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Fitzgerald (Edward) Works: Rubaiyat of Omar Khayyam, the Astronomer-Poet of Persia, rendered into English verse, sq. 8vo. third
edition, with additions, xxiv and 36 pp. hf. morocco, 7s 6d 1872
“Mr. Edward Fitzgerald's translation it-sang his inability in verses which must deeply self may justly he termed masterly; the preface touch the human heart. Even Lucretius, with and notes are decidedly the work of a thought whom Omar is most naturally compared, seems ful scholar. He seems to have left untrans to me to be inferior in depth, in force, in beauty Jated all the amatory and sensual parts of the and glory of rhythm. The extracts which I work, and to have devoted his attention chiefly have given will, I believe, send all my readers to Omar's philosophy, and to those views of to Mr. Fitzgerald's charming book. They will the relations of man to the Infinite which so be rewarded by finding, through his admirable deeply occupied that great wild heart. It is translation, that they have learned to know a the soul's essence of Omar that Mr. Fitzgerald new and real poet in Omar the Tentmaker."has delivered to us. He has most successfully H. Schütz WILSON, in the Contemporary Rereproduced for us, when reproducing Omar's vieu, March, 1876, pp. 561-2, 570. verses that something, as in the Greek Alcaic, “One of the best articles in this month's when the penultimate line seems to lift and sus Contemporary Review is Mr. Schütz Wilson's pend the wave that falls over in the last,' and we account, written in a warmly sympathetic spirit, may consider, with satisfaction and gratitude, of the Rubáiyat of Omar Khayyım. It would that the verbal music, as well as the deepest be impossible to write an uninteresting descripmeaning of Omar, is before us to delight us. tion of a book so wonderfully interesting as
The translation, indeed, reads like an original Mr. Fitzgerald's translation, and Mr. Wilson's work, and that work the work of a poet. sympathy with the subject is complete.”—The Eastern scholars vouch for the fidelity ; every Examiner, March 11, 1876. competent reader can certify the beauty of the “ Omar Khayyam composed the wonderful thing translated, as of the translation itself. poem of which Mr. Edward Fitzgerald's mar
“Goethe maintains that all highest poetry vellously fine translation now lies before us,can be translated ; nay, that it is a note of the together with Mr. Schütz-Wilson's interesting highest work that it has a vital force that will essay in the Contemporary Review, which has bear to be re-told in other tongues. Mr. Fitz called the attention of English literary men to gerald's admirable work is an illustration of it not too soon, for indeed it is somewhat a disthe great poet-critic's theory. In the easy flow grace to us that such a translation of such a and nervous strength of his glorious verses, poem should have been among us for fifteen which seem, owing to their very excellence, to years without becoming generally known. be modern work-and his own work-we re “We cannot, however, agree with Mr. quire to set our thought backward in order to Schütz-Wilson's estimate of the poem in other realize the fact that we are face to face with respects. It should, we think, take rank rather the thoughts and imagery of a Persian poet of as the poem of Revolt and Denial, the song of the eleventh century. All high abstract speculative Nihilism and cynical sensualism, thought transcends the local and temporary. than as a poem of the stamp which the ConOmar has only so much of the East as lends temporary Review claims for it, - namely, one colour to his imagery and magic to his music. which denies divinely the divine,' and is full The perennial essence of this song might belong of the unconscious faith which complains to to almost any country, and is scarcely limited the Diety of its inability to comprehend the by any particular century.
