The edition I chose is a facsimile of the first edition of Rubáiyát of Omar Khayyám, translated into English verse by Edward FitzGerald. This edition, first published in 1859 by Bernard Quaritch in London, is a simple yet important version of one of the most influential poetic works of the nineteenth century. Unlike later editions that are full of illustrations, this version is plain, allowing the focus to be on the text and its historical significance.
This facsimile edition keeps the original’s small and compact format. It has 21 pages, making it shorter than some other versions. The book begins with a few pages (pages III through XIII) that give a brief history of Omar Khayyám. Titled “Omar Khayyám, the Astronomer-Poet of Persia,” these pages introduce the poet and provide context for the verses that follow. The text itself is printed with wide margins and a simple layout. Each page has a small block of text in the center, with a lot of white space around it. This design creates a peaceful, reflective reading experience.
What makes this edition special is both its historical importance and its physical presentation. First, it is a facsimile of the first edition of FitzGerald’s translation, which helped start a fascination with Khayyám’s work in the English-speaking world. FitzGerald did not translate Khayyám word-for-word but instead created a poetic version that captured the spirit of Khayyám’s writing. This first edition was not widely known at first, and copies that still exist are very rare and valuable today.
One key feature of this edition is its binding and overall presentation. The small paperback book is placed inside a larger hardcover book. The paperback shows the signs of age; its pages are yellowing, the binding is a little worn, and the cover is made of thick paper that reads, “Rubáiyát of Omar Khayyám, the Astronomer-Poet of Persia – Translated into English Verse.” This paperback is protected by a newer hardcover that is decorated with a dark blue spine and the faces of the covers are a lighter blue with gold and white.
Another important feature is the lack of illustrations. Unlike other versions of Rubáiyát that often include detailed illustrations, this edition has no pictures at all. This is important because it keeps the focus on FitzGerald’s translation and the words themselves. The absence of illustrations means that readers can experience the poem in its purest form, just as it was originally published, before it became part of the art and design trends of later editions.
The book’s design also adds to its charm. The pages are arranged simply, with large margins and text centered on the page. The wide margins aren’t just for show, they give the text space to breathe and invite the reader to reflect on each line. The clean design, without the distraction of illustrations or ornate fonts, enhances the reflective mood of Khayyám’s poetry, which often deals with themes of life, death, and the fleeting nature of time.
This edition is more than just a book, it’s a piece of literary history. With its delicate binding, simple design, and important place in the history of English translations, the facsimile of the first edition of Rubáiyát of Omar Khayyám gives both scholars and casual readers a rare opportunity to experience the original form of a timeless classic.