The Book of One Thousand and One Nights

All you want to know about The Book of One Thousand and One Nights

"Arabian Nights" redirects here. For other uses, see Arabian Nights (disambiguation).
Queen Scheherazade tells her stories to King Shahryār.
Queen Scheherazade tells her stories to King Shahryār.

One Thousand and One Nights (Arabic: كتاب ألف ليلة وليلة‎ - kitāb 'alf layla wa-layla; Persian: هزار و یک شب - Hezār-o yek šab) is a collection of stories collected over many centuries by various authors, translators and scholars in various countries across the Middle East and South Asia. These collections of tales trace their roots back to ancient Arabia and Yemen, ancient Indian literature and Persian literature (especially the Sassanid era's Pahlavi work Hazār Afsān Persian: هزار افسان, lit. Thousand Tales), ancient Egyptian literature and Mesopotamian mythology, ancient Syria and Asia Minor, and medieval Arabic folk stories from the Caliphate era. Though the oldest Arabic manuscript dates from the fourteenth century, scholarship generally dates the collection's genesis to somewhere between AD 800–900.

What is common throughout all the editions of The Nights is the initial frame story of the ruler Shahryar (from Persian: شهريار generally meaning king or sovereign) and his wife Scheherazade (from Persian: شهرزاده generally meaning townswoman) and the framing device incorporated throughout the tales themselves. The stories proceed from this original tale; some are framed within other tales, while others begin and end of their own accord. Some editions contain only a few hundred nights, while others include 1001 or more "nights."

The collection, or at least certain stories drawn from it (or purporting to be drawn from it) became widely known in the West during the nineteenth century, after it was translated — first into French and then English and other European languages. At this time it acquired the English name The Arabian Nights' Entertainment or simply Arabian Nights.

The best known stories from The Nights include "Aladdin's Wonderful Lamp," "Ali Baba and the Forty Thieves," and "The Seven Voyages of Sinbad the Sailor." Ironically these particular stories, while they are most probably genuine Middle Eastern folk tales, were not part of the "Nights" in its Arabic versions, but were interpolated into the collection by its early European translators.

Contents

Synopsis

See also: List of stories within The Book of One Thousand and One Nights
"The Sultan Pardons Scheherazade", by Arthur Boyd Houghton (1836–1875)
"The Sultan Pardons Scheherazade", by Arthur Boyd Houghton (1836–1875)

The main frame story concerns a Persian king and his new bride. The king, Shahryar, upon discovering his former wife's infidelity has her executed and then declares all women to be unfaithful. He begins to marry a succession of virgins only to execute each one the next morning. Eventually the vizier cannot find any more virgins. Scheherazade, the vizier's daughter, offers herself as the next bride and her father reluctantly agrees. On the night of their marriage, Scheherazade tells the king a tale, but does not end it. The king is thus forced to keep her alive in order to hear the conclusion. The next night, as soon as she finishes the tale, she begins (and only begins) another. So it goes for 1,001 nights.

The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, burlesques and various forms of erotica. Numerous stories depict djinn, magicians, and legendary places, which are often intermingled with real people and geography, not always rationally; common protagonists include the historical caliph Harun al-Rashid, his vizier, Ja'far al-Barmaki, and his alleged court poet Abu Nuwas, despite the fact that these figures lived some 200 years after the fall of the Persian Empire in which the frame tale of Scheherazade is set. 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, resulting in a richly-layered narrative texture.

The different versions have different individually detailed endings (in some Scheherazade asks for a pardon, in some the king sees their children and decides not to execute his wife, in some other things happen that make the king distracted) but they all end with the king giving his wife a pardon and sparing her life.

The narrator's standards for what constitutes a cliffhanger seem broader than in modern literature. While in many cases a story is cut off with the hero in danger of losing his life or another kind of deep trouble, in some parts of the full text Scheherazade stops her narration in the middle of an exposition of abstract philosophical principles or complex points of Islamic philosophy, and in one case during a detailed description of human anatomy according to Galen—and in all these cases turns out to be justified in her belief that the king's curiosity about the sequel would buy her another day of life.

A number of stories within the One Thousand and One Nights also feature science fiction elements. One example is "The Adventures of Bulukiya", where the protagonist Bulukiya's quest for the herb of immortality leads him to explore the seas, journey to the Garden of Eden and to Jahannam, and travel across the cosmos to different worlds much larger than his own world, anticipating elements of galactic science fiction;[1] along the way, he encounters societies of jinns,[2] mermaids, talking serpents, talking trees, and other forms of life.[1] In another Arabian Nights tale, the protagonist Abdullah the Fisherman gains the ability to breathe underwater and discovers an underwater submarine society that is portrayed as an inverted reflection of society on land, in that the underwater society follows a form of primitive communism where concepts like money and clothing do not exist. Other Arabian Nights tales deal with lost ancient technologies, advanced ancient civilizations that went astray, and catastrophes which overwhelmed them.[3] "The City of Brass" features a group of travellers on an archaeological expedition[4] across the Sahara to find an ancient lost city and attempt to recover a brass vessel that Solomon once used to trap a jinn,[5] and, along the way, encounter a mummified queen, petrified inhabitants,[6] life-like humanoid robots and automata, seductive marionettes dancing without strings,[7] and a brass horseman robot who directs the party towards the ancient city. "The Ebony Horse" features a robot[8] in the form of a flying mechanical horse controlled using keys that could fly into outer space and towards the Sun,[9] while the "Third Qalandar's Tale" also features a robot in the form of an uncanny boatman.[8] "The City of Brass" and "The Ebony Horse" can be considered early examples of proto-science fiction.[10]

History and editions

Early influences

A page from Kelileh va Demneh dated 1429, from Herat, a Persian translation of the Panchatantra — depicts the manipulative jackal-vizier, Dimna trying to lead his lion-king into war.
A page from Kelileh va Demneh dated 1429, from Herat, a Persian translation of the Panchatantra — depicts the manipulative jackal-vizier, Dimna trying to lead his lion-king into war.

The tales in the collection can be traced to the Indian, Persian, Egyptian, and Arab ancient storytelling traditions.[11] Many stories from Indian and Persian folklore parallel the tales[12] as well as Jewish sources.[13] These tales were probably in circulation before they were collected and codified into a single collection. This work was further shaped by scribes, storytellers, and scholars and evolved into a collection of three distinct layers of storytelling by the 15th century:[11]

  1. Persian tales influenced by Indian folklore and adapted into Arabic by the 10th century.
  2. Stories recorded in Baghdad during the 10th century.
  3. Medieval Egyptian folklore.

The Indian folklore is represented by certain animal stories, which reflect influence from ancient Sanskrit fables. The influence of the Baital Pachisi as well as The Panchatantra is notable.[14] The Jataka Tales are a collection of 547 Buddhist stories, which are for the most part moral stories with an ethical purpose. The Tale of the Bull and the Ass and the linked Tale of the Merchant and his Wife are found in the frame stories of both the Jataka and the Arabian Nights.[15]

The influence from the folklore of Baghdad is represented by the tales of the Abbasid caliphs; the Cairene influence is made evident by Maruf the cobbler. Tales such as Iram of the columns are based upon the pre-Islamic legends of the Arabian peninsula; motifs are employed from the ancient Mesopotamian tale of Gilgamesh. Possible Greek influences have also been noted.[16]

Versions

The first European version of the Book of the Thousand and One Nights (1704-1717) was translated into French by Antoine Galland from an Arabic text and other sources.[12] This 12-volume book, Les Mille et une nuits, contes arabes traduits en français ("Thousand and one nights, Arab stories translated into French"), included stories that were not in the original Arabic manuscript. "Aladdin's Lamp" and "Ali Baba and the Forty Thieves" appeared first in Galland's translation and cannot be found in any of the original manuscripts. He wrote that he heard them from a Syrian Christian storyteller from Aleppo, a Maronite scholar whom he called "Hanna Diab."

Galland's version of the Nights were immensely popular throughout Europe, and later versions of the Nights were written by Galland's publisher using Galland's name without his consent.

Poster for a Russian production of 1001 nights.
Poster for a Russian production of 1001 nights.

A well-known English translation is that by Sir Richard Francis Burton, entitled The Book of the Thousand Nights and a Night (1885). Unlike previous editions his ten-volume translation, published by Leonard Smithers, was not bowdlerized. Though printed in the Victorian era it contained all the erotic nuances of the source material replete with sexual imagery and pederastic allusions added as appendices to the main stories by Burton. Burton's publisher circumvented strict Victorian laws on obscene material by printing a private edition for subscribers only rather than publicly publishing the book. His original ten volumes were followed by a further six entitled The Supplemental Nights to the Thousand Nights and a Night, which were printed between 1886 and 1888.

Recent versions of the Nights include 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 Bibliothèque Nationale, compiled in Arabic by Muhsin Mahdi and rendered into English by Husain Haddawy, by and large the best English language version to date.

In 2005, Brazilian scholar Mamede Mustafa Jarouche started publishing a thorough Portuguese translation of the work, based on the comparative analysis of a series of different Arabic manuscripts. The first three volumes of a planned five- or six-volume set have already been released, comprising the complete Syrian branch of the book (volumes 1 and 2) and part of the later Egyptian branch (volume 3 and onwards).[17]

Timeline

Arabic Manuscript of The Thousand and One Nights back to the 1300s
Arabic Manuscript of The Thousand and One Nights back to the 1300s

Scholars have assembled a timeline concerning the publication history of The Nights:[18][19]

  • Oldest Arabic manuscript (a few handwritten pages) from Syria dating to the early 800s discovered by scholar Nabia Abbott in 1948.
  • 900s AD — Mention of The Nights in Ibn Al-Nadim's "Fihrist" (Catalogue of books) in Baghdad. He mentions the book's history and its Persian origins.
  • 1000s AD — Mention of the original Persian name of the One Thousands and One Nights by Qatran Tabrizi in the following couplet in Persian:

هزار ره صفت هفت خوان و رويين دژ
فرو شنيدم و خواندم من از هزار افسان

A thousand times, accounts of Rouyin Dezh and Haft Khān
I heard and read from Hezār Afsān (literally Thousand Fables)

  • 1704 — Antoine Galland's French translation is the first European version of The Nights. Later volumes were introduced using Galland's name though the stories were written by unknown persons at the behest of the publisher wanting to capitalize on the popularity of the collection.
  • 1706 — An anonymously translated version in English appears in Europe dubbed the "Grub Street" version.
  • 1775 — Egyptian version of The Nights called "ZER" (Hermann Zotenberg's Egyptian Recension) with 200 tales (no surviving edition exists).
  • 1814 — Calcutta I, the earliest existing Arabic printed version, is published by the British East India Company. A second volume was released in 1818. Both had 100 tales each.
  • 1825-1838 — The Breslau/Habicht edition is published in Arabic in 8 volumes. Christian Maxmilian Habicht (born in Breslau, Germany, 1775) collaborated with the Tunisian Murad Al-Najjar and created this edition containing 1001 stories. Using versions of The Nights, tales from Al-Najjar, and other stories from unknown origins Habicht published his version in Arabic and German.
  • 1842-1843 — Four additional volumes by Habicht.
  • 1835 Bulaq version — These two volumes, printed by the Egyptian government, are the oldest printed (by a publishing house) version of The Nights in Arabic by a non-European. It is primarily a reprinting of the ZER text.
  • 1839-1842 — Calcutta II (4 volumes) is published. It claims to be based on an older Egyptian manuscript (which was never found). This version contains many elements and stories from the Habicht edition.
  • 1838 — Torrens version in English.
  • 1838-1840 — Edward William Lane publishes an English translation. Notable for its exclusion of content Lane found "immoral" and for its anthropological notes on Arab customs by Lane.
  • 1882-1884 — John Payne publishes an English version translated entirely from Calcutta II, adding some tales from Calcutta I and Breslau.
  • 1885-1888 — Sir Richard Francis Burton publishes an English translation from several sources. His version accentuated the sexuality of the stories vis-à-vis Lane's bowdlerized translation.
  • 1889-1904 — J. C. Mardrus publishes a French version using Bulaq and Calcutta II editions.
  • 1984 — Muhsin Mahdi publishes an Arabic translation he says is faithful to the oldest Arabic versions surviving.
  • 1990s — Husain Haddawy publishes an English translation of Mahdi.

The Nights in world culture

Literature

The influence of the versions of The Nights on world literature is immense. Writers as diverse as Henry Fielding to Naguib Mahfouz have alluded to the work by name in their own literature.

This epic has been influential in the West since it was translated in the 18th century, first by Antoine Galland.[20] Many imitations were written, especially in France.[21] Various characters from this epic have themselves become cultural icons in Western culture, such as Aladdin, Sinbad and Ali Baba. Part of its popularity may have sprung from the increasing historical and geographical knowledge, so that places of which little was known and so marvels were plausible had to be set further "long ago" or farther "far away"; this is a process that continues, and finally culminate in the fantasy world having little connection, if any, to actual times and places. A number of elements from Arabian mythology and Persian mythology are now common in modern fantasy, such as genies, bahamuts, magic carpets, magic lamps, etc.[21] When L. Frank Baum proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go.[22]

Examples of this influence include:

  • Edgar Allan Poe wrote a "Thousand and Second Night" as a separate tale, called "The Thousand and Second Tale of Scheherazade." It depicts the 8th and final voyage of Sinbad the Sailor, along with the various mysteries Sinbad and his crew encounter; the anomalies are then described as footnotes to the story. While the king is uncertain—except in the case of the elephants carrying the world on the back of the turtle—that these mysteries are real, they are actual modern events that occurred in various places during, or before, Poe's lifetime. The story ends with the king in such disgust at the tale Scheherazade has just woven, that he has her executed the very next day.
  • The Book of One Thousand and One Nights has an estranged cousin: The Manuscript Found in Saragossa, by Jan Potocki. A Polish noble of the late 18th century, he traveled the Orient looking for an original edition of The Nights, but never found it. Upon returning to Europe, he wrote his masterpiece, a multi-leveled frame tale.
  • It also greatly influence famed horror and science fiction writer H. P. Lovecraft in his early years as a child in which he would imagine himself living the adventures of the heroes in the book. It also inspired him to come up with his famed Necronomicon.
  • In his criticism of mainstream cinema in "Metaphors on Vision," avant-garde filmmaker Stan Brakhage metaphorically compares Hollywood studio film making to Scheherazade's tales, calling it the, "... heroine of a thousand and one nights (Scheherazade must surely be the muse of this art)..."
  • In 2005 playwright Jason Grote used the literary device of One Thousand and One Arabian Nights to create 1001, combining the traditional Scheherazade story with literary and pop culture allusions ranging from Flaubert in Egypt, Jorge Luis Borges, Alfred Hitchcock's Vertigo, and Michael Jackson's Thriller. The main characters alternate between playing Scheherazade and Shahriyar and the Palestinian Dahna and the Jewish Alan, who are college students in love in modern New York. The play was premiered in Denver in 2006 and opened in New York City in October 2007 to strong reviews.
  • In 2005 novelist Joseph Covino Jr adapted tales from the classical 1001 Nights in two parts of an intended trilogy titled "Arabian Nights Lost: Celestial Verses 1&II."[1], [2]

Film and television

Mili Avital as Scheherazade and Dougray Scott as Shahryar, in the ABC/BBC Miniseries Arabian Nights.
Mili Avital as Scheherazade and Dougray Scott as Shahryar, in the ABC/BBC Miniseries Arabian Nights.

There have been many adaptations of The Nights for both television and cinema.

The atmosphere of The Nights influenced such films as Fritz Lang's 1921 Der müde Tod, the 1924 Hollywood film The Thief of Bagdad starring Douglas Fairbanks, and its 1940 British remake. Several stories served as source material for The Adventures of Prince Achmed (1926), the oldest surviving feature-length animated film.

One of Hollywood's first feature films to be based on The Nights was in 1942, with the movie called Arabian Nights. It starred Maria Montez as Scheherazade, Sabu Dastagir as Ali Ben Ali and Jon Hall as Harun al-Rashid. The storyline bears virtually no resemblance to the traditional version of the book. In the film, Scheherazade is a dancer who attempts to overthrow Caliph Harun al-Rashid and marry his brother. After Scheherazade’s initial coup attempt fails and she is sold into slavery, many adventures then ensue. Maria Montez and Jon Hall also starred in the 1944 film Ali Baba and the Forty Thieves.

In the 1952 Universal Pictures movie The Golden Blade, Harun Al-Rashid (Rock Hudson) uses a magical sword that makes him invincible to free Baghdad from the evil vizier Jafar and his son Hadi and win the love of the beautiful princess Khairuzan (Piper Laurie).

Perhaps the most famous Sinbad film was the 1958 movie The Seventh Voyage of Sinbad, produced by the stop-motion animation pioneer Ray Harryhausen. Harryhausen also provide the stop-motion effects for The Golden Voyage of Sinbad (1974) and Sinbad and the Eye of the Tiger (1977).

In 1959 UPA released an animated feature about Mr. Magoo, based on 1001 Arabian Nights.

Osamu Tezuka worked on two (very loose) feature film adaptations, the children's film Sinbad no Bōken in 1962 and then Senya Ichiya Monogatari in 1969, an adult-oriented animated feature film.

The most commercially successful movie based on The Nights was Aladdin, the 1992 animated movie by the Walt Disney Company, which starred the voices of Scott Weinger and Robin Williams. The film led to several sequels and a television series of the same name.

"The Voyages of Sinbad" has been adapted for television and film several times, most recently in the 2003 animated feature Sinbad: Legend of the Seven Seas, featuring the voices of Brad Pitt and Catherine Zeta-Jones.

A recent well-received television adaptation was the Emmy Award-winning miniseries Arabian Nights, directed by Steve Barron and starring Mili Avital as Scheherazade and Dougray Scott as Shahryar. It was originally shown over two nights on April 30, and May 1, 2000 on ABC in the United States and BBC One in the United Kingdom.

Other notable versions of The Nights include the famous 1974 Italian movie Il fiore delle mille e una notte by Pier Paolo Pasolini and the 1990 French movie Les 1001 nuits, in which Catherine Zeta-Jones made her debut playing Scheherazade. There are also numerous Bollywood movies inspired by the book, including Aladdin and Sinbad. In this version the two heroes meet and share in each other's adventures; the djinn of the lamp is female, and Aladdin marries her rather than the princess.

Music

  • In 1888, Russian composer Nikolai Rimsky-Korsakov completed his Op. 35 Scheherazade, in four movements, based upon four of the tales from The Nights: "The Sea and Sinbad's Ship," "The Kalendar Prince," "The Young Prince and The Young Princess," and "Festival at Baghdad."
  • There have been several Arabian Nights musicals and operettas, either based on particular tales or drawing on the general atmosphere of the book. Most notable are Chu Chin Chow (1916) and Kismet (1953), not to mention several musicals and innumerable pantomimes on the story of "Aladdin."
  • 1990 saw the premiere of La Noche de las Noches, a work for string quartet and electronics by Ezequiel Viñao (based on a reading from Burton's "Book of the Thousand Nights and a Night")[23]
  • In 1975, the band Renaissance released an album called Scheherazade and Other Stories. The second half of this album consists entirely of the "Song of Scheherazade," an orchestral-rock composition based on the The Nights.
  • In the song "Sheherazade," on his 1988 album One More Story, Peter Cetera refers to the One Thousand and One Nights tale.
  • The song "One Thousand and One Nights" by J-Pop band See-Saw, used as the opening theme song for the second part of the four-part OVA .hack//Liminality ("In the Case of Yuki Aihara"), references The Nights in both the title and the lyrics.
  • In 2003, Nordic experimental indie pop group When released an album called Pearl Harvest with lyrics from The Nights.
  • In 2007, Japanese pop duo BENNIE K released a single titled "1001 Nights," also releasing a music video strongly based around the The Nights.
  • 2008 saw the birth of Australian metalcore band, Ebony Horse, named after the tale "The Ebony Horse."
  • The music group "Chipz" has also released a song called 1001 Arabian Nights and also has a film clip to go along with it which illustrates one of the stories.
See also: List of stories within The Book of One Thousand and One Nights

Games

  • The first expansion set for Magic: The Gathering was "Arabian Nights," containing cards based on and inspired by One Thousand and One Nights. This included a card called "Shahrazad" which required the two players to play a separate game within the current game.
  • A Thousand and One Nights, a storytelling game by Meguey Baker, puts the players in the roles of courtiers in the Sultan's palace who are forbidden to leave for various reasons. To pass the time, they take turns telling stories and casting each other as various characters in the tales as they attempt to earn enough favor in the court to win their freedom.

Notes

  1. ^ a b Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Paperbacks, p. 209, ISBN 1860649831 
  2. ^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Paperbacks, p. 204, ISBN 1860649831 
  3. ^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Paperbacks, p. 211-2, ISBN 1860649831 
  4. ^ Hamori, Andras (1971), "An Allegory from the Arabian Nights: The City of Brass", Bulletin of the School of Oriental and African Studies (Cambridge University Press) 34(1): 9-19 [9] 
  5. ^ Pinault, David (1992), Story-Telling Techniques in the Arabian Nights, Brill Publishers, pp. 148-9 & 217-9, ISBN 9004095306 
  6. ^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Paperbacks, p. 213, ISBN 1860649831 
  7. ^ Hamori, Andras (1971), "An Allegory from the Arabian Nights: The City of Brass", Bulletin of the School of Oriental and African Studies (Cambridge University Press) 34(1): 9-19 [12-3] 
  8. ^ a b Pinault, David (1992), Story-Telling Techniques in the Arabian Nights, Brill Publishers, pp. 10-1, ISBN 9004095306 
  9. ^ Geraldine McCaughrean, Rosamund Fowler (1999), One Thousand and One Arabian Nights, Oxford University Press, pp. 247-51, ISBN 0192750135 
  10. ^ Academic Literature, Islam and Science Fiction
  11. ^ a b Zipes, Jack David; Burton, Richard Francis (1991). The Arabian Nights: The Marvels and Wonders of the Thousand and One Nights pg 585. Signet Classic
  12. ^ a b Jacob W. Grimm (1982). Selected Tales pg 19. Penguin Classics
  13. ^ Jewish sources
  14. ^ Burton, Richard F. (2002). Vikram and the Vampire Or Tales of Hindu Devilry pg xi. Adamant Media Corporation
  15. ^ Irwin, Robert (2004). The Arabian Nights: A Companion pg 65. Tauris Parke Paperbacks
  16. ^ Pinault, David (1992). Story-Telling Techniques in the Arabian Nights pg 5. Brill Academic Publishers
  17. ^ (Portuguese) Cristiane Capuchinho, Lançada a primeira tradução do árabe d'As Mil e Uma Noites, USP Online, Universidade de São Paulo, 6 May 2005. Accessed online 12 November 2006.
  18. ^ Dwight Reynolds. "The Thousand and One Nights: A History of the Text and its Reception." The Cambridge History of Arabic Literature: Arabic Literature in the Post-Classical Period. Cambridge UP, 2006.
  19. ^ Irwin, Robert. The Arabian Nights: A Companion. Tauris Parke, 2004.
  20. ^ L. Sprague de Camp, Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy, p 10 ISBN 0-87054-076-9
  21. ^ a b John Grant and John Clute, The Encyclopedia of Fantasy, "Arabian fantasy", p 52 ISBN 0-312-19869-8
  22. ^ James Thurber, "The Wizard of Chitenango", p 64 Fantasists on Fantasy edited by Robert H. Boyer and Kenneth J. Zahorski, ISBN 0-380-86553-X
  23. ^ Ezequiel Vinao La Noche de las Noches
  24. ^ Lyrics of "Sahara"

See also

Further reading

  • In Arabian Nights — A search of Morocco through its stories and storytellers by Tahir Shah, Doubleday, 2008. This is a book that explores the ancient living tradition of storytelling that bridges East and West, yet somehow seems to survive at much more pervasively vibrant levels in contemporary Moroccan culture. [3]

External links

1001 Nights

References

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