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Jaws Poster Analysis - Key Elements: Teacher discussed the 1975 Jaws poster in detail. Important observations included: the curved J in "Jaws" relating to the shark's fin or a hook, color gradient from light to dark creating mood, white text blending in (draws attention upward but legally required for PG rating), black text being more visible, and the conical nose with jagged teeth.

Illustration vs Photography: The poster uses drawn graphics rather than photographs, partly due to 1970s technology limitations. Effect is deliberate - creates stylized impact rather than realism with the shark and woman.

The Woman's Portrayal: She appears in a bikini showing significant skin exposure. Teacher noted two interpretations: some saw her as frantic/swimming away, teacher saw her as unaware while the viewer knows the shark is approaching. The vulnerability and exposed female figure served as a deliberate selling point for the movie.

Steven Spielberg Context: This was one of Spielberg's early films, before he became famous. Actor names on poster were likely known at the time.

Fear and the Unknown: The scariest element in movies is what you don't see. Jaws succeeded by showing limited shark footage (partly because they only had partial shark props in pools). Example given: Stranger Things Season 1 was scariest because the monster remained mostly hidden.

Vicarious Experience: New vocabulary word introduced. Watching frightening movies (especially in 1970s theaters) lets audiences experience fear and danger secondhand from the safety of their seats - enjoying the thrill without actual risk. Applies to all media experiences including romance and other emotions in books.

Heaven and Hell Interpretation: One student successfully argued the poster symbolized heaven and hell, which the teacher accepted as valid analysis because it was properly substantiated and linked back to the visual elements.

Analysis Approach: Can make creative interpretations with minimal correlation as long as you substantiate them and link back to the evidence. Avoid going off on tangents - maintain clear connections to the source material.

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Artifact of the Late Bronze Age Mycenaean civilization, famously described in Homer's Iliad as being worn by Odysseus during a night raid.

2nd photo isn't by me its a rendition of a Mycenean soldier.

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Paper 1 reflection (I have more but my notes app isnt opening)

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Paper 1 reflection (I have more but my notes app isnt opening)

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Summary:

I believe for criterion A my,analysis shows a good knowledge and understanding of the text. Interpretations are frequently supported by appropriate references to the text. So around a 4? But definetly need to support them more.

For criterion B, My analysis shows good textual analysis but i need better evaluation of how the author uses stylistic and structural features to shape meaning. Definetly something I need to work on.

What I most need to work on is probably structure, also like criterion C and D. Partically my tone and syntax as well as better coherence, focus and organisation.

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Poster Made in class with other 2 people, on Shakespeare's use of maxims

Learned that a maxims are a short, pithy statement expressing a general truth or rule of conduct.

Examples from Shakespeare include famous lines like: "The pen is mightier than the sword." And in Hamlet: "To be, or not to be, that is the question." Spoken by Hamlet during his soliloquy in the nunnery scene.

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Setting

Elsinore Castle -> Elsinore fortress: Massive fortress made of concrete and steel, with art deco influences. It would be adorned with large windows, smokestacks, and machinery scattered throughout, symbolizing both grandeur and decay.

The City: A sprawling urban landscape characterized by towering buildings, factories belching smoke, and bustling streets filled with vintage cars and motorcycles. The city is highly militarized.

Hamlet

Role: Prince of Denmark

Character Brief:

Disillusioned war veteran who has returned from the frontlines to find his kingdom under the oppressive rule of Claudius.

Haunted by the trauma of battle and the mysterious death of his father.

Hamlet:

(voice steady, but laced with emotion)

"is this what thee need, Laertes? To spilleth blood in the nameth of retribution? Doth thee bethink t shall ease thy anguish?"

Laertes:

(eyes blazing with anger)

Thou hast let thy father's ghost lead thee to madness! I shall not suffer Claudius to go unpunished, though it mean I must face thee!

They circle each other, gripping the hilt of their sheathed sabres, the weight of their shared history hanging heavily between them.

The Fight Unfolds

The duel begins with Laertes launching forward and drawing his weapon, swiping his sabre at Hamlet, who deftly parries and repostes with a quick thrust of his own. The sound of metal clashing fills the arena as they engage in a fierceful exchange.

Hamlet:

(dodging and parrying)

Vengeance shall consume thee, Laertes! Thou seek'st to avenge thy father, but at what cost?

Laertes:

(gritting his teeth)

"I seek justice! Unlike thee, I am not by doubt made motionless!"

Hamlet pulls out his pistol, firing a warning shot into the air. The sound echoes, cutting through the tension.

Hamlet:

"Enough of this! We both are caught in Claudius's web of lies!"

Climax of the Duel

Laertes, fueled by rage, retaliates with a quick slash of his sabre, narrowly missing Hamlet. He fires his pistol, the shot ringing out as Hamlet gets shot superficially on his torso.

Hamlet:

(breathing heavily, his eyes narrowed, bloodshot)

Is this how thou dost honour thy father? By turning 'gainst me?

Laertes:

(frustrated, lowering his weapon momentarily)

"Thou hast haunted me with thine inaction! 'Tis time to end this cycle of betrayal!"

In a swift move, Hamlet lunges forward, disarming Laertes of his pistol with a twist of his wrist, sending it skittering across the floor.

Hamlet:

(holding Laertes at bay with his sabre)

Join me, I prithee! Let us lay bare this Claudius for the tyrant that he is! We must not suffer him to sunder us asunder!

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Designs for Hamlet characters set in a diesel punk setting

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Designs for Hamlet characters set in a diesel punk setting

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Hamlet's outfit is inspired by Hugo boss, which in the WW2 era actually supplied uniforms to the Nazi military, hamlet being Danish would have this uniform as Denmark surrendered and was occupied by Nazi Germany very early on in the war. Since Hamlet is the prince of Denmark, his uniform will have gold accents, favoring to carry around a Military Sabre and pistol.

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Literary Elements to Consider

Revenge tragedy elements:

Contrast between Laertes (immediate revenge) and Hamlet (hesitation)

Political allegory:

Shakespeare disguised contemporary issues by setting the play in Denmark instead of England

Used metaphor and allegory to avoid censorship

Questions of legitimacy (King Claudius's claim to the throne)

The role of women (including whether Gertrude had choices)

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Episodes 1-3 5-9

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Omar khayyam: Born in the city of Nishapur, which is located in Khorasan (now the Iranian province of Khorasan-Rezavi). Omar was the son of a tent, he also had a younger sister named Aisha. At 8, he began to deeply engage in mathematics, astronomy, and philosophy. At age 12, Omar became a student of the Nishapur Madrasah.

Fitzgerald: Fitzgerald was a 20th-century American short-story writer and novelist. Although he completed four novels and more than 150 short stories in his lifetime

https://www.gutenberg.org/files/35260/35260-h/35260-h.htm#VARIATIONS_IN_THE_THIRD_EDITION_OF_THE_TRANSLATION

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The Project Gutenberg EBook of Rubaiyat of Omar Khayyam, by Omar Khayyam

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Title: Rubaiyat of Omar Khayyam
       Translated into English Verse

Author: Omar Khayyam

Illustrator: Edmund Dulac

Translator: Edward Fitzgerald

Release Date: February 12, 2011 [EBook #35260]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK RUBAIYAT OF OMAR KHAYYAM ***




Produced by Fritz Ohrenschall, Sania Ali Mirza and the
Online Distributed Proofreading Team at https://www.pgdp.net

RENDERED INTO ENGLISH VERSE BY
Edward Fitzgerald

WITH ILLUSTRATIONS BY
Edmund Dulac

DE LUXE EDITION

GARDEN CITY PUBLISHING CO., INC.
Garden City, New York

1937
GARDEN CITY PUBLISHING CO., INC.
CL

RUBÁIYÁT OF OMAR KHAYYÁM
PRINTED IN THE UNITED STATES OF AMERICA

[ix]

BIOGRAPHICAL PREFACE

EDWARD FITZGERALD

Edward Fitzgerald, whom the world has already learned, in spite of his own efforts to remain within the shadow of anonymity, to look upon as one of the rarest poets of the last century, was born at Bredfield, in Suffolk, on the 31st March, 1809. He was the third son of John Purcell, of Kilkenny, in Ireland, who, marrying Miss Mary Frances Fitzgerald, daughter of John Fitzgerald, of Williamstown, County Waterford, added that distinguished name to his own patronymic; and the future Omar was thus doubly of Irish extraction. (Both the families of Purcell and Fitzgerald claim descent from Norman warriors of the eleventh century.) This circumstance is thought to have had some influence in attracting him to the study of Persian poetry, Iran and Erin being almost convertible terms in the early days of modern ethnology. After some years of primary education at the grammar school of Bury St. Edmunds, he entered Trinity College, Cambridge, in 1826, and there formed acquaintance with several young men of great abilities, most of whom rose to distinction before him, but never ceased to regard with affectionate remembrance the quiet and amiable associate of their college-days. Amongst them were [x] Alfred Tennyson, James Spedding, William Bodham Donne, John Mitchell Kemble, and William Makepeace Thackeray; and their long friendship was touchingly referred to by Tennyson in dedicating his last poem to the memory of Edward Fitzgerald. "Euphranor," our author's earliest printed work, affords a curious picture of his academic life and associations. Its substantial reality is evident beneath the thin disguise of the symbolical or classical names which he gives to the personages of the colloquy; and the speeches which he puts into his own mouth are full of the humorous gravity, and whimsical and kindly philosophy, which remained his distinguishing characteristics till the end. This book was first published in 1851; a second and a third edition were printed some years later; all anonymous, and each of the latter two differing from its predecessor by changes in the text which were not indicated on the title-pages.

