A marriage took place between cousins, both possessing such striking beauty that each seemed like a radiant sun in the sky.
The wife was immersed in contentment, completely devoted to her husband and their life together, while the husband harbored a deep aversion to this affection.
The wife was characterized by her gentle nature and grace, like that of a nymph or an angel, while the other party met this kindness with complete indifference, his face like a deaf, mute wall.
The wife exerted herself to the utmost in adorning and beautifying herself to please him, while he, overwhelmed by this union, prayed to the Creator to hasten his death so he could be freed from this bond.
The wise men and elders of the village gathered with the young man to resolve the dispute. They wisely advised him: “If you harbor no affection for her in your heart, then pay her her dowry and go your own way as a free man.”
He smiled sarcastically and said: “If only… The price of my freedom from this bondage was a hundred sheep, I did not consider it a loss or a deprivation; rather, it was pure gain”
The beautiful wife with the angelic face overheard this conversation and began scratching her skin with her fingernails in anguish, crying out bitterly, “How can I bear to be separated from my beloved?”
Then she cried, “Not just a hundred sheep, but even three hundred thousand would be nothing to me compared to being deprived of seeing the beloved’s face!”
So know for certain, if you seek the truth, that whatever distracts your heart from the true Beloved (God Almighty) and diverts your focus from Him, you are in reality preoccupied with something else, and your mind is distracted from Him.
It is said that a questioner asked a man of the righteous path: “Which do you choose for your destiny: the bliss of Paradise or the torment of Hell?”
The gnostic replied in the language of annihilation: Do not ask me about my personal choice in this matter, for I have entrusted my will to His will, and I am content with whatever the Beloved (God Almighty) deems appropriate for me, whatever it may be.
Cultural and mystical notes
“Roy dar roy diwar” (face towards the wall): A classic Persian metaphor signifying absolute estrangement and psychological disconnection. In Sufism, it is used to refer to the “veil” that the servant places between himself and the manifestations of divine beauty due to his preoccupation with the ego.
Mahresh Bada (Give her her dowry): The dowry here symbolizes material attachments. In the story, the young man is ready to sacrifice material things to attain salvation, but the wife (who represents the true lover) sees that material things are worthless compared to “meeting with the Beloved.”
Dalaramt Awst (He is the tranquility of your heart): In mystical literature, “Dalaram” is the one to whom the heart finds solace. Saadi here warns that “false tranquility” in other things (money, status, the self) is in reality idolatry that veils the true Beloved.
The last two lines summarize the Sufi doctrine of “contentment with the decrees of fate.” The mystic does not seek Paradise for its own sake, nor does he flee from Hell out of fear of it, but rather seeks “the face of Truth, God Almighty.” What Truth chooses is precisely what is sought.
This story from Saadi Shirazi in his book ‘Bustan’ means that true love transcends the language of material exchanges and personal interests to reach the pinnacle of annihilation in the will of the beloved. It is important in the path of mystical behavior because it clarifies that the standard of truth in love is complete surrender (contentment), where the beloved’s estrangement and his bestowal are the same to one who realizes that the goal is the beloved, not the giving.
Saadi’s choice of the word “gosvand” (sheep) instead of gold or silver in this verse is not arbitrary; rather, it carries profound linguistic and environmental connotations consistent with his renowned style of simple yet profound expression:
Rural Symbolism and Simplicity: The story unfolds within a simple social context (Saadi mentioned “piran deh,” meaning village elders, in the preceding verse), and at that time, sheep were the true measure of wealth in pastoral and rural communities. The use of sheep lends the story a tangible, realistic feel, far removed from abstraction.
The Depiction of “Redemption”: In Eastern and Islamic culture, sheep or rams are associated with the concept of redemption (as in the story of Ishmael, peace be upon him). The young man here sees himself as a “sacrifice” in this marriage, and offering one hundred sheep is his “redemption” to free himself from this bondage.
Significance and Value: One hundred sheep (sad gosvand) represented immense wealth in that era, and their use suggests that the young man was prepared to sacrifice his entire fortune and daily sustenance for the sake of his freedom, highlighting the intensity of his aversion.
Musical Sound: The word “gosvand,” with its linguistic weight, serves the rhyme and poetic meter of the “mutaqarib” meter in which the Bustan is written, lending a pleasing, popular tone that suits the wisdom stories Saadi addresses to both the common people and the elite.
In short, the sheep here represent “living wealth,” and relinquishing them is a more powerful expression of the desire for liberation than giving up silent gold.
