Tag Archives: Omar Khayyam

Rubaiyat of a Rhode Island Red

rhodeislandred-web-2Found — a  handwritten poem in a reprint of Omar Khayyam’s Rubaiyat, a parody on the theme of chickens. It probably dates from the 1920s. There are  1000s of such tribute/ parodies, many published. This appears completely unknown …

Rubaiyat of a Rhode Island Red

Awake, for morning through the roosting shed

Has stained the dusty windows gold and red;

The weary toiler of a thousand fields

Will soon be climbing from his downy bed!

Awake! The silver buckets of the day

Are clanking and the corn is on the way – 

The early worm creeps but a laggard inch,

And lo! The bird espies her prey.

‘Neath that inverted box they call a coop 

There sits the broody with her little troop:

For them what fortune calls – the plucking shed,

The Palace – or the haying test – or Roup?

(The Palace = a famous poultry show – Roup = a disease) Continue reading

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Edward Fitzgerald buys a Constable and conceives Alice (1841)

Found in  A Fitzgerald Medley (Methuen, 1933) an excerpt from a letter by Fitzgerald (the translator of Omar Khayyam) that he sent to his friend Frederick Tennyson in January 1841. Charles Ganz, the editor of the anthology, includes this in the introduction to a piece Fitzgerald wrote for children - a version of Dickens's Little Nell in simple language for children. The letter reads:

I have just concluded, with all the throes of imprudent pleasure, the purchase of a large picture by Constable*, of which, if I can continue in the mood, I will enclose you a sketch. It is very good:but how you and Morton would abuse it! Yet this, being a sketch, escapes some of Constable's faults, and might escape some of your censures. The trees are not splashed with that white sky-mud, which (according to Constable's theory) the Earth scatters up with her wheels in travelling so briskly round the sun; and there is a dash and felicity in the execution that gives one a thrill of good digestion in one's room, and the thought of which makes one inclined to jump over the children's heads in the streets. But if you could see my great enormous Venetian picture you would be astonished.

Does the thought ever strike you, when looking at pictures in a house, that you are to run and jump at one, and go right through it into some behind-scene world on the other side, as Harlequins do? A steady portrait especially invites one to do so: the quietude of it ironically tempts one to outrage it: one feels it would close again over the panel, like water, as if nothing had happened.

Ganz comments: "This fantastic idea reminds us of Lewis Carroll in Through the Looking Glass and what Alice found there. Carroll wrote his story. Fitzgerald played with the idea and let it slide. One cannot  help regretting that he never wrote an original story for children, but we must rejoice that Little Nell's Wanderings, the result of the efforts of two men of genius is left to us."

*Not sure what this picture was. I can find no paintings of Venice by Constable. It would of course be excessively valuable now. He is known to have bought two Constables in 1842 that sold for healthy sums when he died in 1876. The cover of the book is by Frank Brangwyn.

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The fate of the Sangorski Omar 2

The second and last part of an article on Sangorski's  ill-fated Omar Khayyam binding. It was found in Piccadilly Notes: an occasional  publication devoted to books, engravings and autographs (1929).   A contemporary eyewitness account talks of Sangorski's Omar with its 'gold leaf blazing and the light flashing from hundreds of gemstones studding the tails of the peacocks on the cover..' Less commonly known is  the odious role played by New York customs officials in the affair and that the magnificent book was, in fact, making its second trip across the Atlantic when it was lost forever beneath the waves. J.H. Stonehouse writes:

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The fate of the Sangorski Omar 1

The Great Omar*
Found in an offprint from Piccadilly Notes (circa 1930) this article about (possibly) the most lavish binding the world had ever seen. The magazine billed itself as 'an occasional  publication devoted to books, engravings and autographs.' it was edited by J.H. Stonehouse and this article is by him…

It was in 1907 that I first met Sangorski, when he brought a letter of introduction from a church dignitary, and asked to be allowed to show me a lectern bible which the Archbishop of Canterbury had commissioned his firm to bind, previous to its presentation by King Edward VII to the United States in commemoration of the tercentenary of the established church in America. I recognised at once the justice of his contention that there was something more in the design and execution of the work than was usually to be found in an ordinary piece of commercial binding and that the appreciation of it which had been expressed in the press was fully justified.

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