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c_ktozehncsp83 | He also wrote an introduction to an edition of the translation by Frederick Rolfe (Baron Corvo) into English from Nicolas's French translation. Below is Quatrain 17 translated by E. H. into English: The English novelist and orientalist Jessie Cadell (1844–1884) consulted various manuscripts of the Rubaiyat with the intention of producing an authoritative edition. Her translation of 150 quatrains was published posthumously in 1899.A. | Rubaiyat of Omar Khayyam |
c_ftcxbjlmzv7l | J. Arberry in 1949 and 1952 produced translations of two putative thirteenth-century manuscripts recently acquired by the Chester Beatty Library and Cambridge University Library. However, it was soon established that, unbeknown to Arberry or the libraries, the manuscripts were recent forgeries. While Arberry's work had been misguided, it was published in good faith. | Rubaiyat of Omar Khayyam |
c_0rrcxl5z5k35 | The 1967 translation of the Rubáiyat by Robert Graves and Omar Ali-Shah created a scandal. The authors claimed it was based on a twelfth-century manuscript located in Afghanistan, where it was allegedly utilized 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. | Rubaiyat of Omar Khayyam |
c_ba6aebh5b0xg | : 155 Quatrains 11 and 12 (the equivalent of FitzGerald's quatrain XI in his 1st edition, as above): John Charles Edward Bowen (1909–1989) was a British poet and translator of Persian poetry. He is best known for his translation of the Rubaiyat, titled A New Selection from the Rubaiyat of Omar Khayyam. Bowen is also credited as being one of the first scholars to question Robert Graves' and Omar Ali-Shah's translation of the Rubaiyat.A modern version of 235 quatrains, claiming to be "as literal an English version of the Persian originals as readability and intelligibility permit", was published in 1979 by Peter Avery and John Heath-Stubbs. | Rubaiyat of Omar Khayyam |
c_fpfjj932f6br | Their edition provides two versions of the thematic quatrain, the first (98) considered by the Persian writer Sadeq Hedayat to be a spurious attribution. In 1988, the Rubaiyat was translated by an Iranian for the first time. Karim Emami's translation of the Rubaiyat was published under the title The Wine of Nishapour in Paris. | Rubaiyat of Omar Khayyam |
c_r5zkj1jdayuh | The Wine of Nishapour is the collection of Khayyam's poetry by Shahrokh Golestan, including Golestan's pictures in front of each poem. Example quatrain 160 (equivalent to FitzGerald's quatrain XI in his first edition, as above): In 1991, Ahmad Saidi (1904–1994) produced an English translation of 165 quatrains grouped into 10 themes. Born and raised in Iran, Saidi went to the United States in 1931 and attended college there. | Rubaiyat of Omar Khayyam |
c_hik7gpywmy15 | He served as the head of the Persian Publication Desk at the U.S. Office of War Information during World War II, inaugurated the Voice of America in Iran, and prepared an English-Persian military dictionary for the Department of Defense. His quatrains include the original Persian verses for reference alongside his English translations. His focus was to faithfully convey, with less poetic license, Khayyam's original religious, mystical, and historic Persian themes, through the verses as well as his extensive annotations. Two example quatrains follow: Quatrain 16 (equivalent to FitzGerald's quatrain XII in his 5th edition, as above): Quatrain 75: Paramahansa Yogananda (1893–1952) published an English translation and other translations of 75 quatrains in 1996, with a glossary, spiritual interpretation and practical applications.In 2022 Akbar Golrang, born in Abadan in Iran in 1945, published his English translation of 123 rubaiyat. | Rubaiyat of Omar Khayyam |
c_5a1dstjhyfc0 | 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): 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): | Rubaiyat of Omar Khayyam |
c_u25ejt7rzvrr | 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): 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. | Rubaiyat of Omar Khayyam |
c_tx3f1cc3m11d | 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. Quatrain XXV (equivalent of FitzGerald's quatrain XI in his 1st edition, as above): | Rubaiyat of Omar Khayyam |
c_8aov2mdpuhe4 | 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 Vasily 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, Cecilia Banu, I. I. Tkhorzhevsky (ru), L. Pen'kovsky, and others. | Rubaiyat of Omar Khayyam |
c_omgz3gqn96ri | Afrikaans: 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 into Afrikaans published in 1948. Albanian: Fan Noli produced a translation in 1927, the melody and poetics of which are highly regarded. Arabic: The first Arabic translation was made from FitzGerald's English into septets (suba'iyat), by Wadi' al-Bustani in 1911. | Rubaiyat of Omar Khayyam |