"Euphranor" furnishes a good many characterizations which would be useful for any writer treating upon Cambridge society in the third decade of this century. Kenelm Digby, the author of the "Broadstone of Honour," had left Cambridge before the time when Euphranor held his "dialogue," but he is picturesquely recollected as "a grand swarthy fellow who might have stepped out of the canvas of some knightly portrait in his father's hall-perhaps the living image of one sleeping under some cross-legged effigies in the church." In "Euphranor," it is easy to discover the earliest phase of the unconquerable attachment which Fitzgerald entertained for his college and his life-long friends,[xi] and which induced him in later days to make frequent visits to Cambridge, renewing and refreshing the old ties of custom and friendship. In fact, his disposition was affectionate to a fault, and he betrayed his consciousness of weakness in that respect by referring playfully at times to "a certain natural lubricity" which he attributed to the Irish character, and professed to discover especially in himself. This amiability of temper endeared him to many friends of totally dissimilar tastes and qualities; and, by enlarging his sympathies, enabled him to enjoy the fructifying influence of studies pursued in communion with scholars more profound than himself, but less gifted with the power of expression. One of the younger Cambridge men with whom he became intimate during his periodical pilgrimages to the university, was Edward B. Cowell, a man of the highest attainment in Oriental learning, who resembled Fitzgerald himself in the possession of a warm and genial heart and the most unobtrusive modesty. From Cowell he could easily learn that the hypothetical affinity between the names of Erin and Iran belonged to an obsolete stage of etymology; but the attraction of a far-fetched theory was replaced by the charm of reading Persian poetry in companionship with his young friend, who was equally competent to enjoy and to analyze the beauties of a literature that formed a portion of his regular studies. They read together the poetical remains of Khayyám-a choice of reading which sufficiently indicates the depth and range of Mr. Cowell's knowledge. Omar Khayyám, although not quite forgotten, enjoyed[xii] in the history of Persian literature a celebrity like that of Occleve and Gower in our own. In the many Tazkirát (memoirs or memorials) of Poets, he was mentioned and quoted with esteem; but his poems, laboring as they did under the original sin of heresy and atheism, were seldom looked at, and, from lack of demand on the part of readers, had become rarer than those of most other writers since the days of Firdausi. European scholars knew little of his works beyond his Arabic treatise on Algebra, and Mr. Cowell may be said to have disentombed his poems from oblivion. Now, thanks to the fine taste of that scholar, and to the transmuting genius of Fitzgerald, no Persian poet is so well known in the western world as Abu-'l-fat'h 'Omar, son of Ibrahim the tentmaker of Naishápúr, whose manhood synchronizes with the Norman conquest of England, and who took for his poetic name ( takhallus) the designation of his father's trade ( Khayyám). The "Rubá'iyyát" (Quatrains) do not compose a single poem divided into a certain number of stanzas; there is no continuity of plan in them, and each stanza is a distinct thought expressed in musical verse. There is no other element of unity in them than the general tendency of the Epicurean idea, and the arbitrary divan form by which they are grouped according to the alphabetical arrangement of the final letters; those in which the rhymes end in a constituting the first division, those with b the second, and so on. The peculiar attitude towards religion and the old questions of fate, immortality, the origin and the destiny of man, which educated thinkers have assumed[xiii] in the present age of Christendom, is found admirably foreshadowed in the fantastic verses of Khayyám, who was no more of a Mohammedan than many of our best writers are Christians. His philosophical and Horatian fancies-graced as they are by the charms of a lyrical expression equal to that of Horace, and a vivid brilliance of imagination to which the Roman poet could make no claim-exercised a powerful influence upon Fitzgerald's mind, and colored his thoughts to such a degree that even when he oversteps the largest license allowed to a translator, his phrases reproduce the spirit and manner of his original with a nearer approach to perfection than would appear possible. It is usually supposed that there is more of Fitzgerald than of Khayyám in the English "Rubá'iyyát," and that the old Persian simply afforded themes for the Anglo-Irishman's display of poetic power; but nothing could be further from the truth. The French translator, J. B. Nicolas, and the English one, Mr. Whinfield, supply a closer mechanical reflection of the sense in each separate stanza; but Mr. Fitzgerald has, in some instances, given a version equally close and exact; in others, rejointed scattered phrases from more than one stanza of his original, and thus accomplished a feat of marvelous poetical transfusion. He frequently turns literally into English the strange outlandish imagery which Mr. Whinfield thought necessary to replace by more intelligible banalities, and in this way the magic of his genius has successfully transplanted into the garden of English poesy exotics that bloom like native flowers.[xiv]

One of Mr. Fitzgerald's Woodbridge friends was Bernard Barton, the Quaker poet, with whom he maintained for many years the most intimate and cordial intercourse, and whose daughter Lucy he married. He wrote the memoir of his friend's life which appeared in the posthumous volume of Barton's poems. The story of his married life was a short one. With all the overflowing amiability of his nature, there were mingled certain peculiarities or waywardnesses which were more suitable to the freedom of celibacy than to the staidness of matrimonial life. A separation took place by mutual agreement, and Fitzgerald behaved in this circumstance with the generosity and unselfishness which were apparent in all his whims no less than in his more deliberate actions. Indeed, his entire career was marked by an unchanging goodness of heart and a genial kindliness; and no one could complain of having ever endured hurt or ill-treatment at his hands. His pleasures were innocent and simple. Amongst the more delightful, he counted the short coasting trips, occupying no more than a day or two at a time, which he used to make in his own yacht from Lowestoft, accompanied only by a crew of two men, and such a friend as Cowell, with a large pasty and a few bottles of wine to supply their material wants. It is needless to say that books were also put into the cabin, and that the symposia of the friends were thus brightened by communion with the minds of the great departed. Fitzgerald's enjoyment of gnomic wisdom enshrined in words of exquisite propriety was evinced by the frequency with[xv] which he used to read Montaigne's essays and Madame de Sévigné's letters, and the various works from which he extracted and published his collection of wise saws entitled "Polonius." This taste was allied to a love for what was classical and correct in literature, by which he was also enabled to appreciate the prim and formal muse of Crabbe, in whose grandson's house he died.

Fitzgerald's next printed work was a translation of Six Dramas of Calderon, published in 1853, which was unfavorably received at the time, and consequently withdrawn by him from circulation. His name appeared on the title-page,-a concession to publicity which was so unusual with him that it must have been made under strong pressure from his friends. The book is in nervous blank verse, a mode of composition which he handled with great[xvii] ease and skill. There is no waste of power in diffuseness and no employment of unnecessary epithets. It gives the impression of a work of the Shakespearean age, and reveals a kindred felicity, strength, and directness of language. It deserves to rank with his best efforts in poetry, but its ill-success made him feel that the publication of his name was an unfavorable experiment, and he never again repeated it. His great modesty, however, would sufficiently account for his shyness. Of "Omar Khayyám," even after the little book had won its way to general esteem, he used to say that the suggested addition of his name on the title would imply an assumption of importance which he considered that his "transmogrification" of the Persian poet did not possess.

Fitzgerald's conception of a translator's privilege is well set forth in the prefaces of his versions from Calderon, and the "Agamemnon" of Æschylus. He maintained that, in the absence of the perfect poet, who shall re-create in his own language the body and soul of his original, the best system is that of a paraphrase conserving the spirit of the author,-a sort of literary metempsychosis. Calderon, Æschylus, and Omar Khayyám were all treated with equal license, so far as form is concerned,-the last, perhaps, the most arbitrarily; but the result is not unsatisfactory as having given us perfect English poems instinct with the true flavor of their prototypes. The Persian was probably somewhat more Horatian and less melancholy, the Greek a little less florid and mystic, the Spaniard more lyrical and fluent, than their metaphrast[xviii] has made them; but the essential spirit has not escaped in transfusion. Only a man of singular gifts could have performed the achievement, and these works attest Mr. Fitzgerald's right to rank amongst the finest poets of the century. About the same time as he printed his Calderon, another set of translations from the same dramatist was published by the late D. F. MacCarthy, a scholar whose acquaintance with Castilian literature was much deeper than Mr. Fitzgerald's, and who also possessed poetical abilities of no mean order, with a totally different sense of the translator's duty. The popularity of MacCarthy's versions has been considerable, and as an equivalent rendering of the original in sense and form his work is valuable. Spaniards familiar with the English language rate its merit highly; but there can be little question of the very great superiority of Mr. Fitzgerald's work as a contribution to English literature. It is indeed only from this point of view that we should regard all the literary labors of our author. They are English poetical work of fine quality, dashed with a pleasant outlandish flavor which heightens their charm; and it is as English poems, not as translations, that they have endeared themselves even more to the American English than to the mixed Britons of England.

