Rubaiyat of Omar Khayyam

Rendered into English Verse by Edward Fitzgerald
 
 

Contents:

Introduction.
First Edition
Fifth Edition
Notes
 
 

Introduction
 
 

Omar Khayyam,
The Astronomer-Poet of Persia.
 

Omar Khayyam was born at Naishapur in Khorassan 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 Nizam ul Mulk, Vizier to Alp Arslan the Son, and Malik Shah the Grandson, of Toghrul Beg the Tartar, who had wrested Persia from the feeble Successor of Mahmud the Great, and founded that Seljukian Dynasty which finally roused Europe into the Crusades. This Nizam 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 Khorassan was the Imam Mowaffak of Naishapur, 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 Tus to Naishapur 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 Khayyam, and the ill- fated Ben Sabbah. Both were endowed with sharpness of wit and the highest natural powers; and we three formed a close friendship together. When the Imam 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 Naishapur, while Hasan Ben Sabbah's father was one Ali, a man of austere life and practise, but heretical in his creed and doctrine. One day Hasan said to me and to Khayyam, "It is a universal belief that the pupils of the Imam 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 Khorassan 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.'

"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 Alamut, in the province of Rudbar, 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 where 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 Naishapur. One of the countless victims of the Assassin's dagger was Nizam ul Mulk himself, the old school-boy friend.<1>

<1>Some of Omar's Rubaiyat warn us of the danger of Greatness, the instability of Fortune, and while advocating Charity to all Men, recommending us to be too intimate with none. Attar makes Nizam-ul- Mulk use the very words of his friend Omar [Rub. xxviii.], "When Nizam-ul-Mulk was in the Agony (of Death) he said, 'Oh God! I am passing away in the hand of the wind.'"

"Omar Khayyam also came to the Vizier to 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 mithkals of gold from the treasury of Naishapur.

"At Naishapur thus lived and died Omar Khayyam, '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 Jalali era (so called from Jalal-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 'Ziji-Malikshahi,' and the French have lately republished and translated an Arabic Treatise of his on Algebra.

"His Takhallus or poetical name (Khayyam) signifies a Tent-maker, and he is said to have at one time exercised that trade, perhaps before Nizam-ul-Mulk's generosity raised him to independence. Many Persian poets similarly derive their names from their occupations; thus we have Attar, 'a druggist,' Assar, 'an oil presser,' etc.<2> Omar himself alludes to his name in the following whimsical lines:--

"'Khayyam, who stitched the tents of science, Has fallen in grief's furnace and been suddenly burned; The shears of Fate have cut the tent ropes of his life, And the broker of Hope has sold him for nothing!'

<2>Though all these, like our Smiths, Archers, Millers, Fletchers, etc., may simply retain the Surname of an hereditary calling.

"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 Bibliotheque, under Khiam.<3>--

"'It is written in the chronicles of the ancients that this King of the Wise, Omar Khayyam, died at Naishapur in the year of the Hegira, 517 (A.D. 1123); in science he was unrivaled,--the very paragon of his age. Khwajah Nizami of Samarcand, who was one of his pupils, relates the following story: "I often used to hold conversations with my teacher, Omar Khayyam, 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.<4> Years after, when I chanced to revisit Naishapur, I went to his final resting-place, and lo! it was just outside a garden, and trees laden with fruit stretched their boughs over the garden wall, and dropped their flowers upon his tomb, so that the stone was hidden under them."'"

<3>"Philosophe Musulman qui a vecu en Odeur de Saintete dans sa Religion, vers la Fin du premier et le Commencement du second Siecle," no part of which, except the "Philosophe," can apply to our Khayyam.

<4>The Rashness of the Words, according to D'Herbelot, consisted in being so opposed to those in the Koran: "No Man knows where he shall die."--This story of Omar reminds me of another so naturally--and when one remembers how wide of his humble mark the noble sailor aimed--so pathetically told by Captain Cook--not by Doctor Hawkworth--in his Second Voyage (i. 374). When leaving Ulietea, "Oreo's last request was for me to return. When he saw he could not obtain that promise, he asked the name of my Marai (burying-place). As strange a question as this was, I hesitated not a moment to tell him 'Stepney'; the parish in which I live when in London. I was made to repeat it several times over till they could pronounce it; and then 'Stepney Marai no Toote' was echoed through an hundred mouths at once. I afterwards found the same question had been put to Mr. Forster by a man on shore; but he gave a different, and indeed more proper answer, by saying, 'No man who used the sea could say where he should be buried.'"

