In placing this volume before the public I only hope that I may be able to convey to my readers the higher and deeper truths of this most famous of Persian Poets, who so ably attempted to portray to his countrymen the benevolent God the subtle life within the grosser of our material forms. Also the mysterious force within the grape, which renders possible fermentation, thereby changing its character from matter to spirit. Therefore, I sincerely trust that this may be a means to enlighten many seekers after truth, and to my Critics will but add this line, "that they in me can find no opponent for them," for what little I have done has been to bless, to illuminate, not destroy the works of others, to whom myself with the rest of the world's readers owe our many thanks. Hoping that all may realize the spirit in which I here present it, and may it comfort and bless those who read to learn of its sublime truths, is the sincere wish of thy brother man. The Author.
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Excerpt from The Sufism of the Rubaiyat: Or the Secret of the Great Paradox In placing this volume before the public I only hope that I may be able to convey to my readers the higher and deeper truths of this most famous of Persian Poets, who so ably attempted to portray to his countrymen the benevolent God the subtle life within the grosser of our material forms. Also the mysterious force within the grape, which renders possible fermentation, thereby changing its character from matter to spirit. Therefore, I sincerely trust that this may be a means to enlighted many seekers after truth, and to my Critics will but add this line, "that they in me can find no opponent for them," for what little I have done has been to bless, to illuminate, not destroy the works of others, to whom myself with the rest of the world's readers owe our many thanks. Hoping that all may realize the spirit in which I here present it, and may it comfort and bless those who read to learn of its sublime truths, is the sincere wish of thy brother man. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
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'The Moving Finger writes; and, having writ Moves on: nor all thy Piety nor Wit Shall lure it back to cancel half a line Nor all thy tears wash out a word of it.' In the 'rubáiyát' (short epigrammatic poems) of the medieval Persian poet, mathematician, and philosopher Omar Khayyám, Edward FitzGerald saw an unflinching challenge to the illusions and consolations of mankind in every age. His version of Omar is neither a translation nor an independent poem; sceptical of divine providence and insistent on the pleasure of the passing moment, its 'Orientalism' offers FitzGerald a powerful and distinctive voice, in whose accents a whole Victorian generation comes to life. Although the poem's vision is bleak, it is conveyed in some of the most beautiful and haunting images in English poetry - and some of the sharpest- edged. The poem sold no copies at all on its first appearance in 1859, yet when it was 'discovered' two years later its first admirers included Dante Gabriel Rossetti, Swinburne, and Ruskin. Daniel Karlin's richly annotated edition does justice to the scope and complexity of FitzGerald's lyrical meditation on 'human death and fate'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
Western Sufism is sometimes dismissed as a relatively recent "new age" phenomenon, but in this book Mark Sedgwick argues that it has deep roots, both in the Muslim world and in the West. In fact, although the first significant Western Sufi organization was not established until 1915, the first Western discussion of Sufism was printed in 1480, and Western interest in Sufi thought goes back to the thirteenth century. Sedgwick starts with the earliest origins of Western Sufism in late antique Neoplatonism and early Arab philosophy, and traces later origins in repeated intercultural transfers from the Muslim world to the West, in the thought of the European Renaissance and Enlightenment, and in the intellectual and religious ferment of the nineteenth century. He then follows the development of organized Sufism in the West from 1915 until 1968, the year in which the first Western Sufi order based on purely Islamic models was founded. Western Sufism shows the influence of these origins, of thought both familiar and less familiar: Neoplatonic emanationism, perennialism, pantheism, universalism, and esotericism. Western Sufism is the product not of the new age but of Islam, the ancient world, and centuries of Western religious and intellectual history. Using sources from antiquity to the internet, Sedgwick demonstrates that the phenomenon of Western Sufism draws on centuries of intercultural transfers and is part of a long-established relationship between Western thought and Islam.
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 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!
The book presents the text of Edward FitzGerald’s three main versions of the Rubáiyát of Omar Khayyám, together with non-technical commentary on the origins, role and influence of the poem, including the story of its publication. The commentary also addresses the many spin-offs the poem has generated in the fields of art and music, as well as its message and its worldwide influence during the 150 years since its first appearance.
Poetry. In A THOUSAND YEARS OF PERSIAN RUBAIYAT, Reza Saberi translates over 1,500 quatrains from more than a hundred Iranian poets from the beginning of written Persian poetry to the present. A ruba'i is a poem in four lines, which is complete in itself and expresses a single feeling or thought in a very concise and elegant language. The subjects of rubaiyat include divine love, the ecstasy of love, mystical knowledge, and the nature of life and existence.