Fitzgerald : (1) Lord Edward Fitz-Gerald (1763-98), Irish hero, one of the leaders in the uprising of 1798 against British rule. (2) Edward Fitzgerald (1809-83), English poet, translator of Omar Khayyam.
... of a far more mighty & complex spirit. On the other hand Fitzgerald might have produced a very beautiful version in English had he chosen for his Rubaiyat some ordinary English metre, but his unique success was his reward for discovering the true equivalent of the quatrain in English. One need only imagine to oneself the difference if Fitzgerald had chosen the ordinary English quatrain instead of the ...
... avatar, 466; King-Knowledge, King-science, 467; visvarupa and after, 467; the supreme exhortation, 468; message of the Gita, 468, 514, 516, 751 Ferrer, H. N., 325, 639, 695 Fitzgerald, Edward, 164 Flecher, Justice, 369,377 Foundations of Indian Culture, The, 490ff; image of Tree of Indian Culture, 490-1; denigrators & apologists of Indian culture, 491; Archer's... 30,41,176,177 Kena Upanishad, 337,459, 461ff, and Isha, 461; comparison with Mother's prayer, 462; and stair of consciousness, 462; and The Life Divine, 463 Kennedy, John Fitzgerald, 722 Khanna, Ravindra, 690 Khaparde, G. S., 227, 269,272, 528 Kimberley, Lord, 37 Kingsford, D. H., 246, 305,307, 313 Kingsley, Charles, 128 Kipling ...
... trouble will be over. Yet only consider how many ideas are arising which find in British despotism their chief antagonist. The idea of a free and self-centred Ireland has been reborn and the souls of Fitzgerald and Emmett are reincarnating. The idea of a free Egypt and the Pan-Islamic idea have joined hands in the land of the Pharaohs. The idea of a free and united India has been born and arrived at full ...
... game! A little ball she is striking - What is struck is a huge white flame Leaping across time's barrier Between God's hush, man's heart, the facile, fatalistic philosophy of Fitzgerald, like the unsubstantial pageant that it undoubtedly was, melted into air, into thin air, leaving me to concentrate on the deep significance of the next two lines Page 208 And ...
... your originals and yet make your versions into true poems is a true marvel as usually faithful translations are flat and those which are good poetry transform the original into something else—as Fitzgerald did with Omar or Chapman with Homer. Page 104 September 15,1931 A very charming lyric—but why J ā tismar 1 though it is a taking title? Yes, I thought " aus ...
... in the present. As Jalal-u-din Rumi put it long ago: Page 74 Past and future veil Him from thy sight - Burn them in fire. Omar Khayyam, whose Sufi light was transcreated by Fitzgerald into Epicurean delight, gets through to us a similar message though with a smiling sadness in English rather than with the original Persian inward laughter: Come, my beloved, fill the cup that ...
... your original and yet make your versions into true poems is a true marvel! Usually faithful translations are flat and those which are good poetry transform the original into something else as Fitzgerald did with Omar or Chapman with Homer." A further statement of Sri Aurobindo's may be quoted. Looking at Roy's version of two stanzas of Shelley - "I can give not what men call love", etc. - he pointed ...
... concluded that the ether was dragged with the earth and thus counteracted the difference in speeds. But the majority of physicists, relying on astronomical data, would not hear of any dragging. Fitzgerald opined that somehow the rod with which the distances travelled by the two beams on their return journey were measured had contracted when put in the direction of the earth's movement. Lorentz went ...
... earth's motion through the ether in the direction of its own orbit showed that somehow the absolute measurement always evaded us. This null result of the Michelson- Morley experiment Lorentz and Fitzgerald sought to explain "Y calculating that physical changes always take place in our measuring instrument in such a way that they constitute a Page 93 minus quantity compensating for ...
... than the earlier parts, for it covers about one-fourth of the whole poem. What, exactly, is the writ of Fate? Are we to take it to mean something unalterably predetermined? Thus Omar Khayyam (or Fitzgerald) says: The Moving Finger writes; and having writ, Moves on: nor all thy Piety nor Wit Shall lure it back to cancel half a Line, Nor all thy Tears wash ...
... frequent, and which even now is legitimate for a special effect. The last half-line gives the certainty of the verb-form, proving the sense of the word to be "make red". The next instance is in Fitzgerald's Omar Khayyam. Quartrain VI ends: 'Red Wine!' - the Nightingale cries to the Rose That yellow Cheek of hers t'incarnadine. Here "to" with its "o" elided leaves us in no doubt of ...
... there but all of us have known vague drippings, through some tremulous opening in our heads, from the golden charity pouring at all times out of the spiritual empyrean whose physical image is-d la Fitzgerald's Omar "-that inverted bowl we call the sky." Now to your personal problem. It has two aspects. You are restless because you are lonely - a great gap made by the loss of a companion to your mind ...
... all of us have known vague drippings, through some tremulous opening in our heads, from the golden charity pouring at all times out of the spiritual empyrean whose physical image is - a la Fitzgerald's Omar - "that inverted bowl we call the sky". (3.6.1986) Page 193 ...
... might-have-beens. As things are, ho more than a lakh of people survive to follow in the most literal sense God the Fire. In their own homeland, their glory is as good as extinguished. Well does Fitzgerald's Omar Khayyam lament with both piquancy and felicity: They say the Lion and the Lizard keep The Court where Jamshyd gloried and drank deep: And Bahram, that great Hunter — the Wild Ass ...
... follow different paths, for The Rishi is Upanishadic in cast while In the Moonlight is more of a meditative reverie. Although distantly reminiscent of Tennyson in his speculative vein and even of Fitzgerald's Omar Khayyam in some places. In the Moonlight is rather more typically of Amoldian vintage - the Arnold of "high seriousness". The poem opens with an evocation of a moonlit scene: "How living ...
... hear, tie cannot choose but catch like the shower in the sunshine, dazzling rainbow his and present them for our edification and delight. These early poems * Æthon's words might recall Fitzgerald's: Awake! for Morning in the Bowl of Night Has flung the Stone that puts the Stars to Flight. Page 39 of Sri Aurobindo's are the effusions of a rich mind burdened by an ...
... adversely critical world. After all, these poems are translations and not original works and not many can hope to come within a hundred miles of the more famous achievements of this kind such as Fitzgerald's splendid misrepresentation of Omar Khayyam, or Chapman's and Pope's mistranslations of Homer which may be described as first-class original poems with a borrowed substance from a great voice of ...
... This glorious canopy of light and blue — there is Baudelaire's recherche exclamation, Le Ciel! couvercle noir de la grande marmite — and its less hectic counterpart in Fitzgerald's Omar, And that inverted bowl we call the sky Whereunder crawling coop't we live and die — Shelley has an unforgettable image in speaking of Byron, The Pilgrim of ...
... regions altogether new. A literary (literary not literal) translation is no students' crib, but neither should it involve a Bottom-like transmogrification! Good translations like Dryden's Virgil and Fitzgerald's Omar Khayyam are equally poems by virtue of their finish and their essential fidelity to their originals.* Sri Aurobindo's letters contain other perceptive remarks too, as for example: There ...
... adversely critical world. After all, these poems are translations and not original work and not many can hope to come within a hundred miles of the more famous achievements of this kind such as Fitzgerald's splendid misrepresentation of Omar Khayyam, or Chapman's and Pope's mistranslations of Homer which may be described as first-class original poems with a borrowed substance from a great voice of ...
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