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 Sufis, 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 Hafiz, 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 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 reacht Westward at all, in spite of all the acquisitions of Arms and Science. There is no copy at the India House, none at the Bibliotheque Nationale of Paris. We know but of one in England: No. 140 of the Ouseley MSS. at the Bodleian, written at Shiraz, A.D. 1460. This contains but 158 Rubaiyat. 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 MS. at double that number.<5> The 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:--

"O Thou who burn'st in Heart for those who burn
In Hell, whose fires thyself shall feed in turn,
How long be crying, 'Mercy on them, God!'
Why, who art Thou to teach, and He to learn?"

The Bodleian Quatrain pleads Pantheism by way of Justification.

"If I myself upon a looser Creed
Have loosely strung the Jewel of Good deed,
Let this one thing for my Atonement plead:
That One for Two I never did misread."

<5>"Since this paper was written" (adds the Reviewer in a note), "we have met with a Copy of a very rare Edition, printed at Calcutta in 1836. This contains 438 Tetrastichs, with an Appendix containing 54 others not found in some MSS."

The Reviewer,<6> 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 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 Theater) 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!

<6>Professor Cowell.

With regard to the present Translation. The original Rubaiyat (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 the Wave that falls over in the last. As usual with such kind of Oriental Verse, the Rubaiyat 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 Tentmaker, 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.  

[From the Third Edition.]  

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 Rubaiyat, 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, &c., as Hafiz is supposed to do; in short, a Sufi Poet like Hafiz and the rest.

I cannot see reason to alter my opinion, formed as it was more than a dozen years ago when Omar 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.<7> 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.

<7> Perhaps would have edited the Poems himself some years ago. He may now as little approve of my Version on one side, as of Mons. Nicolas' Theory on the other.

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. 13-14 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 Hafiz 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, &c., occur in the Text--which is often enough--Mons. Nicolas carefully annotates "Dieu," "La Divinite," &c.: so carefully indeed that one is tempted to think that he was indoctrinated by the Sufi with whom he read the Poems. (Note to Rub. ii. p. 8.) A Persian would naturally wish to vindicate a distinguished Countryman; and a Sufi to enroll 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 a l'etude de la philosophie des Soufis"? (Preface, p. xiii.) The Doctrines of Pantheism, Materialism, Necessity, &c., were not peculiar to the Sufi; 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 Rubaiyat of Mons. Nicolas' own Edition Suf and Sufi 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 Divinite," by some succeeding Mystic? Mons. Nicolas himself is puzzled by some "bizarres" and "trop Orientales" allusions and images--"d'une sensualite quelquefois revoltante" indeed--which "les convenances" do not permit him to translate; but still which the reader cannot but refer to "La Divinite."<8> No doubt also many of the Quatrains in the Teheran, as in the Calcutta, Copies, are spurious; such Rubaiyat being the common form of Epigram in Persia. But this, at best, tells as much one way as another; nay, the Sufi, who may be considered the Scholar and Man of Letters in Persia, would be far more likely than the careless Epicure to interpolate what favours his own view of the Poet. I observed 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 Bon-homme--Omar himself, with all his Humours and Passions, as frankly before us as if we were really at Table with him, after the Wine had gone round.

<8> A note to Quatrain 234 admits that, however clear the mystical meaning of such Images must be to Europeans, they are not quoted without "rougissant" even by laymen in Persia--"Quant aux termes de tendresse qui commencent ce quatrain, comme tant d'autres dans ce recueil, nos lecteurs, habitues maintenant a 1'etrangete des expressions si souvent employees par Kheyam pour rendre ses pensees sur l'amour divin, et a la singularite des images trop orientales, d'une sensualite quelquefois revoltante, n'auront pas de peine a se persuader qu'il s'agit de la Divinite, bien que cette conviction soit vivement discutee par les moullahs musulmans, et meme par beaucoup de laiques, qui rougissent veritablement d'une pareille licence de leur compatriote a 1'egard des choses spirituelles."