It was an occasion of no small moment to Mr. Fitzgerald's fame, and to the intellectual gratification of many thousands of readers, when he took his little packet of "Rubá'iyyát" to Mr. Quaritch in the latter part of the year 1858. It was printed as a small quarto pamphlet, bearing the publisher's[xix] name but not the author's; and although apparently a complete failure at first,-a failure which Mr. Fitzgerald regretted less on his own account than on that of his publisher, to whom he had generously made a present of the book,-received, nevertheless, a sufficient distribution by being quickly reduced from the price of five shillings and placed in the box of cheap books marked a penny each. Thus forced into circulation, the two hundred copies which had been printed were soon exhausted. Among the buyers were Dante Gabriel Rossetti, Swinburne, Sir Richard Burton, and William Simpson, the accomplished artist of the Illustrated London News. The influence exercised by the first three, especially by Rossetti, upon a clique of young men who later grew to distinction, was sufficient to attract observation to the singular beauties of the poem anonymously translated from the Persian. Most readers had no possible opportunity of discovering whether it was a disguised original or an actual translation;-even Burton enjoyed probably but little chance of seeing a manuscript of the Persian "Rubá'iyyát." The Oriental imagery and allusions were too thickly scattered throughout the verses to favor the notion that they could be the original work of an Englishman; yet it was shrewdly suspected by most of the appreciative readers that the "translator" was substantially the author and creator of the poem. In the refuge of his anonymity, Fitzgerald derived an innocent gratification from the curiosity that was aroused on all sides. After the first edition had disappeared, inquiries for the little book became frequent,[xx] and in the year 1868 he gave the MS. of his second edition to Mr. Quaritch, and the "Rubá'iyyát" came into circulation once more, but with several alterations and additions by which the number of stanzas was somewhat increased beyond the original seventy-five. Most of the changes were, as might have been expected, improvements; but in some instances the author's taste or caprice was at fault,-notably in the first Rubá'iy. His fastidious desire to avoid anything that seemed baroque or unnatural or appeared like plagiarism, may have influenced him; but it was probably because he had already used the idea in his rendering of Jámí's "Salámán," that he sacrificed a fine and novel piece of imagery in his first stanza and replaced it by one of much more ordinary character. If it were from a dislike to pervert his original too largely, he had no need to be so scrupulous, since he dealt on the whole with the "Rubá'iyyát" as though he had the license of absolute authorship, changing, transposing, and manipulating the substance of the Persian quatrains with a singular freedom. The vogue of "old Omar" (as he would affectionately call his work) went on increasing, and American readers took it up with eagerness. In those days the mere mention of Omar Khayyám between two strangers meeting fortuitously acted like a sign of freemasonry and established frequently a bond of friendship. Some curious instances of this have been related. A remarkable feature of the Omar-cult in the United States was the circumstance that single individuals bought numbers of copies for gratuitous distribution before[xxi] the book was reprinted in America. Its editions have been relatively numerous, when we consider how restricted was the circle of readers who could understand the peculiar beauties of the work. A third edition appeared in 1872, with some further alterations, and may be regarded as virtually the author's final revision, for it hardly differs at all from the text of the fourth edition, which appeared in 1879. This last formed the first portion of a volume entitled "Rubáiyát of Omar Khayyám; and the Salámán and Absál of Jámí; rendered into English verse." The "Salámán" (which had already been printed in separate form in 1856) is a poem chiefly in blank verse, interspersed with various meters (although it is all in one measure in the original) embodying a love-story of mystic significance; for Jámí was, unlike Omar Khayyám, a true Súfi, and indeed differed in other respects, his celebrity as a pious Mussulman doctor being equal to his fame as a poet. He lived in the fifteenth century, in a period of literary brilliance and decay; and the rich exuberance of his poetry, full of far-fetched conceits, involved expressions, overstrained imagery, and false taste, offers a strong contrast to the simpler and more forcible language of Khayyám. There is little use of Arabic in the earlier poet; he preferred the vernacular speech to the mongrel language which was fashionable among the heirs of the Saracen conquerors; but Jámí's composition is largely embroidered with Arabic.

Mr. Fitzgerald had from his early days been thrown into contact with the Crabbe family; the[xxii] Reverend George Crabbe (the poet's grandson) was an intimate friend of his, and it was on a visit to Morton Rectory that Fitzgerald died. As we know that friendship has power to warp the judgment, we shall not probably be wrong in supposing that his enthusiastic admiration for Crabbe's poems was not the product of sound, impartial criticism. He attempted to reintroduce them to the world by publishing a little volume of "Readings from Crabbe," produced in the last year of his life, but without success. A different fate awaited his "Agamemnon: a tragedy taken from Æschylus," which was first printed privately by him, and afterwards published with alterations in 1876. It is a very free rendering from the Greek, and full of a poetical beauty which is but partly assignable to Æschylus. Without attaining to anything like the celebrity and admiration which have followed Omar Khayyám, the "Agamemnon" has achieved much more than a succès d'estime. Mr. Fitzgerald's renderings from the Greek were not confined to this one essay; he also translated the two Œdipus dramas of Sophocles, but left them unfinished in manuscript till Prof. Eliot Norton had a sight of them and urged him to complete his work. When this was done, he had them set in type, but only a very few proofs can have been struck off, as it seems that, at least in England, no more than one or two copies were sent out by the author. In a similar way he printed translations of two of Calderon's plays not included in the published "Six Dramas"-namely, "La Vida es Sueño," and "El Magico Prodigioso" (both ranking among[xxiii] the Spaniard's finest work); but they also were withheld from the public and all but half a dozen friends.

When his old boatman died, he abandoned his nautical exercises and gave up his yacht forever. During the last few years of his life, he divided his time between Cambridge, Crabbe's house, and his own home at Little Grange, near Woodbridge, where he received occasional visits from friends and relatives. He was one of the most modest men who have enriched English literature with poetry of distinct and permanent value, and his best epitaph is found in Tennyson's "Tiresias and other Poems," published immediately after our author's quiet exit from life, in 1883, in the seventy-fifth year of his age.

[xxiv]
[xxv]

OMAR KHAYYÁM
The Astronomer-Poet of Persia
(BY EDWARD FITZGERALD)

Omar Khayyám was born at Naishápúr in Khorassán in the latter half of our Eleventh, and died within the First Quarter of our Twelfth Century. The slender story of his life is curiously twined about that of two other very considerable Figures in their Time and Country: one of whom tells the Story of all Three. This was Nizám ul Mulk, Vizyr to Alp Arslan the Son, and Malik Shah the Grandson, of Toghrul Beg the Tartar, who had wrested Persia from the feeble Successor of Mahmúd the Great, and founded that Seljukian Dynasty which finally roused Europe into the Crusades. This Nizám ul Mulk, in his Wasiyat-or Testament-which he wrote and left as a Memorial for future Statesmen-relates the following, as quoted in the Calcutta Review, No. 59, from Mirkhond's History of the Assassins.

"One of the greatest of the wise men of Khorassán was the Imám Mowaffak of Naishápúr, a man highly honored and reverenced,-may God rejoice his soul: his illustrious years exceeded eighty-five, and it was the universal belief that every boy who read the Koran or studied the traditions in his presence, would assuredly attain to honor and happiness. For this cause did my father send me from[xxvi] Tús to Naishápúr with Abd-us-samad, the doctor of law, that I might employ myself in study and learning under the guidance of that illustrious teacher. Towards me he ever turned an eye of favor and kindness, and as his pupil I felt for him extreme affection and devotion, so that I passed four years in his service. When I first came there, I found two other pupils of mine own age newly arrived, Hakim Omar Khayyám, and the ill-fated Ben Sabbáh. Both were endowed with sharpness of wit and the highest natural powers; and we three formed a close friendship together. When the Imám rose from his lectures, they used to join me, and we repeated to each other the lessons we had heard. Now Omar was a native of Naishápúr, while Hasan Ben Sabbáh's father was one Ali, a man of austere life and practice, but heretical in his creed and doctrine. One day Hasan said to me and to Khayyám, 'It is a universal belief that the pupils of the Imám Mowaffak will attain to fortune. Now, even if we all do not attain thereto, without doubt one of us will; what then shall be our mutual pledge and bond?' We answered, 'Be it what you please.' 'Well,' he said, let us make a vow, that to whomsoever this fortune falls, he shall share it equally with the rest, and reserve no pre-eminence for himself.' 'Be it so,' we both replied, and on those terms we mutually pledged our words. Years rolled on, and I went from Khorassán to Transoxiana and wandered to Ghazni and Cabul; and when I returned, I was invested with office, and rose to be administrator of affairs during the Sultanate of Sultan Alp Arslan.[xxvii]

"He goes on to state, that years passed by, and both his old school-friends found him out, and came and claimed a share in his good fortune, according to the school-day vow. The Vizier was generous and kept his word. Hasan demanded a place in the government, which the Sultan granted at the Vizier's request; but discontented with a gradual rise, he plunged into the maze of intrigue of an oriental court, and, failing in a base attempt to supplant his benefactor, he was disgraced and fell. After many mishaps and wanderings, Hasan became the head of the Persian sect of the Ismailians,-a party of fanatics who had long murmured in obscurity, but rose to an evil eminence under the guidance of his strong and evil will. In A.D. 1090, he seized the castle of Alamút, in the province of Rúdbar, which lies in the mountainous tract south of the Caspian Sea; and it was from this mountain home he obtained that evil celebrity among the Crusaders as the Old Man of the Mountains, and spread terror through the Mohammedan world; and it is yet disputed whether the word Assassin, which they have left in the language of modern Europe as their dark memorial, is derived from the hashish, or opiate of hemp-leaves (the Indian bhang), with which they maddened themselves to the sullen pitch of oriental desperation, or from the name of the founder of the dynasty, whom we have seen in his quiet collegiate days, at Naishápúr. One of the countless victims of the Assassin's dagger was Nizám-ul-Mulk himself, the old schoolboy friend.

