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Saadi (poet)
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Abu Mu?li? bin Abdallah Shirazi (1184 – 1283/1291?), better known by his pen-name as Sa'adi , was one of the major Persian poets of the medieval period. He is recognized not only for the quality of his writing, but also for the depth of his social thoughts.
tive of Shiraz, Iran, Sheikh Sa'adi left his native town at a young age for Baghdad to study Arabic literature and Islamic sciences at the famous an-Nizzamiya center of knowledge (1195-1226).
The unsettled conditions following the Mongol invasion of Iran led him to wander abroad through Anatolia, Syria, Egypt, and Iraq.

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Abu Mu?li? bin Abdallah Shirazi (1184 – 1283/1291?), better known by his pen-name as Sa'adi , was one of the major Persian poets of the medieval period. He is recognized not only for the quality of his writing, but also for the depth of his social thoughts.
Biography
A native of Shiraz, Iran, Sheikh Sa'adi left his native town at a young age for Baghdad to study Arabic literature and Islamic sciences at the famous an-Nizzamiya center of knowledge (1195-1226).
The unsettled conditions following the Mongol invasion of Iran led him to wander abroad through Anatolia, Syria, Egypt, and Iraq. He also refers in his work to travels in India and Central Asia. Saadi is very much like Marco Polo who travelled in the region from 1271 to 1294. There is a difference, however, between the two. While Marco Polo gravitated to the potentates and the good life, Saadi mingled with the ordinary survivors of the Mongol holocaust. He sat in remote teahouses late into the night and exchanged views with merchants, farmers, preachers, wayfarers, thieves, and Sufi mendicants. For twenty years or more, he continued the same schedule of preaching, advising, learning, honing his sermons, and polishing them into gems illuminating the wisdom and foibles of his people.
When he reappeared in his native Shiraz he was an elderly man. Shiraz, under Atabak Abubakr Sa'd ibn Zangy (1231-60) was enjoying an era of relative tranquility. Saadi was not only welcomed to the city but was respected highly by the ruler and enumerated among the greats of the province. In response, Saadi took his nom de plume from the name of the local prince, Sa'd ibn Zangi, and composed some of his most delightful panegyrics as an initial gesture of gratitude in praise of the ruling house and placed them at the beginning of his Bustan. He seems to have spent the rest of his life in Shiraz.
His works
His best known works are Bustan ("The Orchard") completed in 1257 and Gulistan ("The Rose Garden") in 1258. Bustan is entirely in verse (epic metre) and consists of stories aptly illustrating the standard virtues recommended to Muslims (justice, liberality, modesty, contentment) as well as of reflections on the behaviour of dervishes and their ecstatic practices. Gulistan is mainly in prose and contains stories and personal anecdotes. The text is interspersed with a variety of short poems, containing aphorisms, advice, and humorous reflections. Saadi demonstrates a profound awareness of the absurdity of human existence. The fate of those who depend on the changeable moods of kings is contrasted with the freedom of the dervishes.
For Western students, Bustan and Gulistan have a special attraction; but Saadi is also remembered as a great panegyrist and lyricist, the author of a number of masterly general odes portraying human experience, and also of particular odes such as the lament on the fall of Baghdad after the Mongol invasion in 1258. His lyrics are to be found in Ghazaliyat ("Lyrics") and his odes in Qasa'id ("Odes"). He is also known for a number of works in Arabic. The peculiar blend of human kindness and cynicism, humour, and resignation displayed in Saadi's works, together with a tendency to avoid the hard dilemma, make him, to many, the most typical and loveable writer in the world of Iranian culture.
Alexander Pushkin, one of Russia's most celebrated poets, quotes Saadi in his masterpiece Eugene Onegin :
as Saadi sang in earlier ages,
"some are far distant, some are dead".
Saadi distinguished between the spiritual and the practical or mundane aspects of life. In his Bustan, for example, spiritual Saadi uses the mundane world as a spring board to propel himself beyond the earthly realms. The images in Bustan are delicate in nature and soothing. In the Gulistan, on the other hand, mundane Saadi lowers the spiritual to touch the heart of his fellow wayfarers. Here the images are graphic and, thanks to Saadi's dexterity, remain concrete in the reader's mind. Realistically, too, there is a ring of truth in the division. The Sheikh preaching in the Khanqah experiences a totally different world than the merchant passing through a town. The unique thing about Saadi is that he embodies both the Sufi Sheikh and the travelling merchant. They are, as he himself puts it, two almond kernels in the same shell.
Saadi's prose style, described as "simple but impossible to imitate" flows quite naturally and effortlessly. Its simplicity, however, is grounded in a semantic web consisting of synonymy, homophony, and oxymoron buttressed by internal rhythm and external rhyme something that Dr. Iraj Bashiri captures quite skillfully in his transcreation of the opening words of the work:
Chief among these works is Goethe's West-Oestlicher Divan. Andre du Ryer was the first European to present Saadi to the West, by means of a partial French translation of Gulistan in 1634. Adam Olearius followed soon with a complete translation of the Bustan and the Gulistan into German in 1654.
Ralph Waldo Emerson was also an avid fan of Sadi's writings, contributing to some translated editions himself. Emerson, who read Saadi only in translation, compared his writing to the Bible in terms of its wisdom and the beauty of its narrative.
One of his more famous quotes is, "Whatever is produced in haste goes easily to waste." Another famous poem focuses on the oneness of mankind.
Dr. Iraj Bashiri of the University of Minnesota, in his translation of the opening words of Sa'adi's ?Gulestan, offers the following translation:?
- Of One Essence is the Human Race,
- Thusly has Creation put the Base.
- One Limb impacted is sufficient,
- For all Others to feel the Mace.
- The Unconcern'd with Others' Plight,
- Are but Brutes with Human Face.
See also
External links
- The Bustan of Saadi, English translation, 74 p., Iran Chamber Society ().
- The Golestan of Saadi, translated by Richard Francis Burton, 213 p., Iran Chamber Society ().
- Golestan Saadi, the complete work, in Persian (). This work can be freely downloaded (File size, compiled in pdf format: 485 KB).
- Saadi Shirazi, Sheikh Mosleh al-Din, Persian Language & Literature, .
- The Gulistan of Sa'di http://classics.mit.edu/Sadi/gulistan.html
- English translations of Saadi's poetry.
- , a biography by Professor Iraj Bashiri, University of Minnesota.
- , Encyclopaedia Iranica (Columbia University).
- (in Persian)
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