I must say that I, for one, never wholly believed in the Mysticism of Hafiz. It does not appear there was any danger in holding and singing Sufi Pantheism, so long as the Poet made his Salaam to Mohammed at the beginning and end of his Song. Under such conditions Jelaluddin, Jami, Attar, 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 Hafiz 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 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 Sufi; and the burden of Omar's Song--if not "Let us eat"--is assuredly--"Let us drink, for To-morrow we die!" And if Hafiz 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 Worshippers.

However, as there is some traditional presumption, and certainly the opinion of some learned men, in favour of Omar's being a Sufi--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 bragg'd more than he drank of it, in very defiance perhaps of that Spiritual Wine which left its Votaries sunk in Hypocrisy or Disgust.

Edward J. Fitzgerald
 
 

First Edition

Notes
 
 
 

[The references are, except in the first note only, to the stanzas of the Fifth edition.]  

(Stanza I.) Flinging a Stone into the Cup was the signal for "To Horse!" in the Desert.

(II.) The "False Dawn"; Subhi Kazib, a transient Light on the Horizon about an hour before the Subhi sadik or True Dawn; a well-known Phenomenon in the East.

(IV.) New Year. Beginning with the Vernal Equinox, it must be remembered; and (howsoever the old Solar Year is practically superseded by the clumsy Lunar Year that dates from the Mohammedan Hijra) still commemorated by a Festival that is said to have been appointed by the very Jamshyd whom Omar so often talks of, and whose yearly Calendar he helped to rectify.

"The sudden approach and rapid advance of the Spring," says Mr. Binning, "are very striking. Before the Snow is well off the Ground, the Trees burst into Blossom, and the Flowers start from the Soil. At Naw Rooz (their New Year's Day) the Snow was lying in patches on the Hills and in the shaded Vallies, while the Fruit-trees in the Garden were budding beautifully, and green Plants and Flowers springing upon the Plains on every side--

'And on old Hyems' Chin and icy Crown
An odorous Chaplet of sweet Summer buds
Is, as in mockery, set--'--

Among the Plants newly appear'd I recognized some Acquaintances I had
not seen for many a Year: among these, two varieties of the Thistle; a
coarse species of the Daisy, like the Horse-gowan; red and white
clover; the Dock; the blue Cornflower; and that vulgar Herb the
Dandelion rearing its yellow crest on the Banks of the Water-courses."
The Nightingale was not yet heard, for the Rose was not yet blown: but an almost identical Blackbird and Woodpecker helped to make up something of a North-country Spring.

"The White Hand of Moses." Exodus iv. 6; where Moses draws forth his Hand--not, according to the Persians, "leprous as Snow," but white, as our May-blossom in Spring perhaps. According to them also the Healing Power of Jesus resided in his Breath.

(V.) Iram, planted by King Shaddad, and now sunk somewhere in the Sands of Arabia. Jamshyd's Seven-ring'd Cup was typical of the 7 Heavens, 7 Planets, 7 Seas, &c., and was a Divining Cup.

(VI.) Pehlevi, the old Heroic Sanskrit of Persia. Hafiz also speaks of the Nightingale's Pehlevi, which did not change with the People's.

I am not sure if the fourth line refers to the Red Rose looking sickly, or to the Yellow Rose that ought to be Red; Red, White, and Yellow Roses all common in Persia. I think that Southey in his Common- Place Book, quotes from some Spanish author about the Rose being White till 10 o'clock; "Rosa Perfecta" at 2; and "perfecta incarnada" at 5.

(X.) Rustum, the "Hercules" of Persia, and Zal his Father, whose exploits are among the most celebrated in the Shahnama. Hatim Tai, a well-known type of Oriental Generosity.

(XIII.) A Drum--beaten outside a Palace.

