The Bustan of Sadi: Translated from the Persian with an Introduction

If among the twenty-two works with which Sadi enriched the literature of his country the Gulistān rank first in popularity, theBustān (lit. “Garden”) may justly claim equal precedence in point of interest and merit.

No comprehensive translation of this important classical work has hitherto been placed before the reading public, but it cannot be doubted that the character of its contents is such as to fully justify the attempt now made to familiarize English readers with the entertaining anecdotes and devotional wisdom which the Sage of Shiraz embodied in his Palace of Wealth. This is the name which he applies to the Bustān in an introductory chapter, and it is one which springs from something more than a poet’s fancy, for the ten doors, or chapters, with which the edifice is furnished lead into a garden that is indeed rich in the fruits of knowledge gained by a wide experience of life in many lands, and earnest thought.

The Bustān is written in verse—a fact which adds considerably to the difficulties of translation, since the invariable rule of Sadi, like that of every other Persian poet we have read, is to sacrifice sense to the exigencies of rhyme and metre. In not a few cases the meaning is so confused on this account that even the native commentators, who possess a fund of ingenuity in explaining what they do not properly understand, have been compelled to pass over numerous couplets through sheer inability to unravel their intricacies and the abstruse ideas of the poet.

Probably in no other language in the world is poetic license so freely permitted and indulged in as in Persian. The construction of sentences follows no rule; the order of words is just that which the individual poet chooses to adopt, and the idea of time—past, present, and future—is ignored in the use of tenses, that part of a verb being alone employed which rhymes the best.

Notwithstanding idiosyncrasies of this kind, the Bustān is written in a style that is delightfully pure and admirably adapted to the subject. The devout spirit by which Sadi was characterized throughout his chequered life is revealed in every page of the book. In the Gulistān he gave free rein to the quaint humour which for many centuries has been the delight of the Eastern peoples, and which an ever-increasing body of English readers is learning to appreciate and admire. In the Bustān the humour is more restrained; its place is taken by a more sober reasoning of the duties of mankind towards the Deity and towards their fellow-men. Devotion to God and the inflexibility of Fate are the underlying texts of every poem, and the ideality of the one and the stern reality of the other are portrayed in language the beauty of which, it is to be feared, the English rendering does not always adequately convey.

The poems abound in metaphor, a figure of style which Eastern writers employ to a degree that is always exaggerated, and sometimes tedious; but for the purpose of this translation, which aims at a happy medium between literal accuracy and the freedom requisite in order to render Oriental phraseology into polite English, numerous of the more far-fetched allusions have been discarded, to the benefit of the text.

Although a memoir of Sadi’s life is included in another volume of this series, it may not be out of place to give here a brief outline of the poet’s career, especially as the Bustān contains several references to his childhood and travels.