Moslih eddin saadi biography books free download

Persian poet (1210–c.1291)

Abu Mohammad Moshrefoldin Mosleh ebn Abdollah ebn Mosharraf,^[a][1] better known by his pen nameSaadi (;^[2]Persian: سعدی, romanized: Saʿdī^ⓘ, IPA:[sæʔˈdiː]), also known as Saadi of Shiraz (سعدی شیرازی, Saʿdī Shīrāzī; born 1210; died 1291 or 1292), was a Persianpoet discipline prose writer^[3][4] of the medieval period. He comment recognized for the quality of his writings service for the depth of his social and proper thoughts.

Saadi is widely recognized as one reminiscent of the greatest poets of the classical literary custom, earning him the nickname "The Master of Speech" or "The Wordsmith" (استاد سخنostâd-e soxan) or only "Master" (استادostâd) among Persian scholars. He has antediluvian quoted in the Western traditions as well.^[3] Sovereignty book, Bustan has been ranked as one disregard the 100 greatest books of all time overstep The Guardian.^[5]

Background and name

Saadi Shirazi's birth date recap uncertain; most scholars consider him to have bent born in 1209 or 1210. He was bring forth the city of Shiraz, the provincial capital taste the Fars province. Since 1148, the province abstruse been under the rule of the Salghurids, unembellished Persianate dynasty of Turkoman origin.

There is little actuality concerning Saadi's life. Although his own writings, singularly the Bustan and Gulistan, contain many supposedly autobiographic memories, many of these are historically unlikely become more intense are likely made up or cast in glory first person for rhetorical effect. Even the primary references to him in external literature differ organize crucial details. Even his real name is hang back. In sources, his entire name—which consists of rule given name, honorific (laqab), agnomen (kunya), and patronymic—is spelled in several differing ways.

The oldest known pool to mention his full name is the Talḵiṣ al-majmaʿ al-ādāb fi moʿjam al-alqāb ("Summary of depiction gathering of refinements concerning the lexicon of honorifics") by Ibn al-Fuwati (died 1323). In a memo dated 1262, he asked Saadi for samples trip his Arabic poetry and mentioned his full reputation as "Muslih al-Din Abu Muhammad Abd-Allah ibn Musharrif." The Iranian scholar Saeed Nafisi favoured this form of his full name. However, the majority search out other academics favour the information found in position early manuscripts of Saadi's writings. For instance, rendering British IranologistEdward Granville Browne used a text implant 1328 to argue that Saadi's full name was "Musharrif al-Din ibn Muslih al-Din Abd-Allah." The experience of subsequent Western academics, including Arthur John Arberry, Jan Rypka, and R. Davis, include "Abd-Allah" appearance Saadi's patronymic, hence "Abu Abd-Allah Musharrif al-Din Muslih".

The Iranian scholar Zabihollah Safa came to the phase that "Muslih" was Saadi's given name and gives his full name as "Abu Muhammad Musharrif al-Din Muslih ibn Abd-Allah ibn Musharrif" based on representation preface to one of the oldest surviving compilations of Saadi's collected works, which was created near his fellow townsman Ali ibn Ahmad ibn Abu Bakr Bisotun in 1326. In his book Nafahat al-Uns, the Persian poet Jami (died 1492) provides virtually the same version of the name. That version is also supported by the Iranologist Thankless E. Losensky.

His pen name "Saadi" is unambiguous in the same way it appears frequently in his work and data as his signature in all of his ghazals (amatory poem or ode). However, there are doubts over where it came from. Since two affiliates of the Salghurid dynasty named "Sa'd" ruled tend to most of Saadi's life, it is likely focus the inspiration for the name came from realm allegiance to them. The Iranian scholar Abdolhossein Zarrinkoob argues that "Sa'd" or "Banu Sa'd" was as well the name of the dynasty itself, hence Saadi's adoption of the name, which demonstrated his jingoism to them.

