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During these years, the magazine operated under the title Ledige Frauen Single Women. Die Freundin appeared from to in Berlin, distributed by BfM.
Die Freundin was available in major retailers across all of Germany and Austria. Certain issues aimed to highlight the political importance of lesbian culture by printing phrases on the cover, such as "this magazine may be publicized everywhere!
The exact circulation of Die Freundin is unknown, it is assumed that it was the most widely spread lesbian magazine of the Weimar Republic , and its circulation was well above that of every other lesbian magazine in the German-speaking world until the s.
After the first two editions of Die Freundin were published as inserts in Blätter für Menschenrechte on August 8, and September 12, , the following editions were published as separate publications, each between 8 and 12 pages.
Die Freundin was thereafter the "first new independent magazine of the Radszuweit publishing house". Already the first issue contained an insert titled Der Transvestit , which kept on reappearing in future editions.
The publication rhythm changed: in the first year it came out as a monthly magazine, from it appeared every two weeks and later even weekly.
In there was no independent edition of Die Freundin ; instead it appeared only as an insert inside the publication Freundschaftblatt.
The reason for this irregularity is unknown. The law on the protection of young people from sabotage and trafficking was enacted lesbian magazines were no longer allowed to be sold by retailers.
The publisher opted for the temporary cessation of the magazine and instead started a new publication called Ledige Frauen , which made it to a total of 26 issues.
The publisher explicitly deemed this a substitute to Die Freundin and saw the editions of as a continuation, giving it the subtitle Freundin as a reference.
From July Die Freundin resumed its production. On March 8, , the last issue of Die Freundin was published as the 10th edition of the 9th year.
Like all gay and lesbian periodicals, it was banned as "degenerate" and legally had to cease production. Die Freundin focused mainly on lesbian women, but also included inserts and editorial contributions on trans issues.
The advertisements were also targeted at gay men and heterosexuals. Through its regular reports, advertisements and events related to the lesbian subculture of Berlin, it functioned similarly to a local newspaper.
Readers of Die Freundin were, above all, professional modern women who lived independently. At this point it is nearly impossible to trace back who exactly performed which editorial roles.
In Elisabeth Killmer became chief editor, and from to it was Bruno Balz. He was followed by Martin Radszuweit as the chief editor from onwards.
At this point, editorial teams were shared between the publications Blättern für Menschenrecht and Freundschaftsblatt , which is why certain articles were reprinted several times over the years, some deliberately abridged.
Even articles on the activity of the association or about current political developments were, almost without exception, written by men. How this overwhelming presence of male voices in a magazine for lesbian women was seen by these women, whether editors or authors, was not spoken about.
Die Freundin was aimed mainly at gay women, but was not written exclusively by them. There was a relatively high fluctuation among the authors. She was not only an author of the well-known book of Berlins lesbische Frauen , a contemporary guide through the lesbian subculture of Berlin, but had also been trained as an editor in and was thus one of the few professional writers.
Other prominent authors were activists such as Selli Engler or Lotte Hahm. The writing of Die Freundin was specifically not reserved for any fixed writer.
Already in , the editorial staff solicited readers to submit their own writing. In , the editors changed the structure of the magazine in order to motivate the readers to participate actively.
In sections such as "Letters for Die Freundin " or "Our readers have the word", readers were able to share their lesbian self-image and experiences.
Today, these reports are valuable documents on the life of lesbian women in German-speaking countries at this time. The layout of the magazine was simple and remained almost the same throughout the entire print run: the cover page came first, followed by the editorial section which didn't have any particular order.
At the back of the magazine appeared one or two pages of the classifieds section. Apart from the very first editions, which began directly with editorial writing, photographs of women sometimes nude were often found on the cover page - sometimes at the request of the readership.
The two-column editorial section consisted equally of short stories, news, op-eds, poems, press reviews, and letters to the editor. In each issue, Die Freundin offered several articles on a variety of subject matters, including but not limited to: articles on historical issues relating to the history of lesbians, articles dealing with everyday problems of lesbian women in Germany; but also cultural, scientific or medical articles related to homosexuality.
There were also contributions to literary themes and the Berlin social life in general. At times the magazine Die Freundin included an insert of Der Transvestit , but occasionally this part was simply integrated into the magazine under the subject area of trans issues.
As one of the first and most popular media of the early gay and lesbian movement, Die Freundin offered a space for discussing basic questions of lesbian identity.
Their publications were often cited and praised, and in the first two years, the WhK's memos were featured in Die Freundin.
By , the magazine was repeatedly in disagreement with Magnus Hirschfeld. Hirschfeld was criticized for frequently condemning homosexuality as an inferior, abnormal, or misrepresenting gays in court proceedings, and thus contributing to their stigmatization.
In spite of the participation of men and the broad array of themes, Die Freundin was a medium in which lesbian women found the necessary space to debate and define their sense of self, their roles in society and their goals.
