The slowness to import these books into our libraries--mainly owing, no doubt, to the forbidding difficulty of the original languages--is due also in part to some repulsion in the genius of races. At first sight, the Oriental rhetoric does not please our Western taste. Life in the East wants the complexity of European and American existence; and in the writing of the primitive nations a certain monotony betrays the poverty of the landscape, and of social conditions. Every word in Arabic is said to be derived from the camel, the horse, or the sheep. We fancy we are soon familiar with all their images. Medschun and Leila, rose and nightingale, parrots and tulips; mosques and dervishes; desert, caravan, and robbers; peeps at the harem; bags of gold dinars; slaves, horses, camels, sabres, shawls, pearls, amber, cohol, and henna; insane compliments to the Sultan, borrowed from the language of prayer; Hebrew and Gueber legends molten into Arabesque;--'tis a short inventory of topics and tropes, which incessantly return in Persian poetry. I do not know but at the first encounter many readers take also an impression of tawdry rhetoric, an exaggeration, and a taste for scarlet, running to the borders of the negro-fine,--or if not, yet a pushing of the luxury of ear and eye where it does not belong, as the Chinese in their mathematics employ the colors blue and red for algebraic signs, instead of our pitiless _x_ and _y_. These blemishes disappear, or diminish, on better acquaintance. Where there is real merit, we are soon reconciled to differences of taste. The charge of monotony lies more against the numerous Western imitations than against the Persians themselves, and though the torrid, like the arctic zone, puts some limit to variety, it is least felt in the masters. It is the privilege of genius to play its game indifferently with few or with many pieces, as Nature draws all her opulence out of a few elements. Saadi exhibits perpetual variety of situation and incident, and an equal depth of experience with Cardinal de Retz in Paris or Doctor Johnson in London. He finds room on his narrow canvas for the extremes of lot, the play of motives, the rule of destiny, the lessons of morals, and the portraits of great men. He has furnished the originals of a multitude of tales and proverbs which are current in our mouths, and attributed by us to recent writers; as, for example, the story of "Abraham and the Fire-Worshipper," once claimed for Doctor Franklin, and afterwards traced to Jeremy Taylor, who probably found it in Gentius.