''The Rubáiyát of Omar Khayyám'' () is the title that Edward FitzGerald gave to his translation of a selection of poems, originally written in Persian and of which there are about a thousand, attributed to Omar Khayyám (1048–1131), a Persian poet, mathematician and astronomer. A ''ruba'i'' is a two-line stanza with two parts (or hemistichs) per line, hence the word ''rubáiyát'' (derived from the Arabic language root for "four"), meaning "quatrains".

Translations

The nature of a translation very much depends on what interpretation one places on Khayyam's philosophy. The fact that the rubaiyat are a collection of quatrains - and may be selected and rearranged subjectively to support one interpretation or another - has led to widely differing versions. Nicolas took the view that Khayyam himself clearly was a Sufi. Others have seen signs of mysticism, even atheism, or conversely devout and orthodox Islam. FitzGerald gave the Rubaiyat a distinct fatalistic spin, although it has been claimed that he softened the impact of Khayyam's nihilism and his preoccupation with the mortality and transience of all things. Even such a question as to whether Khayyam was pro- or anti-alcohol gives rise to more discussion than might at first glance have seemed plausible.

Edward FitzGerald versions

The translations that are best known in English are those of about a hundred of the verses by Edward FitzGerald (1809–1883).

1st edition – 1859

2nd edition – 1868

3rd edition – 1872

4th edition – 1879

5th edition – 1889

Of the five editions published, four were published under the authorial control of FitzGerald. The fifth edition, which contained only minor changes from the fourth, was edited after his death on the basis of manuscript revisions FitzGerald had left.

FitzGerald also produced Latin translations of certain rubaiyat.

As a work of English literature FitzGerald's version is a high point of the 19th century and has been greatly influential. Indeed, The term "Rubaiyat" by itself has come to be used to describe the quatrain rhyme scheme that FitzGerald used in his translations: AABA.

However, as a translation of Omar Khayyam's quatrains, it is not noted for its fidelity. Many of the verses are paraphrased, and some of them cannot be confidently traced to any one of Khayyam's quatrains at all. Some critics informally refer to the FitzGerald's English versions as "''The Rubaiyat of FitzOmar''", a nickname that both recognizes the liberties FitzGerald inflicted on his purported source and also credits FitzGerald for the considerable portion of the "translation" that is his own creation.

In fact, FitzGerald himself referred to his work as "transmogrification". "My translation will interest you from its form, and also in many respects in its detail: very unliteral as it is. Many quatrains are mashed together: and something lost, I doubt, of Omar's simplicity, which is so much a virtue in him" (letter to E. B. Cowell, 9/3/58). And, "I suppose very few People have ever taken such Pains in Translation as I have: though certainly not to be literal. But at all Cost, a Thing must live: with a transfusion of one’s own worse Life if one can’t retain the Original’s better. Better a live Sparrow than a stuffed Eagle" (letter to E. B. Cowell, 4/27/59).

Perhaps the most famous of FitzGerald's verses is this one, which can be traced back to at least two original quatrains that FitzGerald conflated into one:

Quatrain XI in his 1st edition: Here with a Loaf of Bread beneath the Bough, A Flask of Wine, a Book of Verse - and Thou Beside me singing in the Wilderness - And Wilderness is Paradise enow.

Quatrain XII in his 5th edition: "A Book of Verses underneath the Bough, A Jug of Wine, a Loaf of Bread--and Thou Beside me singing in the Wilderness-- Oh, Wilderness were Paradise enow!"

The following are several samples of Fitzgerald's translation, concluding with another well-known verse (FitzGerald's quatrain LI in his 1st edition):

Some for the pleasures here below Others yearn for The Prophet's Paradise to come; Ah, take the cash and let the credit go, Nor heed the rumble of a distant drum

And much as Wine has played the Infidel And robbed me of my robe of Honour, well ... I often wonder what the vintners buy One half so precious as the stuff they sell

For some we loved, the loveliest and best That from His rolling vintage Time has pressed, Have drunk their glass a round or two before, And one by one crept silently to rest

But helpless pieces in the game He plays Upon this chequer-board of Nights and Days He hither and thither moves, and checks ... and slays Then one by one, back in the Closet lays

"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."

Graf von Schack

Adolf Friedrich von Schack (1815–1894) published a German translation in 1878.

Quatrain 151 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

Gönnt mir, mit dem Liebchen im Gartenrund Zu weilen bei süßem Rebengetränke, Und nennt mich schlimmer als einen Hund, Wenn ferner an’s Paradies ich denke!

Friedrich von Bodenstedt

Friedrich Martinus von Bodenstedt (1819–1892) published a German translation in 1881. The translation eventually consisted of 395 quatrains.

Quatrain IX, 59 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

Im Frühling mag ich gern im Grüne weilen Und Einsamkeit mit einer Freundin teilen Und einem Kruge Wein. Mag man mich schelten: Ich lasse keinen andern Himmel gelten.

Edward Henry Whinfield

Two English editions by Whinfield (1836-?) consisted of 253 quatrains in 1882 and 500 in 1883.