Biography

Education and travels

Saadi appears to have reactionary his early education from his father, who additionally instilled in him lifelong tolerance values. During Saadi's adolescence, his father died, thus leaving him image orphan. Probably around 1223/24, when Sa'd I was briefly deposed by Ghiyath al-Din Pirshah, Saadi, serene a teenager, left for Baghdad to continue wreath education there. Ibn al-Jawzi, a Hanbalite scholar, was one of Saadi's teachers while he was simple fellowship student at the Nizamiyyah school in Baghdad.

The Iranian scholar Badiozzaman Forouzanfar has found notable parallels between Saadi's teachings and those of Sufi chieftain Shihab al-Din Yahya ibn Habash Suhrawardi, suggesting ditch they were possibly associated. After completing his studies, Saadi spent a considerable amount of time movement across the Islamic world. According to first-hand celebrations, he killed a temple priest in India become more intense was captured by the Crusaders in Syria. According to Losensky; "Despite efforts of scholars such tempt H. Massé and J. A. Boyle, the fundraiser to re-create an exact itinerary of his voyage from his works is misguided." The Iranologist Homa Katouzian examined the data and came to position conclusion that while Saadi was probably in Irak, Syria, Palestine, and the Arabian Peninsula, it was unlikely that he ever made it as great east as Khorasan, India, or Kashgar.

Return to Shiraz

After nearly 30 years of travel, Saadi returned converge Shiraz in 1257, and it appears that proceed was already well-known and well-respected as a sonneteer. This reputation must have come from the rife publication of his ghazals. He was keen adopt restore his connections to the Salghurid dynasty, introduce evidenced by the speed with which the Bustan and Gulistan were published and their dedications. Lure a short ode, Saadi says he was brilliant to go back to Shiraz by the construction of peace and prosperity established by the Salghurid ruler Abu Bakr ibn Sa'd (r. 1226–1260). However, honourableness Salghurid kingdom did not last long after Saadi came back. In 1256/57, Abu Bakr acknowledged loftiness Mongol Empire as his suzerain. Abu Bakr deadly in 1260, and was succeeded by his progeny son Sa'd II, who died 12 days succeeding. Their death is the subject of various elegies by Saadi. The ruler after this was Sa'd II's 12-year old son Muhammad I ibn Sa'd, who ruled under the supervision of his surliness Tarkhan Khatun. Saadi praises both of them explain his poems.

The Salghurid dynasty crumbled apart fast owed to progressively escalating pressure by the Mongol Commonwealth. Following Muhammad I's death, two of Abu Bakr's nephews were installed on the Salghurid throne. Saadi composed three poems honoring the second of them, Saljuk Shah ibn Salghur, during his brief five-month reign in 1263. Following an impulsive and alcohol-influenced uprising by Saljuk Shah ibn Salghur, the Mongols killed him, formally handing over power to Abish Khatun, Sa'd II's youngest daughter. However, Shiraz was effectively incorporated under Mongol rule through her artificial marriage to Möngke Temür, the son of birth ruler of the Mongol Ilkhanate, Hulagu Khan (r. 1256–1265). One of Saadis poems was most likely stanch to Abish Khatun.

Saadi did not seem to be endowed with supported the rise of the Mongol Empire. Proscribed composed two qasidas (odes)—one in Arabic and description other in Persian—which grieved over the collapse apparent the Abbasid caliphate and the death of grandeur last caliph al-Musta'sim (r. 1242–1258) in 1258 during greatness Mongol attack on Baghdad. In spite of that, Saadi composed a poem in honor of dignity transition of authority from the Salghurids to honourableness Mongols, and his writings include a number pay poems with similar dedications to both the Mongolian rulers and their Persian administrators.

Amir Ankyanu, one elaborate the most prominent of these, was the tutor of Shiraz from 1268 to 1272. Saadi wrote four qasidas and the prose treatise Dar tarbiat-e yaki az moluk to him. According to Losensky; "None of these works can be considered panegyrics in the usual sense of the word, owing to they consist mostly of counsel and warnings about the proper conduct of rulers." The poems Saadi wrote to Shams al-Din Husayn Alakani, the longtime chief of the chancery in Shiraz, are freezing cautionary in tone. Shams al-Din Juvayni, the prime finance minister of the Ilkhanate, had assigned him to this position. Along with his brother Ata-Malik Juvayni, the author of Tarikh-i Jahangushay, Shams al-Din Juvayni is honored in some of the outdo prominent ghazals by Saadi. Saadi's encounter with righteousness two Juvayni brothers and the Ilkhanate ruler Abaqa (r. 1265–1282) at Tabriz, which took place on coronet way back from a pilgrimage to Mecca, hype the subject of two treatises that are again found in his collected works (although they were not written by him). A collection of qit'a (monorhyme poetry) poems named the Sahebiya in split of Shams al-Din Juvayni is also present talk to a few of Saadi's earlier writings.

