tag:blogger.com,1999:blog-331898082024-03-14T03:18:42.738-07:00Scheherazade's WebThe Thousand and One Nights and Comparative LiteratureDr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-33189808.post-27950311935123076112009-07-25T18:51:00.000-07:002009-07-27T16:10:01.094-07:00Site-map<div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn6FwsUGgFQJq7xVVranSeoPwrMb6EW1LjPH9HCBKuhmOLhi9loiVJBySvGdDZaY5xurYgDNM4j3hO5AFwXR9UYvNdroY90ciw5VR-FBnMfRkEjx0Rfe9VOqaxf8uncjFH0BG6/s1600-h/arabian_nights.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 329px; height: 327px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn6FwsUGgFQJq7xVVranSeoPwrMb6EW1LjPH9HCBKuhmOLhi9loiVJBySvGdDZaY5xurYgDNM4j3hO5AFwXR9UYvNdroY90ciw5VR-FBnMfRkEjx0Rfe9VOqaxf8uncjFH0BG6/s400/arabian_nights.jpg" alt="" id="BLOGGER_PHOTO_ID_5273504454706974898" border="0" /></a><span style="font-size:85%;">[<a href="http://trashotron.com/agony/columns/2004/pre_raph_gallery.htm">Kay Nielsen, "Scheherazade and Shahryar"</a>]</span><br /></div><br /><blockquote>Between 1991 and 1995, I spent a good deal of time studying and collating all the different texts of the <em>1001 Nights</em> I could get hold of. The idea was to compile a complete list of all the stories included in all the various editions. I never really succeeded in finishing this task (it's since been done rather more satisfactorily by Ulrich Marzolph and Richard van Leeuwen in their 2004 <em>Arabian Nights Encyclopedia</em>).<br /><br />In the process, I produced a number of papers and essays on the <em>Nights</em>, which I planned eventually to collate and rewrite into a comprehensive work on the <em>Arabian Nights</em> seen from the perspective of comparative literature. I never managed to complete this either, but rather than leaving it as unfinished (possibly unfinishable) business, I thought I'd put as much of it as I <em>did</em> get done up online.<br /><br />I suppose I think of it as a sort of unofficial Post-Doctoral thesis, to be regarded as a companion to my <a href="http://masefieldnovels.blogspot.com/">MA</a> and <a href="http://versionsofsouthamerica.blogspot.com/">PhD</a> dissertations, both of which I'm also (gradually) transferring online.<br /><br />I'll continue to update it from time to time, but not (I fear) with the same fervour I brought to the subject two decades ago.<br /><div align="center"><br />- Dr Jack Ross, Mairangi Bay (26 July, 2009)</div><br /></blockquote><br /><div align="center"><br /><strong><br /><span style="font-size:180%;">Scheherazade's Web</span>:<br /><span style="font-size:130%;"><em>The 1001 Nights</em> & Comparative Literature</span></strong><br /></div><br /><blockquote><br /><ul><br /><li><a href="http://dinarzade.blogspot.com/2009/01/updates.html"><strong>Updates</strong></a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/contents.html"><strong>Contents:</strong></a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/preface.html"><strong>Preface</strong></a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2006/08/scheherazades.html">Scheherazades</a></li></ul><br /><li><strong>Introduction:</strong> <a href="http://dinarzade.blogspot.com/2006/08/redu-92.html">Redu ‘92</a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2006/08/school-for-paradox.html">The School for Paradox</a></li></ul><br /><li><strong>Chapter 1:</strong> <a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html">Malory and Scheherazade</a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2007/09/malory.html">Malory</a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/scheherazade.html">Scheherazade</a></li></ul><br /><li><strong>Chapter 2:</strong> <a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html">Europe, Christianity and the Crusades</a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Plot Summaries</a></li></ul><br /><li><strong>Chapter 3:</strong> <a href="http://dinarzade.blogspot.com/2007/09/voyage-en-orient.html"><em>Voyage en Orient</em></a></li><br /><li><strong>Chapter 4:</strong> <a href="http://dinarzade.blogspot.com/2007/09/parodies-of-arabian-nights.html">Parodies of the <em>Arabian Nights</em></a></li><br /><li><strong>Chapter 5:</strong> <a href="http://dinarzade.blogspot.com/2007/09/chapter-5-poetics-of-stasis.html">The Poetics of Stasis</a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2006/09/metaphors-of-1001-nights.html">J. L. Borges: <em>Metaphors of the </em>1001 Nights</a></li></ul><br /><li><a href="http://dinarzade.blogspot.com/2007/09/arabian-nights-bibliography.html"><strong>Bibliography</strong></a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/arabian-nights-chronology.html"><strong>Chronology</strong></a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/concordance.html"><strong>Concordance</strong></a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2007/09/list-of-stories-in-1001-nights.html">A List of the Stories in the <em>1001 Nights</em></a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/concordance-notes.html">Table of References</a></li></ul><br /></ul><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKijwDDmGWT84xBwCOsinYZq2BuLQwAbUwkVU1FNUqKziWrCa4c-zLzJ0_xQ3NsKVnInWykLMT1tOnRxFDocPbTKymqb0T_AaanNVLMyOOrBHFMGHML3GoCB7t0-EQAi8Xr0x/s1600-h/Arabian+Nights+girl.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKijwDDmGWT84xBwCOsinYZq2BuLQwAbUwkVU1FNUqKziWrCa4c-zLzJ0_xQ3NsKVnInWykLMT1tOnRxFDocPbTKymqb0T_AaanNVLMyOOrBHFMGHML3GoCB7t0-EQAi8Xr0x/s400/Arabian+Nights+girl.jpg" alt="" id="BLOGGER_PHOTO_ID_5273515672514335698" border="0" /></a><span style="font-size: 85%;">[<a href="http://www.bellydanceschoolcalgary.com/">Arabian Nights Girl</a>]</span><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com2tag:blogger.com,1999:blog-33189808.post-47561418191672383632009-01-26T17:56:00.002-08:002021-06-25T15:37:29.628-07:00Updates:<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2-Ju90z708sKcXDP3kJqU88Ckv-q0PR24ztKWzOOhoiy7_L0SIRuemYo4lcabu3OOOoRGuLsrwljvQfBleDoELRbCfzWh4LClfaaWt8RbsRvRf8waN65pSTrCvUDoNxjczqcS/s1600-h/Arabian_Backglass.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5299030397449259186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2-Ju90z708sKcXDP3kJqU88Ckv-q0PR24ztKWzOOhoiy7_L0SIRuemYo4lcabu3OOOoRGuLsrwljvQfBleDoELRbCfzWh4LClfaaWt8RbsRvRf8waN65pSTrCvUDoNxjczqcS/s400/Arabian_Backglass.jpg" style="cursor: pointer; display: block; height: 276px; margin: 0px auto 10px; text-align: center; width: 400px;"></a><span style="font-size: 85%;"><a href="http://www.pinball.com/games/arabian/">Tales of the Arabian Nights</a></span></div>
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<span style="font-weight: bold;">June 22, 2021</span>:<br />
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This post about <a href="https://mairangibay.blogspot.com/2020/07/further-notes-on-nights-2-marina-warner.html">Henry Whitelock Torrens</a>'s incomplete 1838 translation of <i>The Book of the Thousand Nights and One Night</i> includes links to free online texts of his principal works.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcSel7rRDBKB_Nrjk2P7Dg9kMczI1HivUKxgUYnFy3gLRwp1301v1hBgpkFOM0pWjWdZIxRFmJ9djOtDvDDy2p4t4CNUfmQ9ZHrMnt7rC9GnMMqhyphenhypheneYSaulnopqUdN7hRKLolQ/s940/Henry+Torrens+%25281%2529.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="940" data-original-width="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcSel7rRDBKB_Nrjk2P7Dg9kMczI1HivUKxgUYnFy3gLRwp1301v1hBgpkFOM0pWjWdZIxRFmJ9djOtDvDDy2p4t4CNUfmQ9ZHrMnt7rC9GnMMqhyphenhypheneYSaulnopqUdN7hRKLolQ/s600/Henry+Torrens+%25281%2529.png"/></a><br />
<span style="font-size: 85%;"><a href="https://en.wikipedia.org/wiki/Henry_Whitelock_Torrens">Henry Torrens</a> (1806-1852)</span></div>
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<span style="font-weight: bold;">June 8, 2021</span>:<br />
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This post about Arabist <a href="https://madbookcollection.blogspot.com/2009/03/acquisitions-55-salvador-pena-martin.html">Salvador Peña Martín</a>'s new translation of the <i>Mil y una Noches</i> includes all the details I could uncover about the other Spanish versions of the <i>Nights</i>.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHel_MrRC91QZbV9ujwjIP0E_2DVbGgNpupcW_V-inTnOaKquXt5Pe-vLjcniLP_5MVooudU8SpGfmZ5Fl4ZNwIwqye6vwNeAUZRcDYPHnR2JeW3Pxz7kbPyigvLHFw-M0ekAf/s400/81e5YAjx6GL.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="400" data-original-width="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHel_MrRC91QZbV9ujwjIP0E_2DVbGgNpupcW_V-inTnOaKquXt5Pe-vLjcniLP_5MVooudU8SpGfmZ5Fl4ZNwIwqye6vwNeAUZRcDYPHnR2JeW3Pxz7kbPyigvLHFw-M0ekAf/s600/81e5YAjx6GL.jpg"/></a><br />
<span style="font-size: 85%;">Salvador Peña Martín: <a href="https://www.amazon.com/NOCHES-COMPLETA-TRADUCCION-SALVADOR-MARTIN/dp/8490746168">Mil y una noches</a> (2016)</span></div>
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<span style="font-weight: bold;">May 11, 2021</span>:<br />
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This is a post about English poet <a href="https://madbookcollection.blogspot.com/2009/03/acquisitions-53-john-payne.html">John Payne</a>'s pioneering translation of the <i>Nights</i>, published in full with various other Eastern works in the 15-volume 1901 compilation <i>Oriental Tales</i>, edited by Leonard C. Smithers.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWtcXFKuaSbvqYSHJ9sgO5liHpAFFHBG26wgMzT0bNUq1tQsukGjcGk8BjusPQNTAeIS3Mo_sM94_mLeo6RwSfNykLqYpxz3ZgZgu6K-Z_JopgQXxOoa8AgZmHRaVKMnyg9JL0/s600/Screen%252BShot%252B2021-05-10%252Bat%252B07.52.25.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="600" data-original-width="401" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWtcXFKuaSbvqYSHJ9sgO5liHpAFFHBG26wgMzT0bNUq1tQsukGjcGk8BjusPQNTAeIS3Mo_sM94_mLeo6RwSfNykLqYpxz3ZgZgu6K-Z_JopgQXxOoa8AgZmHRaVKMnyg9JL0/s600/Screen%252BShot%252B2021-05-10%252Bat%252B07.52.25.png"/></a><br />
<span style="font-size: 85%;"><a href="http://archive.org/details/selectionsfrompo01payn/page/n7/mode/1up?view=theater">John Payne</a> (1906)</span></div>
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<span style="font-weight: bold;">February, 2017</span>:<br />
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An <a href="http://mairangibay.blogspot.co.nz/2017/02/my-new-massey-course-on-1001-nights.html">interview</a> with celebrated Sikh / Canadian writer <a href="http://www.jaspreetsinghauthor.com/">Jaspreet Singh</a> on my <a href="http://madbookcollection.blogspot.co.nz/2009/06/bookcase-n.html">Arabian Nights</a> book collection, and the single bookcase (most of) it is housed in.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9qLYIP2qODrhCvKEX3-ztkAGPe050IDPRYiJ5p4wxMYVrWc48zVeZWyq3gtfGBBtZyLbeDFlOO9zI48aFDBLGzxZQ4G33I40hNMULWh1kNK6O53RKmp7NRXnYsTNlo6Mrg6L/s1600/IMG_0149.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9qLYIP2qODrhCvKEX3-ztkAGPe050IDPRYiJ5p4wxMYVrWc48zVeZWyq3gtfGBBtZyLbeDFlOO9zI48aFDBLGzxZQ4G33I40hNMULWh1kNK6O53RKmp7NRXnYsTNlo6Mrg6L/s640/IMG_0149.JPG" width="480" height="640" /></a><br />
<span style="font-size: 85%;">Bronwyn Lloyd: <a href="http://madbookcollection.blogspot.co.nz/2009/06/bookcase-n.html">Arabian Nights bookcase</a> (3/2/17)</span></div>
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<span style="font-weight: bold;">October, 2016</span>:<br />
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My new Massey University <a href="http://www.massey.ac.nz/massey/learning/programme-course-paper/programme.cfm?prog_id=93118&major_code=2923">Creative Writing</a> course, <a href="http://albany139329.blogspot.co.nz/">139.329: <i>Advanced Fiction Writing</i></a>, uses the <i>1001 Nights</i> as a paradigm to help students explore a variety of approaches to writing stories. Major topics include: The Fantastic, Magic Realism, Metafiction, Collage & Cut-ups, and New Wave SF. Let's hope it's as much fun to teach as it has been putting it all together!</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2B-YpH34-UlJ-xiy317bFV3YMeTHE5qcSeysdoH6upWM2lf1yiGvhIpg87VxpHVbfGE2CTXI4yu3pb1-4R3_ihE8IdUDlZuqq0G-gnueKe-Btc7XDLSLqfIIFQPUpHbRbWwc_/s1600/Sinbad_the_Sailor_%25285th_Voyage%2529.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2B-YpH34-UlJ-xiy317bFV3YMeTHE5qcSeysdoH6upWM2lf1yiGvhIpg87VxpHVbfGE2CTXI4yu3pb1-4R3_ihE8IdUDlZuqq0G-gnueKe-Btc7XDLSLqfIIFQPUpHbRbWwc_/s400/Sinbad_the_Sailor_%25285th_Voyage%2529.jpg" width="400" height="292" /></a><br />
<span style="font-size: 85%;">Gustave Doré: <a href="https://en.wikipedia.org/wiki/Sinbad_the_Sailor">Sinbad the Sailor</a> (1865)</span></div>
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<span style="font-weight: bold;">August, 2013</span>:<br />
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My series of seven blogposts entitled "The True History of the Novel" began with one on <a href="http://mairangibay.blogspot.com/2013/08/the-true-story-of-novel-1-eastern-frame.html">The Eastern Frame-Story</a>, which was the starting point for my argument against the orthodox view that the "true" novel began in the eighteenth century with Richardson and Fielding. Since then, of course, Steven Moore's two-volume <a href="https://madbookcollection.blogspot.com/2010/06/acquisitions-10-steven-moore.html">The Novel: An Alternate History</a> (2010-13) has dealt a decisive bodyblow to that theory.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyGBMqb4yjgiRCCp8oGNhGkbakDMEiSchq5UMgQTCkIy6Qn7A7KfOh0y6ZyyXaSHe8QQBb_pdRfRsqn_5nAIgJNbOh_Xpb8-sRfOYGRClXoNBvYAyIgH61wjoUT2KKxFK1iDD_/s358/1001b.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="358" data-original-width="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyGBMqb4yjgiRCCp8oGNhGkbakDMEiSchq5UMgQTCkIy6Qn7A7KfOh0y6ZyyXaSHe8QQBb_pdRfRsqn_5nAIgJNbOh_Xpb8-sRfOYGRClXoNBvYAyIgH61wjoUT2KKxFK1iDD_/s600/1001b.jpg"/></a><br />
<span style="font-size: 85%;">Chez Chiara: <a href="http://www.chezchiara.com/">Légendes des Mille et Une Nuits</a></span></div>
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<span style="font-weight: bold;">June, 2013</span>:<br />
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Some further notes on <a href="http://mairangibay.blogspot.com/2013/06/more-notes-on-nights-1-richard-f-burton.html">Richard F. Burton</a>, and his celebrated translation of the <i>Arabian Nights</i>, with a bibliography.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhztoZny-8lL7J2far-kzMTkaNw7pRELF9BPPqhlpLwg7we5KoKVzVhSsgIIBMPE4qHvpLuyY8Mh2Eqxnn7dMN0vv9qiFmF8luE-1J3tUSF9IhlkJRHcn_F-HypGtj5E2Yx533v/s571/burton2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="571" data-original-width="507" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhztoZny-8lL7J2far-kzMTkaNw7pRELF9BPPqhlpLwg7we5KoKVzVhSsgIIBMPE4qHvpLuyY8Mh2Eqxnn7dMN0vv9qiFmF8luE-1J3tUSF9IhlkJRHcn_F-HypGtj5E2Yx533v/s600/burton2.jpg"/></a><br />
<span style="font-size: 85%;">Sir Frederick Leighton: <a href="https://www.artofmanliness.com/articles/sir-richard-francis-burton/">Captain Sir Richard Francis Burton</a> (1821-1890)</span></div>
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<span style="font-weight: bold;">February, 2013</span>:<br />
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My new <a href="http://madbookcollection.blogspot.co.nz/2010/05/recent-acquisitions.html#_ftn8">entry</a> about Craig Thompson's recent graphic novel <i>Habibi</i>, on the <a href="http://madbookcollection.blogspot.co.nz/2010/05/recent-acquisitions.html">Acquisitions</a> page of my bibliography blog <a href="http://madbookcollection.blogspot.co.nz/">A Gentle Madness</a> sees his work as justified within the genre it inhabits, rejecting the accusations of "self-conscious Orientalism" which <a href="http://majjal.wordpress.com/2011/10/31/self-conscious-orientalism-in-craig-thompsons-graphic-novel-habibi/">some</a> have levelled against his work.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGus91RaqphOq7qn8V4LjFu4mRvorqQCbr86jyDjX6gh_c1q4jYN_Oxw3dH1JqjY7kZlmlint228eWZ6-Q7oGceF387dSwwWB1V5KiDrpKG7LiN0D-PeIG2iodTq2Bt7xks6R/s1600/craig-thompson-habibi.gif" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="266" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGus91RaqphOq7qn8V4LjFu4mRvorqQCbr86jyDjX6gh_c1q4jYN_Oxw3dH1JqjY7kZlmlint228eWZ6-Q7oGceF387dSwwWB1V5KiDrpKG7LiN0D-PeIG2iodTq2Bt7xks6R/s400/craig-thompson-habibi.gif"></a><br />
<span style="font-size: 85%;">Craig Thompson: <a href="http://sidebmag.com/2011/10/11/craig-thompsons-habibi/">Habibi</a> (2011)</span></div>
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<span style="font-weight: bold;">December, 2010</span>:<br />
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My new <a href="http://mairangibay.blogspot.com/2010/12/how-do-you-make-single-volumed-arabian.html">post</a>, "How do you make a single-volumed <i>Arabian Nights</i>?" is an attempt to sum up the various attempts made to date, together with my own suggestion for an updated <i>Portable Arabian Nights</i>.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNl0G5mda2136MK8F0aSll2NVs5EgMsxZdFRskUjm4pREL3tgUcCeE6kxmClPR1uU7UWe1tlByrbRqHGXvUJjk0bu2ZXCJJU_ktXH_ETjETOE2IDhXGRhc8QUVBwxmApdKBOf7rQ/s1600/campbell1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5547665973220573938" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNl0G5mda2136MK8F0aSll2NVs5EgMsxZdFRskUjm4pREL3tgUcCeE6kxmClPR1uU7UWe1tlByrbRqHGXvUJjk0bu2ZXCJJU_ktXH_ETjETOE2IDhXGRhc8QUVBwxmApdKBOf7rQ/s400/campbell1.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 242px;"></a><span style="font-size: 85%;">Joseph Campbell, ed.: <i>The Portable Arabian Nights</i> (1952)</span></div>
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<span style="font-weight: bold;">July, 2009</span>:<br />
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The post I've put up <a href="http://mairangibay.blogspot.com/2009/07/orientalism-its-enemies.html">here</a>, "Orientalism and its Enemies, or The Empire Strikes Back," is a reaction to reading Robert Irwin's latest book <i>For Lust of Knowing: The Orientalists and their Enemies</i>. To put it mildly, I don't find his attack on Edward Said's classic text <i>Orientalism</i> particularly cogent or convincing.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzwngCTfvwgLH0bVannnINa9PFE9IVLUpGMNLhqiU5NwKQiLGn0KvooUDR_kQ_SKSsreLQOBt_aUsnktCAk3YpDGQoVC-niZeJhzJMFwWKCnuaoaoA7Ndr7ejXOSOtBXnU-j8UxA/s1600-h/irwin1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5360658730101108594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzwngCTfvwgLH0bVannnINa9PFE9IVLUpGMNLhqiU5NwKQiLGn0KvooUDR_kQ_SKSsreLQOBt_aUsnktCAk3YpDGQoVC-niZeJhzJMFwWKCnuaoaoA7Ndr7ejXOSOtBXnU-j8UxA/s400/irwin1.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 259px;"></a><br />
<span style="font-size: 85%;">Robert Irwin: <i>For Lust of Knowing</i> (2006)</span></div>
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<span style="font-weight: bold;">February, 2009</span>:<br />
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I've been meaning for quite some time to do a post on the various <i>Arabian Nights</i> comics, gamebooks & other oddities I've collected to date. The seven I list <a href="http://mairangibay.blogspot.com/2009/01/arabian-nights-comics-graphic-novels.html">here</a> range from classic Carl Barks Uncle Scrooge comics from the 50s to the latest Korean "manhwa" versions.</blockquote>
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<span style="font-weight: bold;">December, 2008</span>:<br />
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The appearance of Malcolm (& Ursula) Lyons' complete, 3-volume complete translation of the <i>1001 Nights</i> in the Penguin Classics is a milestone in the history of the collection in English. I've written a review of it <a href="http://mairangibay.blogspot.com/2008/12/new-translation-of-arabian-nights.html">here</a>.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5cgk7fawLnZhyphenhyphen_3yVNdiiTqsyDATWm2EVoWD_hD_U6dALGqJzQUSB-xCVL5VEeMJLWVqLRqEu_E6WH7JERZ55OEXBpvD5RC469U22yQZ2fOQqJFVKvRZaoNQK-zUV172GwBV3/s1600-h/Lyons1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5295789185405631650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5cgk7fawLnZhyphenhyphen_3yVNdiiTqsyDATWm2EVoWD_hD_U6dALGqJzQUSB-xCVL5VEeMJLWVqLRqEu_E6WH7JERZ55OEXBpvD5RC469U22yQZ2fOQqJFVKvRZaoNQK-zUV172GwBV3/s400/Lyons1.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 400px;"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKijwDDmGWT84xBwCOsinYZq2BuLQwAbUwkVU1FNUqKziWrCa4c-zLzJ0_xQ3NsKVnInWykLMT1tOnRxFDocPbTKymqb0T_AaanNVLMyOOrBHFMGHML3GoCB7t0-EQAi8Xr0x/s1600-h/Arabian+Nights+girl.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5273515672514335698" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKijwDDmGWT84xBwCOsinYZq2BuLQwAbUwkVU1FNUqKziWrCa4c-zLzJ0_xQ3NsKVnInWykLMT1tOnRxFDocPbTKymqb0T_AaanNVLMyOOrBHFMGHML3GoCB7t0-EQAi8Xr0x/s400/Arabian+Nights+girl.jpg" style="cursor: pointer; display: block; height: 199px; margin: 0px auto 10px; text-align: center; width: 177px;"></a></div>
Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-29553880884386723552007-09-26T20:02:00.001-07:002009-07-27T16:10:27.054-07:00Contents:<div align="center"><br /><strong><span style="font-size:180%;"><a href="http://mairangibay.blogspot.com/2007/09/scheherazades-web.html">Scheherazade's Web</a>:<br /></span><span style="font-size:130%;"><em>The 1001 Nights</em> & Comparative Literature</span></strong><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Fk8MsSa5pHz7dT8y7Z9tgRd7_FhympQkmln0IPDYLP-7VufdlHrNR7ltY7Pa3s6Xg998S8_9tMv2P7himKxRJez_RajbqCRBumoOM3DWNGtSYXNxhmP_E-yQ7urgePH2JXp6/s1600-h/Arabian_nights_manuscript.jpg"><img id="BLOGGER_PHOTO_ID_5114714174232899362" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Fk8MsSa5pHz7dT8y7Z9tgRd7_FhympQkmln0IPDYLP-7VufdlHrNR7ltY7Pa3s6Xg998S8_9tMv2P7himKxRJez_RajbqCRBumoOM3DWNGtSYXNxhmP_E-yQ7urgePH2JXp6/s320/Arabian_nights_manuscript.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.1902encyclopedia.com/T/THO/thousand-and-one-nights.html">14th-century ms. of the <em>Nights</em> (Bibliothèque Nationale, Paris)</a>]</span><br /></div><br /><ol><br /><li><a href="http://dinarzade.blogspot.com/2007/09/preface.html"><strong>Preface</strong></a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2006/08/scheherazades.html">Scheherazades</a></li></ul><br /><li><strong>Introduction:</strong> <a href="http://dinarzade.blogspot.com/2006/08/redu-92.html">Redu ‘92</a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2006/08/school-for-paradox.html">The School for Paradox</a></li></ul><br /><li><strong>Chapter 1:</strong> <a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html">Malory and Scheherazade</a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2007/09/malory.html">Malory</a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/scheherazade.html">Scheherazade</a></li></ul><br /><li><strong>Chapter 2:</strong> <a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html">Europe, Christianity and the Crusades</a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Plot Summaries</a></li></ul><br /><li><strong>Chapter 3:</strong> <a href="http://dinarzade.blogspot.com/2007/09/voyage-en-orient.html"><em>Voyage en Orient</em></a></li><br /><li><strong>Chapter 4:</strong> <a href="http://dinarzade.blogspot.com/2007/09/parodies-of-arabian-nights.html">Parodies of the <em>Arabian Nights</em></a></li><br /><li><strong>Chapter 5:</strong> <a href="http://dinarzade.blogspot.com/2007/09/chapter-5-poetics-of-stasis.html">The Poetics of Stasis</a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2006/09/metaphors-of-1001-nights.html">J. L. Borges: <em>Metaphors of the </em>1001 Nights</a></li></ul><br /><li><a href="http://dinarzade.blogspot.com/2007/09/arabian-nights-bibliography.html"><strong>Bibliography</strong></a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/arabian-nights-chronology.html"><strong>Chronology</strong></a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/concordance.html"><strong>Concordance</strong></a></li><br /><ul><li><a href="http://dinarzade.blogspot.com/2007/09/list-of-stories-in-1001-nights.html">A List of the Stories in the <em>1001 Nights</em></a></li><br /><li><a href="http://dinarzade.blogspot.com/2007/09/concordance-notes.html">Table of References</a></li></ul><br /></ol><br /><blockquote><br /><div align="center"><span style="font-size:85%;">[The substance of this book was given as a course of 6 lectures: “East Meets West – The Lesson of the <em>Thousand and One Nights</em>” in the Continuing Education Department, Auckland University, from February to March, 1996.]</span></div><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com1tag:blogger.com,1999:blog-33189808.post-6981116765880524452007-09-26T19:59:00.000-07:002009-07-27T16:08:53.350-07:00Table of References<div align="center"><br /><strong><span style="font-size:130%;">for the Concordance to the <em>1001 Nights</em></span><br /></strong><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSdHPYUWIV6Wt-yf9uyBIKWVTRN-_80SKkPRUoWDqFSzCw5cjWCyZon6Tl5wWagKNHvga5CgP9Gh1-C6XvZhz4fyiRLIw52vP1Z8U-7r8UZzvRIS6OzRj5ifhx6qWfk16HmAQk/s1600-h/art6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSdHPYUWIV6Wt-yf9uyBIKWVTRN-_80SKkPRUoWDqFSzCw5cjWCyZon6Tl5wWagKNHvga5CgP9Gh1-C6XvZhz4fyiRLIw52vP1Z8U-7r8UZzvRIS6OzRj5ifhx6qWfk16HmAQk/s320/art6.jpg" alt="" id="BLOGGER_PHOTO_ID_5114724967485714226" border="0" /></a><span style="font-size:85%;">[<a href="http://www.touregypt.net/historicalessays/calligraphy.htm">Arabic Calligraphy</a>]</span><br /></div><br /><strong>List of Abbreviations</strong><br /><ul><br /><li><strong>[Artin]</strong> = Artin Pacha, <em>Contes populaires inédits de la Vallée du Nil</em> (1895)</li><li><strong>[B]</strong> = Breslau Edition, 12 vols (1825-43)</li><li><strong>[Bulaq]</strong> = Bulaq Edition, 2 vols (1835)</li><li><strong>[Burton]</strong> = Burton Translation, 16 vols (1885-88)</li><li><strong>[C1]</strong> = First Calcutta Edition, 2 vols (1814-18)</li><li><strong>[Calc. 2]</strong> = Macnaghten or Second Calcutta Edition, 4 vols (1839-42)</li><li><strong>[Chauvin]</strong> = Victor Chauvin, <em>Bibliographie des ouvrages arabes</em>, 12 vols (1892-1922)</li><li><strong>[Ch]</strong> = Chavis and Cazotte Translation, 4 vols (1788-89)</li><li><strong>[D]</strong> = <em>Les Dames de Bagdad</em>, trans. André Miquel (1991)</li><li><strong>[D & M]</strong> = Decourdemanche, <em>Sottisier de Nasr-eddin-Hodja bouffon de Tamerlan</em> (1878); Müllendorff, <em>Die Schwänke des Nasr-ed-din & Buadem von Mehemed Tewfik</em></li><li><strong>[Eliséef]</strong> = Nikita Eliséef, <em>Thèmes et Motifs des Mille et Une Nuits</em> (1949)</li><li><strong>[Galland]</strong> = Galland Translation, 12 vols (1704-17)</li><li><strong>[Garcin]</strong> = Garcin de Tassy, <em>Allégories, récits poétiques et chants populaires</em> (1876)</li><li><strong>[Gerhardt]</strong> = Mia I. Gerhardt, <em>The Art of Story-telling</em> (1963)</li><li><strong>[H]</strong> = Habicht Translation, 15 vols (1824-25)</li><li><strong>[K/ ]</strong> = Chauvin, <em>Bibliographie</em>, vol. 2: “Kalîlah” (1897)</li><li><strong>[Kirby]</strong> = W. F. Kirby, “Contributions to the Bibliography of the 1001 Nights” (1885)</li><li><strong>[L/ ]</strong> = Chauvin, <em>Bibliographie</em>, vol. 3: “Louqmâne et les fabulistes” (1898)</li><li><strong>[M]</strong> = Mardrus Translation, 16 vols (1899-1904)</li><li><strong>[Mohdy]</strong> = J. J. Marcel, <em>Contes du cheykh Él-Mohdy</em>, 3 vols (1835)</li><li><strong>[PI-III]</strong> = <em>Tales from the Arabic</em>, trans. John Payne, 3 vols (1884)</li><li><strong>[P2]</strong> = <em>Alaeddin & Zein ul Asnam</em>, trans. John Payne (1889)</li><li><strong>[Perron]</strong> = Perron, <em>Femmes arabes avant et depuis l’islamisme</em> (1858)</li><li><strong>[Reinhardt]</strong> = Aboubakr Chraibi, <em>Contes nouveaux des 1001 Nuits: Etude du manuscrit Reinhardt</em> (1996)</li><li><strong>[S]</strong> = <em>Tales, Anecdotes and Letters</em>, trans. Jonathan Scott (1800)</li><li><strong>[S/ ]</strong> = Chauvin, <em>Bibliographie</em>, vol. 8: “Syntipas” (1904)</li><li><strong>[Spitta]</strong> = Guillaume Spitta-Bey, <em>Contes arabes modernes, recueillis et traduits</em> (1883)</li><li><strong>[T]</strong> = Felix Tauer, <em>Neue Erzählungen aus den 1001 Nächten</em>, 2 vols (1982)</li><li><strong>[Tr]</strong> = Trébutien Translation, 3 vols (1828)</li><li><strong>[W]</strong> = Weil Translation, 4 vols (1838-41)</li><li><strong>[WM]</strong> = Wortley-Montague Ms., 7 vols (1764-65)</li><li><strong>[ZER]</strong> = ‘Zotenberg’s Egyptian Recension’ (Paris, 1888)</li><br /></ul><br /> <table style="border-collapse: collapse; width: 355pt;" width="473" border="0" cellpadding="0" cellspacing="0"><col style="width: 175pt;" width="233"> <col style="width: 70pt;" width="93"> <col style="width: 62pt;" width="83"> <col style="width: 48pt;" width="64"> <tbody><tr style="height: 12.75pt;" height="17"> <td class="xl64" style="height: 12.75pt; width: 175pt;" width="233" height="17">VERSIONS & DATES</td> <td class="xl64" style="width: 70pt;" width="93">CHAUVIN</td> <td class="xl64" style="width: 62pt;" width="83">CHAUVIN 2</td> <td class="xl64" style="width: 48pt;" width="64">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">[CONTENTS]</td> <td class="xl64" style="border-top: medium none;">[1900-05]</td> <td class="xl64" style="border-top: medium none;">[References]</td> <td class="xl64" style="border-top: medium none;">[1885-88]</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>Introduction</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">I, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>King Shahryar and his Brother</td> <td class="xl64" style="border-top: medium none;">No. 111a</td> <td class="xl64" style="border-top: medium none;">V, 188</td> <td class="xl64" style="border-top: medium none;">I, 2</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Tale of the Bull and the Ass</td> <td class="xl64" style="border-top: medium none;">No. 104</td> <td class="xl64" style="border-top: medium none;">V, 179</td> <td class="xl64" style="border-top: medium none;">I, 16</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(1) Tale of the Trader and the Jinni</td> <td class="xl64" style="border-top: medium none;">No. 194</td> <td class="xl64" style="border-top: medium none;">VI, 22</td> <td class="xl64" style="border-top: medium none;">I, 24</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The First Shaykh's Story</td> <td class="xl64" style="border-top: medium none;">No. 396</td> <td class="xl64" style="border-top: medium none;">VII, 129</td> <td class="xl64" style="border-top: medium none;">I, 27</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Second Shaykh's Story</td> <td class="xl64" style="border-top: medium none;">No. 397</td> <td class="xl64" style="border-top: medium none;">V, 6</td> <td class="xl64" style="border-top: medium none;">I, 32</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Third Shaykh's Story</td> <td class="xl64" style="border-top: medium none;">No. 398</td> <td class="xl64" style="border-top: medium none;">VII, 130</td> <td class="xl64" style="border-top: medium none;">I, 36</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(2) The Fisherman and the Jinni</td> <td class="xl64" style="border-top: medium none;">No. 195</td> <td class="xl64" style="border-top: medium none;">VI, 23</td> <td class="xl64" style="border-top: medium none;">I, 38</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Wazir and the Sage Duban</td> <td class="xl64" style="border-top: medium none;">No. 156</td> <td class="xl64" style="border-top: medium none;">V, 275</td> <td class="xl64" style="border-top: medium none;">I, 45</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a1/ King Sindibad and his Falcon</td> <td class="xl64" style="border-top: medium none;">No. 173</td> <td class="xl64" style="border-top: medium none;">V, 289</td> <td class="xl64" style="border-top: medium none;">I, 50</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a2/ The Husband and the Parrot</td> <td class="xl64" style="border-top: medium none;">No. 294</td> <td class="xl64" style="border-top: medium none;">VI, 139</td> <td class="xl64" style="border-top: medium none;">I, 52</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a3/ The Prince and the Ogress</td> <td class="xl64" style="border-top: medium none;">No. 197: S/8</td> <td class="xl64" style="border-top: medium none;">VI, 26; 8:39</td> <td class="xl64" style="border-top: medium none;">I, 54</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Tale of the Ensorcelled Prince</td> <td class="xl64" style="border-top: medium none;">No. 222</td> <td class="xl64" style="border-top: medium none;">VI, 56</td> <td class="xl64" style="border-top: medium none;">I, 69</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(3) The Three Ladies of Baghdad</td> <td class="xl64" style="border-top: medium none;">No. 148</td> <td class="xl64" style="border-top: medium none;">V, 251</td> <td class="xl64" style="border-top: medium none;">I, 82</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The First Kalandar's Tale</td> <td class="xl64" style="border-top: medium none;">No. 115</td> <td class="xl64" style="border-top: medium none;">V, 196</td> <td class="xl64" style="border-top: medium none;">I, 104</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Second Kalandar's Tale</td> <td class="xl64" style="border-top: medium none;">No. 116</td> <td class="xl64" style="border-top: medium none;">V, 197</td> <td class="xl64" style="border-top: medium none;">I, 113</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b1/ The Envier and the Envied</td> <td class="xl64" style="border-top: medium none;">No. 158</td> <td class="xl64" style="border-top: medium none;">V, 14</td> <td class="xl64" style="border-top: medium none;">I, 123</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Third Kalandar's Tale</td> <td class="xl64" style="border-top: medium none;">No. 117</td> <td class="xl64" style="border-top: medium none;">V, 200</td> <td class="xl64" style="border-top: medium none;">I, 139</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Eldest Lady's Tale</td> <td class="xl64" style="border-top: medium none;">No. 443</td> <td class="xl64" style="border-top: medium none;">V, 4</td> <td class="xl64" style="border-top: medium none;">I, 162</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Tale of the Portress</td> <td class="xl64" style="border-top: medium none;">No. 33</td> <td class="xl64" style="border-top: medium none;">V, 98</td> <td class="xl64" style="border-top: medium none;">I, 173</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e1/ Conclusion</td> <td class="xl64" style="border-top: medium none;">[No. 148]</td> <td class="xl64" style="border-top: medium none;">V, 252</td> <td class="xl64" style="border-top: medium none;">I, 184</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(4) Tale of the Three Apples</td> <td class="xl64" style="border-top: medium none;">No. 302</td> <td class="xl64" style="border-top: medium none;">VI, 144</td> <td class="xl64" style="border-top: medium none;">I, 186</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(5) Nur Al-Din and Badr Al-Din Hasan</td> <td class="xl64" style="border-top: medium none;">No. 270</td> <td class="xl64" style="border-top: medium none;">VI, 102</td> <td class="xl64" style="border-top: medium none;">I, 195</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(6) The Hunchback's Tale</td> <td class="xl64" style="border-top: medium none;">No. 105</td> <td class="xl64" style="border-top: medium none;">V, 180</td> <td class="xl64" style="border-top: medium none;">I, 255</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Nazarene Broker's Story</td> <td class="xl64" style="border-top: medium none;">No. 249</td> <td class="xl64" style="border-top: medium none;">VI, 80</td> <td class="xl64" style="border-top: medium none;">I, 262</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Reeve's Tale</td> <td class="xl64" style="border-top: medium none;">No. 305</td> <td class="xl64" style="border-top: medium none;">V, 220</td> <td class="xl64" style="border-top: medium none;">I, 278</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Tale of the Jewish Doctor</td> <td class="xl64" style="border-top: medium none;">No. 253</td> <td class="xl64" style="border-top: medium none;">VI, 89</td> <td class="xl64" style="border-top: medium none;">I, 288</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ Tale of the Tailor</td> <td class="xl64" style="border-top: medium none;">No. 78</td> <td class="xl64" style="border-top: medium none;">V, 154</td> <td class="xl64" style="border-top: medium none;">I, 300</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ The Barber's Tale of Himself</td> <td class="xl64" style="border-top: medium none;">No. 80</td> <td class="xl64" style="border-top: medium none;">V, 156</td> <td class="xl64" style="border-top: medium none;">I, 317</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e1/The Barber's First Brother</td> <td class="xl64" style="border-top: medium none;">No. 81</td> <td class="xl64" style="border-top: medium none;">V, 157</td> <td class="xl64" style="border-top: medium none;">I, 319</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e2/ The Barber's Second Brother</td> <td class="xl64" style="border-top: medium none;">No. 82</td> <td class="xl64" style="border-top: medium none;">V, 158</td> <td class="xl64" style="border-top: medium none;">I, 324</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e3/ The Barber's Third Brother</td> <td class="xl64" style="border-top: medium none;">No. 83</td> <td class="xl64" style="border-top: medium none;">V, 159</td> <td class="xl64" style="border-top: medium none;">I, 328</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e4/ The Barber's Fourth Brother</td> <td class="xl64" style="border-top: medium none;">No. 84</td> <td class="xl64" style="border-top: medium none;">V, 160</td> <td class="xl64" style="border-top: medium none;">I, 331</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e5/ The Barber's Fifth Brother</td> <td class="xl64" style="border-top: medium none;">No. 85</td> <td class="xl64" style="border-top: medium none;">V, 161</td> <td class="xl64" style="border-top: medium none;">I, 335</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e6/ The Barber's Sixth Brother</td> <td class="xl64" style="border-top: medium none;">No. 86</td> <td class="xl64" style="border-top: medium none;">V, 163</td> <td class="xl64" style="border-top: medium none;">I, 343</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d1/ The End of the Tailor's Tale</td> <td class="xl64" style="border-top: medium none;">[No. 78]</td> <td class="xl64" style="border-top: medium none;">V, 155</td> <td class="xl64" style="border-top: medium none;">I, 348</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(7) Nur Al-Din Ali and Anis Al-Jalis</td> <td class="xl64" style="border-top: medium none;">No. 58</td> <td class="xl64" style="border-top: medium none;">V, 120</td> <td class="xl64" style="border-top: medium none;">II, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(8) Tale of Ghanim Bin Ayyub</td> <td class="xl64" style="border-top: medium none;">No. 188</td> <td class="xl64" style="border-top: medium none;">VI, 14</td> <td class="xl64" style="border-top: medium none;">II, 45</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Tale of the First Eunuch, Bukhayt</td> <td class="xl64" style="border-top: medium none;">No. 160</td> <td class="xl64" style="border-top: medium none;">V, 277</td> <td class="xl64" style="border-top: medium none;">II, 49</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Tale of the Second Eunuch, Kafur</td> <td class="xl64" style="border-top: medium none;">No. 161</td> <td class="xl64" style="border-top: medium none;">V, 278</td> <td class="xl64" style="border-top: medium none;">II, 51</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(9) Tale of King Omar Bin Al-Nu'uman</td> <td class="xl64" style="border-top: medium none;">No. 277</td> <td class="xl64" style="border-top: medium none;">VI, 112</td> <td class="xl64" style="border-top: medium none;">II, 77</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Taj Al-Muluk and Princess Dunya</td> <td class="xl64" style="border-top: medium none;">No. 60</td> <td class="xl64" style="border-top: medium none;">V, 126</td> <td class="xl64" style="border-top: medium none;">II, 283</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a1/ Tale of Aziz and Azizah</td> <td class="xl64" style="border-top: medium none;">No. 71</td> <td class="xl64" style="border-top: medium none;">V, 144</td> <td class="xl64" style="border-top: medium none;">II, 298</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Tale of the Hashish-Eater</td> <td class="xl64" style="border-top: medium none;">No. 278</td> <td class="xl64" style="border-top: medium none;">VI, 124</td> <td class="xl64" style="border-top: medium none;">III, 91</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Tale of Hammad the Badawi</td> <td class="xl64" style="border-top: medium none;">[No. 277]</td> <td class="xl64" style="border-top: medium none;">VI, 124</td> <td class="xl64" style="border-top: medium none;">III, 104</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(10) The Birds, Beasts & the Carpenter</td> <td class="xl64" style="border-top: medium none;">No. 284: K/ 154:1<span style=""> </span></td> <td class="xl64" style="border-top: medium none;">VI, 130; 2:225</td> <td class="xl64" style="border-top: medium none;">III, 114</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(11) The Hermits</td> <td class="xl64" style="border-top: medium none;">K/ 154</td> <td class="xl64" style="border-top: medium none;">II, 226</td> <td class="xl64" style="border-top: medium none;">III, 125</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>ii/ The Hermit and Pigeons</td> <td class="xl64" style="border-top: medium none;">K/ 154: 2</td> <td class="xl64" style="border-top: medium none;">II, 226</td> <td class="xl64" style="border-top: medium none;">III, 125</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>iii/ The Shepherd's Temptation</td> <td class="xl64" style="border-top: medium none;">K/ 154: 3</td> <td class="xl64" style="border-top: medium none;">II, 226</td> <td class="xl64" style="border-top: medium none;">III, 126</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(12) The Water-fowl and the Tortoise</td> <td class="xl64" style="border-top: medium none;">K/ 154: 5</td> <td class="xl64" style="border-top: medium none;">II, 226</td> <td class="xl64" style="border-top: medium none;">III, 129</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(13) The Wolf and the Fox</td> <td class="xl64" style="border-top: medium none;">K/ 154: 6</td> <td class="xl64" style="border-top: medium none;">II, 227</td> <td class="xl64" style="border-top: medium none;">III, 132</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Falcon and the Partridge</td> <td class="xl64" style="border-top: medium none;">K/ 154: 7</td> <td class="xl64" style="border-top: medium none;">II, 227</td> <td class="xl64" style="border-top: medium none;">III, 138</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Two Invalids</td> <td class="xl64" style="border-top: medium none;">K/ 154: 8</td> <td class="xl64" style="border-top: medium none;">II, 227</td> <td class="xl64" style="border-top: medium none;">III, 140</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Man and the Serpent</td> <td class="xl64" style="border-top: medium none;">K/ 154: 9</td> <td class="xl64" style="border-top: medium none;">II, 227</td> <td class="xl64" style="border-top: medium none;">III, 145</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(14) The Mouse and the Ichneumon</td> <td class="xl64" style="border-top: medium none;">K/ 154: 10</td> <td class="xl64" style="border-top: medium none;">II, 228</td> <td class="xl64" style="border-top: medium none;">III, 147</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(15) The Cat and the Crow</td> <td class="xl64" style="border-top: medium none;">K/ 154: 4</td> <td class="xl64" style="border-top: medium none;">II, 226</td> <td class="xl64" style="border-top: medium none;">III, 149</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(16) The Fox and the Crow</td> <td class="xl64" style="border-top: medium none;">K/ 154: 11</td> <td class="xl64" style="border-top: medium none;">II, 228</td> <td class="xl64" style="border-top: medium none;">III, 150</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Flea and the Mouse</td> <td class="xl64" style="border-top: medium none;">K/ 154: 12</td> <td class="xl64" style="border-top: medium none;">II, 228</td> <td class="xl64" style="border-top: medium none;">III, 151</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Saker and the Birds</td> <td class="xl64" style="border-top: medium none;">K/ 154: 13</td> <td class="xl64" style="border-top: medium none;">II, 228</td> <td class="xl64" style="border-top: medium none;">III, 154</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Sparrow and the Eagle</td> <td class="xl64" style="border-top: medium none;">K/ 154: 14</td> <td class="xl64" style="border-top: medium none;">II, 228</td> <td class="xl64" style="border-top: medium none;">III, 155</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(17) The Hedgehog & the Wood-Pigeons</td> <td class="xl64" style="border-top: medium none;">K/ 154: 15</td> <td class="xl64" style="border-top: medium none;">II, 228</td> <td class="xl64" style="border-top: medium none;">III, 156</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Seed badly Sown</td> <td class="xl64" style="border-top: medium none;">K/ 154: 16</td> <td class="xl64" style="border-top: medium none;">II, 229</td> <td class="xl64" style="border-top: medium none;">III, 156</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Merchant & the Two Sharpers</td> <td class="xl64" style="border-top: medium none;">K/ 154: 17</td> <td class="xl64" style="border-top: medium none;">II, 229</td> <td class="xl64" style="border-top: medium none;">III, 158</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(18) The Thief and his Monkey</td> <td class="xl64" style="border-top: medium none;">K/ 154: 18</td> <td class="xl64" style="border-top: medium none;">II, 229</td> <td class="xl64" style="border-top: medium none;">III, 159</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Foolish Weaver</td> <td class="xl64" style="border-top: medium none;">K/ 154: 19</td> <td class="xl64" style="border-top: medium none;">II, 229</td> <td class="xl64" style="border-top: medium none;">III, 159</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(19) The Sparrow and the Peacock</td> <td class="xl64" style="border-top: medium none;">K/ 154: 20</td> <td class="xl64" style="border-top: medium none;">II, 230</td> <td class="xl64" style="border-top: medium none;">III, 161</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(20) Ali Bin Bakkar & Shams Al-Nahar</td> <td class="xl64" style="border-top: medium none;">No. 76</td> <td class="xl64" style="border-top: medium none;">V, 153</td> <td class="xl64" style="border-top: medium none;">III, 162</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(21) Tale of Kamar Al-Zaman</td> <td class="xl64" style="border-top: medium none;">No. 120</td> <td class="xl64" style="border-top: medium none;">V, 204</td> <td class="xl64" style="border-top: medium none;">III, 212</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Ni'amah bin Al-Rabia and Naomi</td> <td class="xl64" style="border-top: medium none;">No. 263</td> <td class="xl64" style="border-top: medium none;">VI, 96</td> <td class="xl64" style="border-top: medium none;">IV, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(22) Ala Al-Din Abu Al-Shamat</td> <td class="xl64" style="border-top: medium none;">No. 18</td> <td class="xl64" style="border-top: medium none;">V, 43</td> <td class="xl64" style="border-top: medium none;">IV, 29</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(23) Hatim of the Tribe of Tayy</td> <td class="xl64" style="border-top: medium none;">No. 215</td> <td class="xl64" style="border-top: medium none;">VI, 49</td> <td class="xl64" style="border-top: medium none;">IV, 94</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(24) Ma'an and the Three Girls</td> <td class="xl64" style="border-top: medium none;">No. 247</td> <td class="xl64" style="border-top: medium none;">VI, 78</td> <td class="xl64" style="border-top: medium none;">IV, 96</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(25) Ma'an and the Badawi</td> <td class="xl64" style="border-top: medium none;">No. 248</td> <td class="xl64" style="border-top: medium none;">VI, 79</td> <td class="xl64" style="border-top: medium none;">IV, 97</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(26) The City of Labtayt</td> <td class="xl64" style="border-top: medium none;">No. 254</td> <td class="xl64" style="border-top: medium none;">VI, 90</td> <td class="xl64" style="border-top: medium none;">IV, 99</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(27) Caliph Hisham and the Arab Youth</td> <td class="xl64" style="border-top: medium none;">No. 172</td> <td class="xl64" style="border-top: medium none;">V, 288</td> <td class="xl64" style="border-top: medium none;">IV, 101</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(28) Ibrahim and the Barber-Surgeon</td> <td class="xl64" style="border-top: medium none;">No. 219</td> <td class="xl64" style="border-top: medium none;">VI, 54</td> <td class="xl64" style="border-top: medium none;">IV, 103</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(29) The City of Many-Columned Iram</td> <td class="xl64" style="border-top: medium none;">No. 224</td> <td class="xl64" style="border-top: medium none;">V, 36</td> <td class="xl64" style="border-top: medium none;">IV, 113</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(30) Isaac of Mosul</td> <td class="xl64" style="border-top: medium none;">No. 142</td> <td class="xl64" style="border-top: medium none;">V, 241</td> <td class="xl64" style="border-top: medium none;">IV, 119</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(31) The Sweep and the Noble Lady</td> <td class="xl64" style="border-top: medium none;">No. 306</td> <td class="xl64" style="border-top: medium none;">VI, 148</td> <td class="xl64" style="border-top: medium none;">IV, 125</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(32) The Mock Caliph</td> <td class="xl64" style="border-top: medium none;">No. 174</td> <td class="xl64" style="border-top: medium none;">V, 99</td> <td class="xl64" style="border-top: medium none;">IV, 130</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(33) Ali the Persian</td> <td class="xl64" style="border-top: medium none;">No. 162</td> <td class="xl64" style="border-top: medium none;">V, 279</td> <td class="xl64" style="border-top: medium none;">IV, 149</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(34) Harun Al-Rashid & the Slave-Girl</td> <td class="xl64" style="border-top: medium none;">No. 383</td> <td class="xl64" style="border-top: medium none;">VII, 114</td> <td class="xl64" style="border-top: medium none;">IV, 153</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(35) The Lover who feigned Thief</td> <td class="xl64" style="border-top: medium none;">No. 403</td> <td class="xl64" style="border-top: medium none;">VII, 134</td> <td class="xl64" style="border-top: medium none;">IV, 155</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(36) Ja'afar and the Bean-Seller</td> <td class="xl64" style="border-top: medium none;">No. 87</td> <td class="xl64" style="border-top: medium none;">V, 164</td> <td class="xl64" style="border-top: medium none;">IV, 159</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(37) Abu Mohammed hight Lazybones</td> <td class="xl64" style="border-top: medium none;">No. 233</td> <td class="xl64" style="border-top: medium none;">VI, 64</td> <td class="xl64" style="border-top: medium none;">IV, 162</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(38) Yahya bin Khalid and Mansur</td> <td class="xl64" style="border-top: medium none;">No. 88</td> <td class="xl64" style="border-top: medium none;">V, 165</td> <td class="xl64" style="border-top: medium none;">IV, 179</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(39) Yahya bin Khalid and the Forger</td> <td class="xl64" style="border-top: medium none;">No. 89</td> <td class="xl64" style="border-top: medium none;">V, 166</td> <td class="xl64" style="border-top: medium none;">IV, 181</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(40) Caliph Al-Maamun & the Scholar</td> <td class="xl64" style="border-top: medium none;">No. 163</td> <td class="xl64" style="border-top: medium none;">V, 279</td> <td class="xl64" style="border-top: medium none;">IV, 185</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(41) Ali Shar and Zumurrud</td> <td class="xl64" style="border-top: medium none;">No. 28</td> <td class="xl64" style="border-top: medium none;">V, 89</td> <td class="xl64" style="border-top: medium none;">IV, 187</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(42) The Loves of Jubayr and Budur</td> <td class="xl64" style="border-top: medium none;">No. 374</td> <td class="xl64" style="border-top: medium none;">VII, 93</td> <td class="xl64" style="border-top: medium none;">IV, 228</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(43) The Man and his Six Slave-Girls</td> <td class="xl64" style="border-top: medium none;">No. 313</td> <td class="xl64" style="border-top: medium none;">VI, 151</td> <td class="xl64" style="border-top: medium none;">IV, 245</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(44) Harun Al-Rashid and Abu Nowas</td> <td class="xl64" style="border-top: medium none;">No. 296</td> <td class="xl64" style="border-top: medium none;">VI, 140</td> <td class="xl64" style="border-top: medium none;">IV, 261</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(45) The Man who Stole the Dog's Dish</td> <td class="xl64" style="border-top: medium none;">No. 191</td> <td class="xl64" style="border-top: medium none;">VI, 20</td> <td class="xl64" style="border-top: medium none;">IV, 265</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(46) The Sharper and the Police-Chief</td> <td class="xl64" style="border-top: medium none;">No. 404</td> <td class="xl64" style="border-top: medium none;">VII, 135</td> <td class="xl64" style="border-top: medium none;">IV, 269</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(47) Al-Malik & the Police-Chiefs</td> <td class="xl64" style="border-top: medium none;">[No. 427]</td> <td class="xl64" style="border-top: medium none;">VII, 147</td> <td class="xl64" style="border-top: medium none;">IV, 271</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The New Cairo Police-Chief's Tale</td> <td class="xl64" style="border-top: medium none;">No. 427</td> <td class="xl64" style="border-top: medium none;">VII, 148</td> <td class="xl64" style="border-top: medium none;">IV, 271</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Bulaq Police-Chief's Tale</td> <td class="xl64" style="border-top: medium none;">No. 428a</td> <td class="xl64" style="border-top: medium none;">VII, 148</td> <td class="xl64" style="border-top: medium none;">IV, 273</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Old Cairo Police-Chief's Tale</td> <td class="xl64" style="border-top: medium none;">No. 429</td> <td class="xl64" style="border-top: medium none;">VII, 149</td> <td class="xl64" style="border-top: medium none;">IV, 274</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(48) The Thief and the Shroff</td> <td class="xl64" style="border-top: medium none;">No. 405</td> <td class="xl64" style="border-top: medium none;">VII, 135</td> <td class="xl64" style="border-top: medium none;">IV, 275</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(49) The Kus Police-Chief & Sharper</td> <td class="xl64" style="border-top: medium none;">No. 428b</td> <td class="xl64" style="border-top: medium none;">VII, 149</td> <td class="xl64" style="border-top: medium none;">IV, 276</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(50) Ibrahim & the Merchant's Sister</td> <td class="xl64" style="border-top: medium none;">No. 220</td> <td class="xl64" style="border-top: medium none;">VI, 54</td> <td class="xl64" style="border-top: medium none;">IV, 278</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(51) The Woman with Cut-off Hands</td> <td class="xl64" style="border-top: medium none;">No. 67</td> <td class="xl64" style="border-top: medium none;">V, 138</td> <td class="xl64" style="border-top: medium none;">IV, 281</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(52) The Devout Israelite</td> <td class="xl64" style="border-top: medium none;">No. 68</td> <td class="xl64" style="border-top: medium none;">V, 141</td> <td class="xl64" style="border-top: medium none;">IV, 283</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(53) Abu and the Khorasan Man</td> <td class="xl64" style="border-top: medium none;">No. 257</td> <td class="xl64" style="border-top: medium none;">VI, 93</td> <td class="xl64" style="border-top: medium none;">IV, 285</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(54) The Poor Man and his Friend</td> <td class="xl64" style="border-top: medium none;">No. 192</td> <td class="xl64" style="border-top: medium none;">VI, 21</td> <td class="xl64" style="border-top: medium none;">IV, 288</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(55) The Man enriched by a Dream</td> <td class="xl64" style="border-top: medium none;">No. 258</td> <td class="xl64" style="border-top: medium none;">VI, 94</td> <td class="xl64" style="border-top: medium none;">IV, 289</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(56) Caliph Al-Mutawakkil & Mahbubah</td> <td class="xl64" style="border-top: medium none;">No. 35</td> <td class="xl64" style="border-top: medium none;">V, 105</td> <td class="xl64" style="border-top: medium none;">IV, 291</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(57) Wardan, the Lady and the Bear</td> <td class="xl64" style="border-top: medium none;">No. 101</td> <td class="xl64" style="border-top: medium none;">V, 177</td> <td class="xl64" style="border-top: medium none;">IV, 293</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(58) The King's Daughter and the Ape</td> <td class="xl64" style="border-top: medium none;">No. 102</td> <td class="xl64" style="border-top: medium none;">V, 178</td> <td class="xl64" style="border-top: medium none;">IV, 297</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(59) The Ebony Horse</td> <td class="xl64" style="border-top: medium none;">No. 130</td> <td class="xl64" style="border-top: medium none;">V, 221</td> <td class="xl64" style="border-top: medium none;">V, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(60) Uns Al-Wujud and Rose-in-Hood</td> <td class="xl64" style="border-top: medium none;">No. 282</td> <td class="xl64" style="border-top: medium none;">VI, 127</td> <td class="xl64" style="border-top: medium none;">V, 32</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(61) Abu Nowas and the Three Boys</td> <td class="xl64" style="border-top: medium none;">No. 297</td> <td class="xl64" style="border-top: medium none;">VI, 141</td> <td class="xl64" style="border-top: medium none;">V, 64</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(62) Abdullah and the Slave-Girl</td> <td class="xl64" style="border-top: medium none;">No. 36</td> <td class="xl64" style="border-top: medium none;">V, 106</td> <td class="xl64" style="border-top: medium none;">V, 69</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(63) The Lovers of the Banu Ozrah</td> <td class="xl64" style="border-top: medium none;">No. 37</td> <td class="xl64" style="border-top: medium none;">V, 106</td> <td class="xl64" style="border-top: medium none;">V, 70</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(64) The Wazir and his Young Brother</td> <td class="xl64" style="border-top: medium none;">No. 38</td> <td class="xl64" style="border-top: medium none;">V, 107</td> <td class="xl64" style="border-top: medium none;">V, 71</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(65) The Schoolboy and the Schoolgirl</td> <td class="xl64" style="border-top: medium none;">No. 39</td> <td class="xl64" style="border-top: medium none;">V, 108</td> <td class="xl64" style="border-top: medium none;">V, 73</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(66) Al-Mutalammis and Umaymah</td> <td class="xl64" style="border-top: medium none;">No. 40</td> <td class="xl64" style="border-top: medium none;">V, 108</td> <td class="xl64" style="border-top: medium none;">V, 74</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(67) Harun Al-Rashid and Zubaydah</td> <td class="xl64" style="border-top: medium none;">No. 298</td> <td class="xl64" style="border-top: medium none;">VI, 142</td> <td class="xl64" style="border-top: medium none;">V, 75</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(68) Harun Al-Rashid and the Poets</td> <td class="xl64" style="border-top: medium none;">No. 299</td> <td class="xl64" style="border-top: medium none;">VI, 142</td> <td class="xl64" style="border-top: medium none;">V, 77</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(69) Mus'ab bin Al-Zubayr and Ayishah</td> <td class="xl64" style="border-top: medium none;">No. 41</td> <td class="xl64" style="border-top: medium none;">V, 109</td> <td class="xl64" style="border-top: medium none;">V, 79</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(70) Abu Al-Aswad and his Slave-Girl</td> <td class="xl64" style="border-top: medium none;">No. 320</td> <td class="xl64" style="border-top: medium none;">VI, 154</td> <td class="xl64" style="border-top: medium none;">V, 80</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(71) Harun Al-Rashid & the Two Girls</td> <td class="xl64" style="border-top: medium none;">No. 314</td> <td class="xl64" style="border-top: medium none;">VI, 152</td> <td class="xl64" style="border-top: medium none;">V, 81</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(72) Harun Al-Rashid & the Three Girls</td> <td class="xl64" style="border-top: medium none;">[No. 314]</td> <td class="xl64" style="border-top: medium none;">VI, 152</td> <td class="xl64" style="border-top: medium none;">V, 81</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(73) The Miller and his Wife</td> <td class="xl64" style="border-top: medium none;">No. 367</td> <td class="xl64" style="border-top: medium none;">VI, 195</td> <td class="xl64" style="border-top: medium none;">V, 82</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(74) The Simpleton and the Sharper</td> <td class="xl64" style="border-top: medium none;">No. 406</td> <td class="xl64" style="border-top: medium none;">VII, 136</td> <td class="xl64" style="border-top: medium none;">V, 83</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(75) The Kazi Abu Yusuf with the Caliph</td> <td class="xl64" style="border-top: medium none;">No. 384</td> <td class="xl64" style="border-top: medium none;">VII, 115</td> <td class="xl64" style="border-top: medium none;">V, 85</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(76) Caliph Al-Hakim & the Merchant</td> <td class="xl64" style="border-top: medium none;">No. 208</td> <td class="xl64" style="border-top: medium none;">VI, 43</td> <td class="xl64" style="border-top: medium none;">V, 86</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(77) Kisra Anushirwan and the Damsel</td> <td class="xl64" style="border-top: medium none;">No. 198</td> <td class="xl64" style="border-top: medium none;">VI, 26</td> <td class="xl64" style="border-top: medium none;">V, 87</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(78) The Water-Carrier and the Wife</td> <td class="xl64" style="border-top: medium none;">No. 361</td> <td class="xl64" style="border-top: medium none;">VI, 192</td> <td class="xl64" style="border-top: medium none;">V, 89</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(79) Khusrau, Shirin & the Fisherman</td> <td class="xl64" style="border-top: medium none;">No. 164</td> <td class="xl64" style="border-top: medium none;">V, 280</td> <td class="xl64" style="border-top: medium none;">V, 91</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(80) Yahya bin Khalid and the Poor Man</td> <td class="xl64" style="border-top: medium none;">No. 93</td> <td class="xl64" style="border-top: medium none;">V, 168</td> <td class="xl64" style="border-top: medium none;">V, 92</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(81) Mohammed Al-Amin and the Girl</td> <td class="xl64" style="border-top: medium none;">No. 42</td> <td class="xl64" style="border-top: medium none;">V, 109</td> <td class="xl64" style="border-top: medium none;">V, 93</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(82) The Sons of Yahya and Said</td> <td class="xl64" style="border-top: medium none;">No. 94</td> <td class="xl64" style="border-top: medium none;">V, 169</td> <td class="xl64" style="border-top: medium none;">V, 94</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(83) The Woman's Trick on her Husband</td> <td class="xl64" style="border-top: medium none;">No. 337</td> <td class="xl64" style="border-top: medium none;">VI, 177</td> <td class="xl64" style="border-top: medium none;">V, 96</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(84) The Woman & the Wicked Elders</td> <td class="xl64" style="border-top: medium none;">No. 362</td> <td class="xl64" style="border-top: medium none;">VI, 192</td> <td class="xl64" style="border-top: medium none;">V, 97</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(85) Ja'afar and the Old Badawi</td> <td class="xl64" style="border-top: medium none;">No. 165</td> <td class="xl64" style="border-top: medium none;">V, 281</td> <td class="xl64" style="border-top: medium none;">V, 98</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(86) Omar and the Young Badawi</td> <td class="xl64" style="border-top: medium none;">No. 125</td> <td class="xl64" style="border-top: medium none;">V, 216</td> <td class="xl64" style="border-top: medium none;">V, 99</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(87) Al-Maamun and the Pyramids</td> <td class="xl64" style="border-top: medium none;">No. 255</td> <td class="xl64" style="border-top: medium none;">VI, 91</td> <td class="xl64" style="border-top: medium none;">V, 105</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(88) The Thief and the Merchant</td> <td class="xl64" style="border-top: medium none;">No. 407</td> <td class="xl64" style="border-top: medium none;">VII, 137</td> <td class="xl64" style="border-top: medium none;">V, 107</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(89) Masrur and Ibn Al-Karibi</td> <td class="xl64" style="border-top: medium none;">No. 166</td> <td class="xl64" style="border-top: medium none;">V, 282</td> <td class="xl64" style="border-top: medium none;">V, 109</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(90) The Devotee Prince</td> <td class="xl64" style="border-top: medium none;">No. 363</td> <td class="xl64" style="border-top: medium none;">VI, 193</td> <td class="xl64" style="border-top: medium none;">V, 111</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(91) The Schoolmaster in Love</td> <td class="xl64" style="border-top: medium none;">No. 287</td> <td class="xl64" style="border-top: medium none;">VI, 136</td> <td class="xl64" style="border-top: medium none;">V, 117</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(92) The Foolish Dominie</td> <td class="xl64" style="border-top: medium none;">No. 288</td> <td class="xl64" style="border-top: medium none;">VI, 137</td> <td class="xl64" style="border-top: medium none;">V, 118</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(93) The Illiterate Schoolmaster</td> <td class="xl64" style="border-top: medium none;">No. 289</td> <td class="xl64" style="border-top: medium none;">VI, 137</td> <td class="xl64" style="border-top: medium none;">V, 119</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(94) The King and the Virtuous Wife</td> <td class="xl64" style="border-top: medium none;">No. 391</td> <td class="xl64" style="border-top: medium none;">VII, 120</td> <td class="xl64" style="border-top: medium none;">V, 121</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(95) Abd Al-Rahman's Tale of the Rukh</td> <td class="xl64" style="border-top: medium none;">No. 256</td> <td class="xl64" style="border-top: medium none;">VI, 92</td> <td class="xl64" style="border-top: medium none;">V, 122</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(96) Adi bin Zayd and Princess Hind</td> <td class="xl64" style="border-top: medium none;">No. 216</td> <td class="xl64" style="border-top: medium none;">VI, 50</td> <td class="xl64" style="border-top: medium none;">V, 124</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(97) Di'ibil Al-Khuza'i with the Lady</td> <td class="xl64" style="border-top: medium none;">No. 43</td> <td class="xl64" style="border-top: medium none;">V, 110</td> <td class="xl64" style="border-top: medium none;">V, 127</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(98) Isaac of Mosul and the Merchant</td> <td class="xl64" style="border-top: medium none;">No. 225</td> <td class="xl64" style="border-top: medium none;">VI, 59</td> <td class="xl64" style="border-top: medium none;">V, 129</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(99) The Three Unfortunate Lovers</td> <td class="xl64" style="border-top: medium none;">No. 44</td> <td class="xl64" style="border-top: medium none;">V, 110</td> <td class="xl64" style="border-top: medium none;">V, 133</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(100) How Abu Hasan brake Wind</td> <td class="xl64" style="border-top: medium none;">No. 167</td> <td class="xl64" style="border-top: medium none;">V, 283</td> <td class="xl64" style="border-top: medium none;">V, 135</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(101) The Lovers of the Banu Tayy</td> <td class="xl64" style="border-top: medium none;">No. 45</td> <td class="xl64" style="border-top: medium none;">V, 111</td> <td class="xl64" style="border-top: medium none;">V, 137</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(102) The Mad Lover</td> <td class="xl64" style="border-top: medium none;">No. 46</td> <td class="xl64" style="border-top: medium none;">V, 111</td> <td class="xl64" style="border-top: medium none;">V, 138</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(103) The Prior who became a Moslem</td> <td class="xl64" style="border-top: medium none;">No. 137</td> <td class="xl64" style="border-top: medium none;">V, 237</td> <td class="xl64" style="border-top: medium none;">V, 141</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(104) Abu Isa and Kurrat Al-Ayn</td> <td class="xl64" style="border-top: medium none;">No. 47</td> <td class="xl64" style="border-top: medium none;">V, 112</td> <td class="xl64" style="border-top: medium none;">V, 145</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(105) Al-Amin and his Uncle Ibrahim</td> <td class="xl64" style="border-top: medium none;">No. 315</td> <td class="xl64" style="border-top: medium none;">VI, 152</td> <td class="xl64" style="border-top: medium none;">V, 152</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(106) Al-Fath and Al-Mutawakkil</td> <td class="xl64" style="border-top: medium none;">No. 316</td> <td class="xl64" style="border-top: medium none;">VI, 152</td> <td class="xl64" style="border-top: medium none;">V, 153</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(107) The Excellence of Male & Female</td> <td class="xl64" style="border-top: medium none;">No. 317</td> <td class="xl64" style="border-top: medium none;">VI, 153</td> <td class="xl64" style="border-top: medium none;">V, 154</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(108) Abu Suwayd and the Old Woman</td> <td class="xl64" style="border-top: medium none;">No. 318</td> <td class="xl64" style="border-top: medium none;">VI, 153</td> <td class="xl64" style="border-top: medium none;">V, 163</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(109) Ali bin Tahir and the girl Muunis</td> <td class="xl64" style="border-top: medium none;">No. 319</td> <td class="xl64" style="border-top: medium none;">VI, 154</td> <td class="xl64" style="border-top: medium none;">V, 164</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(110) A Boy and a Man to Lover</td> <td class="xl64" style="border-top: medium none;">No. 48</td> <td class="xl64" style="border-top: medium none;">V, 112</td> <td class="xl64" style="border-top: medium none;">V, 165</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(111) Ali and the Haunted House</td> <td class="xl64" style="border-top: medium none;">No. 22</td> <td class="xl64" style="border-top: medium none;">V, 77</td> <td class="xl64" style="border-top: medium none;">V, 166</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(112) The Pilgrim and the Old Woman</td> <td class="xl64" style="border-top: medium none;">No. 200</td> <td class="xl64" style="border-top: medium none;">VI, 28</td> <td class="xl64" style="border-top: medium none;">V, 186</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(113) Abu Al-Husn and Tawaddud</td> <td class="xl64" style="border-top: medium none;">No. 387</td> <td class="xl64" style="border-top: medium none;">VII, 117</td> <td class="xl64" style="border-top: medium none;">V, 189</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(114) The Angel of Death</td> <td class="xl64" style="border-top: medium none;">No. 349</td> <td class="xl64" style="border-top: medium none;">VI, 183</td> <td class="xl64" style="border-top: medium none;">V, 246</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(115) The Angel and the Rich King</td> <td class="xl64" style="border-top: medium none;">No. 350</td> <td class="xl64" style="border-top: medium none;">VI, 184</td> <td class="xl64" style="border-top: medium none;">V, 248</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(116) The Angel and the Israelite King</td> <td class="xl64" style="border-top: medium none;">No. 351</td> <td class="xl64" style="border-top: medium none;">VI, 185</td> <td class="xl64" style="border-top: medium none;">V, 250</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(117) Iskander and the Poor Folk</td> <td class="xl64" style="border-top: medium none;">No. 352</td> <td class="xl64" style="border-top: medium none;">VI, 185</td> <td class="xl64" style="border-top: medium none;">V, 252</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(118) King Anushirwan's Righteousness</td> <td class="xl64" style="border-top: medium none;">No. 199</td> <td class="xl64" style="border-top: medium none;">VI, 27</td> <td class="xl64" style="border-top: medium none;">V, 254</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(119) The Jewish Kazi and his Wife</td> <td class="xl64" style="border-top: medium none;">No. 321</td> <td class="xl64" style="border-top: medium none;">VI, 154</td> <td class="xl64" style="border-top: medium none;">V, 256</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(120) The Shipwrecked Woman & Child</td> <td class="xl64" style="border-top: medium none;">No. 324</td> <td class="xl64" style="border-top: medium none;">VI, 160</td> <td class="xl64" style="border-top: medium none;">V, 259</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(121) The Pious Black Slave</td> <td class="xl64" style="border-top: medium none;">No. 353</td> <td class="xl64" style="border-top: medium none;">VI, 186</td> <td class="xl64" style="border-top: medium none;">V, 261</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(122) The Tray-maker and his Wife</td> <td class="xl64" style="border-top: medium none;">No. 354</td> <td class="xl64" style="border-top: medium none;">VI, 187</td> <td class="xl64" style="border-top: medium none;">V, 264</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(123) Al-Hajjaj and the Pious Man</td> <td class="xl64" style="border-top: medium none;">No. 355</td> <td class="xl64" style="border-top: medium none;">VI, 188</td> <td class="xl64" style="border-top: medium none;">V, 269</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(124) The Blacksmith and the Fire</td> <td class="xl64" style="border-top: medium none;">No. 356</td> <td class="xl64" style="border-top: medium none;">VI, 188</td> <td class="xl64" style="border-top: medium none;">V, 271</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(125) The Devotee and the Cloud</td> <td class="xl64" style="border-top: medium none;">No. 357</td> <td class="xl64" style="border-top: medium none;">VI, 189</td> <td class="xl64" style="border-top: medium none;">V, 274</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(126) The Moslem & the Christian Girl</td> <td class="xl64" style="border-top: medium none;">No. 138</td> <td class="xl64" style="border-top: medium none;">V, 238</td> <td class="xl64" style="border-top: medium none;">V, 277</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(127) The Christian King's Daughter</td> <td class="xl64" style="border-top: medium none;">No. 139</td> <td class="xl64" style="border-top: medium none;">V, 239</td> <td class="xl64" style="border-top: medium none;">V, 283</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(128) The Prophet and Providence</td> <td class="xl64" style="border-top: medium none;">No. 358</td> <td class="xl64" style="border-top: medium none;">VI, 190</td> <td class="xl64" style="border-top: medium none;">V, 286</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(129) The Ferryman and the Hermit</td> <td class="xl64" style="border-top: medium none;">No. 359</td> <td class="xl64" style="border-top: medium none;">VI, 191</td> <td class="xl64" style="border-top: medium none;">V, 288</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(130) The Island King and the Israelite</td> <td class="xl64" style="border-top: medium none;">No. 325</td> <td class="xl64" style="border-top: medium none;">VI, 161</td> <td class="xl64" style="border-top: medium none;">V, 290</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(131) Abu Al-Hasan and Abu Ja'afar</td> <td class="xl64" style="border-top: medium none;">No. 360</td> <td class="xl64" style="border-top: medium none;">VI, 191</td> <td class="xl64" style="border-top: medium none;">V, 294</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(132) The Queen of the Serpents</td> <td class="xl64" style="border-top: medium none;">No. 152</td> <td class="xl64" style="border-top: medium none;">V, 255</td> <td class="xl64" style="border-top: medium none;">V, 298</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Adventure of Bulukiya</td> <td class="xl64" style="border-top: medium none;">No. 77</td> <td class="xl64" style="border-top: medium none;">V, 154</td> <td class="xl64" style="border-top: medium none;">V, 304</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Story of Janshah</td> <td class="xl64" style="border-top: medium none;">No. 153</td> <td class="xl64" style="border-top: medium none;">VII, 39</td> <td class="xl64" style="border-top: medium none;">V, 329</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(133) Sindbad the Seaman</td> <td class="xl64" style="border-top: medium none;">No. 373</td> <td class="xl64" style="border-top: medium none;">VII, 1</td> <td class="xl64" style="border-top: medium none;">VI, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The 1st Voyage of Sindbad</td> <td class="xl64" style="border-top: medium none;">No. 373a</td> <td class="xl64" style="border-top: medium none;">VII, 7</td> <td class="xl64" style="border-top: medium none;">VI, 4</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ the 2nd Voyage of Sindbad</td> <td class="xl64" style="border-top: medium none;">No. 373b</td> <td class="xl64" style="border-top: medium none;">VII, 9</td> <td class="xl64" style="border-top: medium none;">VI, 14</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The 3rd Voyage of Sindbad</td> <td class="xl64" style="border-top: medium none;">No. 373c</td> <td class="xl64" style="border-top: medium none;">VII, 15</td> <td class="xl64" style="border-top: medium none;">VI, 22</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ the 4th Voyage of Sindbad</td> <td class="xl64" style="border-top: medium none;">No. 373d</td> <td class="xl64" style="border-top: medium none;">VII, 18</td> <td class="xl64" style="border-top: medium none;">VI, 34</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ the 5th Voyage of Sindbad</td> <td class="xl64" style="border-top: medium none;">No. 373e</td> <td class="xl64" style="border-top: medium none;">VII, 21</td> <td class="xl64" style="border-top: medium none;">VI, 48</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The 6th Voyage of Sindbad [Galland]</td> <td class="xl64" style="border-top: medium none;">No. 373f</td> <td class="xl64" style="border-top: medium none;">VII, 24</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f1/ The 6th Voyage of Sindbad [ZER]</td> <td class="xl64" style="border-top: medium none;">No. 373f</td> <td class="xl64" style="border-top: medium none;">VII, 26</td> <td class="xl64" style="border-top: medium none;">VI, 58</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The 7th Voyage of Sindbad [Galland]</td> <td class="xl64" style="border-top: medium none;">No. 373g</td> <td class="xl64" style="border-top: medium none;">VII, 26</td> <td class="xl64" style="border-top: medium none;">VI, 78</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g1/ The 7th Voyage of Sindbad [ZER]</td> <td class="xl64" style="border-top: medium none;">No. 373h</td> <td class="xl64" style="border-top: medium none;">VII, 27</td> <td class="xl64" style="border-top: medium none;">VI, 68</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(134) The City of Brass</td> <td class="xl64" style="border-top: medium none;">No. 16</td> <td class="xl64" style="border-top: medium none;">V, 32</td> <td class="xl64" style="border-top: medium none;">VI, 83</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(135) The Craft and Malice of Women</td> <td class="xl64" style="border-top: medium none;">No. 402: S/1</td> <td class="xl64" style="border-top: medium none;">7:133; 8:33</td> <td class="xl64" style="border-top: medium none;">VI, 122</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The King and his Wazir's Wife</td> <td class="xl64" style="border-top: medium none;">S/2</td> <td class="xl64" style="border-top: medium none;">7:122; 8:35</td> <td class="xl64" style="border-top: medium none;">VI, 129</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Confectioner and the Parrot</td> <td class="xl64" style="border-top: medium none;">S/3</td> <td class="xl64" style="border-top: medium none;">VIII, 35</td> <td class="xl64" style="border-top: medium none;">VI, 132</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Fuller and his Son</td> <td class="xl64" style="border-top: medium none;">S/4</td> <td class="xl64" style="border-top: medium none;">VIII, 36</td> <td class="xl64" style="border-top: medium none;">VI, 134</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Rake's Trick against the Wife</td> <td class="xl64" style="border-top: medium none;">S/5</td> <td class="xl64" style="border-top: medium none;">VIII, 37</td> <td class="xl64" style="border-top: medium none;">VI, 135</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ The Miser and the Loaves of Bread</td> <td class="xl64" style="border-top: medium none;">S/6</td> <td class="xl64" style="border-top: medium none;">VIII, 38</td> <td class="xl64" style="border-top: medium none;">VI, 137</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The Lady and her Two Lovers</td> <td class="xl64" style="border-top: medium none;">S/7</td> <td class="xl64" style="border-top: medium none;">VIII, 38</td> <td class="xl64" style="border-top: medium none;">VI, 138</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The King's Son and the Ogress</td> <td class="xl64" style="border-top: medium none;">S/8b</td> <td class="xl64" style="border-top: medium none;">VIII, 40</td> <td class="xl64" style="border-top: medium none;">VI, 139</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ The Drop of Honey</td> <td class="xl64" style="border-top: medium none;">S/9</td> <td class="xl64" style="border-top: medium none;">VIII, 41</td> <td class="xl64" style="border-top: medium none;">VI, 142</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ The Husband who sifted Dust</td> <td class="xl64" style="border-top: medium none;">S/10</td> <td class="xl64" style="border-top: medium none;">VIII, 42</td> <td class="xl64" style="border-top: medium none;">VI, 143</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ The Enchanted Spring</td> <td class="xl64" style="border-top: medium none;">S/11</td> <td class="xl64" style="border-top: medium none;">VIII, 43</td> <td class="xl64" style="border-top: medium none;">VI, 145</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k/ The Wazir's Son and the Wife</td> <td class="xl64" style="border-top: medium none;">S/12</td> <td class="xl64" style="border-top: medium none;">VIII, 44</td> <td class="xl64" style="border-top: medium none;">VI, 150</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>l/ The Wife who cheated her Husband</td> <td class="xl64" style="border-top: medium none;">S/13</td> <td class="xl64" style="border-top: medium none;">VIII, 45</td> <td class="xl64" style="border-top: medium none;">VI, 152</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>m/ The Goldsmith and the Singing-Girl</td> <td class="xl64" style="border-top: medium none;">S/14</td> <td class="xl64" style="border-top: medium none;">VIII, 46</td> <td class="xl64" style="border-top: medium none;">VI, 156</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>n/ The Man who never laughed</td> <td class="xl64" style="border-top: medium none;">S/15</td> <td class="xl64" style="border-top: medium none;">VIII, 47</td> <td class="xl64" style="border-top: medium none;">VI, 160</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>o/ The King's Son and the Wife</td> <td class="xl64" style="border-top: medium none;">S/16</td> <td class="xl64" style="border-top: medium none;">VIII, 48</td> <td class="xl64" style="border-top: medium none;">VI, 167</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>p/ The Page and the Birds</td> <td class="xl64" style="border-top: medium none;">S/17</td> <td class="xl64" style="border-top: medium none;">VIII, 49</td> <td class="xl64" style="border-top: medium none;">VI, 169</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>q/ The Lady and her Five Suitors</td> <td class="xl64" style="border-top: medium none;">S/18</td> <td class="xl64" style="border-top: medium none;">VIII, 50</td> <td class="xl64" style="border-top: medium none;">VI, 172</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>r/ The Three Wishes</td> <td class="xl64" style="border-top: medium none;">S/19</td> <td class="xl64" style="border-top: medium none;">VIII, 51</td> <td class="xl64" style="border-top: medium none;">VI, 180</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>S/The Stolen Necklace</td> <td class="xl64" style="border-top: medium none;">S/20</td> <td class="xl64" style="border-top: medium none;">VIII, 53</td> <td class="xl64" style="border-top: medium none;">VI, 182</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>t/ The Two Pigeons</td> <td class="xl64" style="border-top: medium none;">S/21: K/ 66</td> <td class="xl64" style="border-top: medium none;">8:53; 2:104</td> <td class="xl64" style="border-top: medium none;">VI, 183</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>u/ Prince Behram and Al-Datma</td> <td class="xl64" style="border-top: medium none;">S/22</td> <td class="xl64" style="border-top: medium none;">VIII, 54</td> <td class="xl64" style="border-top: medium none;">VI, 184</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>v/ The House with the Belvedere</td> <td class="xl64" style="border-top: medium none;">S/23</td> <td class="xl64" style="border-top: medium none;">VIII, 57</td> <td class="xl64" style="border-top: medium none;">VI, 188</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>w/ The King's Son & Ifrit's Mistress</td> <td class="xl64" style="border-top: medium none;">S/24</td> <td class="xl64" style="border-top: medium none;">VIII, 59</td> <td class="xl64" style="border-top: medium none;">VI, 199</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>x/ The Poisoning</td> <td class="xl64" style="border-top: medium none;">S/25</td> <td class="xl64" style="border-top: medium none;">VIII, 59</td> <td class="xl64" style="border-top: medium none;">VI, 201</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>y/ The Merchant and the Sharpers</td> <td class="xl64" style="border-top: medium none;">S/26</td> <td class="xl64" style="border-top: medium none;">VIII, 60</td> <td class="xl64" style="border-top: medium none;">VI, 202</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>z/ the Debauchee and the Child</td> <td class="xl64" style="border-top: medium none;">S/27</td> <td class="xl64" style="border-top: medium none;">VIII, 62</td> <td class="xl64" style="border-top: medium none;">VI, 208</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>aa/ The Stolen Purse</td> <td class="xl64" style="border-top: medium none;">S/28</td> <td class="xl64" style="border-top: medium none;">VIII, 63</td> <td class="xl64" style="border-top: medium none;">VI, 209</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>bb/ The Fox and the Folk</td> <td class="xl64" style="border-top: medium none;">S/29</td> <td class="xl64" style="border-top: medium none;">VIII, 64</td> <td class="xl64" style="border-top: medium none;">VI, 211</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(136) Judar and his Brethren</td> <td class="xl64" style="border-top: medium none;">No. 154a</td> <td class="xl64" style="border-top: medium none;">V, 257</td> <td class="xl64" style="border-top: medium none;">VI, 213</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(137) Gharib and his Brother Ajib</td> <td class="xl64" style="border-top: medium none;">No. 13</td> <td class="xl64" style="border-top: medium none;">V, 19</td> <td class="xl64" style="border-top: medium none;">VI, 257</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(138) Otbah and Rayya</td> <td class="xl64" style="border-top: medium none;">No. 49</td> <td class="xl64" style="border-top: medium none;">V, 115</td> <td class="xl64" style="border-top: medium none;">VII, 91</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(139) Hind, daughter of Al-Nu'uman</td> <td class="xl64" style="border-top: medium none;">No. 50</td> <td class="xl64" style="border-top: medium none;">V, 115</td> <td class="xl64" style="border-top: medium none;">VII, 96</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(140) Khuzaymah and Ekrimah</td> <td class="xl64" style="border-top: medium none;">No. 193</td> <td class="xl64" style="border-top: medium none;">VI, 21</td> <td class="xl64" style="border-top: medium none;">VII, 99</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(141) Yunus the Scribe and the Caliph</td> <td class="xl64" style="border-top: medium none;">No. 51</td> <td class="xl64" style="border-top: medium none;">V, 116</td> <td class="xl64" style="border-top: medium none;">VII, 104</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(142) Harun Al-Rashid & the Arab Girl</td> <td class="xl64" style="border-top: medium none;">No. 300</td> <td class="xl64" style="border-top: medium none;">VI, 143</td> <td class="xl64" style="border-top: medium none;">VII, 108</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(143) Al-Asma'i and the Three Girls</td> <td class="xl64" style="border-top: medium none;">No. 301</td> <td class="xl64" style="border-top: medium none;">VI, 144</td> <td class="xl64" style="border-top: medium none;">VII, 110</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(144) Ibrahim of Mosul and the Devil</td> <td class="xl64" style="border-top: medium none;">No. 226</td> <td class="xl64" style="border-top: medium none;">VI, 59</td> <td class="xl64" style="border-top: medium none;">VII, 113</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(145) The Lovers of the Banu Uzrah</td> <td class="xl64" style="border-top: medium none;">No. 52</td> <td class="xl64" style="border-top: medium none;">V, 116</td> <td class="xl64" style="border-top: medium none;">VII, 117</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(146) the Badawi and his Wife</td> <td class="xl64" style="border-top: medium none;">No. 53</td> <td class="xl64" style="border-top: medium none;">V, 118</td> <td class="xl64" style="border-top: medium none;">VII, 124</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(147) The Lovers of Bassorah</td> <td class="xl64" style="border-top: medium none;">No. 54</td> <td class="xl64" style="border-top: medium none;">V, 118</td> <td class="xl64" style="border-top: medium none;">VII, 130</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(148) Ishak, his Mistress & the Devil</td> <td class="xl64" style="border-top: medium none;">No. 227</td> <td class="xl64" style="border-top: medium none;">VI, 60</td> <td class="xl64" style="border-top: medium none;">VII, 136</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(149) The Lovers of Al-Medinah</td> <td class="xl64" style="border-top: medium none;">No. 55</td> <td class="xl64" style="border-top: medium none;">V, 119</td> <td class="xl64" style="border-top: medium none;">VII, 139</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(150) Al-Malik Al-Nasir and his Wazir</td> <td class="xl64" style="border-top: medium none;">No. 56</td> <td class="xl64" style="border-top: medium none;">V, 119</td> <td class="xl64" style="border-top: medium none;">VII, 142</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(151) The Rogueries of Dalilah</td> <td class="xl64" style="border-top: medium none;">No. 147</td> <td class="xl64" style="border-top: medium none;">V, 245</td> <td class="xl64" style="border-top: medium none;">VII, 144</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Mercury Ali of Cairo</td> <td class="xl64" style="border-top: medium none;">[No. 147]</td> <td class="xl64" style="border-top: medium none;">V, 248</td> <td class="xl64" style="border-top: medium none;">VII, 172</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(152) Ardashir and Hayat Al-Nufus</td> <td class="xl64" style="border-top: medium none;">No. 59</td> <td class="xl64" style="border-top: medium none;">V, 124</td> <td class="xl64" style="border-top: medium none;">VII, 209</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(153) Julnar the Sea-born</td> <td class="xl64" style="border-top: medium none;">No. 73</td> <td class="xl64" style="border-top: medium none;">V, 147</td> <td class="xl64" style="border-top: medium none;">VII, 264</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(154) King Mohammed bin Sabaik</td> <td class="xl64" style="border-top: medium none;">No. 348</td> <td class="xl64" style="border-top: medium none;">VII, 64</td> <td class="xl64" style="border-top: medium none;">VII, 308</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Sayf Al-Muluk and Badi'a Al-Jamal</td> <td class="xl64" style="border-top: medium none;">[No. 348]</td> <td class="xl64" style="border-top: medium none;">VII, 65</td> <td class="xl64" style="border-top: medium none;">VII, 314</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(155) Hasan of Bassorah</td> <td class="xl64" style="border-top: medium none;">No. 212a</td> <td class="xl64" style="border-top: medium none;">VII, 29</td> <td class="xl64" style="border-top: medium none;">VIII, 7</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(156) Khalifah, Fisherman of Baghdad</td> <td class="xl64" style="border-top: medium none;">No. 190</td> <td class="xl64" style="border-top: medium none;">VI, 18</td> <td class="xl64" style="border-top: medium none;">VIII, 145</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Khalif the Fisherman [Breslau ed.]</td> <td class="xl64" style="border-top: medium none;">[No. 190]</td> <td class="xl64" style="border-top: medium none;">VI, 18</td> <td class="xl64" style="border-top: medium none;">VIII, 184</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(157) Masrur and Zayn Al-Mawassif</td> <td class="xl64" style="border-top: medium none;">No. 251</td> <td class="xl64" style="border-top: medium none;">VI, 82</td> <td class="xl64" style="border-top: medium none;">VIII, 205</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(158) Ali Nur Al-Din and Miriam</td> <td class="xl64" style="border-top: medium none;">No. 271</td> <td class="xl64" style="border-top: medium none;">V, 52</td> <td class="xl64" style="border-top: medium none;">VIII, 264</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(159) The Man and his Frankish Wife</td> <td class="xl64" style="border-top: medium none;">No. 140</td> <td class="xl64" style="border-top: medium none;">V, 240</td> <td class="xl64" style="border-top: medium none;">IX, 19</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(160) The Ruined Man & his Slave-Girl</td> <td class="xl64" style="border-top: medium none;">No. 75</td> <td class="xl64" style="border-top: medium none;">V, 152</td> <td class="xl64" style="border-top: medium none;">IX, 24</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(161) King Jali'ad & his Wazir Shimas</td> <td class="xl64" style="border-top: medium none;">No.184:K/150-2</td> <td class="xl64" style="border-top: medium none;">6:9; 2:216</td> <td class="xl64" style="border-top: medium none;">IX, 32</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Mouse and the Cat</td> <td class="xl64" style="border-top: medium none;">K/ 152: 2</td> <td class="xl64" style="border-top: medium none;">II, 218</td> <td class="xl64" style="border-top: medium none;">IX, 35</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Fakir and his Jar of Butter</td> <td class="xl64" style="border-top: medium none;">K/ 152: 3</td> <td class="xl64" style="border-top: medium none;">II, 218</td> <td class="xl64" style="border-top: medium none;">IX, 40</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Fishes and the Crab</td> <td class="xl64" style="border-top: medium none;">K/ 152: 4</td> <td class="xl64" style="border-top: medium none;">II, 219</td> <td class="xl64" style="border-top: medium none;">IX, 43</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Crow and the Serpent</td> <td class="xl64" style="border-top: medium none;">K/ 152: 5</td> <td class="xl64" style="border-top: medium none;">II, 219</td> <td class="xl64" style="border-top: medium none;">IX, 46</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ The Wild Ass and the Jackal</td> <td class="xl64" style="border-top: medium none;">K/ 152: 6</td> <td class="xl64" style="border-top: medium none;">II, 219</td> <td class="xl64" style="border-top: medium none;">IX, 48</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The King and the Pilgrim Prince</td> <td class="xl64" style="border-top: medium none;">K/ 152: 7</td> <td class="xl64" style="border-top: medium none;">II, 219</td> <td class="xl64" style="border-top: medium none;">IX, 50</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The Crows and the Hawk</td> <td class="xl64" style="border-top: medium none;">K/ 152: 8</td> <td class="xl64" style="border-top: medium none;">II, 220</td> <td class="xl64" style="border-top: medium none;">IX, 53</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ The Serpent-Charmer and his Wife</td> <td class="xl64" style="border-top: medium none;">K/ 152: 9</td> <td class="xl64" style="border-top: medium none;">II, 220</td> <td class="xl64" style="border-top: medium none;">IX, 56</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ The Spider and the Wind</td> <td class="xl64" style="border-top: medium none;">K/ 152: 10</td> <td class="xl64" style="border-top: medium none;">II, 220</td> <td class="xl64" style="border-top: medium none;">IX, 59</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ The Two Kings</td> <td class="xl64" style="border-top: medium none;">K/ 152: 12</td> <td class="xl64" style="border-top: medium none;">II, 221</td> <td class="xl64" style="border-top: medium none;">IX, 65</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k/ The Blind Man and the Cripple</td> <td class="xl64" style="border-top: medium none;">K/ 152: 13</td> <td class="xl64" style="border-top: medium none;">II, 221</td> <td class="xl64" style="border-top: medium none;">IX, 67</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>l/ The Lion and the Hunter</td> <td class="xl64" style="border-top: medium none;">K/ 152: 15</td> <td class="xl64" style="border-top: medium none;">II, 222</td> <td class="xl64" style="border-top: medium none;">IX, 72</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>m/ The Foolish Fisherman</td> <td class="xl64" style="border-top: medium none;">K/ 152: 16</td> <td class="xl64" style="border-top: medium none;">II, 222</td> <td class="xl64" style="border-top: medium none;">IX, 93</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>n/ The Boy and the Thieves</td> <td class="xl64" style="border-top: medium none;">K/ 152: 17</td> <td class="xl64" style="border-top: medium none;">II, 222</td> <td class="xl64" style="border-top: medium none;">IX, 95</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>o/ The Man and his Wife</td> <td class="xl64" style="border-top: medium none;">K/ 152: 19</td> <td class="xl64" style="border-top: medium none;">II, 223</td> <td class="xl64" style="border-top: medium none;">IX, 98</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>p/ The Merchant and the Robbers</td> <td class="xl64" style="border-top: medium none;">K/ 152: 20</td> <td class="xl64" style="border-top: medium none;">II, 223</td> <td class="xl64" style="border-top: medium none;">IX, 100</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>q/ The Jackals and the Wolf</td> <td class="xl64" style="border-top: medium none;">K/ 152: 21</td> <td class="xl64" style="border-top: medium none;">II, 223</td> <td class="xl64" style="border-top: medium none;">IX, 103</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>r/ The Shepherd and the Rogue</td> <td class="xl64" style="border-top: medium none;">K/ 152: 22</td> <td class="xl64" style="border-top: medium none;">II, 223</td> <td class="xl64" style="border-top: medium none;">IX, 106</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>S/The Francolin and the Tortoises</td> <td class="xl64" style="border-top: medium none;">K/ 152: 23</td> <td class="xl64" style="border-top: medium none;">II, 224</td> <td class="xl64" style="border-top: medium none;">IX, 113</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(162) Abu Kir and Abu Sir</td> <td class="xl64" style="border-top: medium none;">No. 10</td> <td class="xl64" style="border-top: medium none;">V, 15</td> <td class="xl64" style="border-top: medium none;">IX, 134</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(163) The Abdullahs of Sea and Land</td> <td class="xl64" style="border-top: medium none;">No. 3</td> <td class="xl64" style="border-top: medium none;">V, 6</td> <td class="xl64" style="border-top: medium none;">IX, 165</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(164) Harun Al-Rashid and Abu Hasan</td> <td class="xl64" style="border-top: medium none;">No. 276</td> <td class="xl64" style="border-top: medium none;">VI, 111</td> <td class="xl64" style="border-top: medium none;">IX, 188</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(165) Ibrahim and Jamilah</td> <td class="xl64" style="border-top: medium none;">No. 218</td> <td class="xl64" style="border-top: medium none;">VI, 52</td> <td class="xl64" style="border-top: medium none;">IX, 207</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(166) Abu Al-Hasan of Khorasan</td> <td class="xl64" style="border-top: medium none;">No. 129</td> <td class="xl64" style="border-top: medium none;">V, 218</td> <td class="xl64" style="border-top: medium none;">IX, 229</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(167) Kamar Al-Zaman & the Wife</td> <td class="xl64" style="border-top: medium none;">No. 121</td> <td class="xl64" style="border-top: medium none;">V, 212</td> <td class="xl64" style="border-top: medium none;">IX, 246</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(168) Abdullah bin Fazil & his Brothers</td> <td class="xl64" style="border-top: medium none;">No. 2</td> <td class="xl64" style="border-top: medium none;">V, 2</td> <td class="xl64" style="border-top: medium none;">IX, 304</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(169) Ma'aruf the Cobbler & his Wife</td> <td class="xl64" style="border-top: medium none;">No. 250</td> <td class="xl64" style="border-top: medium none;">VI, 81</td> <td class="xl64" style="border-top: medium none;">X, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(170) The Sleeper and the Waker</td> <td class="xl64" style="border-top: medium none;">No. 155</td> <td class="xl64" style="border-top: medium none;">V, 272</td> <td class="xl64" style="border-top: medium none;">XI, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Story of the Larrikin and the Cook</td> <td class="xl64" style="border-top: medium none;">No. 436</td> <td class="xl64" style="border-top: medium none;">VII, 155</td> <td class="xl64" style="border-top: medium none;">XI, 4</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(171) Caliph Omar and the Poets</td> <td class="xl64" style="border-top: medium none;">No. 295</td> <td class="xl64" style="border-top: medium none;">VI, 140</td> <td class="xl64" style="border-top: medium none;">XI, 39</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(172) Al-Hajjaj & the Three Young Men</td> <td class="xl64" style="border-top: medium none;">No. 205</td> <td class="xl64" style="border-top: medium none;">VI, 35</td> <td class="xl64" style="border-top: medium none;">XI, 47</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(173) The Woman of the Barmecides</td> <td class="xl64" style="border-top: medium none;">No. 95</td> <td class="xl64" style="border-top: medium none;">V, 169</td> <td class="xl64" style="border-top: medium none;">XI, 51</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(174) The Ten Wazirs</td> <td class="xl64" style="border-top: medium none;">No. 402: S/48</td> <td class="xl64" style="border-top: medium none;">7:133; 8:78</td> <td class="xl64" style="border-top: medium none;">XI, 55</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Of Striving against Ill Luck</td> <td class="xl64" style="border-top: medium none;">S/49</td> <td class="xl64" style="border-top: medium none;">VIII, 79</td> <td class="xl64" style="border-top: medium none;">XI, 63</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a1/ The Merchant who Lost his Luck</td> <td class="xl64" style="border-top: medium none;">S/49</td> <td class="xl64" style="border-top: medium none;">VIII, 79</td> <td class="xl64" style="border-top: medium none;">XI, 65</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Of Looking to the Ends of Affairs</td> <td class="xl64" style="border-top: medium none;">S/50</td> <td class="xl64" style="border-top: medium none;">VIII, 80</td> <td class="xl64" style="border-top: medium none;">XI, 73</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b1/ Tale of the Merchant and his Sons</td> <td class="xl64" style="border-top: medium none;">No. 327e: S/50</td> <td class="xl64" style="border-top: medium none;">VI, 166</td> <td class="xl64" style="border-top: medium none;">XI, 73</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Of the Advantages of Patience</td> <td class="xl64" style="border-top: medium none;">S/51</td> <td class="xl64" style="border-top: medium none;">VIII, 81</td> <td class="xl64" style="border-top: medium none;">XI, 81</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c1/ Story of Abu Sabir</td> <td class="xl64" style="border-top: medium none;">S/51</td> <td class="xl64" style="border-top: medium none;">VIII, 81</td> <td class="xl64" style="border-top: medium none;">XI, 81</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ Of the Ill Effects of Impatience</td> <td class="xl64" style="border-top: medium none;">S/52</td> <td class="xl64" style="border-top: medium none;">VIII, 82</td> <td class="xl64" style="border-top: medium none;">XI, 89</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d1/ Story of Prince Bihzad</td> <td class="xl64" style="border-top: medium none;">S/52</td> <td class="xl64" style="border-top: medium none;">VIII, 82</td> <td class="xl64" style="border-top: medium none;">XI, 89</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Of Good and Evil Actions</td> <td class="xl64" style="border-top: medium none;">S/53</td> <td class="xl64" style="border-top: medium none;">VIII, 83</td> <td class="xl64" style="border-top: medium none;">XI, 93</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e1/ Story of King Dadbin & his Wazirs</td> <td class="xl64" style="border-top: medium none;">S/53</td> <td class="xl64" style="border-top: medium none;">VIII, 83</td> <td class="xl64" style="border-top: medium none;">XI, 94</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ Of Trust in Allah</td> <td class="xl64" style="border-top: medium none;">S/54</td> <td class="xl64" style="border-top: medium none;">VIII, 84</td> <td class="xl64" style="border-top: medium none;">XI, 102</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f1/ Story of King Bakhtzaman</td> <td class="xl64" style="border-top: medium none;">S/54</td> <td class="xl64" style="border-top: medium none;">VIII, 84</td> <td class="xl64" style="border-top: medium none;">XI, 102</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ Of Clemency</td> <td class="xl64" style="border-top: medium none;">S/55</td> <td class="xl64" style="border-top: medium none;">VIII, 85</td> <td class="xl64" style="border-top: medium none;">XI, 107</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g1/ Story of King Bihkard</td> <td class="xl64" style="border-top: medium none;">S/55</td> <td class="xl64" style="border-top: medium none;">VIII, 85</td> <td class="xl64" style="border-top: medium none;">XI, 107</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ Of Envy and Malice</td> <td class="xl64" style="border-top: medium none;">S/56</td> <td class="xl64" style="border-top: medium none;">VIII, 86</td> <td class="xl64" style="border-top: medium none;">XI, 111</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h1/ Aylan Shah and Abu Tammam</td> <td class="xl64" style="border-top: medium none;">S/56</td> <td class="xl64" style="border-top: medium none;">VIII, 86</td> <td class="xl64" style="border-top: medium none;">XI, 112</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ Of Destiny or that which is written</td> <td class="xl64" style="border-top: medium none;">S/57</td> <td class="xl64" style="border-top: medium none;">VIII, 87</td> <td class="xl64" style="border-top: medium none;">XI, 120</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i1/ Story of King Ibrahim & his Son</td> <td class="xl64" style="border-top: medium none;">S/57</td> <td class="xl64" style="border-top: medium none;">VIII, 87</td> <td class="xl64" style="border-top: medium none;">XI, 121</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ Of the Appointed Term</td> <td class="xl64" style="border-top: medium none;">S/58</td> <td class="xl64" style="border-top: medium none;">VIII, 88</td> <td class="xl64" style="border-top: medium none;">XI, 129</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j1/ King Sulayman Shah & his Niece</td> <td class="xl64" style="border-top: medium none;">S/58</td> <td class="xl64" style="border-top: medium none;">VIII, 88</td> <td class="xl64" style="border-top: medium none;">XI, 131</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k/ Of the Speedy Relief of Allah</td> <td class="xl64" style="border-top: medium none;">S/59</td> <td class="xl64" style="border-top: medium none;">VIII, 89</td> <td class="xl64" style="border-top: medium none;">XI, 151</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k1/ Story of the Prisoner</td> <td class="xl64" style="border-top: medium none;">S/59</td> <td class="xl64" style="border-top: medium none;">VIII, 89</td> <td class="xl64" style="border-top: medium none;">XI, 151</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(175) Ja'afar & Abd Al-Malik bin Salih</td> <td class="xl64" style="border-top: medium none;">No. 90</td> <td class="xl64" style="border-top: medium none;">V, 167</td> <td class="xl64" style="border-top: medium none;">XI, 159</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(176) Al-Rashid and the Barmecides</td> <td class="xl64" style="border-top: medium none;">Nos 91-92</td> <td class="xl64" style="border-top: medium none;">V, 167</td> <td class="xl64" style="border-top: medium none;">XI, 165</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(177) Ibn Al-Sammak and Al-Rashid</td> <td class="xl64" style="border-top: medium none;">No. 393</td> <td class="xl64" style="border-top: medium none;">VII, 125</td> <td class="xl64" style="border-top: medium none;">XI, 171</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(178) Al-Maamun and Zubaydah</td> <td class="xl64" style="border-top: medium none;">No. 244</td> <td class="xl64" style="border-top: medium none;">VI, 77</td> <td class="xl64" style="border-top: medium none;">XI, 175</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(179) The Arab of the Banu Tay</td> <td class="xl64" style="border-top: medium none;">No. 124</td> <td class="xl64" style="border-top: medium none;">V, 215</td> <td class="xl64" style="border-top: medium none;">XI, 179</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(180) Firuz and his Wife</td> <td class="xl64" style="border-top: medium none;">No. 391b</td> <td class="xl64" style="border-top: medium none;">VII, 121</td> <td class="xl64" style="border-top: medium none;">XI, 185</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(181) King Shah Bakht and his Wazir</td> <td class="xl64" style="border-top: medium none;">No. 402: S/60</td> <td class="xl64" style="border-top: medium none;">7:133; 8:90</td> <td class="xl64" style="border-top: medium none;">XI, 191</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Man, his Son & his Tutor</td> <td class="xl64" style="border-top: medium none;">S/61</td> <td class="xl64" style="border-top: medium none;">VIII, 90</td> <td class="xl64" style="border-top: medium none;">XI, 194</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Tale of the Singer and the Druggist</td> <td class="xl64" style="border-top: medium none;">S/62</td> <td class="xl64" style="border-top: medium none;">VIII, 91</td> <td class="xl64" style="border-top: medium none;">XI, 203</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Quintessence of Things</td> <td class="xl64" style="border-top: medium none;">S/63</td> <td class="xl64" style="border-top: medium none;">VII, 163</td> <td class="xl64" style="border-top: medium none;">XI, 212</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Richard and his Daughter</td> <td class="xl64" style="border-top: medium none;">S/64</td> <td class="xl64" style="border-top: medium none;">VIII, 92</td> <td class="xl64" style="border-top: medium none;">XI, 218</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Tale of the Sage and his Three Sons</td> <td class="xl64" style="border-top: medium none;">S/65</td> <td class="xl64" style="border-top: medium none;">VIII, 93</td> <td class="xl64" style="border-top: medium none;">XI, 222</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The Prince who loved a Picture</td> <td class="xl64" style="border-top: medium none;">S/66</td> <td class="xl64" style="border-top: medium none;">VIII, 95</td> <td class="xl64" style="border-top: medium none;">XI, 226</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The Fuller, his Wife & the Trooper</td> <td class="xl64" style="border-top: medium none;">S/67</td> <td class="xl64" style="border-top: medium none;">VIII, 95</td> <td class="xl64" style="border-top: medium none;">XI, 231</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ The Merchant, Crone and King</td> <td class="xl64" style="border-top: medium none;">S/68</td> <td class="xl64" style="border-top: medium none;">VIII, 96</td> <td class="xl64" style="border-top: medium none;">XI, 235</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ Tale of the Simpleton Husband</td> <td class="xl64" style="border-top: medium none;">S/69</td> <td class="xl64" style="border-top: medium none;">VIII, 97</td> <td class="xl64" style="border-top: medium none;">XI, 239</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ The Unjust King and the Tither</td> <td class="xl64" style="border-top: medium none;">S/70</td> <td class="xl64" style="border-top: medium none;">VIII, 98</td> <td class="xl64" style="border-top: medium none;">XI, 242</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j1/ Story of David and Solomon</td> <td class="xl64" style="border-top: medium none;">S/71</td> <td class="xl64" style="border-top: medium none;">VIII, 99</td> <td class="xl64" style="border-top: medium none;">XI, 244</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k/ Tale of the Robber and the Woman</td> <td class="xl64" style="border-top: medium none;">S/72</td> <td class="xl64" style="border-top: medium none;">VIII, 100</td> <td class="xl64" style="border-top: medium none;">XI, 246</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>l/ The Three men and Our Lord Isa</td> <td class="xl64" style="border-top: medium none;">S/73</td> <td class="xl64" style="border-top: medium none;">VIII, 100</td> <td class="xl64" style="border-top: medium none;">XI, 250</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>l1/ The Disciple's Story</td> <td class="xl64" style="border-top: medium none;">S/73</td> <td class="xl64" style="border-top: medium none;">VIII, 101</td> <td class="xl64" style="border-top: medium none;">XI, 251</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>m/ Tale of the Dethroned Ruler</td> <td class="xl64" style="border-top: medium none;">S/74</td> <td class="xl64" style="border-top: medium none;">VIII, 101</td> <td class="xl64" style="border-top: medium none;">XI, 253</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>n/ The Man whose Caution slew him</td> <td class="xl64" style="border-top: medium none;">S/75</td> <td class="xl64" style="border-top: medium none;">VIII, 102</td> <td class="xl64" style="border-top: medium none;">XI, 258</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>o/ The Man lavish of his House</td> <td class="xl64" style="border-top: medium none;">S/76</td> <td class="xl64" style="border-top: medium none;">VIII, 102</td> <td class="xl64" style="border-top: medium none;">XI, 259</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>p/ The Melancholist and the Sharper</td> <td class="xl64" style="border-top: medium none;">S/77</td> <td class="xl64" style="border-top: medium none;">VIII, 103</td> <td class="xl64" style="border-top: medium none;">XI, 264</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>q/ Khalbas, his Wife & the Scholar</td> <td class="xl64" style="border-top: medium none;">S/78</td> <td class="xl64" style="border-top: medium none;">VIII, 103</td> <td class="xl64" style="border-top: medium none;">XI, 267</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>r/ The Devotee accused of Lewdness</td> <td class="xl64" style="border-top: medium none;">No. 322b: S/79</td> <td class="xl64" style="border-top: medium none;">6:157;8:104</td> <td class="xl64" style="border-top: medium none;">XI, 270</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>S/Tale of the Hireling and the Girl</td> <td class="xl64" style="border-top: medium none;">S/80</td> <td class="xl64" style="border-top: medium none;">VIII, 104</td> <td class="xl64" style="border-top: medium none;">XI, 279</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>t/ The Weaver who became a Leach</td> <td class="xl64" style="border-top: medium none;">S/81</td> <td class="xl64" style="border-top: medium none;">VIII, 105</td> <td class="xl64" style="border-top: medium none;">XI, 282</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>u/ The Two Sharpers cozened</td> <td class="xl64" style="border-top: medium none;">S/82</td> <td class="xl64" style="border-top: medium none;">VIII, 106</td> <td class="xl64" style="border-top: medium none;">XI, 288</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>v/ The Sharpers, Shroff and the Ass</td> <td class="xl64" style="border-top: medium none;">S/83</td> <td class="xl64" style="border-top: medium none;">VIII, 107</td> <td class="xl64" style="border-top: medium none;">XI, 298</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>w/ Tale of the Cheat & the Merchants</td> <td class="xl64" style="border-top: medium none;">S/84</td> <td class="xl64" style="border-top: medium none;">VIII, 108</td> <td class="xl64" style="border-top: medium none;">XI, 302</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>w1/ Story of the Falcon & the Locust</td> <td class="xl64" style="border-top: medium none;">S/85: L/ 50: 25</td> <td class="xl64" style="border-top: medium none;">8:108; 3:61</td> <td class="xl64" style="border-top: medium none;">XI, 305</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>x/ The King & his Chamberlain's Wife</td> <td class="xl64" style="border-top: medium none;">S/86</td> <td class="xl64" style="border-top: medium none;">7:123;8:108</td> <td class="xl64" style="border-top: medium none;">XI, 308</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>x1/ The Crone and the Draper's Wife</td> <td class="xl64" style="border-top: medium none;">S/87</td> <td class="xl64" style="border-top: medium none;">VIII, 109</td> <td class="xl64" style="border-top: medium none;">XI, 309</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>y/ The Ugly Man & his Beautiful Wife</td> <td class="xl64" style="border-top: medium none;">S/88</td> <td class="xl64" style="border-top: medium none;">VIII, 109</td> <td class="xl64" style="border-top: medium none;">XI, 315</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>z/ The King who Lost his Kingdom</td> <td class="xl64" style="border-top: medium none;">No. 327b: S/89</td> <td class="xl64" style="border-top: medium none;">6:164;8:110</td> <td class="xl64" style="border-top: medium none;">XI, 319</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>z1/ Tale of Salim & Salma his Sister</td> <td class="xl64" style="border-top: medium none;">S/90</td> <td class="xl64" style="border-top: medium none;">VIII, 110</td> <td class="xl64" style="border-top: medium none;">XI, 332</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>z2/ The King of Hind and his Wazir</td> <td class="xl64" style="border-top: medium none;">S/91</td> <td class="xl64" style="border-top: medium none;">VIII, 111</td> <td class="xl64" style="border-top: medium none;">XI, 352</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(182) Bibars & the Captains of Police</td> <td class="xl64" style="border-top: medium none;">Nos 408-26</td> <td class="xl64" style="border-top: medium none;">VII, 138</td> <td class="xl64" style="border-top: medium none;">XII, 3</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ First Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 408a</td> <td class="xl64" style="border-top: medium none;">VII, 138</td> <td class="xl64" style="border-top: medium none;">XII, 6</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Second Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 409</td> <td class="xl64" style="border-top: medium none;">VII, 140</td> <td class="xl64" style="border-top: medium none;">XII, 16</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Third Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 410</td> <td class="xl64" style="border-top: medium none;">VII, 140</td> <td class="xl64" style="border-top: medium none;">XII, 19</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ Fourth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 411</td> <td class="xl64" style="border-top: medium none;">VII, 140</td> <td class="xl64" style="border-top: medium none;">XII, 23</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Fifth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 412</td> <td class="xl64" style="border-top: medium none;">VII, 141</td> <td class="xl64" style="border-top: medium none;">XII, 26</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ Sixth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 413</td> <td class="xl64" style="border-top: medium none;">VII, 141</td> <td class="xl64" style="border-top: medium none;">XII, 27</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ Seventh Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 414</td> <td class="xl64" style="border-top: medium none;">VII, 141</td> <td class="xl64" style="border-top: medium none;">XII, 30</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ Eighth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 415</td> <td class="xl64" style="border-top: medium none;">VII, 142</td> <td class="xl64" style="border-top: medium none;">XII, 34</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h1/ The Thief's Tale</td> <td class="xl64" style="border-top: medium none;">No. 416</td> <td class="xl64" style="border-top: medium none;">VII, 143</td> <td class="xl64" style="border-top: medium none;">XII, 42</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ Ninth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 417</td> <td class="xl64" style="border-top: medium none;">VII, 143</td> <td class="xl64" style="border-top: medium none;">XII, 44</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ Tenth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 418</td> <td class="xl64" style="border-top: medium none;">VII, 144</td> <td class="xl64" style="border-top: medium none;">XII, 47</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k/ Eleventh Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 419</td> <td class="xl64" style="border-top: medium none;">VII, 144</td> <td class="xl64" style="border-top: medium none;">XII, 49</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>l/ Twelfth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 420</td> <td class="xl64" style="border-top: medium none;">VII, 144</td> <td class="xl64" style="border-top: medium none;">XII, 52</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>m/ Thirteenth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 421</td> <td class="xl64" style="border-top: medium none;">VII, 145</td> <td class="xl64" style="border-top: medium none;">XII, 53</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>n/ Fourteenth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 422<span style=""> </span></td> <td class="xl64" style="border-top: medium none;">VII, 145</td> <td class="xl64" style="border-top: medium none;">XII, 54</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>n1/ A Merry Jest of a Clever Thief</td> <td class="xl64" style="border-top: medium none;">No. 423</td> <td class="xl64" style="border-top: medium none;">VII, 146</td> <td class="xl64" style="border-top: medium none;">XII, 56</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>n2/ Tale of the Old Sharper</td> <td class="xl64" style="border-top: medium none;">No. 424</td> <td class="xl64" style="border-top: medium none;">VII, 146</td> <td class="xl64" style="border-top: medium none;">XII, 57</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>o/ Fifteenth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 425</td> <td class="xl64" style="border-top: medium none;">VII, 146</td> <td class="xl64" style="border-top: medium none;">XII, 59</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>p/ Sixteenth Constable's History</td> <td class="xl64" style="border-top: medium none;">No. 426</td> <td class="xl64" style="border-top: medium none;">VII, 147</td> <td class="xl64" style="border-top: medium none;">XII, 63</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(183) Al-Rashid & Abdullah bin Nafi</td> <td class="xl64" style="border-top: medium none;">No. 211</td> <td class="xl64" style="border-top: medium none;">VI, 46</td> <td class="xl64" style="border-top: medium none;">XII, 67</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Tohfat Al-Kulub & the Caliph</td> <td class="xl64" style="border-top: medium none;">[No. 211]</td> <td class="xl64" style="border-top: medium none;">VI, 46</td> <td class="xl64" style="border-top: medium none;">XII, 70</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(184) Women's Wiles</td> <td class="xl64" style="border-top: medium none;">No. 331a</td> <td class="xl64" style="border-top: medium none;">VI, 173</td> <td class="xl64" style="border-top: medium none;">XII, 137</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(185) Nur Al-Din Ali and Sitt Al-Milah</td> <td class="xl64" style="border-top: medium none;">No. 269</td> <td class="xl64" style="border-top: medium none;">VI, 100</td> <td class="xl64" style="border-top: medium none;">XII, 151</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(186) King Ins bin Kays & his Daughter</td> <td class="xl64" style="border-top: medium none;">No. 61</td> <td class="xl64" style="border-top: medium none;">V, 128</td> <td class="xl64" style="border-top: medium none;">XII, 191</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(187) The Kings & Wazir's Daughters</td> <td class="xl64" style="border-top: medium none;">No. 111c</td> <td class="xl64" style="border-top: medium none;">V, 189</td> <td class="xl64" style="border-top: medium none;">XII, 263</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(188) The Concubine and the Caliph</td> <td class="xl64" style="border-top: medium none;">No. 178</td> <td class="xl64" style="border-top: medium none;">V, 290</td> <td class="xl64" style="border-top: medium none;">XII, 275</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(189) The Concubine of Al-Maamun</td> <td class="xl64" style="border-top: medium none;">No. 179</td> <td class="xl64" style="border-top: medium none;">V, 291</td> <td class="xl64" style="border-top: medium none;">XII, 281</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(190) Conclusion</td> <td class="xl64" style="border-top: medium none;">No. 111b</td> <td class="xl64" style="border-top: medium none;">V, 189</td> <td class="xl64" style="border-top: medium none;">X, 54</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(191) The Tale of Zayn Al-Asnam</td> <td class="xl64" style="border-top: medium none;">No. 442</td> <td class="xl64" style="border-top: medium none;">VII, 165</td> <td class="xl64" style="border-top: medium none;">XIII i, 3</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(192) Khudadad and his Brothers</td> <td class="xl64" style="border-top: medium none;">No. 237</td> <td class="xl64" style="border-top: medium none;">VI, 69</td> <td class="xl64" style="border-top: medium none;">XIII i, 269</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Princess of Daryabar's history</td> <td class="xl64" style="border-top: medium none;">No. 237</td> <td class="xl64" style="border-top: medium none;">VI, 70</td> <td class="xl64" style="border-top: medium none;">XIII i, 281</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(193) Alaeddin; or, the Wonderful Lamp</td> <td class="xl64" style="border-top: medium none;">No. 19</td> <td class="xl64" style="border-top: medium none;">V, 55</td> <td class="xl64" style="border-top: medium none;">XIII i, 51</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(194) The Caliph's Night Adventure</td> <td class="xl64" style="border-top: medium none;">No. 209</td> <td class="xl64" style="border-top: medium none;">VI, 44</td> <td class="xl64" style="border-top: medium none;">XIII ii, 307</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Blind Man, Baba Abdullah</td> <td class="xl64" style="border-top: medium none;">No. 72</td> <td class="xl64" style="border-top: medium none;">V, 146</td> <td class="xl64" style="border-top: medium none;">XIII ii, 311</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ History of Sidi Nu'uman</td> <td class="xl64" style="border-top: medium none;">No. 371</td> <td class="xl64" style="border-top: medium none;">VI, 198</td> <td class="xl64" style="border-top: medium none;">XIII ii, 325</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ History of Khwajah Hasan</td> <td class="xl64" style="border-top: medium none;">No. 202</td> <td class="xl64" style="border-top: medium none;">VI, 31</td> <td class="xl64" style="border-top: medium none;">XIII ii, 341</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(195) Ali Baba and the Forty Thieves</td> <td class="xl64" style="border-top: medium none;">No. 24</td> <td class="xl64" style="border-top: medium none;">V, 79</td> <td class="xl64" style="border-top: medium none;">XIII ii, 369</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(196) Ali Khwajah and the Merchant</td> <td class="xl64" style="border-top: medium none;">No. 26</td> <td class="xl64" style="border-top: medium none;">V, 85</td> <td class="xl64" style="border-top: medium none;">XIII ii, 405</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(197) Prince Ahmad and the Peri-Banu</td> <td class="xl64" style="border-top: medium none;">No. 286</td> <td class="xl64" style="border-top: medium none;">VI, 133</td> <td class="xl64" style="border-top: medium none;">XIII ii, 419</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(198) The Two Envious Sisters</td> <td class="xl64" style="border-top: medium none;">No. 375</td> <td class="xl64" style="border-top: medium none;">VII, 95</td> <td class="xl64" style="border-top: medium none;">XIII ii, 491</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(199) Ja'afar the Barmecide</td> <td class="xl64" style="border-top: medium none;">[Nos 90-91]</td> <td class="xl64" style="border-top: medium none;">V, 166</td> <td class="xl64" style="border-top: medium none;">[IV, 181]</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(200) Ali and Zaher of Damascus</td> <td class="xl64" style="border-top: medium none;">No. 21</td> <td class="xl64" style="border-top: medium none;">V, 70</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Story of Tarad</td> <td class="xl64" style="border-top: medium none;">[No. 21]</td> <td class="xl64" style="border-top: medium none;">V, 73</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(201) Adventures of Judar of Cairo</td> <td class="xl64" style="border-top: medium none;">No. 154b</td> <td class="xl64" style="border-top: medium none;">V, 261</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Mahmood's Story</td> <td class="xl64" style="border-top: medium none;">[No. 154]</td> <td class="xl64" style="border-top: medium none;">V, 261</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Story of Queen Daruma</td> <td class="xl64" style="border-top: medium none;">[No. 154]</td> <td class="xl64" style="border-top: medium none;">V, 265</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Taj Al-Muluk, King of Tauris</td> <td class="xl64" style="border-top: medium none;">[No. 154]</td> <td class="xl64" style="border-top: medium none;">V, 268</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Story of the Golden Castle</td> <td class="xl64" style="border-top: medium none;">[No. 154]</td> <td class="xl64" style="border-top: medium none;">V, 271</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(202) The Physician and the Young Man</td> <td class="xl64" style="border-top: medium none;">[No. 253]</td> <td class="xl64" style="border-top: medium none;">VI, 89</td> <td class="xl64" style="border-top: medium none;">[I, 288]</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(203) The Sultan and his Three Sons</td> <td class="xl64" style="border-top: medium none;">No. 438</td> <td class="xl64" style="border-top: medium none;">VII, 158</td> <td class="xl64" style="border-top: medium none;">XIV, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(204) Story of the Three Sharpers</td> <td class="xl64" style="border-top: medium none;">No. 439</td> <td class="xl64" style="border-top: medium none;">VII, 162</td> <td class="xl64" style="border-top: medium none;">XIV, 17</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Sultan in a Darwaysh's Habit</td> <td class="xl64" style="border-top: medium none;">[No. 439]</td> <td class="xl64" style="border-top: medium none;">VII, 163</td> <td class="xl64" style="border-top: medium none;">XIV, 35</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Mohammed, Sultan of Cairo</td> <td class="xl64" style="border-top: medium none;">No. 234</td> <td class="xl64" style="border-top: medium none;">VI, 67</td> <td class="xl64" style="border-top: medium none;">XIV, 37</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Story of the First Lunatic</td> <td class="xl64" style="border-top: medium none;">Nos 175-76</td> <td class="xl64" style="border-top: medium none;">V, 101</td> <td class="xl64" style="border-top: medium none;">XIV, 49</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ Story of the Second Lunatic</td> <td class="xl64" style="border-top: medium none;">No. 331b</td> <td class="xl64" style="border-top: medium none;">VI, 174</td> <td class="xl64" style="border-top: medium none;">XIV, 67</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Story of the Sage and the Scholar</td> <td class="xl64" style="border-top: medium none;">No. 377</td> <td class="xl64" style="border-top: medium none;">VII, 102</td> <td class="xl64" style="border-top: medium none;">XIV, 74</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The Three Foolish Schoolmasters</td> <td class="xl64" style="border-top: medium none;">No. 385</td> <td class="xl64" style="border-top: medium none;">VII, 116</td> <td class="xl64" style="border-top: medium none;">XIV, 90</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The Broke-back Schoolmaster</td> <td class="xl64" style="border-top: medium none;">No. 290</td> <td class="xl64" style="border-top: medium none;">VI, 137</td> <td class="xl64" style="border-top: medium none;">XIV, 95</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ The Split-mouthed Schoolmaster</td> <td class="xl64" style="border-top: medium none;">No. 291</td> <td class="xl64" style="border-top: medium none;">VI, 138</td> <td class="xl64" style="border-top: medium none;">XIV, 97</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ Story of the Limping Schoolmaster</td> <td class="xl64" style="border-top: medium none;">No. 292</td> <td class="xl64" style="border-top: medium none;">VI, 138</td> <td class="xl64" style="border-top: medium none;">XIV, 101</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ The Sultan's Visit to the Sisters</td> <td class="xl64" style="border-top: medium none;">[No. 385]</td> <td class="xl64" style="border-top: medium none;">VII, 116</td> <td class="xl64" style="border-top: medium none;">XIV, 102</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k/ The Three Sisters and their Mother</td> <td class="xl64" style="border-top: medium none;">No. 327a</td> <td class="xl64" style="border-top: medium none;">VI, 162</td> <td class="xl64" style="border-top: medium none;">XIV, 109</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(205) The Kazi who bare a Babe</td> <td class="xl64" style="border-top: medium none;">No. 107</td> <td class="xl64" style="border-top: medium none;">V, 184</td> <td class="xl64" style="border-top: medium none;">XIV, 167</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(206) The Kazi and the Bhang-Eater</td> <td class="xl64" style="border-top: medium none;">No. 279</td> <td class="xl64" style="border-top: medium none;">VI, 125</td> <td class="xl64" style="border-top: medium none;">XIV, 187</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Bhang-Eater and his Wife</td> <td class="xl64" style="border-top: medium none;">No. 280</td> <td class="xl64" style="border-top: medium none;">VI, 125</td> <td class="xl64" style="border-top: medium none;">XIV, 202</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ How Abu Kasim became a Kazi</td> <td class="xl64" style="border-top: medium none;">No. 230</td> <td class="xl64" style="border-top: medium none;">VI, 62</td> <td class="xl64" style="border-top: medium none;">XIV, 210</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Kazi and his Slipper</td> <td class="xl64" style="border-top: medium none;">No. 283</td> <td class="xl64" style="border-top: medium none;">VI, 129</td> <td class="xl64" style="border-top: medium none;">XIV, 212</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ Tale of the Bhang-Eater</td> <td class="xl64" style="border-top: medium none;">No. 189</td> <td class="xl64" style="border-top: medium none;">VI, 17</td> <td class="xl64" style="border-top: medium none;">XIV, 215</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d1/ The Bhang-Eater become Wazir</td> <td class="xl64" style="border-top: medium none;">Nos 231-32</td> <td class="xl64" style="border-top: medium none;">VI, 63</td> <td class="xl64" style="border-top: medium none;">XIV, 235</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(207) The Sultan and Mahmud the 'Ajamí</td> <td class="xl64" style="border-top: medium none;">No. 385b</td> <td class="xl64" style="border-top: medium none;">VII, 117</td> <td class="xl64" style="border-top: medium none;">XIV, 241</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Tale of Mahmud the Persian</td> <td class="xl64" style="border-top: medium none;">[No. 162]</td> <td class="xl64" style="border-top: medium none;">V, 279</td> <td class="xl64" style="border-top: medium none;">XIV, 242</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Sultan and the Poor Man</td> <td class="xl64" style="border-top: medium none;">No. 146</td> <td class="xl64" style="border-top: medium none;">V, 245</td> <td class="xl64" style="border-top: medium none;">XIV, 242</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Three Princes and the Bird</td> <td class="xl64" style="border-top: medium none;">No. 273</td> <td class="xl64" style="border-top: medium none;">VI, 8</td> <td class="xl64" style="border-top: medium none;">XIV, 244</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Fruit-Seller and the Concubine</td> <td class="xl64" style="border-top: medium none;">[No. 146]</td> <td class="xl64" style="border-top: medium none;">V, 245</td> <td class="xl64" style="border-top: medium none;">XIV, 256</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ The King of Al-Yaman and his Sons</td> <td class="xl64" style="border-top: medium none;">No. 182</td> <td class="xl64" style="border-top: medium none;">VI, 5</td> <td class="xl64" style="border-top: medium none;">XIV, 258</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ History of the First Larrikin</td> <td class="xl64" style="border-top: medium none;">No. 430</td> <td class="xl64" style="border-top: medium none;">VII, 150</td> <td class="xl64" style="border-top: medium none;">XIV, 281</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ History of the Second Larrikin</td> <td class="xl64" style="border-top: medium none;">No. 431</td> <td class="xl64" style="border-top: medium none;">VII, 151</td> <td class="xl64" style="border-top: medium none;">XIV, 290</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ History of the Third Larrikin</td> <td class="xl64" style="border-top: medium none;">No. 432</td> <td class="xl64" style="border-top: medium none;">VII, 152</td> <td class="xl64" style="border-top: medium none;">XIV, 294</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ The Sultan of Al-Hind and his Son</td> <td class="xl64" style="border-top: medium none;">No. 274</td> <td class="xl64" style="border-top: medium none;">VI, 108</td> <td class="xl64" style="border-top: medium none;">XIV, 297</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(208) j/ Tale of the Fisherman's Son</td> <td class="xl64" style="border-top: medium none;">No. 20</td> <td class="xl64" style="border-top: medium none;">V, 68</td> <td class="xl64" style="border-top: medium none;">XIV, 314</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k/ The Third Larrikin's Tale</td> <td class="xl64" style="border-top: medium none;">No. 103</td> <td class="xl64" style="border-top: medium none;">V, 178</td> <td class="xl64" style="border-top: medium none;">XIV, 329</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(209) Abu Niyyah and Abu Niyyatayn</td> <td class="xl64" style="border-top: medium none;">No. 8</td> <td class="xl64" style="border-top: medium none;">V, 11</td> <td class="xl64" style="border-top: medium none;">XIV, 334</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Courtier's Story</td> <td class="xl64" style="border-top: medium none;">No. 52</td> <td class="xl64" style="border-top: medium none;">V, 116</td> <td class="xl64" style="border-top: medium none;">[VII, 117]</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Another relation of the Courtier</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Shaykh with Beard shorn</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(210) The Prince & the Lady Fatimah</td> <td class="xl64" style="border-top: medium none;">No. 372</td> <td class="xl64" style="border-top: medium none;">VI, 199</td> <td class="xl64" style="border-top: medium none;">XV, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(211) History of the Lovers of Syria</td> <td class="xl64" style="border-top: medium none;">No. 30</td> <td class="xl64" style="border-top: medium none;">V, 94</td> <td class="xl64" style="border-top: medium none;">XV, 19</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(212) Al-Hajjaj bin Yusuf and Sayyid</td> <td class="xl64" style="border-top: medium none;">No. 204</td> <td class="xl64" style="border-top: medium none;">VI, 34</td> <td class="xl64" style="border-top: medium none;">XV, 37</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Sultan's Son & Wazir's Daughter</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(213) Tale of Sultan Káyyish</td> <td class="xl64" style="border-top: medium none;">No. 235</td> <td class="xl64" style="border-top: medium none;">VI, 68</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(214) The Young Lady Turned Gazelle</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(215) The History of Mázin</td> <td class="xl64" style="border-top: medium none;">No. 212b</td> <td class="xl64" style="border-top: medium none;">VII, 35</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(216) Harun Al-Rashid and Manjab</td> <td class="xl64" style="border-top: medium none;">No. 177</td> <td class="xl64" style="border-top: medium none;">V, 103</td> <td class="xl64" style="border-top: medium none;">XV, 61</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Lovers of Bassorah</td> <td class="xl64" style="border-top: medium none;">[No. 374]</td> <td class="xl64" style="border-top: medium none;">VII, 93</td> <td class="xl64" style="border-top: medium none;">[VII, 130]</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Night Adventure of Harun Al-Rashid</td> <td class="xl64" style="border-top: medium none;">[No. 177]</td> <td class="xl64" style="border-top: medium none;">V, 104</td> <td class="xl64" style="border-top: medium none;">XV, 62</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Tale told by Manjab</td> <td class="xl64" style="border-top: medium none;">[No. 177]</td> <td class="xl64" style="border-top: medium none;">V, 104</td> <td class="xl64" style="border-top: medium none;">XV, 65</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Darwaysh & the Barber's Boy</td> <td class="xl64" style="border-top: medium none;">No. 378</td> <td class="xl64" style="border-top: medium none;">VII, 104</td> <td class="xl64" style="border-top: medium none;">XV, 105</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Tale of the Simpleton Husband</td> <td class="xl64" style="border-top: medium none;">No. 332: S/69</td> <td class="xl64" style="border-top: medium none;">6:175;8:142</td> <td class="xl64" style="border-top: medium none;">XV, 116</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The Wife and her two Gallants</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(217) Loves of Al-Hayfa and Yusuf</td> <td class="xl64" style="border-top: medium none;">No. 206</td> <td class="xl64" style="border-top: medium none;">VI, 35</td> <td class="xl64" style="border-top: medium none;">XV, 121</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(218) The Three Princes of China</td> <td class="xl64" style="border-top: medium none;">No. 239</td> <td class="xl64" style="border-top: medium none;">VI, 72</td> <td class="xl64" style="border-top: medium none;">XV, 211</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(219) History of the First Brave</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(220) History of another Brave</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(221) The Adventures of a Simpleton</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(222) The Goodwife of Cairo</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(223) The Righteous Wazir gaoled</td> <td class="xl64" style="border-top: medium none;">No. 401: S/108</td> <td class="xl64" style="border-top: medium none;">7:132;8:122</td> <td class="xl64" style="border-top: medium none;">XV, 229</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(224) The Youth, Barber and Captain</td> <td class="xl64" style="border-top: medium none;">No. 79</td> <td class="xl64" style="border-top: medium none;">V, 156</td> <td class="xl64" style="border-top: medium none;">XV, 241</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(225) The Wife and her Four Gallants</td> <td class="xl64" style="border-top: medium none;">No. 185</td> <td class="xl64" style="border-top: medium none;">VI, 11</td> <td class="xl64" style="border-top: medium none;">XV, 251</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Tailor, the Lady & the Captain</td> <td class="xl64" style="border-top: medium none;">No. 333: S/142</td> <td class="xl64" style="border-top: medium none;">6:175;8:142</td> <td class="xl64" style="border-top: medium none;">XV, 261</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Syrian and the Women of Cairo</td> <td class="xl64" style="border-top: medium none;">No. 335</td> <td class="xl64" style="border-top: medium none;">VI, 176</td> <td class="xl64" style="border-top: medium none;">XV, 271</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Lady with Two Coyntes</td> <td class="xl64" style="border-top: medium none;">No. 336</td> <td class="xl64" style="border-top: medium none;">VI, 176</td> <td class="xl64" style="border-top: medium none;">XV, 279</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Whorish Wife vaunting Virtue</td> <td class="xl64" style="border-top: medium none;">No. 338</td> <td class="xl64" style="border-top: medium none;">VI, 177</td> <td class="xl64" style="border-top: medium none;">XV, 287</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(226) CÏlebs the Droll and his Wife</td> <td class="xl64" style="border-top: medium none;">No. 187</td> <td class="xl64" style="border-top: medium none;">VI, 13</td> <td class="xl64" style="border-top: medium none;">XV, 295</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(227) The Gate-Keeper & the She-Thief</td> <td class="xl64" style="border-top: medium none;">No. 408b</td> <td class="xl64" style="border-top: medium none;">VII, 139</td> <td class="xl64" style="border-top: medium none;">XV, 307</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(228) Tale of Mohsin and Musa</td> <td class="xl64" style="border-top: medium none;">No. 9</td> <td class="xl64" style="border-top: medium none;">V, 13</td> <td class="xl64" style="border-top: medium none;">XV, 319</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(229) Mohammed the Shalabi</td> <td class="xl64" style="border-top: medium none;">No. 339</td> <td class="xl64" style="border-top: medium none;">VI, 178</td> <td class="xl64" style="border-top: medium none;">XV, 333</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(230) The Fellah and his wicked Wife</td> <td class="xl64" style="border-top: medium none;">No. 340</td> <td class="xl64" style="border-top: medium none;">VI, 178</td> <td class="xl64" style="border-top: medium none;">XV, 345</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(231) The Woman and her Lover</td> <td class="xl64" style="border-top: medium none;">No. 341</td> <td class="xl64" style="border-top: medium none;">VI, 179</td> <td class="xl64" style="border-top: medium none;">XV, 355</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(232) The Kazi schooled by his Wife</td> <td class="xl64" style="border-top: medium none;">No. 108</td> <td class="xl64" style="border-top: medium none;">V, 185</td> <td class="xl64" style="border-top: medium none;">XV, 361</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(233) The Merchant's Daughter</td> <td class="xl64" style="border-top: medium none;">No. 150</td> <td class="xl64" style="border-top: medium none;">V, 253</td> <td class="xl64" style="border-top: medium none;">XV, 371</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(234) The Story of Ahmed and Ali</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(235) The Fellah and his fair Wife</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(236) The Youth & his Father's Wives</td> <td class="xl64" style="border-top: medium none;">No. 342</td> <td class="xl64" style="border-top: medium none;">VI, 180</td> <td class="xl64" style="border-top: medium none;">XV, 439</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(237) Story of the Two Lack-Tacts</td> <td class="xl64" style="border-top: medium none;">No. 168</td> <td class="xl64" style="border-top: medium none;">V, 283</td> <td class="xl64" style="border-top: medium none;">XV, 453</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(238) The Tale of Musa and Ibrahim</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 207</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(239) The Brother Wazirs</td> <td class="xl64" style="border-top: medium none;">No. 15</td> <td class="xl64" style="border-top: medium none;">V, 32</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Story of the Unfaithful Wife</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(240) The Thief and his Step-mother</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 208</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(241) The Kazi and his Wife</td> <td class="xl64" style="border-top: medium none;">No. 322a</td> <td class="xl64" style="border-top: medium none;">VI, 155</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The King's Tale of Himself</td> <td class="xl64" style="border-top: medium none;">No. 326</td> <td class="xl64" style="border-top: medium none;">VI, 162</td> <td class="xl64" style="border-top: medium none;">XV, 463</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Sultan of Al-'Irák</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 208</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(242) Shaykh Nakkit the Fisherman</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 208</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ the Sultan of Andalusia</td> <td class="xl64" style="border-top: medium none;">No. 57</td> <td class="xl64" style="border-top: medium none;">V, 120</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(243) Sultan Taylún and the Fellah</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 208</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(244) The Sage and his Servant-lad</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IV, 208</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(245) The Merchant's Daughter</td> <td class="xl64" style="border-top: medium none;">No. 133</td> <td class="xl64" style="border-top: medium none;">V, 234</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(246) The History of Al-Bundukani</td> <td class="xl64" style="border-top: medium none;">No. 106</td> <td class="xl64" style="border-top: medium none;">V, 182</td> <td class="xl64" style="border-top: medium none;">XVI, 39</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(247) The Warlock & Cook of Baghdad</td> <td class="xl64" style="border-top: medium none;">No. 376</td> <td class="xl64" style="border-top: medium none;">VII, 100</td> <td class="xl64" style="border-top: medium none;">XVI, 119</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(248) The Say of Haykar the Sage</td> <td class="xl64" style="border-top: medium none;">No. 207</td> <td class="xl64" style="border-top: medium none;">VI, 36</td> <td class="xl64" style="border-top: medium none;">XVI, 1</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(249) The Tale of Attaf</td> <td class="xl64" style="border-top: medium none;">No. 64</td> <td class="xl64" style="border-top: medium none;">V, 135</td> <td class="xl64" style="border-top: medium none;">XVI, 165</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(250) The History of Prince Habib</td> <td class="xl64" style="border-top: medium none;">No. 203</td> <td class="xl64" style="border-top: medium none;">VI, 32</td> <td class="xl64" style="border-top: medium none;">XVI, 223</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The History of Durrat Al-Ghawwas</td> <td class="xl64" style="border-top: medium none;">[No. 203]</td> <td class="xl64" style="border-top: medium none;">VI, 33</td> <td class="xl64" style="border-top: medium none;">XVI, 234</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(251) The Forty Wazirs</td> <td class="xl64" style="border-top: medium none;">No. 402: S/93</td> <td class="xl64" style="border-top: medium none;">7:133;8:112</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Story of Shaykh Shahabeddin</td> <td class="xl64" style="border-top: medium none;">S/94</td> <td class="xl64" style="border-top: medium none;">7:105;8:113</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Gardener, his Son, and the Ass</td> <td class="xl64" style="border-top: medium none;">S/138</td> <td class="xl64" style="border-top: medium none;">VIII, 139</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Sultan Mahmoud and his Wazir</td> <td class="xl64" style="border-top: medium none;">S/119</td> <td class="xl64" style="border-top: medium none;">VIII, 129</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Brahman Padmanaba and Fyquai</td> <td class="xl64" style="border-top: medium none;">S/103</td> <td class="xl64" style="border-top: medium none;">VIII, 118</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Story of Sultan Akshid</td> <td class="xl64" style="border-top: medium none;">S/110</td> <td class="xl64" style="border-top: medium none;">VIII, 123</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The Husband, Lover and Thief</td> <td class="xl64" style="border-top: medium none;">S/110</td> <td class="xl64" style="border-top: medium none;">VIII, 123</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The Princess of Georgia</td> <td class="xl64" style="border-top: medium none;">S/121</td> <td class="xl64" style="border-top: medium none;">7:74; 8:130</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ The Cobbler & the King's Daughter</td> <td class="xl64" style="border-top: medium none;">S/136</td> <td class="xl64" style="border-top: medium none;">VIII, 138</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ The Woodcutter and the Genius</td> <td class="xl64" style="border-top: medium none;">S/154</td> <td class="xl64" style="border-top: medium none;">VIII, 152</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ The Royal Parrot</td> <td class="xl64" style="border-top: medium none;">S/162</td> <td class="xl64" style="border-top: medium none;">VIII, 157</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(252) The King and Queen of Abyssinia</td> <td class="xl64" style="border-top: medium none;">S/58</td> <td class="xl64" style="border-top: medium none;">VIII, 88</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(253) Story of Princess Amina</td> <td class="xl64" style="border-top: medium none;">No. 31</td> <td class="xl64" style="border-top: medium none;">V, 95</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Story of the Princess of Tartary</td> <td class="xl64" style="border-top: medium none;">[No. 31]</td> <td class="xl64" style="border-top: medium none;">V, 95</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Story told by the Old Man's Wife</td> <td class="xl64" style="border-top: medium none;">[No. 31]</td> <td class="xl64" style="border-top: medium none;">V, 97</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(254) Story of Ali Johari</td> <td class="xl64" style="border-top: medium none;">No. 27</td> <td class="xl64" style="border-top: medium none;">V, 86</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(255) The two Princes of Cochin China</td> <td class="xl64" style="border-top: medium none;">No. 134</td> <td class="xl64" style="border-top: medium none;">V, 234</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(256) Story of the two Husbands</td> <td class="xl64" style="border-top: medium none;">No. 151</td> <td class="xl64" style="border-top: medium none;">V, 253</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Story of Abdallah</td> <td class="xl64" style="border-top: medium none;">No. 149</td> <td class="xl64" style="border-top: medium none;">V, 252</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Story of the Favourite</td> <td class="xl64" style="border-top: medium none;">No. 334</td> <td class="xl64" style="border-top: medium none;">VI, 176</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(257) Yusuf and the Indian Merchant</td> <td class="xl64" style="border-top: medium none;">No. 441</td> <td class="xl64" style="border-top: medium none;">VII, 164</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(258) Story of Prince Benazir</td> <td class="xl64" style="border-top: medium none;">No. 100</td> <td class="xl64" style="border-top: medium none;">V, 175</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(259) Story of Selim, Sultan of Egypt</td> <td class="xl64" style="border-top: medium none;">No. 369: S/115</td> <td class="xl64" style="border-top: medium none;">6:196;8:127</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Story of the Cobbler's Wife</td> <td class="xl64" style="border-top: medium none;">No. 267</td> <td class="xl64" style="border-top: medium none;">VI, 99</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Story of Adileh</td> <td class="xl64" style="border-top: medium none;">No. 11: S/104</td> <td class="xl64" style="border-top: medium none;">5:17; 8:119</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Story of the scarred Kalender</td> <td class="xl64" style="border-top: medium none;">No. 118</td> <td class="xl64" style="border-top: medium none;">V, 203</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ Continuation of the Story of Selim</td> <td class="xl64" style="border-top: medium none;">[No. 369]</td> <td class="xl64" style="border-top: medium none;">VI, 197</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(260) Story of Seif Sul Yesn</td> <td class="xl64" style="border-top: medium none;">No. 347</td> <td class="xl64" style="border-top: medium none;">VI, 183</td> <td class="xl64" style="border-top: medium none;">X, 475</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(261) The Labourer and the Chair</td> <td class="xl64" style="border-top: medium none;">No. 131</td> <td class="xl64" style="border-top: medium none;">V, 232</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(262) Story of Ahmed the Orphan</td> <td class="xl64" style="border-top: medium none;">No. 14?