c_baesgx72b9x7 | Ahmed Rami, a famous late Egyptian poet, translated the work into Arabic. His translation was sung by Umm Kulthum. Armenian: Armenian poet Kevork Emin has translated several verses of the Rubaiyat. | Rubaiyat of Omar Khayyam |
c_i83rku47eh7p | Assyrian: (see Syriac below). Belarusian: 172 rubaiyat were translated by Ryhor Baradulin in 1989. | Rubaiyat of Omar Khayyam |
c_z447y76ej7xv | Bengali: Kantichandra Ghosh, Muhammad Shahidullah (in 1942), Kazi Nazrul Islam (in 1958), Shakti Chattopadhyay (in 1978) and Hemendra Kumar Roy produced translations into Bengali. Catalan: Ramon Vives Pastor published a verse translation (1907) from the Nicolas' French one and the Fitzgerald's; in 2010, two direct translations from the Persian were published: a rhythmic one by Àlex Queraltó, and the other by Ramon Gaja, in verse and maintaining the original rhyme. | Rubaiyat of Omar Khayyam |
c_xobdifg719sp | Chinese: Kerson Huang based a Chinese version on FitzGerald's version. Cornish: In 1990, Jowann Richards produced a Cornish translation. Czech: First Czech translator is Josef Štýbr. | Rubaiyat of Omar Khayyam |
c_9nxoinzpesmq | At first he translated from English (from FitzGerald's "translations") (1922), after that from original language (1931). Translation from the original can be found on Czech wikisource (770 poems). Subsequent translators are mentioned here. | Rubaiyat of Omar Khayyam |
c_ky7dhidhng3v | Dutch: The poet J. H. Leopold (1865–1925) rendered a number of rubaiyat into Dutch. Estonian: Haljand Udam produced an Estonian translation. | Rubaiyat of Omar Khayyam |
c_ees6zskz8u4h | Amharic: መልከዐ ዑመር or Melk'ea Umer translated by Prof. Tesfaye Gessesse in 1986 E.C Finnish: the 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 into Finnish. Galician: Xabier Correa Corredoira published a Galician translation in 2010. | Rubaiyat of Omar Khayyam |
c_m2leqkw6atqq | Greek: Christos Marketis translated 120 rubaiyat into Greek in 1975. Hindi: Maithili Sharan Gupt and Harivanshrai Bachchan translated the book into Hindi in 1959. Hungarian: The earliest translation in Hungarian consisted of a few stanzas taken from the French version of Nicolas, by Béla Erődi in 1919–20. | Rubaiyat of Omar Khayyam |
c_zq9fz0kwl9j3 | Lőrinc Szabó finalized his translation of the FitzGerald version in 1943. Icelandic: Magnús Ásgeirsson translated the Rubaiyat in 1935. There was an earlier translation by Einar Benediktsson in 1921. | Rubaiyat of Omar Khayyam |
c_034clib4be3b | Jochum M. Eggertsson (Skuggi) published a translation in 1946. All translations are of FitzGerald's version. Irish: Tadhg Ó Donnchadha (Torna) translated the Rubaiyat from English into Irish in 1920. | Rubaiyat of Omar Khayyam |
c_m43xvp2bt1i3 | Italian: Francesco Gabrieli produced an Italian translation (Le Rubaiyyàt di Omar Khayyàm) in 1944. A. Zazzaretta produced a translation in 1960, and Alessandro Bausani produced another translation in 1965. Japanese: In 1910, Kakise Hikozo translated 110 poems from the 5th edition of FitzGerald's translation. | Rubaiyat of Omar Khayyam |
c_0obfc8dcqvmn | The first translation from Persian into the classical Japanese language was made by a linguist, Shigeru Araki, in 1920. Among various other translations, Ogawa highly evaluates Ryo Mori's (ja:森亮), produced in 1931. In Japan, until 1949, more than 10 poets and/or scholars made translations into Japanese. | Rubaiyat of Omar Khayyam |
c_ab0cjgc8f7d5 | The first complete translation from Persian into the modern Japanese language was made by Ryosaku Ogawa in 1949, which is still popular and has been published from Iwanami Shoten (it is now in the public domain and also freely available from Aozora Bunko). Historically, the first attempt was six poems translated by Kambara Ariake in 1908. Jèrriais: Fraînque Le Maistre produced a Jèrriais version (based on FitzGerald's 1st edition) during the German occupation of the Channel Islands (1940–1945). | Rubaiyat of Omar Khayyam |
c_w1xsx3yetxux | Kannada: D. V. Gundappa translated the work into Kannada as a collection of poems titled Umarana Osage in 1952. Kurdish: The Kurdish poet Hajar translated the Rubaiyat in his Chwar Parchakani Xayam. Latvian: It was translated into Latvian by Andrejs Kurcijs in 1970. | Rubaiyat of Omar Khayyam |
c_5rs4zd2yfh8g | Malayalam: G. Sankara Kurup produced a translation into Malayalam (1932). Thirunalloor Karunakaran translated the Rubaiyat in 1989. Odia: Gopal Chandra Kanungo illustrated and translated the FitzGerald's book into Odia in 1954. | Rubaiyat of Omar Khayyam |
