“These severer Studies, and his Verses, which, though happily fewer than any Persian Poet’s, and, though perhaps fugitively composed, the Result of no fugitive Emotion or Thought, are probably the Work and Event of his Life, leaving little else to record. Perhaps he liked a little Farming too, so often as he speaks of the ‘Edge of the Tilth’ on which he loved to rest with his Diwán of Verse, his Loaf— and his Wine.

“His Takhallus or poetical name (Khayyám) signifies a Tent-maker, and he is said to have at one time exercised that trade, perhaps before Nizám-ul-Mulk’s generosity raised him to independence. Many Persian poets similarly derive their names from their occupations; thus we have Attár, ‘a druggist,’ Assar, ‘an oil presser,’ etc. (Though all these, like our Smiths, Archers, Millers, Fletchers, etc., may simply retain the Surname of an hereditary calling.) Omar himself alludes to his name in the following whimsical lines:—

“ ‘Khayyám, who stitched the tents of science,

Has fallen in grief’s furnace and been suddenly burned;

The shears of Fate have cut the tent ropes of his life,

And the broker of Hope has sold him for nothing!’

“We have only one more anecdote to give of his Life, and that relates to the close; related in the anonymous preface which is sometimes prefixed to his poems; it has been printed in the Persian in the appendix to Hyde’s Veterum Persarum Religio, p. 499; and D’Herbelot alludes to it in his Bibliothèque, under Khiam:—

“ ‘It is written in the chronicles of the ancients that this King of the Wise, Omar Khayyám, died at Naishápúr in the year of the Hegira, 517 (A.D. 1123); in science he was unrivalled,—the very paragon of his age. Khwájah Nizámi of Samarcand, who was one of his pupils, relates the following story: “I often used to hold conversations with my teacher, Omar Khayyám, in a garden; and one day he said to me, ‘My tomb shall be in a spot, where the north wind may scatter roses over it.’ I wondered at the words he spake, but I knew that his were no idle words. Years after, when I chanced to revisit Naishápúr, I went to his final resting-place, and lo! it was just outside a garden, and trees laden with fruit stretched their boughs over the garden wall, and dropped their flowers upon his tomb, so as the stone was hidden under them.” ’ ”

Thus far—without fear of Trespass— from the Calcutta Review.

Though the Sultan “shower’d Favours upon him,” Omar’s Epicurean Audacity of Thought and Speech caused him to be regarded askance in his own Time and Country. He is said to have been especially hated and dreaded by the Súfis, whose Practice he ridiculed, and whose Faith amounts to little more than his own when stript of the Mysticism and formal Compliment to Islamism which Omar would not hide under. Their Poets, including Háfiz, who are (with the exception of Firdúsi) the most considerable in Persia, borrowed largely, indeed, of Omar’s material, but turning it to a mystical Use more convenient to Themselves and the People they address’d; a People quite as quick of Doubt as of Belief; quite as keen of the Bodily Senses as of the Intellectual; and delighting in a cloudy Element compounded of all, in which they could float luxuriously between Heaven and Earth, and this World and the Next, on the wings of a poetical expression, that could be recited indifferently whether at the Mosque or the Tavern. Omar was too honest of Heart as well as of Head for this. Having failed (however mistakenly) of finding any Providence but Destiny, and any World but This, he set about making the most of it; preferring rather to sooth the Soul through the Senses into Acquiescence with Things as they were, than to perplex it with vain mortifications after what they might be. It has been seen that his Worldly Desires, however, were not exorbitant; and he very likely takes a humorous pleasure in exaggerating them above that Intellect in whose exercise he must have found great pleasure, though not in a Theological direction. However this may be, his Worldly Pleasures are what they profess to be without any Pretence at divine Allegory: his Wine is the veritable Juice of the Grape: his Tavern, where it was to be had: his Sáki, the Flesh and Blood that poured it out for him: all which, and where the Roses were in Bloom, was all he profess’d to want of this World or to expect of Paradise.


  By PanEris using Melati.

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