</td> <td class="xl64" style="border-top: medium none;">V, 32</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(263) The Three Princes and the Genius</td> <td class="xl64" style="border-top: medium none;">No. 181</td> <td class="xl64" style="border-top: medium none;">VI, 1</td> <td class="xl64" style="border-top: medium none;">XVI, 363</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(264) The Linguist-Dame & the Duenna</td> <td class="xl64" style="border-top: medium none;">No. 114</td> <td class="xl64" style="border-top: medium none;">V, 194</td> <td class="xl64" style="border-top: medium none;">XVI, 87</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(265) The Cock and the Fox</td> <td class="xl64" style="border-top: medium none;">No. 141</td> <td class="xl64" style="border-top: medium none;">V, 240</td> <td class="xl64" style="border-top: medium none;">XVI, 143</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(266) The Fowl-let and the Fowler</td> <td class="xl64" style="border-top: medium none;">No. 275</td> <td class="xl64" style="border-top: medium none;">VI, 110</td> <td class="xl64" style="border-top: medium none;">XVI, 151</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(267) The Idiot; or, Story of Xailoun</td> <td class="xl64" style="border-top: medium none;">No. 437</td> <td class="xl64" style="border-top: medium none;">VII, 155</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(268) Alibengiad, Sultan of Herat</td> <td class="xl64" style="border-top: medium none;">No. 25</td> <td class="xl64" style="border-top: medium none;">V, 85</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(269) The Family of the Schebandad</td> <td class="xl64" style="border-top: medium none;">No. 366</td> <td class="xl64" style="border-top: medium none;">VI, 194</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Abil Hasan's Story</td> <td class="xl64" style="border-top: medium none;">No. 29</td> <td class="xl64" style="border-top: medium none;">V, 92</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Debil Hasan's Story</td> <td class="xl64" style="border-top: medium none;">No. 392</td> <td class="xl64" style="border-top: medium none;">VII, 124</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Dream of Valid Hasan</td> <td class="xl64" style="border-top: medium none;">No. 328</td> <td class="xl64" style="border-top: medium none;">VI, 171</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(270) History of Maugraby</td> <td class="xl64" style="border-top: medium none;">No. 252</td> <td class="xl64" style="border-top: medium none;">VI, 84</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Halaiaddin, Prince of Persia</td> <td class="xl64" style="border-top: medium none;">[No. 252]</td> <td class="xl64" style="border-top: medium none;">VI, 85</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ Yemaladdin, Prince of Great Katay</td> <td class="xl64" style="border-top: medium none;">[No. 252]</td> <td class="xl64" style="border-top: medium none;">VI, 86</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Baha-Ildur, Prince of Cinigae</td> <td class="xl64" style="border-top: medium none;">[No. 252]</td> <td class="xl64" style="border-top: medium none;">VI, 86</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ Badvildinn, Prince of Tartary</td> <td class="xl64" style="border-top: medium none;">[No. 252]</td> <td class="xl64" style="border-top: medium none;">VI, 86</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Shahadildin, Prince of Damascus</td> <td class="xl64" style="border-top: medium none;">[No. 252]</td> <td class="xl64" style="border-top: medium none;">VI, 87</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The Amours of Maugraby</td> <td class="xl64" style="border-top: medium none;">[No. 252]</td> <td class="xl64" style="border-top: medium none;">VI, 87</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The Birth of Maugraby</td> <td class="xl64" style="border-top: medium none;">[No. 252]</td> <td class="xl64" style="border-top: medium none;">VI, 88</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(271) Solomon and the Queen of Sheba</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Death and Downfall of Solomon</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Story of the Deceitful Widow</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(272) The Story of Ibn Tamim Addari</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(273) The Adventures of Sultan Beibars</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The History of the Moslems</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Treacherous Priest Djawan</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Early life of Schahin</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ Salech's Dream, Beibars' Birth</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Youth of Zaher Beibars</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ Djawan's Plot against Beibars</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ Beibars and the Princess Mariam</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ Beibars Meets his Brother & Uncle</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ Djawan's New Plot, Beibars' Dream</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ Beibars' Adventures in Syria</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(274) Ali the Fisherman</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(275) Satilatlas and Hamamatelliwa</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(271) The Parable of True Learning</td> <td class="xl64" style="border-top: medium none;">No. 444</td> <td class="xl64" style="border-top: medium none;">VII, 169</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(272) The Keys of Destiny</td> <td class="xl64" style="border-top: medium none;">No. 388</td> <td class="xl64" style="border-top: medium none;">V, 39</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(273) The Diwan of Easy Jests</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IX, 80</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Buhlûl the Jester</td> <td class="xl64" style="border-top: medium none;">No. 393a-e</td> <td class="xl64" style="border-top: medium none;">VII, 126</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Tale of the Kadi-Mule</td> <td class="xl64" style="border-top: medium none;">No. 445</td> <td class="xl64" style="border-top: medium none;">VII, 170</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Kadi and the Ass's Foal</td> <td class="xl64" style="border-top: medium none;">No. 446</td> <td class="xl64" style="border-top: medium none;">VII, 171</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Tale of the Astute Kadi</td> <td class="xl64" style="border-top: medium none;">No. 448: S/245</td> <td class="xl64" style="border-top: medium none;">VII, 172</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ The Man Who Understood Women</td> <td class="xl64" style="border-top: medium none;">No. 447</td> <td class="xl64" style="border-top: medium none;">VII, 171</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(274) The Tale of the Unending Treasure</td> <td class="xl64" style="border-top: medium none;">No. 5</td> <td class="xl64" style="border-top: medium none;">V, 8</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(276) The Tale of Princess Zulaikah</td> <td class="xl64" style="border-top: medium none;">S/65</td> <td class="xl64" style="border-top: medium none;">VIII, 93</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(277) Sweet Tales of Careless Youth</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IX, 81</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ Hard-Head & his Sister Little-Foot</td> <td class="xl64" style="border-top: medium none;">Artin, 149</td> <td class="xl64" style="border-top: medium none;">IX, 81</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Anklet</td> <td class="xl64" style="border-top: medium none;">Artin, 63</td> <td class="xl64" style="border-top: medium none;">IX, 81</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">SHORT TITLES</td> <td class="xl64" style="border-top: medium none;">CHAUVIN</td> <td class="xl64" style="border-top: medium none;">CHAUVIN 2</td> <td class="xl64" style="border-top: medium none;">BURTON</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The He-Goat & the King's Daughter</td> <td class="xl64" style="border-top: medium none;">Artin, 87</td> <td class="xl64" style="border-top: medium none;">IX, 81</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Prince and the Tortoise</td> <td class="xl64" style="border-top: medium none;">Artin, 103</td> <td class="xl64" style="border-top: medium none;">IX, 81</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ The Chick-Pea Seller's Daughter</td> <td class="xl64" style="border-top: medium none;">Artin, 185</td> <td class="xl64" style="border-top: medium none;">IX, 81</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The Looser</td> <td class="xl64" style="border-top: medium none;">Artin, 123</td> <td class="xl64" style="border-top: medium none;">IX, 81</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The Captain of Police</td> <td class="xl64" style="border-top: medium none;">Artin, 195</td> <td class="xl64" style="border-top: medium none;">IX, 81</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ The Gelded Barber</td> <td class="xl64" style="border-top: medium none;">No. 78</td> <td class="xl64" style="border-top: medium none;">V, 154</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(278) The Tale of Prince Diamond</td> <td class="xl64" style="border-top: medium none;">Garcin, 423</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(279) Some Jests and Suggestions</td> <td class="xl64" style="border-top: medium none;">D & M</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(280) Baibars and His Captains</td> <td class="xl64" style="border-top: medium none;">[Nos 408-26]</td> <td class="xl64" style="border-top: medium none;">VII, 138</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Second Captain's Tale</td> <td class="xl64" style="border-top: medium none;">-</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Third Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 43</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ The Fourth Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 43</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Fifth Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 30</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ The Sixth Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 61</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ The Eighth Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 112</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ The Ninth Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 105</td> <td class="xl64" style="border-top: medium none;">IX, 82</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ The Tenth Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 94</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ The Eleventh Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 152</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ The Twelfth Captain's Tale</td> <td class="xl64" style="border-top: medium none;">Spitta, 1</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(281) The Sea Rose of the Girl of China</td> <td class="xl64" style="border-top: medium none;">Garcin, 307</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(282) Windows on the Garden of History</td> <td class="xl64" style="border-top: medium none;">Mohdy I, 44</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>a/ The Poet Duraid and His Love</td> <td class="xl64" style="border-top: medium none;">Perron, 83, 268-90</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>b/ The Warrior Daughters of Find</td> <td class="xl64" style="border-top: medium none;">Perron, 49</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>c/ Princess Fatimah and Murakkish</td> <td class="xl64" style="border-top: medium none;">Perron, 64-69</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>d/ The Vengeance of King Hujr</td> <td class="xl64" style="border-top: medium none;">Perron, 88-91</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>e/ Men in their Wives' Judgement</td> <td class="xl64" style="border-top: medium none;">Perron, 34, 322</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>f/ Tales of Umar ibn al-Khattab</td> <td class="xl64" style="border-top: medium none;">Perron, 336-41</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>g/ Blue Salamah the Singer</td> <td class="xl64" style="border-top: medium none;">Perron, 477-81</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>h/ The Tale of the Parasite</td> <td class="xl64" style="border-top: medium none;">Perron, 514-15</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>i/ The Tale of the Slave of Destiny</td> <td class="xl64" style="border-top: medium none;">Perron, 502-11</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>j/ The Tale of the Fatal Collar</td> <td class="xl64" style="border-top: medium none;">Perron, 543-45</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>k/ Ishak of Mosul and the Lost Melody</td> <td class="xl64" style="border-top: medium none;">Perron, 458-63</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>l/ The Two Dancers</td> <td class="xl64" style="border-top: medium none;">Perron, 486-89</td> <td class="xl64" style="border-top: medium none;">IX, 83</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>m/ The Pistachio Oil Cream</td> <td class="xl64" style="border-top: medium none;">[No. 383]</td> <td class="xl64" style="border-top: medium none;">VII, 114</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17"><span style=""> </span>n/ The Arab Girl at the Fountain</td> <td class="xl64" style="border-top: medium none;">No. 246</td> <td class="xl64" style="border-top: medium none;">VI, 78</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> <tr style="height: 12.75pt;" height="17"> <td class="xl64" style="border-top: medium none; height: 12.75pt;" height="17">(283) Prince Jasmine and Almond</td> <td class="xl64" style="border-top: medium none;">Garcin, 481</td> <td class="xl64" style="border-top: medium none;">IX, 84</td> <td class="xl64" style="border-top: medium none;">-</td> </tr> </tbody></table><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" alt="" id="BLOGGER_PHOTO_ID_5362591049088274098" border="0" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com1tag:blogger.com,1999:blog-33189808.post-17956542048192753092007-09-26T16:49:00.000-07:002009-07-26T13:06:45.724-07:00Preface<div style="text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKaZa6EYr6gOAoucH7Rnqs25o-wH_Eocnj-KDcYdkfVsl7m2O91xLQbtylNC9VwPh2JHR8GJ524T9cQGOAhm6SeuE2iSOj8FU0DcDPbCe4suxyCcl0XVQqnNDTrfF0BPvX2FmC/s1600-h/Sultanabad_Carpet_circa_1900_Lot_119_s.jpg"><img id="BLOGGER_PHOTO_ID_5114692639266877138" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKaZa6EYr6gOAoucH7Rnqs25o-wH_Eocnj-KDcYdkfVsl7m2O91xLQbtylNC9VwPh2JHR8GJ524T9cQGOAhm6SeuE2iSOj8FU0DcDPbCe4suxyCcl0XVQqnNDTrfF0BPvX2FmC/s320/Sultanabad_Carpet_circa_1900_Lot_119_s.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.persiancarpetguide.com/sw-asia/Rugs/Persian/Sultanabad_Rugs/Guide_To_Sultanabad_Rugs.htm">Sultanabad Carpet</a>]</span><br /></div><br /><br />The two major events in <em>Nights </em>scholarship since the bulk of this book was written, between 1991 and 1995, have been the appearance of Ulrich Marzolph and Richard van Leeuwen's 2-volume <em>Arabian Nights Encyclopedia </em>(Santa Barbara, CA / Denver CO / Oxford, UK: ABC Clio, 2004) - a peerlessly authoritative (and instantly indispensable) work of scholarship - and the completion of Andre Miquel and Jamel Eddine Bencheikh's fully-annotated 3-volume French translation of the Arabic text in the Bibliotheque de la Pleiade (Paris: Gallimard, 2005-6).<br /><br />The <em>Arabian Nights Encyclopedia </em>includes (in volume 2 pp. 743-82), a list of stories and editions of the Nights which largely supersedes my own more tortuous attempts to reconcile the numbering systems created by the two pioneers in this endeavour: W. F. Kirby and Nikita Eliseef. Nevertheless, I have still thought it worthwhile to include my story-concordance in this collected version of my <em>Arabian Nights</em> papers to date. There are certain features in it which may make it useful even to those who have the <em>Encyclopedia </em>to hand.<br /><br />The main reason why it seems opportune to publish this material now is the fact that it embodies a certain attitude towards the <em>Nights</em>, and towards their place in the larger scheme of Comparative Literature which has not yet found enough of a voice. Origin studies and linguistic analysis are still in the ascendant.<br /><br />I prefer to approach the <em>Nights </em>from the point of view of the cultural impact they've had than to attempt to answer questions about what they really <em>are</em>.<br /><br />In one sense the answer is obvious: a collection of Arabic tales translated (with supplementary materials) by the Frenchman Antoine Galland between 1704 and 1717. In another sense, it's the constantly-morphing <em>concept</em> of a book which has beguiled and bedevilled writers, critics and translators for 300 years - a process which shows no signs of abating, as postmodern relativism permeates ever deeper into popular culture.<br /><br />We no longer have so much trouble imagining a book which could be said to have invented and written itself. Do we find it any easier to read, though? I would suspect not. "In dreams begin responsibilities." The more uncertain and malleable our readings become, the more responsibility we have to assume for them. Are the <em>Nights</em>, finally, simply a vessel for stereotypical Western fantasies of the Oriental other, or is it possible to claim a more positive cultural role for them over the past three centuries of European hegemony?<br /><div style="text-align: center;"><br />- Dr Jack Ross, Massey Albany, September 2007<br /></div><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com7tag:blogger.com,1999:blog-33189808.post-15778215259826828242007-09-26T16:08:00.000-07:002009-07-28T17:07:21.962-07:00A List of Stories in the 1001 Nights<div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyvox7vwujqqu3bWKX5pe5twlsOkrZRT8YjNDNmXIXotCLZNEUE_FzOmsKOPSki2sX-UAkGJBbhk4xz4D5cs4eyr76kEymKW-Li7MaTItnz97lQ5xbQp-DNxn-4Y8T-iaPNwsk/s1600-h/arabic+graffiti.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyvox7vwujqqu3bWKX5pe5twlsOkrZRT8YjNDNmXIXotCLZNEUE_FzOmsKOPSki2sX-UAkGJBbhk4xz4D5cs4eyr76kEymKW-Li7MaTItnz97lQ5xbQp-DNxn-4Y8T-iaPNwsk/s400/arabic+graffiti.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273440494151997954" /></a><span style="font-size:85%;">[<a href="http://lobodelmar.blogspot.com/2008/02/graffiti.html">Arabic graffiti</a>]</span><br /><strong><br /><span style="font-size:130%;"><br />TITLES / NIGHTS<br /></span><br /></div><br />List of Abbreviations:</strong><br /><ul><br /><li><strong>[Anderson]</strong> = Anderson's recension of the Wortley-Montague Ms.</li><li><strong>[B]</strong> = Breslau Edition, 12 vols (1825-43)</li><li><strong>[Bulaq]</strong> = Bulaq Edition, 2 vols (1835)</li><li><strong>[Burton]</strong> = Burton Translation, 16 vols (1885-88)</li><li><strong>[C1]</strong> = First Calcutta Edition, 2 vols (1814-18)</li><li><strong>[Calc. 2]</strong> = Macnaghten or Second Calcutta Edition, 4 vols (1839-42)</li><li><strong>[Chauvin]</strong> = Victor Chauvin, <em>Bibliographie des ouvrages arabes</em>, 12 vols (1892-1922)</li><li><strong>[Ch]</strong> = Chavis and Cazotte Translation, 4 vols (1788-89)</li><li><strong>[D]</strong> = <em>Les Dames de Bagdad</em>, trans. André Miquel (1991)</li><li><strong>[Encyclopedia]</strong> = Ulrich Marzolph and Richard van Leeuwen, ed. <em>Arabian Nights Encyclopedia</em>, 2 vols (2004), 2: 743-82</li><li><strong>[Eliséef]</strong> = Nikita Eliséef, <em>Thèmes et Motifs des Mille et Une Nuits</em> (1949: 190-205)</li><li><strong>[Galland]</strong> = Galland Translation, 12 vols (1704-17)</li><li><strong>[Gerhardt]</strong> = Mia I. Gerhardt, <em>The Art of Story-telling</em> (1963)</li><li><strong>[H]</strong> = Habicht Translation, 15 vols (1824-25)</li><li><strong>[Kirby]</strong> = W. F. Kirby, “Contributions to the Bibliography of the 1001 Nights” (Burton, 1885, X: 514-31)</li><li><strong>[M]</strong> = Mardrus Translation, 16 vols (1899-1904)</li><li><strong>[PI-III]</strong> = <em>Tales from the Arabic</em>, trans. John Payne, 3 vols (1884)</li><li><strong>[P2]</strong> = <em>Alaeddin & Zein ul Asnam</em>, trans. John Payne (1889)</li><li><strong>[Reinhardt]</strong> = Aboubakr Chraïbi, <em>Contes nouveaux des 1001 Nuits: Étude du manuscrit Reinhardt</em> (1996)</li><li><strong>[S]</strong> = <em>Tales, Anecdotes and Letters</em>, trans. Jonathan Scott (1800)</li><li><strong>[T]</strong> = Felix Tauer, <em>Neue Erzählungen aus den 1001 Nächten</em>, 2 vols (1982)</li><li><strong>[Tr]</strong> = Trébutien Translation, 3 vols (1828)</li><li><strong>[W]</strong> = Weil Translation, 4 vols (1838-41)</li><li><strong>[WM]</strong> = Wortley-Montague Ms., 7 vols (1764-65)</li><li><strong>[ZER]</strong> = ‘Zotenberg’s Egyptian Recension’ (Paris, 1888)</li><br /></ul><br /><strong>Key to Numbering:</strong><br /><ul><br /><li><strong>Ross</strong> = Decimal numbers</li><li><strong>Encyclopedia</strong> = {curly brackets}</li><li><strong>Eliséef</strong> = [square brackets]</li><li><strong>Kirby</strong> = (parentheses)</li><li><strong>Burton</strong> = <em>Titles</em></li><li><strong>Calc. 2 &c.</strong> = (Nights)</li><br /></ul><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIv0rA44geLIgv8ihbkBXcslFw9EEwZ35PSJXLawo29fPClK8whbMtLu1j6JBUpYq0uqMi6xZmREAKMGg4VlEYeqt-eMijm5UzFlVl_dEc6iXz0NGQ07LnTfEB7ngXUA6PSZBG/s1600-h/abacus.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIv0rA44geLIgv8ihbkBXcslFw9EEwZ35PSJXLawo29fPClK8whbMtLu1j6JBUpYq0uqMi6xZmREAKMGg4VlEYeqt-eMijm5UzFlVl_dEc6iXz0NGQ07LnTfEB7ngXUA6PSZBG/s400/abacus.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362873153895695090" /></a><span style="font-size:85%;">[<a href="http://www.physicsforums.com/showthread.php?p=1985032">Abacus</a>]</span><br /></div><br /><ol><br />Introduction (-)<br /><br />0. {1} <em>Story of King Shahryar and his Brother</em> (-)<br /><ol><br /><li>{2} a) <em>Tale of the Bull and the Ass</em> (-)</li><br /><li>{3} b) <em>The Merchant and His Wife</em> (-)</li></ol><br /><li>{4} [1] (1) <em>Tale of the Trader and the Jinni</em> (Nights 1-3)<br /><ol><br /><li>{5} a) <em>The First Shaykh's Story</em> (Night 1)</li><br /><li>{6} b) <em>The Second Shaykh's Story</em> (Night 2)</li><br /><li>{7} c) <em>The Third Shaykh's Story</em> (Nights 2-3)</li></ol></li><br /><li>{8} [2] (2) <em>The Fisherman and the Jinni</em> (Nights 3-9)<br /><ol><br /><li>{9} a) <em>Tale of the Wazir and the Sage Duban</em> (Nights 4-6)<br /><ol><br /><li>{10} a1) <em>Story of King Sindibad and his Falcon</em> (Night 5)</li><br /><li>{11} a2) <em>Tale of the Husband and the Parrot</em> (Night 5)</li><br /><li>{12} a3) <em>Tale of the Prince and the Ogress</em> (Night 5)</li></ol></li><br /><li>{13} b) <em>Tale of the Ensorcelled Prince</em> (Nights 7-9)</li></ol></li><br /><li>{14} [3] (3) <em>The Porter and the Three Ladies of Baghdad</em> (Nights 9-19)<br /><ol><br /><li>{15} a) <em>The First Kalandar's Tale</em> (Nights 11-12)</li><br /><li>{16} b) <em>The Second Kalandar's Tale</em> (Nights 12-14)<br /><ol><br /><li>{17} b1) <em>Tale of the Envier and the Envied</em> (Night 13)</li></ol></li><br /><li>{18} c) <em>The Third Kalandar's Tale</em> (Nights 14-16)</li><br /><li>{19} d) <em>The Eldest Lady's Tale</em> (Nights 17-18)</li><br /><li>{20} e) <em>Tale of the Portress</em> (Night 18)<br /><ol><br /><li>e1) <em>Conclusion of the Story of the Porter and Three Ladies</em> (Nights 18-19)</li></ol></li></ol></li><br /><li>{21} [4] (4) <em>Tale of the Three Apples</em> (Nights 19-20)</li><br /><li>{22} [5] (5) <em>Tale of Nur Al-Din and his Son Badr Al-Din Hasan</em> (Nights 20-24)</li><br /><li>{23} [6] (6) <em>The Hunchback's Tale</em> (Nights 24-34)<br /><ol><br /><li>{24} a) <em>The Nazarene Broker's Story</em> (Nights 25-26)</li><br /><li>{25} b) <em>The Reeve's Tale</em> (Nights 27-28)</li><br /><li>{26} c) <em>Tale of the Jewish Doctor</em> [= (202)] (Nights 28-29)</li><br /><li>{27} d) <em>Tale of the Tailor</em> [= 276/h] (Nights 29-33)</li><br /><li>{28} e) <em>The Barber's Tale of Himself</em> (Nights 31-33)<br /><ol><br /><li>{29} e1) <em>The Barber's Tale of his First Brother</em> (Night 31)</li><br /><li>{30} e2) <em>The Barber's Tale of his Second Brother</em> (Nights 31-32)</li><br /><li>{31} e3) <em>The Barber's Tale of his Third Brother</em> (Night 32)</li><br /><li>{32} e4) <em>The Barber's Tale of his Fourth Brother</em> (Night 32)</li><br /><li>{33} e5) <em>The Barber's Tale of his Fifth Brother</em> (Nights 32-33)</li><br /><li>{34} e6) <em>The Barber's Tale of his Sixth Brother</em> (Night 33)</li></ol></li><br /><li>d1) <em>The End of the Tailor's Tale</em> (Night 33)</li></ol></li><br /><li>{35} [7] (7) <em>Nur Al-Din Ali and the Damsel Anis Al-Jalis</em> (Nights 34-38)</li><br /><li>{36} [8] (8) <em>Tale of Ghanim Bin Ayyub, the Distraught, the Thrall o' Love</em> (Nights 38-45)<br /><ol><br /><li>{37} a) <em>Tale of the First Eunuch, Bukhayt</em> (Night 39)</li><br /><li>{38} b) <em>Tale of the Second Eunuch, Kafur</em> (Nights 39-40)</li></ol></li><br /><li>{39} [9] (9) <em>Tale of King Omar Bin Al-Nu'uman, and his Sons Sharrkan and Zau Al-Makan</em> (Nights 45-145)<br /><ol><br /><li>{40} a) <em>Tale of Taj Al-Muluk and the Princess Dunya</em> (Nights 107-37)<br /><ol><br /><li>{41} a1) <em>Tale of Aziz and Azizah</em> (Nights 112-29)</li></ol></li><br /><li>{42} b) <em>Tale of the Hashish-Eater</em> (Nights 142-43)</li><br /><li>{43} c) <em>Tale of Hammad the Badawi</em> (Night 144)</li></ol></li><br /><li>{44} [10] <em>Parables: i)</em> (10) <em>The Birds and Beasts and the Carpenter</em> (Nights 146-47)</li><br /><li>{45} (11) <em>The Hermits</em> (Nights 147-48)<br /><ol><br /><li>[ii] <em>The Hermit and the Pigeons</em> (Nights 147-48)</li><br /><li>[iii] <em>The Temptation of the Pious Shepherd</em> (Night 148)</li></ol></li><br /><li>{46} [iv] (12) <em>The Water-fowl and the Tortoise</em> (Night 148)</li><br /><li>{47} [v] (13) <em>The Wolf and the Fox</em> (Nights 148-50)<br /><ol><br /><li>{48} a) <em>Tale of the Falcon and the Partridge</em> (Night 149)</li><br /><li>b) <em>The Two Invalids</em> (Night 149)</li><br /><li>c) <em>The Man and the Serpent</em> (Night 150)</li></ol></li><br /><li>{49} [vi] (14) <em>The Mouse and the Ichneumon</em> (Night 150)</li><br /><li>{50} [vii] (15) <em>The Cat and the Crow</em> (Night 150)</li><br /><li>{51} [viii] (16) <em>The Fox and the Crow</em> (Nights 150-52)<br /><ol><br /><li>{52} a) <em>The Flea and the Mouse</em> (Nights 150-51)</li><br /><li>{53} b) <em>The Saker and the Birds</em> (Nights 151-52)</li><br /><li>{54} c) <em>The Sparrow and the Eagle</em> (Night 152)</li></ol></li><br /><li>{55} [ix] (17) <em>The Hedgehog and the Wood Pigeons</em> (Night 152)<br /><ol><br /><li>a) <em>The Seed Badly Sown</em> (Night 152)</li><br /><li>{56} b) <em>The Merchant and the Two Sharpers</em> (Night 152)</li></ol></li><br /><li>{57} [x] (18) <em>The Thief and his Monkey</em> (Night 152)<br /><ol><br /><li>{58} a) <em>The Foolish Weaver</em> (Night 152)</li></ol></li><br /><li>{59} [xi] (19) <em>The Sparrow and the Peacock</em> (Night 152)</li><br /><li>{60} [11] (20) <em>Ali Bin Bakkar and Shams Al-Nahar</em> (Nights 153-69)</li><br /><li>{61} [12] (21) <em>Tale of Kamar Al-Zaman</em> (Nights 170-249)<br /><ol><br /><li>{62} a) <em>Ni'amah bin Al-Rabia and Naomi his Slave-Girl</em> (Nights 237-49)</li></ol></li><br /><li>{63} [13] (22) <em>Ala Al-Din Abu Al-Shamat</em> (Nights 249-69)</li><br /><li>{64} [14] (23) <em>Hatim of the Tribe of Tayy</em> (Nights 269-71)</li><br /><li>{65} [15] (24) <em>Ma'an the Son of Zaidah and the Three Girls</em> (Nights 271-72)</li><br /><li>{66} [16] (25) <em>Ma'an son of Zaidah and the Badawi</em> (Night 272)</li><br /><li>{67} [17] (26) <em>The City of Labtayt</em> (Nights 272-73)</li><br /><li>{68} [18] (27) <em>The Caliph Hisham and the Arab Youth</em> (Night 273)</li><br /><li>{69} [19] (28) <em>Ibrahim bin Al-Mahdi and the Barber-Surgeon</em> (Nights 273-76)</li><br /><li>{70} [20] (29) <em>The City of Many-Columned Iram and Abdullah Son of Abi Kalabah</em> (Nights 276-79)</li><br /><li>{71} [21] (30) <em>Isaac of Mosul</em> (Nights 279-82)</li><br /><li>{72} [22] (31) <em>The Sweep and the Noble Lady</em> (Nights 282-85)</li><br /><li>{73} [23] (32) <em>The Mock Caliph</em> (Nights 285-94)</li><br /><li>{74} [24] (33) <em>Ali the Persian</em> [= (207/a)] (Nights 294-96)</li><br /><li>{75} [25] (34) <em>Harun Al-Rashid and the Slave-Girl and the Imam Abu Yusuf</em> [= 281/m] (Nights 296-97)</li><br /><li>{76} [26] (35) <em>The Lover who feigned himself a Thief</em> (Nights 297-99)</li><br /><li>{77} [27] (36) <em>Ja'afar the Barmecide and the Bean-Seller</em> (Night 299)</li><br /><li>{78} [28] (37) <em>Abu Mohammed hight Lazybones</em> (Nights 299-305)</li><br /><li>{79} [29] (38) <em>Generous dealing of Yahya bin Khalid the Barmecide with Mansur</em> (Nights 305-06)</li><br /><li>{80} [30] (39) <em>Generous dealing of Yahya son of Khalid with a man who forged a letter</em> [= (199)] (Nights 306-07)</li><br /><li>{81} [31] (40) <em>Caliph Al-Maamun and the Strange Scholar</em> (Nights 307-08)</li><br /><li>{82} [32] (41) <em>Ali Shar and Zumurrud</em> (Nights 308-27)</li><br /><li>{83} [33] (42) <em>The Loves of Jubayr bin Umayr and the Lady Budur</em> [cf. (147)] (Nights 327-34)</li><br /><li>{84} [34] (43) <em>The Man of Al-Yaman and his Six Slave-Girls</em> (Nights 334-38)</li><br /><li>{85} [35] (44) <em>Harun Al-Rashid and the Damsel and Abu Nowas</em> (Nights 338-40)</li><br /><li>{86} [36] (45) <em>The Man who stole the dish of gold whereon the dog ate</em> (Nights 340-41)</li><br /><li>{87} [37] (46) <em>The Sharper of Alexandria and the Chief of Police</em> (Nights 341-42)</li><br /><li>{88} [38] (47) <em>Al-Malik Al-Nasir and the Three Chiefs of Police</em> (Nights 342-44)<br /><ol><br /><li>{89} a) <em>Story of the Chief of the New Cairo Police</em> (Night 342)</li><br /><li>{90} b) <em>Story of the Chief of the Bulak Police</em> (Night 343)</li><br /><li>{91} c) <em>Story of the Chief of the Old Cairo Police</em> (Night 344)</li></ol></li><br /><li>{92} [39] (48) <em>The Thief and the Shroff</em> (Nights 344-45)</li><br /><li>{93} [40] (49) <em>The Chief of the Kus Police and the Sharper</em> (Nights 345-46)</li><br /><li>{94} [41] (50) <em>Ibrahim bin Al-Mahdi and the Merchant's Sister</em> (Nights 346-47)</li><br /><li>{95} [42] (51) <em>The Woman whose hands were cut off for almsgiving</em> (Nights 347-48)</li><br /><li>{96} [43] (52) <em>The devout Israelite</em> (Nights 348-49)</li><br /><li>{97} [44] (53) <em>Abu Hassan Al-Ziyadi and the Khorasan Man</em> (Nights 349-51)</li><br /><li>{98} [45] (54) <em>The Poor Man and his Friend in Need</em> (Night 351)</li><br /><li>{99} [46] (55) <em>The Ruined Man who became rich again through a Dream</em> (Nights 351-52)</li><br /><li>{100} [47] (56) <em>Caliph Al-Mutawakkil and his Concubine Mahbubah</em> (Nights 352-53)</li><br /><li>{101} [48] (57) <em>Wardan the Butcher's Adventure with the Lady and the Bear</em> (Nights 353-55)</li><br /><li>{102} [49] (58) <em>The King's Daughter and the Ape</em> (Nights 355-57)</li><br /><li>{103} [50] (59) <em>The Ebony Horse</em> (Nights 357-71)</li><br /><li>{104} [51] (60) <em>Uns Al-Wujud and the Wazir's Daughter Rose-in-Hood</em> (Nights 371-81)</li><br /><li>{105} [52] (61) <em>Abu Nowas with the Three Boys and the Caliph Harun Al-Rashid</em> (Nights 381-83)</li><br /><li>{106} [53] (62) <em>Abdullah bin Ma'amar with the Man of Bassorah and his Slave-Girl</em> (Night 383)</li><br /><li>{107} [54] (63) <em>The Lovers of the Banu Ozrah</em> (Nights 383-84)</li><br /><li>{108} [55] (64) <em>The Wazir of Al-Yaman and his Young Brother</em> (Night 384)</li><br /><li>{109} [56] (65) <em>The Loves of the Boy and Girl at School</em> (Nights 384-85)</li><br /><li>{110} [57] (66) <em>Al-Mutalammis and His Wife Umaymah</em> (Night 385)</li><br /><li>{111} [58] (67) <em>Harun Al-Rashid and Zubaydah in the Bath</em> (Nights 385-86)</li><br /><li>{112} [59] (68) <em>Harun Al-Rashid and the Three Poets</em> (Night 386)</li><br /><li>{113} [60] (69) <em>Mus'ab bin Al-Zubayr and Ayishah his Wife</em> (Nights 386-87)</li><br /><li>{114} [61] (70) <em>Abu Al-Aswad and his Slave-Girl</em> (Night 387)</li><br /><li>{115} [62] (71) <em>Harun Al-Rashid and the Two Slave-Girls</em> (Night 387)</li><br /><li>{116} [62] (72) <em>Harun Al-Rashid and the Three Slave-Girls</em> (Night 387)</li><br /><li>{117} [63] (73) <em>The Miller and his Wife</em> (Nights 387-88)</li><br /><li>{118} [64] (74) <em>The Simpleton and the Sharper</em> (Night 388)</li><br /><li>{119} [65] (75) <em>The Kazi Abu Yusuf with Harun Al-Rashid and Queen Zubaydah</em> (Nights 388-89)</li><br /><li>{120} [68] (76) <em>The Caliph Al-Hakim and the Merchant</em> (Night 389)</li><br /><li>{121} [69] (77) <em>King Kisra Anushirwan and the Village Damsel</em> (Nights 389-90)</li><br /><li>{122} [70] (78) <em>The Water-Carrier and the Goldsmith's Wife</em> (Nights 390-91)</li><br /><li>{123} [71] (79) <em>Khusrau and Shirin and the Fisherman</em> (Night 391)</li><br /><li>{124} [72] (80) <em>Yahya bin Khalid and the Poor Man</em> (Nights 391-92)</li><br /><li>{125} [73] (81) <em>Mohammed Al-Amin and the Slave-Girl</em> (Night 392)</li><br /><li>{126} [74] (82) <em>The Sons of Yahya bin Khalid and Said bin Salim</em> (Nights 392-93)</li><br /><li>{127} [75] (83) <em>The Woman's Trick against her Husband</em> [cf. (184)] (Nights 393-94)</li><br /><li>{128} [76] (84) <em>The Devout Woman and the Two Wicked Elders</em> (Night 394)</li><br /><li>{129} [77] (85) <em>Ja'afar the Barmecide and the Old Badawi</em> (Nights 394-95)</li><br /><li>{130} [78] (86) <em>Omar bin Al-Khattab and the Young Badawi</em> (Nights 395-97)</li><br /><li>{131} [79] (87) <em>Al-Maamun and the Pyramids of Egypt</em> (Nights 397-98)</li><br /><li>{132} [80] (88) <em>The Thief and the Merchant</em> (Nights 398-99)</li><br /><li>{133} [81] (89) <em>Masrur the Eunuch and Ibn Al-Karibi</em> (Nights 399-401)</li><br /><li>{134} [82] (90) <em>The Devotee Prince</em> (Nights 401-02)</li><br /><li>{135} [83] (91) <em>The Schoolmaster who fell in Love by Report</em> (Nights 402-03)</li><br /><li>{136} [84] (92) <em>The Foolish Dominie</em> (Night 403)</li><br /><li>{137} [85] (93) <em>The Illiterate who set up for a Schoolmaster</em> (Nights 403-04)</li><br /><li>{138} [86] (94) <em>The King and the Virtuous Wife</em> (Night 404)</li><br /><li>{139} [87] (95) <em>Abd Al-Rahman the Maghribi's Tale of the Rukh</em> (Nights 404-05)</li><br /><li>{140} [88] (96) <em>Adi bin Zayd and the Princess Hind</em> (Nights 405-07)</li><br /><li>{141} [89] (97) <em>Di'ibil Al-Khuza'i with the Lady and Muslim bin Al-Walid</em> (Night 407)</li><br /><li>{142} [90] (98) <em>Isaac of Mosul and the Merchant</em> (Nights 407-09)</li><br /><li>{143} [91] (99) <em>The Three Unfortunate Lovers</em> (Nights 409-10)</li><br /><li>{144} [-] (100) <em>How Abu Hasan brake Wind</em> (Night 410)</li><br /><li>{145} [92] (101) <em>The Lovers of the Banu Tayy</em> (Nights 410-11)</li><br /><li>{146} [93] (102) <em>The Mad Lover</em> (Nights 411-12)</li><br /><li>{147} [94] (103) <em>The Prior who became a Moslem</em> (Nights 412-14)</li><br /><li>{148} [95] (104) <em>The Loves of Abu Isa and Kurrat Al-Ayn</em> (Nights 414-18)</li><br /><li>{149} [96] (105) <em>Al-Amin and his Uncle Ibrahim bin Al-Mahdi</em> (Nights 418-19)</li><br /><li>{150} [97] (106) <em>Al-Fath bin Khakan and Al-Mutawakkil</em> (Night 419)</li><br /><li>{151} [98] (107) <em>The Man's Dispute with a Woman about the relative excellence of the Sexes</em> (Nights 419-23)</li><br /><li>{152} [99] (108) <em>Abu Suwayd and the pretty Old Woman</em> (Nights 423-24)</li><br /><li>{153} [100] (109) <em>Ali bin Tahir and the girl Muunis</em> (Night 424)</li><br /><li>{154} [101] (110) <em>The Woman who had a Boy, and the other who had a Man to Lover</em> (Night 424)</li><br /><li>{155} [102] (111) <em>Ali the Cairene and the Haunted House in Baghdad</em> (Nights 424-34)</li><br /><li>{156} [103] (112) <em>The Pilgrim Man and the Old Woman</em> (Nights 434-36)</li><br /><li>{157} [104] (113) <em>Abu Al-Husn and his Slave-Girl Tawaddud</em> (Nights 434-62)</li><br /><li>{158} [105] (114) <em>The Angel of Death with the Proud King and the Devout Man</em> (Night 462)</li><br /><li>{159} [106] (115) <em>The Angel of Death and the Rich King</em> (Nights 462-63)</li><br /><li>{160} [107] (116) <em>The Angel of Death and the King of the Children of Israel</em> (Nights 463-64)</li><br /><li>{161} [108] (117) <em>Iskander zu Al-Karnayn and a certain Tribe of Poor Folk</em> (Night 464)</li><br /><li>{162} [109] (118) <em>The Righteousness of King Anushirwan</em> (Nights 464-65)</li><br /><li>{163} [110] (119) <em>The Jewish Kazi and his Pious Wife</em> [= (241)] (Nights 465-66)</li><br /><li>{164} [111] (120) <em>The Shipwrecked Woman and her Child</em> (Nights 466-67)</li><br /><li>{165} [112] (121) <em>The Pious Black Slave</em> (Nights 467-68)</li><br /><li>{166} [113] (122) <em>The Devout Tray-maker and his Wife</em> (Nights 468-70)</li><br /><li>{167} [114] (123) <em>Al-Hajjaj bin Yusuf and the Pious Man</em> (Nights 470-71)</li><br /><li>{168} [115] (124) <em>The Blacksmith who could handle Fire without Hurt</em> (Nights 471-73)</li><br /><li>{169} [116] (125) <em>The Devotee to whom Allah gave a Cloud for Service and the Devout King</em> (Nights 473-74)</li><br /><li>{170} [117] (126) <em>The Moslem Champion and the Christian Damsel</em> (Nights 474-77)</li><br /><li>{171} [118] (127) <em>The Christian King's Daughter and the Moslem</em> (Nights 477-78)</li><br /><li>{172} [119] (128) <em>The Prophet and the Justice of Providence</em> (Nights 478-79)</li><br /><li>{173} [120] (129) <em>The Ferryman of the Nile and the Hermit</em> (Night 479)</li><br /><li>{174} [121] (130) <em>The Island King and the Pious Israelite</em> (Nights 479-81)</li><br /><li>{175} [122] (131) <em>Abu Al-Hasan and Abu Ja'afar the Leper</em> (Nights 481-82)</li><br /><li>{176} [123] (132) <em>The Queen of the Serpents</em> (Nights 482-536)<br /><ol><br /><li>{177} a) <em>The Adventure of Bulukiya</em> (Nights 486-533)</li><br /><li>{178} b) <em>The Story of Janshah</em> (Nights 499-530)</li></ol></li><br /><li>{179} [124] (133) <em>Sindbad the Seaman and Sindbad the Landsman</em> (Nights 537-66)<br /><ol><br /><li>[A] a) <em>The 1st Voyage of Sindbad the Seaman</em> [The Floating Island] (Nights 538-42)</li><br /><li>[B] b) <em>the 2nd Voyage of Sindbad the Seaman</em> [The Valley of Diamonds] (Nights 542-46)</li><br /><li>[C] c) <em>The 3rd Voyage of Sindbad the Seaman</em> [The Mountain of Apes and Cannibals] (Nights 546-50)</li><br /><li>[D] d) <em>the 4th Voyage of Sindbad the Seaman</em> [Buried Alive with His Dead Wife] (Nights 550-55)</li><br /><li>[E] e) <em>the 5th Voyage of Sindbad the Seaman</em> [The Old Man of the Sea] (Nights 556-59)</li><br /><li>f) <em>The 6th Voyage of Sindbad the Seaman</em> [The Embassy from Serendib (Gerhardt A)] (Galland)</li><br /><li>[F] f1) <em>The 6th Voyage of Sindbad the Seaman</em> [Embassy from the Indies (Gerhardt B)] (Nights 559-63)</li><br /><li>[G] g) <em>The 7th Voyage of Sindbad the Seaman</em> [The Elephant's Burial-Place (Gerhardt A)] (Galland)</li><br /><li>[H] g1) <em>The 7th Voyage of Sindbad the Seaman</em> [The City of the Flying Men (Gerhardt B)] (Nights 563-66)</li></ol></li><br /><li>{180} [125] (134) <em>The City of Brass</em> (Nights 566-78)</li><br /><li>{181} [126] (135) <em>The Craft and Malice of Women</em> (Nights 578-606)<br /><ol><br /><li>{182} a) <em>The King and his Wazir's Wife</em> (Nights 578-79)</li><br /><li>{183} b) <em>The Confectioner, his Wife and the Parrot</em> (Night 579)</li><br /><li>{184} c) <em>The Fuller and his Son</em> (Nights 579-80)</li><br /><li>{185} d) <em>The Rake's Trick against the Chaste Wife</em> (Night 580)</li><br /><li>{186} e) <em>The Miser and the Loaves of Bread</em> (Nights 580-81)</li><br /><li>{187} f) <em>The Lady and her Two Lovers</em> (Night 581)</li><br /><li>{188} g) <em>The King's Son and the Ogress</em> (Nights 581-82)</li><br /><li>{189} h) <em>The Drop of Honey</em> (Night 582)</li><br /><li>{190} i) <em>The Woman who made her Husband sift Dust</em> (Night 582)</li><br /><li>{191} j) <em>The Enchanted Spring</em> (Nights 582-84)</li><br /><li>{192} k) <em>The Wazir's Son and the Hammam-keeper's Wife</em> (Night 584)</li><br /><li>{193} l) <em>The Wife's Device to cheat her Husband</em> (Nights 584-86)</li><br /><li>{194} m) <em>The Goldsmith and the Cashmere Singing-Girl</em> (Nights 586-87)</li><br /><li>{195} n) <em>The Man who never laughed during the rest of his days</em> (Nights 587-91)</li><br /><li>{196} o) <em>The King's Son and the Merchant's Wife</em> (Nights 591-92)</li><br /><li>{197} p) <em>The Page who feigned to know the Speech of Birds</em> (Night 592)</li><br /><li>{198} q) <em>The Lady and her Five Suitors</em> (Nights 593-96)</li><br /><li>{199} r) <em>The Three Wishes, or the Man who longed to see the Night of Power</em> (Night 596)</li><br /><li>{200} s) <em>The Stolen Necklace</em> (Nights 596-97)</li><br /><li>{201} t) <em>The Two Pigeons</em> (Night 597)</li><br /><li>{202} u) <em>Prince Behram and the Princess Al-Datma</em> (Nights 597-98)</li><br /><li>{203} v) <em>The House with the Belvedere</em> (Nights 598-602)</li><br /><li>{204} w) <em>The King's Son and the Ifrit's Mistress</em> (Nights 602-03)</li><br /><li>x) <em>The Poisoning</em> (Night 603)</li><br /><li>{205} y) <em>The Sandal-wood Merchant and the Sharpers</em> (Nights 603-05)</li><br /><li>{206} z) <em>the Debauchee and the Three-year-old Child</em> (Night 605)</li><br /><li>{207} aa) <em>The Stolen Purse</em> (Nights 605-06)</li><br /><li>{208} bb) <em>The Fox and the Folk</em> (Night 606)</li></ol></li><br /><li>{209} [127] (136) <em>Judar and his Brethren</em> (Nights 606-24)</li><br /><li>{210} [128] (137) <em>The History of Gharib and his Brother Ajib</em> (Nights 624-80)</li><br /><li>{211} [129] (138) <em>Otbah and Rayya</em> (Nights 680-81)</li><br /><li>{212} [130] (139) <em>Hind, daughter of Al-Nu'uman and Al-Hajjaj</em> (Nights 681-82)</li><br /><li>{213} [131] (140) <em>Khuzaymah bin Bishr and Ekrimah Al-Fayyaz</em> (Nights 683-84)</li><br /><li>{214} [132] (141) <em>Yunus the Scribe and the Caliph Walid bin Sahl</em> (Nights 684-85)</li><br /><li>{215} [133] (142) <em>Harun Al-Rashid and the Arab Girl</em> (Nights 685-86)</li><br /><li>{216} [134] (143) <em>Al-Asma'i and the Three Girls of Bassorah</em> (Nights 686-87)</li><br /><li>{217} [135] (144) <em>Ibrahim of Mosul and the Devil</em> (Nights 687-88)</li><br /><li>{218} [136] (145) <em>The Lovers of the Banu Uzrah</em> [= (209/a)] (Nights 688-91)</li><br /><li>{219} [137] (146) <em>the Badawi and his Wife</em> (Nights 691-93)</li><br /><li>{220} [138] (147) <em>The Lovers of Bassorah</em> [= (216/a)] (Nights 693-95)</li><br /><li>{221} [139] (148) <em>Ishak of Mosul and his Mistress and the Devil</em> (Nights 695-96)</li><br /><li>{222} [140] (149) <em>The Lovers of Al-Medinah</em> (Nights 696-97)</li><br /><li>{223} [141] (150) <em>Al-Malik Al-Nasir and his Wazir</em> (Nights 697-98)</li><br /><li>{224} [142] (151) <em>The Rogueries of Dalilah the Crafty & her Daughter Zaynab Coney-Catcher</em> (Nights 698-719)<br /><ol><br /><li>{225} a) <em>The Adventures of Mercury Ali of Cairo</em> (Nights 708-19)</li></ol></li><br /><li>{226} [143] (152) <em>Ardashir and Hayat Al-Nufus</em> (Nights 719-38)</li><br /><li>{227} [144] (153) <em>Julnar the Sea-born and her Son King Badr Basim of Persia</em> (Nights 738-56)</li><br /><li>{228} [145] (154) <em>King Mohammed bin Sabaik and the Merchant Hasan</em> (Nights 756-78)<br /><ol><br /><li>{229} a) <em>Story of Prince Sayf Al-Muluk and the Princess Badi'a Al-Jamal</em> (Nights 758-78)</li></ol></li><br /><li>{230} [146] (155) <em>Hasan of Bassorah</em> (Nights 778-831)</li><br /><li>{231} [147] (156) <em>Khalifah the Fisherman of Baghdad</em> (Nights 831-45)<br /><ol><br /><li> a) <em>The same from the Breslau Edition</em> (B 321-22)</li></ol></li><br /><li>{232} [148] (157) <em>Masrur and Zayn Al-Mawassif</em> (Nights 845-63)</li><br /><li>{233} [149] (158) <em>Ali Nur Al-Din and Miriam the Girdle-Girl</em> (Nights 863-94)</li><br /><li>{234} [150] (159) <em>The Man of Upper Egypt and his Frankish Wife</em> (Nights 894-96)</li><br /><li>{235} [151] (160) <em>The Ruined Man of Baghdad and his Slave-Girl</em> (Nights 896-99)</li><br /><li>{236} [152] (161) <em>King Jali'ad of Hind and his Wazir Shimas ...</em> (Nights 900-30)<br /><ol><br /><li>{237} [152/2] a) <em>The Mouse and the Cat</em> (Nights 901-02)</li><br /><li>{238} [152/3] b) <em>The Fakir and his Jar of Butter</em> (Nights 902-03)</li><br /><li>{239} [152/4] c) <em>The Fishes and the Crab</em> (Night 903)</li><br /><li>{240} [152/5] d) <em>The Crow and the Serpent</em> (Nights 903-04)</li><br /><li>{241} [152/6] e) <em>The Wild Ass and the Jackal</em> (Night 904)</li><br /><li>{242} [152/7] f) <em>The Unjust King and the Pilgrim Prince</em> (Night 905)</li><br /><li>{243} [152/8] g) <em>The Crows and the Hawk</em> (Night 906)</li><br /><li>{244} [152/9] h) <em>The Serpent-Charmer and his Wife</em> (Night 907)</li><br /><li>{245} [152/10] i) <em>The Spider and the Wind</em> (Night 908)</li><br /><li>{246} [152/12] j) <em>The Two Kings</em> (Nights 909-10)</li><br /><li>{247} [152/13] k) <em>The Blind Man and the Cripple</em> (Night 910)</li><br /><li>[152/15] l) <em>The Lion and the Hunter</em> (Night 911)</li><br /><li>{248} [152/16] m) <em>The Foolish Fisherman</em> (Night 918)</li><br /><li>{249} [152/17] n) <em>The Boy and the Thieves</em> (Night 918-19)</li><br /><li>{250} [152/19] o) <em>The Man and his Wife</em> (Nights 919-20)</li><br /><li>{251} [152/20] p) <em>The Merchant and the Robbers</em> (Night 920)</li><br /><li>{252} [152/21] q) <em>The Jackals and the Wolf</em> (Night 921)</li><br /><li>{253} [152/22] r) <em>The Shepherd and the Rogue</em> (Nights 921-22)</li><br /><li>{254} [152/23] s) <em>The Francolin and the Tortoises</em> (Night 924)</li></ol></li><br /><li>{255} [153] (162) <em>Abu Kir the Dyer and Abu Sir the Barber</em> (Nights 930-40)</li><br /><li>{256} [154] (163) <em>Abdullah the Fisherman and Abdullah the Merman</em> (Nights 940-46)</li><br /><li>{257} [155] (164) <em>Harun Al-Rashid and Abu Hasan, the Merchant of Oman</em> (Nights 946-52)</li><br /><li>{258} [156] (165) <em>Ibrahim and Jamilah</em> (Nights 952-59)</li><br /><li>{259} [157] (166) <em>Abu Al-Hasan of Khorasan</em> (Nights 959-63)</li><br /><li>{260} [158] (167) <em>Kamar Al-Zaman and the Jeweller's Wife</em> (Nights 963-78)</li><br /><li>{261} [159] (168) <em>Abdullah bin Fazil and his Brothers</em> (Nights 978-89)</li><br /><li>{262} [160] (169) <em>Ma'aruf the Cobbler and his Wife Fatimah</em> (Nights 989-1001)</li><br /><li>{263} [66] (170) <em>The Sleeper and the Waker</em> (B 272-91)<br /><ol><br /><li>{264} [67] a) <em>Story of the Larrikin and the Cook</em> (B 273)</li></ol></li><br /><li>{265} (171) <em>The Caliph Omar bin Abd Al-Aziz and the Poets</em> (B 432-34)</li><br /><li>{266} (172) <em>Al-Hajjaj and the Three Young Men</em> (B 434)</li><br /><li>{267} (173) <em>Harun Al-Rashid and the Woman of the Barmecides</em> (B 434)</li><br /><li>{268} (174) <em>The Ten Wazirs; or The History of King Azadbakht and his Son</em> (B 435-87)<br /><ol><br /><li>a) <em>Of the Uselessness of Endeavour against Persistent Ill Fortune</em> (B 440)<br /><ol><br /><li>{269} {a1) <em>Story of the Merchant who Lost his Luck</em> (B 440)</li></ol></li><br /><li>b) <em>Of Looking to the Ends of Affairs</em> (B 444)<br /><ol><br /><li>{270} b1) <em>Tale of the Merchant and his Sons</em> (B 444) )</li></ol></li><br /><li>c) <em>Of the Advantages of Patience</em> (B 448)<br /><ol><br /><li>{271} c1) <em>Story of Abu Sabir</em> (B 448) )</li></ol></li><br /><li>d) <em>Of the Ill Effects of Impatience</em> (B 453)<br /><ol><br /><li>{272} d1) <em>Story of Prince Bihzad</em> (B 453) )</li></ol></li><br /><li> e) <em>Of the Issues of Good and Evil Actions</em> (B 455)<br /><ol><br /><li>{273} e1) <em>Story of King Dadbin and his Wazirs</em> (B 455) )</li></ol></li><br /><li>f) <em>Of Trust in Allah</em> (B 461)<br /><ol><br /><li>{274} f1) <em>Story of King Bakhtzaman</em> (B 461) )</li></ol></li><br /><li>g) <em>Of Clemency</em> (B 464)<br /><ol><br /><li>{275} g1) <em>Story of King Bihkard</em> (B 464) )</li></ol></li><br /><li>h) <em>Of Envy and Malice</em> (B 466)<br /><ol><br /><li>{276} h1) <em>Story of Aylan Shah and Abu Tammam</em> (B 466) )</li></ol></li><br /><li>i) <em>Of Destiny or that which is Written on the Forehead</em> (B 471)<br /><ol><br /><li>{277} i1) <em>Story of King Ibrahim and his Son</em> (B 471) )</li></ol></li><br /><li>j) <em>Of the Appointed Term, which, if it be Advanced, may not be Deferred ...</em> (B 475)<br /><ol><br /><li>{278} j1) <em>Story of King Sulayman Shah and his Niece</em> (B 475) )</li></ol></li><br /><li>k) <em>Of the Speedy Relief of Allah</em> (B 485)<br /><ol><br /><li>{279} k1) <em>Story of the Prisoner and how Allah gave him Relief</em> (B 485)</li></ol></li></ol></li><br /><li>{280} (175) <em>Ja'afar bin Yahya and Abd Al-Malik bin Salih the Abbaside</em> (B 565)</li><br /><li>{281} (176) <em>Al-Rashid and the Barmecides</em> (B 567)</li><br /><li>{282} (177) <em>Ibn Al-Sammak and Al-Rashid</em> (B 568)</li><br /><li>{283} (178) <em>Al-Maamun and Zubaydah</em> (B 568)</li><br /><li>{284} (179) <em>Al-Nu'uman and the Arab of the Banu Tay</em> (B 660-61)</li><br /><li>{285} (180) <em>Firuz and his Wife</em> (B 675-76)</li><br /><li>{286} (181) <em>King Shah Bakht and his Wazir Al-Rahwan</em> (B 885-930)<br /><ol><br /><li>{287} a) <em>Tale of the Man of Khorasan, his Son and his Tutor</em> (B 886)</li><br /><li>{288} b) <em>Tale of the Singer and the Druggist</em> (B 888)</li><br /><li>{289} c) <em>Tale of the King who Kenned the Quintessence of Things</em> (B 891)</li><br /><li>{290} d) <em>Tale of the Richard who Married his Beautiful Daughter to the Poor Old Man</em> (B 892)</li><br /><li>{291} e) <em>Tale of the Sage and his Three Sons</em> (B 893)</li><br /><li>{292} f) <em>Tale of the Prince who fell in love with the Picture</em> (B 894)</li><br /><li>{293} g) <em>Tale of the Fuller and his Wife and the Trooper</em> (B 896)</li><br /><li>{294} h) <em>Tale of the Merchant, the Crone and the King</em> (B 896)</li><br /><li>{295} i) <em>Tale of the Simpleton Husband</em> [= (216/e)] (B 898)</li><br /><li>{296} j) <em>Tale of the Unjust King and the Tither</em> (B 899)</li><br /><li>{297} j1) <em>Story of David and Solomon</em> (B 899)</li><br /><li>{298} k) <em>Tale of the Robber and the Woman</em> (B 899)</li><br /><li>{299} l) <em>Tale of the Three men and our Lord Isa</em> (B 901)</li><br /><li>{300} l1) <em>The Disciple's Story</em> (B 901)</li><br /><li>{301} m) <em>Tale of the Dethroned Ruler whose Reign and Wealth were Restored to Him</em> (B 901)</li><br /><li>{302} n) <em>Tale of the Man whose Caution slew him</em> (B 903)</li><br /><li>{303} o) <em>Tale of the Man who was lavish of his House and his Provision</em> (B 904)</li><br /><li>{304} p) <em>Tale of the Melancholist and the Sharper</em> (B 905)</li><br /><li>{305} q) <em>Tale of Khalbas and his Wife and the Learned Man</em> (B 906)</li><br /><li>{306} r) <em>Tale of the Devotee accused of Lewdness</em> (B 907)</li><br /><li>{307} s) <em>Tale of the Hireling and the Girl</em> (B 909)</li><br /><li>{308} t) <em>Tale of the Weaver who became a Leach by Order of his Wife</em> (B 909)</li><br /><li>{309} u) <em>Tale of the Two Sharpers who each cozened his Compeer</em> (B 911)</li><br /><li>{310} v) <em>Tale of the Sharpers with the Shroff and the Ass</em> (B 914)</li><br /><li>{311} w) <em>Tale of the Cheat and the Merchants</em> (B 915)<br /><ol><br /><li>{312} w1) <em>Story of the Falcon and the Locust</em> (B 916)</li></ol></li><br /><li>{313} x) <em>Tale of the King and his Chamberlain's Wife</em> (B 917)<br /><ol><br /><li>{314} x1) <em>Story of the Crone and the Draper's Wife</em> (B 917)</li></ol></li><br /><li>{315} y) <em>Tale of the Ugly Man and his Beautiful Wife</em> (B 918)</li><br /><li>{316} z) <em>Tale of the King who Lost Kingdom and Wife and Wealth and Allah Restored them</em> (B 919)<br /><ol><br /><li>{317} z1) <em>Tale of Salim the Youth of Khorasan and Salma, his Sister</em> (B 922)</li><br /><li>{318} z2) <em>Tale of the King of Hind and his Wazir</em> (B 928)</li></ol></li></ol></li><br /><li>{319} [164] (182) <em>Bibars Al-Bundukari & the 16 Policemen</em> [= 279] (B 930-40)<br /><ol><br /><li>{320} a) <em>First Constable's History</em> [= (227)] (B 930)</li><br /><li>{321} b) <em>Second Constable's History</em> (B 932)</li><br /><li>{322} c) <em>Third Constable's History</em> (B 932)</li><br /><li>{323} d) <em>Fourth Constable's History</em> (B 934)</li><br /><li>{324} e) <em>Fifth Constable's History</em> (B 934)</li><br /><li>{325} f) <em>Sixth Constable's History</em> (B 934)</li><br /><li>{326} g) <em>Seventh Constable's History</em> (B 934)</li><br /><li>{327} h) <em>Eighth Constable's History</em> (B 935)<br /><ol><br /><li>{328} h1) <em>The Thief's Tale</em> (B 938)</li></ol></li><br /><li>{329} i) <em>Ninth Constable's History</em> (B 938)</li><br /><li>{330} j) <em>Tenth Constable's History</em> (B 938)</li><br /><li>{331} k) <em>Eleventh Constable's History</em> (B 938)</li><br /><li>{332} l) <em>Twelfth Constable's History</em> (B 939)</li><br /><li>{333} m) <em>Thirteenth Constable's History</em> (B 939)</li><br /><li>{334} n) <em>Fourteenth Constable's History</em> (B 939)<br /><ol><br /><li>{335} n1) <em>A Merry Jest of a Clever Thief</em> (B 940)</li><br /><li>{336} n2) <em>Tale of the Old Sharper</em> (B 940)</li></ol></li><br /><li>{337} o) <em>Fifteenth Constable's History</em> (B 940)</li><br /><li>{338} p) <em>Sixteenth Constable's History</em> (B 940)</li></ol></li><br /><li>(183) <em>Tale of Harun Al-Rashid and Abdullah bin Nafi</em> (B 941-57)<br /><ol><br /><li>{339} a) <em>Tale of the Damsel Tohfat Al-Kulub and the Caliph Harun Al-Rashid</em> (B 942-57)</li></ol></li><br /><li>{340} (184) <em>Women's Wiles</em> [= (204/d)] (C1 196-200)</li><br /><li>{341} (185) <em>Nur Al-Din Ali of Damascus and the Damsel Sitt Al-Milah</em> (B 958-65)</li><br /><li>{342} (186) <em>Tale of King Ins bin Kays and his Daughter with the Son of King Al-'Abbás</em> (B 966-79)</li><br /><li>(187) <em>Tale of the Two Kings and the Wazir's Daughters</em> (B 1001)</li><br /><li>{343} (188) <em>The Concubine and the Caliph</em> (B 1001)</li><br /><li>{344} (189) <em>The Concubine of Al-Maamun</em> (B 1001)</li><br /><li>(190) <em>Conclusion</em> (–)</li><br /><li>{345} (191) <em>The Tale of Zayn Al-Asnam</em> (Galland)</li><br /><li>{347} [167] (192) <em>Khudadad and his Brothers</em> (Galland)<br /><ol><br /><li>{348} a) <em>History of the Princess of Daryabar</em> (Galland)</li></ol></li><br /><li>{346} [161] (193) <em>Alaeddin; or, the Wonderful Lamp</em> (Galland)</li><br /><li>{349} [166] (194) <em>The Caliph's Night Adventure</em> (Galland)<br /><ol><br /><li>{350} a) <em>The Story of the Blind Man, Baba Abdullah</em> (Galland)</li><br /><li>{351} b) <em>History of Sidi Nu'uman</em> (Galland)</li><br /><li>{352} c) <em>History of Khwajah Hasan Al-Habbal</em> (Galland)</li></ol></li><br /><li>{353} [162] (195) <em>Ali Baba and the Forty Thieves</em> (Galland)</li><br /><li>{354} [168] (196) <em>Ali Khwajah and the Merchant of Baghdad</em> (Galland)</li><br /><li>{355} [163] (197) <em>Prince Ahmad and the Fairy Peri-Banu</em> (Galland)</li><br /><li>{356} [165] (198) <em>The Two Sisters who Envied their Cadette</em> (Galland)</li><br /><li>(199) <em>Weil's Anecdote of Ja'afar the Barmecide</em> [= (39)] (W 483)</li><br /><li>{442} (200) <em>Weil's Adventures of Ali and Zaher of Damascus</em> (W 834-68)<br /><ol><br /><li>a) <em>The Story of Tarad</em> (W 848-50)</li></ol></li><br /><li>{445} (201) <em>Weil's Adventures of the Fisherman, Judar of Cairo, with Mahmood and Beibars</em> (W 881-917)<br /><ol><br /><li>a) <em>Mahmood's Story</em> (W 885-88)</li><br /><li>b) <em>The Story of Queen Daruma</em> (W 895-96)</li><br /><li>c) <em>The Story of Taj Al-Muluk, King of Tauris</em> (W 905-07)</li><br /><li>d) <em>The Story of the Golden Castle</em> (W 915-17)</li></ol></li><br /><li>(202) <em>The Physician and the young man of Mosul</em> [= (6/c)] (WM 92)</li><br /><li>{357} (203) <em>Story of the Sultan of Al-Yaman and his Three Sons</em> (WM 329-34)</li><br /><li>{358} (204) <em>Story of the Three Sharpers</em> (WM 334-42)<br /><ol><br /><li>{359} a) <em>The Sultan who fared forth in the Habit of a Darwaysh</em> (WM 342)</li><br /><li>{360} b) <em>History of Mohammed, Sultan of Cairo</em> (WM 343-48)</li><br /><li>{361} c) <em>Story of the First Lunatic</em> (WM 348-55)</li><br /><li>{362} d) <em>Story of the Second Lunatic</em> [= (184)] (WM 355-57)</li><br /><li>{363} e) <em>Story of the Sage and the Scholar</em> (WM 357-62)</li><br /><li>{364} f) <em>The Night-Adventure of Sultan Mohammed of Cairo with the three Foolish Schoolmasters</em> (WM 362)</li><br /><li>{365} g) <em>Story of the Broke-back Schoolmaster</em> (WM 363)</li><br /><li>{366} h) <em>Story of the Split-mouthed Schoolmaster</em> (WM 363 )</li><br /><li>{367} i) <em>Story of the Limping Schoolmaster</em> (WM 364-65)</li><br /><li>j) <em>The Sultan's second visit to the Sisters</em> (WM 366)</li><br /><li>{368} k) <em>Story of the Three Sisters and their Mother the Sultanah</em> (WM 366-86)</li></ol></li><br /><li>{369} (205) <em>History of the Kazi who bare a Babe</em> (WM 386-92)</li><br /><li>{370} (206) <em>Tale of the Kazi and the Bhang-Eater</em> (WM 392-403)<br /><ol><br /><li>{371} a) <em>History of the Bhang-Eater and his Wife</em> (WM 397-400)</li><br /><li>{372} b) <em>How Drummer Abu Kasim became a Kazi</em> (WM 400-12)</li><br /><li>{373} c) <em>Story of the Kazi and his Slipper</em> (WM 401-02)</li><br /><li>d) <em>Tale of the Bhang-Eater</em> (WM 402-09)<br /><ol><br /><li>d1) <em>Who became the Just Wazir and who decided two difficult Cases</em> (WM 409-11)</li></ol></li></ol></li><br /><li>(207) <em>The Sultan and the Traveller Mahmud the 'Ajamí</em> (WM 412)<br /><ol><br /><li>a) <em>Tale of Mahmud the Persian and the Kurd Sharper</em> [= (33)] (WM 413-16)</li><br /><li>b) <em>Tale of the Sultan and the Poor Man who brought to him Fruit</em> (WM 416-25)</li><br /><li>{374} c) <em>Tale of the Sultan and his Three Sons and the Enchanting Bird</em> (WM 417-26)</li><br /><li>d) <em>Adventure of the Fruit-Seller and the Concubine</em> (WM 425)</li><br /><li>{375} e) <em>Story of the King of Al-Yaman and his Three Sons and the Enchanting Bird</em> (WM 426-39)</li><br /><li>{376} f) <em>History of the First Larrikin</em> (WM 439-43)</li><br /><li>{377} g) <em>History of the Second Larrikin</em> (WM 443-45)</li><br /><li>{378} h) <em>History of the Third Larrikin</em> (WM 445-46)</li><br /><li>{379} i) <em>Story of a Sultan of Al-Hind and his Son Mohammed</em> (WM 446-58)</li></ol></li><br /><li>{380} (208) j) <em>Tale of the Fisherman and his Son</em> (WM 459-69)<br /><ol><br /><li>{381} k) <em>Tale of the Third Larrikin concerning Himself</em> (WM 469-72)</li></ol></li><br /><li>{382} (209) <em>History of Abu Niyyah and Abu Niyyatayn</em> (WM 472-83)<br /><ol><br /><li>a) <em>The Courtier's Story, or Tale of the Nadím to the Emir of Cairo</em> [= (145)] (WM 483-91)</li><br /><li>b) <em>Another relation of the Courtier</em> (WM 491)</li><br /><li>c) <em>The Shaykh with Beard shorn by the Shaytan</em> (WM 492)</li></ol></li><br /><li>{383} (210) <em>The History of the King's Son of Sind and the Lady Fatimah</em> (WM 492-501)</li><br /><li>{384} (211) <em>History of the Lovers of Syria</em> (WM 501-10)</li><br /><li>{385} (212) <em>History of Al-Hajjaj bin Yusuf and the Young Sayyid</em> (WM 510-20)<br /><ol><br /><li>a) <em>Story of the Sultan's Son and Daughter of the Wazir</em> (WM 541-45)</li></ol></li><br /><li>(213) <em>Tale of Sultan Káyyish</em> (WM 545-57)</li><br /><li>(214) <em>The Young Lady transformed into a Gazelle by her Step-mother</em> (WM 558-63)</li><br /><li>(215) <em>The History of Mázin</em> (WM 548-624)</li><br /><li>{386} (216) <em>Night Adventure of Harun Al-Rashid and the Youth Manjab</em> (WM 625-50)<br /><ol><br /><li>a) <em>The Loves of the Lovers of Bassorah</em> [= (147)] (WM 626-33)</li><br /><li>b) <em>Night Adventure of Harun Al-Rashid</em> (WM 633-38)</li><br /><li>c) <em>Tale told by Manjab</em> (WM 639-50)</li><br /><li>{387} d) <em>Story of the Darwaysh and the Barber's Boy and the Greedy Sultan</em> (WM 651-55)</li><br /><li>{388} e) <em>Tale of the Simpleton Husband</em> [= (181/i)] (WM 655-56)</li><br /><li>f) <em>Story of the Wife and her two Gallants</em> (WM 656-60)</li></ol></li><br /><li>{389} (217) <em>The Loves of Al-Hayfa and Yusuf</em> [= (242/a)] (WM 660-710)</li><br /><li>{390} (218) <em>The Three Princes of China</em> (WM 710-17)</li><br /><li>(219) <em>History of the first Brave</em> (WM 717-22)</li><br /><li>(220) <em>History of another Brave</em> (WM 722-23)</li><br /><li>(221) <em>The Merry Adventures of a Simpleton</em> (WM 723-26)</li><br /><li>(222) <em>The Goodwife of Cairo and the three Rakehells</em> (WM 726-28)</li><br /><li>{391} (223) <em>The Righteous Wazir wrongfully gaoled</em> (WM 728-38)</li><br /><li>{392} (224) <em>The Cairene Youth, the Barber and the Captain</em> (WM 733-38)</li><br /><li>{393} (225) <em>The Goodwife of Cairo and her Four Gallants</em> (WM 738-43)<br /><ol><br /><li>{394} a) <em>The Tailor and the Lady and the Captain</em> (WM 742-46)</li><br /><li>{395} b) <em>The Syrian and the Three Women of Cairo</em> (WM 746-49)</li><br /><li>{396} c) <em>The Lady with Two Coyntes</em> (WM 749-52)</li><br /><li>{397} d) <em>The Whorish Wife who vaunted her Virtue</em> (WM 752-55)</li></ol></li><br /><li>{398} (226) <em>Cœlebs the Droll and his Wife and her Four Lovers</em> (WM 755-60)</li><br /><li>{399} (227) <em>The Gate-Keeper of Cairo and the cunning She-Thief</em> [= (182/a)] (WM 759-65)</li><br /><li>{400} (228) <em>Tale of Mohsin and Musa</em> (WM 765-72)</li><br /><li>{401} (229) <em>Mohammed the Shalabi and his Mistress and his Wife</em> (WM 772-77)</li><br /><li>{402} (230) <em>The Fellah and his wicked Wife</em> (WM 777-780)</li><br /><li>{403} (231) <em>The Woman who humoured her Lover at her Husband's Expense</em> (WM 780-81)</li><br /><li>{404} (232) <em>The Kazi schooled by his Wife</em> (WM 781-85)</li><br /><li>{405} (233) <em>The Merchant's Daughter and the Prince of Al-Irak</em> (WM 785-824)</li><br /><li>(234) <em>The Story of Ahmad and Ali who cuckolded their Masters</em> (WM 824-29)</li><br /><li>(235) <em>The Fellah and his fair Wife</em> (WM 829-30)</li><br /><li>{406} (236) <em>Story of the Youth who would futter his Father's Wives</em> (WM 830-38)</li><br /><li>{407} (237) <em>Story of the Two Lack-Tacts of Cairo and Damascus</em> (WM 838-40)</li><br /><li>(238) <em>The Tale of Musa and Ibrahim, including Anecdotes of the Berberines</em> (WM 840-43)</li><br /><li>(239) <em>The Brother Wazirs, Ahmad and Mohammed</em> (WM 843-95)<br /><ol><br /><li>a) <em>The Story of the Unfaithful Wife</em> (WM 895-97)</li></ol></li><br /><li>(240) <em>Story of the thieving Youth and his Step-mother</em> (WM 897-900)</li><br /><li>(241) <em>The Kazi of Baghdad and his virtuous Wife</em> [= (119)] (WM 900-911)<br /><ol><br /><li>{408} a) <em>Tale of Himself told by the King</em> (WM 911-17)</li><br /><li>b) <em>The Sultan of Al-'Irák, Zunnár ibn Zunnár</em> (WM 917-21)</li></ol></li><br /><li>(242) <em>Story of Shaykh Nakkit the Fisherman</em> (WM 968-78)<br /><ol><br /><li>a) <em>The Sultan of Andalusia and the Prince of Al-'Irák</em> [= (217)] (WM 978-88)</li></ol></li><br /><li>(243) <em>Tale of Sultan Taylún and the generous Fellah</em> (WM 988-94)</li><br /><li>(244) <em>The retired Sage and his Servant-lad</em> (WM 998)</li><br /><li>(245) <em>The Merchant's Daughter who married an Emperor of China</em> (WM 998-1001)</li><br /><li>{410} (246) <em>The History of Al-Bundukani</em> (H 528-30)</li><br /><li>{412} (247) <em>The Warlock and Cook of Baghdad</em> (Chavis)</li><br /><li>{409} (248) <em>The Say of Haykar the Sage</em> (H 561-68)</li><br /><li>{415}(249) <em>The Tale of Attaf</em> (H 546-49)</li><br /><li>{416} (250) <em>The History of Prince Habib</em> (H 512-17)<br /><ol><br /><li>a) <em>The History of Durrat Al-Ghawwas</em> (H 513)</li></ol></li><br /><li>{434} (251) <em>The Forty Wazirs</em> (H 14-19)<br /><ol><br /><li>{435} a) <em>Story of Shaykh Shahabeddin</em> (H 14)</li><br /><li>{436} b) <em>Story of the Gardener, his Son, and the Ass</em> (H 14)</li><br /><li>{437} c) <em>The Sultan Mahmoud and his Wazir</em> (H 14)</li><br /><li>{438} d) <em>Story of the Brahman Padmanaba and the young Fyquai</em> (H 14)</li><br /><li>e) <em>Story of Sultan Akshid</em> (H 14)</li><br /><li>{439} f) <em>Story of the Husband, the Lover and the Thief</em> (H 15)</li><br /><li>{418} g) <em>Story of the Prince of Carisme and the Princess of Georgia</em> (H 16-17)</li><br /><li>{440} h) <em>The Cobbler and the King's Daughter</em> (H 17)</li><br /><li>i) <em>The Woodcutter and the Genius</em> (H 18)</li><br /><li>{441} j) <em>The Royal Parrot</em> (H 18)</li></ol></li><br /><li>{419} (252) <em>Story of the King and Queen of Abyssinia</em> (H 448-51)</li><br /><li>{420} <em>The Sultan and His Storyteller</em> (H 11: 164-205)</li><br /><li>{421} (253) <em>Story of Princess Amina</em> (H 498-512)<br /><ol><br /><li>a) <em>Story of the Princess of Tartary</em> (H 503-22)</li><br /><li>{422} b) <em>Story told by the Old Man's Wife</em> (H 507-09)</li></ol></li><br /><li>{423} (254) <em>Story of Ali Johari</em> (H 517-23)</li><br /><li>{424} (255) <em>Story of the two Princes of Cochin China</em> (H 531-35)</li><br /><li>{425} (256) <em>Story of the two Husbands</em> (H 535-40)<br /><ol><br /><li>{426} a) <em>Story of Abdallah</em> (H 537-38)</li><br /><li>{427} b) <em>Story of the Favourite</em> (H 539)</li></ol></li><br /><li>{428} (257) <em>Story of Yusuf and the Indian Merchant</em> (H 540-42)</li><br /><li>{429} (258) <em>Story of Prince Benazir</em> (H 542-45)</li><br /><li>{430} (259) <em>Story of Selim, Sultan of Egypt</em> (H 553-60)<br /><ol><br /><li>{431} a) <em>Story of the Cobbler's Wife</em> (H 554-55)</li><br /><li>{432} b) <em>Story of Adileh</em> (H 555-56)</li><br /><li>{433} c) <em>Story of the scarred Kalender</em> (H 556-58)</li><br /><li>d) <em>Continuation of the Story of Selim</em> (H 558-60)</li></ol></li><br /><li>(260) <em>Story of Seif Sul Yesn</em> (H 884)</li><br /><li>(261) <em>Story of the Labourer and the Chair</em> (Anderson)</li><br /><li>(262) <em>Story of Ahmed the Orphan</em> (Anderson)</li><br /><li>{417} <em>Story of the Three Princes and the Genius Morhagian and His Daughters</em> (Galland)</li><br /><li>{411} <em>The Linguist-Dame, the Duenna and the King's Son</em> (Chavis)</li><br /><li>{413} <em>The Pleasant History of the Cock and the Fox</em> (Chavis)</li><br /><li>{414} <em>History of What Befel the Fowl-let with the Fowler</em> (Chavis)</li><br /><li><em>The Idiot; or, Story of Xailoun</em> (Chavis)</li><br /><li><em>Adventures of Alibengiad, Sultan of Herat, and of the False Birds of Paradise</em> (Chavis)</li><br /><li><em>History of the Family of the Schebandad of Surat</em> (Chavis)<br /><ol><br /><li>a) <em>The Lover of the Stars: or, Abil Hasan's Story</em> (Chavis)</li><br /><li>b) <em>History of Captain Tranchemont and his Brave Companions: Debil Hasan's Story</em> (Chavis)</li><br /><li>c) <em>The Dream of Valid Hasan</em> (Chavis)</li></ol></li><br /><li><em>History of Maugraby; or, The Magician</em> (Chavis)<br /><ol><br /><li>a) <em>History of Halaiaddin, Prince of Persia</em> (Chavis)</li><br /><li>b) <em>History of Yemaladdin, Prince of Great Katay</em> (Chavis)</li><br /><li>c) <em>History of Baha-Ildur, Prince of Cinigae</em> (Chavis)</li><br /><li>d) <em>History of Badvildinn, Prince of Tartary</em> (Chavis)</li><br /><li>e) <em>History of Shahadildin, Prince of Damascus</em> (Chavis)</li><br /><li>f) <em>The Amours of Maugraby with Auhata al-Kawakik, daughter of the King of Egypt</em> (Chavis)</li><br /><li>g) <em>History of the Birth of Maugraby</em> (Chavis)</li></ol></li><br /><li>{443} <em>Solomon and the Queen of Sheba</em> (W 868-77)<br /><ol><br /><li>a) <em>The Death and Downfall of Solomon</em> (W 873-74)</li><br /><li>b) <em>The Story of the Deceitful Widow</em> (W 874-77)</li></ol></li><br /><li>{444} <em>The Story of Ibn Tamim Addari, the Companion of the Prophet</em> (W 878-81)</li><br /><li>{446} <em>The Adventures of Sultan Zaher Beibars</em> (W 937-95)<br /><ol><br /><li>a) <em>The History of the Moslems from the Death of Mohammed</em> (W 937-41)</li><br /><li>b) <em>The Despicable Priest Djawan, the Betrayer</em> (W 941-45)</li><br /><li>c) <em>The Early Life of Schahin, and his First Meeting with Djawan</em> (W 945-47)</li><br /><li>d) <em>Salech's Dream, the Birth of Beibars and his Adventures until his Arrival in Egypt</em> (W 947-48)</li><br /><li>e) <em>Youth and Upbringing of Zaher Beibars</em> (W 948-56)</li><br /><li>f) <em>Djawan and Eibek's Plot against Beibars, and his Gradual Rise</em> (W 956-62)</li><br /><li>g) <em>Beibars' Adventure with Maruf and the Genoese Princess Mariam</em> (W 962-66)</li><br /><li>h) <em>Beibars Becomes Governor of Alexandria, Meets his Brother and Uncle, Travels to Genoa</em> (W 966-70)</li><br /><li>i) <em>Djawan's New Plot, Salech's Death and Beibars' Dream</em> (W 970-77)</li><br /><li>j) <em>Beibars' Adventures in Syria with Hasan, Schiha and Aischa</em> (W 977-82)</li></ol></li><br /><li>{447} <em>Ali the Fisherman</em> (W 995-98)</li><br /><li>{448} <em>Satilatlas and Hamamatelliwa</em> (W 998-1001)</li><br /><li>{449} <em>The Parable of True Learning</em> (M 774)</li><br /><li>{450} <em>The Keys of Destiny</em> (M 788-94)</li><br /><li><em>The Diwan of Easy Jests and Laughing Wisdom</em> (M 794-806)<br /><ol><br /><li>{451} a) <em>Buhlûl the Jester</em> (M 795)</li><br /><li>{452} b) <em>The Tale of the Kadi-Mule</em> (M 800-01)</li><br /><li>{453} c) <em>The Kadi and the Ass's Foal</em> (M 802-03)</li><br /><li>{454} d) <em>The Tale of the Astute Kadi</em> (M 803-04)</li><br /><li>{455} e) <em>The Man Who Understood Women</em> (M 804-06)</li></ol></li><br /><li>{456} <em>The Two Lives of Sultan Mahmûd</em> (M 819-21)</li><br /><li>{457} <em>The Tale of the Unending Treasure</em> (M 821-26)</li><br /><li>{458} <em>The Youth Behind Whom Chinese and Indian Airs were Played</em> (M 866-68)</li><br /><li>{459} <em>The Tale of Princess Zulaikah</em> (M 876-81)</li><br /><li> <em>Sweet Tales of Careless Youth</em> (M 881-94)<br /><ol><br /><li>{460} a) <em>Hard-Head and his Sister Little-Foot</em> (M 881-82)</li><br /><li>{461} b) <em>The Anklet</em> (M 882-83)</li><br /><li>{462} c) <em>The He-Goat and the King's Daughter</em> (M 883-86)</li><br /><li>{463} d) <em>The Prince and the Tortoise</em> (M 886-88)</li><br /><li>{464} e) <em>The Chick-Pea Seller's Daughter</em> (M 888-89)</li><br /><li>{465} f) <em>The Looser</em> (M 889-90)</li><br /><li>{466} g) <em>The Captain of Police</em> (M 890-91)</li><br /><li>{467} h) <em>The Gelded Barber</em> [= (6/d)] (M 892-93)</li></ol></li><br /><li>{468} <em>The Splendid Tale of Prince Diamond</em> (M 904-22)</li><br /><li>{469} <em>Some Jests and Suggestions of the Master of Shifts and Laughter</em> (M 922-26)</li><br /><li><em>The Tale of Al-Malik Baibars and His Captains of Police</em> [= (182)] (M 937-54)<br /><ol><br /><li>{470} a) <em>The Second Captain's Tale</em> (M 939-40)</li><br /><li>{471} b) <em>The Third Captain's Tale</em> (M 940-41)</li><br /><li>{472} c) <em>The Fourth Captain's Tale</em> (M 941-43)</li><br /><li>{473} d) <em>The Fifth Captain's Tale</em> (M 943-45)</li><br /><li>{474} e) <em>The Sixth Captain's Tale</em> (M 945-48)</li><br /><li>{475} f) <em>The Eighth Captain's Tale</em> (M 948-50)</li><br /><li>{476} g) <em>The Ninth Captain's Tale</em> (M 950-51)</li><br /><li>{477} h) <em>The Tenth Captain's Tale</em> (M 951-52)</li><br /><li>{478} i) <em>The Eleventh Captain's Tale</em> (M 952)</li><br /><li>{479} j) <em>The Twelfth Captain's Tale</em> (M 952-54)</li></ol></li><br /><li>{480} <em>The Tale of the Sea Rose of the Girl of China</em> (M 954-59)</li><br /><li>{481} <em>Windows on the Garden of History</em> (M 971-94)<br /><ol><br /><li>{482} a) <em>The Poet Duraid, His Generosity, and His Love for Tumadir al-Khansah</em> (M 972-74)</li><br /><li>{483} b) <em>Ufairah the Suns, and Hudhailah the Moons, the Warrior Daughters of the Poet Find</em> (M 974-75)</li><br /><li>{484} c) <em>The Love Story of Princess Fatimah and the Poet Murakkish</em> (M 975-76)</li><br /><li>{485} d) <em>The Vengeance of King Hujr</em> (M 976-77)</li><br /><li>{486} e) <em>Men in the Judgement of Their Wives</em> (M 977-78)</li><br /><li>{487} f) <em>Tales of Umar ibn al-Khattab</em> (M 978-80)</li><br /><li>{488} g) <em>Blue Salamah the Singer</em> (M 980-81)</li><br /><li>{489} h) <em>The Tale of the Parasite</em> (M 981-82)</li><br /><li>{490} i) <em>The Tale of the Slave of Destiny</em> (M 982-84)</li><br /><li>{491} j) <em>The Tale of the Fatal Collar</em> (M 984-86)</li><br /><li>{492} k) <em>Ishak of Mosul and the Lost Melody</em> (M 986-88)</li><br /><li>{493} l) <em>The Two Dancers</em> (M 988-89)</li><br /><li>m) <em>The Pistachio Oil Cream and the Legal Point</em> [= (34)] (M 989-91)</li><br /><li>n) <em>The Arab Girl at the Fountain</em> (M 991-93)</li></ol></li><br /><li>{494} <em>The End of Ja’afar and the Barmakids</em> (M 994-998)</li><br /><li>{495} <em>The Tender Tale of Prince Jasmine and Princess Almond</em> (M 998-1001)</li><br /><li>{496} <em>The Vizier’s Clever Daughter</em> (WM 341-47)</li><br /><li>{497} <em>Sultan Qáyish, His Borther Ardashir and the Emir ’Urwa</em> (WM 350-67)</li><br /><li>{498} <em>The Maiden Who Was Transformed into a Gazelle</em> (WM 368-74)</li><br /><li>{499} <em>The Wife and Her Two Lovers</em> (WM 422-28)</li><br /><li>{500} <em>The Ten Slave-Girls</em> (WM 498-515)</li><br /><li>{501} <em>The Admonished Adulteress</em> (WM 528-32)</li><br /><li>{502} <em>The Coward Belied by His Wife</em> (WM 533-35)</li><br /><li>{503} <em>The Numskull Who Does Not Count the Ass He Is Sitting On</em> (WM 535-40)</li><br /><li>{504} <em>The Three Corpses</em> (WM 540-44)</li><br /><li>{505} <em>‘Ali with the Large Member</em> (WM 682-92)</li><br /><li>{506} <em>The Peasant’s Beautiful Wife</em> (WM 692-96)</li><br /><li>{507} <em>Mûsâ and Ibrâhîm</em> (WM 710-800)<br /><ol><br /><li>{508} <em>The Stupid Berbers</em> (WM 712-15)</li><br /><li>{509} <em>The Two Viziers and Their Children</em> (WM 715-97)</li><br /><li>{510} <em>The Love Exposed by Way of a Special Perfume</em> (WM 797-800)</li></ol></li><br /><li>{511} <em>The Silly Woman Who Wanted to Blind her Stepson</em> (WM 800-05)</li><br /><li>{512} <em>Oft-Proved Fidelity</em> (WM 805-42)<br /><ol><br /><li>{513} <em>Zunnâr ibn Zunnâr</em> (WM 834-42)</li></ol></li><br /><li>{514} <em>Shaykh Nakkît</em> (WM 842-919)<br /><ol><br /><li>{515} <em>Sitt al-Banât and the King of Irak’s Son</em> (WM 861-82)</li><br /><li>{516} <em>Sultan Taylun and the Generous Man</em> (WM 883-94)</li><br /><li>{517} <em>The Soothsayer and His Apprentice</em> (WM 894-903)</li><br /><li>{518} <em>The Merchant’s Daughter Who Married the King of China</em> (WM 904-19)</li></ol></li><br /><li>{519} <em>Hasan, the Love-stricken</em> (Reinhardt)</li><br /><li>{520} <em>Hasan, the Old Poet</em> (Reinhardt)</li><br /><li>{521} <em>Yâsamîn and Husayn the Butcher</em> (Reinhardt)</li><br /><li>{522} <em>Muhammad of Damascus and Sa‘d of Baghdad</em> (Reinhardt)</li><br /><li>{523} <em>Qamar al-Zamân and Shams</em> (Reinhardt)</li><br /><li>{524} <em>Alexander the Great and the Water of Life</em> (Reinhardt)</li><br /><li>{525} <em>Solomon</em> (Reinhardt)</li><br /><li>{526} <em>King Sabâ</em> (Reinhardt)</li><br /><li>{527} <em>Alexander the Great</em> (Reinhardt)</li><br /><li>{528} <em>Hâyid’s Expedition to the Sources of the Nile</em> (Reinhardt)</li><br /><li>{529} <em>The Barmakids</em> (Reinhardt)</li><br /><li>{530} <em>Abû Hasan, the Old Man Who Bemoans Ja‘far</em> (Reinhardt)</li><br /><li>{531} <em>Al-Mundhir ibn al-Mughîra who Bemoans Ja‘far </em> (Reinhardt)</li><br /><li>{532} <em>Al-Ma’mûn and the Parasite </em> (Reinhardt)</li><br /><li>{533} <em>‘Alî al-Khawâja </em> (Reinhardt)</li><br /><li>{534} <em>Hasan, the Youth Whose Wishes Are Fulfilled</em> (Reinhardt)</li><br /><li>{535} <em>Zahr al-Rawd</em> (Reinhardt)</li><br /><li>{536} <em>Sayf ibn Dhî Yazan</em> (Reinhardt)</li><br /><li>{537} <em>‘Abbâs</em> (Reinhardt)</li><br /><li>{538} <em>Ma‘dîkarib</em> (Reinhardt)</li><br /><li>{539} <em>Ma‘n Obtains Pardon for a Rebel</em> (Reinhardt)</li><br /><li>{540} <em>It is Impossible to Arouse the Anger of Ma‘n</em> (Reinhardt)</li><br /><li>{541} <em>Ishâq and the Roses</em> (Reinhardt)</li><br /><li>{542} <em>The Kiss</em> (Reinhardt)</li><br /><li>{543} <em>al-Ma’mûn and the Kilabite Girl</em> (Reinhardt)</li><br /><li>{544} <em>Sayf al-Tijân</em> (Reinhardt)</li><br /><li>{545} <em>Hasan, the King of Egypt</em> (Reinhardt)</li><br /><li>{546} <em>Fâris al-Khayl and al-Badr al-Fâyiq</em> (Reinhardt)</li><br /><li>{547} <em>Mâlik ibn Mîrdas</em> (Reinhardt)</li><br /><li>{548} <em>Sirkhâb and Aftûna</em> (Reinhardt)</li><br /><li>{549} <em>Dâmire and al- ‘Anqâ’</em> (Reinhardt)</li><br /><li>{550} <em>Mahmûd and His Three Sons</em> (Reinhardt)</li><br /><li>{551} <em>The Omanite</em> (Reinhardt)</li><br /></ol><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com2tag:blogger.com,1999:blog-33189808.post-74410088616666079252007-09-26T15:45:00.002-07:002021-06-25T16:11:50.177-07:00An Arabian Nights Chronology<div align="center">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS3xxyhIQsw_pZ2yerbYjcuhyA181ZU4ZdJZgvNH6wzjfU5RU0CymIdJ9QyLhBcVUEoHoZslqGtgnidTc9Wi2dpyBhtp5lIfN8tXNqlfCqLJ7UdebUsaYnMofYnNGlMDwvUldt/s1600-h/one_arabian_night_cover_2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5114727136444198722" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS3xxyhIQsw_pZ2yerbYjcuhyA181ZU4ZdJZgvNH6wzjfU5RU0CymIdJ9QyLhBcVUEoHoZslqGtgnidTc9Wi2dpyBhtp5lIfN8tXNqlfCqLJ7UdebUsaYnMofYnNGlMDwvUldt/s320/one_arabian_night_cover_2.jpg" style="cursor: pointer; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="font-size: 85%;">[<a href="http://www.polanegri.com/old_news.htm">Pola Negri</a>]</span><br />
<b><br /><span style="font-size: 130%;">Political History</span></b></div>
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<ul><br />
<li>c.570-632: Life of Muhammad</li>
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<li>622: The Hegira</li>
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<li>632-61: The First Caliphs (Abu Bakr, Omar, Othman and Ali)</li>
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<li>638: Omar conquers Jerusalem</li>
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<li>661-750: Ummayad Caliphs (Damascus)</li>
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<li>711-13: The Conquest of Spain</li>
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<li>718: The Arabs fail to take Constantinople</li>
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<li>732: Charles Martel halts Islamic expansion into Western Europe</li>
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<li>750-1258: Abbasid Caliphs (Baghdad)</li>
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<li>778: The Ummayad Abd-al-Rahman repulses Charlemagne from Spain</li>
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<li>909-1171: Fatimid Caliphs (Egypt)</li>
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<li>1071: The Turks defeat and capture the Byzantine Emperor at Manzikart</li>
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<li>1095-1099: The First Crusade, and foundation of the Kingdom of Jerusalem</li>
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<li>1169-1250: Saladin and the Ayubites (Egypt and Syria)</li>
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<li>1187: The Horns of Hattin, and recapture of Jerusalem</li>
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<li>1189-92: The Third Crusade, and consolidation of the Kingdom of Acre</li>
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<li>1202-04: The Fourth Crusade, and Latin conquest of Constantinople</li>
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<li>1250-1517: Mamluk Sultans (Egypt)</li>
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<li>1258: The Mongols take Baghdad</li>
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<li>1291: The Destruction of Acre, and end of Outremer</li>
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<li>1326-1914: Ottoman Sultans (Turkey)</li>
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<li>1453: The Fall of Constantinople</li>
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<li>1492: Ferdinand and Isabella take Granada</li>
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<li>1798: Napoleon invades Egypt</li>
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<li>1802-05: Wahhabi Revolt in Iraq, Syria and Arabia</li>
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<li>1805: Muhammad Ali Pasha takes control of Egypt</li>
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<li>1869: The Suez Canal is opened</li>
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<li>1882: The British occupy Egypt</li>
</ul>
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<div align="center">
<br />
<b><span style="font-size: 130%;">Textual History</span></b></div>
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<ul><br />
<li>?: The <i>Hazār Afsāna</i> (“Thousand Nights”) is composed in Persia from Iranian and Sanskrit sources</li>
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<li>c.800: This <i>Thousand Nights </i>is translated into Arabic</li>
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<li>c.900: The <i>Alf Layla </i>(“Thousand Nights”) is expanded with Arabic materials</li>
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<li>c.947: al-Mas’udi mentions the book called the <i>Thousand Tales</i> in his <i>Meadows of Gold</i>:</li>
<blockquote>
And, indeed, many men well acquainted with their (Arab) histories opine that the stories above mentioned and other trifles were strung together by men who commended themselves to the Kings by relating them, and who found favour with their contemporaries by committing them to memory and by reciting them. Of such fashion is the fashion of the books which have come down to us translated from the Persian (Fárasiyah), the Indian (Hindíyah), and the Graeco-Roman (Rúmíyah): we have noted the judgment which should be passed upon compositions of this nature. Such is the book entituled Hazár Afsánah or The Thousand Tales, which word in Arabic signifies Khuráfah (Facetiae): it is known to the public under the name of The Book of a Thousand Nights and a Night, (Kitab Alf Laylah wa Laylah). This is an history of a King and his Wazir, the minister's daughter and a slave-girl (járiyah) who are named Shírzád (lion-born) and Dinár-zád (ducat-born). Such also is the Tale of Farzah, (alii Firza), and Simas, containing details concerning the Kings and Wazirs of Hind: the Book of Al-Sindibád and others of a similar stamp.
<div align="center">- Richard F. Burton, trans. "Terminal Essay", <i>Nights</i>, X: 69-70.</div></blockquote>
<br />
<li>c.987: al-Nadïm’s Fihrist mentions the <i>Thousand Nights</i>, as well as the unfinished <i>Alf Samar</i> (or “Thousand Stories”) collected by Ibn ‘Abdūs:</li>
<blockquote>The first section on the history of the confabulatores nocturni (tellers of night tales) and the relaters of fanciful adventures, together with the names of books treating upon such subjects. Mohammed ibn Is'hak saith: The first who indited themes of imagination and made books of them, consigning these works to the libraries, and who ordered some of them as though related by the tongues of brute beasts, were the palaeo-Persians (and the Kings of the First Dynasty). The Ashkanian Kings of the Third Dynasty appended others to them and they were augmented and amplified in the days of the Sassanides (the fourth and last royal house). The Arabs also translated them into Arabic, and the loquent and eloquent polished and embellished them and wrote others resembling them. The first work of such kind was entituled 'The Book of Hazár Afsán,' signifying Alf Khuráfah, the argument whereof was as follows. A King of their Kings was wont, when he wedded a woman and had lain one night with her, to slay her on the next morning. Presently he espoused a damsel of the daughters of the Kings, Shahrázád hight, one endowed with intellect and erudition and, whenas she lay with him, she fell to telling him tales of fancy; moreover she used to connect the story at the end of the night with that which might induce the King to preserve her alive and to ask her of its ending on the next night until a thousand nights had passed over her. Meanwhile he cohabited with her till she was blest by boon of child of him, when she acquainted him with the device she had wrought upon him; wherefore he admired her intelligence and inclined to her and preserved her life. That King had also a Kahramánah (nurse and duenna, not <i>entremetteuse</i>), hight Dínárzád (Dunyázád?), who aided the wife in this (artifice). It is also said that this book was composed for (or, by) Humái daughter of Bahman and in it were included other matters. Mohammed bin Is'hak adds: - And the truth is, Inshallah, that the first who solaced himself with hearing night-tales was Al-Iskandar (he of Macedon) and he had a number of men who used to relate to him imaginary stories and provoke him to laughter: he, however, designed not therein merely to please himself, but that he might thereby become the more cautious and alert. After him the Kings in like fashion made use of the book entitled 'Hazár Afsán.' It containeth a thousand nights, but less than two hundred night-stories, for a single history often occupied several nights. I have seen it complete sundry times; and it is, in truth, a corrupted book of cold tales.