c_wntz8gws1ac0 | Devdas Chhotray adapted Edward FitzGerald's work into Odia and recorded it in musical form in 2011. Radha Mohan Gadanayak also translated the Rubaiyat into Odia. Polish: Several collections of Rubaiyat have appeared, including ones by Professor Andrzej Gawroński (1933, 1969), regarded as the best. | Rubaiyat of Omar Khayyam |
c_ir4r9gv8uqza | Romanian: In 2015 it was translated into Romanian for the first time by orientalist philologist Gheorghe Iorga. Sanskrit: Srimadajjada Adibhatla Narayana Das (1864–1945) translated the original Persian quatrains and Edward FitzGerald's English translations into Sanskrit and pure-Telugu. Pandit Narayana Das claimed his translation was more literal than that of FitzGerald. | Rubaiyat of Omar Khayyam |
c_4adbdesqbwru | (See Ajjada Adibhatla Narayana Dasu.) Scots: Scottish poet Rab Wilson published a Scots version in 2004. Serbo-Croatian: The first translation of nine short poems into Serbo-Croatian was published in 1920, and was the work of Safvet beg Bašagić. | Rubaiyat of Omar Khayyam |
c_85ah789c8n1k | In 1932, Jelena Skerlić Ćorović re-published these nine, alongside 75 more poems. In 1964, noted orientalist Fehim Bajraktarević published his translation of the Rubaiyat. Slovene: The first translator into Slovene was Alojz Gradnik, his translation being published in 1955. | Rubaiyat of Omar Khayyam |
c_21ob6r1zytbp | It was translated again by Slovene translator and poet Bert Pribac in 2007 from the French Toussaint edition. Sureth: The Assyrian author Eshaya Elisha Khinno translated the Rubaiyat into Sureth (Assyrian Neo-Aramaic) in 2012 Swahili: Robert Bin Shaaban produced a version in Swahili (dated 1948, published 1952). Swedish: Eric Hermelin translated the Rubaiyat into Swedish in 1928. | Rubaiyat of Omar Khayyam |
c_sp2ixjlz6sg5 | Syriac: The Assyrian journalist and poet Naum Faiq translated the Rubaiyat into the Syriac. Tagalog: Poet and linguist Ildefonso Santos published his Tagalog translation in 1953. Telugu: Duvvoori Ramireddy translated the Rubaiyat into Telugu in 1935. | Rubaiyat of Omar Khayyam |
c_cadnc7urzcok | Srimadajjada Adibhatla Narayana Das (1864–1945) translated the original Persian quatrains and Edward FitzGerald's English translations into Sanskrit and pure Telugu. Thai. At least four versions exist in Thai. | Rubaiyat of Omar Khayyam |
c_so3nniy9bn44 | These translations were made from the text of FitzGerald. Their respective authors are HRH Prince Narathip Prapanpong, Rainan Aroonrungsee (pen name: Naan Gitirungsi), Pimarn Jamjarus (pen name: Kaen Sungkeet), and Suriyachat Chaimongkol. Welsh: Sir John Morris-Jones translated directly from Persian into Welsh in 1928. | Rubaiyat of Omar Khayyam |
c_9qmflbqu2csa | Thomas Ifor Rees produced a Welsh translation, published in Mexico City in 1939. Vietnamese: 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 and published in Hanoi in 2003. | Rubaiyat of Omar Khayyam |
c_t1sedlvctsl8 | FitzGerald rendered Omar's name as "Omar the Tentmaker", and this name resonated in English-speaking popular culture for a while. Thus, Nathan Haskell Dole published a novel called Omar, the Tentmaker: A Romance of Old Persia in 1898. Omar the Tentmaker of Naishapur is a historical novel by John Smith Clarke, published in 1910. | Rubaiyat of Omar Khayyam |
c_12g1iao5hsat | "Omar the Tentmaker" is a 1914 play in an oriental setting by Richard Walton Tully, adapted as a silent film in 1922. US General Omar Bradley was given the nickname "Omar the Tent-Maker" in World War II, and the name has been recorded as a slang expression for "penis". FitzGerald's translations also reintroduced Khayyam to Iranians, "who had long ignored the Neishapouri poet". | Rubaiyat of Omar Khayyam |
c_8kj263u67z6l | The title of Rex Stout's Nero Wolfe novel Some Buried Caesar comes from one of the Tentmaker's quatrains (FitzGerald's XIX), for example. W.E.B. Du Bois references Omar Khayyam, the Persian poet, astronomer, and mathematician, in "The Souls of Black Folk" as part of his exploration of the relationship between the African American community and mainstream American society. | Rubaiyat of Omar Khayyam |
c_wimb0kbllxhm | In the chapter "Of the Passing of the First-Born," Du Bois reflects on the death of his infant son and uses the imagery of Khayyam's "Rubaiyat" to express his sense of grief and alienation. Eugene O'Neill's drama Ah, Wilderness! | Rubaiyat of Omar Khayyam |
c_yvpmsl1zxk0q | 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 serialized in New Worlds Science Fiction (January–March 1963). | Rubaiyat of Omar Khayyam |