Quatrain 84 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

In the sweet spring a grassy bank I sought And thither wine and a fair Houri brought; And, though the people called me graceless dog, Gave not to Paradise another thought!

J.B. Nicolas

The first French translation, of 464 quatrains in prose, was made by J.B. Nicolas, chief interpreter at the French Embassy in Persia in 1867.

Prose stanza (equivalent of Fitzgerald's quatrain XI in his 1st edition, as above): : Au printemps j’aime à m’asseoir au bord d’une prairie, avec une idole semblable à une houri et une cruche de vin, s’il y en a, et bien que tout cela soit généralement blâmé, je veux être pire qu’un chien si jamais je songe au paradis.

John Leslie Garner

An English translation of 152 quatrains, published in 1888.

Quatrain I. 20 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

Yes, Loved One, when the Laughing Spring is blowing, With Thee beside me and the Cup o’erflowing, I pass the day upon this Waving Meadow, And dream the while, no thought on Heaven bestowing.

Justin Huntly McCarthy

Justin Huntly McCarthy (1859–1936) (Member of Parliament for Newry) published prose translations of 466 quatrains in 1889.

Quatrain 177 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

In Spring time I love to sit in the meadow with a paramour perfect as a Houri and goodly jar of wine, and though I may be blamed for this, yet hold me lower than a dog if ever I dream of Paradise.

Richard Le Gallienne

Richard Le Gallienne (1866–1947) produced a verse translation, subtitled "a paraphrase from several literal translations", in 1897. In his introductory note to the reader, Le Gallienne cites McCarthy's "charming prose" as the chief influence on his version. Some example quatrains follow:

Look not above, there is no answer there; Pray not, for no one listens to your prayer; Near is as near to God as any Far, And Here is just the same deceit as There.

And do you think that unto such as you; A maggot-minded, starved, fanatic crew: God gave the secret, and denied it me?-- Well, well, what matters it! Believe that, too.

"Did God set grapes a-growing, do you think, And at the same time make it sin to drink? Give thanks to Him who foreordained it thus-- Surely He loves to hear the glasses clink!"

Edward Heron-Allen

Edward Heron-Allen (1861–1943) published a prose translation in 1898. He also wrote an introduction to an edition of Frederick Rolfe (Baron Corvo) ’s translation into English of Nicolas’s French translation.

Example quatrain (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

I desire a little ruby wine and a book of verses, Just enough to keep me alive, and half a loaf is needful; And then, that I and thou should sit in a desolate place Is better than the kingdom of a sultan.

Franz Toussaint

The best-known version in French is the free verse edition by Franz Toussaint (1879–1955) published in 1924. This translation consisting of 170 quatrains was done from the original Persian text, while most of the other French translations were themselves translations of FitzGerald's work. The ''Éditions d'art Henri Piazza'' published the book almost unchanged between 1924 and 1979. Toussaint's translation has served as the basis of subsequent translations into other languages, but Toussaint did not live to witness the influence his translation has had.

A. J. Arberry

In 1959, Professor A. J. Arberry, a distinguished scholar of Persian and Arabic, attempted to produce a scholarly edition of Khayyam, based on thirteenth-century manuscripts. However, his manuscripts were subsequently exposed as twentieth-century forgeries.

Robert Graves and Omar Ali-Shah

While Arberry’s work had been misguided, it was published in good faith. The 1967 translation of the Rubáiyat by Robert Graves and Omar Ali-Shah, however, created a scandal. The authors claimed it was based on a twelfth-century manuscript located in Afghanistan, where it was allegedly utilised as a Sufi teaching document. But the manuscript was never produced, and British experts in Persian literature were easily able to prove that the translation was in fact based on Edward Heron Allen's analysis of possible sources for FitzGerald’s work.

Quatrains 11 and 12 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

Should our day's portion be one mancel loaf, A haunch of mutton and a gourd of wine Set for us two alone on the wide plain, No Sultan's bounty could evoke such joy.

A gourd of red wine and a sheaf of poems — A bare subsistence, half a loaf, not more — Supplied us two alone in the free desert: What Sultan could we envy on his throne?

Peter Avery and John Heath-Stubbs

A modern version of 235 quatrains, claiming to be "as literal an English version of the Persian originals as readability and intelligibility permit", published in 1979. Their edition provides two versions of the thematic quatrain, the first (98) considered by the Persian writer Sadeq Hedayat to be a spurious attribution.

98. I need a jug of wine and a book of poetry, Half a loaf for a bite to eat, Then you and I, seated in a deserted spot, Will have more wealth than a Sultan's realm.

234. If chance supplied a loaf of white bread, Two casks of wine and a leg of mutton, In the corner of a garden with a tulip-cheeked girl, There'd be enjoyment no Sultan could outdo.

Karim Emami

In 1988, for the very first time, the Rubaiyat were translated by a Persian translator. Karim Emami's translation of the Rubaiyat was published under the title ''The Wine of Nishapour'' in Paris. ''The Wine of Nishapour'' is the collection of Khayyam's poetry by Shahrokh Golestan, including Golestan's pictures in front of each poem. Emami was an outstanding translator of English in Iran, who had also translated many contemporary Persian poems.

