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The Rubáiyát of Omar Khayyám

af Omar Khayyám

Andre forfattere: Se andre forfattere sektionen.

MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingOmtaler
4,363581,934 (3.96)49
'The Moving Finger writes; and, having writMoves on: nor all thy Piety nor WitShall lure it back to cancel half a lineNor all thy tears wash out a word of it.'In the 'rubaiyat' (short epigrammatic poems) of the medieval Persian poet, mathematician, and philosopher Omar Khayyam, Edward FitzGerald saw an unflinching challenge to the illusions and consolations of mankind in every age. His version of Omar is neither a translation nor an independent poem;sceptical of divine providence and insistent on the pleasure of the passing moment, its 'Orientalism' offers FitzGerald a powerful and distinctive voice, in whose accents a whole Victorian generation comes to life. Although the poem's vision is bleak, it is conveyed in some of the most beautifuland haunting images in English poetry - and some of the sharpest- edged. The poem sold no copies at all on its first appearance in 1859, yet when it was 'discovered' two years later its first admirers included Dante Gabriel Rossetti, Swinburne, and Ruskin. Daniel Karlin's richly annotated editiondoes justice to the scope and complexity of FitzGerald's lyrical meditation on 'human death and fate'.… (mere)

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Engelsk (55)  Tagalog (1)  Spansk (1)  Portugisisk (1)  Alle sprog (58)
Viser 1-5 af 58 (næste | vis alle)
NOT A REVIEW: Pagination issue exists with this book. Book starts on xvi. so I was force to subtract "v" (5) from the total front matter pages xxxviii. My pagination tall reflects this and shows a front matter page count of xxxiii
  ClearShax | Aug 19, 2020 |
The edition I read was a 1947 one translated by Fitzgerald. I guess this listing is the closest to what I read. See my blog post on it:

http://gypsylibrarian.blogspot.com/2005/11/booknote-rub225iy225t.html ( )
  bloodravenlib | Aug 17, 2020 |
I feel like this translation was significantly coloured by Colonial perspectives of translator Edward FitzGerald and lacks the truth of the poetry I expected. ( )
  CatherineMilos | Jul 11, 2020 |
When people say a book is difficult to read they normally mean there is something intrinsically challenging about the text. Ulysses is difficult because, well, it's by James Joyce; The Tale of Genji is difficult because there are five hundred characters spanning half a century, and no one has a name. But this edition of Rubáiyát of Omar Khayyám is the first book I've read that was difficult to read from a purely mechanical point of view.

After the book's thorough and interesting introduction we come to the reproduction of the original book. FitzGerald didn't want to ruin the text of the poem with footnotes, so uses endnotes, marked out by numeric superscripts. So far so good. Daniel Karlin, this edition's editor, wants to respect FitzGerald's wishes so also omits footnotes and moreover omits any superscripts to inform the reader of the presence of one of his endnotes. So now not only does the reader need to mark three pages simultaneously, the poem, FitzGerald's endnotes, and Karlin's end-endnotes, but also he must keep flicking to the latter of the three in case Karlin has just pointed out something useful. (In fact for the full experience one should mark a fourth set of pages where variants are included for each stanza from the five different editions of FitzGerald's work.)

Having virtually dislocated my fingers after three stanzas in order to keep up with this merry charade I felt obliged to utter a playground epithet pointing out that this style of reading was a poor substitute for a game of soliders. And so I gave up on Karlin's end-endnotes and made do with Fitzgerald's, referring to Karlin's only if something I really didn't understand came up. And then I re-read the poem using Karlin's notes rather than Fitzgerald's. And then I read the variant stanzas, and the intriguing appendices. Suffice it to that once I figured out how to read the book I really did enjoy it. ( )
  imlee | Jul 7, 2020 |
When people say a book is difficult to read they normally mean there is something intrinsically challenging about the text. Ulysses is difficult because, well, it's by James Joyce; The Tale of Genji is difficult because there are five hundred characters spanning half a century, and no one has a name. But this edition of Rubáiyát of Omar Khayyám is the first book I've read that was difficult to read from a purely mechanical point of view.