c_vw4huwrq8lbo | The title of Allen Drury's science fiction novel The Throne of Saturn comes from a quatrain which appears as the book's epigraph. The title of Nevil Shute Norway's novel The Chequer Board is taken from Stanza LXIX, and that stanza appears as the book's epigraph. The titles of Mike Shupp's science fiction novels With Fate Conspire and Morning Of Creation, the first two books of the series The Destiny Makers, are taken from Stanzas LXXIII and LIII. | Rubaiyat of Omar Khayyam |
c_nzwjq04hm7q8 | These stanzas are quoted during the novels by the main character. The first quote in particular ties in with his mission as a time traveler trying to change past history to alter the outcome of a future war:Ah Love! could thou and I with Fate conspire To grasp this sorry Scheme of Things entire, Would not we shatter it to bits - and then Re-mould it nearer to the Heart's Desire!Equally noteworthy are these works likewise influenced: The satirist and short story writer Hector Hugh Munro took his pen name of 'Saki' from Edward FitzGerald's translation of the Rubaiyat. | Rubaiyat of Omar Khayyam |
c_r7qv2s7hj3wk | 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". 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. | Rubaiyat of Omar Khayyam |
c_swvh30gqke16 | The artist/illustrator Edmund Dulac produced some much-beloved illustrations for the Rubaiyat, 1909. The play The Shadow of a Gunman (1923) by Seán 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". 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). | Rubaiyat of Omar Khayyam |
c_o3wr540cy62n | 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 Spanish translation of the FitzGerald version of The Rubaiyat. Science fiction author Paul Marlowe's story "Resurrection and Life" featured a character who could only communicate using lines from the Rubaiyat. | Rubaiyat of Omar Khayyam |
c_dev9ore8wfq8 | Science fiction author Isaac Asimov quotes The Moving Finger in his time-travel novel The End of Eternity when a character discusses whether history could be changed. Charles Schultz wrote a strip in which Lucy reads the Jug of Wine passage, and Linus asks "No blanket?". Wendy Cope's poem "Strugnell's Rubiyat" is a close parody of the FitzGerald translation, relocated to modern day Tulse Hill. | Rubaiyat of Omar Khayyam |
c_l9kjpqy7lo7o | One of the title pages of Principia Discordia (1965), 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.The Lebanese writer Amin Maalouf based his novel Samarkand (1988) 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. | Rubaiyat of Omar Khayyam |
c_5u3p6izbrlb1 | In the opening chapter of his book God is Not Great (2007), 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 title of Daphne du Maurier's memoir Myself when Young is a quote from quatrain 27 of FitzGerald's translation:Myself when young did eagerly frequent Doctor and Saint, and heard great Argument About it and about: but evermore Came out by the same Door as in I went.Rudyard Kipling composed the satirical poem The Rupaiyat of Omar Kal'vin, following the form of the original but with the content being primarily a complaint against an increase in income tax. | Rubaiyat of Omar Khayyam |
c_6aa3w3zz89ln | Working as a pornographic illustrator, The main character in Osamu Dazai's No Longer Human appends Rupaiyat verses to his illustrations. The narrator in Robert M. Pirsig's Zen and the Art of Motorcycle Maintenance (1974) tries to recall the opening Quatrain of The Rubáiyat of Omar Khayyám when the landscape of Oregon "looks like some desert in Persia above ." | Rubaiyat of Omar Khayyam |
c_6eilcerlm9vs | The narrator quotes some more Quatrains that "keep rumbling through head. ... something, something along some Strip of Herbage strown / That just divides the desert from the sown, / Where name of Slave and Sultan scarce is known, / And pity Sultan Mahmud on his Throne ..." He tries to remember other parts saying to himself, "How did that go? I don't know. I don't even like the poem." | Rubaiyat of Omar Khayyam |
c_te6b6thi2vd2 | 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. Text from the Rubaiyat appeared in intertitles of the lost film A Lover's Oath (1925) The lines "When Time lets slip a little perfect hour, O take it—for it will not come again." | Rubaiyat of Omar Khayyam |
c_u9lsxr8vq6wm | appear in the intertitles of Torrent, the 1926 film starring Greta Garbo and Ricardo Cortez. Part of the quatrain beginning "The Moving Finger writes ... " was quoted in Algiers, the 1938 movie starring Charles Boyer and Hedy Lamarr. 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.'" | Rubaiyat of Omar Khayyam |
c_0bwtfgvqm1is | 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." | Rubaiyat of Omar Khayyam |
