Rub Iy T Of Omar Khayy Am

"Rubáiyát of Omar Khayyám and Salámán and Absál" from Omar Khayyám. Persian philosopher, mathematician, astronomer and poet (1048-1131).

Though it's difficult to imagine, these 12th-century stanzas-oft quoted and frequently looked to for inspiration by those seeking to live life to the fullest-did not come to the public's attention until Edward FitzGerald published them in English in 1859... and even then they were ignored until the painter Dante Rossetti discovered a remaindered copy two years later and excitedly spread news of it around his intellectual and artistic circles. Not a direct translation, these liberal interpretations make Khayym's verse accessible to readers in the English language. Several editions of FitzGerald's work are included in this volume, allowing the reader multiple approaches to their wisdom and beauty.

"A Flask of Wine, a Book of Verse — and Thou, Beside me, singing in the Wilderness," is only one of the memorable verses from Edward FitzGerald's translations of poems by the 11th century Persian sage Omar Khayyám. This magnificent version of The Rubáiyát of Omar Khayyám reproduces the edition published by Hodder & Stoughton of London in 1909, in which the timeless poems are accompanied by full-color images by Golden Age illustrator Edmund Dulac. Critics and collectors have long debated which book represents the peak of Dulac's career, and many agree that his affinity for Persian art makes this gloriously illustrated volume a strong contender.

This large print title is set in Tiresias 16pt font as recommended by the RNIB.

'The Moving Finger writes; and, having writ Moves on: nor all thy Piety nor Wit Shall lure it back to cancel half a line Nor all thy tears wash out a word of it.' In the 'rubáiyát' (short epigrammatic poems) of the medieval Persian poet, mathematician, and philosopher Omar Khayyám, 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 beautiful and 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 edition does justice to the scope and complexity of FitzGerald's lyrical meditation on 'human death and fate'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.