"At Naishápúr thus lived and died Omar Khayyám, 'busied,' adds the Vizier, 'in winning knowledge of every kind, and especially in Astronomy, wherein he attained to a very high pre-eminence. Under the Sultanate of Malik Shah, he came to Merv, and obtained great praise for his proficiency in science, and the Sultan showered favors upon him.'

"When the Malik Shah determined to reform the calendar, Omar was one of the eight learned men employed to do it; the result was the Jaláli era (so called from Jalál-ud-din, one of the King's names)-'a computation of time,' says Gibbon, 'which surpasses the Julian, and approaches the accuracy of the Gregorian style.' He is also the author of some astronomical tables, entitled Zíji-Maliksháhí," and the French have lately republished and translated an Arabic Treatise of his on Algebra.

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

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

"We have only one more anecdote to give of his Life, and that relates to the close; it is told in the anonymous preface which is sometimes prefixed to his poems; it has been printed in the Persian in the Appendix to Hyde's Veterum Persarum Religio, p. 499; and D'Herbelot alludes to it in his Bibliothèque, under Khiam,-

"It is written in the chronicles of the ancients that this King of the Wise, Omar Khayyám, died at Naishápúr in the year of the Hegira, 517 (A.D. 1123); in science he was unrivaled,-the very paragon of his age. Khwájah Nizámi of Samarcand, who was one of his pupils, relates the following story: 'I often used to hold conversations with my teacher, Omar Khayyám, in a garden; and one day he said to me, "My tomb shall be in a spot where the north wind may scatter roses over it." I wondered at the words he spake, but I knew that his were no idle words. Years after, when I chanced to revisit Naishápúr, I went to his final resting-place, and lo! it was just outside a garden, and trees laden with fruit stretched their boughs[xxx] over the garden wall, and dropped their flowers upon his tomb, so that the stone was hidden under them.'"

Thus far-without fear of Trespass-from the Calcutta Review. The writer of it, on reading in India this story of Omar's Grave, was reminded, he says, of Cicero's account of finding Archimedes' Tomb at Syracuse, buried in grass and weeds. I think Thorwaldsen desired to have roses grow over him; a wish religiously fulfilled for him to the present day, I believe. However, to return to Omar.

For whatever Reason, however, Omar, as before said, has never been popular in his own Country, and therefore has been but scantily transmitted abroad. The MSS. of his Poems, mutilated beyond the average Casualties of Oriental Transcription, are so rare in the East as scarce to have reached Westward at all, in spite of all the acquisitions of Arms and Science. There is no copy at the India House, none at the Bibliothèque Nationale of Paris. We know but one in England: No. 140 of the Ouseley MSS. at the Bodleian, written at Shiráz, A.D. 1460. This contains but 158 Rubáiyát. One in the Asiatic Society's Library at Calcutta (of which we have a copy) contains (and yet incomplete) 516, though swelled to that by all kinds of Repetition and Corruption. So Von Hammer speaks of his Copy as containing about 200, while Dr. Sprenger catalogues the Lucknow MSS. at double that number. The[xxxii] Scribes, too, of the Oxford and Calcutta MSS. seem to do their Work under a sort of Protest; each beginning with a Tetrastich (whether genuine or not) taken out of its alphabetical order; the Oxford with one of Apology; the Calcutta with one of Expostulation, supposed (says a Notice prefixed to the MS.) to have arisen from a Dream, in which Omar's mother asked about his future fate. It may be rendered thus:-

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

The Bodleian Quatrain pleads Pantheism by way of Justification.

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

The Reviewer to whom I owe the Particulars of Omar's Life concludes his Review by comparing him with Lucretius, both as to natural Temper and Genius, and as acted upon by the Circumstances in which he lived. Both indeed were men of subtle, strong, and cultivated Intellect, fine Imagination, and Hearts passionate for Truth and Justice; who justly revolted from their Country's false Religion, and false, or foolish, Devotion to it; but who fell short of replacing what they subverted by such[xxxiii] better Hope as others, with no better Revelation to guide them, had yet made a Law to themselves. Lucretius indeed, with such material as Epicurus furnished, satisfied himself with the theory of a vast machine fortuitously constructed and acting by a Law that implied no Legislator; and so composing himself into a Stoical rather than Epicurean severity of Attitude, sat down to contemplate the mechanical Drama of the Universe which he was part Actor in; himself and all about him (as in his own sublime description of the Roman Theatre) discolored with the lurid reflex of the Curtain suspended between the Spectator and the Sun. Omar, more desperate, or more careless of any so complicated System as resulted in nothing but hopeless Necessity, flung his own Genius and Learning with a bitter or humorous jest into the general Ruin which their insufficient glimpses only served to reveal; and, pretending sensual pleasure, as the serious purpose of Life, only diverted himself with speculative problems of Deity, Destiny, Matter and Spirit, Good and Evil, and other such questions, easier to start than to run down, and the pursuit of which becomes a very weary sport at last!

With regard to the present Translation. The original Rubáiyát (as, missing an Arabic Guttural, these Tetrastichs are more musically called) are independent Stanzas, consisting each of four Lines of equal though varied Prosody; sometimes all rhyming, but oftener (as here imitated) the third line a blank. Somewhat as in the Greek Alcaic, where the penultimate line seems to lift and suspend[xxxiv] the Wave that falls over in the last. As usual with such kind of Oriental Verse, the Rubáiyát follow one another according to Alphabetic Rhyme-a strange succession of Grave and Gay. Those here selected are strung into something of an Eclogue, with perhaps a less than equal proportion of the "Drink and make-merry," which (genuine or not) recurs over-frequently in the Original. Either way, the Result is sad enough: saddest perhaps when most ostentatiously merry: more apt to move Sorrow than Anger toward the old Tent-maker, who, after vainly endeavoring to unshackle his Steps from Destiny, and to catch some authentic Glimpse of To-morrow, fell back upon To-day (which has outlasted so many To-morrows!) as the only ground he had got to stand upon, however momentarily slipping from under his feet.

While the second Edition of this version of Omar was preparing, Monsieur Nicolas, French Consul at Resht, published a very careful and very good Edition of the Text from a lithograph copy at Teheran, comprising 464 Rubáiyát, with translation and notes of his own.

Mons. Nicolas, whose Edition has reminded me of several things, and instructed me in others, does not consider Omar to be the material Epicurean that I have literally taken him for, but a Mystic, shadowing the Deity under the figure of Wine, Wine-bearer, etc., as Háfiz is supposed to do; in short, a Súfi Poet like Háfiz and the rest.

And if more were needed to disprove Mons. Nicolas' Theory, there is the Biographical Notice which he himself has drawn up in direct contradiction to the Interpretation of the Poems given in his Notes. (See pp. xiii-xiv of his Preface.) Indeed I hardly knew poor Omar was so far gone till his Apologist informed me. For here we see that, whatever were the Wine that Háfiz drank and sang, the veritable Juice of the Grape it was which Omar used, not only when carousing with his friends, but (says Mons. Nicolas) in order to excite himself to that pitch of Devotion which others reached by cries and "Hurlemens." And yet, whenever Wine, Wine-bearer, etc., occur in the text-which is often enough-Mons. Nicolas carefully annotates "Dieu," "La Divinité," etc.: so carefully indeed that one is tempted to think that he was indoctrinated by the Súfi with whom he read the Poems. A Persian would naturally wish to vindicate a distinguished Countryman; and a Súfi to enrol him in his own sect, which already comprises all the chief Poets of Persia.

No doubt many of these Quatrains seem unaccountable unless mystically interpreted; but many more as unaccountable unless literally. Were the Wine spiritual, for instance, how wash the Body with it when dead! Why make cups of the dead clay to be filled with-"La Divinité"-by some succeeding Mystic? Mons. Nicolas himself is puzzled by some "bizarres and trop Orientals" allusions and images-"d'une sensualité quelquefois révoltante" indeed-which "les convenances" do not permit him to translate, but still which the reader cannot but refer to "La Divinité." No doubt also many of the Quatrains in the Teheran, as in the Calcutta Copies, are spurious; such Rubáiyát being the common form of Epigram in[xxxvii] Persia. But this, at best, tells as much one way as another; nay, the Súfi, who may be considered the Scholar and Men of Letters in Persia, would be far more likely than the careless Epicure to interpolate what favors his own view of the Poet. I observe that very few of the more mystical Quatrains are in the Bodleian MS. which must be one of the oldest, as dated at Shiraz, A.H. 865, A.D. 1460. And this, I think, especially distinguishes Omar (I cannot help calling him by his-no, not Christian-familiar name) from all other Persian Poets: That, whereas with them the Poet is lost in his Song, the Man in Allegory and Abstraction; we seem to have the Man-the Bonhomme -Omar himself, with all his Humors and Passions, as frankly before us as if we were really at Table with him, after the Wine had gone round.

