Shy, stutter-prone Samia has been told that she’s a gangly, gawky girl who will never amount to anything, but thanks to her royal bloodline, she’s been prepared and presented as a woman fit to rule. And even ifshe can’t marry for love, she can at least be wed off for the sake of diplomacy. After seeing the way the way his father treated his mother, Sadiq thought that he would never love, so when these two are united, they expect nothing to come from it. Yet their desert kingdom of romance may soon grow roses of love…※This work is originally colored.

Shy, stutter-prone Samia has been told that she’s a gangly, gawky girl who will never amount to anything, but thanks to her royal bloodline, she’s been prepared and presented as a woman fit to rule. And even ifshe can’t marry for love, she can at least be wed off for the sake of diplomacy. After seeing the way the way his father treated his mother, Sadiq thought that he would never love, so when these two are united, they expect nothing to come from it. Yet their desert kingdom of romance may soon grow roses of love…※This work is originally colored.

Shy, stutter-prone Samia has been told that she’s a gangly, gawky girl who will never amount to anything, but thanks to her royal bloodline, she’s been prepared and presented as a woman fit to rule. And even ifshe can’t marry for love, she can at least be wed off for the sake of diplomacy. After seeing the way the way his father treated his mother, Sadiq thought that he would never love, so when these two are united, they expect nothing to come from it. Yet their desert kingdom of romance may soon grow roses of love…※This work is originally colored.

Annemarie Schimmel, one of the world's foremost authorities on Persian literature, provides a comprehensive introduction to the complicated and highly sophisticated system of rhetoric and imagery used by the poets of Iran, Ottoman Turkey, and Muslim India. She shows that these images have been used and refined over the centuries and reflect the changing conditions in the Muslim world. According to Schimmel, Persian poetry does not aim to be spontaneous in spirit or highly personal in form. Instead it is rooted in conventions and rules of prosody, rhymes, and verbal instrumentation. Ideally, every verse should be like a precious stone--perfectly formed and multifaceted--and convey the dynamic relationship between everyday reality and the transcendental. Persian poetry, Schimmel explains, is more similar to medieval European verse than Western poetry as it has been written since the Romantic period. The characteristic verse form is the ghazal--a set of rhyming couplets--which serves as a vehicle for shrouding in conventional tropes the poet's real intentions. Because Persian poetry is neither narrative nor dramatic in its overall form, its strength lies in an "architectonic" design; each precisely expressed image is carefully fitted into a pattern of linked figures of speech. Schimmel shows that at its heart Persian poetry transforms the world into a web of symbols embedded in Islamic culture.