Example from Emami's work:

It's early dawn, my love, open your eyes and arise Gently imbibing and playing the lyre; For those who are here will not tarry long, And those who are gone will not return.

Example quatrain 160 (equivalent of FitzGerald's quatrain XI in his 1st edition, as above):

In spring if a houri-like sweetheart Gives me a cup of wine on the edge of a green cornfield, Though to the vulgar this would be blasphemy, If I mentioned any other Paradise, I'd be worse than a dog.

Ahmed Rami

Ahmed Rami, a famous late Egyptian poet, translated the work into Arabic. His translation was sung by Umm Kulthum.

Other languages

Many Russian language translations have been undertaken, reflecting the popularity of the ''Rubaiyat'' in Russia since the late 19th century and the increasingly popular tradition of using it for the purposes of bibliomancy. The earliest verse translation (by V.L. Velichko) was published in 1891. The version by Osip Rumer published in 1914 is a translation of FitzGerald's version. Rumer later published a version of 304 rubaiyat translated directly from Persian. A lot of poetic translations (some based on verbatim translations into prose by others) were also written by German Plisetsky, Konstantin Bal'mont, Ts. Banu, I. Tkhorzhevsky, L. Pen'kovsky, and others.

In Polish, several collections of ''Rubaiyat'' have appeared, including one by Professor Andrzej Gawroński, which is regarded as the best.

Poet Cornelis Jacobus Langenhoven (1873–1932, author of ''Die Stem van Suid-Afrika'') produced the first translation in Afrikaans. Herman Charles Bosman wrote a translation in Afrikaans published in 1948.

Eric Hermelin translated the Rubaiyat into Swedish in 1928.

G Sankara Kurup produced a translation into Malayalam (1932)

Thirunalloor Karunakaran translated the Rubaiyat into Malayalam in 1989.

Duvvoori Ramireddy translated the Rubaiyat into Telugu in 1935.

Maithili Sharan Gupt and Harivanshrai Bachchan translated the book into Hindi in 1959.

Kantichandra Ghosh, Muhammad Shahidullah (in 1942), Kazi Nazrul Islam (in 1958) and Shakti Chattopadhyay (in 1978) produced translations into Bangla

D. V. Gundappa translated the work into Kannada as a collection of poems titled "Umarana Osage" in 1952

Gopal Chandra Kanungo illustrated and translated the book into Oriya in 1954

Thomas Ifor Rees produced a Welsh translation, published in Mexico City in 1939.

Francesco Gabrieli produced an Italian translation (''Le Rubaiyyàt di Omar Khayyàm'') in 1944. Alessandro Bausani produced another translation in 1965.

Fraînque Le Maistre produced a Jèrriais version (based on FitzGerald's 1st edition) during the German occupation of the Channel Islands 1940–1945.

Robert Bin Shaaban produced a version in Swahili (dated 1948, published 1952)

Kerson Huang based a Chinese version on FitzGerald's version. Other than that there are altogether 48 translations(partial or complete) into Chinese, the complete list can be found at Baidu Baike.

In 1990, Jowann Richards produced a Cornish translation.

Scottish poet Rab Wilson published a version in Scots in 2004.

Fan Noli produced an Albanian translation, the melody and poetics of which are highly regarded.

At least four versions exist in the Thai language. These translations were made from the work of Edward FitzGerald many years ago. Their respective authors are HRH Prince Narathip Prapanpong, Rainan Aroonrungsee (pen name: Naan Gitirungsi), Pimarn Jamjarus (pen name: Kaen Sungkeet), and Suriyachat Chaimongkol.

Haljand Udam produced an Estonian translation.

The poet J. H. Leopold (1865–1925) rendered a number of Rubaiyat in Dutch.

The Kurdish poet Hajar translated the Rubaiyat in his ''Chwar Parchakani Xayam'', which is also available as an audiobook in which the narrator sings the verses.

Armenian poet Kevork Emin has translated several verses of the Rubaiyat.

The Assyrian journalist and poet Naum Faiq translated the Rubaiyat into the Assyrian language.

In Finnish language first translations were made by Toivo Lyy in 1929. More recently Jaakko Hämeen-Anttila (1999 and 2008) and Kiamars Baghban with Leevi Lehto (2009) have translated Khayyam in Finnish.

The earliest translation in Hungarian consisted of a few stanzas taken from the French version of Nicolas, by Béla Erődi in 1919-20. Lőrinc Szabó finalized his translation of the Fitzgerald version in 1943.

First Czech translator is Josef Štýbr. At first he translated from English (from Fitzgerald's "translations") (1922), after that from original language (1931). Translation from original can be found on Czech wikisource (770 poems). Next translators are mentioned here.

The first translator into Slovene was Alojz Gradnik, his translation being published in 1955. The first translation of nine short poems into Serbo-Croatian was published in 1920, and was the work of Safvet beg Bašagić. In 1932, Jelena Skerlić-Ćorović re-published these nine, alongside 75 more poems. In 1964, a noted orientalist Fehim Bajraktarević published his translation of Rubaiyat.