Divine.'. Of this character we confess we can“Thus much premised, in the way of need not find a trace in Mr. Edward Fitzgerald's ful explanation and information, we will pass magnificent translation,-a translation which on to an attempt to analyze these glowing and confessedly selects all the finest verses of the still vital verses, and to show, by sufficient Oriental poem, and leaves only the most senextract, proof of their claim to the high sual still under the veil of the Persian original. character which they bear already in the estima- With something of the cynical force of Byron, tion of the judicious few.
and something, too, of the humourous and “Omar is a sceptic, but he is no common familiar ease of Goethe, the writer of this poem place sceptic. His is no shallow and petulant (through a contemporary, as Mr. Schutz-Wilson negation. His donbts do not spring from thin reminds us, of Henry II. and Fair Rosamond) and sour logic. He denied divinely the expends his whole power in showing what a divine.' To be more accurate, he rather mockery of man is implied in irreversible laws doubted than denied. He was full of that of creation; and he accomplishes his task witb unconscious faith which complains to the Deity all the grasp of a thinker of first-rate calibre, of its inability to comprehend the divine. His and all the bitterness of a defiant heart. As sense of the transient, his regretful protest for nobleness in any moral sense, it seems to us against inscrutability, are deeply pathetic, are utterly absent from this fine poem, which of never irreverent. His was a sincere and earnest course should be judged by a Mohammedan soul, profound in its dark depths, gay with sad and not by a Christian standard. humour upon its light surface.
“There is certainly something in the “ Omar could not lift the veil, but he has ! Oriental imagination which surpasses all that
Fitzgerald (Edward) Works - continued. Western imagination can effect in attempts to “ Turn then to this far from pious poetry, give a glimpse of the infinite or absolute. the very poetry of revolt and despair, and
“No poetry existing, of course, approaches observe with what majesty the mere infinitude the poetry of Isaiah and some of the Psalms, of the panorama is depicted, even on the in the sweep of its images. But this may be author's assumption that the whole panorama attributed to the divine truth which inspired is an illusion and a snare."-Spectator, March the thought.
11, 1876, pp. 334 and 336. Agamemnon, a tragedy taken from Æschylus
(by the Translator of OMAR KHAYYAM), sm. 4to. pp. vii. and 79, in Roxburghe half binding, 78 6d
1876 Of this dramatic poem, a small number of copies were privately printed some few years ago, and gradually dispersed among the author's friends. Many who had heard of the book, desired to see and have it, and for that reason the present edition is given to the public who may be curious concerning the efforts in another line of poetic art of the translator of Omar Khayyam's Tetrastichs.
As a version of Æschylus, it would not be fair to consider and judge it ; the author having taken fuller license than å mere translator, adapting what suited him in the original, rejecting or changing what did not.
"Mr. Fitzgerald bas many admirers in this country, readers of Omar KHAYYAM, who will count themselves fortunate to possess a copy of ' Agamemnon.' They are to be congratulated on the opportunity now offered.”- Ertracts from a letter from L. L. Thaxter, Esq., Nentonville, Massachusetts, U.S.A., August 17th, 1876. Fellows' Coins of Ancient Lycia, impl. 8vo. coloured map and 19 fine plales, (pub. at 21s) cloth, 10s
1855 Comprises the Coins of Ancient Lycia before the reign of Alexander, with an essay on the relative dates of the Lycian Monuments in the British Museum. Lady Charlotte Guest's Mabinogion: a new edition
of the English VERSION only, with all the valuable Archæological notes, one handsome volume, royal 8vo. with the woodcuts of the large edition, hf. morocco, 218
1877 This new edition will be published under the sanction and under the patronage of Lady Charlotte Schreiber. Elliot's Bibliographical Index to the Historians
of MOHAMMEDAN INDIA, Vol. I-General Histories (all pub.) 8vo. cloth, 58
Calcutta, 1849 As a Bibliography of the historical materials of Moslem India, the student of Oriental Literature will find this volume exceedingly useful. It is not superseded by Prof. Dowson's valuable recasting of the author's materials, inasmuch as the bibliographical character has been altered and the work assumes the form of a History. Further in the latter, the extracts in Arabic, amounting to over 90 pages in Sir H. Elliot's original publication, are omitted. An additional recommendation is the low price, which places within the reach of every sclhoar a valuable literary manual
The Old Engraved Dresden Gallery :
DE LA GALÉRIE ROYALE DE DRESDE, 3 vols. atlas
time ; Brilliant impressions, the text in French by Baron Heineken, hf. bd. morocco, £28.