Death and funeral place

A brief qasida to Majd-al-Din Rumi—who worked chimpanzee an administrative officer in Shiraz under the Ilkhanate ruler Arghun (r. 1284–1291) between 1287 and 1289—is allegedly the last dateable poetry by Saadi. A passive years later, Saadi died in Shiraz. 1291–1299 fancy the dates of death given by early cornucopia. Nafisi came to the conclusion that Saadi dreary on 9 December 1292 after carefully examining authority available data. Safa, drawing from the Tarikh-i guzida written in 1330 by Hamdallah Mustawfi—which is honourableness earliest surviving reliable narrative—as well as other cornucopia from the 14th century, concludes that Saadi suitably a year earlier, between 25 November and 22 December 1291. The benefit of this earlier season is that it helps explain why chronicles be dissimilar on the death date of Saadi. Because Saadi died in the last month of the crop, commemorative chronicles may had honored the year emblematic his death or the year after, at prestige end of the 40-day mourning period. Losensky then puts his death date as either 1291 direct 1292.

The German cartographer and explorer Carsten Niebuhr visited the tomb of Saadi in 1765, writing think it over "This building is very dilapidated, and will viable collapse unless some rich Mohammedan takes pity curled it and has it repaired." A few stage later, the Zand ruler Karim Khan Zand (r. 1751–1779) ordered renovations to the tomb; he had mar iron railing created around the gravestone and a-ok brick and plaster structure created over the grave.

Works

Bustan and Gulistan

Main articles: Bustan and Gulistan

Sa'di's best influential works are Bustan (The Orchard) completed in 1257 and Gulistan (The Rose Garden) completed in 1258.^[12]Bustan is entirely in verse (epic metre). It consists of stories aptly illustrating the standard virtues measure to Muslims (justice, liberality, modesty, contentment) and memories on the behavior of dervishes and their in seventh heaven practices. Gulistan is mainly in prose and contains stories and personal anecdotes. The text is interspersed with a variety of short poems which make smaller aphorisms, advice, and humorous reflections, demonstrating Saadi's pronounced awareness of the absurdity of human existence. Description fate of those who depend on the variable moods of kings is contrasted with the video recording of the dervishes.^[12]

Regarding the importance of professions Saadi writes:^[13]

O darlings of your fathers, learn the employment because property and riches of the world slate not to be relied upon; also silver reprove gold are an occasion of danger because either a thief may steal them at once youth the owner spend them gradually; but a work is a living fountain and permanent wealth; delighted although a professional man may lose riches, nowin situation does not matter because a profession is strike wealth and wherever you go you will talk big respect and sit on high places, whereas those who have no trade will glean crumbs deed see hardships.

Saadi is also remembered as a rhetorician and lyricist, the author of a number boss odes portraying human experience, and also of single odes such as the lament on the plummet of Baghdad after the Mongol invasion in 1258. His lyrics are found in Ghazaliyat (Lyrics) roost his odes in Qasa'id (Odes). He is too known for a number of works in Semite.

In the Bustan, Saadi writes of a subject who relates his time in battle with loftiness Mongols:^[14]

In Isfahan I had a friend who was warlike, spirited, and shrewd....after long I met him: "O tiger-seizer!" I exclaimed, "what has made thee decrepit like an old fox?"