Hồ Thượng Tuy translated from English into Vietnamese (from FitzGerald’s 1st edition) in 1990.

Nguyễn Viết Thắng produced a Vietnamese translation of 487 rubaiyat, translated from English and Russian in 1995, published in Hanoi in 2003.

Xabier Correa Corredoira published a Galician translation in 2010. Hemendra Kumar Roy translated the Rubaiyat into Bengali.

Christos Marketis translated 120 rubaiyat into Greek in 1975.

Authenticity and analysis

The number of quatrains attributed to Khayyam varies from about 1,200 (according to Saeed Nafisi) to over 2,000. Many scholars believe that not all the attributed quatrains are authentic and some have been added to Khayyam's Diwan in later years for various reasons. A few literary researchers, for example, Mohammad-Ali Foroughi and Farzaneh Aghaeipour have selected and published a subset of the quatrains believed to be original using various research methods.

Mystical interpretation

"Wine of the Mystic" by Paramahansa Yogananda, is an illustrated interpretation of the FitzGerald translation. Each quatrain is accompanied with Persian text, a glossary of terms, Yoganada's spiritual interpretation, and practical interpretation. It won the 1994 Benjamin Franklin Award in the field of Religion. Yogananda makes an argument for the mystical basis of Khayyam's Rubaiyat.

In ''Who is the Potter? '', Abdullah Dougan, a Naqshbandi Sufi, provides a verse-by-verse commentary of the Rubaiyat. Dougan says that while Omar is a minor Sufi teacher compared to the giants – Rumi, Attar and Sana’i, for us he is a marvelous man because we can feel for him and understand his approach. The work is much more accessible than Sana’i’s for instance; "Every line of the Rubaiyat has more meaning than almost anything you could read in Sufi literature". Dougan says that the many critics of Fitzgerald miss the point as he is only an instrument for what Allah wanted to happen – there have been many more literally correct translations, but Fitzgerald’s is divine inspiration, something far superior, a miracle. In Dougan’s opinion, while many read the Rubaiyat literally and hence see Omar as a materialist, he is in fact a spiritual teacher and is much maligned because people do not understand him. Abdullah Dougan says the work is deeply esoteric and "if you approach the quatrains with that in mind, the poem will have a tremendous impact on you as you try to understand it."

It must be noted that religious beliefs were deeply instilled in the people of the time, which gave much influence to the clergy, and the prosecution of poets who made statements contradictory to religious massages were prevalent, as was the case with Hafiz (whose house was raided several times, and was forced to burn some of his more liberal poems) and Ferdowsi (who was branded a heretic and was not permitted to be buried in the Muslims graveyard).

The mystic interpretation of themes in poetry which were contrary to Islamic teachings became popular after the Safavid dynasty rise to power and the establishing of Twelver school of Shi'a Islam as the official religion of Iran. At this time poets such as Ferdowsi (who glorified the pre-Islamic Iran and patriotism), Hafiz (with his Epicurean view on life) and Khayyam (with openly agnostic themed poetry) had already found their roots among Iranian culture and their works were looked upon as masterpieces of Persian literature. In order to justify their popularity and lay “credence” to their messages, many Haram themes were interpreted as having hidden mystical meanings and parallels were drawn between verses and Shi'a themes and traditions. Some religious hardliners however refuted Khayyam and the like altogether (and to a lesser extent still do today).

Putting aside all this Khayyam never identified himself as a Sufi nor did anyone in his time. In fact on several occasions he mocks the devoutly religious who criticize the non religious.

Influence

Like Shakespeare's works, Omar Khayyám's verses have provided later authors with quotations to use as titles:

The title of Rex Stout's Nero Wolfe novel ''Some Buried Caesar'' comes from one of the Tentmaker's quatrains (FitzGerald's XVIII), for example.

Eugene O'Neill's drama ''Ah, Wilderness!'' derives its title from the first quoted quatrain above.

Agatha Christie used ''The Moving Finger'' as a story title, as did Stephen King. See also ''And Having Writ…''.

Lan Wright used ''Dawn's Left Hand'' as the title of a science fiction story serialised in ''New Worlds Science Fiction'' (January–March 1963).

Equally noteworthy are these works likewise influenced:

The British composer Granville Bantock produced a choral setting of FitzGerald's translation 1906-1909.

The American author O. Henry humorously referred to a book by "Homer KM" with the character "Ruby Ott" in his short story "The Handbook of Hymen." O. Henry also quoted a quatrain from the Rubaiyat of Omar Khayyam in "The Rubaiyat of a Scotch Highball."

Using FitzGerald's translation, the Armenian-American composer Alan Hovhaness set a dozen of the quatrains to music. This work, ''The Rubaiyat of Omar Khayyam'', Op. 308, calls for narrator, orchestra, and solo accordion.