From Divine Redemption to Human Redemption: In “And We ransomed him with a great sacrifice,” the ram was a symbol of God’s mercy that saved the beloved (Ishmael) from the knife. In Saadi’s house, the young man sees himself as the one offering the sacrifice (one hundred heads) to save himself from the knife of “forced bondage” that he cannot bear.
Emotional versus material value: Saadi always places “inanimate objects” (gold and silver) on one side of the scale, and “spirit and life” (human and animal) on the other. The mention of sheep suggests movement, life, a flock in motion, and this kinetic energy serves the drama of the story better than silent gold bars.
Mystical symbolism: In the mystical literature to which the author of the Bustan is drawn, the passions of the soul are sometimes seen as “beasts” that must be sacrificed. Here, the young man sacrifices his “living wealth” to buy his “peace of mind.”
Unity of will: The true mystic, as described by Saadi in the last verse (“Pesandim anch o pesandad mara”), does not possess a will separate from the will of the Creator. The idea of ”redemption” with sheep or money is a human attempt to buy salvation, but true union cannot be bought; it is attained through complete contentment.
Transcending “otherness”: In Sufi terminology, all that a person possesses, whether “sheep” or “gold,” is called “otherness” (everything other than God). Saadi explicitly states in the ninth verse that anything that distracts you from the Beloved is, in reality, an enemy of your peace (“Tu ra har che mashghul darad z dost… delaramt ost”).
The true lover does not bargain: While the young man was willing to trade sheep to escape, the wife (representing the mortal lover) would refuse even hundreds of thousands of sheep for a glimpse of the Beloved’s face. This illustrates that the soul that desires “to live in one spirit with the Creator” sees that all the treasures of the world are not worth a single moment of union.
The conclusion about the “one soul” with the Creator is the deepest interpretation of the verse by the wanderer (Shurideh Hal), who, when asked about Heaven and Hell, replied that he chose what his Beloved chose for him, because “choice” itself is a kind of “self” that must dissolve into the Creator’s will.
- The Reality of Psychological “Shackles”
In this story, Saadi shows us that “shackles” are not always iron chains. Sometimes, the shackle is living in a relationship that lacks “love” and harmony, no matter how perfect it may seem in the eyes of others (cousins, from prestigious families, and beautiful). Sacrificing material possessions (sheep) here means that “psychological freedom” is priceless.
- The Gap Between “Giving” and “Accepting”
We see a sad paradox in the verses; the wife exerts herself in adornment and kindness (privar), but the husband responds with aversion. This teaches us in life that “love” is not imposed by beauty or material favors, but rather it is a chemistry and harmony of the heart, and without it, a house becomes a deafening wall (a wall in the desert).
- The Station of “Contentment” as a Life Strategy
The last verse is not merely mysticism, but an “art of living.” When the mystic says, “I accepted you, and you accepted me,” he frees himself from anxiety about the future. In our daily lives, psychological stress arises from our constant attempt to impose our will on fate. Saadi suggests that happiness lies in accepting what we experience as part of a greater journey, just as the wife accepted her pain with patience for the sake of her love.
- Priorities (Tangible vs. Spiritual)
By linking “redemption” with the oneness of the soul. In life, we often try to solve our emotional or spiritual problems with material means (sheep, gold, gifts), but Saadi emphasizes that “seeing the beloved’s face” (meaning and connection) is the only currency whose value never diminishes.
This story is a constant reminder that on life’s “garden” journey, we may sometimes be the young man seeking salvation, and sometimes the patient lover, but the ultimate goal is to reach a “peace of heart” that cannot be shaken by the loss of “a hundred sheep.”
