I've cheated a bit here, for this is a repeat of a previous post. However, since this is the last post I will make on the Rubaiyat (as far as I know right now), I thought it appropriate. These are the last quatrains for the First, Second, and Fifth Editions.
First Edition: Quatrain LXXV
And when Thyself with shining Foot shall pass
Among the Guests Star-scatter'd on the Grass,
And in thy joyous Errand reach the Spot
Where I made one--turn down an empty Glass!
TAMAM SHUD
Second Edition: Quatrain CX
And when Yourself with shining Foot shall pass
Among the Guests Star-scatter'd on the Grass,
And in your joyous Errand reach the Spot
Where I made One--turn down an empty Glass!
TAMAM
Fifth Edition: Quatrain CI
And when like her, oh, Saki, you shall pass
Among the Guests Star-scatter'd on the Grass,
And in your joyous Errand reach the Spot
Where I made One--turn down an empty Glass!
TAMAM
Fitzgerald made only minor changes over the five editions, and most of
them occurred in the first line. In the first edition we see "Thyself"
which becomes the less poetic "Yourself" in the second edition. Also,
"shining foot" is changed to "silver Foot" in the second edition.
"Silver" is much more specific in that it denotes a white foot more
clearly than does "shining."
In the fifth edition, we find the most drastic change to the first
line. The references to her personal appearance disappear and she is
named Saki. In addition, we find a reference--"like her"-- to the
previous quatrain where the Moon is depicted as shining down on those in
the garden. The tie to the previous quatrain is much stronger in this
edition than in the earlier versions in which the quatrain began with
"And," which also ties this quatrain to previous one. In other words,
he substitutes a direct reference for a conjunction.
The second, third, and fourth lines of the various editions are
identical except for a change that occurs in the second edition, when
"thy" becomes "your" to match a similar change in the first line.
The sense of the quatrain seems quite clear--remember me with an empty
glass, which refers back to earlier quatrains concerning the scene in
the pottery shop in which a pot suggests that filling it with wine might
restore it. However, there seems to be no possibility of that
happening here, for death is the final emptying of the glass.
I started this project on September 26, 2008 and
never realized that it would last for almost nine years. I have now posted entries on all seventy-five quatrains in the First Edition and related quatrains in the Second and Fifth Editions. I have also posted on all quatrains that were added by Edward FitzGerald in the Second Edition. All quatrains in the Fifth Edition are identical to or are modified versions of quatrains in the First and Second Editions. As far as I can tell, no new quatrains were added in the Third or Fourth Editions, or if any were, FitzGerald dropped them when the Fifth Edition came out.
This, therefore, will be the last posting I will make on Edward FitzGerald's version of the Rubaiyat of Omar Khayyam. It is with mixed feelings that I say this.
Someone, I think, once said that endings were really opportunities for new beginnings.
NOTE:
"The Arabic word sāqī ساقی
(also written as saqi or
saki) literally means wine-server or wine-pourer and is frequently used
in Persian poetry to describe the glorious Server who continually pours
out the wine everlasting to all of mankind, while implying that only a
completely empty bowl is truly ready to be filled with such a fine wine.
For the Sufi, the greatest task of life is to become empty enough,
selfless enough, to be a suitable receptacle for the wine which the Sāqī
pours.
In some cases, the word sāqī may be used as a reference to a
specific spiritual teacher, but in the grand scheme of things, a
spiritual teacher is merely a worldly symbol for the presence of the
Beloved, the One and Only One."
Showing posts with label the final quatrain of the Rubaiyat. Show all posts
Showing posts with label the final quatrain of the Rubaiyat. Show all posts
Saturday, July 1, 2017
Monday, December 16, 2013
The Rubaiyat of Omar Khayyam: The Last Quatrain
I've stalled around a bit in posting on this quatrain: it's the last one for all editions. I started this project on September 26, 2008 and never realized that it would last for over five years. In fact, I'm also surprised that I did finish it for I tend to lose interest when nearing the end and find reasons for not completing a project.