The American horror author H P Lovecraft created an Arab poet Abdul Alhazred to whom was attributed a couplet:

:That is not dead which can eternal lie :And with strange aeons even death may die. Lovecraft was obsessed with the Arabian Nights and had no doubt read the Fitzgerald translation - the couplet follows Fitzgerald's metre and rhyme pattern for the first half of a Khayyam quatrain.

The artist/illustrator Edmund Dulac produced some much-beloved illustrations for the Rubaiyat, 1909.

Filmmaker D.W. Griffith planned a film based on the poems as a follow-up to ''Intolerance'' in 1916. It was to star Miriam Cooper, but when she left the Griffith company the plans were dropped; he would ultimately film ''Broken Blossoms'' instead.

The Argentinian writer Jorge Luis Borges discusses ''The Rubaiyat'' and its history in an essay, "The Enigma of Edward FitzGerald" ("El Enigma de Edward FitzGerald") in his book "Other Inquisitions" ("Otras Inquisiciones", 1952). He also references it in some of his poems, including "Rubaiyat" in "The Praise of the Shadow" ("Elogio de la Sombra", 1969), and "Chess" ("Ajedrez") in "The Maker" ("El Hacedor", 1960). Borges' father Jorge Guillermo Borges was the author of a translation to Spanish of the FitzGerald version of The Rubaiyat.

The Lebanese writer Amin Maalouf based his story "Samarkand" on the life of Omar Khayyam, and the creation of the Rubaiyat. It details the Assassin sect as well, and includes a fictional telling of how the (non-existent) original manuscript came to be on the ''RMS Titanic''.

Science fiction author Paul Marlowe's story "Resurrection and Life" featured a character who could only communicate using lines from the Rubaiyat.

The Supreme Court of the Philippines, through a unanimous opinion penned in 2005 by Associate Justice Leonardo Quisumbing, quoted ''The Moving Finger'' when it ruled that the widow of defeated presidential candidate Fernando Poe Jr. could not substitute her late husband in his pending election protest against Philippine president Gloria Macapagal Arroyo, thus leading to the dismissal of the protest.

In Cyberflix's PC game, ''Titanic: Adventure Out of Time'', the object is to save three important items, the Rubaiyat of Omar Khayyam, one of Adolf Hitler's paintings, and a notebook that proves German officials were attempting to gain geo-political advantage by instigating communist revolution. Two passages from the book are also included in the game as clues to progress the narrative.

The Rubaiyat was quoted in the 1946 King Vidor Western film ''Duel in the Sun'', which starred Gregory Peck and Jennifer Jones: "Oh threats of hell and hopes of paradise! One thing at least is certain: This life flies. One thing is certain and the rest is Lies; The Flower that once is blown for ever dies."

A canto was quoted and used as an underlying theme of the 1945 screen adaptation of ''The Picture of Dorian Gray'': "I sent my soul through the invisible, some letters of that after-life to spell, and by and by my soul did return, and answered, 'I myself am Heaven and Hell.'"

Coldcut produced an album with a song called "Rubyaiyat" on their album ''Let us Play!'' This song contains what appears to be some words from the English translation. See album This was probably influenced by the ambitious 1970 album by jazz-soul harpist Dorothy Ashby, "The Rubaiyat of Dorothy Ashby," which has become something of a cult classic. The lyrics quote from several of the poem's verses, and the tracks' highly stylized and heavily reverberated production values and pop mysticism have made it a favorite of samplers, beat-diggers, and fans of psychedelic jazz and R&B.;

In one 6-episode story arc of ''The Rocky and Bullwinkle Show'', Bullwinkle finds the "Ruby Yacht of Omar Khayyam" in the town of Frostbite Falls (on the shores of Veronica Lake, no less).

Woody Guthrie recorded an excerpt of the Rubaiyat set to music that was released on ''Hard Travelin' (The Asch Recordings Vol. 3)''.

In the film ''The Music Man'' (based on the 1957 musical), town librarian Marian Paroo draws down the wrath of the mayor's wife for encouraging the woman's daughter to read a book of "dirty Persian poetry." Summarizing what she calls the "Ruby Hat," the mayor's wife paraphrases FitzGerald's Quatrain XII from his 5th edition: "People lying out in the woods eating sandwiches, and drinking directly out of jugs with innocent young girls."

The satirist and short story writer Hector Hugh Monro took his pen name of 'Saki' from Edward FitzGerald's translation of the Rubaiyat.

The Rubaiyat have also influenced Arabic music. Indeed, Oum Koulthoum, a legend of Arabic music, has sung one of those poems and made her song "robaaiyet el khayam" become one of her most beautiful songs.

A copy of the ''Rubaiyat'' plays a role in an episode of the TV series ''New Amsterdam'' and is shown to be the inspiration for the name of one of the lead character's children, Omar York.

The famed "skull and roses" poster for a Grateful Dead show at the Avalon Ballroom done by Alton Kelley and Stanley Mouse was adapted from Edmund J. Sullivan's illustrations for ''The Rubaiyat of Omar Khayyam''.

The play ''The Shadow of a Gunman'' by Sean O'Casey contains a reference to the ''Rubaiyat'' as the character Donal Davoren quotes "grasp this sorry scheme of things entire, and mould life nearer to the heart's desire."