After the book's thorough and interesting introduction we come to the reproduction of the original book. FitzGerald didn't want to ruin the text of the poem with footnotes, so uses endnotes, marked out by numeric superscripts. So far so good. Daniel Karlin, this edition's editor, wants to respect FitzGerald's wishes so also omits footnotes and moreover omits any superscripts to inform the reader of the presence of one of his endnotes. So now not only does the reader need to mark three pages simultaneously, the poem, FitzGerald's endnotes, and Karlin's end-endnotes, but also he must keep flicking to the latter of the three in case Karlin has just pointed out something useful. (In fact for the full experience one should mark a fourth set of pages where variants are included for each stanza from the five different editions of FitzGerald's work.)

Having virtually dislocated my fingers after three stanzas in order to keep up with this merry charade I felt obliged to utter a playground epithet pointing out that this style of reading was a poor substitute for a game of soliders. And so I gave up on Karlin's end-endnotes and made do with Fitzgerald's, referring to Karlin's only if something I really didn't understand came up. And then I re-read the poem using Karlin's notes rather than Fitzgerald's. And then I read the variant stanzas, and the intriguing appendices. Suffice it to that once I figured out how to read the book I really did enjoy it. ( )
1 stem leezeebee | Jul 6, 2020 |
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» Tilføj andre forfattere (121 mulige)

