It was a happy thought of the poet to present such problems in Persian guise, for Persia stands in Zoroastrianism for the dualism which Ferishtah denies in his recognition of the part evil plays in the development of good, and through Mahometanism for the Fatalism, Ferishtah learned to cast from him. The Persian atmosphere is preserved throughout not only by the introduction constantly of Persian allusions traceable to the great Persian epic the Shah Nameh, but by the telling of fables in the Persian manner to point the morals intended. With the exception of the first Fancy, which is derived from a fable of Bidpai's, we have the poet's own word that all the others are inventions of his own, but they are none the worse for this. These clever stories make the poems lively reading, and we soon find ourselves growing fond of the wise and clever Ferishtah, who like Socrates is never at a loss for an answer, no matter what bothersome questions his pupils may propound.
If we see the thoughtful and brilliant Browning in the 'Fancies' proper, we perhaps see even more clearly the emotional and passionate Browning in the lyrics which add such variety and charm to the whole. This feature is also borrowed from Persian form, a beautiful example of which has been given to English readers in Edwin Arnold's 'Gulistan' or 'Rose Garden' of the poet Sa' di. In fact Sa' di's preface to his 'Rose Garden' evidently gave Browning the hint for his humorous prologue, in which he likens the poems to follow to an Italian dish made of ortolans on toast with a bitter sage leaf, symbolizing sense, sight and song
"Sage-leaf is bitter-pungent--so's a quince:
Eat each who's able!
But through all three bite boldly--lo, the gust!
Flavor--no fixture--
Flies, permeating flesh and leaf and crust
In fine admixture.
So with your meal, my poem masticate
Sense, sight, and song there!