However, as there is some traditional presumption, and certainly the opinion of some learned men, in favor of Omar's being a Súfi-and even something of a Saint-those who please may so interpret his Wine and Cup-bearer. On the other hand, as there is far more historical certainty of his being a Philosopher, of scientific Insight and Ability far beyond that of the Age and Country he lived in; of such moderate worldly Ambition as becomes a Philosopher, and such moderate wants as rarely satisfy a Debauchee; other readers may be content to believe with me that, while the Wine Omar celebrates is simply the Juice of the Grape, he bragged more than he drank of it, in very defiance perhaps of that Spiritual Wine which left its Votaries sunk in Hypocrisy or Disgust.

[xxxix]
[40]

THE FIRST EDITION
OF THE TRANSLATION

[41]

RUBÁIYÁT OF
OMAR KHAYYÁM

I

II

III

IV

Now the New Year reviving old Desires,The thoughtful Soul to Solitude retires,Where the White Hand of Moses on the Bough Puts out, and Jesus from the Ground suspires.

[43]

V

VI

VII

VIII

IX

X

XI

XII

"How sweet is mortal Sovranty!"-think some:Others-"How blest the Paradise to come!"Ah, take the Cash in hand and waive the Rest;Oh, the brave Music of a

distant Drum!
[47]

XIII

XIV

XV

XVI

XVII

XVIII

XIX

XX

Ah, my Belovéd, fill the Cup that clearsTo-day of past Regrets and future Fears-Myself with Yesterday's Sev'n Thousand Years.

To-morrow?-Why, To-morrow I may be

[51]

XXI

XXII

XXIII

XXIV

Alike for those who for To-day prepare,And those that after a To-morrow stare,A Muezzín from the Tower of Darkness cries"Fools! your Reward is neither Here nor There!"

[53]

XXV

Why, all the Saints and Sages who discuss'dOf the Two Worlds so learnedly, are thrustLike foolish Prophets forth; their Words to ScornAre scatter'd, and their Mouths are stopt with Dust.

XXVI

XXVII

XXVIII

Alike for those who for To-day prepare,And those that after a To-morrow stare,A Muezzín from the Tower of Darkness cries,"Fools! your Reward is neither Here nor There!"

[55]

XXIX

Into this Universe, and Nor And out of it, as Wind along the Waste,I know not why not knowing, whence, like Water willy-nilly flowing:
whither, willy-nilly blowing.

XXX

What, without asking, hither hurried And, without asking, Another and another Cup to drownThe Memory of this Impertinence! whence? whither hurried hence!

[56]

XXXI

XXXII

There was a Door to which I found no Key:There was a Veil past which I could not see:

[57]

XXXIII

XXXIV

XXXV

XXXVI

XXXVII

Ah, fill the Cup:-what boots it to repeatHow Time is slipping underneath our Feet:Why fret about them if To-day be sweet!

XXXVIII

XXXIX

XL

XLI

For "Is" and "Is-not" though And "Up-and-down" I yet in all I only cared to know,Was never deep in anything but-Wine. with Rule and Line without, I could define,

XLII

XLIII

XLIV

XLV

XLVI

XLVII

XLVIII

XLIX

L

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,

[66]

LI

LII

LIII

LIV

LV

LVI

LVII

LVIII

[70]

KÚZA-NÁMA

LIX

LX

And, strange to tell, among the Earthen LotSome could articulate, while others not:And suddenly one more impatient cried-"Who

is the Potter, pray, and who the Pot?"
[71]

LXI

LXII

LXIII

LXIV

LXV

LXVI

[74]

LXVII

LXVIII

LXIX

LXX

LXXI

LXXII

LXXIII

LXXIV

LXXV

TAMÁM SHUD

[79]

THE SECOND EDITION
OF THE TRANSLATION

I

II

III

IV

Now the New Year reviving old Desires,The thoughtful Soul to Solitude retires,Where the White Hand of Moses on the BoughPuts out, and Jesus from the Ground suspires.

[83]

V

VI

VII

VIII

IX

X

XI

XII

[87]

XIII

XIV

XV

XVI

XVII

XVIII

XIX

XX

XXI

Ah, my Belovéd, fill the Cup that clearsTo-day of past Regret and Future Fears:Myself with Yesterday's Sev'n thousand Years.

To-morrow!-Why, To-morrow I may be

XXII

XXIII

XXIV

XXV

XXVI

XXVII

Alike for those who for To-day prepare,And those that after some To-morrow stare,A Muezzín from the Tower of Darkness cries,"Fools! your Reward is neither Here nor There."

XXVIII

XXIX

XXX

XXXI

XXXII

Into this Universe, and Nor And out of it, as Wind along the Waste,I know not Why not knowing, Whence, like Water willy-nilly flowing;
Whither, willy-nilly blowing.

[97]

XXXIII

What, without asking, hither hurried And, without asking, Ah! contrite Heav'n endowed us with the VineTo drug the memory of that insolence! Whence? Whither hurried hence!

XXXIV

XXXV

There was the Door to which I found no Key:There was the Veil through which I could not see:

XXXVI

XXXVII

Then of the Thee in Me who works behindThe Veil of Universe I cried to findA Lamp to guide me through the Darkness; andSomething then said-"An Understanding blind."

XXXVIII

XXXIX

XL

XLI

XLII

XLIII

XLIV

[103]

XLV

And if the Cup you drink, the Lip you press,End in what All begins and ends in-Yes;Imagine then you You

are what heretofore were-hereafter you shall not be less.

XLVI

XLVII

And fear not lest Existence closing Account, should lose, or know the type no more;The Eternal Sákí from that Bowl has pour'dMillions of Bubbles like us, and will pour. your

XLVIII

XLIX

L

Would you that spangle of Existence spendAbout THE SECRET-quick about it, Friend!A Hair, they say, divides the False and True-And upon what, prithee, does Life depend?

[106]

LI

A Hair, they say, divides the False and True;Yes; and a single Alif were the clue-Could you but find it, to the Treasure-house,And peradventure to The Master too;

LII

LIII

LIV

But if in vain, down on the stubborn floorOf Earth, and up to Heav'n's unopening Door,You gaze To-day, while You are You-how thenTo-morrow, You when shall be You no more?

[108]

LV

LVI

LVII

LVIII

And "Up-and-down" by Logic I define,Of all that one should care to fathom, IWas never deep in anything but-Wine.

[110]

LIX

LX

LXI

LXII

LXIII

LXIV

LXV

LXVI

Oh, threats of Hell and Hopes of Paradise!One thing at least is certain-One thing is certain and the rest is Lies;The Flower that once is blown for ever dies.
This Life flies;

[114]

LXVII

LXVIII

LXIX

LXX

LXXI

LXXII

LXXIII

LXXIV

LXXV

The Ball no question makes of Ayes and Noes,But Right or Left as strikes the Player goes;And He that toss'd you down into the Field,

He knows about it all-He knows-HE knows!

LXXVI

LXXVII

LXXVIII

LXXIX

LXXX

Yesterday, To-morrow's Silence, Triumph, or Despair:Drink! for you know not whence you came, nor why:Drink! for you know not why you go, nor where. This Day's Madness did prepare:

[121]

LXXXI

LXXXII

LXXXIII

LXXXIV

LXXXV

LXXXVI

LXXXVII

LXXXVIII

[125]

LXXXIX

XC

XCI

XCII

XCIII

XCIV

Thus with the Dead as with the Living, And One on a sudden peevishly exclaim'd,"Which is the Potter, pray, and which the Pot?" What? Why? so ready, but the

Wherefor not,

[128]

XCV

XCVI

XCVII

XCVIII

XCIX

C

CI

CII

CIII

CIV

CV

CVI

CVII

CVIII

[135]

CIX

CX

TAMÁM

THE FIFTH EDITION
OF THE TRANSLATION

I

II

III

IV

Now the New Year reviving old Desires,The thoughtful Soul to Solitude retires,Where the White Hand of Moses on the BoughPuts out, and Jesus from the Ground suspires.

[141]

V

VI

VII

VIII

IX

X

XI

XII

XIII

XIV

XV

XVI

XVII

XVIII

XIX

XX

XXI

Ah, my Belovéd, fill the Cup that clearsTo-day of Past Regrets and Future Fears:Myself with Yesterday's Sev'n Thousand Years.

To-morrow!-Why, To-morrow I may be

XXII

XXIII

XXIV

[151]

XXV

Alike for those who for To-day prepare,And those that after some To-morrow stare,A Muezzín from the Tower of Darkness cries"Fools! your Reward is neither Here nor There."