c_547f1bj9y18w | The 1951 film Pandora and the Flying Dutchman, starring James Mason and Ava Gardner, opens with an illuminated manuscript of the quatrain beginning "The moving finger writes...". 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 of Omar Kayayayayay...I am appalled!! | Rubaiyat of Omar Khayyam |
c_qlph77evip2b | ", 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 film Omar Khayyam, also known as The Loves Of Omar Khayyam, was released in 1957 by Paramount Pictures and includes excerpts from the Rubaiyat. In Back to the Future the character Lorraine Baines, played by Lea Thompson, is holding a copy of the book in 1955 at the high school when her son Marty McFly is trying to introduce her to his father. | Rubaiyat of Omar Khayyam |
c_sq5lyiap9y5f | The Rubaiyat was quoted in the film 12 Monkeys (1995) around 11 minutes in. In Adrian Lyne's Unfaithful a copy of the text in French is quoted in English: "Drink wine, this is life eternal //This, all that youth will give to you//It is the season for wine, roses//And drunken friends//Be happy for this moment//This moment is your life." The book is a gift given flirtatiously to Diane Lane's character by Olivier Martinez who plays rare book dealer Paul Martel in the film. | Rubaiyat of Omar Khayyam |
c_bh1xc5qwcq7m | The British composer Liza Lehmann set selections from FitzGerald's translation to music in the song cycle "In a Persian Garden" for four voices (soprano, alto, tenor, bass) and piano in 1896. The British composer Granville Bantock produced a choral setting of FitzGerald's translation 1906–1909. The American composer Arthur Foote composed a five movement piano cycle, "Five Poems After Omar Khayyam", each piece inspired by a quatrain of Fitzgerald's translation. He later rewrote these pieces as an orchestral suite, "Four Character Pieces after the Rubáiyát of Omar Khayyám". | Rubaiyat of Omar Khayyam |
c_z5axhinrtpgd | 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. | Rubaiyat of Omar Khayyam |
c_ezh6ahvyyqpq | The Rubaiyat have also influenced Arabic music. In 1950 the Egyptian singer Umm Kulthum recorded a song entitled "Rubaiyat Al-Khayyam". | Rubaiyat of Omar Khayyam |
c_i66446ms7022 | The Comedian Harmonists in "Wochenend und Sonnenschein". Woody Guthrie recorded an excerpt of the Rubaiyat set to music that was released on Hard Travelin' (The Asch Recordings Vol. 3). | Rubaiyat of Omar Khayyam |
c_1j6ljl34lhfm | The Human Instinct's album Pins In It (1971) opens with a track called "Pinzinet", the lyrics of which are based on the Rubaiyat. Elektra Records released a compilation album named Rubáiyát in 1990 to commemorate the 40th anniversary of the Elektra Records record label. Coldcut produced an album with a song called "Rubaiyat" on their album Let us Play! | Rubaiyat of Omar Khayyam |
c_pmnsl9az0s5j | (1997). This song contains what appears to be some words from the English translation. Jazz-soul harpist Dorothy Ashby's 1970 album The Rubaiyat of Dorothy Ashby quotes from several of the poem's verses. | Rubaiyat of Omar Khayyam |
c_zy6sklmuvitb | 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 work influenced the 2004 concept album The Rubaiyyat of Omar Khayyam by the Italian group Milagro acustico. The song "Beautiful Feeling" by Australian singer-songwriter Paul Kelly, on 2004 album Ways and Means, includes the lyrics "A jug of wine, a loaf of bread and thee, lying on a blanket underneath that big old spreading tree." | Rubaiyat of Omar Khayyam |
c_urca3k5jzijq | This song was used as the theme song in the 2004 Australian television drama, Fireflies. The 1953 Robert Wright-George Forrest musical Kismet, adapted from a play by Edward Knoblock, contains a non-singing character, Omar (it is implied that he is the poet himself), who recites some of the couplets in the FitzGerald translation. The record label Ruby Yacht gets its namesake, in part, from the Rubáiyát of Omar Khayyám. milo's album budding ornithologists are weary of tired analogies features a couple of references to the Rubaiyat. Adolphus Hailstork's a cappella choral work, "Seven Songs of the Rubaiyat" uses the Fitzgerald translation | Rubaiyat of Omar Khayyam |
c_ew5wa6wsz49d | In “The Excelsior Acquisition” episode of “The Big Bang Theory”, Sheldon Cooper quotes the Rubaiyat “The moving finger writes, and having writ, moves on” after expressing dismay towards Penny for causing him to have missed his opportunity to have gelato with Stan Lee. To which Penny replies, “Did he just somehow give me the finger?” 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). In the American television drama, Have Gun - Will Travel, the sixth episode of the sixth season is titled "The Bird of Time". The last lines are the main character, Paladin, quoting from Quatrain VII, "The Bird of Time has but a little way To flutter—and the Bird is on the Wing." | Rubaiyat of Omar Khayyam |
