The Sufistic Quatrains of Omar Khayyam — A Closer Reading
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For The Sufistic Quatrains of Omar Khayyam — A Closer Reading, the stored edition analysis reports 88,535 words, 6 hr 25 min estimated reading time, and 21 detected text sections.
The text analysis averages about 19.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “FitzGerald, Edward, 1809-1883,” connecting these edition facts with the source record’s subject description.
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Read the Text
Her little Children stumbling in the Dark?» And--«A blind Understanding!» Heav'n replied.
Then to this earthen Bowl did I adjourn My Lip the secret Well of Life to learn: And Lip to Lip it murmur'd--«While you live Drink!--for once dead you never shall return.»
I think the Vessel, that with fugitive Articulation answer'd, once did live, And merry-make; and the cold Lip I kiss'd How many Kisses might it take--and give!
For in the Market-place, one Dusk of Day, I watch'd the Potter thumping his wet Clay: And with its all obliterated Tongue It murmur'd--«Gently, Brother, gently, pray!»
Ah, fill the Cup:--what boots it to repeat How Time is slipping underneath our Feet: Unborn TO-MORROW, and dead YESTERDAY, Why fret about them if TO-DAY be sweet!
One Moment in Annihilation's Waste, One Moment, of the Well of Life to taste-- The Stars are setting and the Caravan Starts for the Dawn of Nothing--Oh, make haste!
How long, how long, in infinite Pursuit Of This and That endeavour and dispute? Better be merry with the fruitful Grape Than sadden after none, or bitter, Fruit.
You know, my Friends, how long since in my House For a new Marriage I did make Carouse: Divorced old barren Reason from my Bed, And took the Daughter of the Vine to Spouse.
For «IS» and «IS-NOT» though _with_ Rule and Line And «UP-AND-DOWN» _without_, I could define, I yet in all I only cared to know, Was never deep in anything but--Wine.
And lately, by the Tavern Door agape, Came stealing through the Dusk an Angel Shape Bearing a Vessel on his Shoulder; and He bid me taste of it; and 'twas--the Grape!
The Grape that can with Logic absolute The Two-and-Seventy jarring Sects confute: The subtle Alchemist that in a Trice Life's leaden Metal into Gold transmute.
The mighty Mahmud, the victorious Lord, That all the misbelieving and black Horde Of Fears and Sorrows that infest the Soul Scatters and slays with his enchanted Sword.
But leave the Wise to wrangle, and with me The Quarrel of the Universe let be: And, in some corner of the Hubbub coucht, Make Game of that which makes as much of Thee.
For in and out, above, about, below, 'Tis nothing but a Magic Shadow-show, Play'd in a Box whose Candle is the Sun, Round which we Phantom Figures come and go.
And if the Wine you drink, the Lip you press, End in the Nothing all Things end in--Yes-- Then fancy while Thou art, Thou art but what Thou shalt be--Nothing--Thou shalt not be less.
While the Rose blows along the River Brink, With old Khayyam the Ruby Vintage drink: And when the Angel with his darker Draught Draws up to Thee--take that, and do not shrink.
'Tis all a Chequer-board of Nights and Days Where Destiny with Men for Pieces plays: Hither and thither moves, and mates, and slays, And one by one back in the Closet lays.
The Ball no Question makes of Ayes and Noes, But Right or Left as strikes the Player goes; And He that toss'd Thee down into the Field, _He_ knows about it all--HE knows--HE knows!
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.
And that inverted Bowl we call The Sky, Whereunder crawling coop't we live and die, Lift not thy hands to _It_ for help--for It Rolls impotently on as Thou or I.
With Earth's first Clay They did the Last Man's knead, And then of the Last Harvest sow'd the Seed Yea, the first Morning of Creation wrote What the Last Dawn of Reckoning shall read.