XXVI

XXVII

XXVIII

XXIX

Into this Universe, and Nor And out of it, as Wind along the Waste,I know not Why not knowing Whence, like Water willy-nilly flowing;
Whither, willy-nilly blowing.

XXX

What, without asking, hither hurried And, without asking, Oh, many a Cup of this forbidden WineMust drown the memory of that insolence! Whence? Whither hurried hence!

[154]

XXXI

XXXII

There was the Door to which I found no Key;There was the Veil through which I might not see:

[155]

XXXIII

XXXIV

The Veil, I lifted up my hands to findA Lamp amid the Darkness; and I heard,As from Without-"The Me within Thee blind!"

[156]

XXXV

XXXVI

XXXVII

XXXVIII

XXXIX

XL

XLI

XLII

And if the Wine you drink, the Lip you pressEnd in what All begins and ends in-Yes;You were-To-morrow you shall not be less.

[160]

XLIII

XLIV

XLV

XLVI

XLVII

XLVIII

A Moment's Halt-a momentary tasteOf Being from the Well amid the Waste-And Lo!-the phantom Caravan has reach'dThe Nothing it set out from-Oh, make haste!

[163]

XLIX

Would you that spangle of Existence spendAbout THE SECRET-quick about it, Friend!A Hair perhaps divides the False and True-And upon what, prithee, may life depend?

L

A Hair perhaps divides the False and True;Yes; and a single Alif were the clue-Could you but find it-to the Treasure-house,And peradventure to The Master too;

[164]

LI

LII

LIII

But if in vain, down on the stubborn floorOf Earth, and up to Heav'n's unopening Door,You gaze To-day, while You are You-how thenTo-morrow, You when shall be You no more?

LIV

LV

LVI

And "Up-and-down" by Logic I define,Of all that one should care to fathom, IWas never deep in anything but-Wine.

[167]

LVII

LVIII

LIX

LX

LXI

LXII

LXIII

Oh, threats of Hell and Hopes of Paradise!One thing at least is certain-One thing is certain and the rest is Lies;The Flower that once has blown for ever dies.
This Life flies;

LXIV

LXV

LXVI

LXVII

LXVIII

LXIX

LXX

The Ball no question makes of Ayes and Noes,But Here or There as strikes the Player goes;And He that toss'd you down into the Field,

He knows about it all-HE knows-HE knows!
[174]

LXXI

LXXII

LXXIII

LXXIV

Yesterday To-morrow's Silence, Triumph, or Despair:Drink! for you know not whence you came, nor why:Drink! for you know not why you go, nor where. This Day's Madness did prepare;

[176]

LXXV

LXXVI

LXXVII

LXXVIII

LXXIX

LXXX

LXXXI

LXXXII

LXXXIII

LXXXIV

LXXXV

LXXXVI

LXXXVII

LXXXVIII

LXXXIX

XC

[184]

XCI

XCII

XCIII

XCIV

XCV

XCVI

XCVII

XCVIII

XCIX

C

Yon rising Moon that looks for us again-How oft hereafter will she wax and wane;How oft hereafter rising look for usThrough this same Garden-and for

one in vain!
[189]

CI

TAMÁM

VARIATIONS IN
THE THIRD EDITION
OF THE TRANSLATION

In the first draught of the Third Edition the first quatrain stood thus:

The tenth quatrain read thus in the Third Edition:

In the first draught of Third Edition the thirty-eighth verse was as follows:

In the final draught of the Third Edition it was changed to read:

In the first draught of Third Edition quatrain forty ran thus:

The first draught of the Third Edition carried quatrain forty-two as follows:

And if the Cup, and if the Lip you press,End in what All begins and ends in-Yes;Imagine then you You

are what heretofore were-hereafter you shall not be less.

[196]

Quatrain forty-eight in the first draught of Third Edition read:

In the final draught of Third Edition the same stanza ran:

In the first draught of the Third Edition, there stood the following quatrain, later deleted:

Transcriber's Notes:

1. A Table of Contents has been created for this e-text where none existed in the original work.

2. Because the nature of this work is to present and compare the several translations, no spelling or end of sentence punctuation corrections have been made in the Quatrains. The reader will encounter several Quatrains that end without punctuation and the word "Paradist" appearing in Quatrain LXXXI in the "Fifth Edition" may be a typographical error for "Paradise," but has been retained as printed.

3. Spelling corrections made in Biographical Preface:

p. xv, "Sufi" to "Súfi" (the great Súfi poet)

p. xvi, "Schegel" to "Schlegel" (August Wilhelm von Schlegel)

p. xvi, "strongely" to "strongly" (strongly illustrated by)

p. xviii, "perfomed" to "performed" (could have performed)

4. Word Variations: ((x) shows number of occurences)

"Irám" (1) and "Iram" (2)

"Mahmúd" (5) and "Máhmúd" (3)

"Péhleví" (1) and "Pehleví" (2)

"Rubá'iyyát" (6) and "Rubáiyát" (7)

"Shiráz" (1) and "Shiraz" (1)

"Sultán" (15) and "Sultan" (4)

"Worshipers" (1) and "Worshipper" (2)

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The Project Gutenberg eBook of RUBÁIYÁT OF OMAR KHAYYÁM, Translated into English Verse, by Edward Fitzgerald.

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The Project Gutenberg EBook of Rubaiyat of Omar Khayyam, by Omar Khayyam This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever.

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Jaws Poster Analysis - Key Elements: Teacher discussed the 1975 Jaws poster in detail. Important observations included: the curved J in "Jaws" relating to the shark's fin or a hook, color gradient from light to dark creating mood, white text blending in (draws attention upward but legally required for PG rating), black text being more visible, and the conical nose with jagged teeth.

Illustration vs Photography: The poster uses drawn graphics rather than photographs, partly due to 1970s technology limitations. Effect is deliberate - creates stylized impact rather than realism with the shark and woman.

The Woman's Portrayal: She appears in a bikini showing significant skin exposure. Teacher noted two interpretations: some saw her as frantic/swimming away, teacher saw her as unaware while the viewer knows the shark is approaching. The vulnerability and exposed female figure served as a deliberate selling point for the movie.

Steven Spielberg Context: This was one of Spielberg's early films, before he became famous. Actor names on poster were likely known at the time.

Fear and the Unknown: The scariest element in movies is what you don't see. Jaws succeeded by showing limited shark footage (partly because they only had partial shark props in pools). Example given: Stranger Things Season 1 was scariest because the monster remained mostly hidden.

Vicarious Experience: New vocabulary word introduced. Watching frightening movies (especially in 1970s theaters) lets audiences experience fear and danger secondhand from the safety of their seats - enjoying the thrill without actual risk. Applies to all media experiences including romance and other emotions in books.

Heaven and Hell Interpretation: One student successfully argued the poster symbolized heaven and hell, which the teacher accepted as valid analysis because it was properly substantiated and linked back to the visual elements.

Analysis Approach: Can make creative interpretations with minimal correlation as long as you substantiate them and link back to the evidence. Avoid going off on tangents - maintain clear connections to the source material.

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Father-Mother Dynamic in Neal's Scene: The car scene between Neal and his father reveals the mother as a "background prop" with no voice. The father's use of "us" when saying "why do you insist on defying us" is particularly significant—it shows he speaks for both parents even though the mother has no agency, making "us" really mean "me."

Mr. Keating's Contrasting Delivery Style: While other teachers are rigid, loud, and traditional in their delivery, Mr. Keating whispered "carpe diem" to the boys in the trophy room—a stark contrast in how he communicates the same educational content.

Institutional Rigidity Through Dialogue: The rigid and stark dialogue used by the institution (visible in conversations like Keating's with Nolan at the dining table) deliberately imposes pressure on students. This linguistic choice reinforces the oppressive system.

Parental Support of Oppression: Parents support the school's strict, oppressive system because it achieves results they want. This creates a cycle where suppression pushes students toward responses that favor family expectations over personal desires.

Nuanced Interpretations of "Carpe Diem": The phrase affects each character differently—Neal interprets it as needing immediate freedom (leading to tragedy), Charlie takes it too far with his prank (getting expelled), while Todd uses it for gradual personal transformation. Mr. Keating warned against misinterpretation when he told Charlie that "sucking the marrow" doesn't mean "choking on the bone."

Todd's Character Arc Through Lines: Todd transforms from having almost no lines to being the first to stand on the desk at the end. His "sweaty-toothed madman" recitation was rushed but revealed his internal struggle—the madman represents the shame, guilt, and self-doubt choking him.

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Chapter 5 Geography & Setting: The Asphodel Meadows is where Penelope resides in the underworld - a dull place of "mindless shades" who only get temporary memory boosts from drinking. The asphodel plant itself is pale and ghostly, symbolizing a listless half-existence that establishes Penelope's boredom and yearning for the living world.

Confinement of Female Existence: Atwood uses intertextuality and color associations to give Penelope a conversational, chatty tone that's juxtaposed with grim imagery (like "dog death"). The underworld's fields are a metaphor for women being confined to the domestic sphere - Penelope is trapped in a beautiful but meaningless space, just as she was trapped in her room in life.