Dresde, 1755-67-1874 The rarest and most magnificent of all the old picture galleries. Brunet, who calls the work “ Recueil précieux,” states that the portrait of Augustus alone sold for 164 francs, Alibert in 1803, and for 125 francs, Saint-Yves.
This beautiful reprint of the first and second volumes is carefully executed from the original copper-plates. The descriptive Letterprese, in French, is revised and corrected.
BERNARD QUARITCH'S CATALOGUE OF
containing the portrait of Frederic Augustus 1., King of
Dresde, 1780-1874 This third volume, commenced 1780 and just completed, is now offered for the first time as a complete book. Of this volume only few copies are left for the completion of original copies of the 1st and 2nd volume. CONTENTS OF THE THREE VOLUMES.
VOLUME I. Portrait D'AUGUSTE III. roi de Pologne, electeur de Saxe, peint par H. Rigaud, gravé par J.
J. Balechou. 1. Corregio,St. Jean Baptiste et autres Saints 25. Vanni, Sic Famille. St. George.
26. Feti, David avec la Tête de Goliat. 3. St. Roc et St. Sebastian.
27. Ribera dit l'Espagnolet, Jacob 4. St. Madaléne.
Conducteur du Troupeau de Laban 5. Fr. Mazzuoli, dit le Parmesan, 28. Ribera dit l'Espagnolet, Martire St. Sebastian.
de St. Barthélemy. 6. Nicolo dell'Abbate, Martire de St.
Martire de St. Laurent.
30. Ste. Marie Egyp:ienne. 7. A. del Sarto, Ste. Famille.
31. Diogéne. Sacrifice d'Abraham.
32. Preti dit le Calabrese, St. Pierre 9. Guilio Romano, Ste. Famille.
delivré de Prison. 10. Tiziano, la Famille du Duc de Ferrare
Martire de St. Barthélemy. devant la Ste. Vierge.
l'Incredulité de St. Thomas. 11. Portrait d'une Veuve.
35. Jordane, Entrevue de Jacob et Rachel. 12. Portrait de la Maitresse de Titien. 36. Rebecca et Eliezer. Portrait de Lavinie, sa fille.
37. Lucrece et Tarquin. 14. Paul Veronese, Adorations de Rois
la Mort de Seneque. 15. Famille d'un noble Venitien aux
Hercule et Omphale. 16. Portement de la Croix.
41. Carlino Dolce, le Sauveur. 17. Procaccini, Ste. Famille.
Herodiade. 18. Carracci, Christ de Pitié.
Ste. Cécile. 19. L'Assomtion de la Ste. Vierge. 44. Maratti, l'enfant Jésus adoré par sa Ste. St. Matthieu et autres Saints devant
Mère. la Vierge.
Ste. Vierge avec l'enfant Jésus. L'Aumone de St. Roc.
46. Cignani, la Chasteté de Joseph. 22. Guido Reni, l'Apparition de Jésus 47. Langhetti, le Supplice de Marsias. Christ à la Ste. Vierge.
48. Rubens, “Quos ego.” 23. Ste. Vierge avec St. Jerôme et autres. 49. l'Hiver. 24. Le jeune Bacchus.
50. ses Enfans.
VOLUME II. PORTRAIT DE MARIE JOSEPHE, reine de Pologne, electrice de Saxe, peint par L. de Silvestre,
gravé per J. Daullé. 1. Correggio, la Nativité de Notre Seig- 6. Bellino, le Sauvenr.
7. Dosso da Ferrara, les quatre DocPortrait du Medecin.
teurs de l'Eglise. 3. FT. Mazzuoli, dit le Parmesan, 8. Tiziano, La Ste. Vierge avec l'enfant la Şte. Vierge à la Rose.
Jésus. 4. Jerôme Mazzuoli, St. George aux 9. Paul Veronese, les Noces de Cana. Genoux devant l'enfant Jésus.
