Austin’s Rubaiyat Art Scapes ibook, 681 pages, 1.72 GB. It contains a fantastic video.
Austin’s Golden Rubaiyat Art Scapes ibook, 162 pages, 98MB.
The text only versions of both can also be found on ibooks, too, or soon can, as well as on many other ebook devices.
Austin’s Rubaiyat: The Text ibook.
Austin’s Golden Rubaiyat: The Text ibook.
The verses beat the same, in measured chime.
Lines one-two set the stage, one-two-four rhyme.
Verse three’s the pivot around which thought turns;
Line four delivers the sting, just in time.
Austin began the creation of his own invented quatrains in the rubaiyat style about 25 years ago, they accumulating, as he noted life’s pearls of wisdom, the collection growing, then getting pruned, and then growing again, over the decades, and getting pruned again.
There were several variations, such as The Rubaiyat of Austin P. Torney and Today’s Rubaiyat, both defunct now, in favor of Austin’s Golden Rubaiyat Art Scapes, which contains about 150 of his more Omaresque quatrains, the crème de la crème, and Austin’s Rubaiyat Art Scapes, which contains all of his 650 or so rubaiyat-style quatrains.
Inspired by Omar, he has endeavored to capture his spirit for more modern times, although he has surely been influenced by Edward FitzGerald’s translated gems.
There is a companion prose version, ‘The Triumph of Life, Love, and Being’, in which a loving couple take a long, picaresque journey through the countryside to explore the joys and follies of the human condition, living out the quatrains.
‘The Triumph of Life, Love, and Being’ 6×9 print edition, 306 pages.
Background(and related books):
Long before he’d ever heard of Omar Khayyàm, Austin had come to some of the same conclusions as had Omar, or so his friend told him one day, saying that he was already living out and proving Omar’s philosophy.
Amazed that he hadn’t heard of Omar, his friend gave him a copy of the Rubàiyàt, one of those charming small-sized editions from the late 1800’s. Of course, the Rubàiyàt struck a chord in him which was already resonating to Omar’s frequency, so he read it cover to cover several times, with both wonderment and amazement.
As the years went by, he found other Rubaiyat editions and began collecting them. At the same time, he began writing down some experiences of his own, most of which he had either lived through or had seen through the eyes of his friends.
It eventually occurred to him that he could write his own set of quatrains. Somehow, inexplicably, the verses came to him, as he lived through all the experiences described.
His quatrains, like Omar’s, aim into the heart of life’s dilemmas, offering simple, common sense solutions. In this hectic, complicated world of ours, we often forget that it is the simple things in life that are still the most enjoyable and inexpensive.
Some may read his quatrains but immediately revert back to old habits, for change is not an easy thing. Please try. Likewise, the spirit of Omar’s heady Persia-fume has reached him across the centuries, and has overtaken him unaware, inspiring him to live and write, in that order.
Some of the quatrains added were obtained from Austin’s other books of Elfin Legends, Worldly Love, Austino’s Holy Quest, To the Depths of the Deep, After the Stars Are Gone—The Final, Silent Dark, All That Lies Between, Parmenides’ Unity in Multiplicity, Brain Waves, Into the Land of the Gods, and more, which poems can be found, in their entirety, in Epic Thoughts: The Best Of.
Epic Thoughts: The Best Of ibook.
Epic Thoughts: The Best Of 6×9 print edition.
Edward FitzGerald was among the first to translate Omar’s Rubáiyát from the Persian into English, and he rather loosely paraphrased it; however, he caught its spirit and even improved upon it. In translation, one cannot preserve literal meaning, rhyme, rhythm, and meter; therefore, what is left has to be enhanced and rearranged until everything fits. In an epilog, Austin’s two rubaiyat books explore this, as well as into the naming and the meaning of the rose, with extra detail in the Austin’s Rubaiyat book edition.
Fortunately, Edward FitzGerald was sufficiently overtaken by Omar’s fumes wafting across the centuries, and so he went on through the language barrier to recondense the Persia-fumes and redistill them into a Victorian age masterpiece.
Of course, it’s difficult to have the same happening twice, but now we have another Rubaiyat, from Austin, which may have to sit in the ibooks penny bin for awhile.
The print editions for Austin’s Golden Rubaiyat Art Scapes and Austin’s Rubaiyat Art Scapes will be covered in another post.