Rhetorical Devices - Aporia & Litotes: Aporia expresses doubt ("you do have to wonder who designed this"). Litotes involves understatement ("but I shouldn't complain"). These devices show how Penelope can't fully articulate her pain - reflecting how women traditionally can't voice complaints too openly.

Morality & Vice: The text suggests that virtue (especially passive virtue expected of women) can be boring, while vice has a certain fascination. Penelope is attracted to "bad boys" (pickpockets, stone brokers), which challenges traditional feminine ideals and acknowledges the complexity of female desire. Morality itself is portrayed as subjective and changing over time.

Mythological References: Tiresias represents the narrative focus shift - Homer's Odyssey focused on Odysseus' heroism, while Atwood's Penelopiad focuses on "the undignified desperate scrabble of the dead." Tantalus and Sisyphus are mentioned as examples of divine punishment.

Injustice in Divine Punishment: Helen of Troy was never punished despite causing the Trojan War, while others were destroyed for minor infractions (like eating the wrong cows in the Odyssey). This shows that both godly and human justice systems are unjust - Helen is protected because she's essentially "property" and her story is too valuable.

Penelope's Unresolved Questions: The phrase "not that I mind" (repeated) suggests Penelope does mind both then and now. Key question raised: Did Penelope choose her marriage herself, or was she just handed over with no other options? This uncertainty adds modern context and connects to later chapters about coming of age.

Presentation Expectations: Last year's student presentations took about one period (roughly 30 minutes for a single period). Should account for note-taking time when planning length.

Followups

- Keep up with the Penelopiad readings - not enough to just take notes from presentations, need to read and understand to engage with the material

- Choose between Hamlet and The Handmaid's Tale for next Paper 2 (another text was just started but can use it if feeling confident)

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Chilean Colonial Period: Chile was relatively poor under Spanish rule, governed from Lima but developed a distinct identity due to natural barriers (Atacama Desert, Andes Mountains) and Mapuche resistance. A captaincy general was created for the region.

Chilean Independence: Independence occurred in three phases after Napoleon's 1808 occupation of Spain: La Patria Vieja (1810-1814), La Reconquista (1814-1817), and La Patria Nueva (victory at Battle of Chacabuco in 1817 led by Bernardo O'Higgins).

War of the Pacific & Economic Boom: Chile's 1879-1883 war against Peru and Bolivia over nitrate resources resulted in territorial gains of 10,000+ square kilometers, tax revenue from mining, and GDP growth that outpaced regional neighbors by 1870.

Democratic Stability & Breakdown: Chile maintained democracy longer than regional peers due to centralized leadership, the War of the Pacific's unifying effect, and pragmatic successors. The "tres tercios" system (three equal political blocs) characterized 1932-1973 politics until Allende's 1970 election with only 36.2% created crisis.

Pinochet Dictatorship: The September 11, 1973 coup led to 17 years of military rule with approximately 28,000 tortured, 2,000+ executed, 1,250+ disappeared, and 200,000 exiled. Operation Condor assassinated opponents internationally, including car bombings in Argentina and Washington D.C.

Return to Democracy: The 1988 plebiscite ("No" vote won 54-43%) ended the dictatorship, but the 1980 Constitution's constraints persisted. Economic inequality from Chicago School policies led to major protests in 2019, resulting in a constitutional referendum approved 78-21% in 2020 with a 50% female drafting body.

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 Learner Portfolio creative entry Act i Scene i

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 Learner Portfolio creative entry Act i Scene i

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"Sister/Queen":

This juxtaposition reflects the complex relationship between loyalty to your family and duty regarding politics. Gertrude is both Hamlet’s mother and the queen, representing a blend of family values and authority. Hamlet feels betrayed by her swift remarriage to Claudius, which complicates his feelings of grief and anger.

"Defeated Joy":

This phrase shows the theme of disillusionment. (a feeling of disappointment resulting from the discovery that something is not as good as one believed it to be.) The joy that should come from a new king is overshadowed by the mourning of Hamlet’s death. It emphasizes how the characters are trapped in a cycle of sorrow.

"Mirth in Funeral":

It highlights the dissonance between public appearances and private emotions, setting the stage for Hamlet’s existential struggles. Mirth means “amusement, especially as expressed in laughter.” I believe this shows that they are trying to put on an act in the funeral to seem professional/courtly in front of the general public.

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Identity:

Author Identity: Khayyam, a Persian mathematician and philosopher, influences the work with his intellectual and cultural background.

Self-Identity: The poems reflect Khayyam’s introspective search for meaning and personal truth in a transient world.

Cultural Identity: Steeped in Persian traditions, the Rubaiyat conveys the richness of its cultural context.

Spiritual Identity: Khayyam questions religious norms, illustrating a personal journey towards understanding spirituality.

Social Identity: The verses critique societal conventions, suggesting that identity extends beyond social labels.

Cultural: The Rubaiyat of Omar Khayyam richly reflects Persian culture through its literary traditions, philosophical inquiries, and social commentary. Khayyam critiques materialism, celebrates life's pleasures, and navigates spiritual complexities within an Islamic context. While deeply rooted in Persian heritage, the themes of love, beauty, and mortality resonate universally, allowing the work to connect with diverse audiences. It serves as a cultural artifact that encapsulates the essence of its time while engaging with timeless human experiences.

Creativity: The Rubaiyat exemplifies creativity through its innovative use of quatrains, rich metaphors, and philosophical musings. Khayyam’s blending of personal reflection and universal themes showcases artistic expression, inviting readers to explore profound ideas with a unique poetic style that transcends cultural boundaries.

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Philosophical Criticism:

1. Fate

Life is often out of our control; we must accept what comes our way.

Example: In the Rubaiyat, Khayyam writes about fate like it’s a game, where we have no say in how it plays out. He uses phrases indicating that we should not stress over what we cannot change.

2. Mortality

Life is short, and everyone eventually dies. We should enjoy our time while it lasts.

Example: Khayyam often talks about savoring wine and beauty. He suggests that because life is temporary, we should embrace joy and pleasure, much like enjoying a fine drink before it’s gone.

3. Search for Meaning

Finding meaning in life is a struggle, but it’s important to seek joy in the present.

Example: Khayyam frequently ponders what the purpose of life is and highlights the importance of enjoying simple pleasures, like love and laughter, rather than getting lost in heavy thoughts about the universe.

Existentialism

Fleeting Nature of Life:

Example: The imagery of fleeting flowers and passing sunsets illustrates the brevity of life, urging readers to cherish and embrace every moment.

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Allusions in the Rubáiyát: The poems reference Caesar and other historical/mythological figures to explore how power and legacy don't transcend time—bodies return to dust regardless of status.

Carpe Diem and Astronomical Background: The rising sun and passage of time connect to Omar Khayyam's astronomical background, emphasizing the relentless nature of time's passage.

Potter/Pot Metaphor: The relationship between creator and creation raises existential questions—"who is the potter, who is the pot"—linking to nihilism and the purpose of life.

Asceticism vs. Simple Pleasures: The philosophy of asceticism (denying life's pleasures) contrasts with the poem's celebration of wine and bread as simple necessities for survival and enjoyment.

Chessboard Imagery: Life as pieces on a chessboard moved by uncontrollable forces connects to themes of fate and predestination.

Cup of Life Symbolism: The wine cup represents the transience and purity of life—constantly refilled and emptied, serving as a call to action to enjoy the present moment.

Materialism and Freedom Connection: In both the Rubáiyát and Hamlet, materialistic pursuits become a way of asserting freedom against the predetermined fate of death (like Gertrude choosing Claudius to maintain status).

Fitzgerald's Translation Controversy: Edward Fitzgerald removed much of the original Sufi mysticism, transforming the work into more of a criticism of religious dogmas rather than spiritual poetry.

Hexagonal Diagram Method: Using hexagonal diagrams (physical or drawn) helps visualize connections between themes across different works for Paper 2 preparation.

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How do we approach texts from different times and cultures to our own?

You’ll need to go in to and understand the historical context, The historical context refers to the social, economic, political, and religious events that influenced the writing of a text. Knowing the historical context of a text can help the reader better understand the overall meaning of the text and its details. Language can also lose or gain its meanings like the word “green in shakespeare” cannotes freshness. There are also the similiarities between the past and the present and it will affect the readers understanding and reception. For example past misogony, like the brothels in Hamlet, which are now mostly illegal but used to be wide spread. Another example is incest as the royals were often in pursuit of national and international aggrandisement on behalf of themselves and their dynasties, and to keeping wealth and power inside the family, inbreeding was their answer to that. Which is now seen as taboo and the affects of it are widely acknowledged.

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Made by myself, sculpted on blender. Don't ask why there isn't color that's not my skill set.

In The Rubaiyat of Omar Khayyam, the rose primarily symbolizes the fleeting, ephemeral nature of life, beauty, and youth. It represents the bittersweet, transient pleasures of existence that bloom and fade quickly, often serving as a reminder to appreciate the present moment before it turns to dust.

Ephemeral Beauty and Transience: The rose embodies the idea that beauty and life are short-lived, with "a thousand Blossoms" blooming and turning to clay.

The Cycle of Life and Death: It represents the fragile, temporary nature of all living things, often juxtaposed with the idea that the garden’s beauty is built upon past lives.

