COVE

Within Barbara Black’s On Exhibit: Victorians and Their Museums, the author explains many criticisms for Fitzgerald’s translation of Omar Khayyám’s Rubáiyát, as well as the book’s status as a gift book. One of Black’s main points is the power dynamic between the original text and the westernized translation. “The Rubáiyát, then, as both an exotic wonder and a tamed, familiarized object, becomes one of the age’s most vivid examples of the domesticated exotic… it at once satisfies the possessor’s curiosity for the strange and confirms his superiority” (Black 50). While establishing the resounding popularity for this text, Black confirms that the culture of creating a gift book from the Rubáiyát reduces the respect originally reserved for each stanza. Both by changing the diction and presentation of the poem’s, Khayyám’s writing was forever changed by Fitzgerald’s actions. So when analyzing a specific volume of the Rubáiyát, I had to confirm if it was a gift book or not. 

When opening the Valley Library’s copy #65 of the Rubáiyát, I was initially unsure of its status as a gift book. Black notes in her writing that the period of time when the most gift books were sold fell between 1880 to 1923 (59), and as the volume I studied was published in 1946, I worried that by falling outside of this window my copy was not a gift book. See figure 1. However, as the trend began in 1859 much before peak sales, I realized that just because this Rubáiyát was printed slightly later did not excuse its glitz and glamour from participating in western gift book culture. 

Outside of the printing date, the illustrations within the book also encouraged me to classify this volume as a gift book. Brightly saturated, each page is graced with color. See figure 2. Original artwork by Sarkis Katchadourian depicts women pouring endless glasses of wine, and greenery graces every page. These landscapes are layered in a traditionally eastern style, as the details from the background build upon each other until the subject of the paintings sits on the top and demands the viewer's attention. The dedication to vibrant colors on each page displays money spent, and increases the perceived value of the volume. Due to the process of printing with offset lithography, the textural aspect of this process is lost, but the expensive appearance aids the Rubáiyát’s depiction as a gift book. 

Other gilded details were included in this book, and from the cover alone one can sense the desire to be displayed. A cloth cover dyed a deep wine cover is embossed with nature inspired vines as they surround yet another vivid illustration. See figure 3. The golden text of the title exudes importance, and is absolutely beautiful enough to be put on view for guests or admirers. The gilded lettering of the title can be found on the spine as well as on the cover. Cracking open this cover, the reader reveals yet another aspect of Black’s description of the Rubáiyát as a gift book. See figure 4. “The table of contents displays the variety of apparatuses that embellish the poem- biographical prefaces; Fitzgerald’s preface on Khayyám’s life; critical introductions and notes; rich color illustrations” (60). This specific volume contains all three of these elements, cementing its position as a gift book translation. In On Exhibit this inclusion is meant to heighten “the poem’s status as a compelling curiosity” (60). As each preface breaks down the Rubáiyát’s history in the form of its authors the less readers are able to have an original experience with the contents. However the inclusion aludes to a deep history and wisdom, once again supporting the fantasy the west forced upon eastern cultures. By establishing both Fitzgerald and Khayyám qualifications and recognition, the contents appear even more tantalizing. Every aspect of this book is intended to allure. 

One of this copy’s deviaitons from Black’s description of a gift book is it’s size. Amongst the collection of Oregon State University’s Rubáiyát volumes, #65 stands out as one of the largest. Roughly 6 inches tall, this printing of Omar Khayyám’s work lacks the “diminutiveness” of other gift books. Rich in color, this book is designed to be admired and shown off. Yet it is not intended to be a dainty collectible one carries around, instead the beauty takes up space and captures attention that requires one to take pause. Although On Exhibit notes that Fitzgerald’s translation weakens Khayyám’s original writings, it is impressive to see each different volume intended to be gifted. With adorned covers and beautiful illustrations, each is a little piece of art.