retius, both as to
natural Temper and Genius, and as acted upon by the Circumstances in
which he lived. Both indeed were men of subtle, strong, and
cultivated Intellect, fine Imagination, and Hearts passionate for
Truth and Justice; who justly revolted from their Country's false
Religion, and false, or foolish, Devotion to it; but who fell short of
replacing what they subverted by such better Hope as others, with no
better Revelation to guide them, had yet made a Law to themselves.
Lucretius indeed, with such material as Epicurus furnished, satisfied
himself with the theory of a vast machine fortuitously constructed,
and acting by a Law that implied no Legislator; and so composing
himself into a Stoical rather than Epicurean severity of Attitude, sat
down to contemplate the mechanical drama of the Universe which he was
part Actor in; himself and all about him (as in his own sublime
description of the Roman Theater) discolored with the lurid reflex of
the Curtain suspended between the Spectator and the Sun. Omar, more
desperate, or more careless of any so complicated System as resulted
in nothing but hopeless Necessity, flung his own Genius and Learning
with a bitter or humorous jest into the general Ruin which their
insufficient glimpses only served to reveal; and, pretending sensual
pleasure, as the serious purpose of Life, only diverted himself with
speculative problems of Deity, Destiny, Matter and Spirit, Good and
Evil, and other such questions, easier to start than to run down, and
the pursuit of which becomes a very weary sport at last!

With regard to the present Translation. The original Rubaiyat (as,
missing an Arabic Guttural, these Tetrastichs are more musically
called) are independent Stanzas, consisting each of four Lines of
equal, though varied, Prosody; sometimes all rhyming, but oftener (as
here imitated) the third line a blank. Somewhat as in the Greek
Alcaic, where the penultimate line seems to lift and suspend the Wave
that falls over in the last. As usual with such kind of Oriental
Verse, the Rubaiyat follow one another according to Alphabetic
Rhyme--a strange succession of Grave and Gay. Those here selected are
strung into something of an Eclogue, with perhaps a less than equal
proportion of the "Drink and make-merry," which (genuine or not)
recurs over-frequently in the Original. Either way, the Result is sad
enough: saddest perhaps when most ostentatiously merry: more apt to
move Sorrow th