Early Afternoon at the OK Club — Part 1 — The ‘Great Omar’
The lone jewel encrusted ‘Great Omar’,
Now worth over 20 zillion dollars,
Sunk, with the mighty Titanic—
I plucked it up from the North Atlantic.
(Click.)
Amorata Sultana rushes over, and says, “I hear you have the original 'Great Omar Rubaiyat', created by Sangorski and Sutcliff, in 1911, after more than two years of their working on it, with the cost being of no concern.”
“I have it, intact and in perfect condition.”
“That’s impossible; it’s at the bottom of the Atlantic.”
“It’s not down there any more; it’s in my cellar somewhere.”
“It would have been soggy and ruined.”
“No, it was fairly dry, but for a hint of dampness, which I cured by by putting it in my microwave oven.”
“You are known for telling tale tales.”
“Yes, but those I make clear as hopes and dreams to be realized in the future. I’ve had the book somewhere, buried in my old book piles, for thirty years.”
“Could you retrieve it for us to put on display?”
“Sure, along with a reproduction that can be freely paged through; I don’t want the original to be touched any more, beyond that which I had to do to take photos of the pages, from which I later also made a video.”
“Today is not April Fool’s Day, Austin.”
“Which is why I relate this on a non obvious day.”
“Aha, you don’t really have it!”
“Oh, I do; I’m just building up the suspense.”
“OK, then tell me about it.”
“Here is a sort of poetic description of it.”
The Find of the ‘Great Omar’ Rubáiyát
(It’s presently lost again, in my basement lair,
But I know it’s down there, somewhere,
For I scanned some images from it there.)
The book has 1,051 semiprecious stones,
Set in 18-carat gold, many in the cover alone,
5,000 separate pieces of collared leathers,
And 100 square feet of 22-carat feathered
Gold leaf in the tooling and the edges weathered.
It had been purchased by a Jewish investor
In New York City, over a century ago, and more.
It went down, down, the sounds whirling around,
When the ice broke through the Titanic’s crown.
Vivid illustrations by Elihu Vedder’s artistry
Adorn the passages of metaphysical poetry,
But the most compelling aspect of the book
Is its ornate binding—two years it took.
It is bound in morocco leather fine
And inlaid with a peacock design,
Beneath elaborate arches, exotically
Engulfed by a flowing grape vine tree.
Its cover is implanted with precious stones,
Including rubies, garnets, topaz, and amethysts,
And emeralds, each stone set in 18-carat gold.
It is a magnificent masterpiece of its kind,
With three peacocks in the heart of its bind,
Surrounded by vine sprays, a snake in an apple tree,
Roses and poppies, with the whole worked within
In leather and jewels, amid the verse pearls’ wisdom.
250 amethysts form the bunches of grapes,
And the decorative ground is pure gold scape.
Down it went, into the black, watery abysm,
Resting in the oak casket of its prison.
The specters of death and life’s impermanence
Permeate Omar’s quatrains, which themes thence
Are reflected in the tooling of the jeweled Rubaiyat,
Carried out by the firm of Sangorski and Sutcliffe.
The front cover features a resplendent peacock motif,
While the inside back cover centralizes the bony skull.
Unlike the vaunted dead aboard the Titanic,
The name of the great book lives on and on.
Phoenix-like, the glorious peacock spreads
His lustrous plumage through the years,
In further irony and emulation of Khayyam.
The ‘Great Omar’ jewel-encrusted edition
Of the Rubaiyat needed three renditions:
The first one went deep in the Atlantic,
And the second was destroyed in the Blitz.
Stanley Bray salvaged the precious jewels
From the WW II bombed out bank vault,
And by 1985 had made a third one,
Which remains safe in the British Library.
That the first ‘Great Omar’ Rubaiyat
Had gone down with the Titanic
And the second one burned is all to do with
The transience of human existence.
Down, down, its spell was treasured for us alone.
My uncle was finishing up on a Titanic Deep Sea
Documentary, in 1987, and so had invited me
To the site, after principal photography
And filming had been wrapped completely.
We sent the robot probe down for one last peep,
On a special mission, into the depths of the deep,
Where the veiled lightning slept, in its lonely keep.
We viewed the wreck remotely, on a monitor;
We saw death and decay sleeping everywhere.
The probe entered a gaping hole in the hull,
And we directed it toward the specie room,
The place reserved for the more expensive,
Secret, or official parcels crossing the Atlantic.
Down, down,
We are the bright forms beside thee.
We illuminate thy quest.
The probe’s beam lit the way as we guided it
By referring to a map of the mighty ship.
Down, down, as the moth flies into the flame.
In time, we found the secure metal box, #14,
And grabbed it with the probe’s robot arm,
Then carefully backed out the hearty probe
Though the ship and on up to the surface.
The box was water tight, rust sealing it the more.
We cut through the lid, and there it brightly shone;
We had the original of the ‘Great Omar’.
Perhaps there was some extended discussion
Of literary treasures at dinner on the Titanic
On the fateful Sunday night of April 14, 1912,
Which sumptuous feast was hosted by the Widners,
For Captain Smith was there, and a few more,
Alongside the bibliophile, Harry Wilkins Widner,
Who was bringing home many a festive jewel
To festoon his already impressive collection.
The ocean liner had sunk like a stone in the dark,
After the iceberg had sliced all of its compartments,
Rousing the world to the nature of this fragile life.
Down, down, as the bottom draws the stone,
Where death reigns over all that is known.
…
Khayyam was born of humble origins;
His surname means ‘tentmaker’,
But he rose to a life of study,
Under the benevolence of the Sultan
In what is present-day Iran.
Omar Khayyam went down in 1123,
And with him went a gifted philosopher,
Mathematician, celestial observer, and poet.
The ‘Great Omar’ Rubáiyát Publisher’s Gem
These pearls of thought in Persian gulfs were bred,
Each softly lucent as a rounded moon;
The diver Omar picked them from their bed,
Fitzgerald strung them on an English thread.
The 'Great Omar Rubaiyat' book: