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The Book of One Thousand and One Nights (كتاب ألف ليلة و ليلة in Arabic or هزار و یک شب in Persian), also known as The book of a Thousand Nights and a Night, 1001 Arabian Nights, or simply the Arabian Nights, is a piece of classic Arabic literature in the style of a frame tale. Many of the stories are thought to have originally been collected from folk tales of Persia (modern day Iran, Iraq, Afghanistan, Tajikistan and Uzbekistan) and later compiled to include stories from various other authors.

Shahryar (or Schriyar) (meaning king in Persian), king of an unnamed island "between India and China" (in modern editions based on Arab transcripts he is king of India and China), is so shocked by his wife's infidelity that he kills her and, believing all women to be likewise unfaithful, gives his vizier (meaning minister in Persian) an order to get him a new wife every night (in some versions, every third night). After spending one night with his bride, the king has her executed at dawn. This practice continues for some time, until the vizier's clever daughter Shahrazad (meaning "city-born" in Persian; the name is perhaps better-known in English as "Scheherazade" or "Shahrastini") forms a plan and volunteers to become Shahryar's next wife. Every night after their marriage, she spends hours telling him stories, each time stopping at dawn with a cliff-hanger, so the king will commute the execution out of a desire to hear the rest of the tale. In the end, she has given birth to three sons, and the king has been convinced of her faithfulness.

The tales vary widely; they include historical tales, love stories, tragedies, comedies, poems, burlesques and Muslim religious legends. Some of the famous stories Shahrazad spins in many western translations are Aladdin's Lamp, Sindbad the Sailor, and the tale of Ali Baba and the Forty Thieves; however Aladdin and Ali Baba were in fact inserted only in the 18th century by Antoine Galland, a French orientalist, who had heard them in oral form from a Maronite story-teller from Aleppo. Numerous stories depict djinns, magicians, and legendary places, which are often intermingled with real people and geography; the historical caliph Harun al-Rashid is a common protagonist. Sometimes a character in Scheherazade's tale will begin telling other characters a story of his own, and that story may have another one told within it, and so on, adding to the fantastic texture.


The original Arabic compiler is reputedly storyteller Abu abd-Allah Muhammed el-Gahshigar in the 9th century. The frame-story of Shahrazad seems to have been added in the 14th century. The first modern Arabic compilation, made out of Egyptian writings, was published in Cairo in 1835.

The first European version (and first printed edition) was a translation into French (1704 - 1717) by Antoine Galland of an earlier compilation that was written in Arabic. This book, Les Mille et une nuits, contes arabes traduits en français (in 12 volumes) probably included Arabic stories known to the translator but not included in the Arabic compilation. The Arabic compilation Alf Layla (A Thousand Nights), originating about 850 C.E., was in turn probably an abridged translation of an earlier Persian work called Hazar Afsanah (A Thousand Legends). The present name Alf Layla wa-Layla (literally a "A Thousand Nights and a Night", i.e. "1001 Nights") seems to have appeared at an unknown time in the Middle Ages, and expresses the idea of a transfinite number since 1000 represented conceptual infinity within Arabic mathematical circles. Legend has it that anyone who reads the whole collection will become mad.

The work is made up of a collection of stories thought to be from traditional Persian, Arabic, and Indian stories. Some elements appear in the Odyssey. However, Aladdin's Lamp and Ali Baba and the Forty Thieves appeared first in Antoine Galland's translation and cannot be found in the original writings. He heard them from a Syrian Christian storyteller from Aleppo, a Maronite scholar, Youhenna Diab, whom he called 'Hanna'.

Perhaps the best-known translation to English speakers is that by Sir Richard Francis Burton, published as The Arabian Nights. Unlike previous editions, his 16-volume translation was not bowdlerized. Though published in the Victorian era, it contained all the erotic nuances of the source material. More recent and more legible versions are that of the French doctor J. C. Mardrus, translated into English by Powys Mathers, and, notably, a critical edition based on the 14th century Syrian manuscript in the Bibliotheque Nationale, compiled in Arabic by Muhsin Mahdi and rendered into English by Husain Haddawy, the most accurate and elegant of all to this date.

John Payne, Alaeddin and the Enchanted Lamp and Other Stories, (London 1901) gives details of Galland's encounter with 'Hanna' in 1709 and of the discovery in the Bibliotheque Nationale, Paris of two Arabic manuscripts containing Aladdin and two more of the 'interpolated' tales. He instances Galland's own experience to demonstrate the lack of regard for such entertainments in the mainstream of Islamic scholarship, with the result that

'complete copies of the genuine work were rarely to be met with, collections... and the fragmentary copies which existed were mostly in the hands of professional story-tellers, who were extremely unwilling to part with them, looking upon them as their stock in trade, and were in the habit of incorporating with the genuine text all kinds of stories and anecdotes from other sources, to fill the place of the missing portions of the original work. This process of addition and incorporation, which has been in progress ever since the first collection of the Nights into one distinct work and is doubtless still going on in Oriental countries, (especially such as are least in contact with European influence,) may account for the heterogeneous character of the various modern MSS. of the Nights and for the immense difference which exists between the several texts, as well in actual contents as in the details and diction of such stories as are common to all.'

The Book of One Thousand and One Nights has an estranged cousin: The Manuscript Found in Saragossa, by Jon Potocki. A Polish noble of the late 18th century, he traveled the Orient looking for an original edition of The Book... but never found it. Upon returning to Europe, he wrote his masterpiece, a multi-leveled frame tale.

References and external links

  Results from FactBites:
E-Flux : Gianni Motti, Shahryar Nashat, Marco Poloni, Pipilotti Rist, Ingrid Wildi - (2005-06-04) (629 words)
E-Flux : Gianni Motti, Shahryar Nashat, Marco Poloni, Pipilotti Rist, Ingrid Wildi - (2005-06-04)
Gianni Motti, Shahryar Nashat, Marco Poloni, Pipilotti Rist, Ingrid Wildi
The exhibition Shadows Collide With People in the Swiss Pavilion in the Giardini of the Biennale shows new works by Gianni Motti (born 1958 in Sondrio), Shahryar Nashat (born 1975 in Teheran), Marco Poloni (born 1962 in Amsterdam) and Ingrid Wildi (born 1963 in Santiago de Chile).
The Telegraph - Calcutta : Opinion (0 words)
We do know, however, that ShahryarÂ’s subjects began to resent him mightily, and to flee his capital city with their womenfolk, so that after three years there were no virgins to be found in town.
By the time Scheherazade entered the story, marrying King Shahryar and ordering her sister Dunyazad to sit at the foot of the marital bed and to ask, after ScheherazadeÂ’s deflowering was complete, to be told a bedtime story...by this time, Shahryar and Shah Zaman were already responsible for two thousand, two hundred and thirteen deaths.
Shahryar, upon marrying Scheherazade and being captivated by her tales, stopped killing women.
  More results at FactBites »



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