Passion and Love: In some contexts, it represents earthly, passionate, or romantic love.

Divine Beauty and Mysticism: Drawing from Sufi traditions, it can symbolize the intense, unattainable beauty of the divine and the soul's yearning for God.

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(Act 5, Scene 1)

Memento Mori: The skull acts as a "remember you must die" reminder, forcing Hamlet to confront the physical reality of death.

Decay and Equality: It highlights that regardless of how one lives, all return to dust, erasing distinctions between the jester and a king.

Nihilism and Reflection: It triggers Hamlet's philosophical shift toward fatalism, as he moves from contemplating suicide to accepting his fate.

Iconic Imagery: It is one of literature's most famous symbols, often depicted in art, theatre, and culture to represent death or philosophical contemplation.

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Memoir Definition & Core Elements: Memoirs connect directly with readers through personal narrative voice. They focus on a specific theme (grief, overcoming adversity) or particular time period rather than an entire life like autobiographies. They involve reflection—looking back at past events with commentary and analysis showing personal growth and change.

Truthfulness & Vulnerability: Memoirs don't require strict historical accuracy but must be based on true lived experiences. They demand honesty about personal failures and emotions—showing vulnerability is essential to the form.

Literary Craft: Memoirs are pieces of art that use vivid scenes, sensory details, and natural dialogue to "show not tell." They follow narrative structure with clear beginning, middle, and end, resembling fiction in their storytelling approach.

"Night" by Elie Wiesel Example: Holocaust memoir focusing on themes of overcoming adversity and trauma. Wiesel doesn't just state conditions were horrific—he uses sharp, specific sensory details rooted in personal memory.

Sensory Details in "Night": Sight: "small faces of children whose bodies transformed to smoke under a silent blue sky." Smell: "air filled with smell." Sound: "silence after hanging" and "Juliet's last violin concert amid pile of corpses." These create indelible (cannot be erased) impressions forcing readers to experience events sensibly, not just intellectually.

Author's Motivation (from Wiesel quote): Writers create memoirs to preserve memories, knowledge, and life experiences so friends, family, colleagues, and communities can always have a piece of them—allowing others to experience what the author experienced.

Memoir vs. Biography - Authorship: Memoirs are written by the subject themselves; biographies are written by others about the subject.

Memoir vs. Biography - Scope: Memoirs offer a snapshot of life (specific period/theme); biographies offer the full picture of a person's entire life.

Memoir vs. Biography - Evidence: Biographies rely on external sources like interviews, letters, and records; memoirs draw from personal memory and experience.

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Memoirs in IB: Memoirs can count as literary texts if the author is on the PRL (Prescribed Reading List). Examples include Night by Elie Wiesel and The Glass Castle (studied with current Form VI). The Glass Castle PDF available online; hard copy available to borrow if interested—just ask and don't lose it. It's about a family with irresponsible parents in the U.S.

Satire Definition & Features: Satire uses humor, irony, and social criticism. Found across illustrations, photos, articles, blogs—less common in formal biographies. Two types: Horatian satire (lighter, witty, targets social media trends) and Juvenalian satire (bitter, angry, attacks serious issues like social justice and racism).

Satire Techniques: Includes burlesque (parody), caricature, exaggeration, juxtaposition, comparisons, analogy, insinuation (double meanings), and double entendre. These are in the literary devices manual.

Satire Targeting: Usually aimed at politicians, public figures, government, social media trends, or ideologies. Assumes audience shares the same values and can recognize the gap between "how things are" vs. "how they ought to be."

"Pollution Femme" Analysis: Polish artist's work showing worker painting over black smoke with yellow paint/crayon. Title is a pun. Satirizes corporations' false optimism about reversing pollution easily. Worker represents blue-collar complicity—trapped by need for wages while enabling corporate environmental destruction.

Visual Techniques in "Pollution Femme": Platform/ladder hanging from sky (absurd exaggeration), understatement of pollution dangers, symbolism (paint = corporate greenwashing), visual metaphor (wiping smoke like it's erasable graffiti).

Deeper Implications: Pollution represents not just environmental damage but also social apathy, corporate corruption, and consumer demand. Critique shifts from just capitalism to individual responsibility—we enable factories through our consumption choices and willingness to overlook consequences for convenience.

Modern Examples Referenced: Same artist has other works. Other satire examples include The Simpsons, South Park, Sabrina Carpenter's album (described as "big satire"), onion articles, Smash Mouth article found online.

Assignment Requirement: Add satire analysis work to learner portfolio—it's good practice for analyzing text types and demonstrates substantial effort.

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Main Features of Infographics: Visual elements include icons, illustrations, graphs, maps, and diagrams. Color palette typically uses 2-5 colors for clarity and readability. Content is minimal and focused, using short sentences and bullet points combined with credible, sourced data.

Grid and Layout Structures: Includes single scroll vertical, multi-panel horizontal, circular, or freeform layouts. The layout choice determines how data is chunked and organized to tell the story.

Narrative and Tone: Voice should be clear, engaging, formal, and trustworthy, typically written in third person. Data selection and framing is crucial as it shapes the narrative and can introduce potential bias.

Typography Choices Impact Readability: Contrast between clean sans-serif fonts for modern data versus decorative script fonts for thematic headlines affects both readability and personality. Font weight and size direct focus to different parts.

Information is Created, Not Neutral: Designers select which data to include/exclude and decide scale, color, and emphasis. Size, color, icons, and layout tell readers what to look at first, what matters most, and what can be ignored—controlling interpretation through design choices rather than just language.

Power and Persuasion Through Visual Design: Governments, corporations, and NGOs use infographics to influence opinions quickly and shape discourse without deep explanation. In the digital age, persuasion relies on design rather than expanded argument—making it easier to focus by breaking information into short sentences and bullet points.

Identifying Infographics: Can be spotted within seconds by looking for statistics, pictures, and organized graphics. Purpose is to convey information that could take a page or two of writing in a glance—most content understandable within a minute.

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Epideixis as Literary Device: Used to illustrate and create associations between women and their physical attributes that are attractive to men, reinforcing objectification.

Zeugma Technique (Page 31): Atwood uses zeugma to illustrate layers of clothing worn at the wedding, implying Penelope is exposed/vulnerable ("a real raw soul") in her society while being valued only for superficial traits.

Subversive Consummation Imagery: The wedding night/consummation is reframed as a negative experience for women, contrasting with traditional celebratory concepts for men in Homeric tradition.

Indian Cultural Reference: Atwood incorporates the image of dripping water on stone, referencing persistence as a core Chinese cultural value that foreshadows Penelope's character.

Contrast in Language/Structure: Atwood uses short, modern sentence structures and colloquial language to connect with contemporary readers, while mimicking original epic text language in certain passages to highlight the contrast in perspectives.

First-Person Narration Impact: Atwood's choice of first-person for the maids humanizes them and challenges the gods' authoritative interpretation of events.

Class/Power Disparities: Analysis highlighted how lower-class women (maids) experienced injustice in the justice system differently than higher-status women like Penelope.

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Penelope Paper 2 Quotes of maid's injustice

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Penelope Paper 2 Quotes of maid's injustice

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Quote 1: The Maids' Collective Accusation

"we are the maids / the ones you killed / the ones you failed"

The Maids are speaking together as a group from the afterlife, directly confronting those responsible for their deaths.

The word "you" is intentionally ambiguous. While it directly targets Odysseus (who ordered their execution) and Penelope (who failed to protect them), it also points directly at the reader. It accuses us of being complicit because society has read, enjoyed, and celebrated the Odyssey for thousands of years while treating the execution of these twelve girls as a minor footnote.

Quote 2: The Physical Reality of the Hanging

"we danced in air / our bare feet twitched / it was not fair"

grim, deeply ironic description of the Maids being hanged by the neck.

Calling their execution a "dance" creates a haunting contrast between the lightheartedness of a song or game and the brutal reality of murder. The detail of their "twitched" feet forces the reader to visualize the physical suffering of their deaths, breaking through Penelope's polished prose to remind us that the cost of her survival was "not fair."

Quote 3: The Call-Out of Historical Voyeurism

"with every goddess, queen, and bitch / from there to here / you scratched your itch"

The Maids are calling out the audience's endless fascination with the scandals, dramas, and lives of powerful historical and mythological women.

The "itch" represents the reader's desire for entertainment, gossip, and epic storytelling. The Maids are pointing out that while readers are busy focusing on the high-stakes drama of upper-class figures (like the "goddess" Athena, "queen" Penelope, or "bitch" Helen), the lower-class women are ignored. It shows that our consumption of literature often feeds on a system that leaves the marginalized behind.

Quote 4: The Injustice of Moral Judgement

"we did much less / than what you did / you judged us bad"

The Maids point out the hypocrisy of their punishment. They were executed for "sleeping with the suitors," even though they were enslaved and lacked the agency to say no, while the elites committed far worse crimes without consequences.

This quote highlights the double standards of the patriarchal and classist systems in the epic. The powerful figures (Odysseus and the Suitors) fought, slaughtered, and exploited people, yet the Maids were the ones "judged bad" and legally executed. It highlights how the justice system protects property owners and punishes the vulnerable.