Wendy Cope's poem "Strugnell's Rubiyat" is a close parody of the FitzGerald translation, relocated to modern day Tulse Hill.

Oliver Herford released a parody of the Rubaiyat called "The Rubaiyat of a Persian Kitten" in 1904, which is notable for its charming illustrations of the kitten in question on his philosophical adventures.

One of the title pages of ''Principia Discordia,'' a co-author of which went by the pen-name Omar Khayyam Ravenhurst, features its own spin on the quatrain most quoted above: : A jug of wine, : A leg of lamb :: And thou! : Beside me, :: Whistling in ::: the darkness. In the opening chapter of his book ''God is Not Great'', Christopher Hitchens quotes from Richard Le Gallienne's translation of Khayyam's famous quatrain: :And do you think that unto such as you :A maggot-minded, starved, fanatic crew :God gave the secret, and denied it me? :Well, well-what matters it? Believe that, too! The work influenced the 2004 concept album ''The Rubaiyyat of Omar Khayyam'' by the Italian group Milargo Acustico.

The final words of the work, Taman Shod (which translates to 'Ended'), were at the center of the rather bizarre Taman Shud Case along with other connections to the Rubaiyat.

Anniversary events

2009 marked the 150th anniversary of Fitzgerald's translation, and the 200th anniversary of Fitzgerald's birth. Events marking these anniversaries included:

The Smithsonian's traveling exhibition ''Elihu Vedder's Drawings for the Rubaiyat'' at the Phoenix Art Museum, November 15, 2008–February 8, 2009

The exhibition ''Edward Fitzgerald & The Rubaiyat from the collection of Nicholas B. Scheetz'' at the Grolier Club, January 22–March 13, 2009.

The exhibition ''Omar Khayyám. Een boek in de woestijn. 150 jaar in Engelse vertaling'' at the Museum Meermanno, The Hague, January 31–April 5, 2009

The exhibition ''The Persian Sensation: The Rubaiyat of Omar Khayyam in the West'' at the Harry Ransom Humanities Research Center at The University of Texas at Austin, February 3–August 2, 2009

An exhibition at the Cleveland Public Library Special Collections, opening February 15, 2009

The joint conference, ''Omar Khayyam, Edward FitzGerald and The Rubaiyat'', held at Cambridge University and Leiden University, July 6–10, 2009

The Folio Society published a limited edition (1,000 copies) of the Rubáiyát to mark the 150th anniversary.

References

External links

Rubaiyat of Omar Khayyam

Read The Rubayyat of Omar Khayyám at HolyeBooks.org

Listen to The Rubáiyát of Omar Khayyám audiobook at LibriVox

The illustrated Rubáiyát of Omar Khayyám at Internet Archive.

The Persian Poet, contains the translations by Edward FitzGerald and a biography.

Graves and Ali-Shah.

Project Gutenberg: etext#246 (translation by Edward FitzGerald) and etext#5408 (a parody by Wallace Irvin)

Rubaiyat of Omar Khayyam a collection of rubaiyat in Persian, accompanied by several translations into English and German.

The entire book in DNL E-Book format.

Fitzgerald's translation as an app for Android mobile phones.

The complete four edition translations by Edward FitzGerald, with illustrations by Blanche McManus at Kellscraft.com.

A comparison between the translations by Heron-Allen and Talbot.

Parodies of the Rubaiyat, included are 'The Rubaiyat of Ohow Dryyam', 'The Rubaiyat of a Persian Kitten', 'The Rubaiyat of Omar Cayenne', and 'The Rubaiyat of Omar Khayyam, Jr.'

Syracuse University's Special Collections Research Center has in its Rare Books holdings more than 300 different editions of the ''Rubaiyat''

The Harry Ransom Center at the University of Texas at Austin holds over 1,500 items related to the ''Rubaiyat'', including two copies of the first edition, hundreds of editions, translations, and parodies, several Persian manuscripts containing rubaiyat, and ephemera, manuscripts and correspondence documenting the phenomenon of "Omariana"

Who is the Potter? - a commentary on the Rubaiyat of Omar Khayyam by Abdullah Dougan - a modern Sufi's understanding.

at Baidu Baike can find a list of 48 Chinese translations.

