Omar Khayyam Mid-Morning at the OK Club — Part 2a — Rubaiyat II
My dream becomes to write a sequel to the Rubaiyat…
Preface
مقدمه
The light of Omar Khayyam shines again, in this epic successor to the FitzOmar Rubaiyat, via Omar’s quatrain conversations with his Beloved female, the Moon of his Delight who know’st no wane, as they wander far from the noise of politics, wars, and mosques, in and about enchanting forests, on green-grassed river banks, through fabulous gardens, and up and down the Djinn mountains, whilst in between they haunt the taverns and therein engage in philosophical and religious discussions.
In Naishàpùr, Persia, rose gardens sing,
Then shed their blossoms at the end of spring.
Likewise, Old Khayyàm’s Earthly splendor flew,
Yet, his Bird of Time still lives, on the wing.
The fumes of ageless rhymes from ancient times
Waft from the Persian verse, as some chimes
New are mixed with the spirit of the old,
Deftly rendered for Victorian climes.
Across Khayyàm’s gravestone blows the simoom,
Carrying forth Omar’s Persia-fume.
Redressed in the versifier’s costume,
It’s remade into Victorian perfume.
In his flowered bed, Omar reposes,
Resting in the earth in peace, one supposes;
Yet, beneath these words and themes on roses
In my quatrain-poems, Old Khayyàm composes.
Foreword
مقدمه
Rubaiyat II is an illustrated epic poem, ideally to be read slowly and thus savored in the now of its present tense. It is a sequel, yes, but it is extended, and thus more in depth, expanding on themes that were just touched upon or implied in the FitzOmar Rubaiyat.
Omar and his Beloved finally appear after about 25 pages of Persian background descriptive quatrains. Later on, it takes them about 16 quatrains just to wake up. They ever speak in quatrains, and the ongoing conversations, sometimes with others, dominate the remainder of the work. They’ve returned to life, via djinn, and science and philosophy have progressed over the years, yet still in the way as ever first identified by Khayyam.
This back and forth method of quatrain dialog, along with the continuity from similar subject matter within a particular time of day, serves to energize the work by weaving a continuous story. Also, the topics versus their illustrations play off each other, this synergy spiraling into added resonance.
There are 4 main sections, in 6 hour periods, of the day’s 24, midnight to morning, morning to noon, noon to evening, and evening to midnight, these roughly corresponding to youth, young age, middle age, and old age, as well as to the seasons of spring, summer, autumn, and winter.
The 3000+ quatrains are mostly my own, as inspired by Omar or by themes I’ve reflected on, but for about 134 public domain translated quatrains from the Calcutta manuscript or from Whinefield, retransmoggrified, and about 186 quatrains contributed by Positor. Most of my 158 retransmogrified Bodliean manuscript quatrains appear. I have also derived about 17 quatrains from Gallienne’s fine prose. These uses are cited in the Appendix.
The longest sections are the evening tavern talk sessions, way later on. Well before that, and throughout, Omar and his Beloved discuss similar Rubaiyat universal topics while here, there, and about. Yes, I have been overwhelmingly overtaken by the Persia-fumes.
Some other long sections are of the olden folklore of the language of the flowers and of the otherworld, peri/pari (fairy-djinn) realm of Omar’s djinni Beloved, as well as several particular philosophies expounded upon. Take heart, for though they may be extensive, they are beautiful and flowing to read.
There is also much of Omar and Beloved enjoying the glorious nature of the wilderness, as well as ever-present romance, mystery, metaphysics, thinking, drinking, and adventure, which the ideal for a far reaching epic.
I’ve drawn from just about everything that I’d ever thought of in life, as well as some new ideas, and so this, probably being my last long book, is the only book of summary that I’ll ever need.
The illustrations were made in Poser, DAZ3D, and iclone, all of which applications allow the user to own whatever is produced. Not all the illustrations can be embedded herein, but can be seen in videos.
Such it begins in earnest:
0.
PROLOG
پرولگ
(0. 1 q1-8)
1
— The Persian Climate and the Poetic Temperament —
هویت ایرانی و احساسات شعری
Persian life simplifies to the extremes,
Loving or fierce, to have or not the means,
Twin Genii granting the best and the worst—
Beyond the Sultan’s favor and Fate’s gleams.
The subsistence aplenty engendered
By the sun’s bounty and breezes rendered
Contrasts to the simoom, the plague, the wars,
The mirage, and the beasts endangered.
Desert life hangs by a skin of water—
In a realm so large to die no better
From a freeze in the north to suffocate
From the heat in the south, weather-whether.
The Patience Stone is the most empathetic
Of listeners, absorbing into it
The pains and sorrows of the one telling.
When it’s full of ache it bursts into bits.
Temper’s all poetry and religion,
And there are but two days distinction—
The Day of the Lot—origination,
And the Day of Judgement—destination.
A-tween, inexorable Destiny
Weaves life’s braided wave, warp, and woof, Sufi,
Whose virtue is courage and submission
To what has been appointed so surely.
Exquisitely pleasured by poetry,
The sense excites beyond rein, dearly,
Through verses chanted, that drive the fearless—
Then grant reward, returned from victory.
Verse exhilaration bests the grapevine,
For quatrains and couplets exceed fine wine.
Flowers and tenders are as drink-spirits,
With the rose gleam a dram of hashish shine.
(0. 1 q9-16)
Poetry dresses the phantasmic new
By enshrining the apparitional brew,
Captured and bottled as aqua-vita—
Wisdom’s pearls, from the evanescent dew.
The Persian pearls bear the down of the lip,
The mole on the cheek, the eyelash, tulips,
Lilies, roses, jasmines, pearls, musk, birds, song—
Epigrammatic, and often epic.
The cedar, the cypress, the palm, the olive,
The willow, and fig-tree, and birds therein,
Are ne’er wanting in the musky verses,
Nor the flower legends, as well as wind.
What’s pent and smouldered as the numb and dumb
Is not spent in the poet, but from a crumb
Rises and grows over into new form,
As relief, in creation through the plumb.
Of a keen bodily sense with sensation,
With a deep intellectual passion,
Poets wing far between Heaven and Earth—
As delight in the two’s composition.
A snatch of poem the camel-driver sings,
And paints with sun-beams what his vision brings—
Of the waving veils adorning the tent,
Of the pipe-dreams floating up in smoke rings…
Which fumes are as sighs sent to Heaven far,
For consideration, from his altar
On this bubbled puff of a worldly sphere,
In case Destiny wishes to shake its jar.
The fence is a temptation for a flout,
But souls are the breezes that have no route.
Were that I was her soft breath in and out,
I could e’er on my way kiss her lips’ pout.