The thesis of the "third sex", which argued that the third sex be equal to the two heterosexual sexes, gained traction.
A controversial discussion, which focused on the relationship between gay and bisexual women, was published in one of the issues.
More or less unanimously the discussion culminated in allegations that bisexual women were "vicious" and "perverse" which resulted in strongly-worded letters from readers who plead "hands off the bodies who enjoy both sexes for lust!
None of the subjects of the women's movement that were being discussed at that time were covered in the magazine, whether it was birth control, abortion, family or divorce law.
Instead, the experience of gay women was prioritized, even if a topic such as the demand for equal representation could have been linked to existing issues of the women's movement.
Allegedly, gender-specific experiences of women were neither accepted as submissions nor considered as attributions. If they were accepted, it was only in connection to the goal of gay women to achieve equality.
Here, again, there is an emphasis on not being categorized within the dichotomy of a man-woman world, but rather being attributed to a separate sex.
A central theme of Die Freundin was always the social and political obstacles that gay women faced. Despite the vivacity of the gay and lesbian life in the Berlin of the Weimar Republic , the lesbian lifestyle was not accepted by society.
Throughout the publication's history, this was always the reason for including current political texts, whether reports and analyses of social and political conditions as far as they concerned gays, or even calls-to-action.
The readership didn't seem to be very animated by these attempts. Again and again, a possible tweaking of the paragraph was discussed, so that it should also include female homosexuality.
Die Freundin remained, on the whole, rather hesitant on issues concerning political parties. Although Irene von Behlau recommended the election of the Social Democratic Party in her article "The Gay Woman and the Reichstag Election" of May 14, ; since , however, a kind of neutrality was necessary, since statistics of the year had made clear to the BfM that they had members of both left and right parties.
However, all efforts seem to have failed to involve the readers of Die Freundin politically. There were regular complaints about the alleged passivity of the readers.
The literary section of the magazine consisted of short stories, romance and poems on lesbian love. In addition, there were always book recommendations and reviews of books, of which many were published by the " Friedrich Radszuweit Verlag".
The literary texts contributed to the popularity of Die Freundin. They weren't written by an academic professional, but by the readers.
These works were broadly considered trivial without great significance. They were, however, crucial in portraying lesbian ways of life and in formulating utopias.
These stories discussed the lesbian love experience, the problems of the search for a female partner and discrimination, always ending with the sense that these problems could be overcome.
In his introductory note to the reader, Le Gallienne cites McCarthy 's "charming prose" as the chief influence on his version.
Some example quatrains follow:. Look not above, there is no answer there; Pray not, for no one listens to your prayer; Near is as near to God as any Far, And Here is just the same deceit as There.
Believe that, too. Give thanks to Him who foreordained it thus— Surely He loves to hear the glasses clink! Edward Heron-Allen — published a prose translation in He also wrote an introduction to an edition of the translation by Frederick Rolfe Baron Corvo into English from Nicolas's French translation.
Below is Quatrain 17 translated by E. This worn caravanserai which is called the world Is the resting-place of the piebald horse of night and day; It is a pavilion which has been abandoned by a hundred Jamshyds; It is a palace that is the resting-place of a hundred Bahrams.
The English novelist and orientalist Jessie Cadell — consulted various manuscripts of the Rubaiyat with the intention of producing an authoritative edition.
Her translation of quatrains was published posthumously in Arberry in attempted a scholarly edition of Khayyam, based on thirteenth-century manuscripts.
However, his manuscripts were subsequently exposed as twentieth-century forgeries. The authors claimed it was based on a twelfth-century manuscript located in Afghanistan, where it was allegedly utilized as a Sufi teaching document.
But the manuscript was never produced, and British experts in Persian literature were easily able to prove that the translation was in fact based on Edward Heron Allen's analysis of possible sources for FitzGerald's work.
Should our day's portion be one mancel loaf, A haunch of mutton and a gourd of wine Set for us two alone on the wide plain, No Sultan's bounty could evoke such joy.
A gourd of red wine and a sheaf of poems — A bare subsistence, half a loaf, not more — Supplied us two alone in the free desert: What Sultan could we envy on his throne?
Bowen is also credited as being one of the first scholars to question Robert Graves' and Omar Ali-Shah's translation of the Rubaiyat.
A modern version of quatrains, claiming to be "as literal an English version of the Persian originals as readability and intelligibility permit", was published in by Peter Avery and John Heath-Stubbs.
Their edition provides two versions of the thematic quatrain, the first 98 considered by the Persian writer Sadeq Hedayat to be a spurious attribution.
I need a jug of wine and a book of poetry, Half a loaf for a bite to eat, Then you and I, seated in a deserted spot, Will have more wealth than a Sultan's realm.
If chance supplied a loaf of white bread, Two casks of wine and a leg of mutton, In the corner of a garden with a tulip-cheeked girl, There'd be enjoyment no Sultan could outdo.