The second and third editions are longer, at least twenty-five quatrains longer, than the first edition. I did not post on quatrains that first appeared in the second edition, but only those that appeared in the first edition. I haven't decided yet what I will do with those ignored quatrains. Perhaps some time in the future, I may post on those also.
But, here we are--the last quatrain.
First Edition: Quatrain LXXV
And when Thyself with shining Foot shall pass
Among the Guests Star-scatter'd on the Grass,
And in thy joyous Errand reach the Spot
Where I made one--turn down an empty Glass!
TAMAM SHUD
Second Edition: Quatrain CX
And when Yourself with silver Foot shall pass
Among the Guests Star-scatter'd on the Grass,
And in your joyous errand reach the spot
Where I made One--turn down an empty Glass!
TAMAM
Fifth Edition: Quatrain CI
And when like her, oh, Saki, you shall pass
Among the Guests Star-scatter'd on the Grass,
And in your joyous errand reach the spot
Where I made One--turn down an empty Glass!
TAMAM
Fitzgerald made only minor changes over the five editions, and most of them occurred in the first line. In the first edition we see "Thyself" which becomes the less poetic "Yourself" in the second edition. Also, "shining foot" is changed to "silver Foot" in the second edition. "Silver" is much more specific in that it denotes a white foot more clearly than does "shining."
In the fifth edition, we find the most drastic change to the first line. The references to her personal appearance disappear and she is named Saki. In addition, we find a reference--"like her"-- to the previous quatrain where the Moon is depicted as shining down on those in the garden. The tie to the previous quatrain is much stronger in this edition than in the earlier versions in which the quatrain began with "And," which also ties this quatrain to previous one. In other words, he substitutes a direct reference for a conjunction.
The second, third, and fourth lines of the various editions are identical except for a change that occurs in the second edition, when "thy" becomes "your" to match a similar change in the first line.
The sense of the quatrain seems quite clear--remember me with an empty glass, which refers back to earlier quatrains concerning the scene in the pottery shop in which a pot suggests that filling it with wine might restore it. However, there seems to be no possibility of that happening here, for death is the final emptying of the glass.
The second and third editions are longer, at least twenty-five quatrains longer, than the first edition. I did not post on quatrains that first appeared in the second edition, but only those that appeared in the first edition. I haven't decided yet what I will do with those ignored quatrains. Perhaps some time in the future, I may post on those also.
But, here we are--the last quatrain.
First Edition: Quatrain LXXV
And when Thyself with shining Foot shall pass
Among the Guests Star-scatter'd on the Grass,
And in thy joyous Errand reach the Spot
Where I made one--turn down an empty Glass!
TAMAM SHUD
Second Edition: Quatrain CX
And when Yourself with silver Foot shall pass
Among the Guests Star-scatter'd on the Grass,
And in your joyous errand reach the spot
Where I made One--turn down an empty Glass!
TAMAM
Fifth Edition: Quatrain CI
And when like her, oh, Saki, you shall pass
Among the Guests Star-scatter'd on the Grass,
And in your joyous errand reach the spot
Where I made One--turn down an empty Glass!
TAMAM
Fitzgerald made only minor changes over the five editions, and most of them occurred in the first line. In the first edition we see "Thyself" which becomes the less poetic "Yourself" in the second edition. Also, "shining foot" is changed to "silver Foot" in the second edition. "Silver" is much more specific in that it denotes a white foot more clearly than does "shining."
In the fifth edition, we find the most drastic change to the first line. The references to her personal appearance disappear and she is named Saki. In addition, we find a reference--"like her"-- to the previous quatrain where the Moon is depicted as shining down on those in the garden. The tie to the previous quatrain is much stronger in this edition than in the earlier versions in which the quatrain began with "And," which also ties this quatrain to previous one. In other words, he substitutes a direct reference for a conjunction.
The second, third, and fourth lines of the various editions are identical except for a change that occurs in the second edition, when "thy" becomes "your" to match a similar change in the first line.
The sense of the quatrain seems quite clear--remember me with an empty glass, which refers back to earlier quatrains concerning the scene in the pottery shop in which a pot suggests that filling it with wine might restore it. However, there seems to be no possibility of that happening here, for death is the final emptying of the glass.
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