Forfatter navnRolleHvilken slags forfatterVærk?Status
Khayyám, Omarprimær forfatteralle udgaverbekræftet
Anderson, MarjorieIllustratormedforfatternogle udgaverbekræftet
Batson, H.M.Bidragydermedforfatternogle udgaverbekræftet
Brangwyn, FrankIllustratormedforfatternogle udgaverbekræftet
Buckley, Jerome H.Introduktionmedforfatternogle udgaverbekræftet
Buday, GeorgeIllustratormedforfatternogle udgaverbekræftet
Bull, RenéIllustratormedforfatternogle udgaverbekræftet
Burnett, VirgilIllustratormedforfatternogle udgaverbekræftet
Byatt, A. S.Introduktionmedforfatternogle udgaverbekræftet
Caird, Margaret R.Illustratormedforfatternogle udgaverbekræftet
Claes, PaulOversættermedforfatternogle udgaverbekræftet
Coley, Louis B.Illustratormedforfatternogle udgaverbekræftet
Cueto, Pedro RamírezOversættermedforfatternogle udgaverbekræftet
Darrow, ClarenceIntroduktionmedforfatternogle udgaverbekræftet
Davis, DickRedaktørmedforfatternogle udgaverbekræftet
Dole, Nathan HaskellRedaktørmedforfatternogle udgaverbekræftet
Dulac, EdmundIllustratormedforfatternogle udgaverbekræftet
Emerson, Ralph WaldoBidragydermedforfatternogle udgaverbekræftet
Esfandiary, Hossein-Ali NouriRedaktørmedforfatternogle udgaverbekræftet
Etessam-Zader, A.-G.Oversættermedforfatternogle udgaverbekræftet
Farassat, M.Z.Calligraphymedforfatternogle udgaverbekræftet
Fish, Anne HarrietIllustratormedforfatternogle udgaverbekræftet
FitzGerald, EdwardOversættermedforfatternogle udgaverbekræftet
Gebhard, CatherineIllustratormedforfatternogle udgaverbekræftet
Giusti, GeorgeOmslagsdesignermedforfatternogle udgaverbekræftet
Hanscom, AdelaideIllustratormedforfatternogle udgaverbekræftet
Hay, JohnBidragydermedforfatternogle udgaverbekræftet
Hedayat, SadiqRedaktørmedforfatternogle udgaverbekræftet
Hemmant, LynnetteRedaktørmedforfatternogle udgaverbekræftet
Hill, JeffIllustratormedforfatternogle udgaverbekræftet
Housman, LaurenceIntroduktionmedforfatternogle udgaverbekræftet
Hubbard, ElbertIllustratormedforfatternogle udgaverbekræftet
Huygens, F.P.Forordmedforfatternogle udgaverbekræftet
James, GilbertIllustratormedforfatternogle udgaverbekræftet
Karlin, DannyRedaktørmedforfatternogle udgaverbekræftet
Katchadourian, SarkisIllustratormedforfatternogle udgaverbekræftet
Katchadourian, StinaIllustratormedforfatternogle udgaverbekræftet
Ku, A.W.Redaktørmedforfatternogle udgaverbekræftet
Laws, Ernest E.Bidragydermedforfatternogle udgaverbekræftet
Machiani, H.A.Illustratormedforfatternogle udgaverbekræftet
Maine, George F.Redaktørmedforfatternogle udgaverbekræftet
Myers, Thomas C.Redaktørmedforfatternogle udgaverbekræftet
Pogány, WillyIllustratormedforfatternogle udgaverbekræftet
Puttapipat, NirootIllustratormedforfatternogle udgaverbekræftet
Radó, AnthonyIllustratormedforfatternogle udgaverbekræftet
Rees, T. IforOversættermedforfatternogle udgaverbekræftet
Rittenhouse, Jessie BelleRedaktørmedforfatternogle udgaverbekræftet
Robinson, B.W.Bidragydermedforfatternogle udgaverbekræftet
Ross, AliceBidragydermedforfatternogle udgaverbekræftet
Ross, E. D.Bidragydermedforfatternogle udgaverbekræftet
Ross, GordonIllustratormedforfatternogle udgaverbekræftet
Sayah, MahmoudIllustratormedforfatternogle udgaverbekræftet
Schagen, Johan vanOversættermedforfatternogle udgaverbekræftet
Scollay, SusanIntroduktionmedforfatternogle udgaverbekræftet
Sherriffs, Robert StewertIllustratormedforfatternogle udgaverbekræftet
Sullivan, Edmund J.Illustratormedforfatternogle udgaverbekræftet
Szyk, ArthurIllustratormedforfatternogle udgaverbekræftet
Untermeyer, LouisRedaktørmedforfatternogle udgaverbekræftet
Vedder, ElihuIllustratormedforfatternogle udgaverbekræftet
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Awake! for Morning in the Bowl of Night
Has flung the Stone that puts the Stars to Flight;
And Lo! the Hunter of the East has caught
The Sultán's Turret in a Noose of Light.
Introduction: In 1861 a bundle of pamphlets was placed on a second-hand bookstall in London for clearance at a penny apiece.
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The Moving Finger writes; and, having writ, Moves on;
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The Edward FitzGerald translations of The Rubáiyát of Omar Kayyam into English are generally considered to have been paraphrased to the point that "inspired by" may be more accurate than "translated from." Most popular editions of the Rubáiyát use the FitzGerald verses both because of their intrinsic value and because it is no longer in copyright. This work consists of all editions that can reasonably be attributed to FitzGerald, by means of title, ISBN or author credit. Books that contain the Fitzgerald translation as well as other, more literal translations are combined with the other translations of the Rubáiyát. Please do not combine this FitzGerald work with other translations.
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'The Moving Finger writes; and, having writMoves on: nor all thy Piety nor WitShall lure it back to cancel half a lineNor all thy tears wash out a word of it.'In the 'rubaiyat' (short epigrammatic poems) of the medieval Persian poet, mathematician, and philosopher Omar Khayyam, Edward FitzGerald saw an unflinching challenge to the illusions and consolations of mankind in every age. His version of Omar is neither a translation nor an independent poem;sceptical of divine providence and insistent on the pleasure of the passing moment, its 'Orientalism' offers FitzGerald a powerful and distinctive voice, in whose accents a whole Victorian generation comes to life. Although the poem's vision is bleak, it is conveyed in some of the most beautifuland haunting images in English poetry - and some of the sharpest- edged. The poem sold no copies at all on its first appearance in 1859, yet when it was 'discovered' two years later its first admirers included Dante Gabriel Rossetti, Swinburne, and Ruskin. Daniel Karlin's richly annotated editiondoes justice to the scope and complexity of FitzGerald's lyrical meditation on 'human death and fate'.

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