The volume opens with Richard J. H. Gottheil's special introduction, which frames Persian literature as a fusion of Hellenic and Semitic influences, emphasizing its appeal to Western readers. The first excerpt from the Shah Nameh plunges into battle, with Rustem's boastful speech and precise archery, establishing a heroic, martial tone. The translation by James Atkinson uses direct dialogue and vivid imagery, such as 'the clouds of dust which rolled on high, threw darkness o'er the earth and sky,' to convey the epic scale.

The Heroic Register of the Shah Nameh

The excerpt from Firdawsi's epic showcases a formulaic structure: a challenger boasts, Rustem responds with a taunt, and the combat is described with hyperbolic detail. For instance, Rustem declares 'My name is death to thee, thy hour is come!' before shooting an arrow that pierces the foeman's horse and then the rider. The narrative relies on repetition of epithets and similes, such as 'Towering like mount Alberz, immovable,' to elevate the hero. The translation preserves the rhythmic couplets and alliterative phrasing, e.g., 'steed to steed and man to man,' which guide the reader to expect a series of such encounters.

Shifts in Voice: From Epic to Lyric

After the Shah Nameh, the volume transitions to the Rubaiyat of Omar Khayyam, translated by Edward FitzGerald. The quatrains adopt a reflective, skeptical voice, contrasting with the epic's martial certainty. For example, one quatrain muses on the transience of life: 'The Moving Finger writes; and, having writ, Moves on.' The reader must adjust from public heroism to private meditation. The Divan of Hafiz, translated by Herman Bicknell, introduces a Sufi-inflected lyricism, with imagery of wine, roses, and the beloved. These shifts in genre and tone require the reader to treat each work as a distinct literary mode.

Recurring Motifs Across the Selections

Despite the diversity, certain motifs recur. The Shah Nameh features the 'Khakán of Chin' and Tartar armies, while the Rubaiyat and Divan reference Persian gardens and taverns. The theme of fate versus human agency appears in Rustem's prayer to the Creator before battle and in Khayyam's 'The Ball no question makes of Ayes and Noes.' The excerpts also share a concern with legacy: Rustem seeks fame, while the lyric poets question earthly renown. These threads, though not explicitly linked by the editors, offer the reader a cohesive cultural landscape.

The Role of the Translators' Styles

Each translator imparts a distinct voice. Atkinson's Shah Nameh uses archaic English ('whither,' 'thou') and a rolling meter to evoke antiquity. FitzGerald's Rubaiyat employs a polished, epigrammatic style, with quatrains that often stand alone as aphorisms. Bicknell's Divan incorporates Persian terms like 'Saki' and 'Muezzin,' retaining local color. The reader should note these stylistic choices, as they shape the reception of the originals. The volume does not provide footnotes on translation decisions, so the reader must infer from the text itself how the English versions mediate the Persian.

For a first reading, approach each work as an independent artifact, noting the shifts in register from epic to lyric. The excerpts reward attention to recurring imagery and the translators' rhetorical strategies. Avoid seeking a unified narrative; instead, appreciate the volume as a curated anthology that showcases the range of Persian literary expression, from battlefield boasts to tavern meditations.