(XIV.) That is, the Rose's Golden Centre.

(XVIII.) Persepolis: call'd also Takht-i-Jam-shyd--THE THRONE OF JAMSHYD, "King Splendid," of the mythical Peshdadian Dynasty, and supposed (according to the Shah-nama) to have been founded and built by him. Others refer it to the Work of the Genie King, Jan Ibn Jan--who also built the Pyramids--before the time of Adam.

BAHRAM GUR.--Bahram of the Wild Ass--a Sassanian Sovereign--had also his Seven Castles (like the King of Bohemia!) each of a different Colour: each with a Royal Mistress within; each of whom tells him a Story, as told in one of the most famous Poems of Persia, written by Amir Khusraw: all these Sevens also figuring (according to Eastern Mysticism) the Seven Heavens; and perhaps the Book itself that Eighth, into which the mystical Seven transcend, and within which they revolve. The Ruins of Three of those Towers are yet shown by the Peasantry; as also the Swamp in which Bahram sunk, like the Master of Ravenswood, while pursuing his Gur.

The Palace that to Heav'n his pillars threw,
And Kings the forehead on his threshold drew--
I saw the solitary Ringdove there,
And "Coo, coo, coo," she cried; and "Coo, coo, coo."

[Included in Nicolas's edition as No. 350 of the Rubaiyat, and also in Mr. Whinfield's translation.]

This Quatrain Mr. Binning found, among several of Hafiz and others, inscribed by some stray hand among the ruins of Persepolis. The Ringdove's ancient Pehlevi Coo, Coo, Coo, signifies also in Persian "Where? Where? Where?" In Attar's "Bird-parliament" she is reproved by the Leader of the Birds for sitting still, and for ever harping on that one note of lamentation for her lost Yusuf.

Apropos of Omar's Red Roses in Stanza xix, I am reminded of an old English Superstition, that our Anemone Pulsatilla, or purple "Pasque Flower," (which grows plentifully about the Fleam Dyke, near Cambridge,) grows only where Danish Blood has been spilt.

(XXI.) A thousand years to each Planet.

(XXXI.) Saturn, Lord of the Seventh Heaven.

(XXXII.) ME-AND-THEE: some dividual Existence or Personality distinct from the Whole.

(XXXVII.) One of the Persian Poets--Attar, I think--has a pretty story about this. A thirsty Traveller dips his hand into a Spring of Water to drink from. By-and-by comes another who draws up and drinks from an earthen bowl, and then departs, leaving his Bowl behind him. The first Traveller takes it up for another draught; but is surprised to find that the same Water which had tasted sweet from his own hand tastes bitter from the earthen Bowl. But a Voice--from Heaven, I think--tells him the clay from which the Bowl is made was once Man; and, into whatever shape renew'd, can never lose the bitter flavour of Mortality.

(XXXIX.) The custom of throwing a little Wine on the ground before drinking still continues in Persia, and perhaps generally in the East. Mons. Nicolas considers it "un signe de liberalite, et en meme temps un avertissement que le buveur doit vider sa coupe jusqu'a la derniere goutte." Is it not more likely an ancient Superstition; a Libation to propitiate Earth, or make her an Accomplice in the illicit Revel? Or, perhaps, to divert the Jealous Eye by some sacrifice of superfluity, as with the Ancients of the West? With Omar we see something more is signified; the precious Liquor is not lost, but sinks into the ground to refresh the dust of some poor Wine-worshipper foregone.

Thus Hafiz, copying Omar in so many ways: "When thou drinkest Wine pour a draught on the ground. Wherefore fear the Sin which brings to another Gain?"

(XLIII.) According to one beautiful Oriental Legend, Azrael accomplishes his mission by holding to the nostril an Apple from the Tree of Life.

This, and the two following Stanzas would have been withdrawn, as somewhat de trop, from the Text, but for advice which I least like to disregard.

(LI.) From Mah to Mahi; from Fish to Moon.

