One Thousand and One Nights. Cassim in the cave by Maxfield Parrish, 1. Ali Baba and the Forty Thieves. One Thousand and One Nights (Arabic: أَلْف لَيْلَة وَلَيْلَة‎‎ ʾAlf layla wa- layla[1]) is a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age. It is often known in English as the Arabian Nights, from the first English- language edition (1. The Arabian Nights' Entertainment.[2]The work was collected over many centuries by various authors, translators, and scholars across West, Central, and South Asia and North Africa. The tales themselves trace their roots back to ancient and medieval Arabic, Persian, Turkish, Indian and Jewish[3] folklore and literature.

In particular, many tales were originally folk stories from the Abbasid era, while others, especially the frame story, are most probably drawn from the Pahlavi Persian work. Hazār Afsān (Persian: هزار افسان‎‎, lit. A Thousand Tales), which in turn relied partly on Indian elements.[4]What is common throughout all the editions of the Nights is the initial frame story of the ruler Shahryār and his wife Scheherazade 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 1,0.

The bulk of the text is in prose, although verse is occasionally used for songs and riddles and to express heightened emotion. Most of the poems are single couplets or quatrains, although some are longer. Some of the stories very widely associated with The Nights, in particular "Aladdin's Wonderful Lamp", "Ali Baba and the Forty Thieves", and "The Seven Voyages of Sinbad the Sailor", were not part of The Nights in its original Arabic versions but were added to the collection by Antoine Galland and other European translators.[5]Synopsis[edit]The main frame story concerns Shahryār (Arabic: شهريار‎‎, from Middle Persianšahr- dār, lit. Watch Ghost Online Mic there. Sasanian king" ruling in "India and China".[7] He is shocked to learn that his brother's wife is unfaithful; discovering that his own wife's infidelity has been even more flagrant, he has her killed. In his bitterness and grief, he decides that all women are the same. Shahryār begins to marry a succession of virgins only to execute each one the next morning, before she has a chance to dishonour him.

Eventually the vizier, whose duty it is to provide them, cannot find any more virgins. Scheherazade (Arabic: شهرزاد‎‎, from Middle Persian čehr/lineage + āzād/noble[6][8]), the vizier's daughter, offers herself as the next bride and her father reluctantly agrees.

On the night of their marriage, Scheherazade begins to tell the king a tale, but does not end it. The king, curious about how the story ends, is thus forced to postpone her execution in order to hear the conclusion. The next night, as soon as she finishes the tale, she begins (and only begins) a new one, and the king, eager to hear the conclusion of this tale, postpones her execution once again. So it goes on for 1,0. The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, burlesques, and various forms of erotica.

Numerous stories depict jinns, ghouls, apes,[9] sorcerers, magicians, and legendary places, which are often intermingled with real people and geography, not always rationally. Common protagonists include the historical Abbasidcaliph. Harun al- Rashid, his Grand Vizier, Jafar al- Barmaki, and the famous poet Abu Nuwas, despite the fact that these figures lived some 2. Sassanid 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. An Abbasid manuscript of the One Thousand and One Nights. 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.

History: versions and translations[edit]The history of the Nights is extremely complex and modern scholars have made many attempts to untangle the story of how the collection as it currently exists came about. Robert Irwin summarises their findings: "In the 1. Nights by Zotenberg and others, in the course of which a consensus view of the history of the text emerged. Most scholars agreed that the Nights was a composite work and that the earliest tales in it came from India and Persia. At some time, probably in the early 8th century, these tales were translated into Arabic under the title Alf Layla, or 'The Thousand Nights'.

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This collection then formed the basis of The Thousand and One Nights. The original core of stories was quite small.

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Then, in Iraq in the 9th or 1. Arab stories added to it—among them some tales about the Caliph. Harun al- Rashid. Also, perhaps from the 1. Then, from the 1. Syria and Egypt, many of these showing a preoccupation with sex, magic or low life. In the early modern period yet more stories were added to the Egyptian collections so as to swell the bulk of the text sufficiently to bring its length up to the full 1,0.

Possible Indian origins[edit]Devices found in Sanskrit literature such as frame stories and animal fables are seen by some scholars as lying at the root of the conception of the Nights.[1. The motif of the wise young woman who delays and finally removes an impending danger by telling stories has been traced back to Indian sources.[8] Indian folklore is represented in the Nights by certain animal stories, which reflect influence from ancient Sanskrit fables. The influence of the Panchatantra and Baital Pachisi is particularly notable.[1. The Jataka Tales are a collection of 5. Watch The Forbidden Girl Online Free HD.

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 Nights.[1. It is possible that the influence of the Panchatantra is via a Sanskrit adaptation called the Tantropakhyana.

Only fragments of the original Sanskrit form of this work exist, but translations or adaptations exist in Tamil,[1. Lao,[1. 5] Thai[1. Old Javanese.[1. 7] The frame story is particularly interesting, as it follows the broad outline of a concubine telling stories in order to maintain the interest and favour of a king—although the basis of the collection of stories is from the Panchatantra—with its original Indian setting.[1.

The Panchatantra and various tales from Jatakas were first translated into Persian by Borzūya in 5.