Category:11th-century books Category:Medieval literature Category:Omar Khayyám Category:Persian literature Category:Persian poems Category:Sufi literature Category:Persian books

ar:رباعيات الخيام fa:رباعیات خیام fr:Rubaiyat gl:Rubaiyat ko:루바이야트 ms:Rubaiyat Omar Khayyam ja:ルバイヤート pl:Rubajjaty Omara Chajjama pt:Rubaiyat ckb:چوارینەکانی خەیام sv:Rubaiyat th:รุไบยาตของโอมาร์ คัยยาม tg:Рубоиёти Хайём tr:Rubaiyat vi:Thơ Rubaiyat của Omar Khayyam

Name	Renato Zero
Background	solo_singer
Birth name	Renato Fiacchini
Born	September 30, 1950
Origin	Roma, Italy
Genre	Pop rock, soul, rock
Years active	1965–present
Label	Zerolandia, Sony Music, Tattica
Website	}}

Renato Zero is the stage name of Renato Fiacchini (born September 30, 1950), an Italian singer-songwriter and showman whose career spans a full 6 decades, from the 1960s to the 2010's. Zero was born Renato Fiacchini in downtown Rome, in Via di Ripetta, next to the famed Via del Corso. He quit his studies early to devote himself to his true passion, the arts, more specifically playing music and singing - though initially with little success. From an early age, he would wear make-up and cross-dress. He replied to the criticisms he received (including the recurring insult ''Sei uno zero!'' - "You're a zero!") by taking on the pseudonym Renato Zero. He recorded his first songs in 1965: "Tu, sì", "Il deserto", "La solitudine", which were never issued. His first published single, "Non basta sai/In mezzo ai guai" (1967), sold a total of 20 copies and was quickly forgotten. He had several different jobs, including an appearance in an advertisement for ice-cream, work as a dancer in a TV show, playing and dancing in two musicals and a couple minor roles in two Fellini movies.

In the late 1960s/early 1970s Zero's career was given a boost by the glam-rock movement, from which he benefited with his sexual ambiguity and androgynous appearance. At the same time, this led him to being accused of emulating other celebrities like David Bowie and, in particular, other British singer Marc Bolan whom he looked a whole lot like. In 1973 he issued his first LP, ''No! Mamma, no!'' (recorded live), but still with little success. The follow-up ''Invenzioni'' met the same fate.

Birth of the "Zeromania"

It was not until 1976 that he scored his first hit with the single "Madame", a collaboration with songwriter Franca Evangelisti and composer Piero Pintucci, with whom Zero continued to work in the years that followed. "Madame" and the album including it, ''Trapezio'', established a regular and loyal audience for Zero. This was to increase exponentially in the following years, until he could boast a huge following of die-hard fans that he dubbed ''Sorcini'' ("Little Mice"). Hi greatest hits at the time, all of them topping and breaking the Italian charts for quite some time, were lurid, only partly veiled recounts of extreme life in the sex-crazed 1970s: "Mi vendo" (a transvestite hooker's anthem), "Il triangolo" (a threesome's tale), and "SessoOEsse" (S.O.S. spelled like "Sex-or-S"), all set to a Bee Gees-like disco beat that was trendy at the time, were, and still are, really popular in Italy, and were among all disco clubs playlists. He also became friends at the time with french chanteuse and disco-queen Amanda Lear, another crossdesser's icon.

The late 1970s were indeed years of great success for Zero's character, with the LPs ''Zerofobia'' ("Zerophobia", 1977), ''Zerolandia'' (1978) and ''Erozero'' (1979) topping the Italian charts. At this time Renato Zero was amongst the two or three ''most popular singers in Italy'' and his song "Il Carrozzone" was already regarded, also by critics, as one of the best Italian songs ever.

The name Zerolandia referred also to the moving theatre (a circus tent with a capacity of 5,000) in which he gave shows throughout Italy. On numerous occasions fans would participate in the gigs, made-up like Zero and dressed in his typical bird-like and strass-decorated costumes.

In 1979 Zero played as himself in the movie ''Ciao Nì'' (his usual greeting to his fans, which can be roughly translated as "Hi pal!"). In Italy this film grossed more than the American blockbuster ''Superman''.

The 1980s: career dip

In the 1980s he began to abandon make-up and greasepaint, but this did not rid Zero of his mania for ''grandeur'': in the 1980 tour, for example, he entered the scene riding a white horse. In 1982 he began a collaboration with the opera director Renato Serio, who was to write the string arrangements for almost all of Zero's following LPs. In late 1983 he took part in RAI's ''Fantastico 3'', then the most popular Italian TV show.

His career continued to be successful until 1984, with top-charts songs like "Amico" ("Friend") and "Spiagge" ("Beaches"). That year, however, his album ''Leoni si nasce'' and the tour of the same name, in which he appeared disguised as a lion and escorted by four aborigines, were commercial failures. The album ''Zero'' of 1987 marked the lowest point of his career: instead of playing in arenas and stadiums, Zero had to sing almost for free in the piazzas and discos of Italy's minor cities.

1990s: The comeback

In 1991 Renato Zero participated to the Sanremo Music Festival with "Spalle al muro", and from that moment on his career began to rise again. In 1993 he ranked #1 on the Italian charts with the LP ''Quando non sei più nessuno''. The following year ''Imperfetto'' repeated this success. During his tour concerts would regularly sell out, and he returned to his famous dress changes during the spectacles, although in a more balanced style.

In the mid-90s Zero dubbed the character of Jack Skellington and sang the songs in the Italian release of Tim Burton's ''The Nightmare Before Christmas''.

In 1999, he sang at Pavarotti and Friends his hit song ''Il cielo'' together with tenor Luciano Pavarotti, and later the same year, Italian diva Mina paid him a tribute with her album ''Mina n° 0'', containing nine Zero's songs, including one sung in duet with him.