<div align="center">- Richard F. Burton, trans. "Terminal Essay", <i>Nights</i>, X: 71-73.</div></blockquote>
<br />
<li>c.1170: al-Kurtï’s history of Egypt under the Fatimids mentions the popularity of a collection called <i>Alf Layla wa Layla </i>(“The Thousand and One Nights”), which probably included material from the <i>Thousand Stories </i>as well as local Egyptian sources</li>
<br />
<li>c.1400: Composition of the Syrian Ms. of <i>The Thousand and One Nights</i> employed by Galland</li>
<br />
<li>c.1500: Compilation of the prototype Mss. of ‘Zotenberg’s Egyptian Recension’ of <i>The 1001 Nights</i></li>
<br />
<li>1764-65: Omar-al-Safatí (scribe) [The Wortley-Montague Ms.], <i>The Thousand Nights and a Night of the Acts and Deeds of the Kings and what befel them from sundry women that were whorish and witty and various Tales therein</i>, 7 vols (Cairo)</li>
<br />
<li>1814-18: Ahmed al-Shirwani, ed. [1st 200 nights only], <i>The Arabian Nights’ Entertainments in the Original Arabic</i>, 2 vols (Calcutta: Pereira)</li>
<br />
<li>1825-43: Maximilian Habicht and M. H. L. Fleischer, ed., <i>Tausend und Eine Nacht Arabisch. Nach einer Handschrift aus Tunis</i>, 12 vols (Breslau)</li>
<br />
<li>1835: <i>Alf Laylah wa Laylah</i>, 2 vols (Bulaq, A.H. 1251)</li>
<br />
<li>1839-42: Sir William Hay Macnaghten, ed., <i>The Alif Laila, or Book of the Thousand Nights and One Night, Commonly Known as ‘The Arabian Nights’ Entertainments;’ Now, for the First Time, Published Complete in the Original Arabic, from an Egyptian Manuscript Brought to India by the Late Major Turner Macan, Editor of the Shah-Nameh</i>, 4 vols (Calcutta: W. Thacker)</li>
<br />
<li>1863: Sheikh Mahommed Qotch Al-Adewi, ed., <i>Alf Laylah wa Laylah</i>, 4 vols (Bulaq, A.H. 1279)</li>
<br />
<li>1881-83: Khalil Sarkis, ed., <i>Alif-Leila we Leila</i>, 5 vols (Beirut)</li>
<br />
<li>1981: <i>Alph Laylé Wa Laylé</i>, 4 vols (Beirut: Al-Maktaba Al-Thakafiyat, A.H. 1401)</li>
<br />
<li>1984: Muhsin Mahdi, ed. [Galland’s manuscript], <i>Alf Layla wa Layla</i>, 2 vols (Leiden: Brill)</li>
</ul>
<br />
<div align="center">
<br />
<b><span style="font-size: 130%;">Principal Translations</span></b></div>
<br />
<ul><br />
<li>1704-17: Antoine Galland, <i>Les Mille et une Nuit: Contes arabes</i>, 12 vols (Paris: chez la veuve de Claude Barbin)</li>
<br />
<li>1706-17: Anonymous [from Galland], <i>Arabian Nights Entertainments: Consisting of One Thousand and One Stories, Told by the Sultaness of the Indies, to divert the Sultan from the Execution of a bloody Vow he had made to marry a Lady every day, and have her cut off next Morning, to avenge himself for the Disloyalty of his first Sultaness, &c. Containing a better Account of the Customs, Manners, and Religion of the Eastern Nations, viz. Tartars, Persians, and Indians, than is to be met with in any Author hitherto published. Translated into French from the Arabian Mss. by M. Galland of the Royal Academy, and now done into English from the last Paris Edition</i>, 12 vols in 6 (London: Andrew Bell)</li>
<br />
<li>1708: Pétis de la Croix, <i>Histoire de la Sultane de Perse et des Vizirs: Contes turcs </i>(Paris)</li>
<br />
<li>1710-12: Pétis de la Croix, <i>Les Mille et un Jour: Contes persanes</i>, 5 vols (Paris)</li>
<br />
<li>1714: Dr. King et al. [from Pétis de la Croix], <i>The Persian and Turkish Tales, compleat</i>. 2 vols (London: Richard Ware)</li>
<br />
<li>1722: Ambrose Philips [from Pétis de la Croix], <i>The Thousand and One Days: Persian Tales</i>, 3 vols (London)</li>
<br />
<li>1788-89: Dom Dennis Chavis & M. Cazotte [Cabinet des Fées, 38-41], <i>Les Veillées du Sultan Schahriar avec la Sultane Scheherazade; histoires incroyables, amusantes et morales ... Faisant suite aux Nille et une Nuits</i>, 4 vols (Geneva: Barde & Manget)</li>
<br />
<li>1792: Robert Heron [from Chavis & Cazotte], <i>Arabian Tales, or a Continuation of the Arabian Nights’ Entertainments: Consisting of Stories Related by the Sultana of the Indies to divert her Husband from the Performance of a rash vow; Exhibiting A most interesting view of the Religion, Laws, Manners, Customs, Arts, and Literature of the nations of the East, And Affording a rich Fund of the most pleasing Amusement, which fictitious writings can supply</i>, 4 vols (Edinburgh: Bell, Bradfute et al.)</li>
<br />
<li>1800: Jonathan Scott, <i>Tales, Anecdotes, and Letters, translated from the Arabic and Persian </i>(London: Cadell and Davies)</li>
<br />
<li>1811: Jonathan Scott [from Galland, with additional material], <i>The Arabian Nights’ Entertainments, Carefully Revised and Occasionally Corrected from the Arabic</i>, 6 vols (London: Longman, Hurst etc.)</li>
<br />
<li>1812: Henry Weber, <i>Tales of the East: comprising the most popular Romances of Oriental origin, and the best imitations by European authors, with new translations and additional tales never before published</i>, 3 vols (Edinburgh: James Ballantyne)</li>
<br />
<li>1823: Aug. E. Zinserling, <i>Der Tausend und einen Nacht noch nicht übersetzte Märchen, Erzählungen und Anekdoten, zum erstenmale aus dem Arabischen in’s Französische übersetzt von Joseph von Hammer, und aus dem Französischen in’s Deutsch</i>, 3 vols (Stuttgart und Tübingen)</li>
<br />
<li>1824-25: Max. Habicht, Fr. H. von der Hagen, and Carl Schall, <i>Tausend und Eine Nacht. Arabische Erzählungen. Zum erstenmal aus einer Tunesischen Handschrift ergänzt and vollständig übersetzt</i>, 15 vols (Breslau: Josef Mar)</li>
<br />
<li>1826: George Lamb [from Zinserling], <i>New Arabian Nights Entertainments, selected from the original Oriental MS. by Jos. Von Hammer, and now first translated into English</i>, 3 vols (London: Henry Colburn)</li>
<br />
<li>1828: G. S. Trébutien [from Zinserling], <i>Contes inédits des Mille et une Nuits</i>, 3 vols (Paris)</li>
<br />
<li>1836: E. W. Lane, <i>An Account of the Manners and Customs of the Modern Egyptians</i>, 2 vols (London: Charles Knight)</li>
<br />
<li>1838: Henry Torrens, <i>The Book of the Thousand Nights and One Night: from the Arabic of the Ægyptian MS. as edited by Wm. Hay McNaghten ... </i>(Calcutta: W. Thacker and Co.)</li>
<br />
<li>1838-40: E. W. Lane, <i>The Thousand and One Nights. A New Translation </i>[monthly parts]</li>
<br />
<li>1838-41: Gustav Weil, <i>Tausend und Eine Nacht: Arabische Erzählungen. Zum Erstenmale aus dem Urtexte vollständig und treu übersetzt</i>, 4 vols (Stuttgart und Pforzheim)</li>
<br />
<li>1839-41: E. W. Lane, <i>The Thousand and One Nights; Commonly Called, in England, The Arabian Nights’ Entertainments. A New Translation from the Arabic, with Copious Notes</i>, 3 vols (London: Charles Knight)</li>
<br />
<li>1863-74: E. W. Lane, <i>An Arabic-English Lexicon</i>, 5 parts, ed. Stanley Lane-Poole (London)</li>
<br />
<li>1877-92: S. Lane-Poole, <i>Supplement to Lane’s Arabic-English Lexicon </i>(London)</li>
<br />
<li>1882: W. F. Kirby, <i>The New Arabian Nights. Select Tales not included by Galland or Lane</i> (London)</li>
<br />
<li>1882-84: John Payne, <i>The Book of the Thousand Nights and One Night; Now First Completely Done into English Prose and Verse, from the Original Arabic</i>, 9 vols (London: The Villon Society)</li>
<br />
<li>1883: E. W. Lane, <i>Arabian Society in the Middle Ages</i>, ed. S. Lane-Poole (London: Chatto)</li>
<br />
<li>1884: John Payne, <i>Tales from the Arabic of the Breslau and Calcutta (1814-’18) Editions of the Book of the Thousand Nights and One Night, Not Occurring in the Other Printed Texts of the Work; Now First Done into English</i>, 3 vols (London: Villon Society)</li>
<br />
<li>1885: Richard F. Burton, <i>The Book of the Thousand Nights and a Night: A Plain and Literal Translation of the Arabian Nights Entertainments</i>, 10 vols (Benares [=Stoke-Newington]: The Kamashastra Society)</li>
<br />
<li>1886: Lady Burton and J. H. McCarthy, <i>The Book of the Thousand Nights and a Night: Prepared for Household Reading</i>, 6 vols (London: Waterlow)</li>
<br />
<li>1886-88: Richard F. Burton, <i>Supplemental Nights to the Book of the Thousand Nights and a Night with Notes Anthropological and Explanatory</i>, 6 vols (Benares [=Stoke-Newington]: The Kamashastra Society)</li>
<br />
<li>1889: John Payne, <i>Alaeddin and the Enchanted Lamp; Zein ul Asnam and the King of the Jinn; two stories done into English from the recently discovered Arabic text </i>(London: Villon Society)</li>
<br />
<li>1892: J. H. McCarthy, <i>The Thousand and One Days: Persian Tales</i>, 2 vols (London: Chatto & Windus)</li>
<br />
<li>1895-97: Max Henning, <i>Tausend und eine Nacht. Aus dem Arabischen übertragen</i>, 24 vols (Leipzig: Reclam)</li>
<br />
<li>1898: Andrew Lang, <i>The Arabian Nights Entertainments </i>(London: Longmans)</li>
<br />
<li>1899-1904: J. C. Mardrus, <i>Le Livre des Mille et une Nuits</i>, 16 vols (Paris)</li>
<br />
<li>1900-05: Victor Chauvin, "Les Mille et une nuits," <i>Bibliographie des ouvrages arabes ou relatifs aux Arabes publiés dans l’Europe chrétienne de 1810 à 1885</i>, 12 vols (Liège: H. Vaillant-Carmanne, Leipzig: O. Harrassowitz, 1892-1922) vols 4-7, 9.</li>
<br />
<li>1901: John Payne, <i>Oriental Tales: The Book of the Thousand Nights and One Night [and other tales]</i>, ed. Leonard C. Smithers (London: Printed for Subscribers Only)</li>
<br />
<li>1906-14: Cary von Karwath, <i>1001 Nacht: Vollständige Ausgabe in 18 Taschenbüchern mit einem Zusatzband: Nach dem arabischen Urtext angeordnet und übertragen</i>, 19 vols (München: Goldmann Verlag)</li>
<br />
<li>1907: Laurence Housman, <i>Stories from the Arabian Nights </i>(London: Hodder & Stoughton)</li>
<br />
<li>1907-08: Felix Paul Greve, <i>Die Erzählungen aus den Tausend und ein Nächten. Vollständige deutsche Ausgabe auf Grund der Burton’schen englischen Ausgabe</i>, 12 vols (Leipzig: Insel)</li>
<br />
<li>1911: M. Gaudefroy-Demombynes, <i>Les Cent et Une Nuits </i>(Paris)</li>
<br />
<li>1911: Laurence Housman, <i>Ali Baba and other stories from the Arabian Nights </i>(London: Hodder & Stoughton)</li>
<br />
<li>1913: Laurence Housman, <i>Princess Badoura: A Tale from the Arabian Nights </i>(London: Hodder & Stoughton)</li>
<br />
<li>1914: Laurence Housman, Sindbad the Sailor, & other stories from the Arabian Nights (London: Hodder & Stoughton)</li>
<br />
<li>1916: Vicente Blasco Ibañez [from Mardrus], <i>Las Mil y Una Noches</i>, 6 vols (Spain)</li>
<br />
<li>1921-28: Enno Littmann, <i>Die Erzählungen aus den Tausendundein Nächten: Vollständige deutsche Ausgabe in sechs Bänden zum ersten Mal nach dem arabischen Urtext der Calcuttaer Ausgabe aus dem Jahre 1839</i>, 6 vols (Leipzig)</li>
<br />
<li>1923: E. Powys Mathers, <i>The Book of the Thousand Nights and One Night: Rendered from the Literal and Complete Version of Dr. J. C. Mardrus; and Collated with Other Sources</i>, 8 vols (London: The Casanova Society)</li>
<br />
<li>1927-30: E. Powys Mathers, <i>The Anthology of Eastern Love</i>, 12 vols in 4 (London: John Rodker)</li>
<br />
<li>1929-36: M. A. Salier, <i>Tisyacha Odna Nochi</i> (U. S. S. R), 8 vols</li>
<br />
<li>1948: Francesco Gabrieli, <i>Le mille e una notte: Prima versione integrale dall’arabo</i>, trans. Francesco Gabrieli, Antonio Cesaro, Constantino Pansera, Umberto Rizzitano and Virginia Vacca, 4 vols (Torino: Einaudi)</li>
<br />
<li>1949: E. Powys Mathers, <i>The Book of the Thousand Nights and One Night: Rendered into English from the Literal and Complete French Translation of Dr. J. C. Mardrus</i>, 4 vols (London: Routledge and Kegan Paul)</li>
<br />
<li>1953: A. J. Arberry, <i>Scheherazade: Tales from the Thousand and One Nights </i>(London: Allen and Unwin)</li>
<br />
<li>1954: N. J. Dawood, <i>The Thousand and One Nights: The Hunchback, Sindbad, and Other Tales</i>, Penguin 1001 (Harmondsworth: Penguin)</li>
<br />
<li>1954-55: Rafael Cansinos Asséns, <i>Libro de las mil y una noches</i>, 3 vols (Mexico)</li>
<br />
<li>1957: N. J. Dawood, <i>Aladdin and Other Tales from The Thousand and One Nights</i> (Harmondsworth: Penguin)</li>
<br />
<li>1964-67: Juan Vernet, <i>Las mil y una noches</i>, 3 vols (Barcelona, Editorial Planeta)</li>
<br />
<li>1965: Juan Antonio Gutiérrez-Larraya & Leonor Martínez Martín, <i>Las mil y una noches</i>, 3 vols (Barcelona: Argos Vergara)</li>
<br />
<li>1965-67: René R. Khawam, <i>Les Mille et une nuits</i>, 4 vols (Paris)</li>
<br />
<li>1973: N. J. Dawood, <i>Tales from the Thousand and One Nights</i>, 2nd ed. (Harmondsworth: Penguin)</li>
<br />
<li>1982: Felix Tauer, <i>Neue Erzählungen aus den Tausendundein Nächten: Die in anderen Versionen von »1001 Nacht« nicht enthaltenen Geschichten der Wortley-Montague-Handschrift der Oxforder Bodleian Library; Aus dem arabischen Urtext vollständig übertragen und erläutert von Felix Tauer</i>, 2 vols (Frankfurt: Insel Verlag)</li>
<br />
<li>1985: René R. Khawam, <i>Les Aventures de Sindbad le Marin</i> (Paris: Phébus)</li>
<br />
<li>1986: René R. Khawam, <i>Les Mille et une nuits</i>, 4 vols (Paris: Phébus)</li>
<br />
<li>1986: René R. Khawam, <i>Les Aventures de Sindbad le Terrien</i> (Paris: Phébus)</li>
<br />
<li>1987: Paul Ernst, ed., <i>Erzählungen aus tausendundein Tag; Vermehrt um andere Morgenländische Geschichten</i>, trans. Felix Paul Greve and Paul Hansmann, 2 vols (Frankfurt: Insel Verlag)</li>
<br />
<li>1990: Husain Haddawy, <i>The Arabian Nights: Based on the Text of the Fourteenth-Century Syrian Manuscript edited by Muhsin Mahdi</i> (New York: Norton)</li>
<br />
<li>1991-2001: Jamel Eddine Bencheikh, André Miquel and Touhami Bencheikh, <i>Les Mille et Une Nuits: Contes choisis</i>, 4 vols (Paris: Gallimard)</li>
<br />
<li>1995: Husain Haddawy, <i>The Arabian Nights II: Sindbad and Other Popular Stories</i>.(New York: Norton)</li>
<br />
<li>2004: Ulrich Marzolph & Richard van Leeuwen, <i>The Arabian Nights Encyclopedia</i>, 2 vols (Santa Barbara, CA / Denver CO / Oxford, UK: ABC Clio)</li>
<br />
<li>2005-7: Jamel Eddine Bencheikh & André Miquel, <i>Les Mille et Une Nuits</i>, 3 vols (Paris: Bibliothèque de la Pléiade)</li>
<br />
<li>2008: Malcolm & Ursula Lyons, <i>The Arabian Nights: Tales of 1001 Nights</i>. 3 vols (Harmondsworth: Penguin)</li>
<br />
<li>2010: Daniel Heller-Roazen, ed., <i>The Arabian Nights. The Husain Haddaway Translation Based on the Text Edited by Muhsin Mahdi: Contexts, Criticism</i>. A Norton Critical Edition (New York & London: W. W. Norton & Company)</li>
<br />
<li>2014: Wen-Ching Ouyang & Paulo Lemos Horta, ed., <i>The Arabian Nights: An Anthology</i>. Everyman’s Library 361. A Borzoi Book (New York: Alfred A. Knopf)</li>
<br />
<li>2016: Salvador Peña Martín, <i>Mil y una noches</i>. 4 vols (Madrid: Editorial Verbum)</li>
<br />
</ul>
<br />
<div align="center">
<br />
<b><span style="font-size: 130%;">Theatrical & Cinematic History</span></b></div>
<br />
<ul><br />
<li>1911: Edward Knoblock, Kismet: An “Arabian Night” in Three Acts (First produced at the Garrick Theatre, London, April 19th)</li>
<br />
<li>1922: James Elroy Flecker, <i>Hassan: The Story of Hassan of Bagdad and How he Came to Make the Golden Voyage to Samarkand, A Play in Five Acts </i>(London: Heinemann)</li>
<br />
<li>1924: “The Thief of Bagdad,” dir. Raoul Walsh - with Douglas Fairbanks, Julanne Johnston, Anna May Wong, and Snitz Edwards - (U.S.A.)</li>
<br />
<li>1940: “The Thief of Baghdad,” dir. Michael Powell - with Conrad Veidt, Sabu, Rex Ingram - (U.K.)</li>
<br />
<li>1947: ‘Sinbad the Sailor’, dir. Richard Wallace - with Douglas Fairbanks, Jnr., Maureen O’Hara, and Anthony Quinn - (U.S.A.)</li>
<br />
<li>1954: ‘Ali Baba et les quarante voleurs’, dir. Jacques Becker - with Fernandel, Dieter Borsche, Henri Vilkarl, Samia Gamal - (France)</li>
<br />
<li>1973: “The Golden Voyage of Sinbad,” dir. Gordon Hassler - with John Philip Law, Caroline Munro, and Tom Baker - (U.K.)</li>
<br />
<li>1974: “Il Fiore delle mille e una notte,” dir. Pier Paolo Pasolini (Italy)</li>
<br />
<li>1977: “Sinbad and the Eye of the Tiger, “ dir. Sam Wanamaker - with Patrick Wayne, Jame Seymour and Patrick Troughton - (U.K.)</li>
<br />
<li>1979: “Arabian Adventure,” dir. Kevin Connor - with Christopher Lee, Milo O’Shea and Oliver Tobias - (U.K.)</li>
<br />
<li>1981: Michael Hayes, “Tales from the 1001 Nights” (BBC)</li>
<br />
<li>1989: Tariq Ali & Howard Brenton, ‘Iranian Nights’ (UK Broadcast May 20th on ITV)</li>
<br />
<li>1989: “Sinbad of the Seven Seas,” dir. Enzo G. Castellari - with Lou Ferrigno, John Steiner - (Italy)</li>
<br />
<li>1992: “Aladdin,” dir. Ron Clements & John Musker - with the voices of Robin Williams, Jonathan Freeman, Brad King - (USA)</li>
<br />
<li>2000: “Arabian Nights,” dir. Steve Barron, writ. Peter Barnes – with Mili Avital, Alan Bates, Dougray Scott – (USA)</li>
</ul>
<br />
<div align="center">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5362591049088274098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" style="cursor: hand; cursor: pointer; display: block; height: 199px; margin: 0px auto 10px; text-align: center; width: 177px;" /></a></div>
Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-40120486695060089062007-09-26T14:24:00.016-07:002021-07-28T13:56:10.347-07:00An Arabian Nights Bibliography<div align="center">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQMNfbQy4Hujxe91XEH56JskLi5rKBuC5EBn9aFE2fY-oU2IdThzkIjApWYyu652xQu-iAR99HNh3gDWL59Ngn_I_B0mVlAjRWKsjH1V1O8XGxcSkld_crBminkVgCqrTT2Jqy/s1600-h/ist2_146121_arabian_nighst.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5114627991419137682" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQMNfbQy4Hujxe91XEH56JskLi5rKBuC5EBn9aFE2fY-oU2IdThzkIjApWYyu652xQu-iAR99HNh3gDWL59Ngn_I_B0mVlAjRWKsjH1V1O8XGxcSkld_crBminkVgCqrTT2Jqy/s320/ist2_146121_arabian_nighst.jpg" style="display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="font-size: 85%;"><a href="http://www.fineartprintsondemand.com/">Sleeping Woman</a></span><br />
<br />
<b><span style="font-size: 180%;">The Thousand and One Nights:</span><br />
<span style="font-size: 130%;">Texts & Translations</span></b></div>
<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuOjdp-mU2WDE1oP0VqnSJHzMK_1bhVOB2jxLT9wJzVNF0DxUnxYekwSxrbeCmbLp9dzU0ZbWsgLVrg0v-OO6hBujqGrutlzRw0DKQ4fxAwMF_tULMtSpbMxAE4NsJhKX8jNLs/s358/1001b.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="358" data-original-width="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuOjdp-mU2WDE1oP0VqnSJHzMK_1bhVOB2jxLT9wJzVNF0DxUnxYekwSxrbeCmbLp9dzU0ZbWsgLVrg0v-OO6hBujqGrutlzRw0DKQ4fxAwMF_tULMtSpbMxAE4NsJhKX8jNLs/s400/1001b.jpg"/></a><br />
<span style="font-size: 85%;"><a href="http://mairangibay.blogspot.com/2013/08/the-true-story-of-novel-1-eastern-frame.html">Légendes des Mille et Une Nuits</a></span></div><br />
<br />
<ul>
<li><b>Texts</b></li>
<li><b>Translations</b> (chronological)<br />
<br /><ol>
<li><b>Antoine Galland</b> [1704-1717] (French)</li>
<li><b>Dom Dennis Chavis & M. Cazotte</b> [1788-89] (French)</li>
<li><b>Jonathan Scott</b> [1811] (English)</li>
<li><b>Maximilian Habicht</b> [1824-25] (German)</li>
<li><b>Joseph von Hammer-Purgstall et al.</b> [1826] (French / German / English)</li>
<li><b>Gustav Weil</b> [1837-41] (German)</li>
<li><b>Henry W. Torrens</b> [1838] (English)</li>
<li><b>Edward William Lane</b> [1839-40] (English)</li>
<li><b>John Payne</b> [1882-89] (English)</li>
<li><b>Richard F. Burton</b> [1885-88] (English)</li>
<li><b>Max Henning</b> [1895-97] (German)</li>
<li><b>Andrew Lang</b> [1898] (English)</li>
<li><b>Dr. J. C. Mardrus</b> [1899-1904] (French)</li>
<li><b>Cary von Karwath</b> [1906-14] (German)</li>
<li><b>Laurence Housman</b> [1907-14] (English)</li>
<li><b>Enno Littmann</b> [1921-28] (German)</li>
<li><b>Felix Tauer</b> [1928-34] (Czech & German)</li>
<li><b>M. A. Salye</b> [1929-36] (Russian)</li>
<li><b>Francesco Gabrieli</b> [1948] (Italian)</li>
<li><b>A. J. Arberry</b> [1953] (English)</li>
<li><b>Rafael Cansinos-Asséns</b> [1954-55] (Spanish)</li>
<li><b>N. J. Dawood</b> [1954-57] (English)</li>
<li><b>Juan Vernet</b> [1964-67] (Spanish)</li>
<li><b>René R. Khawam</b> [1965-67 & 1985-88] (French)</li>
<li><b>Husain Haddawy</b> [1990-95] (English)</li>
<li><b>Jamel Eddine Bencheikh & André Miquel</b> [1991-2001 & 2005-7] (French)</li>
<li><b>Malcolm & Ursula Lyons</b> [2008] (English)</li>
<li><b>Salvador Peña Martín</b> [2016] (Spanish)</li>
<li><b>Miscellaneous</b></li>
</ol>
</li>
<li><b>Cognate Collections</b></li>
<li><b>Imitations & Tributes</b></li>
<li><b>Anthologies & Secondary Literature</b></li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5lcOXtk43F19rCX-ifWSoMqwc70IewLE5lTRY-7lRA3uzW2SCqS4U3c5EsoaBFNJ2tqs_FBRgqUNzXbAQP-GY7dTQZgxC9Vx8wQ-TNIOKaF0OKkmIgUAc0cj13_OcnFN9YT_v/s1600/ManuscriptAbbasid.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5lcOXtk43F19rCX-ifWSoMqwc70IewLE5lTRY-7lRA3uzW2SCqS4U3c5EsoaBFNJ2tqs_FBRgqUNzXbAQP-GY7dTQZgxC9Vx8wQ-TNIOKaF0OKkmIgUAc0cj13_OcnFN9YT_v/s320/ManuscriptAbbasid.jpg" /></a><br />
<span style="font-size: 85%;"><a href="http://en.academic.ru/dic.nsf/enwiki/27487">Abbasid Manuscript</a></span><br />
<br />
<b><span style="font-size: 130%;">Texts:</span></b></div><br />
<br />
<ol>
<li><i>Alph Laylé Wa Laylé</i>. 4 vols. Beirut: Al-Maktaba Al-Thakafiyat, A.H. 1401 [= 1981].</li>
<br />
<li><i>Arabic Key Readers. A Thousand and One Nights: Graduated Readings for English Speaking Students – Book 1: Story of the Book, Nights 1 through 9</i>. Retold by Michel Nicola. Troy, Michigan: International Book Centre, 1986.</li>
<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3vVckcVNQkRfjtEP-hq4h6Bj5tptBNUdzz81uwQm73JhgZTNJkjdKbxXcESn-0pAGEoAMTMeTg5K0bytKvtAu9szDtl4VB4iTmfozt5uBlrz9bO5G3VDl53S5JxS7zBDsPPY8/s2048/img-bn52297.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="2048" data-original-width="1289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3vVckcVNQkRfjtEP-hq4h6Bj5tptBNUdzz81uwQm73JhgZTNJkjdKbxXcESn-0pAGEoAMTMeTg5K0bytKvtAu9szDtl4VB4iTmfozt5uBlrz9bO5G3VDl53S5JxS7zBDsPPY8/s600/img-bn52297.jpg"/></a><br />
<span style="font-size: 85%;">Wm H. Macnaghten, ed.: <a href="https://inlibris.com/item/bn52297/">The Alif Laila, or Book of the Thousand Nights and One Night</a> (1839-42)</span></div><br />
<br />
<li>Macnaghten, W. H., ed. <i>The Alif Laila, or Book of the Thousand Nights and One Night, Commonly Known as ‘The Arabian Nights’ Entertainments;’ Now, for the First Time, Published Complete in the Original Arabic, from an Egyptian Manuscript Brought to India by the Late Major Turner Macan, Editor of the Shah-Nameh</i>. 4 vols. Calcutta: W. Thacker, 1839-42.</li>
<br />
<li>Zotenberg, Hermann. <i>Histoire d’Alâ al-Din ou La Lampe Merveilleuse: Texte Arabe publié avec une notice sur quelques manuscrits des Mille et une nuits</i>. Paris; Imprimerie Nationale, 1888.</li>
</ol>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG7sZTQ6IpPFJsTIViSaIW-pthNaGrmTnqfxo15bxTZy88otgU8B0fVbSxqyO3usjgb1EqRWoz05t4-NAWuqQMzLWUk6pVmJMxGCM85jFJiuyks4_Q4b6_GNW_SxOsO_8PDmSs/s1600/8925affc-b56e-493a-8ddc-ba8377d9958c.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG7sZTQ6IpPFJsTIViSaIW-pthNaGrmTnqfxo15bxTZy88otgU8B0fVbSxqyO3usjgb1EqRWoz05t4-NAWuqQMzLWUk6pVmJMxGCM85jFJiuyks4_Q4b6_GNW_SxOsO_8PDmSs/s400/8925affc-b56e-493a-8ddc-ba8377d9958c.jpg" width="285" height="400" data-original-width="570" data-original-height="800" /></a><br />
<span style="font-size: 85%;">Galland's Translation (1704-17)</span><br />
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<b><span style="font-size: 130%;">Translations:</span></b></div>
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<br />
<ol>
<b>Antoine Galland</b> (1646-1715) – [12 vols: 1704-1717] (French)<br />
<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrqgqFt6ndVEC1KwKcrsBGSb_A9AYbhd2VwPXR7VRuwdHm9DRXe8fesme9ewKy8sX4CNgUb60jnuMNj-JNoMoRwI2qQEoMlfo7jv_Q8lxP_-T1DA-udME8G1s9aAviu1Kd8W7t/s400/md8155035989.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="400" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrqgqFt6ndVEC1KwKcrsBGSb_A9AYbhd2VwPXR7VRuwdHm9DRXe8fesme9ewKy8sX4CNgUb60jnuMNj-JNoMoRwI2qQEoMlfo7jv_Q8lxP_-T1DA-udME8G1s9aAviu1Kd8W7t/s400/md8155035989.jpg"/></a><br />
<span style="font-size: 85%;">Antoine Galland: <a href="https://www.abebooks.fr/MILLE-NUITS-Contes-arabes-traduits-Galland/8155035989/bd">Les Mille et Une Nuits</a> (1960)</span></div><br />
<br />
<li>Galland, Antoine, trans. <i>Les Mille et Une Nuits: Contes arabes traduits par Galland</i>. 12 vols. 1704-17. Ed. Gaston Picard. 2 vols. 1960. Paris: Garnier, 1975.</li>
<br />
<li>Galland, Antoine, trans. <i>Les Mille et Une Nuits: Contes arabes</i>. 12 vols. 1704-17. Ed. Jean Gaulmier. 3 vols. 1965. Paris: Garnier-Flammarion, 1990, 1985, 1991.</li>
<br />
<li>Galland, Antoine, trans. <i>Les Mille et Une Nuits: Le Pêcheur et le Génie; Histoire de Ganem</i>. Ed. Marie-Louise Astre. Étonnants Classiques. Paris: GF-Flammarion, 1995.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi21p31yPcOLTPhYtcf-NiqNP5eaheNPuZkrQBQZbPIhg2KaJlx3fa93Ld1lclwkq5f1U1YaencXNS10VzAjqOdTmHH9o3IsdQUFG5WTr5W7IuvwzR4Z7w0UMpTT7Ndu4e5J2vlpA/s1600/scan0014.jpg" imageanchor="1"><img border="0" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi21p31yPcOLTPhYtcf-NiqNP5eaheNPuZkrQBQZbPIhg2KaJlx3fa93Ld1lclwkq5f1U1YaencXNS10VzAjqOdTmHH9o3IsdQUFG5WTr5W7IuvwzR4Z7w0UMpTT7Ndu4e5J2vlpA/s400/scan0014.jpg" width="400" /></a><br />
<span style="font-size: 85%;">Galland's Translation (1704-17)</span></div>
<br />
<br />
<li><span style="font-style: italic;">Arabian Nights Entertainments: Consisting of One Thousand and One Stories, Told by the Sultaness of the Indies, to divert the Sultan from the Execution of a bloody Vow he had made to marry a Lady every day, and have her cut off next Morning, to avenge himself for the Disloyalty of his first Sultaness, &c. Containing a better Account of the Customs, Manners, and Religion of the Eastern Nations, viz. Tartars, Persians, and Indians, than is to be met with in any Author hitherto published</span>. Translated into French from the Arabian Mss. by M. Galland of the Royal Academy, and now done into English from the last Paris Edition. London: Andrew Bell, 1706-17. 16th ed. 4 vols. London & Edinburgh: C. Elliot, 1781.</li>
<br />
<li><span style="font-style: italic;">The Arabian Nights</span>. Illustrated with Engravings from Designs by R. Westall, R. A. 4 vols. London: Printed for C and J. Rivington et al., 1825.</li>
<br />
<li>Forster, Edward, trans. <i>The Arabian Nights’ Entertainments</i>. 1812. Rev. G. Moir Bussey. London: J. J. Chidley, 1846.</li>
<br />
<li><i>The Arabian Nights’ Entertainments</i>. [Trans. Antoine Galland]. Sir John Lubbock’s Hundred Books 67. London: Routledge, 1893.</li>
<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0dEtMIyGZyfkhuIF6FWl3B9uGiMwXin2P2SsV-7UPf0DVCut5eHNNUPbhr3bEKwl1MtvSM4x-wFPifhVahx9t9Pn4USX_rrygd68WUh6ANlp6G11F9ueKpefiYHXkjgNTGayG/s845/32921256._UY845_SS845_.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="845" data-original-width="845" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0dEtMIyGZyfkhuIF6FWl3B9uGiMwXin2P2SsV-7UPf0DVCut5eHNNUPbhr3bEKwl1MtvSM4x-wFPifhVahx9t9Pn4USX_rrygd68WUh6ANlp6G11F9ueKpefiYHXkjgNTGayG/s400/32921256._UY845_SS845_.jpg"/></a><br />
<span style="font-size: 85%;">Antoine Galland: <a href="https://www.goodreads.com/book/show/32921256-las-mil-y-una-noches">Las mil y una noches</a> (1934)</span></div>
<br />
<li>Galland, A. <i>Las Mil y Una Noches: Cuentos orientales</i>. Trans. Pedro Pedraza y Páez. Biblioteca Hispania. Barcelona: Editorial Ramón Sopena, 1934.</li>
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<div style="text-align: center;">
<br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrCiKs9wyAtfejtVl9pbptRyqSquNpozj88aBrSOY1marJzOHRfdrCwHUvKLhK3Xq9IGLGfbJ3JV59Enl1bCUd9IElhhRjnrUwSXs4jeyrF6jxdCC31L_CD3dKvWX817tSRZKmeg/s1600/galland3.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 262px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrCiKs9wyAtfejtVl9pbptRyqSquNpozj88aBrSOY1marJzOHRfdrCwHUvKLhK3Xq9IGLGfbJ3JV59Enl1bCUd9IElhhRjnrUwSXs4jeyrF6jxdCC31L_CD3dKvWX817tSRZKmeg/s400/galland3.jpg" alt="" id="BLOGGER_PHOTO_ID_5547667505768460338" border="0" /></a>
</div>
<br />
<li>Mack, Robert L., ed. <i>Arabian Nights’ Entertainments</i>. The World’s Classics. Oxford: Oxford University Press, 1995.</li>
<br />
<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMACu995FfuL2y2Gg2JMZcakeQlGIUXHjmueFlnN9j4b_VoOWaZLj4YeRjqKttZt6hPafhbSQst9UAhOtVfk8qH-OBiYnccrlrmx-1bwnnCNHtLP8k8ZOUnoPS-U8L3GL4zt5u/s1566/f9.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="1566" data-original-width="882" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMACu995FfuL2y2Gg2JMZcakeQlGIUXHjmueFlnN9j4b_VoOWaZLj4YeRjqKttZt6hPafhbSQst9UAhOtVfk8qH-OBiYnccrlrmx-1bwnnCNHtLP8k8ZOUnoPS-U8L3GL4zt5u/s400/f9.jpg"/></a><br />
<span style="font-size: 85%;">Chavis & Cazotte: <a href="https://gallica.bnf.fr/ark:/12148/bpt6k9789242j.texteImage">Continuation des Mille et Une Nuits</a> (vol. 2: 1788)</span></div><br />
<br />
<b>Denis Chavis & Jacques Cazotte</b> (fl. 1780s / 1719-1792) – [4 vols: 1788-89] (French)<br />
<br />
<li>Chavis, Dom, and M. Cazotte, trans. <i>La Suite des Mille et une Nuits, Contes Arabes</i>. Cabinet des Fées 38-41. 4 vols. Geneva: Barde & Manget, 1788-89.</li>
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<br /><div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDc_5AxK46JWuzpQpb2w7cSVsGNkK1DvqrhqcGAs3n0Fa1sGDtKnIP6AuGt3bk1pJxUjWtc2ESdCmznllFtqFNSiialUJlcMQ6YZVqrwMM12CZPkimpRwivixerXmaNTnHAZkr5A/s1600/Scott.jpeg" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDc_5AxK46JWuzpQpb2w7cSVsGNkK1DvqrhqcGAs3n0Fa1sGDtKnIP6AuGt3bk1pJxUjWtc2ESdCmznllFtqFNSiialUJlcMQ6YZVqrwMM12CZPkimpRwivixerXmaNTnHAZkr5A/s400/Scott.jpeg" width="400" /></a><br />
<span style="font-size: 85%;"><a href="https://www.calibanbooks.com/pages/books/0063749/jonathan-scott-intr-trans/the-arabian-nights-entertainments-in-six-volumes-six-vol-set">Scott's Translation</a> (1811)</span></div><br />
<br />
<b>Jonathan Scott</b> (1754–1829) – [6 vols: 1811] (English)<br />
<br />
<li>Scott, Jonathan, trans. <i>Tales, Anecdotes and Letters, translated from the Arabic and Persian</i>. London: Cadell and Davies, 1800.</li>
<br />
<li><a href="http://www.mythfolklore.net/1001nights/scott/index.htm">Scott, Jonathan, trans.</a> <i>The Arabian Nights Entertainments, Carefully Revised and Occasionally Corrected from the Arabic.</i> 6 vols. London, 1811. [Vol. 6: <i>Tales Selected from the Manuscript copy of the 1001 Nights brought to Europe by Edward Wortley Montague, Esq</i>].</li>
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<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPuz4ggim10FLV3VIa8qUoFni0PmsK250osgFr-J_Tx52wHBw6RSsck86gR8KTvmGi3Ym-0cj9poNPqC57QUzFO7-DL6hz80M-jXgh7U9Gv6gzXWcfwDBd_fIRwYUQoYx1cLed/s800/13919342882.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="800" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPuz4ggim10FLV3VIa8qUoFni0PmsK250osgFr-J_Tx52wHBw6RSsck86gR8KTvmGi3Ym-0cj9poNPqC57QUzFO7-DL6hz80M-jXgh7U9Gv6gzXWcfwDBd_fIRwYUQoYx1cLed/s400/13919342882.jpg"/></a><br />
<span style="font-size: 85%;">Max. Habicht et al.: <a href="https://www.zvab.com/Tausend-Nacht-Arabische-Erz%C3%A4hlungen-Deutsch-Max/13919342882/bd">Tausend und Eine Nacht, Arabische Erzählungen</a> (1926)</span></div><br />
<br />
<b>Maximilian Habicht et al.</b> (1775-1839) – [15 vols: 1824-25] (German)<br />
<br />
<li>Habicht, Max., Fr. H. von der Hagen, and Carl Schall, trans. Tausend und Eine Nacht, Arabische Erzählungen. 1824-25. Ed. Karl Martin Schiller. 12 vols. Leipzig: F. W. Hendel, 1926.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2SlD24dX_-EclchkQfcZ97JxNiHKtO_AalR5QFquYq39duc2v9pEmrB7js96ysPZcAmqmYuwcfNX4qct4ARFAo6Lo1ITEvWpLQsXnVSj2u5WGhNBlHbJCYcFcD9vwaBLtXHZCg/s1600/Tausend-und-Eine-Nacht-arabische-Erz-Max-Habicht-_57.jpeg" imageanchor="1"><img border="0" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2SlD24dX_-EclchkQfcZ97JxNiHKtO_AalR5QFquYq39duc2v9pEmrB7js96ysPZcAmqmYuwcfNX4qct4ARFAo6Lo1ITEvWpLQsXnVSj2u5WGhNBlHbJCYcFcD9vwaBLtXHZCg/s400/Tausend-und-Eine-Nacht-arabische-Erz-Max-Habicht-_57.jpeg" width="400" /></a><br />
<span style="font-size: 85%;"><a href="http://picclick.de/Tausend-und-Eine-Nacht-arabische-Erz-Max-Habicht-121938556870.html">Habicht's Translation</a> (1824-25)</span></div><br />
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<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRwktlHvQeEz054Ah17SSn3tYeIMgfXcYVLi_X0_g2Gx-g_xjy61u20LyDwcKG9V5oLLA3WjlIntTDRTv0Bc44oNv6mtRdeyMpo5_roWEZcDAsoAdu_U3cAT1RkLARwsouQJc/s538/17306.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="538" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRwktlHvQeEz054Ah17SSn3tYeIMgfXcYVLi_X0_g2Gx-g_xjy61u20LyDwcKG9V5oLLA3WjlIntTDRTv0Bc44oNv6mtRdeyMpo5_roWEZcDAsoAdu_U3cAT1RkLARwsouQJc/s400/17306.jpg"/></a><br />
<span style="font-size: 85%;">J. von Hammer: <a href="https://www.ebay.com/itm/Jos-Von-Hammer-New-Arabian-Nights-Entertainment-Selected-from-the-Original-/123714512829">New Arabian Nights' Entertainments</a>, trans. George Lamb (1826)</span></div><br />
<br />
<b>Joseph von Hammer-Purgstall / Guillaume-Stanislas Trébutien / George Lamb</b> (1774-1856 / 1800-1870 / 1784-1834) – [3 vols: 1826] (German / French / English)<br />
<br />
<li>Lamb, George, trans. <i>New Arabian Nights' Entertainments, Selected from the Original Oriental Ms. by J. Von Hammer, and Now First Translated into English</i>. 1826. 3 vols in 1. Milton Keynes, UK: Palala Press, 2015.</li>
<br />
<li>Trébutien, G. S., trans. <i>Contes inédits des Mille et une Nuits, extraits de l’original arabe par M. J. de Hammer</i>. 3 vols. Paris: Dondey-Dupré, 1828.</li>
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<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlwVhyo5xOMG6hlMwZpvLfPO8vmLFiZi1OomipK7vwSzXlV28vAYBxqqbwttYQz-ZJKlDM3b-rF8wamuvAy11N4Wxu_50VV_xVIpjQqOgY14t2KPP3GxnXlcEexqqC7QozbDg/s244/images.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="207" data-original-width="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlwVhyo5xOMG6hlMwZpvLfPO8vmLFiZi1OomipK7vwSzXlV28vAYBxqqbwttYQz-ZJKlDM3b-rF8wamuvAy11N4Wxu_50VV_xVIpjQqOgY14t2KPP3GxnXlcEexqqC7QozbDg/s400/images.jpg"/></a><br />
<span style="font-size: 85%;">Gustav Weil: <a href="https://www.ebay-kleinanzeigen.de/s-buecher-zeitschriften/trier/c76l5432?origin=DELETED_AD">Tausend und eine Nacht</a></span></div><br />
<br />
<b>Gustav Weil</b> (1808-1889) – [4 vols: 1837-41] (German)<br />
<br />
<li>Weil, Gustav, trans. <i>Tausendundeine Nacht</i>. 1837-41. Ed. Inge Dreecken. 3 vols. Wiesbaden: R. Löwit, n.d. [c. 1960s]</li>
<br />
<li>Weil, Gustav, trans. <i>Liebesgeschichten aus Tausendundeiner Nacht, übertragen aus dem arabischen Urtext von Gustav Weil: Mit Holzstichen der Ausgabe von 1865</i>. 1837-41. München: Delphin Verlag, 1987.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSg1u02vI-MXxINc4AAAkmtpUk3sfDi_arYd6sk5kfjD5_wxjjDaESVwI7ZVKylT0tCbRleaSwyhvP1rLhKq3o1oBNe4HKv4-fcLzNp6DwTXCm1Aj_xvG4EKV8EYDKJIIHCoRH/s790/Screen+Shot+2021-06-20+at+11.03.11.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="790" data-original-width="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSg1u02vI-MXxINc4AAAkmtpUk3sfDi_arYd6sk5kfjD5_wxjjDaESVwI7ZVKylT0tCbRleaSwyhvP1rLhKq3o1oBNe4HKv4-fcLzNp6DwTXCm1Aj_xvG4EKV8EYDKJIIHCoRH/s600/Screen+Shot+2021-06-20+at+11.03.11.png"/></a><br />
<span style="font-size: 85%;">Henry W. Torrens: <a href="https://books.google.fm/books?id=kVICAAAAQAAJ&printsec=frontcover#v=onepage&q&f=false">The Book of the Thousand Nights and One Night</a> (1838)</span></div><br />
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<b>Henry Whitelock Torrens</b> (1806-1852) – [1 vol: 1838] (English)<br />
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<li>Torrens, Henry, trans. <i><a href="https://www.google.co.nz/books/edition/The_Book_of_the_Thousand_Nights_and_One/2AtgAAAAcAAJ?hl=en&gbpv=1&dq=inauthor:%22Henry+Whitelock+Torrens%22&printsec=frontcover">The Book of the Thousand Nights and One Night: From the Arabic of the Ægyptian M.S. as edited by Wm Hay Macnaghten, Esqr., Done into English by Henry W. Torrens</a></i>. Calcutta: W. Thacker & Co. / London: W. H. Allen & Co., 1838. India: Pranava Books, n.d.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP5NlWNFQvfK-dUm0s3fd1IzYVEvZvHYWm-D6F3pS5dJQtqgllMyzABlCYx6jr_LgmRsGJvJeiSKMYUkHvK2CT6QHAer_sNUO7GN8j9QZCNVs9DiYJFTLWhQWqylIDO_6y4c4z/s890/Screen+Shot+2021-06-20+at+11.02.02.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="890" data-original-width="588" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP5NlWNFQvfK-dUm0s3fd1IzYVEvZvHYWm-D6F3pS5dJQtqgllMyzABlCYx6jr_LgmRsGJvJeiSKMYUkHvK2CT6QHAer_sNUO7GN8j9QZCNVs9DiYJFTLWhQWqylIDO_6y4c4z/s600/Screen+Shot+2021-06-20+at+11.02.02.png"/></a><br />
<span style="font-size: 85%;">James Hume: <a href="https://books.google.fm/books?id=kVICAAAAQAAJ&printsec=frontcover#v=onepage&q&f=false">A Selection from the Writings of the late Henry W. Torrens</a> (1854)</span></div>
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<li>Hume, James, ed. <i><a href="https://www.google.co.nz/books/edition/A_Selection_from_the_Writings_Prose_and/oC4lAAAAMAAJ?hl=en&gbpv=1&dq=inauthor:%22Henry+Whitelock+TORRENS%22&printsec=frontcover">A Selection from the Writings, Prose and Poetical, of the late Henry W. Torrens, Esq., B.A., Bengal Civi Service, and of the Inner Temple; with a Biographical Memoir</a></i>. 2 vols. Calcutta & London: R. C. Lepage & Co., 1854.</li><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi301Lj8T77WL5a-dZcaOpu1-PSvefNhmiLuBh6-blVKhKpNps8jcWlVal-WNGERIbreHKqXYI42SfCAcQWGA3SYyeWlpv-oaW3oyWZNmsKTlh7E3PfSd72V5NTuwlvsDUt6QldKg/s1600/IMG_0151.JPG" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi301Lj8T77WL5a-dZcaOpu1-PSvefNhmiLuBh6-blVKhKpNps8jcWlVal-WNGERIbreHKqXYI42SfCAcQWGA3SYyeWlpv-oaW3oyWZNmsKTlh7E3PfSd72V5NTuwlvsDUt6QldKg/s400/IMG_0151.JPG" width="300" /></a><br />
<span style="font-size: 85%;">Lane's Translation (1839-41)</span></div>
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<b>Edward William Lane</b> (1801-1876) – [3 vols: 1839-40] (English)<br />
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<li>Lane, Edward William, trans. <i>The Thousand and One Nights, Commonly Called, in England, The Arabian Nights’ Entertainments. A New Translation from the Arabic, with Copious Notes</i>. 3 vols. London: Charles Knight, 1839-41.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBnLQgSgHDInNdopQjOebaVGH86dliLMYNJJPGQjga-jcyNvqY9wVklW5R4iY1S2aofW-mFgFTmDBBnB5AZIgXR3RWalgOrh8ueMaoYaX3i-_lJiBefXyTKLM8N1cA9VooMUhxpg/s1600/IMG_0154.JPG" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBnLQgSgHDInNdopQjOebaVGH86dliLMYNJJPGQjga-jcyNvqY9wVklW5R4iY1S2aofW-mFgFTmDBBnB5AZIgXR3RWalgOrh8ueMaoYaX3i-_lJiBefXyTKLM8N1cA9VooMUhxpg/s400/IMG_0154.JPG" width="300" /></a><br />
<span style="font-size: 85%;">Lane's Translation (1839-41)</span></div>
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<li>Lane, Edward William, trans. <i>The Thousand and One Nights; Commonly Called The Arabian Nights’ Entertainments</i>. Ed. Edward Stanley Poole. 3 vols. 1859. London: Chatto, 1912.</li>
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<li>Lane, Edward William, trans. <i>The Thousand and One Nights; Commonly Called The Arabian Nights’ Entertainments</i>. Ed. Edward Stanley Poole. Vol 2 of 3. 1859. London & Cairo: East-West Publications & Livres de France, 1980.</li>
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<li>Lane, Edward William, trans. <i>The Arabian Nights’ Entertainments</i>. Ed. Stanley Lane-Poole. 4 vols. 1906. Bohn’s Popular Library. London: G. Bell, 1925.</li>
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVF5mTDmKR0s6e7NfMq4nBqMx5CJFSQJpxWcCdTOLDahWRdKCRDGgDzgQ7DdSMzmiuQvN6DvnBuGMU_k5egDucq0vp_KLBT3El4-lkwQGvojR_N407l8LmIDOzu9Q6c1glYKsYqQ/s1600/lane1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 241px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVF5mTDmKR0s6e7NfMq4nBqMx5CJFSQJpxWcCdTOLDahWRdKCRDGgDzgQ7DdSMzmiuQvN6DvnBuGMU_k5egDucq0vp_KLBT3El4-lkwQGvojR_N407l8LmIDOzu9Q6c1glYKsYqQ/s400/lane1.jpg" alt="" id="BLOGGER_PHOTO_ID_5547668546806025090" border="0" /></a></div>
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<li>Lane, Edward William, trans. <i>The Arabian Nights’ Entertainments or The Thousand and One Nights: The Complete, Original Translation of Edward William Lane, with the Translator’s Complete, Original Notes and Commentaries on the Text</i>. New York: Tudor Publishing Co., 1927.</li>
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<li>Lane, Edward William, trans. <i>The Thousand and One Nights, or Arabian Nights’ Entertainments. Wood Engravings from Original Designs by William Harvey</i>. London: Chatto and Windus, 1930.</li>
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<li>Lane, Edward William, trans. <i>Stories from the Thousand and One Nights (The Arabian Nights’ Entertainments).</i> Ed. Stanley Lane-Poole. The Harvard Classics 16. New York: P. F. Collier, 1909.</li>
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<li>Lane, Edward William, trans. <i>Tales from the Arabian Nights</i>. Ed. E. O. Lorimer. 1946. Illustrated by Brian Wildsmith. 1961. London: Oxford University Press, 1966.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc1b8X_ZKAnk84ZqvWwv1I7Ub9JVGRTaz2wolFDmoA3C2uCWJtWP4oORyRFH1sId4kZR5G42TxkqtfBKaZVlF4NsTMSZBIcmvJNk-hEbwEku7t36EfJMXlJ5aW8Ac8h6nr9B0kTg/s1600/payne.jpeg" imageanchor="1"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc1b8X_ZKAnk84ZqvWwv1I7Ub9JVGRTaz2wolFDmoA3C2uCWJtWP4oORyRFH1sId4kZR5G42TxkqtfBKaZVlF4NsTMSZBIcmvJNk-hEbwEku7t36EfJMXlJ5aW8Ac8h6nr9B0kTg/s400/payne.jpeg" width="400" /></a><br />
<span style="font-size: 85%;"><a href="http://www.johnrsneddenltd.com/books/1000nights.html">Payne's Translation</a> (1882-84)</span></div><br />
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<b>John Payne</b> (1842-1916) – [13 vols: 1882-89] (English)<br />
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<li><a href="http://www.mythfolklore.net/1001nights/payne/index.htm">Payne, John, trans.</a> <i>The Book of the Thousand Nights and One Night; Now First Completely Done into English Prose and Verse, from the Original Arabic</i>. 9 vols. London: Villon Society, 1882-84.</li>
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<li>Payne, John, trans. <i>Tales from the Arabic of the Breslau and Calcutta (1814-’18) Editions of the Book of the Thousand Nights and One Night, Not Occurring in the Other Printed Texts of the Work; Now First Done into English</i>. 3 vols. London: Villon Society, 1884.</li>
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<li>Payne, John, trans. <i>Alaeddin and the Enchanted Lamp; Zein ul Asnam and the King of the Jinn: Two Stories Done into English from the Recently Discovered Arabic Text</i>. London: Villon Society, 1889.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdmLwhgWJkUyWIKWww3_0Zcjl6lfR-w4UOy0_kC6mr83RpV_EA0M9ahcCtls5Wwt-zMOuhyMQEiwExH0A86Wf7lMlFe04QxVcayRTjWH9Nyay76f9JJRCK33HEPM1ORbMPUU7p/s402/md30520103924.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="402" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdmLwhgWJkUyWIKWww3_0Zcjl6lfR-w4UOy0_kC6mr83RpV_EA0M9ahcCtls5Wwt-zMOuhyMQEiwExH0A86Wf7lMlFe04QxVcayRTjWH9Nyay76f9JJRCK33HEPM1ORbMPUU7p/s600/md30520103924.jpg"/></a><br />
<span style="font-size: 85%;">John Payne: <a href="https://www.abebooks.com/servlet/BookDetailsPL?bi=30520103924&searchurl=kn%3Dpayne%2Bpersian%2Bletters%26sortby%3D17&cm_sp=snippet-_-srp1-_-image2">Oriental Tales</a>, ed. Leonard C. Smithers (1901)</span></div>
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<li>Payne, John, trans. <i>Oriental Tales: The Book of the Thousand Nights and One Night [and other tales]</i>. 1882-97. 15 vols. Herat edition (limited to 500 copies): No. 141. London: Printed for Subscribers Only, 1901.<ol>
<li><i>The Book of the Thousand Nights and One Night; Now First Completely Done into English Prose and Verse, from the Original Arabic</i>. 9 vols (London: Villon Society, 1882-84)</li>
<li><i>The Book of the Thousand Nights and One Night</i> (vol. 2)</li>
<li><i>The Book of the Thousand Nights and One Night</i> (vol. 3)</li>
<li><i>The Book of the Thousand Nights and One Night</i> (vol. 4)</li>
<li><i>The Book of the Thousand Nights and One Night</i> (vol. 5)</li>
<li><i>The Book of the Thousand Nights and One Night</i> (vol. 6)</li>
<li><i>The Book of the Thousand Nights and One Night</i> (vol. 7)</li>
<li><i>The Book of the Thousand Nights and One Night</i> (vol. 8)</li>
<li><i>The Book of the Thousand Nights and One Night</i> (vol. 9)</li>
<li><i>Tales from the Arabic of the Breslau and Calcutta (1814-’18) Editions of the Book of the Thousand Nights and One Night, Not Occurring in the Other Printed Texts of the Work; Now First Done into English</i>. 3 vols. (London: Villon Society, 1884)</li>
<li><i>Tales from the Arabic</i> (vol. 2)</li>
<li><i>Tales from the Arabic</i> (vol. 3)</li>
<li><i>Alaeddin and the Enchanted Lamp; Zein ul Asnam and the King of the Jinn: Two Stories Done into English from the Recently Discovered Arabic Text</i> (London: Villon Society, 1889)</li>
<li><i>The Persian letters, with introduction and notes, done into English from the original by Montesquieu</i> (London, 1897)</li>
<li><i>A Thousand and One Quarters of an Hour and Tartarian Tales</i>, by Thomas Simon Gueulette (London, 1897)</li>
</ol></li>
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNl0G5mda2136MK8F0aSll2NVs5EgMsxZdFRskUjm4pREL3tgUcCeE6kxmClPR1uU7UWe1tlByrbRqHGXvUJjk0bu2ZXCJJU_ktXH_ETjETOE2IDhXGRhc8QUVBwxmApdKBOf7rQ/s1600/campbell1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 242px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNl0G5mda2136MK8F0aSll2NVs5EgMsxZdFRskUjm4pREL3tgUcCeE6kxmClPR1uU7UWe1tlByrbRqHGXvUJjk0bu2ZXCJJU_ktXH_ETjETOE2IDhXGRhc8QUVBwxmApdKBOf7rQ/s400/campbell1.jpg" alt="" id="BLOGGER_PHOTO_ID_5547665973220573938" border="0" /></a></div>
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<li>Payne, John, trans. <i>The Portable Arabian Nights</i>. 1882-1884. Ed. Joseph Campbell. 1952. New York: The Viking Press, 1963.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVO85UaUTXDkPG1M0_Yf3usiEUPbMrns33OVwi08r-rN6K8kV8hyphenhyphenRlA2o9_J8SBQ1VFrUTktcRzxMJJS5Bri3wTeVWe-oIU5SlpwhuaYnMV5isNungsLf2oZJGgTdfOcW_GyUG/s1342/book-1001-nights-vols-trans-john_1_58ab3458d8d20b2a12db05235017bb46.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="1080" data-original-width="1342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVO85UaUTXDkPG1M0_Yf3usiEUPbMrns33OVwi08r-rN6K8kV8hyphenhyphenRlA2o9_J8SBQ1VFrUTktcRzxMJJS5Bri3wTeVWe-oIU5SlpwhuaYnMV5isNungsLf2oZJGgTdfOcW_GyUG/s400/book-1001-nights-vols-trans-john_1_58ab3458d8d20b2a12db05235017bb46.jpg"/></a><br />
<span style="font-size: 85%;">John Payne: <a href="https://www.worthpoint.com/worthopedia/book-1001-nights-vols-trans-john-1922530165">The Book of the Thousand Nights and One Night</a> (2007)</span></div><br /><br />
<li>Payne, John, trans. <i>The Book of the Thousand Nights and One Night</i>. 1882-1884. Publisher's Note by Steven Moore. 3 vols. Ann Arbor, MI: Borders Classics, 2007.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQmfGHDqphYKphWENEaptoTWpTXAGduDRMiCyNGYcFpgV6go_sRaVfeIYwvbzo3GIiEU3IjUv2UwJTqTiNoeWLYbUg91VW9jmio4AQH8dTN1Yebv6rRV2MXwoDOHZ7XIbaMCu3/s1600/arabian-nights-richard-burton-16-vols_1_c68198829f07c813cc9de3141d600b31.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="730" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQmfGHDqphYKphWENEaptoTWpTXAGduDRMiCyNGYcFpgV6go_sRaVfeIYwvbzo3GIiEU3IjUv2UwJTqTiNoeWLYbUg91VW9jmio4AQH8dTN1Yebv6rRV2MXwoDOHZ7XIbaMCu3/s400/arabian-nights-richard-burton-16-vols_1_c68198829f07c813cc9de3141d600b31.jpg"/></a><br />
<span style="font-size: 85%;">Richard F. Burton: <a href="https://www.worthpoint.com/worthopedia/arabian-nights-richard-burton-16-vols-2003476556">The Book of the Thousand Nights and a Night</a></span></div><br />
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<b>Richard F. Burton</b> (1821-1890) – [16 vols: 1885-88] (English)<br />
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<li><a href="http://www.mythfolklore.net/1001nights/burton/index.htm">Burton, Richard F, trans.</a> <i>A Plain and Literal Translation of The Arabian Nights’ Entertainments, Now Entituled The Book of the Thousand Nights and a Night: With Introduction, Explanatory Notes on the Manners and Customs of Moslem Men and a Terminal Essay upon the History of the Nights</i>. 10 vols. Benares [= Stoke-Newington]: Kamashastra Society, 1885. N.p. [= Boston]: The Burton Club, n.d.</li>
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<li>Burton, Richard F., trans. <i>Supplemental Nights to the Book of the Thousand Nights and a Night with Notes Anthropological and Explanatory</i>. 6 vols. Benares [= Stoke-Newington]: Kamashastra Society, 1886-88. 7 vols.<a class="style23" href="http://dinarzade.blogspot.com/2007/09/arabian-nights-bibliography.html#_ftn1" name="_ftnref1" title="">[1]</a> N.p. [= Boston]: The Burton Club, n.d.</li>
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<li>Burton, Richard F., trans. <i>The Book of the Thousand Nights and a Night: A Plain and Literal Translation of the Arabian Nights Entertainments</i>. 1885. 10 vols. U.S.A.: The Burton Club, n.d. [c.1940s].</li>
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<li>Burton, Richard F., trans. <i>Supplemental Nights to the Book of the Thousand and One Nights with Notes Anthropological and Explanatory</i>. 1886-88. 6 vols. U.S.A..: The Burton Club, n.d. [c. 1940s].</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_eHvO1hOBq0QoYUahSFsGLbw-u55vbxrGWdFe7rZsmCKkp3B8YKYmZmth7yAcfK431rSL1dSBu0l3x4c8xSnLKzsSUUUCesybEVF985rD_n-VwOP9-HqP0Tlxepg5kP5-0MskfQ/s1600/IMG_0153.JPG" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_eHvO1hOBq0QoYUahSFsGLbw-u55vbxrGWdFe7rZsmCKkp3B8YKYmZmth7yAcfK431rSL1dSBu0l3x4c8xSnLKzsSUUUCesybEVF985rD_n-VwOP9-HqP0Tlxepg5kP5-0MskfQ/s400/IMG_0153.JPG" width="300" /></a><br />
<span style="font-size: 85%;">Burton's Translation (1885-88)</span></div>
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<li>Burton, Richard F., trans. <i>The Book of the Thousand Nights and a Night: A Plain and Literal Translation of the Arabian Nights Entertainments</i>. 1885. Decorated with 1001 Illustrations by Valenti Angelo. 3 vols. New York: The Heritage Press, 1934.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAsgTyJ_xpHDDYo7TRZGMNHubFWNguJ6PFt34DzsxKELoBvcN-kOOgDWSGX9MsgDkfAYY8fI-BzM9BhTaZ9R3XMmGbaJv9N0iLT6UXZ8HAoJqWtyLh3kybx16NESrsWLYZVRO3jg/s1600/valenti+angelo.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5534687879478135426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAsgTyJ_xpHDDYo7TRZGMNHubFWNguJ6PFt34DzsxKELoBvcN-kOOgDWSGX9MsgDkfAYY8fI-BzM9BhTaZ9R3XMmGbaJv9N0iLT6UXZ8HAoJqWtyLh3kybx16NESrsWLYZVRO3jg/s400/valenti+angelo.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 270px;" /></a><span style="font-size: 85%;">Valenti Angelo: <a href="http://designarchives.aiga.org/#/entries/%2Bid%3A19145/_/detail/relevance/asc/0/7/19145/the-book-of-the-thousand-nights-and-a-night-a-plain-and-literal-translation-of-the-arabian-nights-entertainments-/1">The 1001 Nights</a> (1934)</span></div><br />
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<li>Burton, Richard F., trans. <i>The Book of the Thousand Nights and a Night: A Plain and Literal Translation of the Arabian Nights Entertainments</i>. 1885. Decorated with 1001 Illustrations by Valenti Angelo. 3 vols. 1934. The Heritage Press. New York: The George Macy Companies, Inc., 1962.</li>
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj49MdkPrZNDth4bljgLsuJ_2dmUlyuz-SAGd9N6GYJXcpcWyAtq8xjZXIkey57L8T25bQ944Xu2FjXg8aukA_OQc5GFDNrEkuKtMi0n2d3y8L0EdJhL0IQNADPlcKEbe5yC5T9VA/s1600/burton6.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 269px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj49MdkPrZNDth4bljgLsuJ_2dmUlyuz-SAGd9N6GYJXcpcWyAtq8xjZXIkey57L8T25bQ944Xu2FjXg8aukA_OQc5GFDNrEkuKtMi0n2d3y8L0EdJhL0IQNADPlcKEbe5yC5T9VA/s400/burton6.jpg" alt="" id="BLOGGER_PHOTO_ID_5547666443015827682" border="0" /></a></div>
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<li>Burton, Richard F., trans. <i>The Arabian Nights’ Entertainments, or The Book of the Thousand Nights and a Night: A Selection of the Most Famous and Representative of these Tales</i>. Ed. Bennett A Cerf. 1932. Introductory Essay by Ben Ray Redman. New York: Modern Library, 1959.</li>
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<li>Burton, Richard F., trans. <i>A Plain and Literal Translation of the Arabian Nights’ Entertainments, now entituled The Book of the Thousand Nights and a Night: A Selection</i>. Ed. P. H. Newby. 1950. London: Arthur Barker, 1953.</li>
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<li>Burton, Sir Richard, trans. <i>The Arabian Nights’ Entertainments</i>. Notes by Henry Torrens, Edward Lane, John Payne. Illustrations by Arthur Szyk. 1955. The 100 Greatest Books Ever Written. Norwalk, Connecticut: The Easton Press, 1983.</li>
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<li>Burton, Richard F., trans. <i>More Stories from the Arabian Nights</i>. Ed. Julian Franklyn. London: Arthur Barker, 1957.</li>
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<li>Burton, Richard F. <span style="font-style: italic;">Love, War and Fancy: The Customs and Manners of the East from Writings on The Arabian Nights</span>. Ed. Kenneth Walker. 1884. London: Kimber Paperback Library, 1964.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8lA_LY6y0IApyhVgSAtlkTYrh-nKqlwN6DabqwuhH8hl9kJk2jvPyXF8E9aPo68_r1TsdYITOmYLxD8B7_GYCfikQHMlED11peQXo-pbnP-QsWArN8b3xV997Tn7h0TFzSTarUg/s1600/prestel-882.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8lA_LY6y0IApyhVgSAtlkTYrh-nKqlwN6DabqwuhH8hl9kJk2jvPyXF8E9aPo68_r1TsdYITOmYLxD8B7_GYCfikQHMlED11peQXo-pbnP-QsWArN8b3xV997Tn7h0TFzSTarUg/s400/prestel-882.jpg" /></a><br />
<span style="font-size: 85%;">Marc Chagall: <a href="https://wollamshram.wordpress.com/2010/11/04/marc-chagalls-arabian-nights/">Arabian Nights</a></span></div><br />
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<li>Chagall, Marc, illus. <span style="font-style: italic;">Arabian Nights: Four Tales from a Thousand and One Nights</span>. Introduction by Norbert Nobis. Trans. Richard F. Burton. Munich: Prestel-Verlag, 1988.</li>
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<li>Zipes, Jack, ed. <i>Arabian Nights: The Marvels and Wonders of the Thousand and One Nights, Adapted from Richard F. Burton’s Unexpurgated Translation</i>. Signet Classic. New York: Penguin, 1991.</li>
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<li>Zipes, Jack, ed. <i>Arabian Nights, Volume II: More Marvels and Wonders of the Thousand and One Nights, Adapted from Sir Richard F. Burton’s Unexpurgated Translation</i>. Signet Classic. New York: New American Library, 1999.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ78cGIDl54Ed6aKNs_msVu4hliP0qH4jve1Z-IOnVPDyov9Cre9Vu2At0UoZdBY9CfAFz8v04g3KeGqlRqX-EVLfRFTYoR8WuZHWcxL7TNMYoEnKBMaBqbCICIYsahNboepuV/s480/3673512994.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="480" data-original-width="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ78cGIDl54Ed6aKNs_msVu4hliP0qH4jve1Z-IOnVPDyov9Cre9Vu2At0UoZdBY9CfAFz8v04g3KeGqlRqX-EVLfRFTYoR8WuZHWcxL7TNMYoEnKBMaBqbCICIYsahNboepuV/s400/3673512994.jpg"/></a><br />
<span style="font-size: 85%;">Max Henning: <a href="https://www.abebooks.com/book-search/title/tausend-nacht/author/fischer-hans-henning-max/">Tausend und eine Nacht</a> (1957)</span></div><br />
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<b>Max Henning</b> (1861-1927) – [24 vols: 1895-97] (German)<br />
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<li>Henning, Max, trans. <i>Tausend und eine Nacht. Aus dem Arabischen übertragen</i>. 24 vols. Leipzig: Reclam, 1895-99.</li>
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<li>Henning, Max, trans. <i>Tausend und eine Nacht</i>. 1895-99. Ed. Hans W. Fischer. Berlin & Darmstadt: Deutsche Buch-Gemeinschaft, 1957.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMSNfJMf5J3dC7JhTrudBPboRD9hx058fnPF00-YP9sF8yJAkxx40zakVe-MCa2Wl2EKF4bYNITBgkVnXQu7MXs9k57-JX-sJl95-vBWmx8hyiTxOluJFWqgIa3XtrE7DnaI6_/s894/2b6ec8233ed34b48053bf6d1d45f8a32.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="894" data-original-width="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMSNfJMf5J3dC7JhTrudBPboRD9hx058fnPF00-YP9sF8yJAkxx40zakVe-MCa2Wl2EKF4bYNITBgkVnXQu7MXs9k57-JX-sJl95-vBWmx8hyiTxOluJFWqgIa3XtrE7DnaI6_/s600/2b6ec8233ed34b48053bf6d1d45f8a32.jpg"/></a><br />
<span style="font-size: 85%;">Andrew Lang: <a href="https://www.pinterest.nz/pin/119556565080117027/">Tales from The Arabian Nights</a> (1898)</span></div><br />
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<b>Andrew Lang</b> (1844-1912) – [1 vol: 1898] (English)<br />
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<li><a href="http://www.mythfolklore.net/1001nights/lang/index.htm">Lang, Andrew, ed.</a> <i>Tales from the Arabian Nights</i>. Illustrated by H. J. Ford. 1898. London: Wordsworth Classics, 1993.</li>
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<li>Lang, Andrew, trans. <i>Tales from The Arabian Nights</i>. 1898. Illustrated by Edmond Dulac. Afterword by Pete Hamill. The World’s Best Reading. Sydney & Auckland: Reader’s Digest, 1991.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicSGazuqP9YBL7EYaJ_czr54BJvO5yXVpVPZYlfXCJB6z5KtgEpf5J2NcVma2SHcRD1KRDvDSyDfqac_RR0n0t6SDzv_9zvI4r_pSO-7FAcc8ZdVIzLUS2wj2NRitrJ06D1qMc/s600/515cd7aifJL._SR600%25252C315_PIWhiteStrip%25252CBottomLeft%25252C0%25252C35_SCLZZZZZZZ_FMpng_BG255%25252C255%25252C255.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="350" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicSGazuqP9YBL7EYaJ_czr54BJvO5yXVpVPZYlfXCJB6z5KtgEpf5J2NcVma2SHcRD1KRDvDSyDfqac_RR0n0t6SDzv_9zvI4r_pSO-7FAcc8ZdVIzLUS2wj2NRitrJ06D1qMc/s400/515cd7aifJL._SR600%25252C315_PIWhiteStrip%25252CBottomLeft%25252C0%25252C35_SCLZZZZZZZ_FMpng_BG255%25252C255%25252C255.png"/></a><br />
<span style="font-size: 85%;">Dr. J. C. Mardrus: <a href="https://www.amazon.fr/Mille-une-Nuits-Traduits-Charles/dp/B06XZNR9B8">Le Livre des Mille et une Nuits</a> (1989)</span></div><br />
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<b>Dr. J. C. Mardrus</b> (1868–1949) – [16 vols: 1899-1904] (French)<br />
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<li>Mardrus, Dr. J. C., trans. <i>Le Livre des Mille et une Nuits</i>. 16 vols. Paris: Édition de la Revue blanche, 1899-1904. Ed. Marc Fumaroli. 2 vols. Paris: Laffont, 1989.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVLmPQobQLefjG7E9o2Uabfa-QsokGLDvEqgWoDY-WGqNPLm9kRnvt3zCF2YxqYUtH_iQ7COcsn_bFTzTfQ8w_l_hBhwA8yCXqGgXJHCpKLUWZ1buSSnbwP79JOnyCNHNPhMry/s2048/Las_mil_noches_y_una_noche_v1_%2528page_7_crop%2529.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="2048" data-original-width="1415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVLmPQobQLefjG7E9o2Uabfa-QsokGLDvEqgWoDY-WGqNPLm9kRnvt3zCF2YxqYUtH_iQ7COcsn_bFTzTfQ8w_l_hBhwA8yCXqGgXJHCpKLUWZ1buSSnbwP79JOnyCNHNPhMry/s400/Las_mil_noches_y_una_noche_v1_%2528page_7_crop%2529.jpg"/></a><br />
<span style="font-size: 85%;">Vicente Blasco Ibáñez: <a href="https://commons.wikimedia.org/wiki/File:Las_mil_noches_y_una_noche_v1_(page_7_crop).jpg">El libro de las mil noches y una noche</a> (1967)</span></div><br />
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<li>Blasco Ibáñez, Vicente. <i>El libro de las mil noches y una noche, traducción desde la versión francesa de J. C. Mardrus</i>. 1889. 6 vols. Valencia: Editorial Prometeo, 1916.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2xp8Bc2E__X7ZT1g1gTaV23tFUt0Hx70pffohl0lNz_VaahS1aLE9wUEV5sKAHug4T4gDwvou9KMpGuuYlYcMtDYSACt-q7A7nXYg6yPbpXGCJ6yGBdLTPC-uHp1RogbwsBSb5g/s1600/Mardrus+Mathers.jpeg" imageanchor="1"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2xp8Bc2E__X7ZT1g1gTaV23tFUt0Hx70pffohl0lNz_VaahS1aLE9wUEV5sKAHug4T4gDwvou9KMpGuuYlYcMtDYSACt-q7A7nXYg6yPbpXGCJ6yGBdLTPC-uHp1RogbwsBSb5g/s400/Mardrus+Mathers.jpeg" width="400" /></a><br />
<span style="font-size: 85%;"><a href="https://www.etsy.com/listing/207320043/the-book-of-a-thousand-nights-and-a">The Mardrus-Mathers Translation</a> (1899-1904; 1923)</span></div><br />
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<li>Mathers, Edward Powys, trans. <i>The Book of the Thousand Nights and One Night: Rendered from the Literal and Complete Version of Dr. J. C. Mardrus; and Collated with Other Sources</i>. 1923. 8 vols. London: The Casanova Society, 1929.</li>
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<li>Mathers, E. Powys. <i>Sung to Shahryar: Poems from the Book of the Thousand Nights and One Night</i>. London: The Casanova Society, 1925.</li>
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<li>Mathers, E. Powys, trans. <i>Arabian Love Tales: Being Romances Drawn from the Book of the Thousand Nights and One Night, Rendered into English from the Literal French Translation of Dr. J. C. Mardrus</i>. Illustrated by Lettice Sandford. London: The Folio Society, 1949.</li>
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<li>Mathers, E. Powys, trans. <i>The Book of the Thousand Nights and One Night: Rendered into English from the Literal and Complete French Translation of Dr. J. C. Mardrus</i>. 4 vols. 1949. 2nd ed. 1964. London: Routledge and Kegan Paul, 1972.</li>
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<li>Mathers, E. Powys, trans. <i>The Book of the Thousand Nights and One Night: Rendered into English from the Literal and Complete French Translation of Dr. J. C. Mardrus</i>. 4 vols. 1949. 2nd ed. 1964. London: Routledge and Kegan Paul, 1986.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigqfPWpkxaSBKQbcdY0AnGpp0SvVuIVxwr67Rk33E711qSo9wvSneedAX7Kf5THmapZoEiAe-G_Q-wIJPU1NY1ONqZJqwbeFIEhKftw7JJqZEHEHT8WMMeaB_oh04w8218COeY/s1000/3265.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="842" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigqfPWpkxaSBKQbcdY0AnGpp0SvVuIVxwr67Rk33E711qSo9wvSneedAX7Kf5THmapZoEiAe-G_Q-wIJPU1NY1ONqZJqwbeFIEhKftw7JJqZEHEHT8WMMeaB_oh04w8218COeY/s600/3265.jpg"/></a><br />
<span style="font-size: 85%;">Mardrus & Mathers: <a href="https://www.tooveys.com/lots/307377/folio-society-publisher-the-arabian-nights">The Arabian Nights</a> (2003)</span></div><br />
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<li><i>The Arabian Nights: The Book of the Thousand Nights and One Night, Rendered into English from the Literal and Complete French Translation of Dr. J. C. Mardrus by Powys Mathers</i>. Introduction by Marina Warner. 6 vols. London: The Folio Society, 2003.<ul>
<li>Vol. 1: with 8 colour illustrations by Kay Nielsen, 375 pp.</li>
<li>Vol. 2: with 8 colour illustrations by Grahame Baker, 424 pp.</li>
<li>Vol. 3: with 8 colour illustrations by Debra McFarlane, 424 pp.</li>
<li>Vol. 4: with 8 colour illustrations by Roman Pisarev, 424 pp.</li>
<li>Vol. 5: with 8 colour illustrations by Jane Ray, 431 pp.</li>
<li>Vol. 6: with 8 colour illustrations by Neil Packer, 448 pp.</li>
</ul></li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7PYrTCCNypZH2k8OQNt1yHQ4G3J0ip0NJVTTtt05lL3WmtZMiLiaK0s2xL8ChqUhkqUbpBWnSHaWdbN_3pCU2FULe1E7vu2qHNjvt1TXcnDeAihvy4sgMbLKVWFArlngn9lhp/s300/md18359890518.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="168" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7PYrTCCNypZH2k8OQNt1yHQ4G3J0ip0NJVTTtt05lL3WmtZMiLiaK0s2xL8ChqUhkqUbpBWnSHaWdbN_3pCU2FULe1E7vu2qHNjvt1TXcnDeAihvy4sgMbLKVWFArlngn9lhp/s400/md18359890518.jpg"/></a><br />
<span style="font-size: 85%;">Eugenio Sanz del Valle, Alfredo Domínguez, & Luis Aguirre Prado: <a href="https://www.abebooks.co.uk/MIL-NOCHES-tomos-OBRA-COMPLETA-Gran/18359890518/bd">Las mil y una noches</a> (1967)</span></div><br />
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<li>Sanz del Valle, Eugenio, Alfredo Domínguez, & Luis Aguirre Prado, trans. <i>Las Mil y Una Noches: Desde la versión de J. C. Mardrus</i>. Ilustraciones por J. Narro. 2 vols. Madrid: Nauta, 1967.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT4voHeblmBqgxV6EiRxS4Gdr14s0IyWPuEyB-vC6UILi7j0IUgnZ7xJ2dG1q0l7Hnr4Naygx-zLmDkDOhKYyVnRuloBm8rEaKlvmDQtVHC-Ki55HzPQ7PXtA9nVzVJTiYA6dD/s300/md30622994149.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="225" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT4voHeblmBqgxV6EiRxS4Gdr14s0IyWPuEyB-vC6UILi7j0IUgnZ7xJ2dG1q0l7Hnr4Naygx-zLmDkDOhKYyVnRuloBm8rEaKlvmDQtVHC-Ki55HzPQ7PXtA9nVzVJTiYA6dD/s400/md30622994149.jpg"/></a><br />
<span style="font-size: 85%;">Cary von Karwath: <a href="https://www.zvab.com/buch-suchen/titel/das-buch-der-tausend/autor/karwath-cary/buch/">Das Buch der Tausend Nächte und der einen Nacht</a> (1987)</span></div><br />
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<b>Cary von Karwath</b> (?) – [19 vols: 1906-14] (German)<br />
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<li>Karwath, Cary Von, trans. <i>1001 Nacht: Vollständige Ausgabe in 18 Taschenbüchern mit einem Zusatzband: Nach dem arabischen Urtext angeordnet und übertragen von Cary von Karwath</i>. 1906-14. 19 vols. München: Goldmann Verlag, 1987.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjitIpH76yiO9FkYz6ZitXuqUjpkCbesU9H0GodVX_bmk3elLY_zvP4XlEY3QI6-4KPgFAHaMyNOdJJy3X29VyT4_8Iceah7nkUNp7mkOROrYIcdonXG1v4eC8yJ6UdY2kPG3J0/s959/lf.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="959" data-original-width="621" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjitIpH76yiO9FkYz6ZitXuqUjpkCbesU9H0GodVX_bmk3elLY_zvP4XlEY3QI6-4KPgFAHaMyNOdJJy3X29VyT4_8Iceah7nkUNp7mkOROrYIcdonXG1v4eC8yJ6UdY2kPG3J0/s600/lf.jpg"/></a><br />
<span style="font-size: 85%;">Laurence Housman: <a href="https://historical.ha.com/itm/books/children-s-books/-edmund-dulac-illustrator-laurence-housman-stories-from-the-arabian-nights-london-et-al-hodder/a/201344-91049.s">Stories from the Arabian Nights</a> (1907)</span></div><br />
<br />
<b>Laurence Housman</b> (1865-1959) – [4 vols: 1907-14] (English)<br />
<br />
<li>Housman, Laurence. <i>Stories from the Arabian Nights</i>. Illustrated by Edmund Dulac. 1907. New York: Doran, n.d.</li>
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<li>Housman, Laurence. <span style="font-style: italic;">Sindbad the Sailor and Other Stories from the Arabian Nights</span>. Illustrated by Edmund Dulac. 1907. Weathervane Books. New York: Crown Publishers, Inc., 1978.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSrL2wN_JsdAUxDFAQPQkDg-5nW2yox83L8n09vrxUIwoxS7ZIl1dWgS66ZFSm5raztErqNoG7wr53Vc-0R7nM3DIRyegW8lDvyXTxNnFqat-tRRqt0MlexqOQQeDNaXkD_FrpLw/s1600/littmann.jpeg" imageanchor="1"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSrL2wN_JsdAUxDFAQPQkDg-5nW2yox83L8n09vrxUIwoxS7ZIl1dWgS66ZFSm5raztErqNoG7wr53Vc-0R7nM3DIRyegW8lDvyXTxNnFqat-tRRqt0MlexqOQQeDNaXkD_FrpLw/s400/littmann.jpeg" width="400" /></a><br />
<span style="font-size: 85%;"><a href="http://www.buecher.de/shop/tausendundeine-nacht/die-erzaehlungen-aus-den-tausendundein-naechten/buch-mit-leinen-einband/products_products/detail/prod_id/12741828/">Littmann's Translation</a> (1921-28)</span></div>
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<br />
<b>Enno Littmann</b> (1875-1958) – [6 vols: 1921-28] (German)<br />
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<li>Littmann, Enno, trans. <i>Die Erzählungen aus den Tausendundein Nächten: Vollständige deutsche Ausgabe in zwölf Teilbänden zum ersten mal nach dem arabischen Urtext der Calcuttaer Ausgabe aus dem Jahre 1839 übertragen von Enno Littmann</i>. 1921-28. 2nd ed. 1953. 6 vols in 12. Frankfurt am Main: Insel Verlag, 1976.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjcZnY4cfUcnPtPH5zw9UjgEq8fEEOQh1KHQsA5vquLhL3h_oJjo4EwFym-3GYMzeJtg8TQhYoFv-7n4E7AAyCpqwqyp1d1PQzbLndOR80RrOYsxcfQU8kJL73j0HZaAY3wpUf/s300/md30863175651.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="225" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjcZnY4cfUcnPtPH5zw9UjgEq8fEEOQh1KHQsA5vquLhL3h_oJjo4EwFym-3GYMzeJtg8TQhYoFv-7n4E7AAyCpqwqyp1d1PQzbLndOR80RrOYsxcfQU8kJL73j0HZaAY3wpUf/s400/md30863175651.jpg"/></a><br />
<span style="font-size: 85%;">Enno Littmann: <a href="https://www.zvab.com/buch-suchen/isbn/3458319247/">Die Erzählungen aus den Tausendundein Nächten</a> (1976)</span></div><br />
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<li>Littmann, Enno, trans. <i>Geschichten der Liebe aus den 1001 Nächten: Aus dem arabischen Urtext übertragen von Enno Littmann</i>. Frankfurt am Main: Insel Verlag, 1973.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu5wpEXGUfmEs8GXw082QRgYo_Y0hlAc430bOkkXv-p1l4z1_16iC5c4uwKPxD8q48BzHKB5_rbvKKP_T84sN9uRRBZLQEhPD24eGkF41MShVlqYupmTfV7W4VFWS_xS5h3pte/s1200/42214.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="1200" data-original-width="900" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu5wpEXGUfmEs8GXw082QRgYo_Y0hlAc430bOkkXv-p1l4z1_16iC5c4uwKPxD8q48BzHKB5_rbvKKP_T84sN9uRRBZLQEhPD24eGkF41MShVlqYupmTfV7W4VFWS_xS5h3pte/s600/42214.jpg"/></a><br />
<span style="font-size: 85%;">Felix Tauer: <a href="https://antikvariat-brno.cz/kniha/17007-tisic-a-jedna-noc-1-2-3-4-5-2001">Tisíc a Jedna Noc</a> (2001)</span></div><br />
<br />
<b>Felix Tauer</b> (1893-1981) – [5 vols: 1928-34] (Czech & German)<br />
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<li>Tauer, Felix, trans. <i>Tisíc a Jedna Noc</i>. 1928-34. 5 vols. 1973. Praha: Ikar, 2001.</li>
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<li>Tauer, Felix, trans. <i>Erotische Geschichten aus den tausendundein Nächten: Aus dem arabischen Urtext der Wortley Montague-Handschrift übertragen und herausgegeben von Felix Tauer</i>. 1966. Frankfurt am Main: Insel Verlag, 1983.</li>
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<li>Tauer, Felix, trans. <i>Neue Erzählungen aus den Tausendundein Nächten: Die in anderen Versionen von »1001 Nacht« nicht enthaltenen Geschichten der Wortley-Montague-Handschrift der Oxforder Bodleian Library; Aus dem arabischen Urtext vollständig übertragen und erläutert von Felix Tauer</i>. 2 vols. 1982. Frankfurt am Main: Insel Verlag, 1989.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmkuY_9PIrem2F63woU3gC3lksbraWXey6wl_VJ6I_XDwFSoOjLZA7uc0WccgDSPj-bQV58GXa0sJ-7WqVauGUMGUOJpoy6TPGGxVLzeYgvo9Gdo_ap_XwO3j-HOZf3fOaJgt0/s302/267277.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="302" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmkuY_9PIrem2F63woU3gC3lksbraWXey6wl_VJ6I_XDwFSoOjLZA7uc0WccgDSPj-bQV58GXa0sJ-7WqVauGUMGUOJpoy6TPGGxVLzeYgvo9Gdo_ap_XwO3j-HOZf3fOaJgt0/s400/267277.jpg"/></a><br />
<span style="font-size: 85%;">Михаил Салье: <a href="https://fantlab.ru/edition267277">Тысяча и одна ночь. Книга первая: Ночи 1-270</a> (2000)</span></div><br />
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<b>Mikhail Alexandrovich Salye</b> (1899-1961) – [8 vols: 1929-36] (Russian)<br />
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<li>Salye, M. A., trans. <span style="font-style: italic;">Тысяча и Одна Ночь. Vol 1: Nights 1-107</span>. 1929-36. 6 vols. Санкт-Петербург: «Кристалл», 2000.</li>
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<li>Salye, M. A., trans. <span style="font-style: italic;">Тысяча и Одна Ночь. Vol 2: Nights 108-270</span>. 1929-36. 6 vols. Санкт-Петербург: «Кристалл», 2000.</li>
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<li>Salye, M. A., trans. <span style="font-style: italic;">Тысяча и Одна Ночь. Vol 3: Nights 271-468</span>. 1929-36. 6 vols. Санкт-Петербург: «Кристалл», 2000.</li>
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<li>Salye, M. A., trans. <span style="font-style: italic;">Тысяча и Одна Ночь. Vol 5: Nights 681-845</span>. 1929-36. 6 vols. Санкт-Петербург: «Кристалл», 2000.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThlfJr1Fpo6A6MyBwDwiQYTtppYmWE1zvIOlSeTPDen-yw0OTpSEiTGSh5D0YkUL6aIRIhnHeNIY4v7YSd-UNFqWTx-lDxqKpRw8Gk6FalyWz5Wf1s2th9zqmv5AzO9Bo-ir0KQ/s1600/gabrieli.jpeg" imageanchor="1"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThlfJr1Fpo6A6MyBwDwiQYTtppYmWE1zvIOlSeTPDen-yw0OTpSEiTGSh5D0YkUL6aIRIhnHeNIY4v7YSd-UNFqWTx-lDxqKpRw8Gk6FalyWz5Wf1s2th9zqmv5AzO9Bo-ir0KQ/s400/gabrieli.jpeg" width="400" /></a><br />
<span style="font-size: 85%;"><a href="http://www.orientalistica.it/?p=7652">Gabrieli's Translation</a> (1948)</span></div><br />
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<b>Francesco Gabrieli</b> (1904-1996) – [4 vols: 1948] (Italian)<br />
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<li>Gabrieli, Francesco, ed. <i>Le mille e una notte: Prima versione integrale dall’arabo</i>. Trans. Francesco Gabrieli, Antonio Cesaro, Constantino Pansera, Umberto Rizzitano and Virginia Vacca. 1948. Gli struzzi 35. 4 vols. Torino: Einaudi, 1972.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDUtAUq0mX2xRuiJYhobmsznLmTwa5yNYYuyRrWJl-NnG0tpgGNU2xto3JOYnwAWX9KsPp7eQOzweScEhElD56E7qB-pjYrJPDsohCXo4_oX3vaScSELTbWN5CLHBNDCPt0zX/s500/md8469909500.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="500" data-original-width="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDUtAUq0mX2xRuiJYhobmsznLmTwa5yNYYuyRrWJl-NnG0tpgGNU2xto3JOYnwAWX9KsPp7eQOzweScEhElD56E7qB-pjYrJPDsohCXo4_oX3vaScSELTbWN5CLHBNDCPt0zX/s400/md8469909500.jpg"/></a><br />
<span style="font-size: 85%;">Francesco Gabrieli: <a href="https://www.abebooks.com/MILLE-NOTTE-Volume-Prima-Versione-Integrale/8469909500/bd">Le mille e una notte</a> (vol. 2: 1980)</span></div><br />
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<li>Faccioli, Emilio, ed. <i>Le mille e una notte: Scelta di racconti. Dall’edizione integrale diretta da Francesco Gabrieli</i>. Letture per la Scuola Media 56. Torino: Einaudi, 1980.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCgs5jWYEXXfkxmzBxwv9aWM_-c7TDkqYOD4bY5XyOwoGUpCyjc-BpkGsT2E4uzh5t4h2EtLl5fp8RXN7wT_KMNJGFrZ7ZnGk5RJZjEsHTdIdUZ8sT0fnBy38S8yQU4_Zl4kfL/s556/arberry-schehrezade.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="556" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCgs5jWYEXXfkxmzBxwv9aWM_-c7TDkqYOD4bY5XyOwoGUpCyjc-BpkGsT2E4uzh5t4h2EtLl5fp8RXN7wT_KMNJGFrZ7ZnGk5RJZjEsHTdIdUZ8sT0fnBy38S8yQU4_Zl4kfL/s600/arberry-schehrezade.jpg"/></a><br />
<span style="font-size: 85%;">A. J. Arberry: <a href="https://www.gohd.com.sg/shop/scheherezade-tales-from-the-1001-nights-a-j-arberry-1953-1st-ed/">Scheherazade</a> (1953)</span></div>
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<br />
<b>Arthur John Arberry</b> (1905-1969) – [1 vol: 1953] (English)<br />
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<li>Arberry, A. J., trans. <i>Scheherazade: Tales from the Thousand and One Nights</i>. London: Allen and Unwin, 1953.</li>
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<li>Arberry, A. J., trans. <span style="font-style: italic;">Scheherazade: Tales from the Thousand and One Nights</span>. Illustrations by Asgeir Scott. 1953. A Mentor Book. New York: New American Library, 1955.</li><br />
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn9Btb1Qbz4hjOuM60nlzCJ3hoGmKFzz_L0BD_bxUzpIxbEMwVZ9-F38jenqNzL_yuV5O7Bq1z6Ut84aahZq4fGTPdl2wY3NaEgVrVP1PP9Puvmyk8qxxm1ULkx2cKt62dt8d-/s321/md30906319666.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="321" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn9Btb1Qbz4hjOuM60nlzCJ3hoGmKFzz_L0BD_bxUzpIxbEMwVZ9-F38jenqNzL_yuV5O7Bq1z6Ut84aahZq4fGTPdl2wY3NaEgVrVP1PP9Puvmyk8qxxm1ULkx2cKt62dt8d-/s400/md30906319666.jpg"/></a><br />
<span style="font-size: 85%;">Rafael Cansinos Asséns: <a href="https://www.abebooks.com/servlet/BookDetailsPL?bi=30906319666&searchurl=an%3Drafael%2Bcansinos%26sortby%3D17%26tn%3Dmil%2Bnoches&cm_sp=snippet-_-srp1-_-image9">Libro de las mil y una noches</a> (3 vols: 1990)</span></div><br />
<br />
<b>Rafael Cansinos-Asséns</b> (1882-1964) – [3 vols: 1954-55] (Spanish)<br />
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<li>Cansinos Asséns, Rafael, trans. <i>Libro de las mil y una noches, por primera vez puestas en castellano del árabe original. Prologadas, anotadas y cotejadas con las principales versiones en otras lenguas y en la vernácula por Rafael Cansinos Asséns</i>. 3 vols. 1954-55. Mexico: Aguilar, 1990.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxF1o4mpWOt2sZ45kW64QECCqLBzQU9yokHquKG5EGsfg7cs3CL-ECRINgNIovjeScNGnSDn0HP191GmO2f_2X_HmfYII_aHJJ7QhwJMnJE6Wq0Ii_Mcs9FkhEIWuxKBXLPuj/s800/libro-de-las-mil-y-una-noches-por-primera-vez-puestas-en-castellano-del-arabe-original-por-cansinos-assens-1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="800" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxF1o4mpWOt2sZ45kW64QECCqLBzQU9yokHquKG5EGsfg7cs3CL-ECRINgNIovjeScNGnSDn0HP191GmO2f_2X_HmfYII_aHJJ7QhwJMnJE6Wq0Ii_Mcs9FkhEIWuxKBXLPuj/s400/libro-de-las-mil-y-una-noches-por-primera-vez-puestas-en-castellano-del-arabe-original-por-cansinos-assens-1.jpg"/></a><br />
<span style="font-size: 85%;">Rafael Cansinos Asséns: <a href="https://www.abebooks.fr/Libro-Mil-Noches-Primera-Vez-Puestas/22799186711/bd">Libro de las mil y una noches</a> (1961)</span></div><br />
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnQ9RF3_rwNlXiJNqpR9uBvVKmfexkdRGvXdGBTU5b-oJL6Ker-L0XTzBZ91Qe8BYwSx-osRbCe4PMtA0JpOfZvEsWqwiP11toHDTlAF06KjkEuyQB4FuUPZCHJYFHWAS5fpiRvQ/s1600/dawood.jpeg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnQ9RF3_rwNlXiJNqpR9uBvVKmfexkdRGvXdGBTU5b-oJL6Ker-L0XTzBZ91Qe8BYwSx-osRbCe4PMtA0JpOfZvEsWqwiP11toHDTlAF06KjkEuyQB4FuUPZCHJYFHWAS5fpiRvQ/s400/dawood.jpeg" width="245" /></a><br />
<span style="font-size: 85%;"><a href="https://nz.pinterest.com/uncommonbooks/arabian-nights-thousand-and-one-nights/">Dawood's Translation</a> (1954-57)</span></div>
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<br />
<b>Nessim Joseph Dawood</b> (1927-2014) – [2 vols: 1954-57] (English)<br />
<br />
<li>Dawood, N. J., trans. <i>The Thousand and One Nights: The Hunchback, Sindbad, and Other Tales</i>. Penguin 1001. 1954. Penguin Classics L64. Harmondsworth: Penguin, 1955.</li>
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<li>Dawood, N. J., trans. <i>Aladdin and Other Tales from The Thousand and One Nights</i>. Penguin Classics L71. Harmondsworth: Penguin, 1957.</li>
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<li>Dawood, N. J., trans. <i>Tales from the Thousand and One Nights</i>. 1954-57. 2nd ed. 1973. Harmondsworth: Penguin, 1982.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbFeTtPBHVU5vV3drf-y1W27FhFpeHarRhNz1l-89RerNmFh4mK4alMoS42NDHF9s_2QzjPn-BUrFnHTeyv5Zj-w4sFso4NAdBIaJ_SwzVDtubwdDW_IvGfeTNb2T0mzXalRmm/s458/las-mil-y-una-noches-2-tomos.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="458" data-original-width="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbFeTtPBHVU5vV3drf-y1W27FhFpeHarRhNz1l-89RerNmFh4mK4alMoS42NDHF9s_2QzjPn-BUrFnHTeyv5Zj-w4sFso4NAdBIaJ_SwzVDtubwdDW_IvGfeTNb2T0mzXalRmm/s400/las-mil-y-una-noches-2-tomos.jpg"/></a><br />
<span style="font-size: 85%;">Juan Vernet: <a href="https://reciclajegranada.com/es/narrativa-extranjera/13255-las-mil-y-una-noches-2-tomos.html">Las mil y una noches</a> (3 vols: 1968)</span></div><br />
<br />
<b>Juan Vernet i Ginés</b> (1923-2011) – [3 vols: 1964-67] (Spanish)<br />
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<li>Vernet, Juan, trans. <i>Las Mil y Una Noches</i>. 3 vols. Clásicos Planeta. Barcelona, Editorial Planeta, 1964-67.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYV06IEGVITkVnNgVYqz_x7XAuK5kVx6-F6WcgDSCGrqFm6x3uxx1LVjrOFZX3VQcZD2RqUbZUc1sCpny5l6QJABTB5OVprrBRdG27EzK0qzDv09s7uhQRqr5L4GQHnbJ6akpl/s475/getimage.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="475" data-original-width="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYV06IEGVITkVnNgVYqz_x7XAuK5kVx6-F6WcgDSCGrqFm6x3uxx1LVjrOFZX3VQcZD2RqUbZUc1sCpny5l6QJABTB5OVprrBRdG27EzK0qzDv09s7uhQRqr5L4GQHnbJ6akpl/s400/getimage.png"/></a><br />
<span style="font-size: 85%;">René Khawam: <a href="https://mediatheques.if-maroc.org/index.php?lvl=author_see&id=24958&page=2&nbr_lignes=32&l_typdoc=a">Les Mille et une nuits</a> (2001)</span></div><br />
<br />
<b>René R. Khawam</b> (1917-2004) – [7 vols: 1965-67 & 1985-88] (French)<br />
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<li>Khawam, René R., trans. <i>Les Mille et une nuits. Traduction Nouvelle et Complète faite sur les Manuscrits par René R. Khawam</i>. 4 Vols. Paris: Editions Albin Michel, 1965-67.</li>
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<li>Khawam, René R., trans. <i>Les Mille et une nuits</i>. 4 vols. 1965-67. 2nd ed. 1986. Paris: Presses Pocket, 1989.</li>
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<li>Khawam, René R., trans. <i>Les Aventures de Sindbad le Marin</i>. Paris: Phébus, 1985.</li>
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<li>Khawam, René R., trans. <i>Les Aventures de Sindbad le Terrien</i>. Paris: Phébus, 1986.</li>
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<li>Khawam, René R., trans. <i>Le Roman d’Aladin</i>. Paris: Phébus, 1988.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8sWVRpU8ScOZmw2Sa1UKgAaDDy1RJxg-RGW58yZ-cGKxcoulaJ4uzqBRBhI5msNUpfZtnGTh4A1OgC3lTxCBNnRy_tnT8pRKc8G3OHMLyX6M9VU_byqrhosscof7cxwj_FFXU/s959/56198646.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="959" data-original-width="720" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8sWVRpU8ScOZmw2Sa1UKgAaDDy1RJxg-RGW58yZ-cGKxcoulaJ4uzqBRBhI5msNUpfZtnGTh4A1OgC3lTxCBNnRy_tnT8pRKc8G3OHMLyX6M9VU_byqrhosscof7cxwj_FFXU/s400/56198646.jpg"/></a><br />
<span style="font-size: 85%;">Gregorio Cantera: <a href="https://www.todocoleccion.net/libros-clasicos-segunda-mano/las-mil-una-noches-version-rene-r-khawam-edhasa-2007-primera-edicion~x56198646">Las Mil y Una Noches: Edición de René R. Khawam</a> (2007)</span></div><br />
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<li>Cantera, Gregorio, trans. <i>Las mil y una noches: Versión de René R. Khawam</i>. Barcelona, Edhasa, 2007.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJy-DefkQNRa1t7wJ9Qur3-Zrb7n5areOB3i9fPaoVfSgtaZRuHwmyLYnakATjLC39uzt3EFyFEMnp4vLG-6P88NIPTdMVl2m3YFCO16odELBGTGQseq-qSPAP9V6qRVHTaDce/s314/1338716189.0.m.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="314" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJy-DefkQNRa1t7wJ9Qur3-Zrb7n5areOB3i9fPaoVfSgtaZRuHwmyLYnakATjLC39uzt3EFyFEMnp4vLG-6P88NIPTdMVl2m3YFCO16odELBGTGQseq-qSPAP9V6qRVHTaDce/s400/1338716189.0.m.jpg"/></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTrP8TN0cjyFypQkbqvELf2ScuGwHWmH5FTXY7-MrpxkW_t3VnhSEuKvl42RJY-ciMQZK6qW-W4sTJMsvn7C4ppO2D1c1W_zuyiaPdIr_q7vH2Ms3IcRzcnAEQaZPzmNyiZ0WY/s472/808725.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="472" data-original-width="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTrP8TN0cjyFypQkbqvELf2ScuGwHWmH5FTXY7-MrpxkW_t3VnhSEuKvl42RJY-ciMQZK6qW-W4sTJMsvn7C4ppO2D1c1W_zuyiaPdIr_q7vH2Ms3IcRzcnAEQaZPzmNyiZ0WY/s400/808725.jpg"/></a><br />
<span style="font-size: 85%;">Husain Haddawy: <a href="https://www.biblio.com/the-arabian-nights-by-husain-haddawy/work/1231085">The Arabian Nights</a> & <a href="https://www.goodreads.com/book/show/808725.The_Arabian_Nights_II">The Arabian Nights II</a> (1990 & 1995)</span></div><br />
<br />
<b>Husain Haddawy</b> (?) – [2 vols: 1990-95] (English)<br />
<br />
<li>Haddawy, Husain, trans. <span style="font-style: italic;">The Arabian Nights: Based on the Text of the Fourteenth-Century Syrian Manuscript edited by Muhsin Mahdi</span>. New York: W. W. Norton & Co., 1990.</li>
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<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsNjvEmLd6lMFeHNTfJg0Ca56Fl4828rF-q1NxpPe9W5y9wqkvwGKFnYUfZqCCFqEG0E21IY4O_2hvK3F_i70gR2EC24UTS1gKwQm2GtyWyGDZ79lGJU5WizPsORuibvXXZR7u4w/s1600/Haddawy.jpeg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsNjvEmLd6lMFeHNTfJg0Ca56Fl4828rF-q1NxpPe9W5y9wqkvwGKFnYUfZqCCFqEG0E21IY4O_2hvK3F_i70gR2EC24UTS1gKwQm2GtyWyGDZ79lGJU5WizPsORuibvXXZR7u4w/s400/Haddawy.jpeg" width="267" /></a><br />
<span style="font-size: 85%;"><a href="http://www.amazon.in/Arabian-Nights-Muhsin-Mahdi/dp/0393331660">Husain Haddawy's translation</a> (1990)</span></div>
<br />
<li>Haddawy, Husain, trans. <i>The Arabian Nights: Based on the Text of the Fourteenth-Century Syrian Manuscript edited by Muhsin Mahdi</i>. 1990. Everyman’s Library 87. London: David Campbell, 1992.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWZ4B1WEJS_DXCbtt92CGMrBA1BRAOVwm0Tpq6z_tW4uNdRp5jbWLs6Zbympo9t-sv7NKxDNaQxwBQXnpMv7Rge2XH38R-DFM0Xy0dD7E6h-f4SumrBMI22tSLV9R49mUyH2f8Rg/s1600/61M7GzgtQQL.jpeg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWZ4B1WEJS_DXCbtt92CGMrBA1BRAOVwm0Tpq6z_tW4uNdRp5jbWLs6Zbympo9t-sv7NKxDNaQxwBQXnpMv7Rge2XH38R-DFM0Xy0dD7E6h-f4SumrBMI22tSLV9R49mUyH2f8Rg/s400/61M7GzgtQQL.jpeg" width="266" /></a>
<br />
<span style="font-size: 85%;"><a href="http://www.amazon.in/Arabian-Nights-Muhsin-Mahdi/dp/0393331660">Husain Haddawy's translation II</a> (1995)</span></div>
<br />
<br />
<li>Haddawy, Husain, trans. <span style="font-style: italic;">The Arabian Nights II: Sindbad and Other Popular Stories</span>. New York: W. W. Norton & Co., 1995.</li>
<br />
<li>Heller-Roazen, Daniel, ed. <i>The Arabian Nights. The Husain Haddaway Translation Based on the Text Edited by Muhsin Mahdi: Contexts, Criticism</i>. 1990 & 1995. A Norton Critical Edition. New York & London: W. W. Norton & Company, 2010.</li>
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<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTz8NFLRjMfmvrtM5vVplJ4HaTRZairWwVRqhzhoLfwZb1mf9vyVwVBoiVURbpxmZg-bdCa_7ZfZFQtrydGzuuiBtxKbohJEbHiziY_Fsbea5lVXZ722iHJid4ektSjld1Ig4LaA/s1600/51KmwVTOfHL._SL500_SY316_BO1%252C204%252C203%252C200_.jpeg" imageanchor="1"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTz8NFLRjMfmvrtM5vVplJ4HaTRZairWwVRqhzhoLfwZb1mf9vyVwVBoiVURbpxmZg-bdCa_7ZfZFQtrydGzuuiBtxKbohJEbHiziY_Fsbea5lVXZ722iHJid4ektSjld1Ig4LaA/s400/51KmwVTOfHL._SL500_SY316_BO1%252C204%252C203%252C200_.jpeg" width="400" /></a><br />
<span style="font-size: 85%;"><a href="https://www.amazon.fr/Int%C3%A9grale-Pl%C3%A9iade-Mille-nuits-Album/dp/B0053CZF2S">Bencheikh & Miquel's Translation</a> (2005-7)</span></div>
<br />
<br />
<b>Jamel Eddine Bencheikh & André Miquel</b> (1930-2005 / 1929- ) – [10 vols: 1977-2001 & 2005-7] (French)<br />
<br />
<li>Miquel, André. <span style="font-style: italic;">Un Conte des Mille et Une Nuits: Ajîb et Gharîb (Traduction et perspectives d’analyse)</span>. Paris: Flammarion, 1977.</li>
<br />
<li>Miquel, André. <span style="font-style: italic;">Sept contes des Mille et Une Nuits, ou Il n’y a pas de contes innocents, suivi d’entretiens autour de Jamaleddine Bencheikh et Claude Brémond</span>. Paris: Sindbad, 1981.</li>
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<li>Bremond, Claude, ed. <i>Les Dames de Bagdad: Conte des Mille et une nuits</i>. Trans. André Miquel / Claude Bremond, A Chraïbi, A. Larue, and M. Sironval. <span style="font-style: italic;">La Nébuleuse du conte: Essai sur les premiers contes de Galland</span>. Paris: Desjonquères, 1991.</li>
<br />
<li>Bencheikh, Jamel Eddine, and André Miquel, ed. <i>Les Mille et Une Nuits: Contes choisis</i>. Trans. Jamel Eddine Bencheikh, André Miquel & Touhami Bencheikh. 2 vols. Folio 2256-57. Paris: Gallimard, 1991.</li>
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<li>Bencheikh, Jamel Eddine, and André Miquel, ed & trans. <i>Les Mille et Une Nuits: Contes choisis III</i>. Folio 2775. Paris: Gallimard, 1996.</li>
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<li>Bencheikh, Jamel Eddine, and André Miquel, ed & trans. <i>Sindbâd de la mer et autres contes des Mille et Une Nuits: Contes choisis IV</i>. Folio 3581. Paris: Gallimard, 2001.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm1kdNv4dRn0uDjpOw3Is9L6vMvZZv7A2Y9m7NxeXgsLclq7Hw2d-jQ_aGUA5uR2pQaMeGvUubT_4WiAe5hQRGoLDwOY67WVVfAmC61MlW0TmJ4Fo3i3a8CA6OaPdlOU33VoJV/s700/d2a603a2-9fc1-429e-a8dd-af288af386f2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="700" data-original-width="525" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm1kdNv4dRn0uDjpOw3Is9L6vMvZZv7A2Y9m7NxeXgsLclq7Hw2d-jQ_aGUA5uR2pQaMeGvUubT_4WiAe5hQRGoLDwOY67WVVfAmC61MlW0TmJ4Fo3i3a8CA6OaPdlOU33VoJV/s400/d2a603a2-9fc1-429e-a8dd-af288af386f2.jpg"/></a><br />
<span style="font-size: 85%;">Jamel Eddine Bencheikh & André Miquel: <a href="https://www.catawiki.eu/l/33201333-pleiade-les-mille-et-une-nuits-2006">Les Mille et Une Nuits</a> (2005-7)</span></div><br />
<br />
<li>Bencheikh, Jamel Eddine, and André Miquel, trans. <i>Les Mille et Une Nuits</i>. 3 vols. Bibliothèque de la Pléiade. Paris: Gallimard, 2005-7.</li>
<br />
<li><i>Album Mille et Une Nuits: Iconographie</i>. Choisie et commentée par Margaret Sironval. Albums de la Pléiade, 44. Bibliothèque de la Pléiade. Paris: Gallimard, 2005.</li>
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<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT178D7FaMpiZaA2479r6XUDZT9cQ-YTDi3aoyHnbI7kxSWp1WmL1YVxoe3v2eWjz14McsOyTF0cb2CfxvFfpTth7GpQNRiCAMh9EzG0HqXh40c4fyhhgYieHfI2fuXMiApuu4/s327/9780141198279.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="327" data-original-width="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT178D7FaMpiZaA2479r6XUDZT9cQ-YTDi3aoyHnbI7kxSWp1WmL1YVxoe3v2eWjz14McsOyTF0cb2CfxvFfpTth7GpQNRiCAMh9EzG0HqXh40c4fyhhgYieHfI2fuXMiApuu4/s400/9780141198279.jpg"/></a><br />
<span style="font-size: 85%;">Malcolm & Ursula Lyons: <a href="https://www.bookdepository.com/Arabian-Nights-Tales-1001-Nights-Giftset-Malcolm-Lyons/9780141198279">The Arabian Nights: Tales of 1001 Nights</a> (2008)</span></div><br />
<br />
<b>Prof. Malcolm C. & Dr. Ursula Lyons</b> (1929-2019 / ?-2016) – [3 vols: 2008] (English)<br />
<br />
<li>Lyons, Malcolm & Ursula, trans. <span style="font-style: italic;">The Arabian Nights: Tales of 1001 Nights</span>. Introduction by Robert Irwin. 3 vols. Penguin Classics Hardback. London: Penguin, 2008.</li>
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<div style="text-align: center;">
<br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcqxhXau_fJDnqf4o_-MfghW0Dk2KFtGiyf7um5lMdwELGm9z0ab_t-SxqAajQoq8pecPcASElVElWNbuM_PF6IU2NFLq8MDVhDeToKgaTliKzYoIp09wTy2qiENHNsgWh2g73Vw/s1600/Lyons.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 147px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcqxhXau_fJDnqf4o_-MfghW0Dk2KFtGiyf7um5lMdwELGm9z0ab_t-SxqAajQoq8pecPcASElVElWNbuM_PF6IU2NFLq8MDVhDeToKgaTliKzYoIp09wTy2qiENHNsgWh2g73Vw/s400/Lyons.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5549553777079851570" /></a><span style="font-size:85%;">Malcolm & Ursula Lyons: <span style="font-style:italic;">Three Tales from The Arabian Nights</span>.
Penguin Classics. London: Penguin, 2008.</span>
</div><br />
<br />
<li>Lyons, Malcolm & Ursula, trans. <i>Three Tales from The Arabian Nights</i>. Penguin Classics. London: Penguin, 2008.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJt7WJUzhma0uwW5L_hPDhO4xsxtA82KiCb7uuZV29XpTCaqhfYpcmTrohjK8-_q7N2lPnQAqIAD_U-nV7ekm7ycEEXphA4PFFOnG3H2ONqaXH-40GS4V7xgTJ-T-buh8ZfFiVcA/s1600/IMG_0152.JPG" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJt7WJUzhma0uwW5L_hPDhO4xsxtA82KiCb7uuZV29XpTCaqhfYpcmTrohjK8-_q7N2lPnQAqIAD_U-nV7ekm7ycEEXphA4PFFOnG3H2ONqaXH-40GS4V7xgTJ-T-buh8ZfFiVcA/s400/IMG_0152.JPG" width="300" /></a><br />
<span style="font-size: 85%;">The Lyons' Translation (2008)</span></div><br />
<br />
<li>Lyons, Malcolm & Ursula, trans. <span style="font-style: italic;">The Arabian Nights: Tales of 1001 Nights. Volume 1: Nights 1 to 294</span>. Introduction by Robert Irwin. 3 vols. 2008. Penguin Classics. Harmondsworth: Penguin, 2010.</li>
<br />
<li>Lyons, Malcolm & Ursula, trans. <span style="font-style: italic;">The Arabian Nights: Tales of 1001 Nights. Volume 2: Nights 295 to 719</span>. Introduced & Annotated by Robert Irwin. 3 vols. 2008. Penguin Classics. Harmondsworth: Penguin, 2010.</li>
<br />
<li>Lyons, Malcolm & Ursula, trans. <span style="font-style: italic;">The Arabian Nights: Tales of 1001 Nights. Volume 3: Nights 719 to 1001</span>. Introduction by Robert Irwin. 3 vols. 2008. Penguin Classics. Harmondsworth: Penguin, 2010.</li>
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<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEJKcJhPfk8VB8T2Dr9V5RsEWtOkXj-4zpQMLM7I_zNR2uzoZzIJ1YZBGIyGw0gybINpzb1UJdAuw_Ls3isGlFoC-U3RGugPJdAuUeb44EQ1Z1j_KAkHwo-aDb9HcBqQFkUGPC/s768/Mil-y-una-noches.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="768" data-original-width="553" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEJKcJhPfk8VB8T2Dr9V5RsEWtOkXj-4zpQMLM7I_zNR2uzoZzIJ1YZBGIyGw0gybINpzb1UJdAuw_Ls3isGlFoC-U3RGugPJdAuUeb44EQ1Z1j_KAkHwo-aDb9HcBqQFkUGPC/s600/Mil-y-una-noches.jpg"/></a><br />
<span style="font-size: 85%;">Salvador Peña Martín: <a href="https://www.estandarte.com/noticias/libros/clasica/las-mil-y-una-noches_3901.html">Mil y una noches</a> (2016)</span></div><br />
<br />
<b>Salvador Peña Martín</b> (1958- ) – [4 vols: 2016] (Spanish)<br />
<br />
<li>Peña Martín, Salvador, trans. <i>Mil y una noches</i>. 4 vols. 2016. Madrid: Editorial Verbum, 2018.</li><br />
<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD13Jsw2Im78qxQFLo_sl8gn0XZRPNm0FjS4mOAjNWMDeyuPgFkeAjDuw2UrIFakhKFBkoOSFpf6pdlUoQQXXwawXFxMyfNLt-shledsZtT7dQgI5wf_oVvVyiPRAeEeURoLvP/s2048/81e5YAjx6GL.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="2048" data-original-width="1544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD13Jsw2Im78qxQFLo_sl8gn0XZRPNm0FjS4mOAjNWMDeyuPgFkeAjDuw2UrIFakhKFBkoOSFpf6pdlUoQQXXwawXFxMyfNLt-shledsZtT7dQgI5wf_oVvVyiPRAeEeURoLvP/s400/81e5YAjx6GL.jpg"/></a><br />
<span style="font-size: 85%;">Salvador Peña Martín: <a href="https://www.amazon.com/NOCHES-COMPLETA-TRADUCCION-SALVADOR-MARTIN/dp/8490746168">Mil y una noches</a> (2016)</span></div><br />
<br />
<b>Miscellaneous</b><br />
<br />
<li>Blyton, Enid. <i>Tales from the Arabian Nights</i>. Illustrated by Anne & Janet Johnstone. 1951. London: Latimer House, 1956.</li>
<br />
<li>Bull, René, illus. <span style="font-style: italic;">The Arabian Nights</span>. Children’s Classics. Bath: Robert Frederick, 1994.</li>
<br />
<li>Chraibi, Aboubakr. <i>Contes nouveaux des 1001 nuits: Étude du manuscript Reinhardt</i>. Paris: J. Maisonneuve, 1996.</li>
<br />
<li>Gauttier, Edouard, trans. <i>Les Mille et une nuits, contes arabes, traduits en français par Galland. Nouvelle édition revue ... avec les continuations et plusieurs contes, traduits pour la première fois du persan, du turc et de l’arabe</i>. 7 vols. Paris: Société de traduction, 1822-23.</li>
<br />
<li>Greve, Felix Paul, trans. <i>Die Erzählungen aus den Tausend und ein Nächten. Vollständige deutsche Ausgabe ... aug Grund der Burton’schen englischen Ausgabe</i>. 12 vols. Leipzig: Insel, 1907-08.</li>
<br />
<li>Guerne, A., trans. <i>Les Mille et Une Nuits</i>. 6 vols. Paris, 1966.</li>
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<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZnpkRYVmceuHDOnTFUNhMuQNUhwoUur0ZUO6F5bKbvROgbM4ZXHTVIKFb4vSJ5vjnrCEhpIySD4bB7MxXO-k-ljd_M7T177m3r3cyTwQvDX19i3hKI_ePIsrb0h1433bJTtRb/s1600/89fe0753871174df7dd4dfd6addc4efc.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="1170" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZnpkRYVmceuHDOnTFUNhMuQNUhwoUur0ZUO6F5bKbvROgbM4ZXHTVIKFb4vSJ5vjnrCEhpIySD4bB7MxXO-k-ljd_M7T177m3r3cyTwQvDX19i3hKI_ePIsrb0h1433bJTtRb/s400/89fe0753871174df7dd4dfd6addc4efc.jpg"/></a><br />
<span style="font-size: 85%;">Gutiérrez-Larraya & Leonor Martínez: <a href="https://www.pinterest.com.mx/pin/287737863670856302/">Las Mil y Una Noches</a> (2014)</span></div><br />
<br />
<li>Gutiérrez-Larraya, Juan Antonio & Leonor Martínez Martín, trans. <i>Las mil y una noches</i>. 3 vols. Barcelona: Argos Vergara, 1965.</li>
<br />
<li>Hanley, Sylvanus. <i>Caliphs and Sultans, Being Tales Omitted in the Usual Editions of the Arabian Nights Entertainments; rewritten and rearranged</i>. London: L. Reeve, 1868.</li>
<br />
<li>Kirby, W. F. <i>The New Arabian Nights. Select Tales, not included by Galland or Lane</i>. London: W. Swan Sonnenschein, 1882.</li>
<br />
<li>Ouyang, Wen-Ching, & Paulo Lemos Horta, ed. <i>The Arabian Nights: An Anthology</i>. Everyman’s Library 361. A Borzoi Book. New York: Alfred A. Knopf, 2014.</li>
<br />
<div style="text-align: center;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNqq_L-kwnan8kOKlvG1UVCBA9yoIlkCOHhfgUcVa0ACTVO8oZ0otegSqPmFcUvndlT17dOUMhRERKA4TjCqMT9y8QwaZwtsW1s5WDgHXQm3LrsLq8hHEQ5i7GbKv1wpgVct6W/s499/61WhWMf3UfL._SX312_BO1%252C204%252C203%252C200_.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="499" data-original-width="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNqq_L-kwnan8kOKlvG1UVCBA9yoIlkCOHhfgUcVa0ACTVO8oZ0otegSqPmFcUvndlT17dOUMhRERKA4TjCqMT9y8QwaZwtsW1s5WDgHXQm3LrsLq8hHEQ5i7GbKv1wpgVct6W/s400/61WhWMf3UfL._SX312_BO1%252C204%252C203%252C200_.jpg"/></a><br />
<span style="font-size: 85%;">Julio Samsó: <a href="https://www.amazon.com/Antolog%C3%ADa-las-Mil-una-noches/dp/8420615994">Antología de Las Mil y Una Noches</a> (1995)</span></div><br />
<br />
<li>Samsó, Julio, trans. <i>Antología de Las Mil y Una Noches</i>. Libro de Bolsillo: Clásicos 599. Madrid: Alianza Editorial, 1975.</li>
<br />
<li>Scott, Anne, ed. <i>Tales from the Arabian Nights</i>. Retold by Vladimir Hulpach. Trans. Vera Gissing. Illustrated by Mária Zelibská. London: Cathay Books, 1981.</li>
<br />
<li>Wiggin, Kate Douglas & Nora A. Smith, eds. <i>The Arabian Nights: Their Best-Known Tales.</i> Illustrated by Maxfield Parrish. New York: Quality Paperback Book Club, 1996.</li>
<br />
<li>Williams-Ellis, Amabel. <i>The Arabian Nights Stories Retold</i>. 1957. London: Blackie, 1972.</li>
<br />
</ol><br />
<br />
<div align="center">
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<b><span style="font-size: 130%;">•</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNjKUeLxjQX11eue6Bjyc35JZGFWVFxHdDtvdXMfj6kjKjGkgVlhct_GQ5cE9OIhYtLm85q8DMAJrrYVoqXCR_M_HdecDzFlpqevh6r5_akCJ_94faxrgmBJdCjEWJFtNNlEo0UQ/s1600/IMG_0149.JPG" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNjKUeLxjQX11eue6Bjyc35JZGFWVFxHdDtvdXMfj6kjKjGkgVlhct_GQ5cE9OIhYtLm85q8DMAJrrYVoqXCR_M_HdecDzFlpqevh6r5_akCJ_94faxrgmBJdCjEWJFtNNlEo0UQ/s400/IMG_0149.JPG" width="300" /></a><br />
<span style="font-size: 85%;">Bronwyn Lloyd: <i>Arabian Nights</i> bookcase (3/2/17)</span><br />
<br />
<b><span style="font-size: 180%;">Cognate Collections</span></b></div><br />
<br />
<ol>
<b><span style="font-size: 130%;">Arabic:</span></b><br />
<br /><ol>
<li><b>Muhammad Diyab al-Atlidi</b> (c.17th century)</li>
<li><b>Al-Hariri of Basra</b> (1054-1122)</li>
<li><b>Al-Mas'udi</b> (c.896-956)</li>
<li><b>'Antar</b> (525-608)</li>
<li><b>Ahmad Ibrahim Faqih</b> (1942-2019)</li>
<li><b>A Hundred and One Nights [Kitâb Fîhi Hadîth Mi'a Layla wa-Layla]</b> (c.1235)</li>
<li><b>Kalīla wa-Dimna</b> (c.8th century)</li>
<li><b>Naguib Mahfouz</b> (1911-2006)</li>
<li><b>Muhammad ibn Muhammad al-Nefzawi</b> (c.15th century)</li>
<li><b>Anthologies & Secondary Literature</b></li>
</ol>
<br /><hr align="left" noshade="noshade" size="1" width="70%" />
<br /><b>Muhammad Diyab al-Atlidi</b> (c.17th century)<br /><br />
<li>Clerk, Mrs. Godfrey, trans. <span style="font-style: italic;">Ilâm-en-Nâs. Historical Tales and Anecdotes of the Time of the Early Kalîfahs</span>. London: Henry S. King, 1873.</li>
<br /><br /><b>Al-Hariri of Basra [Abū Muhammad al-Qāsim ibn Alī ibn Muhammad ibn Uthmān al-Harīrī]</b> (1054-1122)<br /><br />
<li>Shah, Amina, trans. <span style="font-style: italic;">The Assemblies of Al-Hariri: Fifty Encounters with the Shaykh Abu Zayd of Seruj</span>. London: The Octagon Press, 1980.</li>
<br /><br /><b>Al-Mas'udi [ʾAbū al-Ḥasan ʿAlī ibn al-Ḥusayn ibn ʿAlī al-Masʿūdī]</b> (c.896-956)<br /><br />
<li>Mas'ūdī. From <i>The Meadows of Gold</i>. Trans. Paul Lunde & Caroline Stone. Penguin Great Journeys, 2. London: Penguin, 2007.</li>
<br /><br /><b>'Antar [Antarah ibn Shaddad al-Absi]</b> (525-608)<br /><br />
<li>Richmond, Diana. <span style="font-style: italic;">’Antar and ’Abla, A Bedouin Romance: Rewritten and Arranged by Diana Richmond</span>. London: Quartet Books, 1978.</li>
<br /><br /><b>Ahmed Ibrahim al-Fagih</b> [’áħmad 'Ibrāhīm al-faqīh] (1942-2019)<br /><br />
<li>Faqih, Ahmad. <span style="font-style: italic;">Gardens of the Night: A Trilogy</span>. Trans. Russell Harris, Amin al-Ayouti & Suraya Allam. London: Quartet Books, 1995.</li>
<br /><br /><b>A Hundred and One Nights [Kitâb Fîhi Hadîth Mi'a Layla wa-Layla]</b> (c.1235)<br /><br />
<li>Gaudefroy-Demombynes, M., trans. <span style="font-style: italic;">Les Cent et une Nuits</span>. 1911. Bibliothèque Arabe. Paris: Sinbad, 1982.</li>
<br /><br /><b>Kalīla wa-Dimna</b> (c.8th century)<br /><br />
<li>Benalmocaffa, Abdalá. <span style="font-style: italic;">Calila y Dimna</span>. Introducción, traducción y notas de Marcelino Villegas. Libro de Bolsillo: Clásicos 1512. Madrid: Alianza Editorial, 1991.</li>
<br />
<li><span style="font-style: italic;">Kalila and Dimna: Selected Fables of Bidpai</span>. Retold by Ramsay Wood. Introduction by Doris Lessing. 1980. London: Granada, 1982.</li>
<br /><br /><b>Naguib Mahfouz [Najīb Maḥfūẓ]</b> (1911-2006)<br /><br />
<li>Mahfouz, Naguib. <span style="font-style: italic;">Arabian Nights and Days</span>. 1982. Trans. Denys Johnson-Davies. New York: Doubleday, 1995.</li>
<br /><br /><b>Muhammad ibn Muhammad al-Nefzawi</b> (c.15th century)<br /><br />
<li>Nefzawi, Shaykh. <span style="font-style: italic;">The Perfumed Garden</span>. Trans. Richard F. Burton. 1886. Ed. Alan Hull Walton. 1963. London: Panther, 1966.</li>
<br />
<li>Nefzawi, Shaykh. <span style="font-style: italic;">The Glory of the Perfumed Garden: The Missing Flowers. An English Translation from the Arabic of the Second and Hitherto Unpublished Part of Shaykh Nafzawi’s Perfumed Garden</span>. Trans. H. E. J. 1975. London: Granada, 1978.</li>
<br /><br /><b>Anthologies & Secondary Literature</b><br /><br />
<li>Besson, Gisèle, and Michèle Brossard-André, trans. <i>Le Livre de l’échelle de Mahomet: Liber Scale Machometi</i>. Préface de Roger Arnaldez. Lettres Gothiques. Paris: Livre de Poche, 1991.</li>
<br />
<li>Irwin, Robert. <span style="font-style: italic;">Night & Horses & The Desert: An Anthology of Classical Arabic Literature</span>. Harmondsworth: Allen Lane the Penguin Press, 1999.</li>
<br />
<li>Kritzeck, James, ed. <i>Anthology of Islamic Literature: From the Rise of Islam to Modern Times</i>. Harmondsworth: Pelican Books, 1964</li>
<br />
<li>Lewis, Bernard. <i>The Assassins: A Radical Sect in Islam</i>. 1967. Preface by the Author. 2003. London: The Folio Society, 2006.</li>
<br />
<li>Lichtenstadtler, Ilse. <span style="font-style: italic;">Introduction to Classical Arabic Literature, with Selections from representative Works in English Translation</span>. 1974. New York: Schocken Books, 1976.</li>
<br />
<li>Lyons, Malcom C., trans. <i>Tales of the Marvellous and News of the Strange</i>. Introduction by Robert Irwin. Penguin Classics. 2014. London: Penguin Random House UK, 2015.</li>
<br />
<li>Mardrus, Dr J. C. <i>The Queen of Sheba: Translated into French from his own Arabic Text</i>. Trans. E. Powys Mathers. London: The Casanova Society, n.d. [1924].</li>
<br />
<li>Ullah, Najib. <i>Islamic Literature: An Introductory History with Selections</i>. New York: Washington Square P, 1963.</li>
<br />
<div style="text-align: center;">
<br />
<b><span style="font-size: 130%;">•</span></b></div><br />
<br />
<b><span style="font-size: 130%;">Indian:</span></b><br />
<br /><ol>
<li><b>Mir Amman</b> (c.17th century-18th century)</li>
<li><b>The Jātaka Tales</b> (c.5th century)</li>
<li><b>Kalyana Malla</b> (c.15th-16th century)</li>
<li><b>Narayana</b> (c.12th century)</li>
<li><b>The Pañcatantra</b> (c.3rd century BC)</li>
<li><b>The Simhāsana Dvātrimśikā</b> (c.12th century)</li>
<li><b>Śivadāsa</b> (c.12th-14th century)</li>
<li><b>Somadeva</b> (c.11th century)</li>
<li><b>Mallanaga Vātsyāyana</b> (c.4th-6th century)</li>
<li><b>Anthologies & Secondary Literature</b></li>
</ol>
<br /><hr align="left" noshade="noshade" size="1" width="70%" />
<br /><b>Mir Amman</b> (c.17th-18th century)<br /><br />
<li>Mir Amman. <span style="font-style: italic;">A Tale of Four Dervishes</span>. Translated from the Urdu with an Introduction by Mohammed Zakir. Penguin Classics. New Delhi: Penguin, 1994.</li>
<br /><br /><b>The Jātaka Tales</b> (c.5th century)<br /><br />
<li>Rhys Davids, T. W. trans. <span style="font-style: italic;">Buddhist Birth-Stories (Jātaka Tales): The Commentarial Introduction Entitled Nidāna-Kathā, The Story of the Lineage</span>. 1880. Broadway Translations. London & New York: Routledge & Dutton, 1925.</li>
<br />
<li>Cowell, E. B., ed. <span style="font-style: italic;">The Jātaka, or Stories of the Buddha’s Former Births</span>. Trans. R. Chambers, W. H. D. Rouse, H. T. Francis & R. A. Neil, W. H. D. Rouse, H. T. Francis, E. B. Cowell & W. H. D. Rouse. 6 vols in 3. 1895-1907. Delhi: Motilal Banarsidass Publishers, 1990.</li>
<br /><br /><b>Kalyana Malla</b> (c.15th-16th century)<br /><br />
<li><i>The Ananga Ranga of Kalyana Malla and The Symposium of Plato</i>. Trans. Richard F. Burton & F. F. Arbuthnot, and Benjamin Jowett. 1885 & 1871. Kimber Pocket Editions. London: William Kimber & Co., Ltd., 1963.</li>
<br /><br /><b>Narayana</b> (c.12th century)<br /><br />
<li>Chandiramani, G. L., trans. <span style="font-style: italic;">The Hitopadesha: An Ancient Fabled Classic</span>. 1995. Mumbai: Jaico Publishing House, 1999.</li>
<br /><br /><b>The Panchatantra [Pañcatantra]</b> (c.3rd century BC)<br /><br />
<li>Ryder, Arthur W., trans. <i>The Panchatantra</i>. 1925. Chicago: Phoenix Books, 1964.</li>
<br />
<li>Edgerton, Franklin, trans. <span style="font-style: italic;">The Panchatantra</span>. London: Allen & Unwin, 1965.</li>
<br />
<li>Visnu Sarma. <span style="font-style: italic;">The Pancatantra</span>. Trans. Chandra Rajan. 1993. London: Penguin, 1995.</li>
<br />
<li>Olivelle, Patrick, trans. <span style="font-style: italic;">The Pañcatantra: The Book of India’s Folk Wisdom</span>. The World’s Classics. Oxford: Oxford University Press, 1997.</li>
<br /><br /><b>The Simhāsana Dvātrimśikā [Thirty-two Tales of the Throne]</b> (c.12th century)<br /><br />
<li>Edgerton, Franklin, ed. & trans. <span style="font-style: italic;">Vikrama’s Adventures, or the Thirty-two Tales of the Throne</span>. Harvard Oriental Series, ed. Charles Rockwell Lanman, 26 & 27. 1926. 2 vols. Delhi: Motilal Banarsidass Publishers, 1993.</li>
<br />
<li>Haksar, A. N. D., trans. <span style="font-style: italic;">Simhāsana Dvātrimśikā: Thirty-two Tales of the Throne of Vikramaditya</span>. New Delhi: Penguin, 1998.</li>
<br />
<li>Bhoothalingam, Mathuram. <span style="font-style: italic;">Stories of Vikramaditya</span>. Illustrated by Jomraj. New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India, 1982.</li>
<br /><br /><b>Śivadāsa</b> (c.12th-14th century)<br /><br />
<li>Burton, Richard F. <span style="font-style: italic;">Vikram and the Vampire, or Tales of Hindu Devilry</span>. 1870. Memorial Edition. Ed. Isabel Burton. London: Thylston & Edwards, 1893.</li>
<br />
<li>Śivadāsa. <span style="font-style: italic;">The Five-and-Twenty Tales of the Genie: Vetālapañćavinśati</span>. Trans. Chandra Rajan. 1995. Penguin Classics. Harmondsworth: Penguin, 2006.</li>
<br /><br /><b>Somadeva</b> (c.11th century)<br /><br />
<li>Penzer, N. M., ed. <span style="font-style: italic;">The Ocean of Story: Being C. H. Tawney’s Translation of Somadeva’s Kathā Sarit Sāgara (or Ocean of Streams of Story)</span>. 1880-87. 10 vols. London: Privately Printed for Subscribers Only by Chas. J. Sawyer Ltd., Grafton House, W.1., 1924-1928.</li>
<br />
<li>Penzer, N. M., ed. <span style="font-style: italic;">The Ocean of Story: Being C. H. Tawney’s Translation of Somadeva’s Kathā Sarit Sāgara (or Ocean of Streams of Story)</span>. 1880-87. 10 vols. 1924-28. Delhi: Motilal Banarsidass, 1968.</li>
<br />
<li>Somadeva. <span style="font-style: italic;">Tales from the Kathāsaritsāgara</span>. Trans. Arshia Sattar. Foreword by Wendy Doniger. 1994. Penguin Classics. Harmondsworth: Penguin, 1996.</li>
<br />
<li>Somadeva. <span style="font-style: italic;">Océan des rivières de contes</span>. Ed. Nalini Balbir, with Mildrède Besnard, Lucien Billoux, Sylvain Brocquet, Colette Caillat, Christine Chojnacki, Jean Fezas & Jean-Pierre Osier. Traduction des ‘Contes du Vampire’ par Louis & Marie-Simone Renou, 1963. Bibliothèque de la Pléiade, 438. Paris: Gallimard, 1997.</li>
<br /><br /><b>Mallanaga Vātsyāyana</b> (c.4th-6th century)<br /><br />
<li>Burton, Richard F., and F. F. Arbuthnot, trans. <i>The Kama Sutra of Vatsyayana</i>. 1883. Ed. John Muirhead-Gould. 1963. London: Panther, 1968.</li>
<br />
<li>Daniélou, Alain, trans. <span style="font-style: italic;">The Complete Kāma Sūtra. The First Unabridged Modern Translation of the Classic Indian text by Vātsyāyana: including the Jayamangalā commentary from the Sanskrit by Yasodhara and extracts from the Hindi commentary by Devadatta Shāstrā</span>. Prepared with the help of Kenneth Hurry. Rochester, Vermont: Park Street Press, 1994.</li>
<br />
<li>Vatsyayana Mallanaga. <i>Kamasutra: A New, Complete Translation of the Sanskrit Text, with Excerpts from the Sanskrit </i>Jayamangala<i> Commentary of Yasodhara Indrapada, the Hindu </i>Jaya<i> Commentary of Devadatta Shastri, and Explanatory Notes by the Translators</i>. Trans. Wendy Doniger & Sudhir Kakar. 2002. Oxford World’s Classics. Oxford: Oxford University Press, 2003.</li>
<br /><br /><b>Anthologies & Secondary Literature:</b><br /><br />
<li>Alphonso-Karkala, John B., trans. <span style="font-style: italic;">An Anthology of Indian Literature</span>. A Pelican Book. Harmondsworth: Penguin, 1971.</li>
<br />
<li>Beck, Brenda E. F., Peter J. Claus, Praphulladata Goswami, & Jawaharlal Handoo, ed. <i>Folktales of India</i>. Foreword by A. K. Ramanujan. Folktales of the World, ed. Richard M. Dorson. 1987. Chicago & London: The University of Chicago Press, 1989.</li>
<br />
<li>De Bary, Wm. Theodore, Stephen Hay, Royal Weiler & Andrew Yarrow, ed. <i>Sources of Indian Tradition</i>. Introduction to Oriental Civilisations. 1958. Delhi: Motilal Banarsidass, 1988.</li>
<br />
<li>de Souza, Eunice de. <span style="font-style: italic;">101 Folktales from India</span>. Illustrated by Sujata Singh. A Puffin Book. New Delhi: Penguin Books India, 2004.</li>
<br />
<li>Joshi, Jagdish, illus. <span style="font-style: italic;">Romantic Classics</span>. New Delhi: Children’s Book Trust, 1983.</li>
<br />
<li>Ramanujan, A. K. ed. <span style="font-style: italic;">Folktales from India: A Selection of Oral Tales from Twenty-two Languages</span>. 1991. The Pantheon Fairy Tale and Folklore Library. Pantheon Books. New York: Random House, Inc., 1993.</li>
<br />
<div style="text-align: center;">
<br />
<b><span style="font-size: 130%;">•</span></b></div><br />
<br />
<b><span style="font-size: 130%;">Persian:</span></b><br />
<br /><ol>
<li><b>Farīd ud-Dīn ʿAṭṭār</b> (1145-1221)</li>
<li><b>Ferdowsi</b> (940-1020)</li>
<li><b>Nizami Ganjavi</b> (1141-1209)</li>
<li><b>Saʿdī</b> (1210-1291)</li>
<li><b>Sa'ad ad-Din Varavini</b> (c. 13th century</li>
<li><b>Anthologies & Secondary Literature</b></li>
</ol>
<br />
<hr align="left" noshade="noshade" size="1" width="70%" /><br />
<ol>
<b>Farīd ud-Dīn ʿAṭṭār</b> (1145-1221)<br /><br />
<li>Attar, Farid ud-Din. <i>The Conference of the Birds</i>. Trans. Afkham Darbandi and Dick Davis. Harmondsworth: Penguin, 1984.</li>
<br />
<li>Attar, Farid ud-Din. <i>The Conference of the Birds, Mantiq ut-Tair:
A Philosophical Religious Poem in Prose - Rendered into English from
the Literal and Complete French Translation of Garcin de Tassy</i>. Trans. C. S. Nott. 1954. London: Routledge & Kegan Paul, 1967.</li>
<br />
<li>Fitzgerald, Edward. 'The Conference of the Birds.' <span style="font-style: italic;">Selected Works</span>. Ed. Joanna Richardson. The Reynard Library. London: Rupert Hart-Davis, 1962.</li>
<br /><br /><b>Hakīm Abul-Qāsim Ferdowsī Tūsī</b> (940-1021)<br /><br />
<li>Ferdowsi. <i>The Epic of the Kings: Shah-Nama, the National Epic of Persia</i>. Trans. Reuben Levy. 1967. Rev. Amin Banani. London: Routledge & Kegan Paul, 1985.</li>
<br />
<li>Ferdowsi, Abolqasem. <i>Shahnameh: The Persian Book of Kings</i>. Trans. Dick Davis. 2007. Rev. ed. Foreword by Azar Nafisi. Penguin Classics. London: Penguin, 2016.</li>
<br /><br /><b>Nizami Ganjavi</b> (1141-1209)<br /><br />
<li>Ganjavi, Nizami. <span style="font-style: italic;">Haft Paykar: A Medieval Persian Romance</span>. 1197. Trans. Julie Scott Meisami. World’s Classics. Oxford: Oxford University Press, 1995.</li>
<li>Fitzgerald, Edward. <span style="font-style: italic;">Selected Works</span>. Ed. Joanna Richardson. The Reynard Library. London: Rupert Hart-Davis, 1962.</li>
<br /><br /><b>Abū-Muhammad Muslih al-Dīn bin Abdallāh Shīrāzī, Saadi Shirazi</b> [(1210-1291)<br /><br />
<li>Burton, R. F., trans [Edward Retnisak]. <span style="font-style: italic;">Tales from the Gulistân, or Rose-Garden of the Sheikh Sa’di of Shirâz</span>. 1888. London: Philip Allen, 1928.</li>
<br />
<li>Sadi. <span style="font-style: italic;">Gulistan or Flower-Garden</span>. Trans. James Ross. Ed. Charles Sayle. London: Walter Scott, n.d. [c.1890].</li>
<br /><br /><b>Sa'ad ad-Din Varavini</b> (c. 13th century)<br /><br />
<li>Varâvini, Sa’d al-Dîn. <i>Contes du Prince Marzbân</i>. 1220. Trans. Marie-Hélène Ponroy. Connaissance de l’Orient. Paris: Gallimard, 1992.</li>
<br /><br /><b>Anthologies & Secondary Literature:</b><br /><br />
<li>Ernst, Paul, ed. <i>Erzählungen aus tausendundein Tag; Vermehrt um andere Morgenländische Geschichten</i>. Trans. Felix Paul Greve and Paul Hansmann. 2 vols. Frankfurt: Insel Verlag, 1987.</li>
<br />
<li>Fehse, Willi, ed. <i>The Thousand and One Days</i>. Trans. Anthea Bell. London: Abelard-Schumann, 1971.</li>
<br />
<li>Levy, Reuben, trans. <i>The Three Dervishes and other Persian Tales and Legends</i>. Oxford: Humphrey Milford, 1923.</li>
<br />
<li>McCarthy, J., trans. <i>The Thousand and One Days: Persian Tales</i>. 2 Vols. London: Chatto, 1892.</li>
<br />
<li>Olcott, Frances Jenkins. <i>Tales of the Persian Genii</i>. Illustrated by Willy Pogany. London: George G. Harrap & Company Limited, 1919.</li>
<br />
<div style="text-align: center;">
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<b><span style="font-size: 130%;">•</span></b></div><br />
<br />
<b><span style="font-size: 130%;">Turkish:</span></b><br />
<br />
<li>Lewis, Geoffrey, trans. <i>The Book of Dede Korkut</i>. Penguin Classics. Harmondsworth: Penguin Books, 1974.</li>
<br />
<li>Pétis de la Croix, ed. <i>The Persian and Turkish Tales, compleat</i>. Trans. Dr. King. 2 Vols. London: Richard Ware, 1714.</li>
<br />
<li>Rosen, Georg, trans. <span style="font-style: italic;">Tutti-Nameh: Das Papageienbuch. Aus der türkischen Fassung übertragen von Georg Rosen</span>. Stuttgart: Europäischer Buchklub, 1957.</li>
<br />
<div style="text-align: center;">
<br />
<b><span style="font-size: 130%;">•</span></b></div><br />
<br />
<b><span style="font-size: 130%;">Miscellaneous:</span></b><br />
<br />
<li>Basile, Giovanni Batiste. <i>Il Pentamerone: or The Tale of Tales</i>. Trans. Richard F. Burton. 1893. New York: Liveright, 1932.</li>
<br />
<li>Haleby, Omar. <i>El Ktab des Lois Secrètes de l’Amour</i>. Trans. Paul de Régla. 1893. Collection Le Nadir. Paris: Balland, 1992.</li>
<br />
<li>Mathers, Edward Powys, trans. <i>The Anthology of Eastern Love</i>. Engravings by Hester Sainsbury. 12 vols in 4. London: John Rodker, 1927-30.<ol>
<li><b>Vol. I</b> - <i>The Lessons of a Bawd</i>: English Version of the Kuttanimatam of Dāmodaragupta (1927)</li>
<li><i>The Harlot’s Breviary</i>: English Version of the Samayamātrikā of Kshemendra (1927)</li>
<li><i>The Book of Women</i> & <i>Education of Wives</i>: English Versions of the Zenan-Nameh of Fazil-Bey & Ta’dīb ul-Nisvān (1927)</li>
<li><b>Vol. II</b> - <i>The Young Wives’ Tale</i> & <i>Tales of Fez</i>: English Versions of the Kissat al-‘Arā’is Al-Sabīya of Amor ben Amar & Tales of Fez from the Arabic (1927)</li>
<li><i>The Loves of Rādhā and Krishna</i> & <i>Amores</i>: English Versions from the Bengali of Chandīdāsa & from the Sanskrit of Amaru and Mayūra (1928)</li>
<li><i>Love Stories and Gallant Tales from the Chinese</i>: English Versions by E. Powys Mathers (1928)</li>
<li><b>Vol. III</b> - <i>Comrade Loves of the Samurai</i> by Saīkaku Ihara & <i>Songs of the Geishas</i>: English Versions by E. Powys Mathers (1928)</li>
<li><i>Ninety Short Tales of Love and Women from the Arabic</i>: English Versions by E. Powys Mathers (1928)</li>
<li><i>The Loves of Dāsīn and Musag-ag-Amāstān from the Tamashek</i> & <i>Camel-boy Rhythms from the Arabic</i>: English Versions by E. Powys Mathers (1929)</li>
<li><b>Vol. IV</b> - <i>Love Tales of Cambodia</i> & <i>Songs of the Love Nights of Lao</i>: English Versions by E. Powys Mathers (1929)</li>
<li><i>Anthology of Eastern Love I</i>: English Versions by E. Powys Mathers (1929)</li>
<li><i>Anthology of Eastern Love II</i>: English Versions & Terminal Essays by E. Powys Mathers (1930)</li>
</ol></li>
<br />
<li>Petrie, Flinders, trans. <i>Egyptian Tales Translated from the Papyri</i>. 2 vols. 1895. London: Methuen, 1926.</li>
<br />
<li>Ranelagh, E. J. <i>The Past We Share: The Near Eastern Ancestry of Western Folk Literature</i>. London: Quartet, 1979.</li>
<br />
<li>Shah, Idries, ed. <i>Caravan of Dreams</i>. 1968. London: Quartet Books, 1973.</li>
<br />
<li>Shah, Idries, ed. <i>World Tales: the Extraordinary Coincidence of Stories Told in All Times, in All Places</i>. 1979. London: Octagon P, 1991.</li>
<br />
<li>Henry Weber, ed. <i>Tales of the East: Comprising the Most Popular Romances of Oriental Origin, and the Best Imitations by European Authors: with New Translations, and Additional Tales, Never Before Published: to which is prefixed an introductory dissertation, containing the account of each work, and of its author, or translator</i>. 3 vols. Edinburgh: James Ballantyne, 1812.<ol>
<li><b>Vol. I</b> - <i>The Arabian Nights</i> [Galland (1704-17)]</li>
<li><i>New Arabian Nights' Entertainments</i> [Chavis & Cazotte (1788-89)]</li>
<li><b>Vol. II</b> - <i>New Arabian Nights' Entertainments</i> (cont.)</li>
<li><i>Persian Tales</i> [Pétis de la Croix (1710)]</li>
<li><i>Persian Tales of Inatulla</i> [Alexander Dow (1768)]</li>
<li><i>Oriental Tales</i> [A. C. P., Comte de Caylus (1749)]</li>
<li><i>Nourjahad</i> [Frances Sheridan (1767)]</li>
<li>"Four Additional Tales from the Arabian Nights" [Caussin de Perceval (1806)]</li>
<li><b>Vol. III</b> - <i>The Mogul Tales</i> [Thomas-Simon Gueullette (1723)]</li>
<li><i>Turkish Tales</i> [Pétis de la Croix (1710)]</li>
<li><i>Tartarian Tales</i> [Thomas-Simon Gueullette (1723)]</li>
<li><i>Chinese Tales</i> [Thomas-Simon Gueullette (1723)]</li>
<li><i>Tales of the Genii</i> [James Ridley (1764)]</li>
<li><i>History of Abdalla the Son of Hanif</i> [Jean Paul Bignon (1713)]</li>
</ol>
</li>
<br />
</ol>
<br />
<div style="text-align: center;">
<br />
<b><span style="font-size: 130%;">•</span></b><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5WjyaCsRhjEmxZCVqtqWcUFpbQbl3SUdjN751bqJifyDho5N13JXHLiS6Tj0NUqKol2Kl_b-Himr89LYv8ndZy3ilI_wLXnZZnyppp1hmh4W5F8JOaPcUPxhyphenhyphenUxcjJCRUr6dI/s425/71Ql98ZD1NL._AC_SX425_.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="333" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5WjyaCsRhjEmxZCVqtqWcUFpbQbl3SUdjN751bqJifyDho5N13JXHLiS6Tj0NUqKol2Kl_b-Himr89LYv8ndZy3ilI_wLXnZZnyppp1hmh4W5F8JOaPcUPxhyphenhyphenUxcjJCRUr6dI/s400/71Ql98ZD1NL._AC_SX425_.jpg"/></a><br />
<span style="font-size: 85%;">Devir: <a href="https://www.amazon.es/Devir-mil-noches-juego-BG1001/dp/B01D64KUD8">Las mil y una noches</a> (juego [game])</span><br />
<br />
<b><span style="font-size: 180%;">Imitations & Tributes:</span></b></div><br />
<br />
<ol>
<li>Addison, Joseph. “The Vision of Mirzah.” <i>The Spectator </i>159 (1711). Ed. G. Gregory Smith. 4 vols. Everyman’s Library. London: Dent; New York: Dutton, 1945. 1: 478-82.</li>
<br />
<li>Addison, Joseph. “The Fable of Alnaschar.” <i>The Spectator </i>535 (1712). Ed. Donald F. Bond. 5 vols. Oxford: Clarendon Press, 1987. 4: 409-12.</li>
<br />
<li>Allende, Isabel. <i>Eva Luna</i>. 1987. Trans. Margaret Sayers Peden. Harmondsworth: Penguin Books, 1989.</li>
<br />
<li>Allende, Isabel. <i>The Stories of Eva Luna</i>. 1987. Trans. Margaret Sayers Peden. London: Hamish Hamilton, 1991.</li>
<br />
<li>Azpiri, Alfonso. “Desert Shadows.” <i>Wet Dreams</i>. New York: Heavy Metal, 2000. 3-12</li>
<br />
<li>Barth, John. “Dunyaziad.” <i>Chimera</i>. 1972. London: Granada, 1982.</li>
<br />
<li>Barth, John. <i>The Tidewater Tales: A Novel</i>. 1987. London: Methuen, 1988.</li>
<br />
<li>Barth, John. <i>The Last Voyage of Somebody the Sailor</i>. 1991. London: Sceptre, 1992.</li>
<br />
<li>Beachcroft, Nina. <i>The Genie and Her Bottle</i>. 1983. London: Mammoth, 1992.</li>
<br />
<li>Beckford, William. <i>Vathek</i>. 1786. Ed. Roger Lonsdale. London: Oxford UP, 1970.</li>
<br />
<li>Beckford, William. <i>The Episodes of Vathek</i>. Trans. Frank T. Marzial. Ed. Lewis Melville. The Abbey Classics, III. London: Chapman & Dodd, [c.1910].</li>
<br />
<li>Bolingbroke, Henry St. John. “Camilick’s Vision.” <i>The Works of the Late Right Honourable Henry St. John, Lord Viscount Bolingbroke</i>. 5 vols. London: David Mallet, 1754. 1: 184-88.</li>
<br />
<li>Borges, Jorge Luis. “Metáforas de las Mil y una noches.” <i>Historia de la noche</i>. 1977. <i>Obras completas: 1975-1985</i>. 3 vols. Buenos Aires: Emecé Editores, 1989. 3: 169-70.</li>
<br />
<li>Cullen, Seamus. <i>A Noose of Light</i>. London: Futura, 1986.</li>
<br />
<li>Cullen, Seamus. <i>The Sultan’s Turret</i>. London: Futura, 1986.</li>
<br />
<li>Dennis, Ian. <i>The Prince of Stars in the Cavern of Time</i>. 1985. Woodstock, NY: Overlook P, 1989.</li>
<br />
<li>Dickens, Charles. “The Thousand and One Humbugs.” <i>Household Words: A Weekly Journal conducted by Charles Dickens</i>. 265-67 (1855): 265-67, 289-92, 313-16.</li>
<br />
<li>Flecker, James Elroy. <i>Hassan: The Story of Hassan of Bagdad and How He Came to Make the Golden Voyage to Samarkand, A Play in Five Acts</i>. 1922. Harmondsworth: Penguin, 1948.</li>
<br />
<li>Gaiman, Neil. “Ramadan.” <i>The Sandman Library VI: Fables & Reflections</i>. 10 vols. New York: DC Comics, 1993. 226-58.</li>
<br />
<li>Gardner, Craig Shaw. <i>The Other Sinbad</i>. New York: Ace, 1991.</li>
<br />
<li>Gardner, Craig Shaw. <i>A Bad Day for Ali Baba</i>. New York: Ace, 1992.</li>
<br />
<li>Gardner, Craig Shaw. <i>Scheherazade’s Night Out</i>. New York: Ace, 1992.</li>
<br />
<li>Gautier, Théophile. “La Mille et deuxième nuit.” <i>Romans et Contes</i>. Ed. Anne Bouchard. La collection ressources. Paris: Slatkine Reprints, 1979. 317-51.</li>
<br />
<li>Gün, Güneli. <i>On the Road to Baghdad: A Picaresque Novel of Magical Adventures, Begged, Borrowed, and Stolen from the Thousand and One Nights</i>. 1991. London: Picador, 1994.</li>
<br />
<li>Hauff, Wilhelm. <i>Sämtliche Märchen</i>. 1826-28. Ed. Sibylle von Steinsdorff. 1979. München: Deutsche Taschenbuch Verlag, 1983.</li>
<br />
<li>Hauff, Wilhelm. <i>Tales</i>. Trans. S. Mendel. 1886. Bohn’s Popular Library. London: Bell, 1914.</li>
<br />
<li>Horch, Daniel. <i>The Angel with One Hundred Wings: A Tale from the Arabian Nights</i>. New York: Thomas Dunne Books, 2002.</li>
<br />
<li>Irving, Washington. <i>The Alhambra</i>. 1832. London: Macmillan, 1908.</li>
<br />
<li>Irwin, Robert. <i>The Arabian Nightmare</i>. 1983. Harmondsworth: Penguin, 1988.</li>
<br />
<li>Jeon, JinSeok. <i>One Thousand and One Nights</i>. Illustrated by SeungHee Han. 8 vols. Korea: Sigongsa Co., Ltd, 2005-2008.</li>
<br />
<li>Johnson, Samuel. <i>The History of Rasselas, Prince of Abissinia</i>. 1759. Ed. D. J. Enright. Harmondsworth: Penguin, 1976.</li>
<br />
<li>Knoblock, Edward. “Kismet: An ‘Arabian Night’ in Three Acts.” <i>Kismet and Other Plays</i>. Ed. John Vere. London: Chapman & Hall, 1957.</li>
<br />
<li>Langley, Noel. <i>The Land of Green Ginger</i>. 1937. Rev. ed. 1966. Harmondsworth: Puffin, 1975.</li>
<br />
<li>Masters, Phil. <i>Arabian Nights: Magic and Mystery in the Land of the Djinn</i>. Ed. Steve Jackson and Susan Pinsonneault. Austin, Tx: Steve Jackson Games, 1993</li>
<br />
<li>Meredith, George. <i>The Shaving of Shagpat: An Arabian Entertainment</i>. 1856. London: Constable, 1909.</li>
<br />
<li>Miles, Keith. <i>Arabian Adventure: Based on an Original Screenplay by Brian Hayles</i>. London: Mirror, 1979.</li>
<br />
<li>Montesquieu, Charles-Louis de. <i>Persian Letters</i>. 1721. Trans. C. J. Betts. Penguin Classics. Harmondsworth: Penguin, 1973.</li>
<br />
<li>Morier, James. <i>The Adventures of Hajji Baba of Ispahan</i>. 1824. New York: Hart, 1976.</li>
<br />
<li>Nerval, Gérard de. <i>Voyage en Orient</i>. 1851. 2 vols. Ed. Michel Jeanneret. 1980. Paris: Garnier-Flammarion, 1987-88</li>
<br />
<li>Nerval, Gérard de. <i>Journey to the Orient</i>. Trans. Norman Glass. 1972. Frogmore, St Albans: Panther Books, 1973</li>
<br />
<li>O’Neill, Anthony. <i>Scheherazade: A Tale</i>. 2001. Sydney: Flamingo, 2002.</li>
<br />
<li>Pickard, William Bashyr. <i>The Adventures of Alcassim: An Iranian Entertainment</i>. London: Jonathan Cape, 1936.</li>
<br />
<li>Poe, Edgar Allan. “The Thousand-and-Second Tale of Scheherazade.” <i>Collected Works: Tales and Sketches 1843-1849</i>. Ed. Thomas Ollive Mabbott. Cambridge, Mass.: Harvard UP, 1978. 1149-74.</li>
<br />
<li>Resnick, Mike, and Martin H. Greenberg, ed. <i>Aladdin: Master of the Lamp</i>. New York: Daw Books, 1992.</li>
<br />
<li>Ridley, James [as “Sir Charles Morell”]. <i>The Tales of the Genii, or, The Delightful Lessons of Horam the Son of Asmar</i>. 1764. Ed. “Philo-Juvenis.” London: Henry G. Bohn, 1861.</li>
<br />
<li>Russ, Joanna. <i>The Two of Them</i>. 1978. London: The Women’s Press, 1986.</li>
<br />
<li>Sheridan, Frances. <i>The History of Nourjahad: A Facsimile of the First Edition</i>. 1767. Ed. Maurice Johnson. USA: Norwood Editions, 1977.</li>
<br />
<li>Shwartz, Susan, ed. <i>Arabesques: More Tales of the Arabian Nights</i>. New York: Avon, 1988.</li>
<br />
<li>Smullyan, Raymond. <i>The Chess Mysteries of the Arabian Knights</i>. 1981. Oxford: Oxford UP, 1992.</li>
<br />
<li>Stevenson, Robert Louis. <i>New Arabian Nights</i>. 1882. Tusitala Edition 1. London: Heinemann, 1924.</li>
<br />
<li>Stevenson, Robert Louis. <i>More New Arabian Nights: The Dynamiter. When the Devil was Well</i>. 1885. Skerryvore Edition 3. London: Heinemann, 1924.</li>
<br />
<li>Stevenson, Robert Louis. <i>Island Nights’ Entertainments. The Misadventures of John Nicholson</i>. 1893. Tusitala Edition 13. London: Heinemann, 1924.</li>
<br />
<li>Thackeray, W. M. “Sultan Stork; being the One Thousand and Second Night.” 1842. <i>The Biographical Edition of the Works of William Makepeace Thackeray</i>. Ed. Anne Ritchie. 13 vols. London: Murray, 1911. 5: 737-52.</li>
<br />
<li>Twain, Mark. “1,002d Arabian Night.” 1883. <i>Mark Twain’s Satires and Burlesques</i>. Ed. Franklin R. Rogers. The Mark Twain Papers. Berkeley: U of California P, 1967. 88-133.</li>
<br />
<li>Voegeli, Max. <i>The Wonderful Lamp</i>. 1952. Trans. E. M. Prince. London: Oxford UP, 1955.</li>
<br />
<li>Voltaire. "Zadig ou La Destinée, Histoire orientale." 1747. <i>Romans et Contes</i>. Ed. Henri Bénac. Classiques Garnier. Paris: Garnier, 1962. 1-65.</li>
<br />
<li>Williams, Tad, and Nina Kiriki Hoffman. <i>Child of an Ancient City</i>. London: Legend, 1992.</li>
<br />
<li>Yeats, W. B. “The Gift of Harun Al-Rashid.” 1924. <i>Yeats’s Poems</i>. Ed. A. Norman Jeffares. London: Papermac, 1989. 334-40.</li>
</ol>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKP8rFUPHM3rCoPopGmdEuTU9A1yPmLvZg7T5P-KyFM8uLSGzZnd2JhLlJO7OCEdRCTjnWKKal7gI7hV_Uq5AJvGGpg8WfAdQ5PfhZAw-SarPcK3cnuaSr5GejAHTJp_6V_mF5/s600/Arabian+Nights+map.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="430" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKP8rFUPHM3rCoPopGmdEuTU9A1yPmLvZg7T5P-KyFM8uLSGzZnd2JhLlJO7OCEdRCTjnWKKal7gI7hV_Uq5AJvGGpg8WfAdQ5PfhZAw-SarPcK3cnuaSr5GejAHTJp_6V_mF5/s400/Arabian+Nights+map.png"/></a><br />
<span style="font-size: 85%;"><a href="https://people.clarkson.edu/~fbailey/univ190/9-18.html">The Abassid Caliphate under Harun al-Rashid</a> (786-809)</span><br />
<br />
<b><span style="font-size: 180%;">Secondary Literature:</span></b></div><br />
<br />
<ul>
<li><b>Direct</b></li>
<br /><ol><br />
<li>“Arabian Nights.” <i>British Museum General Catalogue of Printed Books: Photolithographic Edition to 1955</i>. London: Trustees of the British Museum, 1965. 6: 286-307.</li>
<br />
<li>Abbott, Nabia. “A Ninth-Century Fragment of the ‘Thousand Nights.’” <i>Journal of Near-Eastern Studies </i>8 (1949): 129-64.</li>
<br />
<li>Ali, Muhsin Jassim. <i>Scheherazade in England: A Study of Nineteenth-Century English Criticism of the Arabian Nights</i>. Washington: Three Continents P, 1981.</li>
<br />
<li>Bencheikh, Jamel Eddine. <i>Les Mille et une Nuits ou la parole prisonnière</i>. Bibliothèque des Idées. Paris: Gallimard, 1988.</li>
<br />
<li>Bencheikh, Jamel Eddine, Claude Bremond and André Miquel. <i>Mille et un Contes de la Nuit</i>. Bibliothèque des Idées. Paris: Gallimard, 1991.</li>
<br />
<li>Borges, Jorge Luis. “Los Traductores de las 1001 Noches.” <i>Historia de la eternidad</i>. 1936. <i>Obras completas: 1923-1949</i>. 1974. 3 vols. Buenos Aires: Emecé Editores, 1990. 1: 397-413.</li>
<br />
<li>Borges, Jorge Luis. “Magias parciales del Quijote.” <i>Otras inquisiciones</i>. 1952. <i>Obras completas: 1952-1972</i>. 1974. 3 vols. Buenos Aires: Emecé Editores, 1990. 2: 45-47.</li>
<br />
<li>Borges, Jorge Luis. “Las Mil y una noches.” <i>Siete noches</i>. 1980. <i>Obras completas: 1975-1985</i>. 3 vols. Buenos Aires: Emecé Editores, 1989. 3: 232-41.</li>
<br />
<li>Borges, Jorge Luis. “The Thousand and One Nights.” <i>Seven Nights</i>. 1980. Trans. Eliot Weinberger. 1984. London: Faber, 1986. 42-57.</li>
<br />
<li>Borges, Jorge Luis. <i>Borges: A Reader: A Selection from the Writings of Jorge Luis Borges</i>. Ed. Emir Rodrigues Monegal and Alastair Reid. New York: Dutton, 1981.</li>
<br />
<li>Borges, Jorge Luis. <i>Ficciones</i>. Trans. Anthony Kerrigan. 1962. Everyman’s Library 166. New York: Knopf, 1993.</li>
<br />
<li>Borges, Jorge Luis. <i>Other Inquistions 1937-1952</i>. Trans. Ruth L. C. Simms. 1964. London: Condor, 1973</li>
<br />
<li>Bremond, Claude, ed. <i>Les Dames de Bagdad: Conte des Mille et une nuits</i>. Trans. André Miquel; Claude Bremond, A Chraïbi, A. Larue, and M. Sironval. La Nébuleuse du conte: Essai sur les premiers contes de Galland. Paris: Desjonquères, 1991.</li>
<br />
<li>Burgess, Anthony. “The Art of Frivolity: Rev. of David Pinault, Story-Telling Techniques in the ‘Arabian Nights’ (Leiden: Brill, 1992).” <i>TLS </i>4654 (12/6/92): 22-23.</li>
<br />
<li>Campbell, Kay Hardy, Ferial J. Ghazoul, Andras Hamori, Muhsin Mahdi, Christopher M. Murphy, and Sandra Naddaff. <i>The 1001 Nights: Critical Essays and Annotated Bibliography.</i> Mundus Arabicus 3. Cambridge, Mass.: Dar Mahjar, 1983.</li>
<br />
<li>Caracciolo, Peter L., ed. <i>The Arabian Nights in English Literature: Studies in the Reception of The Thousand and One Nights into British Culture</i>. London: Macmillan, 1988.</li>
<br />
<li>Chauvin, Victor. <i>Bibliographie des ouvrages arabes ou relatifs aux arabes publiés dans l’Europe chrétienne de 1810 à 1885</i>. 12 vols. 1892-1922. Vols 4-7 & 9. Liège: H. Vaillant-Carmanne, Leipzig: O. Harrassowitz, 1900-05.</li>
<br />
<li>Chesterton, G. K. “The Everlasting Nights.” <i>The Spice of Life and Other Essays</i>. Ed. Dorothy Collins. 1964. Beaconsfield: Darwen Finlayson, 1967. 58-60.</li>
<br />
<li>Eliséef, Nikita. <i>Thèmes et motifs des Mille et Une Nuits: Essai de Classification</i>. Beirut: Institut Français de Damas, 1949.</li>
<br />
<li>Gerhardt, Mia I. <i>The Art of Story-Telling: A Literary Study of the Thousand and One Nights</i>. Leiden: E. J. Brill, 1963.</li>
<br />
<li>Gittes, Katharine Slater. “The Canterbury Tales and the Arabic Frame Tradition.” <i>PMLA </i>98 (1983): 237-51.</li>
<br />
<li>Goossens, Roger. “Autour de Digénis Akritas. La ‘Geste d’Omar’ dans Les Mille et Une Nuits.” <i>Byzantion </i>7 (1932): 303-16.</li>
<br />
<li>Goossens, Roger. “Echanges épiques Arabo-Grecs: Sharkan-Charzanis.” <i>Byzantion </i>7 (1932): 371-82.</li>
<br />
<li>Goossens, Roger. “Eléments iraniens et folkloriques dans le conte d’’Omar Al No’mân.” <i>Byzantion </i>9 (1934): 420-28.</li>
<br />
<li>Grotzfeld, Heinz. “Neglected Conclusions of the Arabian Nights: Gleanings in Forgotten and Overlooked Recensions.” <i>Journal of Arabic Literature </i>16 (1985): 73-87.</li>
<br />
<li>Grunebaum, Gustave E. <i>Medieval Islam: A Study in Cultural Orientation</i>. 1946. Phoenix Books 69. Chicago: U of Chicago P, 1962.</li>
<br />
<li>Hackford, Terry Reece. “Fantastic Visions: Illustration of the Arabian Nights.” <i>The Aesthetics of Fantasy Literature and Art</i>. Ed. Roger C. Schlobin. Indiana: U of Notre Dame P; Sussex; Harvester P, 1982. 143-75.</li>
<br />
<li>Hamori, Andras. <i>On the Art of Medieval Arabic Literature</i>. 1974. Princeton: Princeton UP, 1975.</li>
<br />
<li>Irwin, Robert. <i>The Arabian Nights: A Companion</i>. London: Allen Lane, 1994.</li>
<br />
<li>Jones, H. S. V. “The Squire’s Tale.” <i>Sources and Analogues of Chaucer’s Canterbury Tales</i>. Ed. W. F. Bryan and Germaine Dempster. 1941. London: Routledge & Kegan Paul, 1958. 357-76.</li>
<br />
<li>Kirby, W. F. “The Forbidden Doors of the Thousand and One Nights.” <i>Folklore Journal </i>5 (1887) 112-24.</li>
<br />
<li>Kirby, W. F. “Contributions to the Bibliography of the Thousand and One Nights, and Their Imitations, with a Table Showing the Contents of the Principal Editions and Translations of the Nights.” <i>The Book of the Thousand Nights and a Night</i>. Trans. Richard F. Burton. Library Edition. Ed. Leonard C. Smithers. 12 vols. London: H. S. Nichols, 1897. 8: 233-307.</li>
<br />
<li>Kirby, W. F. “Additional Notes on the Bibliography of the Thousand and One Nights.” <i>The Book of the Thousand Nights and a Night</i>. Trans. Richard F. Burton. Library Edition. Ed. Leonard C. Smithers. 12 vols. London: H. S. Nichols, 1897. 12: 280-311.</li>
<br />
<li>Kilito, Abdelfattah. <i>L’oeil et l’aiguille: Essai sur “les mille et une nuits.” </i>Textes à l’appui: série islam et société. Paris: Editions la Découverte, 1992.</li>
<br />
<li>Lahy-Hollebecque, Marie. <i>Schéhérazade ou L’éducation d’un Roi</i>. 1927. Collection Destins de Femmes. Paris: Pardès, 1987.</li>
<br />
<li>Littmann, Enno. “Alf Layla wa-Layla.” <i>The Encyclopaedia of Islam</i>. New ed. Leiden: Brill; London: Luzac, 1960. 1: 358-64.</li>
<br />
<li>MacDonald, Duncan B. “Maximilian Habicht and His Recension of the Thousand and One Nights.” <i>Journal of the Royal Asiatic Society </i>(1909) 689-704.</li>
<br />
<li>MacDonald, Duncan B. “‘Ali Baba and the Forty Thieves’ in Arabic from a Bodleian Ms.” <i>Journal of the Royal Asiatic Society </i>(1910) 327-86.</li>
<br />
<li>MacDonald, Duncan B. “Lost Mss. of the ‘Arabian Nights’ and a Projected Edition of that of Galland.” <i>Journal of the Royal Asiatic Society </i>(1911) 219-21.</li>
<br />
<li>MacDonald, Duncan B. “Further Notes on ‘Ali Baba and the Forty Thieves.’“ <i>Journal of the Royal Asiatic Society </i>(1913) 41-52.</li>
<br />
<li>MacDonald, Duncan B. “From the Arabian Nights to Spirit.” <i>Moslem World </i>9 (1919): 336-48.</li>
<br />
<li>MacDonald, Duncan B. “A Preliminary Classification of Some Mss. of the Arabian Nights.” <i>A Volume of Oriental Studies Presented to Edward G. Browne. Ed. T. W. Arnold and Reynold A. Nicholson</i>. Cambridge: Cambridge UP, 1922. 304-21.</li>
<br />
<li>MacDonald, Duncan B. “The Earlier History of the Arabian Nights.” <i>Journal of the Royal Asiatic Society</i> (July 1924) 353-97.</li>
<br />
<li>MacDonald, Duncan B. “A Bibliographical and Literary Study of the First Appearance of the Arabian Nights in Europe.” <i>Library Quarterly </i>(Chicago) 2 (1932): 387-420.</li>
<br />
<li>Mann, Cameron. “The ‘Thousand and One Nights’ and the ‘Morte d’Arthure.’” <i>The North American Review </i>184 (1907): 150-56.</li>
<br />
<li>Manzalaoui, Mahmoud A. “Arabian Nights.” <i>Cassell’s Encyclopaedia of World Literature</i>. 3 vols. London: Cassell, 1973. 1: 38-41.</li>
<br />
<li>May, Georges. <i>Les Mille et une nuits d’Antoine Galland, ou le chef d’oeuvre invisible</i>. Paris: P.U.F., 1986.</li>
<br />
<li>Pinault, David. <i>Story-Telling Techniques in the Arabian Nights</i>. Studies in Arabic Literature 15. Leiden: E. J. Brill, 1992.</li>
<br />
</ol>
<br />
<li><b>General</b></li>
<br /><ol><br />
<li>Allen, Roger. <i>The Arabic Novel: An Historical and Critical Introduction</i>. New York: Syracuse UP, 1982.</li>
<br />
<li>Arnold, Sir Thomas, and Alfred Guillaume, ed. <i>The Legacy of Islam</i>. 1931. Oxford: Oxford UP, 1945.</li>
<br />
<li>Berchet, Jean-Claude. <i>Le Voyage en Orient: Anthologie des voyageurs français dans le Levant au XIXe siècle</i>. 1985. Paris: Laffont, 1989.</li>
<br />
<li>Brent, Peter. <i>Far Arabia: Explorers of the Myth</i>. 1977. London: Quartet, 1979</li>
<br />
<li>Brodie, Fawn M. <i>The Devil Drives: A Life of Sir Richard Burton</i>. 1967. Harmondsworth: Penguin, 1971</li>
<br />
<li>Daniel, Norman. <i>Islam and the West: The Making of an Image</i>. Edinburgh: Edinburgh UP, 1958.</li>
<br />
<li>Edwardes, Allen, and R. E. L. Masters. <i>The Cradle of Erotica: A Study of Afro-Asian Sexual Expression and an Analysis of Erotic Freedom in Social Relationships</i>. 1962. New York: Julian P, 1966.</li>
<br />
<li>Gaury, Gerald de. <i>Travelling Gent: The Life of Alexander Kinglake (1809-1891).</i> London: Routledge & Kegan Paul, 1972.</li>
<br />
<li>Glubb, John Bagot. <i>Haroon al Rasheed and the Great Abbasids</i>. London: Hodder, 1976.</li>
<br />
<li>Harrison, William. <i>Burton and Speke</i>. 1982. London: Star, 1985.</li>
<br />
<li>Herold, J. Christopher. <i>Bonaparte in Egypt </i>. London: Hamish Hamilton, 1962</li>
<br />
<li>Hitti, Philip K. <i>Islam and the West: A Historical Cultural Survey</i>. Anvil Original 63. Princeton, NJ: D. Van Nostrand, 1962.</li>
<br />
<li>Irwin, Robert. “Slapping the Werewolf, Insanity and Its Treatment in the Islamic World: Rev. of Michael W. Dols, Majnun: The Madman in Medieval islamic Society, ed. Diana E. Immisch (Oxford: Clarendon P, 1993).” <i>TLS </i>4685 (15/1/93): 6.</li>
<br />
<li>Kabbani, Rana. <i>Europes’s Myths of Orient: Devise and Rule</i>. London: Macmillan, 1986</li>
<br />
<li>Kabbani, Rana. <i>Imperial Fictions: Europe’s Myths of Orient</i>. London: Pandora, 1994.</li>
<br />
<li>Keith, A. Berriedale. <span style="font-style: italic;">A History of Sanskrit Literature</span>. 1920. London: Oxford University Press, 1966.</li>
<br />
<li>Kratz, Dennis M. “Development of the Fantastic Tradition through 1811.” <i>Fantasy Literature: A Reader’s Guide</i>. Ed. Neil Barron. New York: Garland Publishing, 1990.</li>
<br />
<li>Leask, Nigel. <i>British Romantic Writers and the East: Anxieties of Empire</i>. Cambridge Studies in Romanticism. Cambridge: Cambridge UP, 1992.</li>
<br />
<li>Lewis, Bernard. <i>The Muslim Discovery of Europe</i>. 1982. London: Phoenix, 1994.</li>
<br />
<li>Lewis, C. S. “The English Prose Morte.” <i>Essays on Malory</i>. Ed. J. A. W. Bennett. Oxford: Clarendon Press, 1963. 7-28.</li>
<br />
<li>McIntosh, Carey. “Oriental Tale and Allegory.” <i>The Choice of Life: Samuel Johnson and the World of Fiction</i>. New Haven: Yale UP, 1973. 86-93.</li>
<br />
<li>Metlitzki, Dorothee. <i>The Matter of Araby in Medieval England</i>. New Haven: Yale UP, 1977.</li>
<br />
<li>Nicholson, Reynold A. <i>A Literary History of the Arabs</i>. 1907. Cambridge: Cambridge UP, 1969.</li>
<br />
<li>Penzer, Norman M. <i>An Annotated Bibliography of Sir Richard Francis Burton, K.C.M.G</i>. London: Philpot, 1923.</li>
<br />
<li>Penzer, Norman M. <i>The Harem: An Account of the Institution as it Existed in the Palace of the Turkish Sultans with a History of the Grand Seraglio from its Foundation to Modern Times</i>. 1936. London: Bookplan, 1965.</li>
<br />
<li>Rice, Edward. <i>Captain Sir Richard Francis Burton: The Secret Agent Who Made the Pilgrimage to Mecca, Discovered the Kama Sutra, and Brought the Arabian Nights to the West</i>. 1990. New York: HarperPerennial, 1991.</li>
<br />
<li>Ritchie, Anne. “Introduction to Sketch Books: 1840-1846.” <i>The Biographical Edition of the Works of William Makepeace Thackeray</i>. Ed. Anne Ritchie. 13 vols. London: Murray, 1911. 5: xiii-xliii.</li>
<br />
<li>Robinson, Francis. <i>Atlas of the Islamic World since 1500</i>. 1982. Amsterdam: Time-Life Books, 1991</li>
<br />
<li>Said, Edward W. <i>Culture and Imperialism</i>. London: Chatto, 1993.</li>
<br />
<li>Said, Edward W. <i>Orientalism</i>. 1978. Harmondsworth: Penguin, 1985.</li>
<br />
<li>Schacht, Joseph, and C. E. Bosworth, ed. <i>The Legacy of Islam</i>. 2nd ed. Oxford: Clarendon Press, 1974.</li>
<br />
<li>Schwab, Raymond. <i>The Oriental Renaissance: Europe’s Rediscovery of India and the East</i>. 1950. Trans. Gene Patterson-Black and Victor Reinking. New York: Columbia UP, 1984.</li>
<br />
<li>Shah, Idries. <i>The Sufis</i>. 1964. London: Star, 1977.</li>
<br />
<li>Southern, R. W. <i>Western Views of Islam in the Middle Ages</i>. Cambridge: Harvard UP, 1962.</li>
<br />
<li>Thompson, Stith. <i>Motif-Index of Folk-Literature: A Classification of Narrative Elements in Folktales, Ballads, Myths, Fables, Mediaeval Romances, Exempla, Fabliaux, Jest-Books and Local Legends</i>. 1932-36. Rev. ed. 6 vols. Copenhagen: Rosenkilde and Bagger, 1955-58.</li>
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</ol>
</ul>
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<div align="center">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFryUnlGiL5ePIZwU_3AzTMVu-ZeKDmahyXm1cQCt4BtJ47q59XnslJMbm3xZKpNg4HFkU_V7iGxv4UapI52Rw-orbLmwEoU2V4mkg2gmFythYJ2fI5rJ2K8zJvS-qgKEWQMGC/s1600-h/scheherazade8.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5362608716583443346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFryUnlGiL5ePIZwU_3AzTMVu-ZeKDmahyXm1cQCt4BtJ47q59XnslJMbm3xZKpNg4HFkU_V7iGxv4UapI52Rw-orbLmwEoU2V4mkg2gmFythYJ2fI5rJ2K8zJvS-qgKEWQMGC/s400/scheherazade8.jpg" style="cursor: hand; cursor: pointer; display: block; height: 399px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-size: 85%;">[<a href="http://retrotrash.org/database.htm">Scheherazade</a>]</span></div>
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<blockquote>
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<hr align="left" noshade="noshade" size="1" width="70%" />
<br />
<b>Notes:</b><br />
<div id="ftn1">
<a href="http://dinarzade.blogspot.com/2007/09/arabian-nights-bibliography.html#_ftn1" name="_ftn1" title="">1.</a> Volume 3 of the original Supplemental Nights has been split into two in this reissue. The pagination, however, remains continuous. For further details consult Norman M. Penzer, <i>An Annotated Bibliography of Sir Richard Francis Burton </i>(London: Philpot, 1923) 131-32.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5362591049088274098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" style="cursor: hand; cursor: pointer; display: block; height: 199px; margin: 0px auto 10px; text-align: center; width: 177px;" /></a></div><br />
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Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com7tag:blogger.com,1999:blog-33189808.post-36554827530117376812007-09-25T14:51:00.000-07:002009-07-25T20:39:00.410-07:00Scheherazade:<div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaEo04wpBThOcgspKCYmFTTXdPYt42Qv9JMivN1FGTIG7Q0MoOTNH_BbYdvs25DNEI0NBmPxt2C3nKqBW5-C_fNpgl_TibDHblR-ppSyxOoz-1YPwfE_zMrdFDxkqeUVtKJd7M/s1600-h/GirlsHarem.jpg"><img id="BLOGGER_PHOTO_ID_5114267433209605666" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaEo04wpBThOcgspKCYmFTTXdPYt42Qv9JMivN1FGTIG7Q0MoOTNH_BbYdvs25DNEI0NBmPxt2C3nKqBW5-C_fNpgl_TibDHblR-ppSyxOoz-1YPwfE_zMrdFDxkqeUVtKJd7M/s320/GirlsHarem.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.marielle.fam-smit.ws/Classes.htm">The Three Ladies of Baghdad</a>]</span><br /><strong><br /><span style="font-size:130%;">The Porter and the Three Ladies of Baghdad</span></strong><br /></div><br /><strong><br />Plot Summary:</strong><br /><br />(This story, like all the others, is told in the first person. I have switched to the third in order to make the plot summary more concise.)<br /><br />Page numbers in parentheses are taken from <em>The Book of the Thousand Nights and a Night: A Plain and Literal Translation of the Arabian Nights Entertainments</em>, trans. Richard F. Burton, 10 vols, 1885 (U.S.A.: Burton Society, n.d.) 1: 82-186:<br /><blockquote><br />[... <em>9th Night</em>]:<br />A Porter is hired by ‘an honourable woman’ (82). She takes him to a wine-merchant, a fruiterer, a butcher, a grocer, a confectioner, a perfumer, a greengrocer, and then home. The door is opened by ‘a lady of tall figure, some five feet high’ (84). The lady-portress welcomes the lady-cateress, and shows them both in. They come before a third lady, the eldest of the three, who pays the porter and tells him to depart. He persuades them to let him stay and join their feast, and they all start to drink wine and recite verses together. When she is sufficiently drunk, ‘the portress stood up and doffed her clothes till she was mother-naked’ (90). She disports herself in the fountain, then makes the porter guess the name of her ‘solution of continuity’ (90). He cannot, and is soundly beaten. The second and third ladies behave similarly, and finally he does too.<br /><br />[<em>10th Night</em>]:<br />The three ladies try to send the Porter away, but finally agree to let him stay if he observes their motto: ‘WHOSO SPEAKETH OF WHAT CONCERNETH HIM NOT, SHALL HEAR WHAT PLEASETH HIM NOT’ (93). A knocking comes at the door.<br /><br />The Porter lets in three Persian Kalandars [mendicant friars] ‘with their beards and heads and eyebrows shaven; and all three blind of the left eye’ (94), who are looking for a lodging for the night. Another knock is heard, and the Porter lets in the Caliph Harun al-Rashid, his Wazir Ja’afar, and Masrur ‘his Sworder of Vengeance’ (96), who are wandering the city by night disguised as merchants. They too ask for lodging and are given the same warning as the Porter and the monks. The eldest lady has ‘two black bitches with chains round their necks’ (97) brought in. She beats each of them as hard as she can, then cries over them. After this the cateress plays three sad love-songs on a lute. Each song makes the portress cry out till she ‘rent her raiment’, showing the guests ‘scars of the palm-rod on her back and welts of the whip’ (99).<br /><br />The Caliph demands that Ja’afar ask for an explanation of these events. The latter demurs, but the other guests are all curious as well. When he does ask, the seven men are immediately seized by armed slaves and told to prepare for death. The Porter protests amusingly.<br /><br />[<em>11th Night</em>]:<br />The eldest lady ‘came up to the party and spake thus, “Tell me who ye be, for ye have but an hour of life; and were ye not men of rank ... you had not been so froward and I had hastened your doom.”‘ (103) The Porter tells us as much of his story as we already know, and is told to leave. He prefers, however, to stay and hear the other stories:<br /><br /><strong>The First Kalandar’s Tale</strong><br /><br />A Prince helps his cousin to conceal himself in a tomb with a veiled lady. Afterwards he repents, but cannot find the tomb again. On returning to his father’s kingdom, he finds that the Wazir has treacherously slain him and taken over the kingdom. The Wazir puts out the prince’s eye, in revenge for the fact that he himself had his eye knocked out by the prince’s slingshot years before, then commands that he be executed. The headsman takes pity on him however, and he escapes back to his uncle’s kingdom. He confesses to his uncle his part in his cousin’s disappearance, and the two finally succeed in finding the tomb. The cousin and the lady are found lying dead and charred in each other’s arms. His uncle curses and strikes the body of his son.<br /><br />[<em>12th Night</em>]:<br />The uncle explains that the two dead lovers were brother and sister, and that he had many a time forbidden their love, but they hid from him here. ‘Then His righteous judgement fell upon the twain and consumed them with fire from Heaven’ (111). On returning to the surface, the prince and his uncle are overtaken by the Wazir’s troops, who have invaded this city as well. The uncle is killed in the fighting, but the prince dresses himself in rags and leaves, ‘hoping that peradventure some one would assist me to the presence of the Prince of the Faithful, and the Caliph who is the Viceregent of Allah upon earth’ (112-13). He met the other two mendicants by chance.<br /><br />He is dismissed by the eldest lady, but prefers to stay and hear the other stories.<br /><br /><strong>The Second Kalandar’s Tale</strong><br /><br />A Prince is brought up to be very skilled in all branches of learning. On his way to show off his skills to the King of Hind he is overtaken by robbers, who take everything he has. He is advised to work as a woodcutter by a Tailor whom he meets in a nearby town, for ‘the King of this city is the greatest enemy thy father hath ... and thou hast cause to fear for thy life’ (115).<br /><br />One day, in the forest, he discovers an underground cavern, ‘where was a damsel like a pearl of great price’ (116). The lady was stolen by an Ifrit on her wedding day, and has been kept by him in this cave ever since. She invites the prince to stay with her: ‘of every ten days one is for the Ifrit and the other nine are thine’ (118). He agrees; however one day, in a fit of drunkenness, he proposes to summon the Ifrit and slay him.<br /><br />[<em>13th Night</em>]:<br />The Ifrit comes and, seeing the prince’s woodcutting gear, accuses the lady of entertaining a lover. She denies it, and is tortured by the jealous demon. The prince escapes, lamenting his foolishness, but is caught and brought back again by the Ifrit. When the lady refuses either to identify her lover or to cut off his head, the Ifrit mutilates and kills her. The prince asks for mercy with the:<br /><br /><strong>Tale of the Envier and the Envied</strong><br /><br />Two men lived in adjoining houses; and ‘one of them envied the other and looked on him with an evil eye’ (123). Realising this, the Envied left the neighbourhood and set up an oratory near another city. His fame as a holy man spread, until the Envier heard of it, and travelled to see him. Under pretext of having something to discuss, he drew the Envied to one side, and pushed him into an old well. ‘Now this well happened to be haunted by the Jann’ (124), who saved him and broke his fall. He also overheard them saying that the Sultan of the city would shortly come visiting to consult the holy man about the health of his daughter, who seemed mad but was in fact bewitched. She could be cured by fumigation.<br /><br />The Envied is saved by his disciples next day, and duly meets the Sultan and cures his daughter. He is rewarded with her hand in marriage, and is made Wazir, and (after his father-in-law’s death) Sultan. One day he comes across his old enemy the Envier, and rewards him greatly instead of punishing him.<br /><br />The Ifrit, unimpressed, turns the prince into an ape, and in this form he succeeds in finding a place on board a ship. The ship comes to a port whose King is looking for ‘a calligrapher of renown’ (127) to replace his previous chief minister. The entire crew, including the ape, are made to write some lines on a scroll. The ape’s writing is the best, and the King purchases him from the ship’s captain. On showing his new acquisition to his daughter, however, she asks ‘How cometh it thou art pleased to send for me and show me to strange men?’ (133), and reveals that her magic arts tell her that he is actually a prince.<br /><br />[<em>14th Night</em>]:<br />The King’s daughter, at her father’s instigation, summons the Ifrit in order to disenchant the prince. Their magical conflict is long, and she succeeds in killing the demon, but at the cost of her own life. The King is wounded, and the prince loses one eye from hot sparks. He is, however, turned back into a man. Afterwards the angry King banishes him from the city, and he takes on the robes of a monk and travels to Baghdad to ‘seek audience ... with the Commander of the Faithful’ (138-39).<br /><br />Dismissed like the others, he prefers to stay.<br /><br /><strong>The 3rd Kalandar’s Tale</strong><br /><br />A Prince goes sailing, but his ship is overtaken by a storm. After some days, they come to the ‘Magnet Mountain’ (140), which draws out all the iron in their hull and wrecks them. The prince survives, and finds a way up the rock.<br /><br />[<em>15th Night</em>]:<br />A voice tells the prince in his dream to shoot at the brass horseman on top of the dome at the summit of the rock, and thus rid mankind of this affliction. He does so and, as the dream predicted, the waters rise up the rock, carrying with them a skiff with a brass rower inside - ‘He will come to thee and do thou embark with him but beware of saying Bismillah or otherwise naming Allah Almighty’ (142).<br /><br />After ten days, in sight of his destination, the prince forgets this prohibition, and is immediately thrown into the sea. He swims to an island, and there sees a youth taken ashore from a ship and put into an underground hiding-place. After the ship has left he uncovers the trap-door and talks to the youth, who has been hidden away by his father because of a prophesy that he will be killed by the prince who shot the brazen horseman. The prince lives with him for forty days, but then kills him by accident with a knife on the very day predicted.<br /><br />[<em>16th Night</em>]:<br />The ship returns, and the boy’s father is stricken with grief. The prince stays on the island until one day ‘the tide ebbed’ (151), making it possible for him to reach the mainland. There he finds an old Shaykh who lives with ten young men ‘all ... blind of the same eye’ (152). He stays with them, and notices their habit of lamentation, which they will not explain. Finally they reveal to him a route - by ‘Rukh’ [Roc] - to a distant palace. He reaches the palace, is welcomed by forty damsels. He lives with them in bliss, but they are forced to absent themselves for forty days at New Year, and accordingly give him the keys to forty chambers, with strict instructions not to enter the last one. He eventually does and is carried off by a winged horse which deposits him back with the old Shaykh, putting out his eye with its wing as it departs. The Shaykh and the young men refuse to let him stay, so he dresses as a monk and sets out for Baghdad.<br /><br />After the Caliph, Ja’afar and Masrur have repeated their story of being merchants, the eldest lady lets them all go. Next day the Caliph send for the three sisters and demands that they tell their stories.<br /><br />[<em>17th Night</em>]:<br /><strong>The Eldest Lady’s Tale</strong><br /><br />The two dogs are her elder sisters by one mother, the portress and cateress her younger half-sisters. The two older sisters made unfortunate marriages, and had to be rescued by her on two or three occasions. Eventually they persuade her to go on a trading voyage with them, and they reach a city where all the inhabitants have been turned to black stones. Exploring, she finds a youth who was spared this fate because he was a Moslem, unlike the other ‘Magians who fire adored in lieu of the Omnipotent Lord’ (168).<br /><br />[<em>18th Night</em>]:<br />The eldest lady brings the youth back with her, but her two sisters, jealous, throw them both overboard. She swims to an island but he is drowned. On shore, she saves a serpent (who turns out to be a ‘Jinniyah’) from a Dragon, and the former turns the two wicked sisters into bitches in gratitude. She also tells the eldest lady to beat them three hundred times every day or else she will ‘imprison thee forever under the earth’ (173).<br /><br /><strong>Tale of the Portress</strong><br /><br />She married young and was left a young widow. One day she is invited by an old woman to attend a wedding. When she reaches her destination, it turns out to be the palace of a young lady who tells her that her brother is in love with her. The brother is attractive, so she agrees to marry him, and swears never to ‘look at any other than myself nor incline thy body or thy heart to him’ (178). After a month of bliss she is persuaded by the old woman to kiss a young merchant who will not accept her money. He bites her on the cheek, and her husband, refusing to accept her explanations and excuses, has her beaten nearly to death and thrown out of the house. She has not seen him since, but now lives with her sisters in seclusion.<br /><br />[<em>19th Night ...</em>]:<br />The Caliph has the eldest lady summon the Jinniyah, whom he commands to disenchant the two bitches. She also tells him that the portress’s husband is his own son Al-Amin, so he commands him to take her back. He marries the eldest lady and her elder sisters to the three Kalandars, and finally marries the cateress himself.</blockquote><br /><br /><strong>Analysis:</strong><br /><blockquote><br />[... <em>9th Night</em>]:<br /><br /><strong>Porter</strong><br /><br />7 Shops<br />3 Sisters (youngest to eldest)<br />Fountain-game<br /><br />[<em>10th Night</em>]:<br /><br />1st Prohibition<br />1st knock- 3 shaved, one-eyed monks<br />2nd knock - 3 disguised Merchants<br />7 Guests<br />2 black bitches<br />1st beating + laments<br />3 love-songs<br />laments + 2nd beating<br />7 slaves<br /><br />[<em>11th Night</em>]:<br /><br />Porter’s Tale (the story to date)<br /><br /><strong>1st Prince's tale:</strong><br />1st tomb-descent (incest)<br />1st armed insurrection (Father killed)<br />1st blinding (unjust)<br />2nd tomb-descent<br /><br />[<em>12th Night</em>]:<br /><br />2nd Prohibition<br />2nd armed insurrection (Uncle killed)<br /><br /><strong>2nd Prince's tale:</strong><br />1st cavern-descent (adultery)<br />3rd Prohibition<br /><br />[<em>13th Night</em>]:<br /><br />1st beating for jealousy<br />2nd cavern-descent<br />1st lady killed for him<br />well-descent (vision)<br />Exorcism<br />1st transformation<br /><br />[<em>14th Night</em>]:<br /><br />2nd transformation<br />2nd lady killed for him<br />2nd blinding (accidental)<br /><br /><strong>3rd Prince's tale:</strong><br /><br />[<em>15th Night</em>]:<br /><br />1st magic horse<br />4th Prohibition<br />underground descent (the youth)<br />40 days<br /><br />[<em>16th Night</em>]:<br /><br />40 damsels<br />40 days<br />40 rooms<br />5th Prohibition<br />2nd magic horse<br />3rd blinding (at fault)<br /><br />[<em>17th Night</em>]:<br /><br /><strong>1st Sister’s tale:</strong><br />2 groups of 2 sisters<br />twice deserted by husbands<br />3rd transformation<br /><br />[<em>18th Night</em>]:<br /><br />youth killed for her<br />4th transformation<br />6th Prohibition<br /><br /><strong>2nd Sister’s tale:</strong><br />7th Prohibition<br />2nd beating for jealousy<br /><br />[<em>19th Night</em>]:<br /><br />5th transformation<br /><br />Al-Amin = Portress<br />Eldest lady + 2 sisters = 3 Kalandars<br />Harun = Cateress<br /></blockquote><br /><strong>Recurrent Patterns:</strong><br /><blockquote><br />7 shopkeepers<br />7 guests<br />7 slaves<br />7 stories:<br />(Porter, 3 Kalandars, Ja’afar, & 2 Sisters)<br />7 Prohibitions<br /><br />3 shaved monks<br />3 blindings<br />3 underground descents<br />(Incest, Adultery, a Youth)<br />3 ‘Merchants’<br />3 Sisters<br />3 Love-songs<br />3 Floggings<br />(Portress’s husband, Ifrit, and Eldest Lady)<br /><br />40 days underground<br />40 damsels<br />40 days in the palace<br />40 chambers<br /></blockquote><br /><strong>Doublings:</strong><br /><blockquote>(<em>1st Kalandar</em>): 2 descents into the vault<br />2 armed insurrections<br />(<em>2nd Kalandar</em>): 2 ladies killed for him<br />2 transformations (Ifrit and Princess)<br />(<em>3rd Kalandar</em>): 2 magic horses<br />(<em>1st Sister</em>): 2 Sisters twice deserted<br />2 transformations (black stones and black dogs)<br />(<em>2nd Sister</em>): Marriage and Repudiation caused by the same old woman</blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com2tag:blogger.com,1999:blog-33189808.post-82316528214743694222007-09-25T14:33:00.000-07:002017-06-10T15:17:50.104-07:00Malory:<div align="center">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_v5TaZBYaw6kh5MdY9Hn1CgjkkSBIOLFGiTxcg4SB9eaPLRjBhHY6FxB6dV4-qqFcpfZOj7JTdZHvrILSgUAzL1IY71NzN8BKxRhja_rzx_zLfXXs49dAHwxXYqakfciOJku_/s1600-h/morte_darthur2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5114258396598414850" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_v5TaZBYaw6kh5MdY9Hn1CgjkkSBIOLFGiTxcg4SB9eaPLRjBhHY6FxB6dV4-qqFcpfZOj7JTdZHvrILSgUAzL1IY71NzN8BKxRhja_rzx_zLfXXs49dAHwxXYqakfciOJku_/s320/morte_darthur2.jpg" style="display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="font-size: 85%;">[<a href="http://www.slq.qld.gov.au/coll/austart">Aubrey Beardsley: Illustrations to Malory's <i>Morte d'Arthur</i></a>]</span><br />