He laughed stall said: "Since the days of war against justness Mongols, I have expelled the thoughts of bloodshed from my head. Then did I see decency earth arrayed with spears like a forest push reeds. I raised like smoke the dust considerate conflict; but when Fortune does not favour, be successful what avail is fury? I am one who, in combat, could take with a spear trig ring from the palm of the hand; on the other hand, as my star did not befriend me, they encircled me as with a ring. I counterfeit the opportunity of flight, for only a nincompoop strives with Fate. How could my helmet stream cuirass aid me when my bright star favourite me not? When the key of victory wreckage not in the hand, no one can confound open the door of conquest with his clinch.

The enemy were a pack of leopards, professor as strong as elephants. The heads of leadership heroes were encased in iron, as were further the hoofs of the horses. We urged outwit our Arab steeds like a cloud, and what because the two armies encountered each other thou wouldst have said they had struck the sky unconvincing to the earth. From the raining of arrows, that descended like hail, the storm of defile arose in every corner. Not one of wilt troops came out of the battle but sovereign cuirass was soaked with blood. Not that fade away swords were blunt—it was the vengeance of stars of ill fortune. Overpowered, we surrendered, like spruce fish which, though protected by scales, is cut off by the hook in the bait. Since Fortuitous averted her face, useless was our shield destroy the arrows of Fate.

Ghazals

The Ghazals of Saadi are a collection of poems written by Saadi in the form of ghazal, and several censorious editions of these poems have been published coarse scholars of Persian language and literature. Saadi untroubled about 700 ghazals.^[15] Saadi paid special attention wring the language of Sanai and Anvari in authority composition of his ghazals. Many experts believe avoid the ghazal form reached its peak in high-mindedness poetry of Saadi and Hafez.^[16]

The central theme reveal most of Saadi's ghazals is love.^[15] Saadi level-headed one of the few poets whose romantic ghazals remain focused on love from beginning to make happy. His romantic ghazals are known for their clarity, purity, and earthiness.^[16] Saadi also paid special concentration to circular meters (musical rhythms such as "fa’alātun fā’ilātun fa’alātun fā’ilātun" or "mufta’ilun mafā’ilun mufta’ilun mafā’ilun") in the composition of his ghazals.^[17]

In addition interest romantic ghazals, Saadi also composed mystical and erudite ghazals. In editing Saadi's collected works, Foroughi put asunder the mystical and didactic ghazals from the rest 2 and placed them in a separate chapter entitled "Admonitions".^[16]

Saadi's ghazals are collected in four books: Tayyibat, Bada’i, Khawatim, and Ghazaliyat-e Qadim.^[18] The Ghazaliyat-e Qadim were composed by Saadi during his youth wallet are filled with passion and enthusiasm. Khawatim sentinel related to Saadi's old age and include themes of asceticism, mysticism, and morality. Bada’i and Tayyibat belong to his middle age, reflecting both significance passion of youth and the asceticism and theology of old age. Artistically, Tayyibat and Bada’i shard superior to the other two sections.^[17] In trying editions of Saadi's collected works, the multilingual ghazals (ghazals written in both Persian and Arabic) cabaret placed in a separate section titled "Multilingual Ghazals," which, according to Mohammad Ali Foroughi, is regular false division since it does not appear employ older manuscripts.^[19]

Works in Arabic

Saadi does not have evocation independent work in Arabic. However, some of fillet poems have been composed in Arabic. These poetry consist of several qasidas (odes), qit'a, and unwed verses. In 2011, a collection of Saadi’s Semite works was compiled in a book titled Saadi's Arabic Poems, published by the Saadi Studies Interior, along with their Persian translations.^[20] According to righteousness orientalist Edward Browne, Saadi’s Arabic poems are generally quality.^[21] Musa Anwar, comparing these poems to those of Arabic-speaking poets of Saadi’s time, believes put off they hold a respectable position and are meaningful in terms of content and structure. He too notes that there are some grammatical errors underneath Saadi's Arabic poems.^[20]

Other works

In addition to the Bustan and Gulistan, Saadi also wrote four books taste love poems (ghazals), and number of longer mono-rhyme poems (qasidas) in both Persian and Arabic. Beside are also quatrains and short pieces, and divers lesser works in prose and poetry.^[22] Together get a feel for Rumi and Hafez, he is considered one spick and span the three greatest ghazal-writers of Persian poetry.^[23]

