This article follows a thread of translation and intertextual dialogue, taking us from the thirteenth-century Persian poet Saʿdi to the nineteenth-century French poet Marceline Desbordes-Valmore. It reads Desbordes-Valmore’s poem ‘Les roses de Saadi’ (1860) with the two passages from Saʿdi’s Golestān from which it was inspired, shedding new light on the poem’s metapoetic subtext. The original Persian text is compared to two French translations that were circulating at the time when Desbordes-Valmore was writing. This analysis of the Golestān’s reception forms the basis for the argument that Desbordes-Valmore recast in secular terms Saʿdi’s discourse on poetic language, emphasizing the continuity, rather than difference, between her concerns and Saʿdi’s. The case of Desbordes-Valmore thus reveals a forgotten facet of nineteenth-century French engagements with Middle Eastern culture: one of identification and literary influence, which existed alongside the processes of “othering” for which the period is better known.

From the seventeenth century, Mosleh al-Din Saʿdi Shirazi (d. 1291), a key figure in Persian classical literature, became the center of Europeans’ attention: his name appeared in travelogues and periodicals, and selections of his tales were published in miscellaneous Latin, German, French, and English works. To follow Saʿdi’s impact on English literature, one needs to search for the beginning of the “Saʿdi trend” and the reasons that led to the acceleration of the translation process of his works into the English language in the nineteenth century. This article examines the role of the British educational institutions in colonial India in the introduction of Saʿdi and his Golestān to the English readership, and, in parallel, it uncovers the role of the Indo-Persian native scholars (monshis) who were involved in the preparation of translations. The article discusses how the perception of the British towards Saʿdi’s literature developed in the first half of the nineteenth century and how their approach towards the translation of the “text” and its “style” evolved in the complete renderings of the Golestān.

This article presents a study of two coeval works on morals: the first belongs to the classic Persian tradition, the Golestān (The Rose Garden) by Saʿdi (Shirāz 1210–91 or 1292); the second, Il libro de’ vizî e delle virtudi (Book of Vices and Virtues) by Bono Giamboni (Florence 1240–92), belongs to the first didactic prose in vernacular Italian. The study will specially concern the theme of temperance قناعت qanāʿat, central to both Islamic and Christian morals. An analysis is made of passages dedicated to this theme in both texts, also through comparative observations, in order to identify the approach characteristic to each work.

This article discusses two Polish translations of Saʿdi’s Golestān, prepared by Samuel Otwinowski and Wojciech Biberstein-Kazimirski (alias Albert Kazimirski de Biberstein) and published in 1879 and 1876 respectively. Though edited at the end of the nineteenth century, Otwinowski's translation had been originally completed in the first half of the seventeenth century and is assumed to be the first one or one of the very first renderings of Saʿdi's work into a European language. The question that remains unresolved is whether or not Otwinowski's translation, despite being unpublished, was known to seventeenth- and eighteenth-century Polish poets. One can find some stories and motifs “picked” from Saʿdi’s Golestān in their poetry, but they seem more likely to have been influenced by non-Polish renderings. This article describes the different translation strategies adopted by the two translators, the literarily gifted dragoman Otwinowski and the nineteenth-century philologist Biberstein Kazimirski.

Zadig ou la Destinée opens on a preface supposedly written by Sadi (sic), who seems to suggest he is the translator of the story which is to follow. The article will investigate the role played by Voltaire’s reference to Saʿdi in Zadig as an Oriental prop for the narrative’s exotic setting, but also, more importantly, as participating in its philosophical content. Travelers’ accounts had brought growing interest in Persia, and Saʿdi would not have been unfamiliar to an educated public; the Orient more generally became an experimental space for Enlightenment thought. Playing on the notion of the translator as cultural bridge, the article examines the uses Voltaire makes of Saʿdi in Zadig and whether these correlate to the eighteenth-century French reader’s perceptions of the Iranian poet.