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Rubaiyat of Omar Khayyam-Part2_Omar Khayam(1048-1122)_Translated Works(翻译文学)-第2页

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in his Song, the Man in Allegory and Abstraction; we seem to have the

Man--the Bon-homme--Omar himself, with all his Humours and Passions,



as frankly before us as if we were really at Table with him, after the

Wine had gone round.



<8> A note to Quatrain 234 admits that, however clear the mystical

meaning of such Images must be to Europeans, they are not quoted



without "rougissant" even by laymen in Persia--"Quant aux termes de

tendresse qui commencent ce quatrain, comme tant d'autres dans ce



recueil, nos lecteurs, habitues maintenant a 1'etrangete des

expressions si souvent employees par Kheyam pour rendre ses pensees



sur l'amour divin, et a la singularite des images trop orientales,

d'une sensualite quelquefois revoltante, n'auront pas de peine a se



persuader qu'il s'agit de la Divinite, bien que cette conviction

soit vivement discutee par les moullahs musulmans, et meme par



beaucoup de laiques, qui rougissent veritablement d'une pareille

licence de leur compatriote a 1'egard des choses spirituelles."



I must say that I, for one, never wholly believed in the Mysticism of

Hafiz. It does not appear there was any danger in holding and singing



Sufi Pantheism, so long as the Poet made his Salaam to Mohammed at the

beginning and end of his Song. Under such conditions Jelaluddin,



Jami, Attar, and others sang; using Wine and Beauty indeed as Images

to illustrate, not as a Mask to hide, the Divinity they were



celebrating. Perhaps some Allegory less liable to mistake or abuse

had been better among so inflammable a People: much more so when, as



some think with Hafiz and Omar, the abstract is not only likened to,

but identified with, the sensual Image; hazardous, if not to the



Devotee himself, yet to his weaker Brethren; and worse for the Profane

in proportion as the Devotion of the Initiated grew warmer. And all



for what? To be tantalized with Images of sensual enjoyment which

must be renounced if one would approximate a God, who according to the



Doctrine, is Sensual Matter as well as Spirit, and into whose Universe

one expects unconsciously to merge after Death, without hope of any



posthumous Beatitude in another world to compensate for all one's self-

denial in this. Lucretius' blind Divinity certainly merited, and



probably got, as much self-sacrifice as this of the Sufi; and the

burden of Omar's Song--if not "Let us eat"--is assuredly--"Let us



drink, for To-morrow we die!" And if Hafiz meant quite otherwise by a

similar language, he surely miscalculated when he devoted his Life and



Genius to so equivocal a Psalmody as, from his Day to this, has been

said and sung by any rather than spiritual Worshippers.



However, as there is some traditionalpresumption, and certainly the

opinion of some learned men, in favour of Omar's being a Sufi--and



even something of a Saint--those who please may so interpret his Wine

and Cup-bearer. On the other hand, as there is far more historical



certainty of his being a Philosopher, of scientific Insight and

Ability far beyond that of the Age and Country he lived in; of such



moderate worldly Ambition as becomes a Philosopher, and such moderate

wants as rarely satisfy a Debauchee; other readers may be content to



believe with me that, while the Wine Omar celebrates is simply the

Juice of the Grape, he bragg'd more than he drank of it, in very



defiance perhaps of that Spiritual Wine which left its Votaries sunk

in Hypocrisy or Disgust.



Edward J. Fitzgerald

First Edition



I.

Awake! for Morning in the Bowl of Night



Has flung the Stone that puts the Stars to Flight:

And Lo! the Hunter of the East has caught



The Sultan's Turret in a Noose of Light.

II.



Dreaming when Dawn's Left Hand was in the Sky

I heard a Voice within the Tavern cry,



"Awake, my Little ones, and fill the Cup

Before Life's Liquor in its Cup be dry."



III.

And, as the Cock crew, those who stood before



The Tavern shouted--"Open then the Door.

You know how little while we have to stay,



And, once departed, may return no more."




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