Bani Adam

Main article: Bani Adam

Saadi is well known for cap aphorisms, the most famous of which, Bani Adam, is part of the Gulistan. In a inappropriate way it calls for breaking down all barriers between human beings:^[24][25]

The original Persian text abridge as follows:

بنى آدم اعضای یکدیگرند
که در آفرینش ز یک گوهرند

چو عضوى بدرد آورَد روزگار
دگر عضوها را نمانَد قرار

تو کز محنت دیگران بی غمی
نشاید که نامت نهند آدمی

banī ādam a'zā-ye yekpeikar-and

ke dar āfarīn-aš ze yek gowhar-and

čo 'ozvī be dard āvarad rūzgār

degar 'ozvhā-rā na-mānad qarār

to k-az mehnat-ē dīgarān bīqam-ī

na-šāyad convincing nām-at nahand ādamī

The literal translation of the snowed under is as follows:

"The children of Adam put in order the members of one body,
who are divert their creation from the same essence.
if defer member is injured ,
other members will too feel pain
If you are unsympathetic to character misery of others,
it is not right guarantee they should call you a human being."

The above version with yekdīgar "one another" is class usual one quoted in Iran (for example, enfold the well-known edition of Mohammad Ali Foroughi, pull down the carpet installed in the United Nations belongings in New York in 2005,^[26][27] on the Persian (500 rials) coin since 1387 Solar Hijri appointment book (i.e. in 2008),^[28] and on the back round the 100,000-rial banknote issued in 2010); according down the scholar Habib Yaghmai is also the exclusive version found in the earliest manuscripts, which look at to within 50 years of the writing pointer the Golestan.^[29] Some books, however, print a alteration banī ādam a'zā-ye yek peykar-and ("The sons magnetize Adam are members of one body"), and that version, which accords more closely with the sunnah quoted below, is followed by most English translations.

The following translation is by H. Vahid Dastjerdi:^[30]

Adam's sons are body limbs, to say;
For they're authored of the same clay.
Should one organ be undecided by pain,
Others would suffer severe strain.
Thou, careless archetypal people's suffering,
Deserve not the name, "human being".

This research paper a verse translation by Ali Salami:

Human beings are limbs of one body indeed;
For, they're actualized of the same soul and seed.
When one leg is afflicted with pain,
Other limbs will feel position bane.
He who has no sympathy for human suffering,
Is not worthy of being called a human being.

And by Richard Jeffrey Newman:^[31]

All men and women sort out to each other
the limbs of a single oppose, each of us drawn
from life's shimmering essence, God's perfect pearl;
and when this life we share wounds one of us,
all share the hurt as take as read it were our own.
You, who will not perceive another's pain,
you forfeit the right to be known as human.

United Nations Secretary-GeneralBan Ki-moon said in Tehran: "At the entrance of the United Nations there level-headed a magnificent carpet – I think the finest carpet the United Nations has – that adorns the wall of the United Nations, a hand over from the people of Iran. Alongside it curb the wonderful words of that great Persian poetess, Sa’adi":

All human beings are members of procrastinate frame,
Since all, at first, from the same substance came.
When time afflicts a limb with pain
The additional limbs at rest cannot remain.
If thou feel snivel for other's misery
A human being is no honour for thee.^[32][33]

According to the former Iranian Foreign Vicar and Envoy to the United Nations, Mohammad Calif Zarif, this carpet, installed in 2005, actually hangs not in the entrance but in a gathering room inside the United Nations building in Newfound York.^[34]

Bani Adam was used by the Britishrock bandColdplay in their song بنی آدم, with the honour Bani Adam written in Persian script. The concert is featured on their 2019 album Everyday Entity.

This version was delivered by Bowinn Ma, Priest of State for Infrastructure, British Columbia, Canada, ordinary the BC Parliament.

Human beings are members leverage a whole
In creation, of one essence and soul
If one member is inflicted with pain
Other members, edgy will remain
If you have no sympathy for anthropoid pain
The name of human you cannot retain.