<b><br /><span style="font-size: 130%;">A Noble Tale of Sir Launcelot du Lake</span></b></div>
<br />
<b><br />Plot Summary:</b><br />
<br />
Page numbers in parentheses are taken from <i>The Works of Sir Thomas Malory</i>, ed. Eugène Vinaver, 3 vols, 1947, 3rd ed. rev. P. J. C. Field, (Oxford: Clarendon Press, 1990) 1: 249-287:<br />
<blockquote>
<br />
[<i>Caxton, VI.1</i>]:<br />
Sir Launcelot and Sir Lyonell ‘go seke adventures’ (253) . Launcelot goes to sleep under an apple-tree while Lyonell stays awake. Lyonell sees a ‘stronge knyght’ (254) overcome three knights in a row. Lyonell assays the knight, is beaten, and cast in prison.<br />
<br />
[<i>Caxton, VI.2</i>]:<br />
Sir Ector de Marys ‘made hym redy to seke sir Launcelot’ (254). He meets a foster, who warns him of a tree hung with shields. He fights Sir Tarquyn, but is beaten by him and imprisoned.<br />
<br />
[<i>Caxton, VI.3</i>]:<br />
Sir Launcelot is found by ‘foure queenys of a grete astate’ (256), and enchanted by Morgan le Fay and taken to the Castell Charyot. He refuses to choose any of them as his love.<br />
<br />
[<i>Caxton, VI.4</i>]:<br />
A damsel offers to release Launcelot if he will help her father King Bagdemagus in a tournament against the King of North Galys ‘on Tewysday next commynge’ (258). He agrees and is given back his armour and horse.<br />
<br />
[<i>Caxton, VI.5</i>]:<br />
Launcelot falls asleep in a ‘pavylyon of rede sendele’ (259), and fights Sir Belleus who has come expecting his lemman. She comes, and demands that Launcelot have Belleus made a knight of the Round Table.<br />
<br />
[<i>Caxton, VI.6</i>]:<br />
Launcelot arrives at the abbey of white monks and again meets the ‘doughter of kyng Bagdemagus’ (261), who sends for her father. Sir Madore de la Porte, Sir Mordred and Sir Gahalantyne are the three Round Table knights who are fighting for the King of North Galys.<br />
<br />
[<i>Caxton, VI.7</i>]:<br />
Launcelot enters the tournament, where he ‘smote downe the kynge of North Galys’ (262), then Sir Madore, then Sir Mordred, then Sir Gahalantyne, then sixteen knights with one spear, then twelve with another. His side wins.<br />
Launcelot rides back to the forest and meets a damsel on a white palfrey. She tells him about Sir Tarquyn. He meets Sir Gaheris, bound by Sir Tarquyn, and challenges the latter.<br />
<br />
[<i>Caxton, VI.8</i>]:<br />
Launcelot and Tarquyn fight, the latter revealing that he holds an enmity against Launcelot for killing his brother ‘sir Carados at the Dolerous Towre’ (266). They continue fighting and Launcelot kills him.<br />
<br />
[<i>Caxton, VI.9</i>]:<br />
Launcelot takes Gaheris’ horse, telling him to free the prisoners and to wait for him at court, ‘for by the feste of Pentecoste I caste me to be there’ (268). Gaheris frees them, and the foster brings them food.<br />
<br />
[<i>Caxton, VI.10</i>]:<br />
The damsel leads Launcelot to another evil knight, whom he justly slays, ‘for lyke as Terquyn wacched to dystresse good knyghtes, so dud this knyght attende to destroy and dystresse ladyes, damesels and jantyllwomen; and his name was sir Perys de Foreste Savage’ (270). Launcelot and the damsel part here.<br />
<br />
Two days later Launcelot is forced to kill a carle on a bridge, in order to reach a village.<br />
<br />
[<i>Caxton, VI.11</i>]:<br />
Launcelot kills two giants, and frees ‘three score of ladyes and damesels’ (272) from Tintagel.<br />
<br />
He then goes on and lodges with an old gentlewoman. Through the window he sees three knights pursuing one. Launcelot defeats the knights and makes them yield to Sir Kay, then go on to wait for him at court. In the morning, he takes Kay’s armour and leaves him his own.<br />
<br />
[<i>Caxton, VI.12</i>]:<br />
Launcelot / Kay (he will retain this disguise for the rest of the adventure) passes three knights. Sir Gawtere pursues him and is defeated. Sir Gylmere is also beaten, then Sir Raynolde. The three are sent to court to yield themselves to Queen Gwenyvere.<br />
<br />
[<i>Caxton, VI.13</i>]:<br />
Launcelot fights Sir Sagramoure le Desyrus, Sir Ector de Marys, then Sir Uwayne, then Sir Gawayne. ‘Than had they much sorow to gete their horsis agayne’ (278).<br />
<br />
[<i>Caxton, VI.14</i>]:<br />
Launcelot pursues a ‘blak brachette’ (278) by following a trail of blood. It leads him to a lady and a dead knight, her husband Sir Gylberd the Bastarde. Subsequently he meets a damsel, whose brother Sir Melyot de Logyrs was wounded in battle with Gylberte.<br />
<br />
[<i>Caxton, VI.15</i>]:<br />
Launcelot agrees to get a bloody cloth and sword from the Chapel Perelus in order to heal Melyot’s wounds.<br />
<br />
Launcelot enters the Chapel and confronts ‘thirty grete knyghtes’ (280), then Hallewes the Sorseres. He then returns to Melyot and heals him. Melyot, too, is sent to wait at court.<br />
<br />
[<i>Caxton, VI.16</i>]:<br />
Launcelot helps a lady recover her hawk by climbing a tree. Sir Phelot ambushes him there, but is stunned with a branch and then defeated and killed.<br />
<br />
[<i>Caxton, VI.17</i>]:<br />
Launcelot sees ‘a knyght chasyng a lady with a naked swerde to have slayne hir’ (284). He stops him, but Sir Pedyvere slays her anyway by stealth. He is sent to Queen Gwenyvere at court with the lady’s severed head. From there he is sent to the Pope in Rome.<br />
<br />
[<i>Caxton, VI.18</i>]:<br />
Launcelot returns two days before the feast of Pentecost. Gawayne, Uwayne, Sagramour, and Ector see that it was he who defeated them. Tarquyn’s three-score prisoners are told who rescued them by Gaheris. Kay tells his story. Gawtere, Gylmere, and Raynolde discover ‘Kay’s’ identity. Then Melyot appears, and ‘all his dedys was knowyn’ (287) - the imprisonment by the four queens, King Bagdemagus’ daughter and the tournament, and his defeat there of Mador, Mordred, and Gahalantyne. Belleus and his lady arrive, and the former is made a knight of the Round Table. ‘And so at that tyme sir Launcelot had the grettyste name of ony knyght of the worlde, and moste he was honoured of hyghe and lowe’ (287).</blockquote>
<br />
<b>Analysis:</b><br />
<blockquote>
<br />
[<i>Caxton, VI.1</i>]:<br />
<b>A: ‘Sir Tarquyn’</b><br />
<br />
Launcelot (apple-tree)<br />
Lyonell<br />
3 Knights(1)<br />
[Tarquyn]<br />
<br />
[<i>Caxton, VI.2</i>]:<br />
<br />
Ector<br />
‘foster’<br />
Tarquyn<br />
<br />
[<i>Caxton, VI.3</i>]:<br />
<b>B: ‘Bagdemagus’</b><br />
<br />
Launcelot<br />
Morgan + 3 Queens<br />
Damsel(1)<br />
<br />
[<i>Caxton, VI.4</i>]:<br />
<br />
[<i>Caxton, VI.5</i>]:<br />
<b>C: ‘Sir Belleus’</b><br />
<br />
Launcelot<br />
Belleus<br />
Lady(1)<br />
<br />
[<i>Caxton, VI.6</i>]:<br />
<b>B: ‘Bagdemagus’</b><br />
<br />
Launcelot<br />
Damsel(1)<br />
3 Knights(2)<br />
<br />
[<i>Caxton, VI.7</i>]:<br />
A: ‘Sir Tarquyn’<br />
<br />
Launcelot<br />
Damsel(2)<br />
Gaheris<br />
Tarquyn<br />
[Sir Carados]<br />
<br />
[<i>Caxton, VI.8</i>]:<br />
<br />
[<i>Caxton, VI.9</i>]:<br />
<b>A: ‘Sir Gaheris’</b><br />
<br />
Launcelot<br />
Gaheris + 60 prisoners<br />
‘foster’<br />
<br />
[<i>Caxton, VI.10</i>]:<br />
<b>B1: ‘Sir Perys’</b><br />
<br />
Launcelot<br />
Damsel(2)<br />
Perys<br />
<br />
<b>B2: ‘Tintagel’</b><br />
<br />
Launcelot<br />
‘carle’<br />
<br />
[<i>Caxton, VI.11</i>]:<br />
Giants+ 60 prisoners<br />
<br />
<b>C1: ‘Sir Kay’</b><br />
<br />
Launcelot<br />
Kay<br />
3 Knights(3)<br />
<br />
[<i>Caxton, VI.12</i>]:<br />
<br />
Launcelot / Kay<br />
3 Knights(4)<br />
<br />
[<i>Caxton, VI.13</i>]:<br />
<br />
Launcelot<br />
Ector<br />
3 Knights(5)<br />
<br />
[<i>Caxton, VI.14</i>]:<br />
<b>C2:’Chapel Perilous’</b><br />
<br />
Launcelot<br />
Lady(2)<br />
Gylberd<br />
Damsel(3)<br />
Melyot<br />
<br />
[<i>Caxton, VI.15</i>]:<br />
<br />
Launcelot<br />
30 Knights<br />
Hallewes<br />
<br />
[<i>Caxton, VI.16</i>]:<br />
<b>B3: ‘Sir Phelot’</b><br />
<br />
Launcelot<br />
Lady(3)<br />
Phelot<br />
<br />
[<i>Caxton, VI.17</i>]:<br />
<b>B4: ‘Sir Pedyvere’</b><br />
<br />
Launcelot<br />
Pedyvere<br />
Lady(4)<br />
<br />
[<i>Caxton, VI.18</i>]:<br />
<b>A: ‘Guinevere’</b><br />
<br />
Launcelot<br />
Ector<br />
3 Knights(5)<br />
[Tarquyn]<br />
Gaheris + 60 prisoners<br />
<br />
Kay<br />
3 Knights(3) + 4<br />
Melyot<br />
3 Knights(2)<br />
Belleus</blockquote>
<br />
<b>Recurrent Patterns:</b><br />
<blockquote>
<br />
Damsels = King’s daughter1 (c.4 & 6)<br />
Guide2 (c.7 & 10)<br />
Melyot’s sister3 (c.14 & 15)<br />
Hallewes4 (c.15)<br />
Couples = Belleus + Lady1 (c.5)<br />
Gylberd + Lady2 (c.14)<br />
Phelot + Lady3 (c.16)<br />
Pedyvere + Lady4 (c.17)<br />
3 + 1 = Tarquyn + 3 Knights1 (c.1)<br />
Morgan + 3 Queens (c.3)<br />
Lancelot + 3 Knights2 (c.6)<br />
Kay + 3 Knights3 (c.11)<br />
‘Kay’ + 3 Knights4 (c.12)<br />
Ector + 3 Knights5 (c.13)<br />
<br />
3 score prisoners of Tarquyn (c.18)<br />
3 score prisoners in Tintagel (c.11)</blockquote>
<br />
<div align="center">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5362591049088274098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" style="cursor: hand; cursor: pointer; display: block; height: 199px; margin: 0px auto 10px; text-align: center; width: 177px;" /></a></div>
Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-33859466135724600602007-09-24T16:48:00.000-07:002009-07-25T20:33:15.397-07:00Plot Summaries:<div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXA_ERIEf-IJjGfmhAHR_jo8WiMHe_K2PnGLLaSibCZN3-W1IJ5OKS77NLJuskQ2A15eWG8TedetXTnMUInO6Q9mRREL0KeUKIZ4GsjJo0CDBf29gqcSZgtHtos6_UuHnVYO34/s1600-h/vess.jpg"><img id="BLOGGER_PHOTO_ID_5114623962739813986" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXA_ERIEf-IJjGfmhAHR_jo8WiMHe_K2PnGLLaSibCZN3-W1IJ5OKS77NLJuskQ2A15eWG8TedetXTnMUInO6Q9mRREL0KeUKIZ4GsjJo0CDBf29gqcSZgtHtos6_UuHnVYO34/s320/vess.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://endicottstudio.typepad.com/endicott_redux/2007/03/charles_vess_mo.html">Charles Vess</a>]</span><br /><strong><br /><span style="font-size:130%;">Stories concerning Christianity and the Crusades from the <em>Thousand and One Nights</em></span></strong><br /></div><br /><strong><br />[Story I]</strong> (Nights 45-145) - “The Tale of King Omar Bin Al-Nu’uman, and his sons Sharrkan and Zau Al-Makan” (Burton, <em>The Book of the Thousand Nights and a Night</em>, (1885) 2: 77 - 3: 113):<br /><br /><blockquote>Prince Sharrkan is the son and heir of the mighty King of “East and West ... with whatsoever regions lay interspersed between them” (2:77), Omar bin Al-Nu’uman. The latter has four wives and 360 concubines, one of whom - a Greek named Sophia - becomes pregnant and bears him a daughter and a son, called respectively Nuzhat al-Zamán and Zau al-Makán. Sharrkan had intended to have the child killed if it were male, but his messenger leaves after the first birth and thus does not hear of the second.<br /><br />One day an ambassador comes from “the King of Roum [Anatolia], Lord of Constantinople the Great” (2: 81), King Afrídún, to ask Omar’s assistance in a war he is waging with another Christian King to recover some jewels. Omar agrees, and appoints Sharrkan and his Wazir Dandán to command his forces. A few weeks travel from Baghdad, Sharrkan goes out exploring by himself one day, and observes a group of women having a wrestling match in a Christian Monastery. Sharrkan laughs as the strongest and fairest of them all defeats an old woman named Zát al-Dawáhí [“Queen of Calamities” (2: 87)], thus revealing his presence. The damsel challenges him to wrestle, and defeats him three times, because “he was confounded by her beauty and loveliness” (2: 91). She invites him home with her, and reveals that she is Abrízah, daughter of Afridun’s opponent King Hardub of Roum. The two are interrupted by some Christian soldiers, sent by Zat al-Dawahi, and, when she refuses to surrender her guest to them, Sharrkan and she slaughter them in battle. They agree to flee together, and “the two plighted their troth” (2: 110). She reveals to Sharrkan that the war is really about the fact that King Hardub sent Afridun’s daughter Sophia as tribute to King Omar, without knowing who she was, after recovering her from some pirates. The story about the jewels was a fabrication. Sharrkan rejoins his army, leaving Abrizah to meet him at Baghdad. The Christian army soon overtakes the retreating Islamic host, and in the subsequent battle one “Frankish cavalier” (2: 115) does particularly well. Sharrkan challenges the knight to single combat only to find that it is in fact Abrizah, who now rejoins him.<br /><br />On his return to Baghdad, Sharrkan discovers that he has a brother, which puts him in a sulk. His father King Omar, however, falls in love with Abrizah and rapes her while she is drugged. She becomes pregnant and looks for an opportunity to return to her people. A black slave whom she enlists to help her in her flight attacks her while she is giving birth, and she dies of the wound. King Hardub discovers the body, and confers with his mother Zat al-Dawahi over a suitable plan of revenge.<br />Meanwhile, in Baghdad, Sharrkan’s jealousy grows to the point where he is sent away to take command as viceroy of Damascus. Omar’s other two children, who are now fourteen, have become very pious and accomplished, and decide to steal away together incognito to perform the pilgrimage to Mecca. They do so, but on the way back Zau al-Makan falls ill in Jerusalem, and his sister spends all they have looking after him. One day she goes out begging and does not return; after various tribulations he is rescued from a rubbish heap by a bath-stoker, who nurses him back to health. Nuzhat al-Zaman, on the other hand, is captured by “an old Badawi” (2: 140), who whips and mistreats her and then sells her as a slave in Damascus. She is bought by the Sultan Sharrkan, who takes her as his queen. She becomes pregnant by him before he discovers their common parentage , upon which he rapidly marries her off to his Chief Chamberlain to cover up the disgrace. They name their daughter Kuzia Fakán [’decreed by Destiny” (2: 175)].<br /><br />Meanwhile, back in Baghdad, the old woman Zat al-Dawahi gets her planned revenge on Omar. She has had five damsels trained in “all arts and sciences befitting mortals to know” (2: 176), and brings them to him as tribute. He is enchanted by their learning, but is poisoned by them while off guard (they flee with Sophia, the King of Constantinople’s daughter).<br /><br />Nuzhat al-Zaman has been reunited with her brother Zau al-Makan on her way back to Baghdad and, when they hear of their father’s death from the Wazir Dandan, it is agreed that Zau al-Makan should succeed him. He accordingly summons his brother Sharrkan to take part in a holy war to avenge their father, and the latter agrees. The Christian Kings Hardub and Afridun conclude a truce at this news, and the battle is on.<br /><br />The Moslems, after much detailed fighting, defeat the Christian host, but Zat al-Dawahi devises another cunning plan. She disguises herself as a Christian hermit and is admitted to the Moslem camp. She inveigles the leaders of the army into an ambush with a false tale, and betrays Zau al-Makan, Sharrkan and Dandan into captivity. They escape, however, and - rejoining their army - succeed in chasing the Christians to the gates of Constantinople. She manages to convince them (all except Dandan) of her zeal in the cause, however, and continues to move between the two armies. After another large battle, it is agreed that a single combat between Sharrkan and King Afridun should decide the conflict. Sharrkan is wounded badly, and Zat al-Dawahi (pretending to tend him) cuts his throat when they are alone. Meanwhile, during the next day’s fighting, Zau al-Makan has slain King Hardub. On hearing of the loss of his brother, he falls into gloom - relieved by the news that his wife has borne him a son called Kánmákan, and by a series of tales told him by Dandan [The Tale of Taj al-Muluk and the Princess Dunya (2: 283 - 3: 48), including The Tale of Aziz and Azizah (2: 298 - 3: 8)].<br /><br />The siege of Constantinople lasts four years, but at last the Moslems are forced to retreat. Zau al-Makan falls ill, and has the twelve year-old Kanmakan appointed as his successor, with his sister’s husband the Chamberlain as regent. He then dies. The Chamberlain, over time, becomes confirmed as the Sultan Sásán, and is therefore reluctant to allow his wife’s daughter to marry the now orphaned and penniless Kanmakan. The latter grows to the age of seventeen and leaves home, love-sick and despairing. Meanwhile the Wazir Dandan has led a revolt in Kanmakan’s favour, and the Sultan, in panic, invites him to come back (intending to have him killed). After various attempts, which are all foiled, Kanmakan leaves the city with his aunt Nuzhat al-Zaman and cousin Kuzia Fakan, and joins Dandan. Their army is, however, ambushed by the Greek King Rumzan, who is about to have them executed when his nurse reveals to him that his mother, Abrizah, conceived him by King Omar, and that these people are his close relatives. He is moved by the tale and releases them, and on their triumphal entry into Baghdad Sasan is forced to do homage to them and Kanmakan is confirmed as King. The old woman Zat al-Dawahi is crucified for her crimes, the Badawi who enslaved Nuzhat al-Zaman found and beheaded, and they all live happily ever after.</blockquote><br /><br /><strong>[Story II]</strong> (Nights 412-14) - “The Prior who became a Moslem” (5: 141-45):<br /><br /><blockquote>Abu Bakr Mohammed ibn Al-Anbári [a 10th century grammarian] tells of meeting the prior of a Christian monastery who gave him shelter for the night. The next year he met him and five of his fellows circling the Ka’abah in Mecca. The monk explained that the cause of his conversion was a young Moslem who entered a nearby village to buy food, and fell in love with a Christian damsel who was selling bread there. He sat down next to her booth and refused to go away, upon which the locals beat him up. The monk tended him, but before long he returned to the woman’s shop-door. She offered him marriage if he would convert, but he refused; she offered to let him “take thy will of me and wend thy ways in peace” (142); he refused. So the village boys stoned him, and he died before he could be taken back to the monastery. Next day the Christian woman said that she had met him in Paradise in a dream, and that she had had to convert to Islam to enter Paradise with him. Thereupon she stopped eating, and died on his grave. There was a quarrel between two passing Moslems and the monks about whose the body was. It was resolved when forty monks could not lift her from the spot, but the two Shaykhs could do so with ease. The monks and all the villagers accordingly converted to Islam.</blockquote><br /><br /><strong>[Story III]</strong> (Nights 474-77) - “The Moslem Champion & the Christian Damsel” (5: 277-83):<br /><br /><blockquote>During the siege of Damascus by the second Caliph Omar bin al-Khattáb, two brothers particularly distinguished themselves among the Moslem attackers. The Captain of the fortress waylaid them both - killing one and capturing the other. Not wanting either to kill or release him, the Captain planned to inveigle the Moslem to “embrace the Nazarene Faith and be to us an aid and an arm” (278). To this end, one of his knights sent his daughter to wait upon the prisoner, who responded by “closing his eyes ... [and] reciting the Koran” (278) over a period of seven days. Eventually she fell for him and got him to explain the faith to her, upon which she converted “to win thy favours” (280). He explained that this was unlawful without marriage, so the two planned to escape together. She told her parents that he was on the point of conversion, but could not feel comfortable at doing this in the town where his brother was killed. The ruse worked, and the two were sent to an outlying village, from which they rode away during the night. Frightened by apparent sounds of pursuit, the girl suggested that they pray for aid, upon which the dead brother appeared and explained that the noise was actually “the host of Allah and his angels” (281) who had come to escort them to Medinah, where they were met by the Commander of the Faithful, Omar, who celebrated a marriage feast for the two of them.</blockquote><br /><br /><strong>[Story IV]</strong> (Nights 477-78) - “The Christian King’s Daughter and the Moslem” (5: 283-86):<br /><br /><blockquote>Sídi Ibrahim bin Al-Khawwás tells the tale of how he once travelled into the “country of the Infidels” (283) until he came to a city whose (Christian) King’s daughter was very ill - “no leach goeth in to her and treateth, without healing her, but the King putteth him to death” (284). He agreed to see her, but omitted the full salutation due to another Moslem, for which she rebuked him. She explained that she had been a believer now for four years, and Allah had promised her the day before to send her “Ibrahim the Basket-maker” (285) as a deliverer. After seven days of visits, during which she pretended to be getting better, the two fled together to Mecca, “where she made a home hard by the Holy House of Allah and lived seven years; till the appointed day of her death” (286).</blockquote><br /><br /><strong>[Story V]</strong> (Nights 863-94) - “Ali Nur Al-Din and Miriam the Girdle-Girl” (8: 264 - 9: 19):<br /><br /><blockquote>Ali Nur al-Din is the son of a Cairene merchant, who is invited one day to go “a-pleasuring” (8: 265) in a nearby garden. After much recitation of poetry, he drinks too much wine and returns home drunk. When his father rebukes him, he hits him and accidentally puts out his right eye. His mother gives him some money and persuades him to run away before the father recovers. This he does, and soon reaches the city of Alexandria. An old man meets him there and persuades him to stay in his house, as he is very beholden to Nur al-Din’s father.<br /><br />One day he sees a Persian selling a slave-girl in the market. She has been promised her own choice of masters, and refuses one man after another until she sees Nur al-Din, whom she persuades to bid all the money he has left for her. He borrows money from his father’s friend and spends it on food and - at her suggestion - silk. Next morning, after a night of bliss, he discovers that she has made a girdle of the silk, which he sells for a profit. And so it continues for a year.<br /><br />At the end of this time, Miriam tells him to be on his guard against a “swart-visaged oldster” (8: 309) whom she has seen in the city. Nur al-Din is waylaid by the man, a Frank, who persuades him to sell him a handkerchief which Miriam had made. The other merchants urge Nur al-Din to accompany them to a party given by the Frank, who tricks him - while drunk - into selling him Miriam for a large sum of money. “Now this handmaid was the daughter of the King of France, the which is a wide and spacious city” (8: 315), but had been captured by Moslem pirates while on a pilgrimage. Her new owner, a Persian merchant, converted her to Islam and allowed her her own choice of masters because she nursed him during an illness. The cunning Frank is her father’s chief Wazir, and rejoices at having recovered her. She, on the other hand, will not stop weeping all the way home.<br /><br />Nur al-Din, after a lot of crying and lamenting, “fell down in a swoon” (9: 322) on the docks, and was revived by an old Shaykh who happens to be the captain of a merchant ship bound for France. On the way they are captured by corsairs, taken to the King of France, and thrown in prison. On hearing that his daughter is no longer a virgin, the King is advised that “naught will purify her save the striking off of an hundred Mohammedan heads” (9:324), and accordingly starts executing the merchants. Nur al-Din is only saved by an old woman who reminds the King of his promise to supply her church with Moslem captives. Miriam comes there next day and he dares to accost her, despite her being surrounded by four hundred damsels with shining swords. She sends off her waiting women, and the two of them make love in the church. She gives him directions for finding a ship in the harbour, and they escape together the next day (she disguised as a ship’s captain). They are, however, pursued - and the Franks recapture her in Alexandria while Nur al-Din is ashore getting her some women’s clothes.<br /><br />Back home, Miriam’s father has had enough. He threatens to have her crucified, but his Wazir suggests marrying her to him instead. Nur al-Din, despairing, returns to France and is again captured by the Franks. He is on the point of execution when the Wazir comes to collect captives to be sacrificed in front of the palace he is building for his bride. When they get there, however, Nur al-Din’s knowledge of horses causes him to be appointed as a farrier. One day the Wazir’s daughter overhears one of his versified laments, and discusses it with Miriam. The latter sends him a message, telling him to saddle two horses and be ready the next night. She drugs the Wazir and, after killing an impertinent horse-thief, gallops off with Nur al-Din and the Wazir’s jewels. Pursued by his father and his army, she turns to meet them, killing her three brothers in single combat, and terrorises the entire host into retreat. The Frankish King writes to the Caliph Harun al-Rashid demanding that the two be returned, and he accordingly has them arrested and brought to Baghdad. There Miriam persuades him that she is indeed a true believer, and when the Frankish Wazir, who has come to claim her, threatens that he will not leave without her, she secures the Caliph’s permission to behead him. The two live happily ever after in Baghdad and Cairo.</blockquote><br /><br /><strong>[Story VI]</strong> (Nights 894-96) - “The Man of Upper Egypt and His Frankish Wife” (9: 19-24):<br /><br /><blockquote>Some visitors at his house ask an old Egyptian man why his children are so white while he is so dark. He answers, “Their mother was a Frankish woman, whom I took prisoner in the days of Al-Malik al-Nasír Saláh al-Dín [Saladin], after the battle of Hattín, when I was a young man”(19), and proceeds to tell the story of how he won her. In former days he used to sell flax in Acre, when it belonged to the Christians, and there saw and fell in love with this woman. He arranged (and paid for) an assignation with her through an old woman go-between, but “abstained” from her when she came to see him for fear of the wrath of Allah. Next day she was very angry, as was the old woman, and he repented his decision - paying twice as much gold for a second night. The same happened again. There was no third meeting, as at this point the truce expired between the Christians and the Moslems. He went to Damascus, and became a trader in slave-girls. Having supplied one for the Sultan Saladin, fresh from his victory at Hattin, he was invited to choose one of his captives to make up a shortfall in the price - and saw in the camp his old inamorata, now “the wife of one of the cavaliers of the Franks” (22). At first she did not know him, but on having the coincidence explained, made “perfect profession of Al-Islam” (22-23). He accordingly had her freed and married her. When, a few days later, the King of the Franks ransomed all his prisoners, she was offered the choice of going back or staying with her new husband. She chose the latter and, among the effects sent to to her in captivity by her mother, the Egyptian found his two purses, both untouched.</blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com2tag:blogger.com,1999:blog-33189808.post-57292528784095967602007-09-24T15:52:00.000-07:002009-12-15T11:13:47.799-08:00Europe, Christianity & the Crusades<div align="center"><br /><strong><span style="font-size:130%;">In the <em>Thousand and One Nights</em><br /></strong><br /></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeS5jqIgTRr20lLUxnYW0LHv9VrpiJRAid9MLT9TKZhhrRkT79tv39j7RlIHGmwJLQcMKJcqfRk4icnUHNgpE0cZRJpDVtLUa83JLh72oYHp1EtfErSmh31tA9va0BF-UK4tK4/s1600-h/people's+crusade.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 300px; height: 307px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeS5jqIgTRr20lLUxnYW0LHv9VrpiJRAid9MLT9TKZhhrRkT79tv39j7RlIHGmwJLQcMKJcqfRk4icnUHNgpE0cZRJpDVtLUa83JLh72oYHp1EtfErSmh31tA9va0BF-UK4tK4/s400/people's+crusade.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273517507599149506" /></a><span style="font-size:85%;">[<a href="http://www.brighton73.freeserve.co.uk/firstcrusade/Overview/Overview.htm">The People's Crusade</a>]</span><br /></div><br /><blockquote><br />Magnificent, indeed are the <em>Thousand and One Nights</em>! They flash with gold and diamonds; they resound with lutes and songs; they exhale cinnamon and attar-of-roses. The streets are crowded by picturesque figures with flowing robes and jewelled scimitars; beauteous figures lean from latticed windows; sly beggars ply their amusing trade; opulent merchants recline amid their costly bales; steel clashes on steel; mystic bouquets of flowers convey amorous messages; long caravans advance laden with ivory and silk and spices and precious stones; and stately monarchs gaze down upon it all from their gorgeous thrones. (Mann, 1907, pp. 151-52)</blockquote><br />Taking up where we left off at the end of the last chapter, with the Rev. Cameron Mann's 1907 magazine article, I suppose it's true to say that most of us <em>do </em>think of <em>The Thousand and One Nights </em>rather like that - beautiful princesses imprisoned by genies, the bustling street-life of old Baghdad, the magic and mystery of the East, and so on and so forth. Walt Disney’s <em>Aladdin </em>(1992), to name but one of the innumerable imitations and retellings of the <em>Nights</em>, might have been constructed to this prescription. However, as Mann points out, there is a downside to all this magnificence:<br /><br /><blockquote>... first, the “Nights” are thoroughly, unblushingly, callously sensual. As scholars know, it is impossible to translate them accurately in any edition meant for general reading. Their details would insure the prompt suppression of the publication and the prosecution of the publisher. (p. 152)</blockquote>There is, I am sure, nothing inherently blameworthy in wanting to know just a little more about this “unblushing, callous sensuality,” but the Bishop of North Dakota states firmly: “Of course, one cannot give examples.” Being human, though, he cannot avoid letting slip a few illustrations of what he means:<br /><br /><blockquote>The lovers care simply for physical beauty. Everybody deems a full purse the insurer of felicity. Nobody makes a self-sacrifice for anybody else ...There are no magnificent aspirations, no heroic resolves. The men sometimes fight, but not as striving for a great cause; and they are never ready to die. Their sole aim is to have abundance of luscious food, gorgeous dress, flashing ornaments, obedient slaves and beautiful women, and to listen to gay music and wanton verses. (p. 153)</blockquote>Of course, whether fortunately or unfortunately, the <em>Nights </em>are not really like this. Generations of dealers in smutty books have tried to imply that ‘unexpurgated’ translations such as Burton’s <em>Book of the Thousand Nights and a Night </em>(1885) are tantamount to pornography, but five minutes search for the dirty bits would convince most of us that pieces of titillation are few and far between. In fact, the <em>Thousand and One Nights </em>are at once far more interesting and far more respectable.<br /><br />When I first began to read Burton’s translation of the <em>Nights</em>, I was struck by two things: First, just how appallingly mannered Burton’s prose is (in fact, Jorge Luis Borges implies in one of his lectures that it is literally impossible to read this multi-volumed, roughly 6,000 page translation to the end<a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn1" name="_ftnref1" title="" class="style23">[1]</a> - he's wrong, but that doesn't mean it's a particularly easy task); and second, how little resemblance this strange, complex book bears to the ‘Arabian Nights’ of popular culture. What really struck me about them, though, was how useful they could be in illuminating patterns of cultural perception - patterns of cultural misapprehension, almost.<br /><br />We tend to hear a great deal about how Westerners perceive the Orient (and this is something I myself will be discussing in Chapter Three). Here, though, I'd prefer to discuss how the West has traditionally appeared through <em>Eastern </em>eyes. What are the characteristics attributed by works of Islamic popular fiction to their Christian opponents and enemies? They can be listed as a catalogue of motifs or tropes:<br /><br /><strong>1/ The high-born Christian maiden converted to Islam:</strong><br /><br />This can be further divided into sub-categories:<br />• <em>Sensual </em>conversion (a change of belief occasioned by the beauty, wisdom, or physical prowess of a potential lover); and<br />• <em>Spiritual </em>conversion (with little reference to more worldly concerns).<br /><br />Examples of the <em>first </em>sub-category would include “The Moslem Champion and the Christian Damsel” [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story III</a></strong>] where the (unnamed) daughter of a “Patrician Knight,” who, like Ophelia, is “loosed” to a Moslem prisoner in an endeavour to convince him of the merits of Christianity, instead embraces Islam for no more lofty motive than “for thy sake and to win thy favours” (Burton, 1885, 5: 280), as she explains to him subsequently.<br /><br />Then there is the Christian woman of Acre in “The Man of Upper Egypt and His Frankish Wife” [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story VI</a></strong>], who converts because she was so impressed by her Moslem suitor’s refusal to consummate their love even after two night-long assignations, so great was his fear of Allah. After the battle of Hattin, when she meets him again, she repudiates her husband, “one of the cavaliers of the Franks” (Burton, 1885, 9: 22), and willingly marries the Egyptian instead.<br /><br />Finally, as a footnote to the theme, there is the redoubtable “Princess Miriam the Girdle-girl, daughter of the King of France” [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story V</a></strong>], who, even though she is initially converted by the Persian slave-trader whom she nurses back to health, remains loyal through thick and thin to her rather wimpish Cairene master. Burton attempts to explain the attitudes concerned in one of his notes to the story, (<em>à propos </em>of the pair’s making love in a Cathedral chapel): “This profaning a Christian Church which contained the relics of the Virgin would hugely delight the coffee-house habitués, and the Egyptians would be equally flattered to hear that the son of a Cairene merchant had made the conquest of a Frankish Princess Royal. That he was an arrant poltroon mattered very little, as his cowardice only set off his charms” (Burton, 1885, 8: 328).<br /><br />Examples of the <em>second </em>sub-category, the more edifying or spiritual conversion, would include “The Christian King’s Daughter and the Moslem” [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story IV</a></strong>], the story of a Christian King’s daughter who has been persuaded on her own account to convert to Islam by “The manifest signs and visible portents of Allah” (Burton, 1885, 5: 285) – a decision interpreted (understandably) by her own people as betraying either “insanity ... [or] depravity” – and who is aided in her flight to Mecca by the Moslem saint Ibrahim the Basket-maker.<br /><br />One should probably also include here the Christian woman in “The Prior who became a Moslem” [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story II</a></strong>], even though there is no mention of her being well-born. The love she comes to feel for her Moslem admirer only emerges after his death, when she is forced to convert to Islam in her dreams in order to be allowed to follow him into the gardens of paradise. Even his love is far from worldly as, while alive, he shows no disposition to take her up on her offer to “take thy will of me and wend thy ways” (Burton, 1885, 5: 142). A compliant lot, these Christian women.<br /><br />Interestingly enough, the person one would <em>most </em>expect to see listed under this heading, the unfortunate Princess Abrizah, “daughter of King Hardub of Roum,” (Burton, 1885, 2:109), from “The Tale of King Omar bin al-Nu’uman and his sons Sharrkan and Zau al-Makan, and what befel them of things seld-seen and peregrine” [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story I</a></strong>]<a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn2" name="_ftnref2" title="" class="style23">[2]</a>, never really converts to Islam<a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn3" name="_ftnref3" title="" class="style23">[3]</a>, despite her admiration for the war-like Sharrkan; and her subsequent foul rape by the “royal lecher” (2: 214) King Omar bin al-Nu’uman is perhaps seen to be justified by this omission.<br /><br />Our next motif might be described as:<br /><br /><strong>2. The Christian as Monster:</strong><br /><br />This, too, should be divided into sub-categories:<br />• <em>The cunning, scheming and depraved old man or woman</em>;<br />• <em>The giant or grotesque combatant</em>.<br /><br />The classic example of the <em>first </em>category is the old woman Zat al-Dawahi – which Burton explains as meaning “‘Mistress of Misfortunes’ or Queen of Calamities (to the enemy)” (1885, 2: 87), from “The Tale of King Omar bin al-Nu’uman” [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story I</a></strong>]. Not only does she succeed in murdering the King himself - though, like Burton, my sympathy is all with her on this occasion - as well as his son Sharrkan, but here is a brief account of her habits and appearance:<br /><br /><blockquote>Now this accursed old woman was a witch of the witches, past mistress in sorcery and deception; wanton and wily, deboshed and deceptious; with foul breath, red eyelids, yellow cheeks, dull-brown face, eyes bleared, mangy body, hair grizzled, skin withered and wan and nostrils which ever ran ... she was given to tribadism and could not exist without sapphism or she went mad: so if any damsel pleased her, she was wont to teach her the art of of rubbing clitoris against clitoris and would anoint her with saffron till she fainted away for excess of volupty. (Burton, 1885, 2: 233-34)<a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn4" name="_ftnref4" title="" class="style23">[4]</a></blockquote>Princess Abrizah (her granddaughter) “loathed the old woman and abhorred to lie with her” for this reason, which contributes to her own downfall.<br /><br />And, despite her very conscientious and cunning defence of the Christian Kingdoms of “Roum” and Greece, Zat al-Dawahi’s great-grandson Rumzan agrees to her being crucified, “diademed with asses’-dung ... on one of the gates of Baghdad; and, when her companions saw what befel her, all embraced in a body the faith of Al-Islam” (Burton, 1885, 3: 114).<br /><br />Another example of this character-type is “the swart-visaged oldster, blind of the right eye and lame of the left leg” (Burton, 1885, 8: 309), the chief Wazir of the Frankish King in “Ali Nur al-Din and Miriam the Girdle-girl” [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story V</a></strong>].<br /><br />While he is indubitably “a stubborn tyrant and froward devil and a wily thief, [and] none could avail against his craft” (8: 335), he finally gives himself away when, having been engaged to her by her enraged father, he is unwilling to accept Harun al-Rashid’s decision to allow Miriam and Nur al-Din to remain safely in Baghdad:<br /><br /><blockquote>Now this Wazir was a Zany: so he said to the Caliph, “O Commander of the Faithful ... were Miriam forty times a Moslemah and forty times thereto, I may not depart from thee without that same Miriam! And if thou send her not back with me of free will, I will hie me to her sire and cause him despatch thee a host ... and they shall lay waste thy realms.” When the Caliph heard these words ... the light in his face became night and he was wroth at his speech with exceeding wrath ... Then he commanded to cut off the Wazir’s head and burn his body; but Princess Miriam cried, “O Commander of the Faithful, soil not thy sword with the blood of this accursed.” So saying, she bared her brand and smote him and made his head fly from his corpse, and he went to the house of ungrace. (Burton, 1885, 9: 16-17)</blockquote>The second, and no less picturesque category of monsters includes [<strong><a href="http://dinarzade.blogspot.com/2007/09/plot-summaries.html">Story I</a></strong>] the Christian champion “Luka bin Shamlut, surnamed the sword of the Messiah” who, before every action, fumigated himself and rubbed “his palate with the Holy Merde [“the skite of the Chief Patriarch, the Cohen, the Heresiarch”] ... and smeared his cheeks and anointed his moustaches with the rest”:<br /><br /><blockquote>Now there was no stouter champion in the land of Roum than this accursed Luka ... but he was foul of favour, for his face was as the face of an ass, his shape that of an ape and his look as the look of a malignant snake ... blacker than night was his blackness and more fetid than the lion was his breath for foulness; more crooked than a bow was his crookedness and grimmer than the leopard was his ugliness, and he was branded with the mark of the infidels on face. (Burton, 1885, 2: 223-24)</blockquote>Not surprisingly, given all that “crookedness” and “foulness,” Sharrkan defeats him with ease.<br /><br />Sharrkan himself, however, falls before Luka’s master King Afridun, “a stalwart cavalier who ... could hurl rocks and throw spears and smite with the iron mace and [who] feared not the prowest of the prow” (2: 268-69).<br /><br />•<br /><br />It’s time now for me to unmask one of my intentions in creating this catalogue of Christian ‘types’ in <em>The Thousand and One Nights</em>. Perhaps the easiest way is to draw your attention to a book called <em>The Matter of Araby in Medieval England</em>, by Dorothee Metlitzki (1977). Metlitzki’s aim is to look at the double image of Islam in the Middle Ages: on the one hand, as the paramount source of scientific methodologies and information – a level of contact reserved mainly for the scholarly and intellectually curious; and, on the other hand, as an essentially parodic reservoir of villainous ogres and enemies (not to mention the odd nubile damsel) for the purposes of popular romance.<br /><br />In Part Two of her book, she compiles the following list of common themes:<br /><br /><blockquote>... the popular image of the medieval Saracen comprised four stock figures of medieval romance: the enamored Muslim princess; the converted Saracen; the defeated emir or sultan; and the archetypal Saracen giant whom the Christian hero overpowers and kills. (Metlitzki, 1977, p. 161)</blockquote>Leaving aside two further categories established by her: the treatment of Mahomet as a Christian heretic or false prophet, and “The Muslim Paradise as the Land of Cockayne” (p. viii). which could no doubt be paralleled to some extent by such libels as the “skite of the Chief Patriarch” being used to anoint Christian warriors, the match-up with the themes we have been exploring is virtually exact.<br /><br />Her “enamored Muslim princess” is – by and large – the central figure of my first subcategory “Sensual Conversion;” whereas her “converted Saracen” matches my second, the “Spiritual Conversion.” I have not really discussed the type of the “Defeated Sultan” (though one could undoubtedly find material in the various Kings – Christian and Moslem – in “Omar bin al-Nu’uman,” not to mention the King of France in “Miriam the Girdle-Girl”); but the “Saracen Giant” is, of course, the “Giant or Grotesque Combatant” in the “Christian Monster” category.<br /><br />One could no doubt argue about the fine-tuning of these definitions, but that’s not really the point. Of course I chose my categories with full knowledge of Metlitzki’s, and in the expectation of just such a comparison. I would deny that they have been forced on the material, but they are not really spontaneously deduced from it either. Why? Because I wanted to highlight certain oddities of expression and attitude in Metlitzki’s otherwise admirably clear and balanced summary of her chosen texts.<br /><br />Thus, when she talks of that very odd poem “The Romaunce of the Sowdone of Babylone and of Ferumbras his Sone who conquered Rome,” her judgement of the heroine, Floripas, who burns her father to death when he will not accept Christianity, is as follows:<br /><br /><blockquote>... there is not one redeeming feature in Floripas. She commits perfidy and murder, is a Goneril to her father, and the reader is entirely on the side of the sultan when he curses her (Metlitzki, 1977, p. 170).</blockquote>And yet, when she discusses the varying slants in different versions of the key scenes of this very popular romance – particularly Floripas’s murder of the interfering duenna who has discovered that she is hiding a group of Christian knights in her room, her comment is:<br /><br /><blockquote>In the Middle English Sir Ferumbras, the murder of the duenna is motivated by fear and is made <em>more genuinely oriental </em>[my emphasis] by the role of the princess’s chamberlain ... In this version, the scene of the duenna’s murder has the authentic coloring of oriental despotism, servility, and intrigue. (Metlitzki, 1977, p. 172)</blockquote>This despite the fact that Metlitzki has commented just a few pages before, <em>à propos </em>of “The Moslem Champion and the Christian Damsel,” that: “What is remarkable about the Arabian Nights tale is the absence of the ferocious intolerance and vindictiveness found in the crusading romances of the West ... We have a sense of a secure, though officially antagonistic relationship between two stable civilizations whose differences may be bridged in war by the power of love” (19977, p. 166).<br /><br />So what’s all this about “oriental despotism, servility and intrigue”? Well, perhaps it just means that whereas the West tends towards violence and intolerance, the East has a equal and opposite slant towards sneakiness and servility. She continues, speaking of the Byzantine poem Digenes Akrites, which parallels in some ways the story of “King Omar bin al-Nu’uman” :<br /><br /><blockquote>In the Arabian tales and the Byzantine epic the psychological refinement in the portrayal of converts is due to the profound understanding of two oriental civilizations that stemmed from a natural intermingling of peoples and languages in war and peace, within a defined Byzantine-Muslim frontier. In the West, there was no such general and far-reaching intermingling, only clash and withdrawal. The isolation of Britain from the scene of the actual encounter with the Saracens of Western Europe [i.e. the Moorish culture of Spain] must have accentuated the design of a propagandistic stereotype in Middle English literature. (Metlitzki, 1977, p. 167)</blockquote>After all, she says, quoting from Norman Daniel’s <em>Islam and the West</em> (1958), “In the Middle Ages the evident harm caused by Islam – in medieval eyes – was too great and too effective to allow scope for generosity of attitude” (1977, p. 209). That’s fine, but why is it still necessary to add: “It may be maintained by the defenders of Christian ideals in medieval romance that Ferumbras and Floripas [in The Sowdone of Babylone] are, after all, Saracens by birth whose fundamental nature is determined by non-Christian upbringing” (1977, p. 160)?<br /><br />It's not that Metlitzki really endorses this argument, but she seems to regard it as a sufficiently cogent objection to her denunciation of the portrayal of Floripas in the poem to demand serious attention:<br /><br /><blockquote>The brutality of the hero and heroine as depicted in the treatment of the sultan [“who, in his defeat and his refusal to be baptised, embodies unregenerate Saracen might”] ... goes far beyond any necessity in the plot. (Metlitzki, 1977, p. 160)</blockquote>This is not to say, however, that it is not “a vital element in a ‘heightened’ characterisation obviously relished by narrator and audience.”<br /><br />Metlitzki could thus be said to have painted herself into a corner. On the one hand she betrays a set of essentialist notions about the respective character of ‘East’ and ‘West’ as manifested in the distinctive cultures of Christianity and Islam. Hence her asides about “oriental despotism, servility and intrigue.” Hence also her comment that the episode in the medieval Greek epic <em>Digenes Akrites </em>where Akrites commits adultery with a Moslem girl whom he has promised to restore to her lover, a Byzantine nobleman “is another indication of mores that originated in the households of Muslims as depicted in the <em>Arabian Nights</em>” (1977, p. 151).<br /><br />It appears, astonishingly enough, that when the hero commits adultery he is committing a “Muslim” act, but when he “restores the betrayed lover to her false partner” he is behaving as a Christian! On the other hand, she is obviously disgusted by the excesses of Christian populist sentiment against Islam, and is continually making unfavourable comparisons between the two cultures:<br /><br /><blockquote>In the Arabian tales of conversion,the Christian god is never insulted. In Western romance, on the other hand, whenever a Christian knight in Saracen captivity refuses to convert to Islam, he throws insults at the other religion ... (Metlitzki, 1977, p. 191)</blockquote>or:<br /><blockquote>While Christian knights in Saracen lands are invariably characterised by a fierce missionary spirit, the striking lack of religious fanaticism in their Saracen opponents is not due to the poet’s sophistication. It is the result of his unwillingness to put vilifying statements about Christianity into anyone’s mouth. (p. 208)</blockquote>My intention, however, is not so much to vilify Metlitzki as to establish that such a conflict of attitudes is to a large extent inherent in her choice of theme. One cannot contrast Islam and the West without committing oneself to some sort of position on their “essential” natures.<br /><br />Of course this objection applies just as well to the imitation of her method which I resorted to in the first part of this chapter – and you thought that was just me being naive and simple-minded!<br /><br />And yet, Christianity and Islam do indeed exist, as do their portrayals (and the characteristic stereotypes associated with those portrayals) in popular culture. Surely, then, it’s just a matter of refining our critical methodology in order to accommodate such objections?<br /><br />•<br /><br />The problem, on reflection, is not a straightforward one. Without wanting to commit myself too wholeheartedly to Edward Said’s strictures on Orientalism, it must be admitted that far too much work has been done in the past on the “Orient” and its reactions to this, that and the other, without enough attention being paid toteh question whether so general a designation can really be thought of as critically useful.<br /><br />Descending to the practicalities demanded by this particular topic, though, it seems to me that there are at least three possible ways to define our chosen material more closely:<br /><br /><br />The first is <strong>Chronological</strong>:<br /><br />One could try to correlate more precisely the relationships between the historical periods purportedly portrayed in our various stories, and the actual dates of their composition (one advantage of this might be to get away from the evergreen cliché of the “unchanging East”).<br /><br />This is, of course, the standard method which has been applied to the subject in the past; witness the remarks of Jacques Cazotte appended to his joint translation of the “l’Histoire d’Habib ... ou le chevalier, “ which he describes as “<em>décidément un roman de chevalerie</em>” [definitely a chivalric romance ] (Chavis & Cazotte, 1788-89, 4: 74):<br /><br /><blockquote><em>Ce petit roman doit avoir été composé postérieurement aux victoires de Saladin, & peut-être par un poète de sa cour; on y trouve un mélange trop marqué des idées européennes et arabesques sur la chevalerie, pour que cet assemblage peut être entré dans un cerveau qui n’eut connu que les opinions d’une des deux parties du monde; il ne s’agit point ici d’un objet purement naturel, dont l’effet est de faire naître des pensées analogues</em>. (Chavis & Cazotte, 1788-89, 4 : 76)<br /><br />[This little romance must have been composed after the victories of Saladin, and perhaps by a poet of his court. We find there too marked a mixture of European and Arabic ideas about chivalry for such an ensemble to have entered into a mind which was only acquainted with the opinions of one of the two halves of the world. It’s after all not a question of a purely natural phenomenon which has the effect of inspiring analogous thoughts.]</blockquote>Burton comments acidly “I cannot but suspect when reading all this Western travesty of an Eastern work that M. Cazotte ... had grafted his own ideas of morale upon the wild stem of the Arabian novel” (1886-88, 16: 202), but it is interesting that Cazotte is already thinking in terms of ascertaining dates by measuring the alleged “Westernness” of chivalric sentiments.<br /><br />This kind of diachronic adjustment, while perhaps just possible for most of the materials dealt with centrally by Metlitzki, becomes very complicated when one is dealing with the <em>Nights</em>, however.<br /><br />To take just one example, King Omar bin al-Nu’uman is supposed to have reigned in Baghdad, the “City of Safety ... before the Caliphate of Abd al-Malik bin Marwán” (Burton, 1885, 2: 77). Now as Jamel Eddine Bencheikh reminds us in his recent translation of the story, Baghdad was founded by the Abbasid Caliph Al-Mansur in 762, while Abd al-Malik bin Marwan, fifth of the Ummayad Caliphs, reigned in Damascus between 685 and 705 (Bencheikh et al., 1991a, 1: 223]. Nor is that the end of the story. The name “Omar,” though strictly speaking here it must refer to a pre-Islamic monarch, seems to have inspired thoughts of the second Caliph Omar, who conquered Jerusalem in 638, and whose successors fought and conquered all the way to the walls of Constantinople (like the Moslem host in the story). There was a siege of Constantinople in 674-678, and again around 718.<br /><br />As Bencheikh sums up, rather laconically, “<em>il est très difficile de déterminer exactement la période historique dans laquelle ces affrontements prennent place</em>” (Bencheikh et al., 1991a, 1: 223) [it is very difficult to determine exactly in what historical era these confrontations are taking place].<br /><br />As far as the composition of the story goes, the material included in the <em>Thousand and one Nights </em>is usually divided into three main layers of accretion. The first (obviously) is Persian, and is associated with the lost <em>Hazār Afsāna </em>or “Thousand Nights,” even before its translation into Arabic. This section includes the frame-story, the various groups of fables and apologues, and many of the stories dealing with Jinni and magicians – in short, the traditional Nights.<br /><br />The second layer is usually identified with the city of Baghdad, in ancient Babylonia. This includes (probably) the final version of “Sindbad the Sailor,” the establishment of the Abbasid Caliph Harun al-Rashid as a central character, and also the story of “King Omar bin al-Nu’uman and his sons,” which Enno Littmann, in his standard article on the <em>Nights </em>in the <em>Encyclopaedia of Islam</em>, refers to rather dauntingly as containing “Persian, Mesopotamian and Syrian materials” (1960, 1: 363).<br /><br />Finally there is a third level – probably the largest in sheer bulk – of material composed or added to the collection in Egypt. This includes many stories of Persian magic and of Harun al-Rashid and his court created in imitation of the already existing stories. This layer probably includes “Ali Nur al-Din and Miriam the Girdle-Girl,” and some of the anecdotes we have been discussing (certainly “The Man of Upper Egypt and his Frankish wife”) as well.<br /><br />To return to “King Omar,” though, many of the names, such as “Sharrkan” and “Zau al-Makan,” are undoubtedly Persian in origin (like the names of Shahrázád and Shahryár themselves in the frame story); the references to the exploits of the early Caliphs presumably contribute the “Mesopotamian” portion of the story; but the principal component is undoubtedly Syrian. Its historical roots in a so-called “Akritan” cycle of stories, centring around the hero Akrites of Asia Minor, have been reconstructed in a series of articles which appeared in the journal <em>Byzantion </em>in the 1930s.<a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn5" name="_ftnref5" title="" class="style23">[5]</a><br /><br />This would tend to place at least some parts of the story in the tenth century – but (as we have seen) the materials go back much further, and points in the development may be much later.<br /><br />All in all, I don't think one can avoid this type of inquiry altogether (it is, after all, one of the justifications for Literary historians), but it does not always yield immediately useful results – as in this case.<br /><br />•<br /><br />The second method is <strong>Statistical</strong>:<br /><br />I mentioned above, in my <a href="http://dinarzade.blogspot.com/2006/08/school-for-paradox.html">Introduction</a>, the French scholar André Miquel’s astute idea of counting all the place names and geographical indications to be found in Burton’s complete translation of the <em>Nights</em>. To quote a few more of the conclusions he has extracted from this exercise:<br /><br /><blockquote><em>Incontestablement ... l’Iran est un des acteurs premiers des Nuits. Mais sous quelle forme? A dire le vrai, ses pays, villes ou grandes fleuves ... émergent à peine</em>. (Bencheikh, Bremond & Miquel, 1991b, p.60)<br /><br />[Iran ... is indisputably one of the major components of the Nights. But in what form? To tell the truth, its landscapes, towns and great rivers ... hardly appear.]</blockquote>This absence of precision he attributes to the transformation brought about by the Mongol conquests of the thirteenth century: “<em>Vu des centres de Syrie et surtout du Caire, l’Iran devient ainsi un pays lointain, à demi-légendaire même</em>” (Bencheikh et al., 1991b, p. 61) [Seen from Syria and above all from Cairo, Iran thus becomes a far-off country, even a half-legendary one]. He goes on to point out that for all the space accorded to the city of Baghdad, it, too, is “<em>peu connue ... tant elle est devenue lointaine sur la carte comme dans le souvenir, et qui ne nous offre guère, en fait de toponymes inclus dans celui, général, de la ville, que le nom d’Al-Kharkh, le grand marché sur la rive droite du Tigre, aux abords de la première cité palatine</em>” (Bencheikh et al., 1991b, p. 65) [little known ... so far away has it become on the map as well as in memory, and hardly offers us any details in the way of place-names, besides that of the city itself, except the name of the great market al-Kharkh on the right bank of the Tigris, on the borders of the first royal domain]. This is by contrast with cities like Mecca and Medinah, and above all Cairo, the descriptions of which include a great deal of specialised and accurate topographical information.<br /><br />Applying the same method to the story of “Omar bin al-Nu’uman,” he summarises his discoveries as follows:<br /><br /><blockquote><em>Première constatation: le peu de place tenu par le merveilleux dans les toponymes ... Aussi mal ou à peine mieux traités, la Chine, l’Inde, ses îles et le Cachemire, la Nubie, les pays des Tartares, des Noirs (Sûdan) et des Berbères: l’ étranger au sens large. En force au contraire, les Turcs et surtout les pays de l’Iran; trente-quatre citations, dont dix pour la seule Khurâsân. Ici se situe un des premiers nÏuds de cette histoire: l’alliance de ce monde turco-persan avec les Arabes, que soulignent regulièrement l’appellation, pour le roi ‘Umar, de seigneur de Bagdad et du Khurâsân et le rattachement non moins explicite, en début du conte, du domaine iranien à ses possessions</em>. (Bencheikh et al., 1991b, p.74)<br /><br />[The first point to note is this: few of the names included refer to mythical places ... just as badly or perhaps a little better represented are China, India, its islands, Kashmir, Nubia, the lands of the Tartars, the Blacks (Sudan), and the Berbers – foreign in the true sense of the word. Emphasis is placed by the contrast with the Turks and, above all, the regions of Iran: thirty-four citations, including ten for Khorasan alone. And here we can see one of the principal germs of the narrative: the alliance of this Turco-Persian world with that of the Arabs, which is underlined by the regular citation of King Omar as lord of Baghdad and Khorasan and the no less explicit attachment of Iran to his domains at the beginning of the story.]</blockquote>The results of this study are, I think, admirable because they are so unexpected. One is not surprised to discover that the authors of at least the “Egyptian Recension” of the <em>Nights </em>knew more details about the topography of Cairo than of far-off, fallen Baghdad; but it is certainly is surprising to have the importance of the “Persian elements” in the story of King Omar confirmed in this unequivocal way. We already knew that the world referred to must be pre-Mongol (and of course pre-Crusader), but now it seems that a considerable Iranian and Turkish input into the story must be allowed for.<br /><br />A word of caution must be added here, however. Miquel has used Burton’s translation in compiling his statistics, but many of the place-name identifications made by Burton are rather speculative, as one can easily establish by comparing parts of his translation with that of J. E. Bencheikh.<br /><br />This is not simply a difference of text (though that aspect is present too), but of philosophy. Burton’s interests are avowedly “anthropological” – hence all the footnotes on such peripheral matters as male and female circumcision (5: 279), and childbirthing techniques in various parts of the world (2: 80) which are scattered piecemeal about his pages. Hence, too, his nineteenth-century interest in historical philology and derivations, which has led him to make many a daring and conjectural identification.<br /><br />The solid kernel of Miquel’s study is largely unaffected by this, as most of the major place-names are beyond dispute, but when it comes to the “pays lointains” of Persia, China, and even Mesopotamia, there is less certainty that what Burton writes in his translation is what was originally intended by the possibly less erudite authors of the original stories.<br /><br />•<br /><br />The third and final method, already fairly familiar to us, is <strong>Thematic</strong>:<br /><br />This is the method I employed in the first section of this chapter, and subjected to critical interrogation in the second. What I would like to say now about this approach is that the problem with isolating such a collection of “themes” or “types” is that by changing the terms of the definition, one can make the same pieces of information bear very different interpretations.<br /><br />Take, for instance, the type of the “Christian monster” – as exemplified by Zat al-Dawahi or the Frankish King’s Wazir. The <em>Nights </em>contain many parallel characters – evil magicians and sorcerers (there is one in “Aladdin,” a rather tainted source for our purposes, and a much better example in the tale of “Hasan of Bassorah”). These people tend to be described either as “Magians” or fire-worshippers (Burton, 1885, 8: 8) , or else as “Maghrabi” (Burton, 1886-88, 13: 53) – North African sorcerers. One could easily see our Christian examples as being cast in the mould of these rather similar villains.<br /><br />The act of conversion to Islam, and subsequent rescue from persecution, could also be paralleled in “The Eldest Lady’s Tale” from “The Porter and the Three Ladies of Baghdad,” only here it is Zoroastrianism that the young man in question has abandoned (Burton, 1885, 1: 168-69). The combative type of Christian “monster” might be seen to descend from such creatures as the “old man of the sea” in “Sindbad the Sailor,” or even the hosts of Jinni and demons who fight in romances like “Hasan of Bassorah” or “The City of Brass.”<br /><br />In short, it is one thing to define stereotypes and “stock figures of medieval romance” (as Metlitzki puts it), but it is another to attach them definitively to certain intellectual or historical strands in the stories they inhabit.<br /><br />Another danger of this method is illustrated by the tendency of commentators on this larger theme of medieval views of Islam to feel ashamed of the material they are describing. Thus Norman Daniel begins his book <em>Islam and the West: The Making of an Image </em>by saying “I hope that Muslim readers will not be scandalised by some of the things in this book, or consider that I have been wrong to revive the memory of, among other things, certain silly and unpleasant libels of their religion and prophet” (1958, p. v).<br /><br />Hence, too, Metlitzki’s continual preference for the Islamic over the Christian portrayal of the same theme. I hope that my plot-summaries (or, better still, the texts themselves if you get a chance to read them) of “Omar bin al-Nu’uman” and “Miriam the Girdle-girl” have illustrated the futility of this procedure. One's as bad as the other, if those are the terms you want to use.<br /><br />•<br /><br />To sum up, then, certain facts which have a definite bearing on this study of Europe, Christianity and the Crusades, as they manifest themselves in the <em>Thousand and One Nights</em> should now be acknowledged.<br /><br />The main one is the relative lack of interest displayed by Moslem intellectuals or common people in the West or its religion. As Philip K. Hitti remarks, “We know of no Moslem scholars who made a serious study of Latin or any of its successor languages. We know of no important works translated into Arabic by such scholars from those languages” (1962, p. 62). He goes on to record the following entry from the “voluminous geographical dictionary of Yaqut (d.1227),” one of the few references to the West in Medieval Islamic literature:<br /><br /><blockquote>Afranjah, a great nation in possession of a vast territory and numerous kingdoms. The nation is Christian. The name is acquired from an ancestor called Ifranjish. They call themselves Franks. Their land is adjacent to Rome and the Byzantine territory. Starting north of Andalusia it extends eastward to Rome. Their capital is Lombardy. (Hitti, 1962, p. 64)</blockquote>And this was written after the First Crusade and the foundation of Outremer! It’s not a lot to go on, really, though the lack of detail accounts for a lot of the confusion between “Greeks,” “Franks” and “Romans” which appears in the <em>Nights </em>and elsewhere. Such people only become real when they impinge on the centres of the Islamic world.<br /><br />The real point to be gleaned from this apparent lack of curiosity about “us,” though, is that that tends to be how ideas and information get transmitted anyway. The imagination abhors a vacuum, so it will take anything as grist for its mill. Applying, very loosely, the methods of André Miquel, one could say that the very few references to the Crusades in the Nights constitute, in themselves, an important datum – a demonstration of their lack of importance in the popular imagination of Syrian and Egypt, at least.<br /><br />Christianity, however – particularly the Orthodox and other Eastern varieties – is an accepted part of the landscape. “King Omar bin al-Nu’uman,” is, in a way, the narrative of a counter-Crusade, but it is the ninth and tenth century warfare between the Turks and Byzantines that it really reflects.<br /><br />The West, Europe, and Christianity are not really, it would appear, interchangeable terms, however convenient it may be at times to use them as if they were. One cannot contrast “Islam and the West” without recognising the limitations inherent in such large, generalising categories – and above all, you must include yourself in the experiment.<br /><br />Dorothee Metlitzki (to use the example I’ve rather unfairly singled out) goes wrong because the unthinking prejudices about “Eastern” mores and ways she betrays from time to time have been over-compensated for by a conscious boosting of Islam at the expense of Christianity.<br /><br />Perhaps, in the end, contingent rather than systematic analysis – such as our stories themselves display – may be the best way out of the dilemma. My own conclusion is a far less ambitious one – until we can say what the West and the East actually are, it’s pointless to try and generalise about their “views” of each other.<br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYJGcFKQkaAW1_wsnjhgGgx2He4kZYnnqwWQICs7AO3cesgS8U_AV_vWKSTe0ktmjg58B8m0fbeLYX7pqcXot79tyQOb75eXFRl6r8MQcaWhKmbJR7KuXLQfu7YYx_nC6tlu3u/s1600-h/dore.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 307px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYJGcFKQkaAW1_wsnjhgGgx2He4kZYnnqwWQICs7AO3cesgS8U_AV_vWKSTe0ktmjg58B8m0fbeLYX7pqcXot79tyQOb75eXFRl6r8MQcaWhKmbJR7KuXLQfu7YYx_nC6tlu3u/s400/dore.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273517593490664578" /></a><span style="font-size:85%;">[<a href="http://www.historyofthecrusades.net/">Gustave Dore, "Returned Crusader"</a>]</span><br /></div><br /><blockquote><br /><hr align="left" noshade="noshade" size="1" width="70%"><br /><strong>Notes:</strong><br /><div id="ftn1"><p><a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html.html#_ftn1" name="_ftn1" title="">1.