Abstract:
Translations and compositions on Sa’di’s works abound in Italian, to evaluate each of which would be impossible in the present opportunity. In this paper, effort is made to refer to the first and most crucial viewpoints expressed in Italian around Sa’di’s works in chronological order. The focus will particularly be on critical and comparative literary approaches of such writers as Italo Pitesti, Alessandro Bausani, Riccardo Zipoli, and Calro Ciccone. At the end, the Italian translations of Sa’di’s works are listed.
Machine summary:
In this article, an attempt is made to refer chronologically to the first and most key perspectives expressed in the Italian language regarding Saadi, with a special focus on the literary criticism and comparative approach of the authors: Italo Pitsi, Alessandro Bauzani, Riccardo Zippoli, and Carlo Seccone.
8 Italo Pitsi, who was a very moralistic individual (for example, he expressed a particular aversion to the romantic story of "Vis and Ramin" 9), has particularly shown no favor toward the concept of "shahid-bazi" (homoeroticism) in Persian literature (this issue is also observed in his translations; for example, in rendering the beloved as female); he rejects Saadi's interest in "shahids" and says that although there are references in his works (for example, in Saadi's meeting with a young man in Tabriz), these instances cannot be indicative of this lofty poet's love for "shahids".
"12 To introduce Saadi's "Bustan", in addition to counting its contentual and formal characteristics, Pitsi compares it with some didactic masnavis in terms of literary genre and subject matter, and by stating some differences, reveals the nature of this work as well as the personal inclinations of the poet.
33 In the introduction to this translation, Zoppoli first makes references to the prejudiced views of most Iranologists (Ripka, Cramers, Sorio, Masse, Southgate, Hern)34, those who have considered these works of Saadi to be anomalous and, with a reproachful and condemnatory tone, have settled for only general and passing descriptions, usually questioning their artistic and moral value.
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