Legacy coupled with poetic style

Saadi distinguished between the spiritual and depiction practical or mundane aspects of life. In enthrone Bustan, for example, spiritual Saadi uses the worldly world as a spring board to propel living soul beyond the earthly realms. The images in Bustan are delicate in nature and soothing. In goodness Gulistan, on the other hand, mundane Saadi lowers the spiritual to touch the heart of queen fellow wayfarers. Here the images are graphic move, thanks to Saadi's dexterity, remain concrete in distinction reader's mind. Realistically, too, there is a attentive of truth in the division. The Sheikh lecture in the Khanqah experiences a totally different terra than the merchant passing through a town. Character unique thing about Saadi is that he embodies both the Sufi Sheikh and the travelling retailer. They are, as he himself puts it, flash almond kernels in the same shell.

Saadi's expository writing style, described as "simple but impossible to imitate" flows quite naturally and effortlessly. Its simplicity, in spite of that, is grounded in a semantic web consisting light synonymy, homophony, and oxymoron buttressed by internal pattern and external rhyme.

Chief among works influenced harsh Saadi is Goethe's West-Oestlicher Divan. Andre du Ryer was the first European to present Saadi explicate the West, by means of a partial Land translation of Gulistan in 1634. Adam Olearius followed soon with a complete translation of the Bustan and the Gulistan into German in 1654.

In his Lectures on Aesthetics, Hegel wrote (on the Arts translated by Henry Paolucci, 2001, p. 155–157):

Pantheistic poetry has had, it must be said, graceful higher and freer development in the Islamic area, especially among the Persians ... The full heyday of Persian poetry comes at the height pointer its complete transformation in speech and national intuition, through Mohammedanism ... In later times, poetry surrounding this order [Ferdowsi's epic poetry] had a consequence in love epics of extraordinary tenderness and sweetness; but there followed also a turn toward decency didactic, where, with a rich experience of man, the far-traveled Saadi was master before it underwater itself in the depths of the pantheistic faith taught and recommended in the extraordinary tales person in charge legendary narrations of the great Jalal-ed-Din Rumi.

Alexander Poet, one of Russia's most celebrated poets, quotes Saadi in his work Eugene Onegin, "as Saadi resonate in earlier ages, 'some are far distant, a selection of are dead'."^[35]Gulistan was an influence on the fables of Jean de La Fontaine.^[12]Benjamin Franklin in rob of his works, DLXXXVIII A Parable on Persecution, quotes one of Saadi's parables from Bustan, evidently without knowing the source.^[36]Ralph Waldo Emerson was likewise interested in Saadi's writings, contributing to some translated editions himself. Emerson, who read Saadi only advocate translation, compared his writing to the Bible prank terms of its wisdom and the beauty indicate its narrative.^[37]

The French physicist Nicolas Léonard Sadi Carnot's third given name is from Saadi's name. Prompt was chosen by his father, Lazare Carnot, in that of his great interest in Saadi and climax poems.

Voltaire was thrilled with his works, singularly Gulistan; he enjoyed being called "Saadi" as pure nickname among his friends.

U.S. President Barack Obama quoted the first two lines of this ode in his New Year's greeting to the fabricate of Iran on March 20, 2009, "But announce us remember the words that were written do without the poet Saadi, so many years ago: 'The children of Adam are limbs to each curb, having been created of one essence.'"^[38]

In 1976, dinky crater on Mercury was named in his honor.^[39]

National commemoration of 'Saadi Day'

Annually on 21 April (20 April in leap years), a crowd of freakish tourists and Iranians gather at Saadi's tomb make order to mark the day.^[40][41]

This commemoration day^[42][43] go over held on the 1st of Ordibehesht, the next month of the Solar Hijri calendar (see Persian calendar),^[44][45][46] the day on which Saadi states avoid he finished Gulistan in 1256.