</a> Borges (1986, p. 50): “The Arabs say that no one can read <em>The Thousand and One Nights </em>to the end. Not for reasons of boredom: one feels the book is infinite. At home I have the seventeen volumes of Burton’s version. I know that I’ll never read all of them, but I know that there the nights are waiting for me; that my life may be wretched but the seventeen volumes will be there; there will be that species of eternity.”</p></div><div id="ftn2"><p><a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn2" name="_ftn2" title="">2.</a> (Burton, 1885, 2: 77 - 3:114 (2:109). I have been fortunate enough to be able to collate Burton’s version of this story with the composite text translated in <em>Les Mille et Une Nuits: Contes choisis</em> (Bencheikh, Miquel and Bencheikh, 1991, 1: 221-658) – particularly on matters connected with the identification of place-names.</p></div><div id="ftn3"><p><a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn3" name="_ftn3" title="">3.</a> Burton (1885, 2: 119) points out that the line “So she sat down and unveiled her face” in front of the King demonstrates that she was still a Christian, and it is the subsequent revelation of her beauty which (presumably) causes all the trouble.</p></div><div id="ftn4"><p><a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn4" name="_ftn4" title="">4.</a>Perhaps the sort of passage the Rev. Cameron Mann had in mind when he said that certain “details would insure the prompt suppression of the publication and the prosecution of the publisher.”</p></div><div id="ftn5"><p><a href="http://dinarzade.blogspot.com/2007/09/europe-christianity-and-crusades.html#_ftn5" name="_ftn5" title="">5.</a> The most important of these articles are: Roger Goossens, “Autour de Digénis Akritas. La ‘Geste d’Omar’ dans Les Mille et Une Nuits” (1932, 303-16); Henri Grégoire, “Echanges épiques Arabo-Grecs: Sharkan-Charzanis” (1932, 371-82); and Roger Goossens, “Eléments iraniens et folkloriques dans le conte d’’Omar Al No’mân” (1934, 420-28).</p></div><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZB4FLpDVdtt3QHhnOA2ERObUJOyz5kTlltMKEK6-0unZXfwicoZAy6XL7E26Tw378-z_aC1c7RC9wTwC5LCCW4sQ7dyCWGf3EXt8HKJgjFCHK_U0y1w8qdwlu8lMPM3YYe733/s1600-h/scheherazade7.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 397px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZB4FLpDVdtt3QHhnOA2ERObUJOyz5kTlltMKEK6-0unZXfwicoZAy6XL7E26Tw378-z_aC1c7RC9wTwC5LCCW4sQ7dyCWGf3EXt8HKJgjFCHK_U0y1w8qdwlu8lMPM3YYe733/s400/scheherazade7.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362605995118570738" /></a><span style="font-size:85%;">[<a href="http://retrotrash.org/database.htm">Scheherazade</a>]</span><br /></div><br /><blockquote><br /><strong>Works Cited:</strong><br /><ul><br /><li>Bencheikh, Jamel Eddine, Claude Bremond & André Miquel. (1991a). <em>Mille et un Contes de la Nuit</em>. Bibliothèque des Idées. Paris: Gallimard.</li><br /><li>Bencheikh, Jamel Eddine, André Miquel & Touhami Bencheikh, trans. (1991b). <em>Les Mille et Une Nuits: Contes choisis</em>. 2 vols. Paris: Gallimard.</li><br /><li>Borges, Jorge Luis. (1986). <em>Seven Nights</em>. 1980. Trans. Eliot Weinberger. London: Faber.</li><br /><li>Burton, Richard F., trans. (1885). <em>The Book of the Thousand Nights and a Night: A Plain and Literal Translation of the Arabian Nights Entertainments</em>. 10 vols. U.S.A.: Burton Society, n.d.</li><br /><li>Burton, Richard F., trans. (1886-88). <em>Supplemental Nights to the Book of the Thousand Nights and a Night with Notes Anthropological and Explanatory</em>. 6 vols. U.S.A.: The Burton Club, n.d.</li><br /><li>Chavis, Dom, & Jacques Cazotte, trans. (1788-89). <em>La Suite des Mille et une nuits, Contes arabes</em>. 4 vols. Cabinet des Fées 38-41. Genève: Barde, Manget.</li><br /><li>Daniel, Norman. (1958). <em>Islam and the West: The Making of an Image</em>. Edinburgh: Edinburgh University Press.</li><br /><li>Goossens, Roger. (1932). Autour de Digénis Akritas. La ‘Geste d’Omar’ dans Les Mille et Une Nuits. <em>Byzantion </em>7: 303-16.</li><br /><li>Goossens, Roger. (1934). Eléments iraniens et folkloriques dans le conte d’’Omar Al No’mân. <em>Byzantion </em>9: 420-28.</li><br /><li>Grégoire, Henri. (1932). Echanges épiques Arabo-Grecs: Sharkan-Charzanis. <em>Byzantion </em>7: 371-82.</li><br /><li>Hitti, Philip K. (1962). <em>Islam and the West: A Historical Cultural Survey</em>. Anvil Original 63. Princeton, NJ: D. Van Nostrand.</li><br /><li>Littmann, Enno. (1960). Alf Layla wa-Layla. <em>The Encyclopaedia of Islam</em>, New ed. Leiden & London: E. J. Brill & Luzac, 1960. 1: 363.</li><br /><li>Mann, Rev. Cameron (1907). The “Thousand and One Nights” and the “Morte d’Arthure”. <em>North American Review</em>. 184: 150-56.</li><br /><li>Metlitzki, Dorothee. (1977). <em>The Matter of Araby in Medieval England</em>. New Haven: Yale University Press.</li><br /><li>Vinaver, Eugène, ed. (1990). The Works of Sir Thomas Malory. 3 vols. 1947. 3rd ed. rev. P. J. C. Field. Oxford: Clarendon Press.</li><br /></ul><br /><div align="center"><br /><span style="font-size:85%;">[This paper, under the title “Europe, Christianity and the Crusades in The Thousand and One Nights” was read at the <em>ANZMRS-AHMEME </em>Joint Conference at the University of Tasmania on 2 February, 1994.]</span><br /></div><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-18335784252942923412007-09-23T16:58:00.000-07:002009-12-15T11:15:58.987-08:00Parodies of the Nights<div align="center"><br /><strong><span style="font-size:130%;">In Nineteenth-century Literature<br /></span><br /></strong><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdLUwnzrH3RdMqqz3Z93eWezSRdvKLFYYjku7LVpy5U5POhHwEaMtCWyVTFpXPJmstYIx4MEdTEAaTyBjbnS7dULI6FpCAPrSh0t0q33si2-y5MOM0NFKnpE8W2C2G9yD5enL7/s1600-h/twain.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 330px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdLUwnzrH3RdMqqz3Z93eWezSRdvKLFYYjku7LVpy5U5POhHwEaMtCWyVTFpXPJmstYIx4MEdTEAaTyBjbnS7dULI6FpCAPrSh0t0q33si2-y5MOM0NFKnpE8W2C2G9yD5enL7/s400/twain.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273502414856422722" /></a><span style="font-size:85%;">[<a href="http://lifememory.com/">Mark Twain</a>]</span><br /></div><br /><blockquote><br />Samuel Clemens left Hartford on Thursday, 14 June 1883, to spend the summer at Quarry Farm, Elmira. This was the summer during which he would complete his greatest work, <em>Huckleberry Finn</em>, but the first order of business was to write the ‘1,002d Arabian Night’ which ... was to be illustrated ... with grotesque drawings of his own composition. (Rogers, 1967, p. 88)</blockquote>There seems little point in rephrasing this passage from the <em>Satires and Burlesques</em> volume of the University of California’s ongoing edition of the complete works, published and unpublished, of Mark Twain. Unpublished and unpublish<em>able</em>, one might almost say, for the completed ‘1,002d Arabian Night’ inspired little enthusiasm in Twain’s literary advisors.<br /><br />William Dean Howells wrote to say: ‘The opening passages are the funniest you have ever done; but when I got into the story itself, it seemed to me that I was made a fellow-sufferer with the Sultan from Sheherazade’s prolixity ... I feel bound to say I think this burlesque falls short of being amusing’ (Rogers, 1967, p. 89).<br /><br />His publisher, James Osgood, then proceeded to ‘lose’ the 128 pictures Twain had drawn, so the project was shelved. The question remains: why did he waste so much time (at least four weeks) on this futile idea, instead of getting on with <em>Huckleberry Finn </em>as he surely should have done?<br /><br />Ever since <em>The Ordeal of Mark Twain </em>was first published in 1920, we have heard a good deal about the suicidal and destructive impulses locked up inside this particular great writer, and of course there was nothing new - for him - in spending time on works that came to nothing (in fact, that is one of the main reasons why the University of California embarked on the Mark Twain Papers in the first place).<br /><br />And yet there <em>is </em>something a little different about this one. For a start, if Twain was unable to publish his burlesque ‘thousand-and-second’ Arabian Night, then he seems to have been almost alone among his contemporaries in this failure.<br /><br />•<br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjibFYBNwSNqcY9aqYVyWMAAiMDFZv6R-3GIXTrDIvg_cc5_MNyJXn-1i0iExdjyB3MPbjb51nXU3Kf9ntOh3kV6Mk8GjQjR8aIoiyPPH4RoXsKUO9glnjBG026wwWnyI8gzcQw/s1600-h/poe.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 309px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjibFYBNwSNqcY9aqYVyWMAAiMDFZv6R-3GIXTrDIvg_cc5_MNyJXn-1i0iExdjyB3MPbjb51nXU3Kf9ntOh3kV6Mk8GjQjR8aIoiyPPH4RoXsKUO9glnjBG026wwWnyI8gzcQw/s400/poe.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273502637959559554" /></a><span style="font-size:85%;">[<a href="http://www.hackney.gov.uk/ep-edgar-allan-poe.htm">Edgar Allan Poe</a>]</span><br /></div><br />To list but a few examples, Thackeray’s ‘Sultan Stork’ was subtitled ‘The One Thousand and Second Night’ when it appeared in <em>Ainsworth’s Magazine </em>in 1842; Edgar Allan Poe wrote a ‘Thousand-and-Second Tale of Scheherazade’ in 1844 (incidentally contributing to the still-current fallacy which gives us 1001 Tales, rather than two hundred odd spread over 1001 Nights<a href="http://dinarzade.blogspot.com/2007/09/parodies-of-arabian-nights.html#_ftn1" name="_ftnref1" title="" class="style23">[1]</a>); Dickens’s ‘Thousand and One Humbugs’ (1855) admittedly varies the wording a little, but that can be made up for by the ‘mille et deuxième nuit’ of the French symbolist Théophile Gautier (1979), which appeared in the same year as Thackeray’s, 1842.<br /><br />Finally (at least so far as this chapter is concerned - not ‘finally’ in any other sense), in a review of George Meredith’s 1856 ‘Arabian Entertainment’ <em>The Shaving of Shagpat</em>, by George Eliot, she offers the novel bait to readers that it may indeed ‘be the thousand and second night which they perhaps longed for in their childhood’ (Williams, 1971, p. 47). And, while we're on the subject, I do not know why she reviewed it more than once, but there is no record of her particularly approving of George Meredith in any other context, so it must have been the book itself which pleased her.<br /><br />Each of these cases is different, mind you. Dickens’s is a political satire, with ‘the Grand Vizier Parmarstoon (or Twirling Weathercock)’ attempting to justify the ‘Howsa Kummauns’ to his master the Sultan ‘Taxedtaurus (or Fleeced Bull)’ (Dickens, 1855, 265: 265-66); Thackeray’s (1911) is a rather brazen theft from a collection of fairy-stories by the German Wilhelm Hauff (even though it purports to be ‘translated from the Persian’ by his Baron Munchausen-like alter-ego Major Goliah O’Grady Gahagan); Poe’s (which his editor describes as ‘one of [his] most amusing stories’ (Poe, 1978, p.1149), is a laborious satire on the wonders of modern science, and how much more marvellous they are than the oriental magic which so awed our ancestors.<br /><br />I hope that I have said enough, however, to convince you that there is a definite motif here. Nor is it confined to the nineteenth century. I hold in my hand a list of some of the parodies of the <em>Arabian Nights </em>- in English - which have come to my attention, and they span three centuries. In fact, as recently as 1991, John Barth published a book entitled <em>The Last Voyage of Somebody the Sailor</em>, purporting to be the ‘Last Story of Scheherazade’ – just like all the others.<br /><br />•<br /><br />One approach to this mass of material might be historical. One could go through the various translations of the <em>Nights </em>into English (whether from the original Arabic or from other European languages), and point out their influence on our respective parodists. Thackeray, for example, imitates the erudite footnotes and displays of philological learning of Edward William Lane’s <em>Thousand and One Nights </em>(1839-1841) in his pretended translation from the ‘Persian’, although all his names (including ‘Scheherazade’ for Lane’s ‘Shahrazád’) actually come from the more familiar English version taken from Galland’s French.<br /><br />Dickens and Twain, too, parody the pomposity of Lane’s phraseology whilst taking most of their actual material from Galland’s ‘nursery’ edition. This might be of some interest and utility, certainly, but it could hardly tell us why there is such a profusion of ‘1,002nd Nights’.<br /><br />Another approach might be to look at the influence of the <em>Arabian Nights </em>on English literature as a whole - including, as data, the well-known passage from <em>Huckleberry Finn </em>where Huck confuses Henry the Eighth with Sultan Schahryar, and the <em>Thousand and One Nights </em>with the Domesday Book (Twain, 1985, p. 217). There are poems about the <em>Nights </em>by Tennyson, Swinburne and Yeats. Then there's the more ‘serious’ Orientalism of Johnson’s <em>Rasselas </em>(1759) or Southey’s <em>Thalaba the Destroyer </em>(1801) - and, indeed, the useful recent collection of essays <em>The Arabian Nights in English Literature</em>, edited by Peter Caracciolo, attempts to take up this project where Martha Pike Conant's <em>The Oriental Tale in England in the Eighteenth Century</em> (1908) left off.<br /><br />The approach I would like to take is rather different - not so much the influence of the <em>Arabian Nights </em>on English literature, as the influence of English literature on the <em>Nights</em>. This may sound a little paradoxical and Borgesian, but consider: <em>The Book of the Thousand Nights and a Night </em>(in Arabic <em>Kitab Alf Layla wa Layla</em>) is not really like any other book. As we have seen above, there is hardly a statement which can be made about it which does not have to be immediately qualified by an exception.<br /><br />The provisional nature of the <em>Thousand and One Nights</em>, then - the desperate struggle of each translator/editor of the whole to make up the correct number of nights while simultaneously including all the stories that really <em>must </em>be there (Galland’s dubious “Ali Baba” and “Aladdin” among them) - can be seen to lend itself particularly well to additions and imitations.<br /><br />Fairy-tales of ‘oriental’ type were therefore much in vogue in England in the middle to late eighteenth century. More to the point, however, are the parodies - the subject of this paper.<br /><br />Why do authors choose to write parodies, rather than imitations, of a work? It must be because their attitude towards it is a critical one. We may therefore expect to interrogate our parodies of the Arabian Nights for two things:<br /><br /><blockquote><strong>First</strong>, the details of those authors’ reading of the <em>Nights </em>- their view of what is significant or notable in them as a literary work (and, by extension, the sides of human behaviour which seem to them to be inadequately dealt with or absurdly caricatured in these admittedly highly stylised fictions).<br /><br /><strong>Second</strong>, as a corollary, what they miss in the <em>Nights </em>- which aspects of the’Everlasting Nights’ (in Chesterton’s phrase) they glide over, or fail to notice, or simply disregard.</blockquote>One might sum up by saying that we are looking for, first, their reading of the <em>Nights</em>; second, the <em>Nights’ </em>reading of them.<br /><br />Muhsin Jassim Ali’s book <em>Scheherazade in England </em>(1981), a valuable attempt to tabulate the criticisms of the Arabian Nights contained in nineteenth century British periodicals and books, attempts the first of these tasks.<br /><br />It is my contention, though, that a far more subtle and three-dimensional series of critical readings can be compiled by paying attention to pastiches and parodies of the <em>Nights </em>than by examining the more formal critical pronouncements of the same authors.<br /><br />•<br /><br />Take, for example, R. L. Stevenson and W. M. Thackeray (already paired in Leonee Ormond’s essay ‘Cayenne and Cream Tarts’ (Caracciolo, 1988, 178-96). The former has been quoted as saying of the <em>Nights</em>:<br /><br /><blockquote>No human face or voice greets us among that wooden crowd of kings and genies, sorcerers and beggarmen. Adventure, on the most naked terms, furnishes forth the entertainment and is found enough. (Caracciolo, 1988, p. 188).</blockquote>Thackeray, on the other hand, in his <em>Notes of a Journey from Cornhill to Grand Cairo </em>(1846), remarks:<br /><br /><blockquote>The beauty of that poetry is, to me, that it was never too handsome; there is no fatigue of sublimity about it. Shacabac and the little Barber play as great a part in it as the heroes; there are no uncomfortable sensations of terror ... Morgiana, when she kills the forty robbers with boiling oil, does not seem to hurt them in the least; and though King Schahriar makes a practice of cutting off his wives’ heads, yet you fancy they have got them on again in some of the back rooms of the palace, where they are dancing and playing on dulcimers. (Thackeray, 1882, 7: 603)</blockquote>Of the two, Stevenson’s strikes me as being the more astute observation. It is not so much that the <em>Nights </em>resist the ‘fatigue of sublimity’, as that their interest and subject-matter is elsewhere: ‘Adventure, on the most naked terms, furnishes forth the entertainment and is found enough’.<br /><br />More to the point though, it is clear that the narrative predilections of the two authors cause them to read the <em>Nights </em>in the way that best echoes their own practice. There is no ‘fatigue of sublimity’ or terror in Thackeray’s novels - rather an ironic consciousness of the follies of his contemporaries (<em>Vanity Fair</em>) and himself (<em>Pendennis</em>), both in literature and life. Stevenson, however, is all for ‘Adventure, on the most naked terms’ - hence <em>Treasure Island</em>, and <em>Kidnapped</em>, and (of course) the <em>New Arabian Nights</em>.<br /><br />If we now turn to the fictions based on imitation and burlesque of the <em>Arabian Nights</em> by these two authors, we find (as one might expect) confirmation of these readings. Stevenson’s <em>New Arabian Nights </em>is full of exciting incidents and inexplicable puzzles, and its hero, Prince Florizel of Bohemia is as ‘inhuman’ and ‘wooden’ as the sternest critic could desire. Indeed he ends the series as the human equivalent of a wooden Indian, selling tobacco in a ‘cigar store in Rupert Street’ (Stevenson, 1970, p. 282). Thackeray’s ‘King Stork’, by contrast, adds little to the plot of Hauff’s fairy-tale beyond an ironic commentary in the form of a dialogue between Scheherazade and the Sultan:<br /><br /><blockquote>“And did the King of Persia ever get his kingdom back again?” asked the Sultan.<br /><br />“Of course he did, sir,” replied Scheherazade, “for where did you ever hear of a king who had been kept out of his just rights by a wicked enchanter, that did not regain his possessions at the end of a story? No, sir, at the last page of a tale, wicked enchanters are always punished, and suffering virtue always rewarded; and though I have my doubts whether in real life -”<br /><br />“Be hanged to your prate, madam, and let me know at once how King Mushook got back his kingdom.” (Thackeray, 1911, p. 752)</blockquote>What one might <em>not </em>expect, though, is that the rather one-dimensional critical views of the two authors, while certainly borne out by their stories, are also complicated and made more equivocal there.<br /><br />Thackeray, for example, is forced to give us the ‘naked adventure’ of King Mushook’s loss and recovery of the Kingdom of Persia, for all his satirical pronouncements on the subject, and the inferiority of both his plot-making and verisimilitude to even the poorest <em>Arabian Nights </em>narratives shows us a serious limitation in his art. <br /><br />Stevenson, by contrast, gives one an uncanny sense of having foreseen the terms of the whole debate when one of his characters, a lapsed clergyman, asks Prince Florizel for instruction in life:<br /><br /><blockquote>“By life,” he added, “I do not mean Thackeray’s novels; but the crimes and secret possibilities of our society, and the principles of wise conduct among exceptional events. I am a patient reader; can the thing be learnt in books?” (Stevenson, 1970, p. 246)</blockquote>The expected answer is, of course, that it cannot - and this the Prince provides; ‘“Yet stay,” he added, “have you read Gaboriau?”.'<a href="http://dinarzade.blogspot.com/2007/09/parodies-of-arabian-nights.html#_ftn2" name="_ftnref2" title="" class="style23">[2]</a><br /><br />The wit here is directed as much against contemporary <em>policier </em>crime-novels as the characteristics(chinese-box stories-within-stories, too frequent interventions by supernatural forces) of so-called ‘Arabian’ romances. In short, Stevenson finds in the clash of these two contradictory sets of narrative conventions one possible way of suggesting a reality beyond either of them.<br /><br />•<br /><br />Returning to our starting-point: Mark Twain, and his literary activities in the summer of 1883, it might be worth commenting on the view of his editor, Franklin R. Rogers, that ‘In a sense ... Selim and Fatima of the “1,002d Arabian Night” are characters in search of a plot. And it is characteristic of Twain that he should attempt first to graft them onto a well-established stock’ (Rogers, 1967. p. 9).<br /><br />One might add to this that his objects of satire, too, are familiar ones - ridicule of Scheherazade’s insufferable prolixity (as in Thackeray and Poe) and a revised version of the traditional happy ending of the collection (in Poe and Gautier, she is executed because the last story does not come up to scratch; in Thackeray the Sultan is simply put to sleep by it; in Twain she is successful in talking Shahriar and his entire dynasty to death).<br /><br />Nevertheless, while Mark Twain obviously began by regarding the romantic conventions of the <em>Arabian Nights </em>with as much contempt and aversion as those of Malory or Sir Walter Scott (satirised, respectively, in <em>A Connecticut Yankee in King Arthur’s Court </em>and <em>Life on the Mississippi</em>), one can see that after his burlesque opening - the only part to be praised wholeheartedly by Howells - the exigencies of a plot on this scale force him to take a real interest in the fortunes of his star-crossed children: Fatima, the Sultan’s son, brought up as a girl, and Selim, the Grand Vizier’s daughter, brought up as a boy.<br /><br />The plot they are in search of might be that of <em>The Prince and the Pauper</em>, or even <em>Those Remarkable Twins</em>, but it's clear that even in this burlesque context Twain has to show that he is capable of cobbling up a passable story himself before he can effectively criticise the collection.<br /><br />The <em>Nights</em>, in short, fight back - for if a parodist simply counterfeits the manner of the stories without rivalling their plots, then his critique inevitably draws fire. Thackeray, never strong in this respect, is forced to borrow a story from a German Orientalist; Dickens - whose satire is directed at British politics rather than the <em>Arabian Nights </em>themselves - contents himself with retelling the stories of the Merchant and the Genie, the talkative Barber and Ali Baba and the Forty Thieves. Poe adds a new voyage to Sindbad’s seven (a favourite expedient - witness the 1970s’ film of <em>The Golden Voyage of Sinbad</em>, or John Barth’s <em>Last Voyage of Somebody the Sailor</em>).<br /><br />Of our mid-nineteenth-century group, only Twain and Meredith (and Théophile Gautier) invent their own plots. What is more, none of our authors are self-confident enough to see their stories succeeding where Scheherazade’s have failed. Gautier’s thousand-and-second night, supplied by him in Paris at the urging of the exhausted storyteller herself, proves insufficient to prevent her execution; Poe’s narrative positively provokes it; while both Thackeray and Dickens ignore the necessity for an ending. They become collaborators with the frame-story, rather than rivals to it (there is, in fact, a translation of the <em>Nights </em>which ends with just such a dénouement, the bored Sultan cutting off Scheherazade’s head<a href="http://dinarzade.blogspot.com/2007/09/parodies-of-arabian-nights.html#_ftn3" name="_ftnref3" title="" class="style23">[3]</a>).<br /><br />One might sum up, then, by saying that while the enterprise of writing a parody of the <em>Arabian Nights </em>may, at first sight, seem a futile one, it obviously did not appear so to these authors - especially the ones who published their work and who thus presumably expected it to be read and enjoyed.<br /><br />The value of these parodies to us - their revelation of the way in which the <em>Nights </em>were read at a particular date - must therefore be balanced by their value to the authors themselves, which one suspects to have been of a lighter nature. They were intended to make their audience laugh - an audience, naturally, which had been thoroughly familiar with these conventions from childhood.<br /><br />The eighteenth century saw the Eastern world as a sufficiently distant and alien setting for tales inculcating a ‘generalised’ morality - Johnson’s <em>Rasselas</em>, Voltaire’s <em>Zadig</em>, Frances Sheridan’s <em>Nourjahad</em>, even Beckford’s rather more equivocal <em>Vathek</em>. In the late twentieth century the Nights have come to stand for boundless narrative possibilities and the <em>mise-en-abîme </em>in authors such as Borges, Barth and Robert Irwin (<em>The Arabian Nightmare</em>).<br /><br />For Twain and his nineteenth-century contemporaries the challenge to prevailing realism embodied by the <em>Arabian Nights </em>must have have been paramount. And yet - as their parodies, almost despite themselves, make apparent - the clash of two literary conventions (as in Jane Austen's Gothic spoof <em>Northanger Abbey</em>), rather than discrediting one or both of them, suggests a complexity beyond the grasp of either.<br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguM_z6Fny0ulla7Ot4oTh5Hcn8FIVko6Uq6OCHHkC2FlZhaxtxHrLS4jdxJRdrmLBv3PMrmOFD607KsOtbRSm5krQR2FuXg1uUqsoZSTz5BbfYDneonPPNBm1-wIZsGI0J0iRH/s1600-h/Arabian_Nights_Girl_.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguM_z6Fny0ulla7Ot4oTh5Hcn8FIVko6Uq6OCHHkC2FlZhaxtxHrLS4jdxJRdrmLBv3PMrmOFD607KsOtbRSm5krQR2FuXg1uUqsoZSTz5BbfYDneonPPNBm1-wIZsGI0J0iRH/s400/Arabian_Nights_Girl_.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273502040420776322" /></a><span style="font-size:85%;">[<a href="http://jarah.deviantart.com/">Jarah Al-Tubaikh, “Arabian Nights Girl”</a>]</span><br /></div><br /><blockquote><br /><hr align="left" noshade="noshade" size="1" width="70%"><br /><strong>Notes:</strong><br /><div id="ftn1"><p><a href="http://dinarzade.blogspot.com/2007/09/parodies-of-arabian-nights.html#_ftn1" name="_ftn1" title="">1.</a> Witness, for example, the quotations from ‘A Thousand and One Tales of the Arabian Nights’ which open Isabel Allende’s <em>Eva Luna</em> (1989) and <em>The Stories of Eva Luna </em> (1989), both translated by Margaret Sayers Peden. It should, however, be noted that comparison with the Spanish original proves this to be the translator’s rather than the author’s oversight.</p></div><div id="ftn2"><p><a href="http://dinarzade.blogspot.com/2007/09/parodies-of-arabian-nights.html#_ftn2" name="_ftn2" title="">2.</a> Perhaps not so well known now as he was in the 1880s, Emile Gaboriau (1832-1873) chronicled the adventures of the detective Lecoq, prototype of Sherlock Holmes, in books such as <em>Le Crime d’Orcival </em>and <em>Le Dossier 113 </em>(1867).</p></div><div id="ftn3"><p><a href="http://dinarzade.blogspot.com/2007/09/parodies-of-arabian-nights.html#_ftn3" name="_ftn3" title="">3.</a> ‘Trébutien ... cannot deny himself the pleasure of a French touch making the King reply, “<em>C’est assez; qu’on lui coupe la tête, car ces dernières histoires surtout m’ont causé un ennui mortel</em>.” [That’s enough: Off with her head; these last few stories have bored me to death.] This reading is found in some of the MSS’ (Burton, 1885, 10: 54).</p></div><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxM4uJsL32ti0AuQWk36vW2cwJF3ENig3-QctVnE7bD8ey1iPpQD5N0KJ5WoC0IkdVxL6VXTd_bXcxWod2vHu6W2g-J68jSwkRX5KOyiREgNvGsJYzhJlQzYiGHJEIkyL9rbNv/s1600-h/scheherazade9.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 397px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxM4uJsL32ti0AuQWk36vW2cwJF3ENig3-QctVnE7bD8ey1iPpQD5N0KJ5WoC0IkdVxL6VXTd_bXcxWod2vHu6W2g-J68jSwkRX5KOyiREgNvGsJYzhJlQzYiGHJEIkyL9rbNv/s400/scheherazade9.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362604345679579730" /></a><span style="font-size:85%;">[<a href="http://retrotrash.org/database.htm">Scheherazade</a>]</span><br /></div><br /><blockquote><br /><strong>Works Cited:</strong><br /><ul><br /><li>Allende, Isabel. (1989). <em>Eva Luna</em>. Trans. Margaret Sayers Peden. Harmondsworth: Penguin.</li><br /><li>Allende, Isabel. (1991). <em>The Stories of Eva Luna</em>. Trans. Margaret Sayers Peden. London: Hamish Hamilton.</li><br /><li>Barth, John. (1992). <em>The Last Voyage of Somebody the Sailor</em>. 1991. London: Sceptre.</li><br /><li>Brooks, Van Wyck. (1934). <em>The Ordeal of Mark Twain</em>. 1920. London: Dent.</li><br /><li>Caracciolo, Peter L., ed. (1988). <em>The Arabian Nights in English Literature: Studies in the Reception of The Thousand and One Nights into British Culture</em>. London: Macmillan.</li><br /><li>Conant, Martha Pike. (1908). <em>The Oriental Tale in England in the Eighteenth Century</em>. New York: Columbia.</li><br /><li>Dickens, Charles. (1855). The Thousand and One Humbugs. In <em>Household Words: A Weekly Journal conducted by Charles Dickens</em>. April 21-May 5: no. 265: 265-67; no. 266: 289-92; no. 267: 313-16.</li><br /><li>Gautier, Théophile. (1979). La Mille et deuxième nuit. In <em>Romans et Contes</em>. Ed. Anne Bouchard. La collection ressources. Paris and Geneva: Slatkine Reprints. Pp. 317-51.</li><br /><li>Hurst, Clive. (1990) Selections from the Accession Diaries of Peter Opie. In <em>Children and Their Books: A Celebration of the Work of Iona and Peter Opie</em>. Ed. Gillian Avery and Julia Briggs. Oxford: Clarendon Press. Pp. 19-44.</li><br /><li>Johnson, Samuel. (1976). <em>The History of Rasselas, Prince of Abissinia</em>. Ed. D. J. Enright. Harmondsworth: Penguin.</li><br /><li>Mabbott, Thomas Ollive, ed. (1978). <em>Collected Works of Edgar Allan Poe</em>. 4 vols. <em>1: Tales and Sketches 1843-1849</em>. Cambridge: Harvard University Press.</li><br /><li>MacDonald, Duncan B. (1932). A Bibliographical and Literary Study of the First Appearance of the Arabian Nights in Europe. <em>Library Quarterly </em>(Chicago), 2: 387-420.</li><br /><li>Mudge, Isadore Gilbert, & M. Earl Sears. (1910). <em>A Thackeray Dictionary: The Characters and Scenes of the Novels and Short Stories Alphabetically Arranged</em>. London, New York & Toronto: Routledge, Dutton & Musson.</li><br /><li>Rogers, Franklin R., ed. (1967). <em>Mark Twain’s Satires and Burlesques</em>. The Mark Twain Papers. Berkeley & Los Angeles: University of California Press.</li><br /><li>Stevenson, Robert Louis. (1970). The Rajah’s Diamond. In <em>Treasure Island and New Arabian Nights</em>. Ed. M. R. Ridley. Everyman’s Library, 763. London & New York: Dent & Dutton.</li><br /><li>Thackeray, W. M. (1882). Notes of a Journey from Cornhill to Grand Cairo. In <em>The Works of William Makepeace Thackeray</em>. 12 vols. London: Smith, Elder & Co. VII, 559-706.</li><br /><li>Thackeray, W. M. (1911). Sultan Stork. In <em>The Works of William Makepeace Thackeray</em>. 13 vols. London: Murray. 5: 737-52.</li><br /><li>Twain, Mark. (1985). <em>The Adventures of Huckleberry Finn</em>. 1884. Ed. Peter Coveney. Harmondsworth: Penguin.</li><br /><li>Williams, Ioan, ed. (1971). <em>Meredith: The Critical Heritage</em>. London: Routledge.</li><br /></ul><br /><div align="center"><br /><span style="font-size:85%;">[This paper, under the title “Parodies of the Arabian Nights in English” was read at the 27th <em>AULLA </em>Congress at Otago University on 2 February, 1993.]</span><br /></div><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-72738128306566990102007-09-23T14:06:00.000-07:002009-12-15T11:17:00.496-08:00Voyage en Orient<div align="center"><br /><strong><span style="font-size:130%;">The Victorian Traveller and the <em>Arabian Nights</em></span><br /></strong><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yh4YbxHTM6HUV0gVkzMKOl3sBVxNfRNUOJh1Ui3p8WOen9gPVOhDIBT09vW5bEAWeukH2WrktFoK1jGveV9tV-935kP7gC4Nny6-VzFwk0S7K894t4J0uKBrYTHYX6HG2Skg/s1600-h/roberts-gateway-temple-balb.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yh4YbxHTM6HUV0gVkzMKOl3sBVxNfRNUOJh1Ui3p8WOen9gPVOhDIBT09vW5bEAWeukH2WrktFoK1jGveV9tV-935kP7gC4Nny6-VzFwk0S7K894t4J0uKBrYTHYX6HG2Skg/s400/roberts-gateway-temple-balb.jpg" alt="" id="BLOGGER_PHOTO_ID_5273503331958274834" border="0" /></a><span style="font-size:85%;">[<a href="http://www.travellersinegypt.org/archives/2005/02/david_roberts.html">David Roberts , “Portico of the Temple of Bacchus at Baalbec”</a>]</span><br /></div><br /><blockquote><br />... on the way we passed through the principal slave-market [in Meccah]. It is a large street roofed with matting, and full of coffee-houses. The merchandise sat in rows, parallel with the walls. The prettiest girls occupied the highest benches, below them were the plainer sort, and lowest of all the boys. They were all gaily dressed in pink and other light-coloured muslins, with transparent veils over their heads; and, whether from the effect of such unusual splendour, or from the reaction succeeding to their terrible land-journey and sea-voyage, they appeared perfectly happy, laughing loudly, talking unknown tongues, and quizzing purchasers, even during the delicate operation of purchasing. There were some pretty Gallas, douce-looking Abyssinians, and Africans of various degrees of hideousness, from the half-Arab Somal to the baboon-like Sawahili. The highest price of which I could hear was 60l. (Burton, 1855-56, p. 469)</blockquote>This description of a Middle Eastern slave-market comes from Richard F. Burton’s classic <em>Personal Narrative of a Pilgrimage to Al-Medinah and Meccah</em>, and, to all appearances, represents the worst sort of ‘Orientalising’ prejudice. The slaves appear unaware of the hideousness of their fate (they are ‘perfectly happy, laughing loudly, talking unknown tongues, and quizzing purchasers, even during the delicate operation of purchasing’) – and the strong implication is that this is through stupidity (or, at best, ignorance of the ignominy of such a position), rather than any kind of moral courage.<br /><br />Burton admits that they may be reacting to the temporary cessation of their “terrible land-journey and sea-voyage,” but seems to think it more likely that it is the “unusual splendour” of being “gaily dressed in pink and other light-coloured muslins” which has cheered them up. This impression is aided by the emphasis he places on the incomprehensibility of their chatter. They are described only as talking ‘unknown tongues’ – and this from a narrator who loses few opportunities of convincing us of his linguistic virtuosity.<a href="http://dinarzade.blogspot.com/2007/09/voyage-en-orient.html#_ftn1" name="_ftnref1" title="" class="style23">[1]</a> He is also at pains to stress the “hideous” appearance of the black Africans among them – from the “half-Arab” Somalis to the “baboon-like” Swahilis.<br /><br />In the first edition of Burton’s book – though not the third, from which I have been quoting – the passage continues:<br /><br /><blockquote>And here I matured a resolve to strike, if favoured by fortune, a death-blow at a trade which is eating into the vitals of industry in Eastern Africa. The reflection was pleasant, – the idea that the humble Haji, contemplating the scene from his donkey, might become the instrument of the total abolition of this pernicious traffic. (Burton, 1893, 2: 252)</blockquote>Note how this alters the effect of Burton’s description. From the complacency of an Imperialist, it now seems tinged with the indignation of an Abolitionist. A footnote added to the second edition of the book makes it clear that the passage was pruned because “The slave trade has, since these remarks were penned, been suppressed with a high hand” (1893, 2: 252). Perhaps it seemed vainglorious to Burton in the 1870s to continue to claim credit for this initiative of the sixties.<br /><br />Whichever edition we are using, however, we can observe: <em>first</em>, the structural use of this description of the slave-market to introduce certain major themes of his narrative: the racial characteristics<a href="http://dinarzade.blogspot.com/2007/09/voyage-en-orient.html#_ftn2" name="_ftnref2" title="" class="style23">[2]</a> of the people he encounters, as well as the terrible economic effects of this “pernicious traffic.” <em>Secondly</em>, the way in which it serves to characterise the speaker or narrator of the journey: a British officer and Oriental scholar masquerading as a “humble Haji.”<br /><br />Before drawing any larger conclusions from this, though, let us look at some other descriptions of slave-markets by European travellers. Here’s Alexander Kinglake, in his bestselling travel book <em>Eothen </em>(1844):<br /><br /><blockquote>In the open slave-market [of Cairo] I saw about fifty girls exposed for sale, but all of them black or “invisible” brown. A slave-agent took me to some rooms in the upper storey of the building, and also into several obscure houses in the neighbourhood, with a view to show me some white women. The owners raised various objections to the display of their ware, and well they might, for I had not the least notion of purchasing. (Kinglake, 1936, p. 166)</blockquote>Rather witty, that “I had not the least notion of purchasing” – like much of the book, it is designed to give a little <em>frisson </em>to his reader: here, at the thought that one could, indeed, purchase a slave-girl at such a market if one were not English. There’s something a bit cold about Kinglake’s investigative technique, though – just as when, a page before, seeing some prisoners in the citadel of Cairo, he is concerned principally to justify his choice of words in describing them – “I say <em>yoke </em>of men, for the poor fellows were working together in bonds” (1936, p. 166) – rather than deploring their fate.<br /><br />Returning to the market, however:<br /><br /><blockquote>I only succeeded in seeing one white slave who was for sale; but on this treasure the owner affected to set an immense value, and raised my expectations to a high pitch by saying the girl was Circassian, and was “fair as the full moon.” There was a good deal of delay, but at last I was led into a long dreary room, and there, after marching timidly for a few paces, I descried at the farther end that mass of white linen which indicates an Eastern woman. She was bid to uncover her face, and I presently saw that, though very far from being good-looking, according to my notion of beauty, she had not been inaptly described by the man who compared her to the full moon, for her large face was perfectly round and perfectly white. Though very young, she was nevertheless extremely fat. (Kinglake, 1936, pp. 166-67)</blockquote>This rather terrifyingly callous passage could, I suppose, be summed up under the title ‘the traveller as a suspicious soul,’ or ‘insouciance in the face of the bumptious tradesman.’ He goes on in a similar vein:<br /><br /><blockquote>She gave me the idea of having been got up for sale – of having been fattened and whitened by medicines or by some peculiar diet. I was firmly determined not to see any more of her than the face. She was perhaps disgusted at <em>this my virtuous resolve </em>[my emphasis], as well as with my personal appearance – perhaps she saw my distaste and disappointment; perhaps she wished to gain with her owner by showing her attachment to his faith: at all events she holloaed out very lustily and very decidedly that “she would not be bought by the infidel.” (p. 167)</blockquote><br />Truly, as Fatma Moussa-Mahmoud remarks, “No oriental ... can easily like <em>Eothen</em>,” though she attributes this to the fact that “the Englishman who had come to test his mettle against the hardships of Eastern travel proves his superiority to things Arabic and Islamic at every turn.” (1988, p. 104)<br /><br />This is undoubtedly true, but I think we have to conclude that there’s more to it than that. Kinglake’s misogyny appears very clearly in the implication that the white female slave takes against him because of his “personal appearance” – at best, she abused him in order “to gain with her owner by showing her attachment to his faith” (not, you notice, her own faith).<br /><br />Earlier in the book, while still in Constantinople, Kinglake described an encounter with “one of those coffin-shaped bundles of white linen that implies an Ottoman lady” (1936, p. 26) – and, in case the epithet were not explicit enough, tells us of the “piece of fun” indulged in by such ladies:<br /><br /><blockquote>She turns, and turns again, and carefully glances around her on all sides to see that he is safe from the eyes of Mussulmans, and then suddenly withdrawing the <em>yashmak</em>, she shines upon your heart and soul with all the pomp and might of her beauty ...<br /><br />She sees, and exults in your giddiness – she sees and smiles; then, presently, with a sudden movement, she lays her blushing fingers upon your arm, and cries out “Yumourdjak!” (Plague! meaning, “There is a present of the plague for you!”) This is her notion of a witticism ... as though the bright idea of giving the plague to a Christian had newly lit upon the earth. (Kinglake, 1936, pp. 26-27)</blockquote>The association between the “coffin-shaped bundles of white linen” that imply an Ottoman lady, and the plague then ravaging Constantinople and Cairo, is made here with an Edgar Allan Poe-like insistence.<br /><br />My purpose here, though, is not so much to psychoanalyse Kinglake, as to attempt to discern the conscious literary intentions of his text.<br /><br />If we take it as a truism that every traveller creates a fictional projection of himself in the course of shaping his travel narrative, then we could perhaps say that this fictional or projected Kinglake is presented as being a gruff misogynist, and an Englishman of the sort who scorns to condescend to his inferiors. Of course it is tempting to take this as real information about the author of <em>Eothen</em>, but what it does tell us unequivocally is that this is the kind of self which he found it expedient or amusing to construct for the purposes of his story.<br /><br />Kinglake’s contemporary audience was, after all, saturated with images of what an Oriental journey should be and what it should contain – Thomas Moore’s <em>Lalla Rookh </em>(1817), Lord Byron’s early verse tales (<em>The Giaour </em>(1813), <em>The Bride of Abydos </em>(1813) and <em>The Corsair </em>(1814)), and even the legend of Lady Hester Stanhope had accustomed readers to an exotic East of Harems and beautiful slaves, and it is natural that a travel-writer should wish to satirise these expectations.<br /><br />The female slave “fattened and whitened by medicines or by some peculiar diet,’ and the Ottoman women who make their admirers a gift of the plague are perhaps rather extreme contradictions of the cliché, but this certainly serves to make them memorable. What Kinglake is really doing (like Beckford in <em>Vathek </em>(1786)), is applying some aspects of the Gothic imagination to the Eastern travelogue.<br /><br />With Burton, though, the structure of his narrative is complicated by the fact that he has been forced to design a new self in order to travel at all – the “Shaykh” Abdullah, wandering Dervish and Doctor, Afghan by birth – a Moslem alter-ego who can safely perform the Hajj. The elaboration of this disguise gives the dry-as-dust antiquarian detail of Burton’s text a dramatic suspense and interest which it would otherwise lack, and explains a good deal of the book’s contemporary success.<br /><br />More to the point, though, it gives his off-the-cuff judgements the authority of one who can ‘pass as a native’ – that Holy Grail of the colonial officer (as a motif, the idea of travelling through the city in disguise also recalls the nightly promenades of Harun al-Rashid and his two companions in the <em>Arabian Nights</em>, but more of that later). Kinglake may be travelling <em>in propria persona</em>, but his book, too, is designed to give substance to an eponymous protagonist, as well as shape to his journeyings.<br /><br />A third slant, both on the choice of the slave-market as a motif and the construction of a convenient persona for travelling, appears in the French symbolist Gérard de Nerval’s <em>Voyage en Orient </em>(1851). The book is based on a real journey which its author undertook in 1843-44, but it departs from his real itinerary almost as soon as it begins. His travelling companion, Joseph de Fonfrède, is never mentioned at all, and some of the most famous passages – including the description of the island of Cythera which inspired Baudelaire’s poem “Un Voyage à Cythère” – were cribbed from other travel books. Truly, as Mark Twain remarks in <em>The Innocents Abroad</em>:<br /><br /><blockquote>… if all the pages that have been written about [this land] was spread upon its surface, they would flag it from horizon to horizon like a pavement. (Twain, 1869, p. 307)</blockquote>Nerval, or, at least, the ‘Gérard de Nerval’ of the text, ran into some unexpected problems when he arrived in Cairo. Unable to afford a long stay in a hotel, he rented a house, but the neighbours complained that he was “breaking Muslim laws of etiquette by refusing to live with a woman.” He was warned that he would be evicted “unless I took a wife or slave-girl into my household within a few days” (Nerval, 1973, p. 30). The second problem was his realisation that:<br /><br /><blockquote>… <em>en Orient les hôteliers, les drogmans, les valets et les cuisiniers s’entendaient de tout point contre le voyageur... M. de Chateaubriand avoue qu’il s’y est ruiné; M. de Lamartine y a fait des dépenses folles</em>. (Nerval, 1980, 1: 215)<br /><br />[… in the Orient the hotel-keepers, the shop-keepers, the dragomen, the servants, and the cooks were all faithfully united against the traveller ... M. de Chateaubriand admits that he was ruined in the Orient; M. de Lamartine spent a quite extravagant amount of money here. (1973, p. 38)]</blockquote>The solution was simple: “<em>J’achêterai une esclave ... et j’arriverai peu à peu à remplacer par elle le drogman, le barbarin peut-être, et à faire mes comptes clairement avec le cuisinier. En claculant les frais d’un long séjour au Caire et de celui que je puis faire encore dans d’autres villes, il est clair que j’atteins un but d’économie. En me mariant, j’eusse fait le contraire</em>.” (Nerval, 1980, 1: 215) [I shall buy a slave-girl ... I shall then be able to settle accounts with Mustapha, and, in all, decrease my daily expenses. Moreover, I shall have a woman in the house, at last, and the sheikh will bother me no longer.]<br /><br />Nerval undoubtedly wants to shock his readers a little by choosing this method of economising. Nerval’s English translator, Norman Glass, even goes to the lengths of comparing his literary persona to Henry Miller’s (Nerval, 1973, p.19). He is, however, self-conscious enough to disarm our criticisms in advance:<br /><br /><blockquote><em>Il faut vivre un peu en Orient pour s’apercevoir que l’esclave n’est là en principe qu’une sorte d’adoption. La condition de l’esclave y est certainement meilleure que celle du fellah ... car l’esclave mécontent d’un maître peut toujours le contraindre à le faire revendre au bazar. Ce détail est un de ceux qui expliquent le mieux la douceur de l’esclavage en Orient</em>. (Nerval, 1980, 1: 209-10)<br /><br />[I had already lived long enough in the Orient to realize that slavery is basically nothing more than a kind of adoption. The condition of a slave is certainly better than that of a free fellah ... for she has the right, if she is unsatisfied with her master for one reason or another, to order him to resell her at the bazaar. This particular detail indicates better than any other the mildness of slavery in the Orient. (1973, p. 31)]</blockquote>In case we’ve missed the point, later on, in the slave dealer’s house, “<em>la seule esclave qui pleurait là pleurait à la pensée de perdre son maître; les autres ne paraissaient s’inquiéter que de la crainte de rester trop longtemps sans en trouver. Voilà qui parle, certes, en faveur du caractère des musulmans. Comparez à cela le sort des esclaves dans les pays américains</em>!” (Nerval, 1980, 1: 234) [the one really miserable slave was crying in the belief that she had lost her master, while the others appeared troubled only by the fear that they would stay here too long without finding one. Here indeed is something which speaks well in favour of the Muslims, especially when you compare such a situation to the fate of slaves in America. (1973, p. 55)].<br /><br />This is, after all, the 1840s – slavery is alive and flourishing in the Americas. Nerval’s point, however, is that the Western form is in fact far more violent and pitiless than that practised in the East. The slave he eventually purchases, Zetnaybia, a Javanese, proves a good deal less subservient than even this prescription would imply, but perhaps it is time to mention that this incident, which dominates a good third of Nerval’s book, is essentially fiction. That is to say, Nerval’s companion, Fonfrède, <em>did </em>purchase a slave in Cairo – and kept her for about a week (Nerval, 1980, 1: 402) – but the character in his book, Zetnaybia, was invented mainly to surprise and perturb his readers.<br /><br />Slaves are meant to be subservient and industrious – Zetnaybia is rebellious and idle. Slave-markets are a Western pretext of reproaching Eastern barbarism – Nerval turns the tables by making reference to the Southern States of America.<br /><br />Zetnaybia is a more interesting character than this analysis alone would suggest, but the point I am making is that she has been created with a literary end in mind, just as her creator, Nerval, has remade himself as an insouciant boulevardier in the interests of a better tale. The motif of the unworthy master served by the more cunning slave is, after all, a staple of Eastern romance.<br /><br />The implications of these two points, once granted, are far-reaching, which is why I have already devoted so much time to illustrating them – but, if, in the next section of the chapter, you simply bear in mind that travel-writers (like novelists) are far more than mere mirrors of the prejudices and superstitions of their time – that their descriptions of places and people can be used structurally to introduce particular themes, but also to lend colour to the persona of their chosen, eponymous protagonist – then it will, I think, be time well-spent.<br /><br />•<br /><br />So far I’ve mentioned three well-known travel-writers, Kinglake, Nerval, and Burton, representing (respectively) the 30s, 40s, and 50s of the nineteenth century. Lest I should be suspected of attempting to draw too general conclusions from too small a sample of writers, I now propose to widen my net a little. You will have gathered that a visit to the slave-market is a sine qua non of the classic Eastern travel narrative (or <em>Voyage en Orient</em>, as the French put it). There are, however, many other descriptive necessities.<br /><br />To put this in context, imagine yourself, for a moment, as a Western traveller in Cairo in the first half of the nineteenth century. What do you expect to see?<br /><br />Well, first of all is the simple promenade through the city streets. “Once you enter Cairo,” asked the French soldier Major Detroye in 1798, “what do you find?”<br /><br /><blockquote>Narrow, unpaved, and dirty streets, dark houses that are falling to pieces, public buildings that look like dungeons, shops that look like stables, an atmosphere redolent of dust and garbage, blind men, half-blind men, bearded men, people dressed in rags, pressed together in the streets or squatting, smoking their pipes, like monkeys at the entrance of their cave; a few women of the people ... hideous, disgusting, hiding their fleshless faces under stinking rags and displaying their pendulous breasts through their torn gowns; yellow, skinny children covered with suppuration, devoured by flies; an unbearable stench, due to the dirt in the houses, the dust in the air, and the smell of food being fried in bad oil in the unventilated bazaars. (Herold, 1962, pp. 136-37)</blockquote>Half a century later, W. M. Thackeray had a far more positive impression:<br /><br /><blockquote>How to describe the beauty of the streets to you! – the fantastic splendour; the variety of the houses and archways, and hanging roofs, and balconies, and porches; the delightful accidents of light and shade which chequer them; the noise, the bustle, the brilliancy of the crowd; the interminable vast bazaars with their barbaric splendour! There is a fortune to be made for painters in Cairo, and materials for a whole Academy of them ... There is a picture in every street, and at every bazaar stall. (Thackeray, 1882, 7: 695)</blockquote>The motifs, however – archways, crowds, smells – remain fairly consistent.<br /><br />After the slave-market, the next most important object of speculation to the traveller (male or female) is probably the Harem or Seraglio. Thackeray, the tourist, apologises to his readers for having “peered into no harems” (1882, 7: 686), while Kinglake, with his customary tact asnd sensitivity, informs us that:<br /><br /><blockquote>The rooms of the hareem reminded me of an English nursery rather than a Mahometan paradise. One is apt to judge of a woman before one sees her by the air of elegance or coarseness with which she surrounds her home: I judged Osman’s wives by this test, and condemned them both. (1936, pp. 156-57)</blockquote>Mark Twain, in the 1860s, remarks guilelessly “They say the Sultan has eight hundred wives. This almost amounts to bigamy. it makes our cheeks burn with shame to see such a thing permitted here in Turkey. We do not mind it so much in Salt Lake, however.” He also registers disappointment that “The great slave marts we have all read so much about – where tender young girls were stripped for inspection, and criticised and discussed just as if they were horses at an agricultural fair – no longer exist” (1869, pp. 226-27).<br /><br />Burton, the scholar, who (according to himself) visited a number of Harems in his capacity as doctor, complains that:<br /><br /><blockquote>Miss Martineau, when travelling through Egypt, once visited a harem, and there found, among other things, especially in ignorance of books and book-making, materials for a heart-broken wail over the degradation of her sex. The learned lady indulges, too, in sundry strong and unsavory comparisons between the harem and certain haunts of vice in Europe.<br /><br />On the other hand, male travellers generally speak lovingly of the harem. Sonnini, no admirer of Egypt, expatiates on “the generous virtues, the examples of magnanimity and affectionate attachment, the sentiments ardent, yet gentle, forming a delightful unison with personal charms in the harems of the Mamelukes.”<br /><br />As usual, the truth lies somewhere between the two extremes. (Burton, 1855-56, p. 359)</blockquote>Once again, whatever particular view the various writers take of the Harem as an institution refers directly back to the intentions of their narrative as a whole. Kinglake sets out to shock, Twain to be ironic at his audience’s expense, Thackeray to mock their inflated expectations, and Burton to pontificate. It is, in short, a commonly accepted <em>topos</em>, and we are expected to make sense of it with the aid of various tropes.<br /><br />One of these is:<br /><br /><strong>1. The Reversal of Expectations:</strong><br /><br /><em>Either </em>– A/ the seemingly “barbaric” custom which can in fact be paralleled back home (Twain’s bigamy; Nerval’s slavery);<br /><br /><em>or </em>– B/ the romantic or melodramatic expectation debunked (Kinglake’s moon-faced slave-girl, Thackeray’s “England in Egypt,” which is all he has to offer in place of harems, magicians and dancing-girls (1882, 7: 686)).<br /><br />Another trope, not yet discussed, is:<br /><br /><strong>2. The Unchanging East:</strong><br /><br /><em>Either </em>– A/ the sense of a life so old that it seems immutable;<br /><br /><em>or </em>– B/ Nature imitating Art, rather than the reverse.<br /><br />You are still, remember, wandering about in Cairo – so the next thing you might reasonably expect to see is a <em>Rawi </em>or storyteller. Edward Lane, author of <em>The Manners and Customs of the Modern Egyptians </em>(1836), probably the most influential European account of nineteenth-century Cairo, informs us in his careful, measured way that “reciters of romances frequent the principal kahwehs (or coffee-shops) of Cairo and other towns, particularly on the evenings of religious festivals, and afford attractive and rational entertainments” (1963, p. 397). The reason you would expect to see it is because it is the same thing everyone else has already seen and commented on.<br /><br />Here’s Thackeray in 1844:<br /><br /><blockquote>In one place of the bazaar we found a hundred people at least listening to a story-teller, who delivered his tale with excellent action, voice, and volubility ... The devotion and energy with which all these pastimes were pursued, struck me as much as anything. These people have been playing thimblerig and casino; that story-teller has been shouting his tale of Antar for forty years; and they are just as happy with this amusement now as when first they tried it. Is there no ennui in the Eastern countries, and are blue-devils not allowed to go abroad there? (Thackeray, 1882, 7: 649)</blockquote>Note the motifs – energy but futility: “that story-teller has been shouting his tale of Antar for forty years,” and the Orientals are just as happy with it now as they were before.<br /><br />Burton is more analytical about it, but his conclusions are similar:<br /><br /><blockquote>What grand pictures these imaginative Arabs see! Conceive the majestic figures of the saints – for the soul with Mohammedans is like the old European spirit, a something immaterial in the shape of the body – with long grey beards, earnest faces, and solemn eyes, reposing beneath the palms, and discussing events now buried in the gloom of a thousand years. (Burton, 1855-56, p. 292)</blockquote>He goes on to explain that “Amongst Orientals the events of the last generation are usually speaking imperfectly remembered”; they are “well acquainted with the history of vicissitudes which took place twelve hundred years ago, when profoundly ignorant of what their grandfathers witnessed.” (1855-56, p. 252).<br /><br />The same reflection comes to Mark Twain by the Pool of Siloam in Jerusalem:<br /><br /><blockquote>Oriental women, came down in their old Oriental way, and carried off jars of water on their heads, just as they did three thousand years ago, and just as they will do fifty thousand years hence if any of them are still left on earth. (1869, p. 341)</blockquote>Nerval sums up by reminding us that “<em>Ces conteurs de profession ne sont pas des poètes, mais pour ainsi dire des rhapsodes; ils arrangent et développent un sujet traité déjà de diverses manières, ou fondé sur d’anciennes légendes</em>.” (1980, 2: 234) [These professional storytellers are rhapsodists, as it were, rather than poets; they arrange and elaborate a subject which has already been handled in many fashions, or one which is based on ancient legends (1973, p. 160)].<br /><br />They are not, in other words, at all <em>creative </em>– merely “lively” in a pointless sort of way.<br /><br />All of which brings us to the second aspect of the “Unchanging East” trope – Nature imitating Art. Lane was somewhat perturbed when he found that one of the anecdotes of daily life he told in the first edition of the <em>Modern Egyptians </em>– about an illiterate schoolmaster being appointed to take care of reading and writing in a nearby school – was repeated word for word in the Arabic text of the <em>Thousand and One Nights </em>(1835). “Either my informant’s account is not strictly true, or the man alluded to by him was, in the main, an imitator”. He concludes that “the latter is not improbable, as I have been credibly informed of several similar imitations, and of one which I know to be a fact.” (1963, p. 63)<br /><br />Lane is, as always, somewhat conservative in this respect – virtually all of our other travellers tell us, sometimes with frequent repetitions, that the only book which sums up the spirit of the East is the <em>Arabian Nights</em>:<br /><br /><blockquote>Tangier is a foreign land if ever there was one; and the true spirit of it can never be found in any book save the Arabian Nights. (1869, p. 49)</blockquote>Thus Mark Twain, who also tells us that “I shall not tell anything of the strange, strange city of Cairo, because it is only a repetition, a good deal intensified and exaggerated, of the Oriental cities I have already spoken of” (Twain, 1869, p. 373).<br /><br />Nerval, who calls Cairo “<em>la ville des </em>Mille et Une Nuits” (1980, 1: 151) [the city of the <em>Thousand and One Nights</em>], cannot leave it at that, but adds the embellishment that: “<em>Depuis mon arrivée au Caire, toutes les histoires des </em>Mille et Une Nuits <em>me repassent par la tête, et je vois en rêve tous les dives et les géants déchaînés depuis Salomon</em>.” (1980, 1: 164) [Since my arrival in Cairo, all the stories in the <em>Thousand and One Nights </em>have been running through my head, and I see in imagination all the genies and giants unleashed since the time of Solomon].<br /><br />Lane relents sufficiently to tell us in his preface that “if the English reader had possessed a close translation of it [‘<em>The Thousand and One Nights; or, Arabian Nights’ Entertainments</em>’] with sufficient illustrative notes, I might almost have spared myself the labour of the present undertaking.” (1963, p. xxv)<br /><br />While Thackeray exhorts all those who “loved the ‘Arabian Nights’ in their youth” to try a trip to the East:<br /><br /><blockquote>It is wonderful ... how like it is; you may imagine you have been in the place before, you seem to know it so well! (Thackeray, 1882, 7: 603)</blockquote>Burton, in the preface to his 1885 translation, begins by remarking crushingly; “I can hardly imagine The Nights being read to any profit by men of the West without commentary”, but goes on to explain that “The student who adds the notes of Lane ... to mine will know as much of the Moslem East and more than many Europeans who have spent half their lives in Orient lands” (Burton, 1885, 1: xvi-xvii).<br /><br />Just as a copy of the Bible is essential luggage when travelling to the Holy Land, so it aoppears that the Muslim East is incomprehensible without the Arabian Nights.<br /><br />Nor is this a particularly novel idea. Galland’s translation of the <em>Mille et une Nuit </em>(1704-1717) first appeared in English with a title-page promising “a better Account of the Customs, Manners, and Religion of the Eastern Nations, viz. Tartars, Persians, and Indians, than is to be met with in any Author hitherto published” (Arabian Nights, 1781), and this has been a principal component of their attraction ever since.<br /><br />Even Fatma Moussa-Mahmoud, concerned as she is to rebuke the prejudices of Western travellers, complains of the modern Middle East:<br /><br /><blockquote>From Aladdin nightclubs to Harun al-Rashid restaurants, chartered groups are regaled with oriental experience packaged and ready-made. Only the perceptive traveller may suddenly light on an old house with latticed windows and a marble hall of which the fountain is dry, or a row of little shops in a side street in Cairo, Damascus or Baghdad, and see the scene come alive peopled with the familiar characters of the tales. (Caracciolo, 1988, p. 109)</blockquote>In other words, she is quite pleased to perpetuate the notion, just as long as it’s not done in too vulgar a way. Twain also refers to paintings and Thackeray to Eastern pantomimes, but by and large it’s the <em>Nights </em>alone which fulfill this role.<br /><br />•<br /><br />So, what conclusions can we draw from this? In the first section I hoped to demonstrate that there was something a little more complex than European racial prejudice and morbid repressed Victorian sexuality at work in the view various travellers presented of the Middle-Eastern slave-market. The largely fictional literary persona projected by each, and the structural role these descriptions fill in their narratives as a whole, I am suggesting, have as much part to play as any generalised “Western” ideas on race or history.<br /><br />In the second section I went on to point out that there were various descriptive necessities or <em>topoi </em>in the standard “Journey to the East,” and that these had inspired internally consistent sets of <em>tropes </em>or literary reactions in each of our authors.<br /><br />By inviting you to imagine yourselves as nineteenth-century travellers in Cairo, I hoped to suggest the vastness and amorphousness of a city which requires, in order to be reduced to sense – at any rate for a reading audience – a certain set of prearranged topics or focuses of interest.<br /><br />Needless to say, this is not quite the usual way of reading these books. By now you should be reasonably familiar with the basic concepts of Said’s <em>Orientalism</em>, and one could add to this Rana Kabbani’s <em>Europe’s Myths of Orient </em>(1986) – reissued with the disappointing change of title <em>Imperial Fictions</em> (1994).<br /><br />If not, a few quotations will give something of the line taken by these and other similar books on the material under discussion here.<br /><br />After quoting some Western accounts of the Sultan’s seraglio in Constantinople, Rana Kabbani says:<br /><br /><blockquote>This edifice became a metaphor for the whole East, fulfilling as it did a bulk of European fantasy needs. These descriptions were a self-perpetuating <em>topos</em>, repeated and copied again and again since they corresponded exactly to Western expectations. (Kabbani, 1994, p. 18)</blockquote>At first sight, Kabbani’s analysis of the seraglio seems to be making the same points as my quoted descriptions of the slave-market. They serve a larger thematic purpose (as “a metaphor for the whole East”), and are, accordingly, a “self-perpetuating <em>topos</em>.”<br /><br />My problems with her formulation are, however, twofold: first, it pays no attention to the fact that there really <em>was </em>a “seraglio” in Constantinople, which must have prompted at least some of the details of the description (as with the markets and people of Cairo); secondly, the travellers whom we have been examining do <em>not </em>always take a consistent line on the <em>topoi </em>they describe.<br /><br />The idea that the accounts of Mark Twain and Alexander Kinglake, for example, contribute to the same “definitive edifice of sexuality and despotism” of “European fantasy needs” (1994, p. 18) seems to me even more of a “self-perpetuating <em>topos</em>” than the attitudes she is summarising.<br /><br />Their attitudes are <em>internally </em>consistent, I will admit, but they are surely not susceptible to such heady generalisations as this. The main advantage of this new edition of Kabbani’s book is the preface, where she remarks:<br /><br /><blockquote>One of the reasons I wrote this book was to disprove the commonly-held and oppressive assumption that Western culture is superior to other cultures; that it is somehow more humane, civilised or tolerant, less violent and less misogynistic. (1994, p. viii)</blockquote>This is no doubt a laudable aim, but funnily enough it would not seem alien to some of the writers we have been examining, as it is (more or less) a restatement of the “Reversal of Expectations” motif detected earlier.<br /><br />As Burton puts it in his <em>Pilgrimage</em>, comparing ‘savage’ and ‘civilised’ mores: “there is degradation, moral and physical, in handiwork compared with the freedom of the Desert. The loom and the file do not conserve courtesy like the sword and the spear; ... and those European nations who were most polished when every gentleman wore a rapier, have become the rudest since Civilisation disarmed them” (1855-56, p. 305).<br /><br />I don’t claim that this is a particularly subtle distinction on his part but it is asserted with a similar lack of substantiating argument.<br /><br />Edward Said, predictably, is far more alert to the consequences of his position than this:<br /><blockquote><br />… one must repeatedly ask oneself whether what matters in Orientalism is the general group of ideas overriding the mass of material – about which who could deny that they were shot through with doctrines of European superiority, various kinds of racism, imperialism, and the like, dogmatic views of ‘the Oriental’ as a kind of ideal and unchanging abstraction? – or the much more varied work produced by almost uncountable individual writers, whom one would take up as individual instances of authors dealing with the Orient. (Said, 1985, p. 8)</blockquote><br />This is certainly the right question to ask, and one can understand his reasons for choosing the first of these approaches, and for the further distinction he makes between “pure and political knowledge” (1985, p. 9).<br /><br />I’m a bit worried, though, that the pendulum has swung too far from the “detailed and atomistic analyses” (1985, p. 8) which he sees as typical of the second approach, towards the “coarse polemic” which is the great pitfall of the first.<br /><br />At this point I think it would be interesting to return to the <em>Arabian Nights</em>. It is true, as we have seen, that our authors seem to agree that this text constitutes the master-key to an understanding of the Orient. Rana Kabbani suggests that this delusion may be due “to the numerous descriptions in the stories of real physical objects. Thus it produced in the European reader’s already susceptible imagination a strange ‘sense of reality in the midst of unreality.’“ (1994, p. 29). She goes on to stress that:<br /><br /><blockquote>The collection of stories commonly referred to as the “Arabian Nights” was never a definitive text in Arabic literature as is generally supposed by a Western reader. (Kabbani, 1994, p. 23)</blockquote>But what if this very diversity were the point?<br /><br />The English-speaking world in the nineteenth century was dominated by three great versions of the <em>Nights</em>: the various English translations of Galland’s French, Lane’s scholarly but heavily expurgated translation from the Arabic (1839-41), and Burton’s complete, unabridged and unexpurgated translation of 1885, closely modelled on that of his predecessor Payne (1882-84). As an <em>Edinburgh Review </em>critic, quoted by Burton in his “The Biography of the Book and Its Reviewers Reviewed” (Burton, 1886-88, 16: 309-58) remarked in 1886: “The different versions ... have each its proper destination – Galland for the nursery, Lane for the library, Payne for the study, and Burton for the sewers” (16: 348-49).<br /><br />What all of these versions have in common is, of course, the structure given them by the frame-story. King Scharyar’s determination to marry a new wife every evening and have her executed the next morning, and Scheherazade’s cunning device to save herself and the rest of her sex provide a thread upon which any number of stories can be and have been strung, and – indeed – there is little consistency of choice even in the various translations into Western languages, let alone the manuscript traditions. There are, however, some stories which almost always appear – the body of ten or so inter-nested narratives at the beginning of the <em>Nights </em>which may date back as far as the Persian original.<br /><br />What if we were to take this as an analogy to the statements of our travellers about the relevance of the <em>Arabian Nights</em>? Note that they are not speaking, for the most part, of individual stories – true, Aladdin is mentioned by Twain (there is a little of Sindbad in his bemused observations of alien customs, also), and Thackeray claims to have observed Ali Baba, Hassan, the Barber and his brothers and a whole series of others – but of the representativeness of the collection as a whole.<br /><br />Nor is it precisely that they model their narratives on the Nights (though there is certainly something of this in Nerval’s use of ‘realistic’ frames to the two great narratives which dominate his text) – rather it is that in the coincidence of their choice of things to describe, and the various conclusions to be drawn from what is being described, we can see an analogy to the <em>Nights </em>– a book which does not depend on its contents, but its concept, to be recognised.<br /><br />Nor is the perceived analogy with the Bible in error – just as the Bible represents a literature rather than a unified work, so the <em>Arabian Nights </em>is a compendium – a sort of encyclopaedia of Eastern narrative subject matter and manner.<br /><br />The Bible is unified, of course, by divine inspiration – its author is God, or our perception of ‘God’ – as are the <em>Nights </em>by their creature and creator (simultaneously), Scheherazade. In conclusion, I ask you what other, more certain master-discourse is available to us in the presence of so disparate a set of individual creators?<br /><br />Isn't it safer, in the final analysis, to take their statements seriously, and see the election of the <em>Nights </em>to master-discourse of the Orient as a self-fulfilling prophecy? If the Middle East – the Orient – <em>Le Levant </em>– <em>Morgenland </em>– has to be seen as a text requiring commentary (as it surely must by any conscientious travel-writer), the closest pragmatic equivalent to that text is the <em>Thousand and One Nights</em>.<br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhowrTyUeagnm4AiOlUqX9PJn0OzKCURqf9uTM66LGdEDTyufW6uDy8T8s7Uo669eHLYMxJS75Wxk5vfrSmvtWgL9Q4PGsnyMupUbrdAlhSNcrydMdi0vYwKNCKq_K4bQfa5UxL/s1600-h/101title300.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhowrTyUeagnm4AiOlUqX9PJn0OzKCURqf9uTM66LGdEDTyufW6uDy8T8s7Uo669eHLYMxJS75Wxk5vfrSmvtWgL9Q4PGsnyMupUbrdAlhSNcrydMdi0vYwKNCKq_K4bQfa5UxL/s320/101title300.jpg" alt="" id="BLOGGER_PHOTO_ID_5114694232699743986" border="0" /></a><span style="font-size:85%;">[<a href="http://store.payloadz.com/str-asp-i.19513-n.101_Arabian_Nights_-_an_e-book_album_of_vintage_photos_postcards_eBooks_-end-detail.html">101 Arabian Nights</a>]</span><br /></div><br /><blockquote><br /><hr align="left" noshade="noshade" size="1" width="70%"><br /><strong>Notes:</strong><br /><div id="ftn1"><p><a href="http://dinarzade.blogspot.com/2007/09/voyage-en-orient.html#_ftn1" name="_ftn1" title="">1.</a> “Before nightfall I was accosted, in Turkish, by a one-eyed old fellow ... When I shook my head, he addressed me in Persian. The same manoeuvre made him try Arabic: still he obtained no answer. He then grumbled out good Hindostani. That also failing, he tried successively Pushtu, Armenian, English, French, and Italian. At last I could ‘keep a stiff lip’ no longer ... I turned upon him in Persian ... We then chatted in English, which Haji Akif spoke well, but with all manner of courier’s phrases” (Burton, 1855-56, pp. 475-76).</p></div><div id="ftn2"><p><a href="http://dinarzade.blogspot.com/2007/09/voyage-en-orient.html#_ftn2" name="_ftn2" title="">2.</a> In some cases described in terms of phrenology - as is seen in the illustration of “Bedawi and Wahhabi heads and head-dresses” (Burton, 1855-56, p. 351).</p></div><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGeVQtK1M4UnWy_0yp7JLtA7Qbu_Ax-E-PVVJhnZEhC4HLUzJMLS2Hl9MN3GB1Jrzjd6mNsvTri0z1X_FmifEdzB2mTIkSbYEQZLlzO1HDQbogo0WdtkViI19hbCBbj5y6YsjD/s1600-h/scheherazade6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 397px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGeVQtK1M4UnWy_0yp7JLtA7Qbu_Ax-E-PVVJhnZEhC4HLUzJMLS2Hl9MN3GB1Jrzjd6mNsvTri0z1X_FmifEdzB2mTIkSbYEQZLlzO1HDQbogo0WdtkViI19hbCBbj5y6YsjD/s400/scheherazade6.jpg" alt="" id="BLOGGER_PHOTO_ID_5362602553632074930" border="0" /></a><span style="font-size:85%;">[<a href="http://retrotrash.org/database.htm">Scheherazade</a>]</span><br /></div><br /><blockquote><br /><strong>Works Cited:</strong><br /><ul><br /><li><em>Arabian Nights Entertainments: Consisting of One Thousand and One Stories, Told by the Sultaness of the Indies, to divert the Sultan from the Execution of a bloody Vow he had made to marry a Lady every day, and have her cut off next Morning, to avenge himself for the Disloyalty of his first Sultaness, &c. Containing a better Account of the Customs, Manners, and Religion of the Eastern Nations, viz. Tartars, Persians, and Indians, than is to be met with in any Author hitherto published. Translated into French from the Arabian Mss. by M. Galland of the Royal Academy, and now done into English from the last Paris Edition</em>. (1781). 