『Rubaiyat of Umar Khaiyam』のカバーアート

Rubaiyat of Umar Khaiyam

Rubaiyat of Umar Khaiyam

著者： Omar Khayyám
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Immerse yourself in the rich tapestry of philosophical musings and poetic reflections inspired by the timeless themes of the "Rubaiyat of Umar Khaiyam." This podcast invites listeners to explore the delicate balance between earthly pleasures and spiritual quests, echoing Khaiyam's profound inquiries into life's mysteries. Each episode features a new complete audiobook that delves into the nature of existence, love, and the ephemeral beauty of the world around us. This is not a single story but a series of unique explorations that provoke thought and evoke emotion, drawing connections between past and present understandings of life’s deeper meanings. As you journey through these evocative verses and their interpretations, you are invited to discover a new book with every episode and engage with the timeless quest for knowledge and enlightenment. Join us in celebrating the works that resonate with the essence of Khaiyam’s legacy, where each narrative offers a fresh perspective on the human experience.Copyright Poetry Genre アート スピリチュアリティ 文学史・文学批評
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    In 1867 Jean Baptiste Nicolas (1814-1875), scholar and career diplomat, published the first major French translation of the Rubaiyat of Omar Khayyam. This version is in prose and the collection contains 464 verses.In Nicolas’ view, Omar was no Epicurean reveler but rather a relentless spiritual seeker – his frequent allusions to wine and lovers are metaphors, expressive of a divine discontent that can only be resolved by union with a mystical beloved. However, most other translators and commentators regard Omar as a man who sampled and enjoyed both earthly and philosophical delights.In 1903 Frederic Rolfe, the self styled “Baron Corvo”, published an English translation of Nicolas’ version. In the same year Robert Arnot published a collection of translations which also included an English version of Nicolas’ text. While both these translations are in prose, Rolfe’s version, with its heraldic and evocative verbiage, and its presentation of Omar as a more rounded personality than Nicolas’ etiolated mystic, can be considered, as with Fitzgerald’s celebrated translation, as an independent work of art. (Summary by Algy Pug)
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    In 1867 Jean Baptiste Nicolas (1814-1875), scholar and career diplomat, published the first major French translation of the Rubaiyat of Omar Khayyam. This version is in prose and the collection contains 464 verses.In Nicolas’ view, Omar was no Epicurean reveler but rather a relentless spiritual seeker – his frequent allusions to wine and lovers are metaphors, expressive of a divine discontent that can only be resolved by union with a mystical beloved. However, most other translators and commentators regard Omar as a man who sampled and enjoyed both earthly and philosophical delights.In 1903 Frederic Rolfe, the self styled “Baron Corvo”, published an English translation of Nicolas’ version. In the same year Robert Arnot published a collection of translations which also included an English version of Nicolas’ text. While both these translations are in prose, Rolfe’s version, with its heraldic and evocative verbiage, and its presentation of Omar as a more rounded personality than Nicolas’ etiolated mystic, can be considered, as with Fitzgerald’s celebrated translation, as an independent work of art. (Summary by Algy Pug)
    続きを読む 一部表示
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    In 1867 Jean Baptiste Nicolas (1814-1875), scholar and career diplomat, published the first major French translation of the Rubaiyat of Omar Khayyam. This version is in prose and the collection contains 464 verses.In Nicolas’ view, Omar was no Epicurean reveler but rather a relentless spiritual seeker – his frequent allusions to wine and lovers are metaphors, expressive of a divine discontent that can only be resolved by union with a mystical beloved. However, most other translators and commentators regard Omar as a man who sampled and enjoyed both earthly and philosophical delights.In 1903 Frederic Rolfe, the self styled “Baron Corvo”, published an English translation of Nicolas’ version. In the same year Robert Arnot published a collection of translations which also included an English version of Nicolas’ text. While both these translations are in prose, Rolfe’s version, with its heraldic and evocative verbiage, and its presentation of Omar as a more rounded personality than Nicolas’ etiolated mystic, can be considered, as with Fitzgerald’s celebrated translation, as an independent work of art. (Summary by Algy Pug)
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