10. Portrait de Daniel Barbaro. 5. Leonardo da Vinci, Portrait d'un 11. Tintoretto, la Femme adultère. Vieillard.
12. Porta, Corps mort de Jésus Christ.
38. 39. 40.
les Marchands du Temple.
né adoré des Bergers. 15. Turchi, la Mort d'Adonis. 16. 'Ricci, l'Ascension de notre Seigneur. 17. Francia, Sujet emblematique sur le
Prince Doria. 18. Procaccini, la Peste. 19. Caracci, la Génie de la Gloire et de
l'Honneur. 20. Guido Reni, Semiramis et Ninus. 21. Albano, la Dance des Amours. 22. Barbieri, Cephale et Procris. 23. Venus et Adonis. 24. Lanfranco, St. Pierre pleurant. 25. Tiarini, Angélique et Medor. 26. Cantarini, la Chasteté de Joseph. 27. Scarsellino, St. Charles Boromée
devant la Ste. Famille. 28. Michel Angelo, les Joueurs. 29. Feti, la Dragme perdue. 30. Feti, le Père de Famille qui compte avec
sa Valets. 31. Castiglione, l'Arche de Noë. 32. le Voyage de Jacob avec sa Famille.
33. Bartolomeo Biscaino, la Femme
adultère. 34. Ribera, St. Pierre delivré de la Prison. 35. St. François. 36. Vaccaro, Notre Seigneur apparaissant à
la Ste. Vierge. 37. Jordane, Lot avec ses filles. 38. Susanne. 39. Combat de Perseus contre Phinée. 40. l'Enlevement des Sabines. 41. Solimene, la Ște. Vierge et l'enfant
Jésus. 42. Pagani, Ste. Magdalene pénitente. 43. Holbein, une Famille devant la Ste.
Vierge. 44. Rubens, un Héros couronné par la
Vertue. 45. Portrait d'une Dame et celui d'un
Espagnol, deux planches. 46. grand Paisage. 47. Rembrandt, le Sacrifice de Manoah. 48.
Buste d'un Vieillard. 49. A. van Dyck, St. Jerome pénitent. 50. Berghem, Paisage.
PORTRAIT DE FREDERIC AUGUSTE I. roi de Saxe, peint par A. Grax. 1. Raphaël, la Madone de St. Sixte. 25. Poelemburg, un Paysage Italien. 2. Rembrant, l'Enlèvement du Ganymede. 26. Guido Reni, “Ecce homo.” :. Regillo, Catarina Cornaro, Reine de 27. Ruysdael, "la Chasse." Cypre.
28. Tamagini da San Gimignano, la 4. Guido Reni, “ Ecce homo."
St. Vierge avec l'enfant Jésus. 5. Carracci, la 'Tête du Sauveur.
29. Tiziano Vecelli, le Tribut de César. 6 Viani, Venus.
30. Raphaël Mengs, son Portrait peint 7. Angelica Kauffmann, Portrait d'une au Pastel par lui-même. jeune Femme.
31. Stanzioni, la Physique, Sujet alle8. Ariadne abandonnée par Thésée.
gorique. 9. Bol, Joseph presentant son Père Jacob à 32. Ribera, le Philosophe speculatif. Pharoon.
33. Albano, Adam et Eve chassés du Para10. Netscher, Cavalier accompagnant le
dis. Chant d'une Dame.
34. Vanloo, Paris et Oenone. 11. Pesne, la Bohemienne.
35. Van der Werff, la Ste. Vierge. 12. Van der Werff, la Madelaine peni- 36. A. Kauftmann, Sibylle Eritrée. tente.
37. Rubens, le Jugement de Paris. 13. Rubens, Buste d'une jeune Femme.
38. Tiziano, Portrait d'une jeune Fille. 14. Raphael Mengs, Čapidon, Tableau 39. Ruysdael, Cimetiére des Juifs. au Pastel.
Le Monastère. 15. Ant. van Dyck, Portrait d'un Homme. 41. Velasquez de Silva, Portrait d'un 16. Portrait d'un Général en Cuirasse.
