Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 24, 2025
With the brief gladness of the Palms, that tower and sway o'er seething plain, Fraught with the thoughts of rustling shade, and welling spring, and rushing rain; 'Tis their's to pass with joy and hope, whose souls shall ever thrill and fill Dreams of the Birthplace and the Tomb, visions of Allah's Holy Hill. The Kasidah.
That Burton placed a very high value on his work, that he considered it his masterpiece, is incontrovertible, but he had formed in earlier days just as high an opinion of his Camoens and his Kasidah; therefore what he himself said about it has not necessarily any great weight.
With The Kasidah we shall deal in a later chapter, for though Burton wrote a few couplets at this time, the poem did not take its present shape till after the appearance of FitzGerald's adaptation of The Rubaiyat Oman Khayyam. Having spent a few weeks in Egypt, Burton returned to Bombay, travelling in his Arab dress. Among those on board was an English gentleman, Mr.
When such a man sat down to write a poem, embodying his view of "the Higher Law," what could have been expected but a notable manuscript. With his poem, "the Kasidah," we shall now concern ourselves. It purports to be a translation from the Arabic of Haji Abdu El Yezdi. Its style is like that of the Rubaiyat. It is erude, but subtile.
This year, Burton, emulous of fame as an original poet, published The Kasidah of Haji Abdu El-Yezdi, A Lay of the Higher Law, which treats of the great questions of Life, Death and Immortality, and has certain resemblances to that brilliant poem which is the actual father of it, Edward FitzGerald's rendering of The Rubaiyat of Oman Khayyam.
Lady Burton tells us that The Kasidah was written about 1853, or six years before the appearance of FitzGerald's poem. Nothing, however, is more certain than that, with the exception of a few verses, it was written after FitzGerald's poem. The veriest tyro in literature, by comparing the two productions, would easily understand their relationship. The facts are these.
Later, as we shall see, he "borrowed" with a ruthlessness that was surpassed only by Alexandre Dumas. Let us say, then, that The Kasidah is tesselated work done in Burton's usual way, and not very coherently, with a liberal sprinkling of obsolete works.
Clarke had put "The Kasidah" in a conspicuous place in the pavilion with a definite object, or whether she had been reading it and by chance had laid it down, Dion could not tell. He believed, however, that she had intended that this book should be read by him at this crisis in his life.
On their return voyage they were caught in a terrible storm, from which they did not expect to be saved, and while the wild tumbling waves threatened momentarily to engulf them a couplet from his fragmentary Kasidah kept running in Burton's mind: "This collied night, these horrid waves, these gusts that sweep the whirling deep; What reck they of our evil plight, who on the shore securely sleep?"
But it must be borne in mind that Lady Burton did consider him a poet of the first order, for she ranked his Camoens and his Kasidah with the work of Shakespere. And this is how she treated a work which she considered a world-masterpiece.
Word Of The Day
Others Looking