c_6dwsulhigg96 | 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. In the Australian 2014 television drama, Anzac Girls, Lieutenant Harry Moffitt reads from the Rubaiyat to his sweetheart, nurse Sister Alice Ross-King. In "The Moving Finger" episode of 'I Dream of Jeannie' Jeannie tries out to be a movie star and her screen test is her reciting the Rubaiyat | Rubaiyat of Omar Khayyam |
c_xppufx9g84sl | 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. Finding the Rubaiyat will prevent World War I, as the book is used to fund the assassination of Archduke Franz Ferdinand. Two passages from the book are also included in the game as clues to progress the narrative. Some versions of the computer game Colossal Cave Adventure feature a ruby-covered yacht called "Omar Khayyam" (a pun – the "ruby yacht" of Omar Khayyam). | Rubaiyat of Omar Khayyam |
c_it3qkfgmklmy | In Australia, a copy of FitzGerald's translation and its closing words, Tamam Shud ("Ended") were major components of the mystery of the Somerton Man. The Supreme Court of the Philippines, through a unanimous opinion written 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 President Gloria Macapagal Arroyo, thus leading to the dismissal of the protest. | Rubaiyat of Omar Khayyam |
c_zkgv9e6hb4bw | There was a real jewel-encrusted copy of the book on the Titanic. It had been crafted in 1911 by the firm of Sangorski & Sutcliffe in London. It was won at a Sotheby's auction in London on 29 March 1912 for £405 (a bit over $2,000 in 1912) to Gabriel Weis, an American, and was being shipped to New York. The book remains lost at the bottom of the Atlantic to this day. | Rubaiyat of Omar Khayyam |
c_u5fikozs58si | 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, 15 November 2008 – 8 February 2009 The exhibition Edward FitzGerald & The Rubaiyat from the collection of Nicholas B. Scheetz at the Grolier Club, 22 January – 13 March 2009. The exhibition Omar Khayyám. Een boek in de woestijn. 150 jaar in Engelse vertaling at the Museum Meermanno, The Hague, 31 January – 5 April 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, 3 February – 2 August 2009 An exhibition at the Cleveland Public Library Special Collections, opening 15 February 2009 The joint conference, Omar Khayyam, Edward FitzGerald and The Rubaiyat, held at Cambridge University and Leiden University, 6–10 July 2009 The Folio Society published a limited edition (1,000 copies) of the Rubáiyát to mark the 150th anniversary. | Rubaiyat of Omar Khayyam |
c_foxpbrwohgku | The Jezreel Valley Regional Project is a long-tem Archaeological survey excavation project exploring the Jezreel Valley, in the southern Levant the Prehistoric through the Ottoman and British Mandate periods in Israel/Palestine. | Jezreel Valley Regional Project |
c_rtg9a3kitrmo | The project is directed by Matthew J. Adams. Its stated mission is to present a "a total history of the region using the tools and theoretical approaches of such disciplines as archaeology, anthropology, geography, history, ethnography, and the natural sciences, within an organizational framework provided by landscape archaeology".The Jezreel Valley Regional Project undertakes excavations at key sites for Biblical archaeology and Judeo-Christian history, including Tel Megiddo, Tel Shush, Ein el-Jarba, Tel Shimron and the Roman camp town of Legio. | Jezreel Valley Regional Project |
c_6ppucwu4dybd | Welbeck Street is a street in the West End, central London. It has historically been associated with the medical profession. Former resident Andrew Berry was one of the men to have successfully deployed a parachute at altitude less than 3000 ft | Welbeck Street |
c_co8fmh4pa17i | The street runs approximately north–south between New Cavendish Street at the northern end, crossing Wigmore Street near Wigmore Hall just to the east, becoming Vere Street continuing southwards. The nearest tube station is Bond Street to the south. The part south of Wigmore Street is part of the B406. | Welbeck Street |
c_3elfzpncc462 | The London Welbeck Hospital, is located at 27 Welbeck Street, and the Welbeck Street Hospital for Diseases of the Nervous System was located on this street as well; the offices of the British Institute of Radiology were formerly located there. The Welbeck Clinic is located at No. 20.There is a Russian Orthodox Chapel at 32 Welbeck Street that dates back as far as the early 19th century when the building was the residence of the Russian Embassy Chaplain. The chapel was rebuilt in 1864 and features a particularly fine iconostasis. The chapel is located behind No. 32, on the east side of the street near the northern end, and can be seen from Marylebone Mews (it is visible on Edward Stanford's 1862 map of London). | Welbeck Street |
