Omar Khayyam

Omar Khayyam

Summary

Portrait of Omar Khayyam Omar Khayyam Rubáiyát of Omar Khayyám (1902)

One interest of Omar's existence I may perhaps claim to repre­sent with a more proportionate fulness,—his interest in love and 'women with languorous narcissus eyes.' There are a consider­ably greater number of verses devoted to that pleasant subject in the original than one would gather from FitzGerald; and though, after Oriental fashion, woman was merely an interlude in Omar's life, a pet, a plaything, there are several quatrains which breathe quite a modern intensity of passion. That Omar sometimes made use of wine and women as symbols of his mystical philosophy is, doubtless, true
Source: Wikisource

Portrait of Omar Khayyam Omar Khayyam Rubáiyát of Omar Khayyám (1902)

As it proved impracticable to give even such random continuity to these love-verses, as I have attempted in the body of the poem, I have made use of them as an intermezzo, a device of arrangement which is appropriate as suggesting the intercalary importance of women in the life of the great thinker-drinker—as though, in some pause of his grave or humourous argument, he should turn to caress the little moon at his side.
Source: Wikisource

Portrait of Omar Khayyam Omar Khayyam Rubáiyát of Omar Khayyám (1902)

The reader may remark that Omar's pessimism in the following paraphrase is mitigated more frequently by moods of optimism than in FitzGerald. In his attitude to the Deity, the 'he's a good fel­low' note is more frequently sounded, a curiously complete and abandoned faith alternating paradoxically with the most savage criticism and despair. In this my paraphrase accords more nearly with the Omar of the more literal translators—for Omar is always ready to curse God with one cup and love Him with the next.
Source: Wikisource

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