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Description
Up For Sale Today is
The Rubaiyat of Omar Khayyam
Rendered into English Verse by Edward Fitzgerald
Illustrated in Colour and Line by René Bull
Hardcover. 4to. Published by Hodder and Stoughton, London, UK. No date (c1913>). Unpaginated (88 leaves). 10 Tipped in Colour Plates
Bound in decorated brown cloth with decoration present to the front board. Board are rubbed, stianed and darkened with a tear present to the crown of the spine. No ownership marks present. Light foxing present. Tissue guards are stained, plates seems clean. Binding tight and solid.
Bull, trained in Paris and influenced by both Beardsley and Dulac, captures in these pages the final flowering of the Golden Age of British book illustration. His richly detailed compositions unite the mysticism of Persian art with the fin de siècle fascination for the East.
The Rubáiyát of Omar Khayyám attained fame when it was translated and introduced to a Western audience by the author and poet Edward Fitzgerald. Selected for their lyrical beauty, the poems within the Rubáiyát are attributed to the Persian mathematician and astronomer Omar Khayyám. Writing in the eleventh century, Khayyám was revered as a master of the poetic form, and his works have since been much-quoted by artists and admirers.
FROM WIKIPEDIA:
The Rubáiyát of Omar Khayyám is the title that Edward FitzGerald gave to his translation of a selection of poems, originally written in Persian and numbering about a thousand, attributed to Omar Khayyám (1048–1131), a Persian poet, mathematician and astronomer. A ruba'i is a two-line stanza with two parts (or hemistichs) per line, hence the word rubáiyát (derived from the Arabic language root for "four"), meaning "quatrains".
The nature of a translation very much depends on what interpretation one places on Khayyam's philosophy. The fact that the rubaiyat is a collection of quatrains—and may be selected and rearranged subjectively to support one interpretation or another—has led to widely differing versions. Nicolas took the view that Khayyam himself clearly was a Sufi. Others have seen signs of mysticism, even atheism, or conversely devout and orthodox Islam. FitzGerald gave the Rubaiyat a distinct fatalistic spin, although it has been claimed that he softened the impact of Khayyam's nihilism and his preoccupation with the mortality and transience of all things. Even such a question as to whether Khayyam was pro- or anti-alcohol gives rise to more discussion than might at first glance have seemed plausible.
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| Book formats and corresponding sizes | ||||||
| Name | Abbreviations | Leaves | Pages | Approximate cover size (width × height) | ||
| inches | cm | |||||
| folio | 2º or fo | 2 | 4 | 12 × 19 | 30.5 × 48 | |
| quarto | 4º or 4to | 4 | 8 | 9½ × 12 | 24 × 30.5 | |
| octavo | 8º or 8vo | 8 | 16 | 6 × 9 | 15 × 23 | |
| duodecimo or twelvemo | 12º or 12mo | 12 | 24 | 5 × 7⅜ | 12.5 × 19 | |
| sextodecimo or sixteenmo | 16º or 16mo | 16 | 32 | 4 × 6¾ | 10 × 17 | |
| octodecimo or eighteenmo | 18º or 18mo | 18 | 36 | 4 × 6½ | 10 × 16.5 | |
| trigesimo-secundo or thirty-twomo | 32º or 32mo | 32 | 64 | 3½ × 5½ | 9 × 14 | |
| quadragesimo-octavo or forty-eightmo | 48º or 48mo | 48 | 96 | 2½ × 4 | 6.5 × 10 | |
| sexagesimo-quarto or sixty-fourmo | 64º or 64mo | 64 | 128 | 2 × 3 | 5 × 7.5 | |
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