c_ao2r2mi35u63 | The notorious 18th-century highwayman James MacLaine was once a grocer on Welbeck Street. In 1799, Thomas Young established himself as a physician in this street at No 48, now recorded by a blue plaque. The street was favoured by doctors at the time and remains a leading medical location. | Welbeck Street |
c_u9m7gq7jwvg8 | It is close to Harley Street, now more famed for its concentration of private medical practitioners. General John Egerton, 7th Earl of Bridgewater (b. 14 Apr 1753, d. | Welbeck Street |
c_9xyip9fdgmef | 21 Oct 1823) married Charlotte Catherine Anne Haynes, daughter of Samuel Haynes and Elizabeth, on 14 January 1783 at 58 Welbeck Street.Flautist Robert Sidney Pratten and his wife, the guitar virtuoso, composer and teacher Catharina Josepha Pelzer lived at No 38 until Robert's death in 1868. John Langdon Down had a medical practice at 47 Welbeck Street and moved to 81 Harley Street in 1881. Prince Francis of Teck died at 15 Welbeck St in 1910 | Welbeck Street |
c_2illqm6nax7l | Guerrilla theatre, generally rendered "guerrilla theater" in the US, is a form of guerrilla communication originated in 1965 by the San Francisco Mime Troupe, who, in spirit of the Che Guevara writings from which the term guerrilla is taken, engaged in performances in public places committed to "revolutionary sociopolitical change." The group performances, aimed against the Vietnam war and capitalism, sometimes contained nudity, profanity and taboo subjects that were shocking to some members of the audiences of the time.Guerrilla (Spanish for "little war"), as applied to theatrical events, describes the act of spontaneous, surprise performances in unlikely public spaces to an unsuspecting audience. Typically these performances intend to draw attention to a political/social issue through satire, protest, and carnivalesque techniques. Many of these performances were a direct result of the radical social movements of the late 1960s through mid-1970s. Guerrilla Theater, also referred to as guerrilla performance, has been sometimes related to the agitprop theater of the 1930s, but it is differentiated from agitprop by the inclusion of Dada performance tactics. | Guerrilla theatre |
c_nhppjvyaby67 | The term Guerrilla Theater was coined by Peter Berg, who in 1965 suggested it to R.G. Davis as the title of his essay on the actions of the San Francisco Mime Troupe, an essay that was first published in 1966. The term "guerrilla" was inspired by a passage in a 1961 Che Guevara essay, which read: The guerrilla fighter needs full help from the people.... From the very beginning he has the intention of destroying an unjust order and therefore an intention... to replace the old with something new. Davis had studied mime and modern dance in the 1950s and had discovered commedia dell'arte. In autumn 1966 around 20 members of the San Francisco Mime Troupe broke off and started their own collective called the Diggers, who took their name from a group of 17th century radicals in England. | Guerrilla theatre |
c_rz0clz7749oc | Guerrilla theater shares its origins with many forms of political protest and street theatre including agitprop (agitation-propaganda), carnival, parades, pageants, political protest, performance art, happenings, and, most notably, the Dada movement and guerrilla art. Although this movement is widely studied in Theater History classrooms, the amount of research and documentation of guerrilla theater is surprisingly lacking. The term, "Guerrilla Theater" seems to have emerged during the mid-1960s primarily as an upshot of activist Radical Theater groups such as The Living Theatre, San Francisco Mime Troupe, Bread and Puppet Theater, El Teatro Campesino, and the Free Southern Theater. It also has important roots in Allan Kaprow's "happenings". | Guerrilla theatre |
c_3xg89dpk4vf2 | The first widely documented guerrilla performances were carried out under the leadership of Abbie Hoffman and the Youth International Party (Yippies). One of their most publicized events occurred on August 24, 1967, at the New York Stock Exchange where Hoffman and other Yippies threw dollar bills onto the trading floor below. Creating a media frenzy, the event was publicized internationally. | Guerrilla theatre |