Homme. 17. Pesne, une jeune Fille tenant deux 42. Murillo, St. Rodriguez recevant la CoColombes.
ronne du Martyre. 18. Barbieri da Cento, dit il Guer- 43. Konincx, l'Ermite. cino, Dorinda blesséé à Mort.
44. Palma, les trois Soeurs. 19. Trevisani, la Ste. Famille.
45. Barbarelli, Jacob saluant Rachel. 20. Seemann, peintre, son Portrait peint 46. L'école de Leonardo da Vinci, Héropar lui-même.
dias. 21.' Berghem, Paysage.
47. Durer, Jésus Christ sur la Croix. 22. Dietrich, un Sujet pastorale.
48. Franceschini, la Madeleine pénitente. 23. Wouvermann, Paysage.
49. Ribera, St. André. 24. Van de Velde, des Bestiaux au Pâtur- 50. Nogari Buste d'un Vieillard et d'une age.
Vieille, deux tableaux.
BERNARD QUARITCH'S CATALOGUE OF
Galleries - continued.
Dulwich Gallery, a Series of 50 beautifully coloured plates, from
the most celebrated Pictures in this remarkable collection, executed by R. COCKBURN (Custodian). All mounted on tinted card-board in the manner of Drawings, imperial folio, including four very large additional plates, published separately at from 3 to 4 guineas each, and not before included in the series (pub. at £40.), in portfolio, with morocco back, £12.
This is one of the most splendid and interesting of the British Picture Galleries, and till of late years was quite unattainable even at the full price.
LIST OF THE PLATES.
1 The Cascatella of Mecænas at Tivoii
Richard Wilson. 2 Landscape
Claude. 3 Landscape with Cows
Albert Cuyp. 4 Hunting Party
Phil. Wouvermans. 5 Brisk Gale
W. Van de Velde. 6 Landscape
Nich. Berghem. 7 Landscape
Nich. Poussin. 8 Chaff-cutter
David Teniers. 9 Jacob's Dream
Rembrandt. 10 Sea-port
John Both. 26 Landscape-Farriers shoeing a Horse
Philip Wouvermans. 27 Landscape-Evening
John Both. 28 Assumption of the Virgin N. Poussin. 29 Cottage and Figures
D. Teniers. 30 Landscape
A. Van de Velde. 31 Landscape, with Cows and Sheep
A Van de Velde. 32 Landscape, with Cattle .
A. Cuyp. 33 Landscape, with Cattle .
A. Cuyp. 34 Figures and Animals at a Well Le Nain. 35 Landscape
David Teniers. 36 Landscape, with Figures John Wynants. 37 Landscape
John Wynants. 38 Landscape, with IIorses and Figures
Philip Wouvermans. 39 Sunset
John Both. 40 Landscape, with a Windmill Jacob Ruysdael. 41 Calm
W. Van de Velde. 42 Soldiers Gaming
Salvator Rosa. 43 Swineherd
David Teniers. 4+ Italian Landscape . Karel de Jardin. 45 The Flower Girl
Murillo. 46 Saint Cecilia
Claude. 11 Landscape
Gaspar Poussin. 12 Crossing the Bridge
Pynaker. 13 Jacob and Rachel
Murillo, 14 Water Mill
Hobbema. 15 View near Utrecht
Albert Cuyp. 16 Landscape
Salvator Rosa. 17 Calm
W. Van de Velde. 18 Sunset
David Teniers. 19 Embarkation of St. Paul
Claude. 20 Waterfall
Jacob Ruysdael. 21 Landscape
Salvator Rosa. 22 Halt of Travellers Ph. Wouvermans. 23 Yording the Brook
Nic. Berghem. 24 Landscape
Four additional Plates, viz : 4"* Landscape with Cattle and Figures
49* Two Horses
Karel du Jardin. 50* Flemish Peasants, 48* Interior of a Riding School Сиур.
Albert Cuyp. Philip Wouvermans.