(LVI.) A Jest, of course, at his Studies. A curious mathematical Quatrain of Omar's has been pointed out to me; the more curious because almost exactly parallel'd by some Verses of Doctor Donne's, that are quoted in Izaak Walton's Lives! Here is Omar: "You and I are the image of a pair of compasses; though we have two heads (sc. our feet) we have one body; when we have fixed the centre for our circle, we bring our heads (sc. feet) together at the end." Dr. Donne:

If we be two, we two are so
As stiff twin-compasses are two;
Thy Soul, the fixt foot, makes no show
To move, but does if the other do.

And though thine in the centre sit,
Yet when my other far does roam,
Thine leans and hearkens after it,
And rows erect as mine comes home.

Such thou must be to me, who must
Like the other foot obliquely run;
Thy firmness makes my circle just,
And me to end where I begun.

(LIX.) The Seventy-two Religions supposed to divide the World, including Islamism, as some think: but others not.

(LX.) Alluding to Sultan Mahmud's Conquest of India and its dark people.

(LXVIII.) Fanusi khiyal, a Magic-lanthorn still used in India; the cylindrical Interior being painted with various Figures, and so lightly poised and ventilated as to revolve round the lighted Candle within.

(LXX.) A very mysterious Line in the Original:

O danad O danad O danad O--

breaking off something like our Wood-pigeon's Note, which she is said to take up just where she left off.

(LXXV.) Parwin and Mushtari--The Pleiads and Jupiter.

(LXXXVII.) This Relation of Pot and Potter to Man and his Maker figures far and wide in the Literature of the World, from the time of the Hebrew Prophets to the present; when it may finally take the name of "Pot theism," by which Mr. Carlyle ridiculed Sterling's "Pantheism." My Sheikh, whose knowledge flows in from all quarters, writes to me--

"Apropos of old Omar's Pots, did I ever tell you the sentence I found in 'Bishop Pearson on the Creed'? 'Thus are we wholly at the disposal of His will, and our present and future condition framed and ordered by His free, but wise and just, decrees. Hath not the potter power over the clay, of the same lump to make one vessel unto honour, and another unto dishonour? (Rom. ix. 21.) And can that earth-artificer have a freer power over his brother potsherd (both being made of the same metal), than God hath over him, who, by the strange fecundity of His omnipotent power, first made the clay out of nothing, and then him out of that?'"

And again--from a very different quarter--"I had to refer the other day to Aristophanes, and came by chance on a curious Speaking-pot story in the Vespae, which I had quite forgotten.

[Greek text deleted from etext.]

"The Pot calls a bystander to be a witness to his bad treatment. The woman says, 'If, by Proserpine, instead of all this 'testifying' (comp. Cuddie and his mother in 'Old Mortality!') you would buy yourself a rivet, it would show more sense in you!' The Scholiast explains echinus as [Greek phrase deleted from etext]."

One more illustration for the oddity's sake from the "Autobiography of a Cornish Rector," by the late James Hamley Tregenna. 1871.

"There was one odd Fellow in our Company--he was so like a Figure in the 'Pilgrim's Progress' that Richard always called him the 'ALLEGORY,' with a long white beard--a rare Appendage in those days--and a Face the colour of which seemed to have been baked in, like the Faces one used to see on Earthenware Jugs. In our Country- dialect Earthenware is called 'Clome'; so the Boys of the Village used to shout out after him--'Go back to the Potter, Old Clomeface, and get baked over again.' For the 'Allegory,' though shrewd enough in most things, had the reputation of being 'saift-baked,' i.e., of weak intellect."

(XC.) At the Close of the Fasting Month, Ramazan (which makes the Mussulman unhealthy and unamiable), the first Glimpse of the New Moon (who rules their division of the Year) is looked for with the utmost Anxiety, and hailed with Acclamation. Then it is that the Porter's Knot maybe heard--toward the Cellar. Omar has elsewhere a pretty Quatrain about the same Moon--

"Be of Good Cheer--the sullen Month will die,
And a young Moon requite us by and by:
Look how the Old one meagre, bent, and wan
With Age and Fast, is fainting from the Sky!"
 
 
 

End of this Project Gutenberg Etext of the Rubaiyat of Omar Khayyam