Arabic Translation
وقع قرانٌ ومصاهرة بين ابناء عمومة، وقد اجتمعت فيهما وسامة الملامح
حتى كأن وجه كل منهما شَمسٌ ساطعة في السماء
كانت الزَوجة غارقة في الرضا، التعلق والقبول المُطلق بالزوج وحياتها
أما الزوج يَضمر نُفوراً شديداً لهذه الألفة
فاتصفت الزوجة بدماثة الخُلقِ ولطافةٍ كالحوريات او الملائكة
في حين كان الطرف الآخر يُقابل هذا اللطف بالإعراض التام، وكأن وجهه جِدار أصمّ لا ينطق
فكانت الزوجة تبذل وسعها في التزين والتجمل طلباً لمرضاتهِ
بينما كان هو، من فرط ضيقه لهذا الوصال، يبتهل إلى الخالق أن يُعجل بمنيتهِ ليتخلص من هذا القيد
فأجتمع حُكماء القَرية وشِيوخها بالشاب لفض النزاع، وقالوا له بلسان الحكمة
إن كُنت لا تُضمر لها مَودة في قلبك، فأدِّ إليها مهرها، وأنطلق في سبيلك حُراً
فابتسم ساخراً وقال: لو كان ثمن نيل حُريتي من هذا القيد مائة رأس من الغنم
لما أعتبرتُ ذَلك غُبناً أو خَسارة، بل هو ربحٌ مَحض
سمعت الزوجة الجميلة ذات الوجه الملائكي الحديث، فشرعت تخدش جِلدها بأظفارها من لوعة العشق
وهي تصيح بمرارة: كيف لي أن أطيق صبراً على فراق الحَبيب؟
فصاحت: ليس بمائة رأس من الغنم فَحسب، بل لو كانت ثلاثمائة ألف
لما كانت تعدل عندي شيئاً مقابل الحرمان من رؤية وجه المحبوب
فأعلم يقيناً/ إذا أردت الحقيقة، أن كل ما يُشغل قَلبك عن المَحبوب الحَقيقي (الحق سبحانه وتعالى)
ويَصرف همتك عنه، فأنت في الحقيقة مشغول بغيره حتما، وعقلك لاه عنه
يُروى أن سائلاً سأل رَجلاً من أهل الطريق الصالح
أيهما تختار لمصيرك؛ نعيم الجنة أم لظى الجحيم؟
فأجاب العارف بلسان الفناء: لا تسألني عن خياري الشخصي في هذا الأمر
فقد فوضت إرادتي لإرادته، ورضيتُ بما يرتضيه لي المحبوب (ألله سبحانه وتعالى)، أياً كان
هوامش السياق الثقافي والعرفاني
روی در روی دیوار (الوجه نحو الجدار): استعارة فارسية كلاسيكية تعني الجفاء المطلق والقطيعة النفسية. صوفياً، تُستخدم للإشارة إلى “الحجاب” الذي يضعه العبد بينه وبين تجليات الجمال الإلهي بسبب انشغاله بالأنا
مهرش بده (أعطِها مهرها): المهر هنا رمز للتعلقات المادية، في القصة، الشاب مستعد للتضحية بالمادة لنيل الخلاص، لكن الزوجة (التي تمثل المحب الصادق) ترى أن المادة لا قيمة لها أمام “اللقاء مع المحبوب”
دلارامت اوست (هو طمأنينة قلبك): في الأدب العرفاني، “دلارام” هو مَن يسكن إليه القلب، سعدي هنا يحذر من أن “الطمأنينة الزائفة” بالأغيار (المال، الجاه، النفس) هي في الحقيقة أوثان تحجب المحبوب الأصلي
الرضا: البيتان الأخيران يلخصان عقيدة “الرضا بمواقع القضاء” عند الصوفية، فالعارف لا يطلب الجنة لذاتها ولا يهرب من النار خوفاً منها، بل يطلب “وجه الحق، الله تعالى”، فما يختاره الحق هو عين المطلب
هذه القصة من سعدي الشيرازي في كتابه البوستان تعني أنَّ المحبةَ الحقيقيةَ تتجاوزُ لغةَ المقايضاتِ الماديةِ والمصالحِ الشخصيةِ لتصلَ إلى ذروةِ الفناءِ في مشيئةِ المحبوب، ولها أهمية في مسارِ السلوكِ العرفاني لأنها توضح أنَّ معيارَ الصدقِ في العشقِ هو الاستسلامُ الكاملُ (الرضا)، حيثُ يغدو الجفاءُ من المحبوبِ والمنحُ منه سيّانِ عند من أدرك أنَّ الغايةَ هي المحبوبُ لا العطاء
Persian text
میان دو عم زاده وصلت فتاد
دو خورشید سیمای مهتر نژاد
یکی را به غایت خوش افتاده بود
دگر نافر و سرکش افتاده بود
یکی خلق و لطف پریوار داشت
یکی روی در روی دیوار داشت
یکی خویشتن را بیاراستی
دگر مرگ خویش از خدا خواستی
پسر را نشاندند پیران ده
که مهرت بر او نیست مهرش بده
بخندید و گفتا به صد گوسفند
تغابن نباشد رهایی ز بند
به ناخن پری چهره میکند پوست
که هرگز بدین کی شکیبم ز دوست؟
نه صد گوسفندم که سیصد هزار
نباید به نادیدن روی یار
تو را هر چه مشغول دارد ز دوست
اگر راست خواهی دلارامت اوست
یکی پیش شوریده حالی نبشت
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