I tell Thee this--When, starting from the Goal, Over the shoulders of the flaming Foal Of Heav'n Parwin and Mushtara they flung, In my predestined Plot of Dust and Soul
The Vine had struck a Fibre; which about If clings my Being--let the Sufi flout; Of my Base Metal may be filed a Key, That shall unlock the Door he howls without,
And this I know: whether the one True Light, Kindle to Love, or Wrath consume me quite, One glimpse of It within the Tavern caught Better than in the Temple lost outright.
Oh, Thou, who didst with Pitfall and with Gin Beset the Road I was to wander in, Thou wilt not with Predestination round Enmesh me, and impute my Fall to Sin?
Oh, Thou, who Man of baser Earth didst make, And who with Eden didst devise the Snake; For all the Sin wherewith the Face of Man Is blacken'd, Man's Forgiveness give--and take
This volume assembles three distinct English translations of Omar Khayyam's quatrains, each accompanied by its own preface and notes, creating a layered editorial conversation about how a medieval Persian mathematician-poet was received in the West. Edward FitzGerald's 101 quatrains, presented in their first-edition form, sit alongside E.H. Whinfield's 500-quatrain version and J.B. Nicolas's prose translation from French. The juxtaposition immediately exposes how translation choices—from the number of quatrains selected to the decision to render in verse or prose—profoundly alter the texture and implied meaning of the rubaiyat.
Three Translators, Three Khayyams
The most striking feature of this edition is its refusal to present a single authoritative Khayyam. FitzGerald's famous quatrains, with their tight quatrain form and memorable epigrams, are immediately followed by Whinfield's more expansive collection, which includes extensive footnotes tracing variant readings and allusions to Islamic theology. Nicolas's prose version, translated from French, offers yet another register—more explanatory, less lyrical. The reader can compare, for instance, how FitzGerald's 'Drink wine to root up metaphysic weeds' (quatrain 194) becomes in Whinfield a more literal rendering with a footnote citing Muhammad's saying about seventy-three sects. This editorial structure forces attention to the translator's hand rather than treating the text as transparent.
Annotation as Argument
The apparatus in this volume does not merely clarify; it shapes interpretation. Whinfield's footnotes frequently reference Persian grammar, variant manuscripts, and Islamic sources—for example, explaining that a 'triple divorce is irrevocable' (Koran ii. 230) in a quatrain about divorcing 'old faith and reason.' Edward Heron-Allen's analysis of FitzGerald's fifth edition provides a systematic quatrain-by-quatrain breakdown, tracing sources and alterations across editions. The result is a scholarly layer that insists on the quatrains' embeddedness in Persian literary and religious traditions, counterbalancing FitzGerald's more universalizing, romanticized version. Readers encounter not just poetry but a debate about how much cultural context is necessary for understanding.
Recurring Motifs and Their Variations
Across the translations, certain motifs recur with telling variations. Wine appears both as literal drink and as metaphor for divine intoxication, with translators diverging on how explicitly to signal the Sufi allegorical reading. The 'potter' and 'clay' imagery (the Kuza-Nama section) is handled differently: FitzGerald's version emphasizes existential fragility, while Whinfield's notes connect it to Persian ceramic traditions. The figure of the 'cupbearer' (saki) oscillates between a human servant and a divine intermediary. These recurring elements, visible across the three translations, allow the reader to track how each translator navigates the tension between literal and mystical interpretation—a tension that the editorial framing deliberately highlights rather than resolves.
Rather than reading straight through, consider comparing a single quatrain across all three versions, noting differences in word choice, line length, and explanatory notes. This volume rewards nonlinear exploration: the indexes, comparative tables, and Heron-Allen's analysis invite cross-referencing. Pay particular attention to the footnotes, where translators reveal their assumptions about what a reader needs to know—and what they choose to leave implicit.
Holding this edition, I recalled sitting alone with FitzGerald’s rendering, feeling the ache of time’s impermanence. That same hush returned while reading Primavera—not the verses themselves, but the ghost of a translator’s hand, shaping another’s grief into something almost bearable. Each page felt like a borrowed breath, a quiet friend nodding across centuries. Primavera: Poems by Four Authors — Themes and Context stirred that identical, tender solitude.
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