply the Juice of the Grape, he bragged more than he drank of it, in very defiance perhaps of that Spiritual Wine which left its Votaries sunk in Hypocrisy or Disgust.
![Illustration described in QUATRAIN I p. 41
[First Edition of the Translation]](images/facingxxxviii.jpg "Illustration described in QUATRAIN I p. 41
[First Edition of the Translation]")
QUATRAIN I p. 41![Illustration described in QUATRAIN XI p. 46
[First Edition of the Translation]](images/facing39.jpg "Illustration described in QUATRAIN XI p. 46
[First Edition of the Translation]")
QUATRAIN XI p. 46I
II
III
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![Illustration described in QUATRAIN XXIV p. 52
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QUATRAIN XXIV p. 52![Illustration described in QUATRAIN XLII p. 61
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QUATRAIN XLII p. 61XXIX
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KÚZA-NÁMA
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TAMÁM SHUD
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![Illustration described in QUATRAIN LXXII p. 76
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QUATRAIN LXXII p. 76![Illustration described in QUATRAIN XI p. 86
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![Illustration described in QUATRAIN XX p. 90
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QUATRAIN XX p. 90![Illustration described in QUATRAIN XLIV p. 102
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QUATRAIN XLIV p. 102XLV
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![Illustration described in QUATRAIN LXXII p. 116
[Second Edition of the Translation]](images/facing134.jpg "Illustration described in QUATRAIN LXXII p. 116
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QUATRAIN LXXII p. 116![Illustration described in QUATRAIN XIV p. 145
[Fifth Edition of the Translation]](images/facing135.jpg "Illustration described in QUATRAIN XIV p. 145
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QUATRAIN XIV p. 145CIX
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TAMÁM
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![Illustration described in QUATRAIN XXXVII p. 157
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QUATRAIN XXXVII p. 157![Illustration described in QUATRAIN XLI p. 159
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QUATRAIN XLI p. 159XXV
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TAMÁM
In the first draught of the Third Edition the first quatrain stood thus:
The tenth quatrain read thus in the Third Edition:
In the first draught of Third Edition the thirty-eighth verse was as follows:
In the final draught of the Third Edition it was changed to read:
In the first draught of Third Edition quatrain forty ran thus:
The first draught of the Third Edition carried quatrain forty-two as follows:
Quatrain forty-eight in the first draught of Third Edition read:
In the final draught of Third Edition the same stanza ran:
In the first draught of the Third Edition, there stood the following quatrain, later deleted:
1. A Table of Contents has been created for this e-text where none existed in the original work.
2. Because the nature of this work is to present and compare the several translations, no spelling or end of sentence punctuation corrections have been made in the Quatrains. The reader will encounter several Quatrains that end without punctuation and the word "Paradist" appearing in Quatrain LXXXI in the "Fifth Edition" may be a typographical error for "Paradise," but has been retained as printed.
3. Spelling corrections made in Biographical Preface:
4. Word Variations: ((x) shows number of occurences)
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