Fitzgeralds Translation of Omar Khayyam Coursework

Fitzgeralds Translation of Omar Khayyam - Coursework Example The best part of his poems was composed during his youth in the quiet and beautiful landscape of Nishpur. The translated version of his famous Rubaiyat (Quatrains) was first published by Edward Fitzgerald in 1859, which made him famous throughout the Western world. "If the mood expressed in the famous Quatrains", says Gibbs, "is not the most heroic or exalted, none-the-less they caught the exact tone of the age, and voiced it as perfectly as eight centuries earlier they had voiced the published hedonism of the cultured society of Isfahan". "Postcolonialism" is the revaluation of Western culture's conception of itself in the light of the repressed history of exploitation of "other" peoples on which Western economic well-being and distribution of wealth is based (Robert 2003, p. 1). Postcolonial criticism is characterized by a skepticism concerning those liberal notions of moral and political justice which historically co-existed happily with iniquitous colonial practices. Consistent with this critique, it also tries to reformulate more plausible concepts for understanding what actually took place under colonialism, redeeming past events from colonial ideologies of improvement from liberation, and evolving new categories for mapping a resistant world from the colonized point of view. In discussing historical work of Omar Khayyam it becomes more and more natural to equate historical differences with cultural differences. The problems faced by the Edward Fitzgerald crossing historical boundaries are so similar to those of the cultural anthropologist that no apology for this conflation looks necessary. Both hermeneutical acts are so closely allied in procedure and intent that we easily forget their differences, or that one must, in some sense, be a metaphor for the other. Or perhaps 'metonym' for the other is more accurate, if assumption of that continuity with the past enabling dialogue is extended or reinforced by the parallel of interpreting Omar Khayyam's cultures. Since cultures are frequently contemporaneous with out own, they can, if allowed, talk back in a more straightforward manner than the past. Equally, interpreters of historical difference (like Fitzgerald) maintain the parallel at their end by understanding as a king of translation the effort by which they try to register the Omar's voice in which the past replies to their questions, a translation which may involve alterations to the language into which the translation passes. When Edward Fitzgerald entered the altered landscape of another culture, he chose not only to translate classical meanings into English meanings but also to "transpose"1 certain alien habits of speech and thought. He did this because, like all great poets, he cared about language and form, and knew that the language of English poetry itself would be strengthened and enriched by the minor violations to which he was willing to subject it. He also found the ancient world itself was far from being a uniform field. Edward Fitzgerald risks distorting the English language under the pressure of translating into it an alien form. But the deterrent of confronting difficulty is a strengthening and enriching of the poet's language. This