c_mvl69xhf3aa5 | In his later publication, Soon to be a Major Motion Picture (1980), Hoffman refers to his television appearances with specially planned subversive tactics as "guerrilla theater. "Guerrilla theater was used as a protest demonstration by the anti-war organization Vietnam Veterans Against the War. An article from the summer of 1971 published in the glossy magazine Ramparts detailed one such performance in Washington, D.C. | Guerrilla theatre |
c_9jtpnqs7o11g | : A squad of soldiers moved through the part adjoining the U.S. Capitol. | Guerrilla theatre |
c_hwg8117if32g | They were grubby looking troopers, clad in jungle fatigues and "boonie hats" with wide brims turned up. Jumping a low fence, they began shouting at a group of tourists. 'All right. | Guerrilla theatre |
c_7grkhyocgcnz | Hold it. Hold it. Nobody move. | Guerrilla theatre |
c_gahkg0o9pxtq | Nobody move.' Their voices were full of tension and anger. A man broke out of the crowd and started running. | Guerrilla theatre |
c_c99gjb8yd4lf | Several soldiers fired at once, and the man fell, clutching his stomach. Blood could be seen on the clean sidewalk. The tourists turned away in horror. | Guerrilla theatre |
c_q3qhvzyhv0cc | 'Get a body count,' a soldier yelled. Another squad of soldiers emerged from under the Capitol steps. 'All right. | Guerrilla theatre |
c_v22bogz3xjzi | ID. ID,' they screeched. 'You got no ID and you VC.' | Guerrilla theatre |
c_3m4gvdn8k433 | They quickly grabbed a young woman and led her away, binding her wrists behind her back and prodding her with their rifles.... They grabbed young man and threw him on the ground, tying his hands behind his back. Several of the soldiers kicked him, seeming to aim for his groin. Then someone took out a long, thick hunting knife and lifted up the man's shirt, holding the knife to his bare stomach, and pushed against it slightly. | Guerrilla theatre |
c_kakuk071ddqs | 'You VC? You VC?' The man said nothing. | Guerrilla theatre |
c_t5p5ft7zierc | He was pushed to his feet and shoved down again. Then he was told to get up. This time the knife was pushed to the side of his neck, and the same question was repeated. | Guerrilla theatre |
c_rlpcdzhs6dzd | Still no answer. The man was dragged away.... Then the soldiers left, and a smaller, less angry group of men dressed in khaki fatigues passed out leaflets to the astonished tourists. | Guerrilla theatre |
c_vrjogpl7ae2x | "A US Infantry platoon just passed through here!" the pink colored piece of paper read in big bold letters. "If you had been Vietnamese... We might have burned your house. We might have shot your dog. We might have shot you... HELP US END THE WAR BEFORE THEY TURN YOUR SON INTO A BUTCHER OR A CORPSE." | Guerrilla theatre |
c_uzzn31r44c62 | Another guerrilla performance group that continued the use of the term was the Guerrilla Girls. This group of feminist artist-activists was established in New York City in 1985 with the purpose of bringing attention to the lack of female artists in major art galleries and museums. The Guerrilla Girls began their work through guerrilla art tactics which broadened to include guerrilla theater. Some common practices in their guerrilla theater techniques that have been replicated by other groups include appearing in costume, using assumed names, and disguising their identity. | Guerrilla theatre |
c_51av4m3iynhc | The origins and legacy of guerrilla theater can be seen in the work of these political/performance groups: ACT UP Billionaires for Bush Billionaires for Wealthcare Bread and Puppet Theater The Church of Euthanasia Circus Amok Clandestine Insurgent Rebel Clown Army El Teatro Campesino Free Southern Theater Reclaim the Streets Reverend Billy and the Church of Stop Shopping San Francisco Mime Troupe Situationism Vietnam Veterans Against the War Youth International Party (Yippies) FEMEN | Guerrilla theatre |
c_sw2tedaaf8i0 | A viseme is any of several speech sounds that look the same, for example when lip reading (Fisher 1968). Visemes and phonemes do not share a one-to-one correspondence. Often several phonemes correspond to a single viseme, as several phonemes look the same on the face when produced, such as /k, ɡ, ŋ/, (viseme: /k/), /t͡ʃ, ʃ, d͡ʒ, ʒ/ (viseme: /ch/), /t, d, n, l/ (viseme: /t/), and /p, b, m/ (viseme: /p/). | Viseme |
c_bsmq07og88cg | Thus words such as pet, bell, and men are difficult for lip-readers to distinguish, as all look like /pet/. However, there may be differences in timing and duration during actual speech in terms of the visual "signature" of a given gesture that cannot be captured with a single photograph. Conversely, some sounds which are hard to distinguish acoustically are clearly distinguished by the face (Chen 2001). | Viseme |
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