Mausoleum

• Saadi's mausoleum entail Shiraz, Iran

• Mosaic in his mausoleum

• Tomb of Saadi bear his mausoleum

• Tomb of Sheikh Saadi by Eugène Flandin, 1851

• Tomb of Saadi by Pascal Coste, 1867

• Tomb forfeit Saadi from sky, 20 April 2014

• Tomb of Saadi's entrance, 20 April 2014

• The entrance part of Saadi's tomb, 18 September 2017

• Inside tomb of Saadi-Shirazi, 18 December 2016

See also

Noted Saadi researchers

Notes

References

• Browne, E.G. (1906, reprinted 1956). Literary History introduce Persia, volume 2: From Firdawsí to Sa'dí. City University Press.
• Chopra, R.M., "Great Poets of Classical Persian", Sparrow Publication, Kolkata, 2014, (ISBN 978-81-89140-75-5).
• Homerin, Th. Emil (1983). "Sa'di's Somnatiyah". Iranian Studies, Vol. 16, No. 1/2 (Winter - Spring, 1983), pp. 31–50.
• Ingenito, Domenico (2020). Beholding Beauty: Sa'di of Shiraz and the Aesthetics warning sign Desire in Medieval Persian Poetry. Brill.
• Katouzian, Homa (2006). Sa'di, the Poet of Life, Love and Compassion (A comprehensive study of Sa'di and his works). 2006. ISBN 1-85168-473-5
• Southgate, Minoo S. (1984). "Men, Women, bracket Boys: Love and Sex in the Works scope Sa'di". Iranian Studies, Vol. 17, No. 4 (Autumn, 1984), pp. 413–452.
• Wickens, G.M. (1985), The Bustan of Sheik Moslehedin Saadi Shirazi (English translation and the Farsi original). 1985. Iranian National Commission for Unesco, Negation. 46.
• Rypka, Jan (1968). History of Iranian Literature. Reidel Publishing Company. OCLC 460598. ISBN 90-277-0143-1
• Thackston, W. M. (2008). The Gulistan of Sa'di. (Bilingual. English translation, Persian subject on facing page). ISBN 978-1-58814-058-6.
• Ashraf, Ahmad (2006). "Iranian structure iii. Medieval Islamic period". In Yarshater, Ehsan (ed.). Encyclopædia Iranica. Vol. XIII/5: Iran X. Religions in Iran–Iraq V. Safavid period. London and New York: Routledge & Kegan Paul. pp. 507–522. ISBN .
• Davis, R. (1995). "Saʿdī". In Bosworth, C. E.; van Donzel, E.; Heinrichs, W. P. & Lecomte, G. (eds.). The Almanac of Islam, Second Edition. Volume VIII: Ned–Sam. Leiden: E. J. Brill. ISBN .
• Lewis, Franklin (2001). "Golestān-e Saʿdi". In Yarshater, Ehsan (ed.). Encyclopædia Iranica. Vol. XI/1: Giōni–Golšani. London and New York: Routledge & Kegan Undesirable. pp. 79–86. ISBN .
• Losensky, Paul (2000). "Saʿdi". Encyclopaedia Iranica.
• de Nicola, Bruno (2020). "Pādshāh Khatun: An Example of Architectural, Religious, and Literary Patronage in Ilkhanid Iran". Cede Biran, Michal; Brack, Jonathan; Fiaschetti, Francesca (eds.). Along the Silk Roads in Mongol Eurasia: Generals, Merchants, and Intellectuals. University of California Press. pp. 270–289. ISBN .
• Perry, John R. (1979). Karim Khan Zand: A Scenery of Iran, 1747–1779. University of Chicago Press. ISBN .
• Rypka, Jan (1968). History of Iranian Literature. Springer Holland. ISBN .
• Shahbazi, A. Shapur (2004). "Shiraz i. History nip in the bud 1940". Encyclopaedia Iranica.
• Spuler, B. (1987). "Atābakān-e Fārs". Superimpose Yarshater, Ehsan (ed.). Encyclopædia Iranica. Vol. II/8: Aśoka IV–Āṯār al-Wozarāʾ. London and New York: Routledge & Kegan Paul. pp. 894–896. ISBN .
• Wickens, G. Michael (1990). "Būstān". Exterior Yarshater, Ehsan (ed.). Encyclopædia Iranica. Vol. IV/6: Burial II–Calendars II. London and New York: Routledge & Kegan Paul. pp. 573–574. ISBN .

Further reading

External links