The Rubaiyat: History’s most luxurious book of poetry?
His wife had short hair. The kitchen table held large dishes of corn, potatoes, tandoori-style chicken.
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I was drawn to serving spoons, their largeness, what they could hold—what they could dump out. One spoon had a plastic black handle. I wanted those spoons. I sat across from my father. My half-brother to my left, my half-sister to my right. I was in the middle even though I was on the outside, and older.
Having it Out with Melancholy
They were more interested in each other than in me. I watched my father eat. His mouth and nose matched mine.
He held his fork with a firm grip. We reached for the pepper at the same time. I looked down at my plate until he was done.
Having it Out with Melancholy by Jane Kenyon - Poems | theranchhands.com
Or not, depending on whom you were to ask at the time. In fact, a plethora of copies of the volume of Persian poems existed. There was, however, at the time the Titanic made its ill-fated voyage, one that outshone them all — not in terms of what was written within, but rather, its almost otherworldly appearance. View image of Credit: With a desire to revive medieval traditions of bejewelled bookbinding, George Sutcliffe and Francis Sangorski were renowned throughout the city in the early s for their opulent and over-the-top designs.
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Over precious and semi-precious stones — rubies, turquoises, emeralds, and others — were used in its making, as well as sheets of karat gold leaf. Gracing its gilded cover were three peacocks with bejewelled tails, surrounded by intricate patterns and floral sprays typical of medieval Persian manuscripts, while a Greek bouzouki could be seen on the back.
Over precious and semi-precious stones — rubies, turquoises, emeralds, and others — were used in its making, as well as nearly pieces of leather, silver, ivory, and ebony inlays, and sheets of karat gold leaf. The Titanic was next in line, and the rest needs no explanation. That said, his poetry was unlike that of any other Persian poet before him, and he has occupied, for centuries, a place wholly unique in the grand corpus of classical Persian literature.
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He well understood the transience of life and the inevitability of death, and the importance of seizing the all-too-brief moment we are allotted on earth. He had little confidence in the promises of religion, with its talk of Heaven and Hell, and even expressed doubts regarding the logic of God. He well understood — perhaps owing to the turbulent times during which he lived Iran, then under Turkic occupation, had recently been invaded by Arabs, and the Mongol hordes would soon raze his homeland to the ground — the transience of life and the inevitability of death, and the importance of seizing the all-too-brief moment we are allotted on earth.
Any talk of the afterlife or religion he deemed hot air.