2000s: the Emperor's Reign

In 2004 his tour "Cattura il sogno/Il sogno continua" (Catch the dream/The dream continues) was awarded from Pollstar magazine as the most successful of the year in Italy and as well as one of the most successful worldwide (#30). The recording of the Roman concerts, held at Olimpico Stadium in June, was the ''best sold musical DVD'' of 2004.

In 2005 he took part to the Italian stage of Live 8, in the Circo Massimo. In November his new album ''Il dono'' ("The Gift") topped the charts and maintained #1 until the end of the year. In December 2005 he performed in the Vatican with a song dedicated to Pope John Paul II. Renato Zero's 2006 tour was entitled ''Zero movimento'' and involved 25 concerts. After 40 years of musical career, in February 2006 he refused the Career Award of the national Festival of San Remo, stating that should be for artists at an old age.

During some concerts held at the time of the campaign for the April 2006 elections, he declared himself against (right-wing) former Prime Minister Silvio Berlusconi.

In 2007 he toured again in major Italian cities, filling the biggest sports stadiums. The tour was called MpZerO, and attracted 270,000 spectators on 7 dates, of which 120,000 filled the Olympic Stadium of Rome, his hometown. He's often called the Emperor of Rome.

"Presente", his 30th album, released in Europe, South America and North America March 20, 2009, caused him to gain 5 discs of platinum in Italy and 80,000 copies sold out by Italy. Following Presente release, Renato toured again in autumn 2009: "Zeronove tour" collected 30 sold-out dates, most successful gig of the year in Italy. On December 10, "Ancora qui", the first single from the album "Presente", won the best Italian video of the year. In September 2010 "Presente" (cd edition + special cd+dvd edition) was certified by FIMI as the highest selling album in Italy during 2009-2010 years.

Zero's accomplishments

Renato Zero is still the only Italian artist to have reached the ''number one'' charts position of ''singles in 4 different decades'' (70's, 80's, 90's and 2000's). He had no fewer than 26 albums in the Top 10.

He likes to work with other artists, and wrote songs for numerous other singers as well. With his particular approach in performances, shows and tours, he is a leading live performer in his country and obtained a unique spot in the Italian musical scene. Throughout his career, Renato Zero has been a crusader against drug abuse. His grand force is regarded to be having shown ''the normality of the diverse'', convincing the public that diversity feeds our human abilities to feel and act with love, respect, solidarity and faith.

Personal life

Zero has never either admitted nor denied being gay and he avoids the subject although the general consesus is that he is gay, albeit a conservative one, who fancies no outings and no public displays of it except in his art. His image has changed thru the decades, from the flamboyant, make-up wearing transvestite of the mid 1970s, reminiscent of Marc Bolan or Rocky Horror Picture Show's Frank'n'Furter, to today's somber, blue suit-clad icon of no specific gender and unspecified age, his only allowance to fancifulness, a casque of jet-black hair and a thin veil of foundation and lipgloss.

Discography

! Album	! Year	! Peak	! Weeks	! Label	! Year endchart
No! Mamma, No!
Invenzioni
Trapezio
Zerofobia
Zerolandia
EroZero
Tregua
Icaro
Artide Antartide
Via Tagliamento 1965/1970
Calore
Leoni si nasce
Identikit
Soggetti smarriti
Zero
Voyeur
Prometeo
La coscienza di Zero
Quando non sei più di nessuno
Passaporto per Fonopoli
L'imperfetto
Sulle tracce dell'imperfetto
Amore dopo amore
Amore dopo amore Tour dopo tour
Tutti gli Zeri del mondo
La curva dell'angelo
Cattura
Figli del sogno CD
Figli del sogno DVD
Il dono
Renatissimo!
Zero40 DVD
Presente
Zeronove tour DVD
Sei Zero DVD

References

External links

(Italian and English)

Zeromania, fan site

Renato Zero, tribute space

Category:1950 births Category:Italian singer-songwriters Category:Living people Category:People from Rome (city)

de:Renato Zero el:Ρενάτο Ζέρο es:Renato Zero fa:رناتو زیرو fr:Renato Zero it:Renato Zero pt:Renato Zero

Marika Fruscio (born January 3, 1979 in Milan, Italy) is an Italian adult model and television personality. Fruscio is best known for being a former host of ''Uomini e Donne''.

Career

In 2010, Fruscio experienced a wardrobe malfunction while on the air on an Italian soccer show ''Diretta Stadio'' on the 7 Gold channel. Fruscio was wearing a light black and white dress and had a microphone clipped on in her large cleavage. The microphone was able to pull her dress, thus causing a nipple slip. The wardrobe malfunction increased Fruscio's media coverage and went viral on the Internet.

In 2011, Fruscio published a calendar in which she posed nude for each month.

Personal Life

After leaving ''Uomini e Donne'' in 2009, Fruscio began dating media personality and dancer Gianni Sperti.

References

Category:1979 births Category:Living people Category:Italian female models Category:People from Milan