In , the Rubaiyat was translated by an Iranian for the first time. The Wine of Nishapour is the collection of Khayyam's poetry by Shahrokh Golestan, including Golestan's pictures in front of each poem.
In spring if a houri-like sweetheart Gives me a cup of wine on the edge of a green cornfield, Though to the vulgar this would be blasphemy, If I mentioned any other Paradise, I'd be worse than a dog.
In , Ahmad Saidi — produced an English translation of quatrains grouped into 10 themes. Born and raised in Iran, Saidi went to the United States in and attended college there.
He served as the head of the Persian Publication Desk at the U. His quatrains include the original Persian verses for reference alongside his English translations.
His focus was to faithfully convey, with less poetic license, Khayyam's original religious, mystical, and historic Persian themes, through the verses as well as his extensive annotations.
Two example quatrains follow:. Ah, would there were a loaf of bread as fare, A joint of lamb, a jug of vintage rare, And you and I in wilderness encamped— No Sultan's pleasure could with ours compare.
The sphere upon which mortals come and go, Has no end nor beginning that we know; And none there is to tell us in plain truth: Whence do we come and whither do we go.
Adolf Friedrich von Schack — published a German translation in Friedrich Martinus von Bodenstedt — published a German translation in The translation eventually consisted of quatrains.
Mag man mich schelten: Ich lasse keinen andern Himmel gelten. The first French translation, of quatrains in prose, was made by J.
Nicolas, chief interpreter at the French embassy in Persia in The best-known version in French is the free verse edition by Franz Toussaint — published in This translation consisting of quatrains was done from the original Persian text, while most of the other French translations were themselves translations of FitzGerald's work.
Toussaint's translation has served as the basis of subsequent translations into other languages, but Toussaint did not live to witness the influence his translation has had.
Many Russian-language translations have been undertaken, reflecting the popularity of the Rubaiyat in Russia since the late 19th century and the increasingly popular tradition of using it for the purposes of bibliomancy.
The earliest verse translation by Vasily Velichko was published in The version by Osip Rumer published in is a translation of FitzGerald's version.
Rumer later published a version of rubaiyat translated directly from Persian. A lot of poetic translations some based on verbatim translations into prose by others were also written by German Plisetsky , Konstantin Bal'mont , Cecilia Banu , I.
Tkhorzhevsky ru , L. Pen'kovsky, and others. FitzGerald rendered Omar's name as "Omar the Tentmaker", [ dubious — discuss ] and this name resonated in English-speaking popular culture for a while.
Events marking these anniversaries included:. In their sessions and gatherings, Khayyam's poems became the subject of conversation and discussion.
His poems, however, are inwardly like snakes who bite the sharia [Islamic law] and are chains and handcuffs placed on religion.
Once the people of his time had a taste of his faith, his secrets were revealed. Khayyam was frightened for his life, withdrew from writing, speaking and such like and traveled to Mecca.
Once he arrived in Baghdad , members of a Sufi tradition and believers in primary sciences came to him and courted him.
He did not accept them and after performing the pilgrimage returned to his native land, kept his secrets to himself and propagated worshiping and following the people of faith.
It is unfortunate because Fitzgerald is not faithful to his master and model, and at times he lays words upon the tongue of the Sufi which are blasphemous.
Such outrageous language is that of the eighty-first quatrain for instance. Fitzgerald is doubly guilty because he was more of a Sufi than he was willing to admit.
Bjerregaard, Sufism: Omar Khayyam and E. Fitzgerald , The Sufi Publishing Society , p. From Wikipedia, the free encyclopedia.
Persian-English quatrains translations by Edward Fitzgerald. This article is about the work by Edward FitzGerald. This section may require cleanup to meet Wikipedia's quality standards.
The specific problem is: should become more systematic, perhaps in table form, with fewer random quotations Please help improve this section if you can.
September Learn how and when to remove this template message. This article contains a list of miscellaneous information. Please relocate any relevant information into other sections or articles.
September Persian Poetry in England and America. Caravan Books. Oneworld Publications. Blind Owl.
Retrieved 3 November Ouseley , copied in in Shiraz , Persia, 47 folia. This is the oldest securely dated manuscript of Omar Khayyam's poetry.
It belonged to William Ouseley — and was purchased by the Bodleian Library in Retrieved 15 January Rubaiyat of Omar Khayyam p.
Champaign, Ill. Abdullah Dougan, Who is the Potter? Sometimes he thought that he was a Sufi, sometimes not.
Stanford Encyclopedia of Philosophy. Journal of the Royal Asiatic Society , 37 3 , — Sadeq Hedayat: The life and literature of an Iranian writer p.
London: I. Arberry ed. Aldis Wright". Rubaiyat of Omar Khayyam. By Omar Khayyam. Translated by Edward FitzGerald. New York and Boston: Houghton, Mifflin.
Archived from the original on 30 June Retrieved 11 April Translated, with an introd. Nutt, Notes and Queries. Oxford Dictionary of National Biography.
Oxford Dictionary of National Biography online ed.
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