Gelett Burgess's The Rubaiyat of Omar Cayenne (1904) borrows the quatrain form of Edward FitzGerald's translation of Omar Khayyam to lampoon the early twentieth-century literary marketplace. The poem moves through a series of vignettes that track a manuscript's journey from author's desk to publisher's rejection, punctuated by broader swipes at bestsellers, reviewers, and the cult of first editions. Burgess's speaker adopts the voice of a disgruntled author who watches contemporaries rise and fall—Anthony Hope, Conan Doyle, and Mary MacLane are named—while his own work languishes. The structure follows the original Rubaiyat's numbered quatrains but replaces philosophical meditation with commercial complaint.

Quatrains as Satirical Units

Burgess preserves the four-line stanza of the Rubaiyat but repurposes its rhyme scheme (AABA) for punchy, epigrammatic attacks. Each quatrain typically isolates a single target: the opening stanza imagines a "Hack" scattering Shakespeare and Dante, while later ones mock specific publishers (Century, Doubleday, Harpers) and newspapers (The New York Times, The Boston Transcript). The brevity of the form forces Burgess to compress his satire into a single image or ironic reversal—for example, the claim that tenth editions are rarer than first editions, because his own books have reached that mark. This structural choice mirrors the original's meditative concision but substitutes a cynical, commercial edge.

Recurring Images of the Book Trade

Throughout the poem, Burgess returns to a handful of concrete images: the publisher's purse, the critic's sealed eyes, the dusty shelf, and the wastepaper basket. In quatrain IV, the "Stuff the Publisher puts out" is said to "soon suspire" into the paper basket. Later, the speaker imagines a "wingèd Angel" bringing news of a critic who actually reads the books he reviews. These images accumulate into a portrait of a system where advertising (the "blowing Advertiser") and hype determine success, not quality. The recurring motif of the manuscript—rejected, unread, or remaindered—anchors the poem's pessimism about literary merit in a market-driven age.

Movement Between Scenes and Speakers

The poem shifts abruptly between general complaint and specific anecdote, often without transition. Early quatrains survey the literary landscape—naming popular novels like Harum, Lady Rose, and Janice Meredith—before narrowing to the speaker's own experience in quatrain XC, where an editor appears and signals rejection. Later sections turn to the fate of classics: Carnegie's libraries are described as tombs, and first editions are dismissed as a bore. This restless movement mirrors the speaker's frustration, jumping from the state of criticism to the economics of Christmas sales. The asterisk break before quatrain XCI marks a tonal shift from personal grievance to broader cultural critique.

Self-Deprecation and the Author's Voice

Burgess's speaker is not a detached observer but a participant in the system he mocks. He admits to envying first editions, to wanting his own books sold, and to hoping for a critic's praise. The final quatrains turn inward: "Oh, rising Author, read Me once again" he pleads, acknowledging his own ephemerality. This self-awareness prevents the satire from becoming merely bitter. The speaker's desire to "boil down the Million Books we read / Into One Book" and "edit that a Bit" reveals a longing for a curated literary canon—a wish that undercuts the poem's cynicism. Burgess thus uses the authorial voice to dramatize the tension between artistic ambition and commercial reality.

Readers familiar with FitzGerald's Rubaiyat will recognize the scaffolding Burgess borrows, but the poem rewards attention to its specific targets: the named authors, publishers, and newspapers of 1904. The quatrains are best read as a sequence of satirical snapshots rather than a continuous narrative. Burgess's tone—wry, aggrieved, and occasionally hopeful—invites comparison to his other humorous works, such as The Purple Cow, which is itself referenced in quatrain XII.