1706-17. 16th ed. 4 vols. London & Edinburgh: C. Elliot.</li><br /><li>Burton, Richard F. (1855-56). <em>Narrative of a Pilgrimage to El-Medinah and Meccah</em>. 1855-56. Ed. J. M. Scott. Geneva: Heron, n.d.</li><br /><li>Burton, Richard F. (1893). <em>Personal Narrative of a Pilgrimage to Al-Madinah & Meccah</em>. Memorial Edition. Ed. Isabel Burton. 2 vols. London: Tylston and Edwards.</li><br /><li>Burton, Richard F, trans. (1885). <em>A Plain and Literal Translation of The Arabian Nights’ Entertainments, Now Entituled The Book of the Thousand Nights and a Night: With Introduction, Explanatory Notes on the Manners and Customs of Moslem Men and a Terminal Essay upon the History of the Nights</em>. 10 vols. Benares [= Stoke-Newington]: Kamashastra Society. N.p. [= Boston]: The Burton Club, n.d.</li><br /><li>Burton, Richard F., trans. (1886-88). <em>Supplemental Nights to the Book of the Thousand Nights and a Night with Notes Anthropological and Explanatory</em>. 6 vols. Benares [= Stoke-Newington]: Kamashastra Society. 7 vols . N.p. [= Boston]: The Burton Club, n.d.</li><br /><li>Herold, J. Christopher. (1962). <em>Bonaparte in Egypt</em>. London: Hamish Hamilton, 1962.</li><br /><li>Irwin, Robert. (1988). <em>The Arabian Nightmare</em>. 1983. Harmondsworth: Penguin, 1988.</li><br /><li>Kabbani, Rana. (1994). <em>Imperial Fictions: Europe’s Myths of Orient</em>. London: Pandora.</li><br /><li>Kinglake, A. W. (1936). <em>Eothen, or Traces of Travel brought Home from the East</em>. 1844. Everyman’s Library, 337. London: Dent, New York: Dutton.</li><br /><li>Lane, Edward William. (1963). <em>Manners and Customs of the Modern Egyptians</em>. Ed. E. Stanley Poole. 1860. Everyman’s Library, 315. London: Dent, New York: Dutton.</li><br /><li>Moussa-Mahmoud, Fatma (1988). English Travellers and the Arabian Nights. In <em>The Arabian Nights in English Literature: Studies in the Reception of The Thousand and One Nights into British Culture</em>. Ed. Peter Caracciolo. London: Macmillan. Pp. 95-110.</li><br /><li>Nerval, Gérard de. (1973). <em>Journey to the Orient</em>. Trans. Norman Glass. 1972. St Albans: Panther.</li><br /><li>Nerval, Gérard de. (1980). <em>Voyage en Orient</em>. 1851. Ed. Michel Jeanneret. 2 vols. Paris: Garnier-Flammarion.</li><br /><li>Said, Edward W. (1985). <em>Orientalism</em>. 1978. Harmondsworth: Penguin.</li><br /><li>Thackeray, W. M. (1882). Notes of a Journey from Cornhill to Grand Cairo, by way of Lisbon, Athens, Constantinople, and Jerusalem: Performed in the Steamers of the Peninsular and Oriental Company. 1846. <em>The Works of William Makepeace Thackeray</em>. 12 vols. London: Smith, Elder & Co. 7: 559-706.</li><br /><li>Twain, Mark. (1869). <em>The Innocents Abroad</em>. London: Collins, n.d.</li><br /></ul><br /><div align="center"><br /><span style="font-size:85%;">[This paper, under the title “<em>Voyage en Orient </em>– The Victorian Traveller and the Arabian Nights” was read at the 16th Australasian Victorian Studies Conference at La Trobe University on 7 February, 1995.]</span><br /></div><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" alt="" id="BLOGGER_PHOTO_ID_5362591049088274098" border="0" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-3280148157994757342007-09-22T20:33:00.000-07:002009-12-15T11:19:29.353-08:00An Arabian Nights Concordance<div align="center"><br /><strong><span style="font-size:130%;">A Revision of Kirby and Eliséef’s Lists of the Stories contained in the various editions of <em>The 1001 Nights</em></span><br /></strong><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH-kcmIEdj-O3gAx7mEyHibxoSqQ4Ktsdb0rT2CEOmO5GKWwPnA12liC1gOa_fMjWF_d-frltiaI8qFA8e3GbIzUE4qup2Nfm32KTfCIVDr43DfnzV0PkS4z0wMVghamSkBBLA/s1600-h/dulac3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH-kcmIEdj-O3gAx7mEyHibxoSqQ4Ktsdb0rT2CEOmO5GKWwPnA12liC1gOa_fMjWF_d-frltiaI8qFA8e3GbIzUE4qup2Nfm32KTfCIVDr43DfnzV0PkS4z0wMVghamSkBBLA/s400/dulac3.jpg" alt="" id="BLOGGER_PHOTO_ID_5273516174237878354" border="0" /></a><span style="font-size:85%;">[<a href="http://www.artpassions.net/cgi-bin/dulac_image.pl?../galleries/dulac/arabian3.jpg">Edmond Dulac: "The City"</a> (1907)]<br /></span><br /></div><br />During her 1001 nights, Scheherazade – or Sháhrazád<a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn1" name="_ftnref1" title="" class="style23">[1]</a>, or Schahrazade<a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn2" name="_ftnref2" title="" class="style23">[2]</a> – tells over two hundred stories of varying lengths. It's difficult to be more specific about the number, not only because so many tales are nested inside others (in most cases told as anecdotes by the characters themselves), but also because there is no consensus of opinion on which stories should legitimately be included in the collection. Decisions about this tend to be made on an arbitrary basis – enshrining some version of the book, whether Eastern or Western, as a more-or-less canonical text.<br /><br />Thus E. W. Lane (1838-41) takes the Bulaq Arabic edition of 1835 as his received text, and excludes the ‘fugitive stories’<a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn3" name="_ftnref3" title="" class="style23">[3]</a> of Antoine Galland’s 1704-17 translation as irrelevant additions. John Payne (1882-89) and Sir Richard Burton (1885-88) translate the 1839-42 Macnaghten edition, which follows the same Egyptian manuscript tradition as Bulaq, but they are liberal enough to include stories from other versions (including Galland’s) in supplementary volumes.<br /><br />In this they are followed by translators such as Cary Von Karwath (1906-14) and Enno Littmann (1921-28), both of whom add “Aladdin” (193)<a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn4" name="_ftnref4" title="" class="style23">[4]</a> and “Ali Baba and the Forty Thieves” (195) to the Macnaghten text. Husain Haddawy, in his Norton translation (1990), has come full circle in translating Muhsin Mahdi’s 1984 critical edition of Galland’s original Syrian manuscript, which he is pleased to claim as:<br /><br /><blockquote>a coherent and precise work of art that, unlike other versions, is like a restored icon or musical score, without the added layers of paint or distortions, hence, as close to the original as possible. (Haddawy, 1992, xv)</blockquote>This is at least a ‘coherent and precise’ point of view, but it is promptly contradicted by J. E. Bencheikh in his Gallimard translation (1991). He states that the conflated text of Galland’s “Camaralzaman” – or “Qamar Az-Zaman” (21) – which he has established:<br /><br /><blockquote>… <em>souligne l’aspect artificiel, voire l’inutilité de la traduction du seul texte établi par Mahdi. Car aucun des trois ensembles utilisés, édition Macnaghten, édition Mahdi et manuscrits complémentaires ne peut se passer des autres</em>. (Bencheikh, Miquel & Bencheikh, 1991b, 2 : 10)<br /><br />[ … underlines the artificial nature, even the lack of point in translating only the text established by Mahdi. Because none of the three recensions used, the Macnaghten edition, the Mahdi edition, or their associated manuscripts is sufficient without the others.]</blockquote>What, then, is one to think? My own solution is to try imagining <em>The Thousand and One Nights </em>as a framework which can contain almost any concatenation of stories – not so much an anthology as a dramatic realisation of the story-teller, Scheherazade’s dilemma: a potential book which can never be entirely realised by any edition or translation, however pared-down or capacious.<br /><br />Its origins, after all, lie in a translation from the lost Persian <em>Hazār Afsāna </em>(or <em>Thousand Nights</em>) which may or may not have resembled the Arabic texts we know. This absence of a clear point of departure makes it apparent that it is by the frame-story alone that one can recognise a new version of the <em>Thousand and One Nights</em> – and, as a corollary, that it would simply not reflect our culture’s sense of the book to attempt a more restrictive definition.<br /><br />Be that as it may, the first practical step must be an accurate idea of which stories appear in each of the various texts, and with this in mind I have thought it worthwhile to compile this concordance of the contents of the principal versions. I should begin, however, with a word about my precursors in this task. It would have been impossibly onerous without them.<br /><br />•<br /><br />William Forsell Kirby (1844-1912), then working as an assistant in the Zoological Department of the British Museum (Black, 1953, p. 400), was invited by Sir Richard Burton to include his “Contributions to the Bibliography of the Thousand and One Nights, and Their Imitations, with a Table Showing the Contents of the Principal Editions and Translations of the Nights” in the tenth volume of the latter’s privately printed <em>A Plain and Literal Translation of the Arabian Nights’ Entertainments, Now Entituled The Book of the Thousand Nights and a Night, with Introduction, Explanatory Notes on the Customs of Moslem Men and a Terminal Essay upon the History of The Nights </em>(1885, 10: 465-531).<br /><br />Kirby’s previous publications had lain mostly in the field of Natural History, especially Entomology, and would eventually include both a <em>Manual of European Butterflies</em> (1862) and a five-volume <em>Handbook of Lepidoptera </em>(1894-97). He was, however, as this fact might suggest, an inveterate cataloguer and systematiser – a taste which he turned towards the Oriental and Northern Folk-lore as well as Science. Perhaps the achievement for which he is best remembered today is having made the first English translation of the <em>Kalevala </em>from the original Finnish (1907).<br /><br />His most important previous work, as far as the <em>Nights </em>is concerned (with the possible exception of <em>Ed-Dimiryaht, an Oriental Romance</em>, published with other poems in 1869), was <em>The New Arabian Nights, being tales omitted by Galland and Lane </em>(1882). This book performed the useful task of making available to the English reader a number of stories hitherto only accessible in the German translations of Maximilian Habicht (1824-25) and Gustav Weil (1838-41).<br /><br />His contributions to the bibliography of the <em>Nights </em>were continued in “Additional Notes on the Bibliography of the Thousand and One Nights,” included in the final volume of Burton’s <em>Supplemental Nights to the Book of the Thousand and One Nights: with Notes Anthropological and Explanatory</em>, 6 vols (1886-88, 16: 356-84).<a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn5" name="_ftnref5" title="" class="style23">[5]</a><br /><br />Both of these essays were reprinted, without significant revision<a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn6" name="_ftnref6" title="" class="style23">[6]</a>, in Leonard C. Smither’s bowdlerised “Library Edition” of Burton’s translation (1897), which purported to be “the most complete English edition of The Nights that can ever be published, the extreme grossness of the few words and passages omitted absolutely precluding their appearance” (Burton, 1897, 1: vii).<br /><br />His Table of Concordances – unfortunately in the truncated 1897 form - has recently been reprinted, in isolation and without revision, in Peter L. Caracciolo’s <em>The Arabian Nights in English Literature </em>(1988, pp. 289-315).<br /><br />Mere reprinting is not really satisfactory, however. Not only did Kirby himself suggest revisions to the 1885 Table in his 1888 “Additional Notes,” but a great deal of his original work was outdated by the appearance of the <em>Supplemental Nights </em>themselves. The first two volumes of this supplement to Burton’s translation copy John Payne’s <em>Tales from the Arabic of the Breslau and Calcutta (1814-’18) Editions of the Book of the Thousand Nights and One Night </em>… (1884), and the third is devoted to Galland’s fugitive stories, but after that the match becomes less exact.<br /><br />For consistency’s sake it seems desirable at the very least to replace the orthography of the titles in the latter part of Kirby’s list (taken mainly from Payne) with titles from Burton’s translation, but to do this properly it is also necessary to match up the two sets of contents more accurately than has hitherto been done.<a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn7" name="_ftnref7" title="" class="style23">[7]</a><br /><br />In some ways it might seem easier to begin the whole task over again, but this would be to squander the continuing worth of Kirby’s work. He <em>does </em>make errors (though they are few and far between), but he has made an honest attempt to list all the stories in all the various versions of the <em>Nights </em>available to him. I have therefore preferred to keep his Table as my template, and to preserve his numbers for facility of cross-reference. The twentieth century has added a good deal to our knowledge of the subject, but there is still room for such an epitome of the knowledge of the nineteenth century. The real deficiency of his work is that it confines itself to volume numbers alone, without page references.<br /><br />•<br /><br />This deficiency at least is rectified by Nikita Eliséef’s <em>Thèmes et motifs des Mille et Une Nuits: Essai de Classification</em>, published in Beirut in 1949. My knowledge of Eliséef’s background is restricted to the following, which comes from Dr. Sviatislav Podstovsky of Columbia University’s Avery Library:<br /><br /><blockquote>… a surviving friend, now 91 years old, [recounts] that there were two bothers Aleseev who had a famous restaurant in Moscow before the Revolution. Yes, the famous Aleseev Brothers Gastronom. They both went to Paris where they studied. The other brother became the director of a Far Eastern Museum in Paris, while Nikita went to Damascus where he worked as an Arabic philogist at a French institute that employed him for research. During WWII he became active as the director of that institute and later returned to Paris.” (Peter James Sinnott, private communication, 26/7/95)</blockquote>Eliséef’s scholarly work attempts to provide a key to the motifs in the Nights along the lines of Stith Thompson’s famous <em>Motif-Index of Folk Literature </em>(1932-36). Its most permanently valuable feature, though, is probably the detailed “table des concordances” (Eliséef, 1949, pp. 190-205) included by him as a necessary guide to the locations of the various stories he refers to throughout.<br /><br />Two points should, however, be noted about this table:<br /><br /><blockquote><strong>1.</strong>As Eliséef himself acknowledges, the references in it come mainly from the four volumes devoted to the <em>Nights </em>in Victor Chauvin’s <em>Bibliographie des ouvrages arabes </em>(1900-1905). As a result, there are many errors of transcription, and only a few of the texts appear to have been checked independently.<br /><br /><strong>2.</strong> It includes only the main, ‘canonical’ stories with a few additions from Galland and Breslau, and thus makes no attempt to equal the comprehensiveness of Kirby. The references to Burton’s <em>Book of the Thousand Nights and a Night </em>employ the 1885 pagination, while the references to the <em>Supplemental Nights </em>follow Chauvin’s employment of the 1897 text, which leads one to suppose that Eliséef had access to the first of these books but not the second. It is only, however, by deductions of this kind that one can determine which of the editions he lists had actually been seen by him, and which were copied from Chauvin.</blockquote>While Eliséef cannot always be trusted on details, then, he provides a better model than Kirby in terms of methodology. Each of the stories on his list is given a “Night” reference (keyed to Macnaghten’s edition of the Arabic text), a “Chauvin” number which enables one to locate it in the latter’s rather clumsy alphabetical system, and a clear volume and page reference. He also provides fuller bibliographical details (though not full enough) of the editions and translations he is using. All in all, a combination of the two lists – the completeness of Kirby against the systematisation and utility of Eliséef – seems to make a good deal of sense.<br /><br />•<br /><br />So, put simply, that’s what I’ve done.<br /><br />Each story in my listing begins with [in square brackets] its <strong>number </strong>in Eliséef’s concordance, then (in parentheses) its <strong>number </strong>in Kirby’s table, then the <strong>title </strong>under which it can be found in Burton’s translation. I then give a “<strong>Night</strong>” reference, keyed to the edition in which the story first appeared or is most conveniently found, followed by volume and page references to the most crucial texts.<br /><br />My bibliographical citation of the editions used is far fuller than Kirby or Eliséef’s, and I have tried to make it clear whether each text has been consulted directly or through intermediaries. I have also included some more recent translations (Dawood, Bencheikh, Haddawy) which have appeared since the publication of Eliséef’s book. The Table of Concordances itself is followed by a list of abbreviations and some textual notes.<br /><br />The real purpose of this exercise is to provide an agreed-upon set of reference numbers which can be applied to the stories in any version of the <em>Nights</em>. I have therefore added additional numbers after Kirby’s (262) to include extra stories from Chavis and Cazotte’s <em>Suite des Mille et une Nuits </em>(1788-89), and Dr J. C. Mardrus’s syncretic but entertaining <em>Livre des Mille et une Nuits </em>(1899-1904).<br /><br />I have also provided a page and volume reference, as well as the number for each story, from Chauvin’s <em>Bibliographie</em>, as it seems to me to be under-utilised as a mine of information on all aspects of the <em>Nights</em>. My Bibliography includes only those works which I have been able to consult directly, rather than reproducing all of the citations in the Key to the Concordance and its accompanying explanatory notes.<br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTcbEZa__V80FaufsGbg0RmQZODo9vRXlLTei4Q2UW_g0daPlBV2ocV_c8uZE2WPe2QoXVCeYXrR-Zj-0adQm2OXQQaORNkvE3viRJOFcoZyqAJKHKfLOgObSgs69piti9dZzo/s1600-h/dulacEbonyHorse.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 299px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTcbEZa__V80FaufsGbg0RmQZODo9vRXlLTei4Q2UW_g0daPlBV2ocV_c8uZE2WPe2QoXVCeYXrR-Zj-0adQm2OXQQaORNkvE3viRJOFcoZyqAJKHKfLOgObSgs69piti9dZzo/s400/dulacEbonyHorse.jpg" alt="" id="BLOGGER_PHOTO_ID_5273516598718439682" border="0" /></a><span style="font-size:85%;">[<a href="http://www.artpassions.net/cgi-bin/dulac_image.pl?../galleries/dulac/arabian6.jpg.jpg">Edmond Dulac: "The Ebony Horse"</a> (1907)]</span><br /><br /><strong><span style="font-size:130%;">Key to the Concordance</span></strong><br /></div><br /><br />In his <em>Thèmes et motifs des Mille et Une Nuits: Essai de Classification</em>, Nikita Eliséef (1949, pp. 190-205) provides a detailed table of concordances – in 15 columns, with page and volume references – to the stories contained in the various editions and translations of <em>The Thousand and One Nights </em>then available to him. The titles of the stories, translated by him into French from the Macnaghten or <strong>Second Calcutta </strong>edition (1839-42), have been replaced here with titles from <strong>Burton’s </strong>standard English translation, <em>The Book of the Thousand Nights and a Night</em>, 16 vols (1885-88). Eliséef’s numbering scheme has also been supplemented by that employed by W. F. Kirby in his own far more complete concordance(included in Burton, 1885, 10: 514-31) giving volume references only to 22 different editions in 19 columns. I have also included, in a separate column, the classification numbers for the various stories from V. <strong>Chauvin’s </strong><em>Bibliographie des ouvrages arabes,</em> (1900-05). I have relied on Eliséef and Chauvin’s authority for the listings from the <strong>Bulaq</strong> (A.H. 1251 = 1835), <strong>First Calcutta</strong> (1814-18), <strong>Second Calcutta</strong>, and <strong>Breslau</strong> (1825-43) editions of the Arabic text, as well as the page numbers of the first edition of Galland’s translation, and have cross-checked these columns against Kirby. All of the other columns have been supplied by me from the original texts (for further details see the individual entries below).<br /><br />On my first page I have put references to the main editions of the Arabic Text. Opposite, I have put in page references to the principal English translations. All editions have been arranged, as far as possible, in chronological order of first publication. Where a volume but not a page reference is available, I have used the following form: ‘I, ~’. The symbol ‘-’ is used to denote the absence of a story from the version in question. Some explanatory notes have been included at the end of the table.<br /><br /><strong><span style="font-size:130%;">TEXTS:</span></strong><br /><br /><strong>I (A) – CONTENTS:</strong><br /><br />This gives the full form of the titles in W. F. Kirby, “Contributions to the Bibliography of the Thousand and One Nights, and Their Imitations, with a Table Showing the Contents of the Principal Editions and Translations of the Nights,” <em>The Book of the Thousand Nights and a Night</em>, trans. Richard F. Burton, 10 vols (N.p. [= U.S.A.]: The Burton Club, n.d.) 10: 465-531; corrected where relevant by the titles from Richard F. Burton. <em>Supplemental Nights to the Book of the Thousand and One Nights</em>, 6 vols (N.p. [= U.S.A.]: The Burton Club, n.d.), and by W. F. Kirby, “Additional Notes on the Bibliography of the Thousand and One Nights,” Burton, 16: 356-84. Numbers in parentheses come from Kirby, up to (262); numbers in square brackets come from Nikita Eliséef, <em>Thèmes et motifs des Mille et Une Nuits: Essai de Classification</em> (Beyrouth: Institut Français de Damas, 1949) 190-205, up to [168]; titles in italics have been added to Kirby’s list from Eliséef, Burton or elsewhere, and have necessitated some renumbering, represented by spiked brackets {}. Numbers after (263) have been added by me.<br /><br /><strong>II (B) – NIGHTS:</strong><br /><br />Taken from the [CALC. 2] = Second Calcutta edition of the Arabic text (ed. W. H. Macnaghten, 1839-42), copied from Eliséef, 190-205 (Column 2). Supplemented by information on the [B] = Breslau, [C1] = First Calcutta, [WM] = Wortley-Montague Ms., and [A] = James Anderson Ms. texts from Burton, 10: 448-63 and 15: 497-504; on the [H] = Habicht translation from <em>Tausend und Eine Nacht, Arabische Erzählungen</em>, ed. Karl Martin Schiller, 12 vols (Leipzig: F. W. Hendel, 1926), [W] = Weil translation from <em>Tausendundeine Nacht</em>, ed. Inge Dreecken, 3 vols (Wiesbaden: R. Löwit, n.d.), and the [M] = Mardrus translation from <em>Le Livre des Mille et une Nuits</em>, ed. Marc Fumaroli, 2 vols (Paris: Robert Laffont, 1989).<br /><br /><strong>III (C) – BRESLAU:</strong><br /><br />Dr. Maximilian Habicht, and M. Heinrich Leberecht Fleischer, ed. <em>Tausend und Eine Nacht Arabisch. Nach einer Handschrift aus Tunis</em>. 12 vols. Breslau, 1825-43. References from Eliséef, 190-205 (Column 12); Kirby, 10: 514-31 (Column 14); Chauvin, 4: 12, 187-95 (Column 5) and Burton, 10: 450-56.<br /><br /><strong>IV (D) – BULAQ:<br /></strong><br /><em>Alf layla wa-layla</em>. 2 vols. Bulaq: A.H. 1251 [=1835]. References from Eliséef, 190-205 (Column 5); Chauvin, 4: 187-93 (Column 1) and Kirby, 10: 514-31 (Column 12).<br /><br /><strong>V (E) – CALC. 2:<br /></strong><br /><em>The Alif Laila, or Book of the Thousand Nights and One Night, Commonly Known as ‘The Arabian Nights’ Entertainments;’ Now, for the First Time, Published Complete in the Original Arabic, from an Egyptian Manuscript Brought to India by the Late Major Turner Macan, Editor of the Shah-Nameh</em>. Ed. W. H. Macnaghten. 4 vols. Calcutta: W. Thacker, 1839-42. Checked against Eliséef, 190-205 (Column 7) and Kirby, 10: 514-31 (Column 17).<br /><br />[C1] = Ahmed al-Shirwani, ed. <em>The Arabian Nights’ Entertainments in the Original Arabic. Published under the Patronage of the College of Fort William</em>. 2 vols. Calcutta: Pereira, 1814-18. References from Chauvin, 4: 17, 195-96; Kirby, 10: 514-31 (Column 21) and Burton, 10: 448-49.<br /><br /><br /><strong><span style="font-size:130%;">TRANSLATIONS:</span><br /></strong><br /><strong>VI (A) – [SHORT TITLES]</strong><br /><br /><strong>VII (B) – CHAUVIN [Classification Numbers]:</strong><br /><br />Victor Chauvin. <em>Bibliographie des ouvrages arabes ou relatifs aux arabes publiés dans l’Europe chrétienne de 1810 à 1885</em>. 12 vols. Liège: H. Vaillant-Carmanne, Leipzig: O. Harrassowitz, 1892-1922. Vols IV-VII, IX, (1900-05).<br /><br /><strong>VIII (C) – GALLAND:<br /></strong><br />Antoine Galland, trans. <em>Les Mille et Une Nuit. Contes Arabes. Traduits en François par Mr. Galland, Professeur et Lecteur Royal en Langue Arabe et Antiquaire du Roy</em>. 12 vols. 1704-17. Leide: J. de Wetstein, 1768. References from Victor Chauvin, <em>Bibliographie des ouvrages arabes ou relatifs aux arabes publiés dans l’Europe chrétienne de 1810 à 1885</em>, 12 vols (Liège: H. Vaillant-Carmanne, Leipzig: O. Harrassowitz, 1892-1922) 4: 28, 145-47 and Eliséef, 190-205 (Column 3), checked against Kirby, 10: 514-31 (Column 1).<br /><br />[Ch] = Dom Chavis, trans. <em>La Suite des Mille et une Nuits, Contes Arabes</em>. Ed. M. Cazotte. Cabinet des Fées 38-41. 4 vols. Genève: Barde & Manget, 1788-89.<br /><br />[Tr] = G. S. Trébutien, trans. <em>Contes inédits des Mille et une Nuits, extraits de l’original arabe par M. J. de Hammer</em>. 3 vols. Paris: Dondey-Dupré, 1828. References from Eliséef, 190-205 (Column 4) and Chauvin, 4: 98-99, 150-53, checked against Kirby, 10: 495, 514-31 (Column 11).<br /><br /><strong>IX (D) – LANE:<br /></strong><br />Edward William Lane, trans. <em>The Thousand and One Nights, Commonly Called, in England, The Arabian Nights’ Entertainments. A New Translation from the Arabic, with Copious Notes</em>. 3 vols. London: Charles Knight, 1839-41. Checked against Kirby, 10: 514-31 (Column 13) and Eliséef, 190-205 (Column 6).<br /><br /><strong>X (E) – PAYNE:<br /></strong><br />John Payne, trans. <em>The Book of the Thousand Nights and One Night; Now First Completely Done into English Prose and Verse, from the Original Arabic</em>. 9 vols. London: Villon Society, 1882-84.<br /><br />[PI, II, III] = John Payne, trans. <em>Tales from the Arabic of the Breslau and Calcutta (1814-’18) Editions of the Book of the Thousand Nights and One Night, Not Occurring in the Other Printed Texts of the Work; Now First Done into English</em>. 3 vols. London: Villon Society, 1884.<br /><br />[P2] = John Payne, trans. <em>Alaeddin and the Enchanted Lamp; Zein ul Asnam and the King of the Jinn: Two Stories Done into English from the Recently Discovered Arabic Text</em>. London: Villon Society, 1889.<br /><br /><strong>XI (F) – BURTON:<br /></strong><br />Richard F. Burton. <em>A Plain and Literal Translation of The Arabian Nights’ Entertainments, Now Entituled The Book of the Thousand Nights and a Night: With Introduction Explanatory Notes on the Manners and Customs of Moslem Men and a Terminal Essay on the History of the Nights</em>. 10 vols. Benares [= Stoke-Newington]: Kamashastra Society, 1885. N.p. [= Boston]: The Burton Club, n.d.<br /><br />Richard F. Burton. <em>Supplemental Nights to the Book of the Thousand Nights and a Night with Notes Anthropological and Explanatory</em>. 6 vols. Benares [= Stoke-Newington]: Kamashastra Society, 1886-88. [7 vols].<a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn8" name="_ftnref8" title="" class="style23">[8]</a> N.p. [= Boston]: The Burton Club, n.d.<br /><br /><strong>XII (G) – MATHERS:</strong><br /><br />Edward Powys Mathers. <em>The Book of the Thousand Nights and One Night: Rendered from the Literal and Complete Version of Dr. J. C. Mardrus; and Collated with Other Sources</em>. 1923. 8 vols. London: The Casanova Society, 1929.<br /><br /><strong>XIII (H) – HADDAWY:<br /></strong><br />Husain Haddawy, trans. <em>The Arabian Nights: Based on the Text of the Fourteenth-Century Syrian Manuscript edited by Muhsin Mahdi</em>. New York: Norton, 1990.<br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSdHPYUWIV6Wt-yf9uyBIKWVTRN-_80SKkPRUoWDqFSzCw5cjWCyZon6Tl5wWagKNHvga5CgP9Gh1-C6XvZhz4fyiRLIw52vP1Z8U-7r8UZzvRIS6OzRj5ifhx6qWfk16HmAQk/s1600-h/art6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSdHPYUWIV6Wt-yf9uyBIKWVTRN-_80SKkPRUoWDqFSzCw5cjWCyZon6Tl5wWagKNHvga5CgP9Gh1-C6XvZhz4fyiRLIw52vP1Z8U-7r8UZzvRIS6OzRj5ifhx6qWfk16HmAQk/s320/art6.jpg" alt="" id="BLOGGER_PHOTO_ID_5114724967485714226" border="0" /></a><span style="font-size:85%;">[<a href="http://www.touregypt.net/historicalessays/calligraphy.htm">Arabic Calligraphy</a>]<br /></span><br /><strong><span style="font-size:130%;">NOTES<br />for the Concordance to the <em>1001 Nights</em></span><br /></strong><br /></div><br /><strong>List of Abbreviations</strong><br /><ul><br /><li><strong>[Artin]</strong> = Artin Pacha, <em>Contes populaires inédits de la Vallée du Nil</em> (1895)</li><li><strong>[B]</strong> = Breslau Edition, 12 vols (1825-43)</li><li><strong>[Bulaq]</strong> = Bulaq Edition, 2 vols (1835)</li><li><strong>[Burton]</strong> = Burton Translation, 16 vols (1885-88)</li><li><strong>[C1]</strong> = First Calcutta Edition, 2 vols (1814-18)</li><li><strong>[Calc. 2]</strong> = Macnaghten or Second Calcutta Edition, 4 vols (1839-42)</li><li><strong>[Chauvin]</strong> = Victor Chauvin, <em>Bibliographie des ouvrages arabes</em>, 12 vols (1892-1922)</li><li><strong>[Ch]</strong> = Chavis and Cazotte Translation, 4 vols (1788-89)</li><li><strong>[D]</strong> = <em>Les Dames de Bagdad</em>, trans. André Miquel (1991)</li><li><strong>[D & M]</strong> = Decourdemanche, <em>Sottisier de Nasr-eddin-Hodja bouffon de Tamerlan</em> (1878); Müllendorff, <em>Die Schwänke des Nasr-ed-din & Buadem von Mehemed Tewfik</em></li><li><strong>[Eliséef]</strong> = Nikita Eliséef, <em>Thèmes et Motifs des Mille et Une Nuits</em> (1949)</li><li><strong>[Galland]</strong> = Galland Translation, 12 vols (1704-17)</li><li><strong>[Garcin]</strong> = Garcin de Tassy, <em>Allégories, récits poétiques et chants populaires</em> (1876)</li><li><strong>[Gerhardt]</strong> = Mia I. Gerhardt, <em>The Art of Story-telling</em> (1963)</li><li><strong>[H]</strong> = Habicht Translation, 15 vols (1824-25)</li><li><strong>[K/ ]</strong> = Chauvin, <em>Bibliographie</em>, vol. 2: “Kalîlah” (1897)</li><li><strong>[Kirby]</strong> = W. F. Kirby, “Contributions to the Bibliography of the 1001 Nights” (1885)</li><li><strong>[L/ ]</strong> = Chauvin, <em>Bibliographie</em>, vol. 3: “Louqmâne et les fabulistes” (1898)</li><li><strong>[M]</strong> = Mardrus Translation, 16 vols (1899-1904)</li><li><strong>[Mohdy]</strong> = J. J. Marcel, <em>Contes du cheykh Él-Mohdy</em>, 3 vols (1835)</li><li><strong>[PI-III]</strong> = <em>Tales from the Arabic</em>, trans. John Payne, 3 vols (1884)</li><li><strong>[P2]</strong> = <em>Alaeddin & Zein ul Asnam</em>, trans. John Payne (1889)</li><li><strong>[Perron]</strong> = Perron, <em>Femmes arabes avant et depuis l’islamisme</em> (1858)</li><li><strong>[Reinhardt]</strong> = Aboubakr Chraibi, <em>Contes nouveaux des 1001 Nuits: Etude du manuscrit Reinhardt</em> (1996)</li><li><strong>[S]</strong> = <em>Tales, Anecdotes and Letters</em>, trans. Jonathan Scott (1800)</li><li><strong>[S/ ]</strong> = Chauvin, <em>Bibliographie</em>, vol. 8: “Syntipas” (1904)</li><li><strong>[Spitta]</strong> = Guillaume Spitta-Bey, <em>Contes arabes modernes, recueillis et traduits</em> (1883)</li><li><strong>[T]</strong> = Felix Tauer, <em>Neue Erzählungen aus den 1001 Nächten</em>, 2 vols (1982)</li><li><strong>[Tr]</strong> = Trébutien Translation, 3 vols (1828)</li><li><strong>[W]</strong> = Weil Translation, 4 vols (1838-41)</li><li><strong>[WM]</strong> = Wortley-Montague Ms., 7 vols (1764-65)</li><li><strong>[ZER]</strong> = ‘Zotenberg’s Egyptian Recension’ (Paris, 1888)</li><br /></ul><br /><div align="center"><br /><strong><span style="font-size:130%;">KIRBY - ELISEEF - TITLE</span><br /></strong><br /></div><br />(2/b) [2/b] “Tale of the Ensorcelled Prince”<br /><blockquote><br /><strong>Chauvin</strong>, 6: 56, makes it clear that he includes the entire second part of this story, from the fisherman’s gift of four multicoloured fish to the sultan, under the title “Les îles noires.” <strong>Kirby</strong>, however, following the example of Burton [XII], 1: 69, takes this division as the beginning of the “Ensorcelled Prince’s” own story. I follow Kirby’s demarcation in all the texts which I have examined personally.</blockquote><br />(3/e1) [-] “Conclusion of the Story of the Porter and Three Ladies”<br /><blockquote><br />No number assigned by <strong>Kirby</strong>; no corresponding entries in <strong>Eliséef</strong> or <strong>Chauvin</strong>.</blockquote><br />(6/d1) [-] “The End of the Tailor’s Tale”<br /><blockquote><br />No individual number assigned by <strong>Kirby</strong>, <strong>Eliséef</strong> or Chauvin.</blockquote><br />(44) [35] “Harun Al-Rashid and the Damsel and Abu Nowas”<br /><blockquote><br /><strong>Kirby</strong> lists this story as contained in volume 2 of Weil's 1838-41 translation. <strong>Eliséef</strong> and <strong>Chauvin</strong> do not concur. I suspect that Kirby has confused it with “Harun Al-Rashid and the Three Poets” (68), and have therefore ignored this attribution.</blockquote><br />(71) [62] “Harun Al-Rashid and the Two Slave-Girls”<br />(72) ["] “Harun Al-Rashid and the Three Slave-Girls”<br /><blockquote><br />Listed together as “Haroun ar-Rachid et ses esclaves-filles” in <strong>Eliséef</strong>.</blockquote><br />(100) [-] “ How Abu Hasan brake Wind”<br /><blockquote><br />Missing in <strong>Eliséef</strong>. Introduced into the <strong>Calc. 2</strong> text [V] from an unknown source by <strong>Burton</strong> [XII] (see 10: 460). The reprint of Kirby’s table in Leonard Smither's library edition of Burton's translation (8: 287-307) misses it out also, leaving this number unassigned.</blockquote><br />(114) [105] “The Angel of Death with the Proud King and the Devout Man”<br />(115) [106] “The Angel of Death and the Rich King”<br />(116) [107] “The Angel of Death and the King of the Children of Israel”<br />(117) [108] “Iskander zu Al-Karnayn and a certain Tribe of Poor Folk”<br />(118) [109] “The Righteousness of King Anushirwan”<br />(119) [110] “The Jewish Kazi and his Pious Wife”<br />(120) [111] “The Shipwrecked Woman and her Child”<br />(121) [112] “The Pious Black Slave”<br />(122) [113] “The Devout Tray-maker and his Wife”<br />(123) [114] “Al-Hajjaj bin Yusuf and the Pious Man”<br />(124) [115] “The Blacksmith who could handle Fire without Hurt”<br />(125) [116] “The Devotee to whom Allah gave a Cloud for Service & the King”<br />(126) [117] “The Moslem Champion and the Christian Damsel”<br />(127) [118] “The Christian King’s Daughter and the Moslem”<br />(128) [119] “The Prophet and the Justice of Providence”<br />(129) [120] “The Ferryman of the Nile and the Hermit”<br />(130) [121] “The Island King and the Pious Israelite”<br />(131) [122] “Abu Al-Hasan and Abu Ja’afar the Leper”<br /><blockquote><br /><strong>Chauvin</strong>, 6: 55, includes all of these anecdotes under the title “Igtirâr (Le monde trompeur)” – No. 221 in his <em>Bibliographie arabe</em>. He remarks of this collection: “<em>Elle est complète dans tous les textes qui la donnent</em>” [It's complete in all the texts which include it].</blockquote><br />(-) [126/x] “The Poisoning”<br /><blockquote><br />“<em>L’empoisonnement</em>” is listed separately by <strong>Eliséef</strong>, but not by <strong>Kirby</strong>, which has necessitated some renumbering.</blockquote><br />(161) [152] “King Jali’ad of Hind and his Wazir Shimas ...”<br /><blockquote><br />The full form of the title in <strong>Kirby</strong> is “King Jali’ad of Hind and his Wazir Shimas, followed by the history of King Wird Khan, son of King Jali’ad, with his Women and Wazirs.”</blockquote><br />(176) [-] “Al-Rashid and the Barmecides”<br /><blockquote><br /><strong>Mardrus</strong> gives a full account of the downfall of the Barmecides, drawn (presumably) from the “Terminal Essays” of Burton [XII] or <strong>Payne</strong> [XI]. Since he includes the material in this anecdote, I have listed his story “La fin de Giafar et des Barmekides” here, despite the fact that the two are not really identical in extent.</blockquote><br />(190) [-] “Conclusion”<br /><blockquote><br />My policy – like <strong>Eliséef</strong>’s, but unlike <strong>Kirby</strong>’s – has been to include in this line of entries any of the various endings to the collection (whether authorised, abridged, or invented) provided by our different editors and translators.</blockquote><br />(191) [-] “The Tale of Zayn Al-Asnam”<br /><blockquote><br /><strong>Kirby</strong>’s note at the beginning of his table (10: 514) reads “All tales which there is good reason to believe do not belong to the genuine Nights are marked with an asterisk.” I have not preserved this distinction in my own listings, but think it worthwhile to note here that Nos (191) to (198) – Galland’s fugitive stories – and (246) to (260), together with their subordinate stories, are all marked in this way.</blockquote><br />(193) [161] “Alaeddin; or, the Wonderful Lamp”<br /><blockquote><br /><strong>Burton</strong> [XII] includes (13: 195-305) an English version of Galland’s “Aladdin” after his translation of “Alaeddin” from the Arabic. Neither the later ‘Burton Club’ reprints, nor Leonard Smithers’ slightly expurgated “Library Edition” perpetuate this practice, so I have not thought it worthwhile to provide two listings for the story despite the obvious differences between the two texts.</blockquote><br />(199) [-] “Weil’s Anecdote of Ja’afar the Barmecide [= (39)]”<br /><blockquote><br />I have included (and expanded on) <strong>Kirby</strong>’s double listings for stories such as the above, which is essentially the same as No (39): “Generous dealing of Yahya son of Khalid with a man who forged a letter.” The convention I have adopted is to list such doubles in square brackets, in the Burton column [XII] only, thus: [IV, 181].</blockquote><br />(201) [-] “Weil’s Adventures of the Fisherman, Judar, ... and the Sultan Beibars”<br /><blockquote><br />The full form of the title in <strong>Kirby</strong> is “The Adventures of the Fisherman, Judar of Cairo, and his meeting with the Moor Mahmood and the Sultan Beibars.”</blockquote><br />(204/c) [-] “Story of the First Lunatic”<br /><blockquote><br />Chavis and Cazotte replace Mohammed, Sultan of Cairo, the story’s hero in the Wortley-Montague Ms., with Harun al-Rashid. <strong>Chauvin</strong>, 5: 101-02, lists the two versions separately as (respectively) Nos 175 and 176, though he makes it clear that they are otherwise essentially identical.</blockquote><br />(204/f) [-] “The Night-Adventure of the Sultan ... with the Schoolmasters”<br /><blockquote><br /><strong>Kirby</strong> gives the title of this annex to the “Story of the Three Sharpers” (204) as (f) the “Night Adventure of the Sultan,” followed by (g) the “Story of the first foolish man,” (h) the “Story of the broken-backed Schoolmaster,” and (i) the “Story of the wry-mouthed Schoolmaster.” <strong>Burton</strong> [XII], on the other hand, entitling it “The Night-Adventure of Sultan Mohammed of Cairo with the Three Foolish Schoolmasters,” makes it clear that all three foolish men are Schoolmasters, and lists the “Story of the Limping Schoolmaster” after the other two, leaving out the “first foolish man” entirely. Burton’s (204/g) and (h) are therefore Kirby’s (h) and (i). Since Kirby gives “Scott’s Ms.” as his only source for (g), and since it is not mentioned in the complete catalogue of Wortley-Montague Ms. contents included in Burton, 15: 497-504, I have accepted Burton’s authority here and adjusted my listings accordingly.</blockquote><br />(206) [-] “Tale of the Kazi and the Bhang-Eater”<br />(207) [-] “Tale of Mahmud the Persian and the Kurd Sharper”<br />(208) [-] “Tale of the Fisherman and his Son”<br /><blockquote><br /><strong>Kirby</strong> lists this long, intertwined story under three separate numbers: (206) – with two subordinate tales – (207) – with eight – and (208). <strong>Burton</strong> [XII] sees it as one narrative with fifteen subdivisions, (a) to (o). I have followed Burton’s listings here as they seem more sensible, but have retained Kirby’s three numbers for reference.</blockquote><br />(207/f) [-] “The Fruit-Seller’s Tale”<br /><blockquote><br /><strong>Burton</strong> [XII] lists this story as being separate from both the “Tale of the Sultan and the Poor Man who brought to him Fruit” (207/e) and the “Tale of the Sultan and his Three Sons and the Enchanting Bird” (g). As the latter is the tale the Fruit-Seller told, and the former gives a description of how he came to tell it, it is hard to see the need for this further subdivision. I have therefore truncated Burton’s listings here to fit <strong>Kirby</strong>’s.</blockquote><br />(216) [-] “Night-Adventure of Harun Al-Rashid and the Youth Manjab”<br /><blockquote><br /><strong>Kirby</strong> gives this story the title “Adventure of Haroon Al Rusheed,” which he follows with (216/a) the “Story of the Sultan of Bussorah,” (b) the “Nocturnal Adventures of Haroon Al Rusheed,” (c) the “Story related by Munjaub,” (d) the “Story of the Sultan, the Dirveshe [sic] and the Barber’s Son,” (e) the “Story of the Bedouin’s Wife,” and (f) the “Story of the Wife and her two Gallants” – titles taken from Jonathan Scott’s 1811 translation. Burton [XII] gives only three subdivisions: “The Loves of the Lovers of Bassorah,” the “Story of the Darwaysh and the Barber’s Boy and the Greedy Sultan,” and the “Tale of the Simpleton Husband” on his page of contents. Tauer translates all the subdivisions of the story – except for (216/a), repeated from No (147).</blockquote><br />(243) [-] “Tale of Sultan Taylún and the generous Fellah”<br /><blockquote><br /><strong>Chauvin</strong>, 5: 39 conjectures that this story might be the same as (276), listed as his No. 388: “La mosquée de Theïloun.” Consultation of Tauer 2: 355 refutes the supposition.</blockquote><br />(244) [-] “The retired Sage and his Servant-lad”<br /><blockquote><br /><strong>Chauvin</strong>, 4: 208 conjectures that this story might be the same as (204 / e), listed as his No. 377: “Le sage et son pupille .” Consultation of Tauer 1: 65 and 2: 366 again refutes the supposition.</blockquote><br />(252) [-] “The King and Queen of Abyssinia”<br /><blockquote><br /><strong>Kirby</strong> lists this story by itself, but it in Habicht's translation it is included in the collection “The Ten Wazirs” (174), which is why <strong>Chauvin</strong> does not give it a separate number.</blockquote><br />(262) [-] “Story of Ahmed the Orphan”<br /><blockquote><br />This story is included in Scott’s <em>Tales, Anecdotes and Letters</em> (1800) but not in his translation of the Nights. <strong>Kirby</strong> (10: 497) gives a list of the stories included in his own volume <em>The New Arabian Nights</em> (1882) which includes a No (264). Since there is no ‘264’ in his listing, I have assumed that this actually refers to ‘262’. <strong>Chauvin</strong>, 4: 185, repeats Kirby’s information with two question marks.</blockquote><br />(263) [-] “Story of the 3 Princes and the Genius Morhagian and His Daughters”<br /><blockquote><br /><strong>Kirby</strong> translates this story from Galland’s diary, as reprinted in Hermann Zotenberg’s <em>Histoire d’Alâ Al-Dîn ou la lampe merveilleuse. Texte arabe publié avec une notice sur quelques manuscrits des Mille et une nuits et la traduction de Galland</em> (Paris: Imprimerie Nationale, 1888) 53.<br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1t6Uo4lke8JTEBN10rzYsxFF7xUQY3HzD_kE6UZAMF_55kCGCDprzhEyrvaiL6nQpxjK4-nPib_ycncvnGizuItKrXd0E7m7xXj6kmaBjvuIm6oNjUFxN9DgBB0l2fMh1sbJi/s1600-h/scheherazade7a.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 398px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1t6Uo4lke8JTEBN10rzYsxFF7xUQY3HzD_kE6UZAMF_55kCGCDprzhEyrvaiL6nQpxjK4-nPib_ycncvnGizuItKrXd0E7m7xXj6kmaBjvuIm6oNjUFxN9DgBB0l2fMh1sbJi/s400/scheherazade7a.jpg" alt="" id="BLOGGER_PHOTO_ID_5362601026950552642" border="0" /></a><span style="font-size:85%;">[<a href="http://retrotrash.org/database.htm">Scheherazade</a>]</span><br /></div><br /><blockquote><br /><hr align="left" noshade="noshade" size="1" width="70%"><br /><strong>Notes:</strong><br /><div id="ftn1"><p><a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn1" name="_ftn1" title="">1.</a> According to Burton (1885, 1: 14): “Shahrázád (Persian) = City-freer; in the older version Scheherazade (probably both from Shirzád = lion-born).” This form was first used by E. W. Lane and, after him, by John Payne.</p></div><div id="ftn2"><p><a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn2" name="_ftn2" title="">2.</a> Mardrus translates the name as “la Fille de la Cité” [Daughter of the City] (1989, 1: 1025).</p></div><div id="ftn3"><p><a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn3" name="_ftn3" title="">3.</a> Most of these ‘fugitive stories’ – so-called because they do not occur in the three surviving volumes of Galland’s manuscript in the Bibliothèque Nationale – are now known to have been dictated to Galland by a Syrian story-teller called “M.Hanna, Maronite d’Halep” (Burton, 1886-88, 3: x). They are listed under the numbers (191) – (198) in the <em>Table of Concordances</em>. Nos (191) and (192) were disowned by Galland as having been added to the eighth volume of his translation without his knowledge. They came, in fact, from a set of Turkish tales translated by Pétis de la Croix (Burton, 1886-88, 3: 363-64).</p></div><div id="ftn4"><p><a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn4" name="_ftn4" title="">4.</a> The numbers listed beside each story in the text are those employed in the Table of Concordances below.</p></div><div id="ftn5"><p><a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn5" name="_ftn5" title="">5.</a> Kirby also contributed “Notes on the Stories Contained in Vol. IV [and V] of ‘Supplemental Nights,’“ Burton, 1886-88, 15: 505-15, but these are comparatively trivial.</p></div><div id="ftn6"><p><a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn6" name="_ftn6" title="">6.</a> “Except for a few slight additions and corrections, this Bibliography is printed nearly as it stood in the original edition. No attempt has been made to bring it up to a later date. – W. F. K.” (Burton, 1897, 12: 311). The revision consisted of omitting “How Abu Hasan Brake Wind” (100) from the list (though not, curiously enough, from Burton’s reprinted text); the addition of details from Lady Isabel Burton’s <em>Book of the Thousand Nights and a Night: Prepared for Household Reading</em>, ed. J. H. McCarthy, 6 vols (London, 1886) in the column left blank by Kirby; and of listings from the first three volumes of the <em>Supplemental Nights </em>in the Burton column).</p></div><div id="ftn7"><p><a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn7" name="_ftn7" title="">7.</a> For precision’s sake, I should specify that Nos (1) to (169) of Kirby’s listings correspond almost exactly to the first ten volumes of Burton’s <em>Nights </em>(1885); Nos (170) to (190) are taken from Payne’s <em>Tales from the Arabic</em>, which use a slightly different nomenclature but are otherwise identical to Burton’s <em>Supplemental Nights</em>, vols 1-2 (1886); and Nos (191) to (198), Galland’s so-called “fugitive stories,” are in a different order, but equate in other respects with Burton’s <em>Supplemental Nights</em>, vol. 3 (1887). From (199) to (201) he uses Weil’s German translation; from (202) to (245) Jonathan Scott’s translations from the Wortley-Montague Ms. (roughly matching the <em>Supplemental Nights</em>, vols 4-5 (1888)); from (246) to (260) the “composite editions” stemming from Chavis and Cazotte’s continuation in 1788-89, then Gauttier’s translation in 1822, then Habicht’s in 1824-25 (Burton’s <em>Supplemental Nights</em>, vol. 6 (1888) confines itself to selections from the manuscript evidence for the first of these editions). Nos (261) and (262) come from Scott’s translations from the Anderson Ms. of the Nights (cf. Kirby, 10:491).</p></div><div id="ftn8"><p><a href="http://dinarzade.blogspot.com/2007/09/concordance.html#_ftn8" name="_ftn8" title="">8.</a> Volume 3 of the original Supplemental Nights has been split into two volumes in this reissue. The pagination, however (and thus my references) remain the same. For further details cf. Norman M. Penzer, <em>An Annotated Bibliography of Sir Richard Francis Burton</em> (London: Philpot, 1923) 131-32.</p></div><br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" alt="" id="BLOGGER_PHOTO_ID_5362591049088274098" border="0" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-20522828989298133872007-09-21T16:58:00.000-07:002017-06-10T15:18:28.455-07:00Malory and Scheherazade:<div align="center">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis_8Y1Z9PtI_zxhOP7mLLAgjIx8pdgdBy8RgOrHDXmpBq6_TVh0PKUrajHNu1zs-nsaqKpklpg88JBWkl44vU-4AZoTGofclYxHNSbjySJrPXJZQnPK4ipyeYiZaWZyZ3SJXPi/s1600-h/arthur_morte1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5114620788758982210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis_8Y1Z9PtI_zxhOP7mLLAgjIx8pdgdBy8RgOrHDXmpBq6_TVh0PKUrajHNu1zs-nsaqKpklpg88JBWkl44vU-4AZoTGofclYxHNSbjySJrPXJZQnPK4ipyeYiZaWZyZ3SJXPi/s320/arthur_morte1.jpg" style="display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="font-size: 85%;">[<a href="http://home.clara.net/heureka/art/morte-darthur.htm">Morte d'Arthur</a>]</span><br />
<b><br /><span style="font-size: 130%;">A Study in Narrative Method</span></b></div>
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<blockquote>
<br />
Needless to say, [Wilkie] Collins’ frame stories come nowhere near equalling the unforgettable plight of Scheherazade. The trouble with the Nights, however, is that the frame is more of a situation than a plot. In this respect at least, <i>After Dark</i> and <i>The Queen of Hearts</i> may be judged superior; they do have a sustained storyline. Moreover, in Collins’ handling of the time-gaining scheme, there is variety in the story-tellers. (Caracciolo, 1988, p.149)</blockquote>
This comment, taken from Peter L. Caracciolo's collection of studies on the influence of the <i>Thousand and One Nights </i>on British culture, <i>The Arabian Nights in English Literature</i>, comes as quite a surprise, even in context. The emphasis of the book up to then has been on the stimulating effect the images and situations of the <i>Nights </i>have had on a group of European writers and artists ranging from Coleridge, Thackeray, Doré and Dickens to Conrad, Joyce, Dulac and Yeats. Any exegesis of the <i>Nights </i>themselves has been left to footnotes and asides: speculations on which version of a particular story Dickens, say, might have seen.<br />
<br />
Here, however, the convention is set aside. Caracciolo reveals an irritation with the lack of ‘plot’ (i.e. development) in the overall frame-story of the collection, and concludes with what he considers the unquestionable superiority of the ‘sustained storyline’ and ‘variety in the storytellers’ to be found in Collins’ linked short-story collections <i>After Dark </i>(1856) and <i>The Queen of Hearts </i>(1859).<br />
<br />
I don't want to imply that this is an absurd view to hold. On the contrary, it would accord with the taste of most modern readers. Nevertheless, it is difficult to see how Collins’ frame-stories can ‘come nowhere near echoing the unforgettable plight of Scheherazade’ and yet simultaneously ‘be judged superior’ - even if only in terms of ‘sustained storyline’ and ‘plot’.<br />
<br />
Another revealing remark can be found in Katharine Slater Gittes’ 1983 <i>PMLA</i> article, ‘The Canterbury Tales and the Arabic Frame Tradition’:<br />
<br />
<blockquote>
In all Arabic literature, the experiences of a single man, a group of men, or events in one part of the world act as connectives or, in a loose sense, frames. All the works emphasise each fragment of the whole, as well as the whole itself. The Arabs did not demand that knowledge have a focus or that literature have a unified structure in a Greek sense; yet their works exhibit a means of organisation, an external one. It is no wonder, then, that the Arabs ... produced great frame narratives like the <i>Book of Sindbad </i>[sic: for <i>Sindibad</i>] and the <i>Thousand and One Nights</i>. These works, because their original versions are lost, are not useful in this study; however, the idiom “thousand and one,” meaning a large, indefinite number of nights, is in keeping with the Arabic preference for loose, open frames that do not place limitations on the framed material. (Gittes, 1983, p. 242).</blockquote>
The authority cited for this set of generalisations is an article on ‘Literature’ by Franz Rosenthal from the Oxford anthology <i>The Legacy of Islam</i> (1974). This may help us to understand how Katharine Gittes could manage to fall into so many of the traps of ideological Orientalism (as defined by Edward Said (1985)). It is, however, a trifle disturbing to find her article still cited as a principal source of information on the relation between medieval Western and Islamic literatures.<br />
<br />
Beginning modestly with the admission that ‘we cannot define the Arabic outlook ... any more than we can the outlook of any other cultural group’, Gittes goes on to say that ‘certain patterns of thought do seem to be peculiar to Arabic literature, art, music, and mathematics’ (1983, pp. 238-39). Among these ‘patterns of thought’ are (of course) the Arabs’ failure to ‘demand that knowledge have a focus or that literature have a unified structure in a Greek sense’, already noted above, but this turns out to be a consequence of the direction in which they read texts:<br />
<br />
<blockquote>
Because Arabs read numbers as they do texts, from right to left, in reading a large number like 1,034 they read the smallest number (4) first and the largest number (1,000) last. Westerners read the largest number (1,000) first and the smallest (4) last. The Arab must first grasp the units, the parts, before moving on to the whole. A Westerner does the reverse, comprehending first the thousands before moving on to the smallest part, the unit. Arabs, then, tend to view a number as an expanding entity; with the smallest part comprehended first, the progression moves toward the limitless. (Gittes, 1983, p. 240)</blockquote>
Hence, too, the Arabs’ ‘greater sense of boundlessness’.<br /><br />It's tempting simply to ridicule this line of argument. The ancient Egyptians read texts in whichever direction the characters happened to be facing - does this explain their extreme need for rootedness, manifested in so many pyramids and tombs? Hebrews, too, read from right to left: hence their early discovery of the concept of an omnipotent and omnipresent God ... There are, however, more serious, because more insidious, implications in Gittes’ article as it applies to our particular subject.<br /><br />‘<i>Because their original versions are lost</i>' (my emphasis), works such as the <i>Thousand and One Nights </i>‘are not useful’ to her study of the Arabic Frame Tradition. What precisely does this mean? It means that the comparative study of Arabic and Western frame-stories promised by Gittes’ title is in fact another origin study. What Gittes is telling us is that a line of direct influences must be discovered or postulated between particular works (the <i>Panchatantra</i>, the <i>Canterbury Tales</i>), or their ‘traditions’ (a word useful because so vague) before they can reasonably be compared.<br /><br />The dearth of information on what Arabic or ‘Oriental’ works Chaucer may have been acquainted with in one form or another (we do not even know if he had read the <i>Decameron</i>), does explain - though it hardly excuses - Gittes’ tendency to dwell on far-fetched anthropological conjectures about numbers and reading from right to left in order to substantiate her lofty claim that ‘the structure of the <i>Canterbury Tales </i>can be most appropriately compared not with the cathedral but with the mosque’ (1983, p. 237) - or, even more picturesquely, with ‘a tradition that originated not in European villages but at distant Bedouin campsites’(p. 250).<br /><br />*<br /><br />Having criticised Caracciolo’s characterisation of the <i>Thousand and One Nights </i>as a (failed) proto-novel, and - in rather stronger terms- Gittes’ ethnological fantasies about the the philosophical tendencies of Arabic culture, the onus now falls on me to propose something better.<br /><br />I should begin by saying that my own conception of Comparative Literature sees it more as an attempt to weigh up the <i>divergences </i>between different traditions, than an assertion of their common origins.<br /><br />Seen thus, the point of making detailed comparisons between works from the Islamic and Western spheres of influence is in order to compare their solutions to common problems of technique and style. <br />
Malory, then, is a better subject for my purposes than Chaucer because both the <i>Morte d’Arthur </i>and the <i>Thousand and One Nights </i>are works which have had to contend with the problem of presenting large bodies of prose narrative in a coherent form, with only oblique assistance from the conventions of verse patterning and oral story-telling well-established in each culture. <br />
Chaucer may have a subject in common with the <i>Nights </i>(’The Squire’s Tale’), but there the analogy ends (in terms of technique, at least). Firdausi’s <i>Shah-Nameh</i> (1985) or Attar's <i>Conference of the Birds</i> (1984) might be more helpful referents for him.<br /><br />One problem with this type of study, however, is that it is forced to pay far greater attention to the detail of the works under examination, and therefore requires more knowledge in both critic and audience. I'd better begin, then, by setting the few indisputable facts about the history and nature of the <i>Nights</i>, against the same basic information about the writings of Sir Thomas Malory.<br />
<br />
<div align="center">
<br /><b><span style="font-size: 130%;">MALORY</span> - <i><span style="font-size: 130%;">1001 NIGHTS</span></i></b><br /><br /><b>1/ Editio Princeps:</b><br /><br />Caxton (1485) - Galland (1704-1717)<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn1" name="_ftnref1" title="">[1]</a><br /><br /><b>2/ Standard Text:</b><br /><br />Eugène Vinaver (1947) - Bulaq Edition (1835)<br />(Winchester Ms.)<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn2" name="_ftnref2" title="">[2]</a> - (Zotenberg's Egyptian Recension)<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn3" name="_ftnref3" title="">[3]</a><br /><br /><b>3/ Date of Composition:</b><br /><br />c. 1464-1470 - c. 16th Century<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn4" name="_ftnref4" title="">[4]</a><br /><br /><b>4/ Source Material:</b><br /><br />The ‘Matter of Britain’ - Middle-Eastern Folktales<br />(Welsh, Breton, French) - (Persian, Iraqi, Egyptian)<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn5" name="_ftnref5" title="">[5]</a><br /><br /><b>5/ Immediate Source:</b><br /><br />French Prose Vulgate - Hazár Afsáneh<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn6" name="_ftnref6" title="">[6]</a><br />(late 12th-13th Century) - (8th-9th Century)</div>
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The frame-story of the <i>Nights</i>, then, comes from a Persian collection which had certainly been translated into Arabic by the ninth century , since it's referred to by at least two tenth-century Arabic writers, al-Mas’údí and al-Nadím (Littmann, 1960, p. 361).<br />
<br />
Some of the stories - especially fairy-tales ‘in which the ghosts and the fairies act independently’ (Littmann, 1960, p. 363) - are Persian, and may be as old as the collection itself - though Littmann claims an Indian origin for the structural notion of the framestory. Burton (1885) sums up as follows:<br />
<br />
<blockquote>
The oldest tales, such as Sindibad (the Seven Wazirs) and King Jili’ád, may date from the reign of Al-Mansur, eighth century A.D.<br />
<br />
... The thirteen tales mentioned ... as the nucleus of the Repertory ... may be placed in our tenth century.<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn7" name="_ftnref7" title="">[7]</a><br />
<br />
... The latest tales, notably Kamar al-Zaman the Second and Ma’aruf the Cobbler, are as late as the sixteenth century.<br />
<br />
... The work assumed its present form in the thirteenth century. (1885, 10: 88).</blockquote>
The oldest surviving manuscript known in Europe is the Ms. Galland, purchased by him in Syria, and dated to the fourteenth century by Hermann Zotenberg. The main <i>printed </i>editions are as follows:<br />
<br />
<blockquote>
<b>Calcutta I</b>: an edition of the first two hundred nights only, printed in two volumes at Calcutta in 1814-1818.<br />
<br />
<b>Bulaq</b>: the first complete edition, printed at Bulaq near Cairo by the State Printing Office in two volumes (1835).<br />
<br />
<b>Calcutta II</b>: also known as the ‘Macnaghten edition’, after its editor. The most complete text of ZER (‘Zotenberg’s Egyptian Recension’), printed at Calcutta in four volumes (1839-1842)<br />
<br />
<b>Breslau</b>: edited by Maximilian Habicht, allegedly from a ‘Tunisian recension’ of the Nights, and printed in Breslau between 1825 and 1843. Modern scholarship tends to regard this as an eclectic text constructed from a number of different sources. (Littmann, 1960, p. 360).</blockquote>
European readers, accordingly, had access to the <i>Nights (</i>in the form of Galland’s translation) for at least a century before the text was first printed in Arabic.<br />
<br />
In this essay, I have chosen to use Richard F. Burton’s translation as my base text. Despite its notoriety as a manual of sexual lore, and its alleged plagiarisms from John Payne’s complete translation (1882-84), it must still be regarded as the standard edition in English. It owes this status to its <i>completeness </i>(the translation appeared in ten volumes, heavily annotated, in 1885), its <i>inclusiveness</i> (a further six volumes of material from the Breslau and Wortley-Montague texts, as well as the stories by Galland which do not appear in ZER, were published between 1886 and 1888), and its <i>refusal to expurgate </i>or tone down any aspects of the original (including prose rhyme, interminable interpolated verses, and sexual peccadilloes).<br />
<br />
Its main drawback <i>as</i> a translation is the archaic and convoluted English which Burton (like Payne before him), saw as appropriate for such a ‘classic’. Mia I. Gerhardt, in her pioneering work <i>The Art of Story-Telling: A Literary Study of the Thousand and One Nights,</i>, therefore prefers to employ Enno Littmann’s six-volume German translation (1976), translating the relevant portions into English as required. This procedure, too, has much to recommend it, as both Burton and Littmann use Calcutta II as their standard text, but only Littmann is sufficiently scrupulous to record <i>all </i>his divergences from the original.<br />
<br />
*<br />
<br />
<blockquote>
If some people find it distressing to have a work which cannot be assigned to any single author, let me remind them that in another art we are familiar with this sort of thing. I am thinking of a great cathedral, where Saxon, Norman, Gothic, Renaissance, and Georgian elements all co-exist, and all grow together into something strange and admirable which none of its successive builders intended or foresaw. Under Malory’s work lies that of the French prose romancers; under theirs, that of Chrétien, Wace, and other poets; under that, Geoffrey, and perhaps the Breton lais; deepest of all, who knows what fragments of Celtic myth or actual British history? Malory is only the last of many restorers, improvers, demolitionists; if you will, of misunderstanders. (Lewis, 1963, p.25)</blockquote>
<br />
<blockquote>
The author [of the <i>Nights</i>] is unknown for the best reason; there never was one: for information touching the editors and copyists we must await the fortunate discovery of some MSS. (Burton, 1885, 10: 88)</blockquote>
<br />
Another good reason for comparing the story-telling technique of Malory and the unknown redactor/s of the <i>Nights</i>, rather than attempting to ascertain the origins of their materials (Gittes’ approach), or disparaging their artistic prowess by comparison with modern novelists (Caracciolo’s), is this doubt about the true nature of their work.<br />
<br />
Caxton, Malory’s first editor, considers him in two roles only: as the <i>chronicler </i>of a real historical king (‘And yet of record remayne in wytnesse of hym in Wales, in the toune of Camelot, the grete stones and mervayllous werkys of yren lyeng under the grounde, and ryal vautes, which dyvers now lyvyng hath seen ... al these thynges forsayd aledged, I coude not wel denye but that there was suche a noble kyng named Arthur’), and as a <i>translator </i>(‘I have ... enprysed to enprynte a book of the noble hystoryes of the sayd kynge Arthur and of certeyn of his knyghtes, after a copye unto me delyverd, whyche copye Syr Thomas Malorye dyd take oute of certeyn bookes of Frensshe and reduced it into Englysshe’ (Vinaver, 1990, 1: cxlv).<br />
<br />
Malory undoubtedly reshaped the texts he translated, but he is always careful to give the ‘French book’ as his ultimate authority - supplemented, on occasion, by pieces of geographical and historical information more accessible to him than to the authors of these sources.<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn8" name="_ftnref8" title="">[8]</a> Like any historian, he is vitally concerned with narrative flow, and like any translator, with making his original read smoothly in the adopted language - even if this means ‘improving’ it in various respects. Asking whether he considered himself a creative writer or not is therefore no longer necessary within these frames of reference (as well, of course, as being a question with little real meaning for any medieval writer).<br />
<br />
The reason that my essay’s title juxtaposes Scheherazade, the fictional protagonist of a frame-story, with the historical Sir Thomas Malory is because of the almost infinitely flexible nature of story-collections such as the <i>Nights</i>. There need not be a single discoverable author even for the specific tales contained in our chosen text.<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn9" name="_ftnref9" title="">[9]</a> As with other folk-tales, one identifiable story or subject can recur in different languages and cultural traditions with appropriate changes made for each era and setting.<br />
<br />
Thus, in going from India to Persia, and thence into Arabic and the far-flung world of Islamic popular culture, the <i>Thousand and One Nights </i>retain as their distinguishing feature the situation of the 'nights' themselves - Scheherazade, like Esther in the Bible, talking for her life before a despotic king. That, and the thirteen or so ‘tales common to all texts’ mentioned by Burton.<br />
<br />
In order to make up the tally of 1001 nights, not only every manuscript but every translator resorts to addition and subtraction from the vast corpus of stories which it would be <i>possible</i> to include. Having stated this, though, the paradox remains that there <i>is </i>one accepted text for most of the <i>Nights </i>- Zotenberg's Egyptian Recension - presumably compiled in Egypt by a particular editor / scribe in the early sixteenth century (though his role may have been confined to adding one or two stories to an already well-established version). The narrative processes of this text can - even for those, like myself (and Mia L. Gerhardt), with no Arabic - be investigated through the medium of a reliable translation.<br />
<br />
I have therefore selected one story from Burton’s translation of the <i>Nights</i>, and one romance from Vinaver’s edition of Malory’s <i>Works </i>in order to perform just such a comparison. They are:<br />
<br />
<blockquote>
<b>1.</b> ‘A Noble Tale of Sir Launcelot du Lake’<br />
(Vinaver, 1990, 1: 249-87)<br />
[See <a href="http://dinarzade.blogspot.com/2007/09/malory.html">here </a>for a plot summary and structural breakdown]<br />
<br />
2. <b>‘The Porter and the Three Ladies of Baghdad’</b><br />
(Burton, 1885, 1: 82-186)<br />
[See <a href="http://dinarzade.blogspot.com/2007/09/scheherazade.html">here </a>for a plot summary and structural breakdown]</blockquote>
It would not be feasible to discuss these stories in detail, given the space at my disposal. Nevertheless, points which need to be made about the relationship between them, within the context of their ‘master-narrative’, have persuaded me to choose a diagrammatic representation as the best way of conveying the maximum amount of information in the minimum space. I shall thus, I hope, also be enabled to use one story from each work as the template for discussion of the others.<br />
<br />
Of ‘The Noble Tale of Sir Launcelot du Lake’, Eugène Vinaver says:<br />
<br />
<blockquote>
The Tale falls into three distinct sections of approximately equal length, each corresponding roughly to two folio leaves of Malory’s ‘French Book’. The three sections belong to three different parts of the text. It is tempting ... to speculate that Malory’s source was simply a gathering of three leaves which had dropped out of a volume of the Prose Lancelot. The alternative, and the more likely, explanation is that he deliberately chose those three sections in order to give a moderately continuous account of Lancelot’s adventures and so avoid the typical ‘cyclic’ method of interweaving a variety of different themes. (1990, 3: 1408)</blockquote>
He sees the ‘three distinct sections’ as 1/ from the departure with Lionel until he leaves the court of King Bagdemagus, a series of episodes which ‘centre upon the redoubtable figure of Tarquyn’ (1990, 3: 1408-9); 2/ the killing of Tarquyn and Perys de Foreste Savage and the liberation of the people of Tintagel from the two giants; and 3/ ‘As for the remaining portion of the Tale ... only the first six pages of it have a parallel in the Lancelot’(3: 1410). As will be clear from my analysis, I do not see the actual working of the story in quite these terms, though I accept that these are the divisions in Malory’s source-materials.<br />
<br />
Elsewhere, in a discussion of the digressive nature of French prose romance, Vinaver characterises it in terms of ‘the technique of tapestry. Just as in a tapestry each thread alternates with an endless variety of others, so in the early prose romances of the Arthurian group numerous seemingly independent episodes or “motifs” are interwoven in a manner which makes it possible for each episode to be set aside at any moment and resumed later’ (1990, 1: lxvi). Vinaver goes on to explain that the most convenient way of representing this interweaving is to designate each strand or motif by a letter, giving various examples in the discussion of the ‘Tale of King Arthur’ in his introduction (1990, 1: lxviii-lxi).<br />
<br />
By comparison with the French romancers, then, in Malory’s version of the story ‘The order of events is not a1 b c1 a2 c2 , but a1 a2 b c1 c2’; the three threads of the narrative are unravelled and straightened out so as to form in each case a consistent and self-contained set of adventures’ (Vinaver, 1990, 1:lxx). Vinaver sees this as ‘closely approximating to the conventional modern technique of exposition’ (1990, 1: lxxi), which seems to me an over-simplification, but I shall be returning to this point later. Applying Vinaver’s notation to the ‘Noble Tale of Sir Launcelot du Lake’, I find the first section at least a perfect example of interlocking or ‘nested’ motifs:<br />
<br />
<blockquote>
<b>A</b> - ‘Sir Tarquyn’<br />
<b>B</b> - ‘Bagdemagus’<br />
<b>C</b> - ‘Sir Belleus’<br />
<b>B</b> - ‘Bagdemagus’<br />
<b>A</b> - ‘Sir Tarquyn’</blockquote>
In other words, Launcelot and Lyonell set out together, but Lyonell has the first adventure (<b>A</b>) - being defeated by Sir Tarquyn while Launcelot is sleeping under the apple-tree.<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn10" name="_ftnref10" title="">[10]</a> The latter wakes to find himself a prisoner of Morgan le Fay, but is freed by the first ‘damsel’, the daughter of King Bagdemagus (<b>B</b>) on condition he helps her father in a tournament. On the way there he has his misadventure with Sir Belleus and his ‘lemman’ (<b>C</b>). After the tournament, Launcelot meets a second damsel, who leads him to Sir Tarquyn (<b>A</b>), and then (after the prisoners have been freed by Gaheris) to the equally wicked Sir Perys. This damsel is therefore the bridging device between the closing of the first set of motifs and the opening of the second:<br />
<br />
<blockquote>
<b>A</b> - ‘Sir Gaheris’<br />
<b>B</b>1- ‘Sir Perys’<br />
<b>B</b>2 - ‘Tintagel’<br />
<b>C</b>1 - ‘Sir Kay’<br />
<b>C</b>2 - ‘Chapel’<br />
<b>B</b>3 - ‘Sir Phelot’<br />
<b>B</b>4 - ‘Pedyvere’<br />
<b>A</b> - ‘Queen’</blockquote>
The killing of Sir Perys (<b>B</b>1) is therefore linked to that of Sir Tarquyn (<b>A</b>) by this common intermediary, but Launcelot’s next, seemingly unrelated adventure (<b>B</b>2) is also related to the Tarquyn episode by the fact that there are ‘three score’ knights kept prisoner by him in his castle just as there are ‘three score of ladyes and damesels’ imprisoned by the two giants in Tintagel. I therefore read these two episodes as parallel ‘B’s’, as it were, rather than as separate motifs in their own right.<br />
<br />
We then have the triple conflict with three groups of ‘three knights’ - first by Launcelot in defence of Kay, then disguised as Kay, and then against Ector, his own cousin, and three of his best friends (<b>C</b>1). This, in its turn, is parallelled by the triple encounter with, first, the dead Sir Gylberde the Bastarde, then the wounded Sir Melyot de Logyrs, and then the Chapel Perilous itself, with its presiding sorceress Hallewes (<b>C</b>2); again, her declaration of love to Launcelot parallels that of the damsel-guide after the encounter with Sir Perys.<br />
<br />
Two more incidents, each involving a lady and her knight - the first lady helping her husband try to kill Sir Launcelot (<b>B</b>3), the second lady seeking Launcelot’s protection against her husband (<b>B</b>4) - invert each other perfectly. In the first case the knight is killed, in the second case the lady. I have classified them as ‘<b>B</b>’s’ because of the linking-up with the theme of the oppression of damsels and ladies (as in the case of Sir Perys and the giants of Tintagel) in the episode of Sir Pedyvere, but there is obviously a less powerful sense of interlocking stories here than in the first section of the story.<br />
<br />
Finally, in Launcelot’s arrival back at Camelot, we have a resumé of the various adventures and stories to date.<br />
<br />
While the ‘Noble Tale’ <i>does</i> have some features of the ‘conventional modern technique of exposition’ claimed for it by Vinaver, perhaps what is most interesting about the story is the <i>over-determined</i> nature of its narrative method. Repetition of numbers (especially groups of three - or three plus one) and motifs (helping one member of a couple against the other - or being used by one of them to benefit the other) is far more frequent and pervasive than would be common in modern fiction.<br />
<br />
Indeed, if one goes on to compare this story with ‘The Tale of Sir Gareth’, one finds, again, number symbolism of a nature which makes more sense as a structuring device than as a contribution to the themes of the narrative (each of the knights of successive colours - Black, Green, Red and Blue - defeated by Gareth has a larger number of retainers whom he pledges to the latter’s service), as well as a set of repetitive motifs which can make it a more rewarding subject for the annotator or editor than the casual reader (first, the succession of duels against multi-coloured knights; then, the various love-trysts with Dame Lyonesse disturbed in various ways; and finally, the attempts to avoid Sir Gawain in order to conceal his true identity).<br />
<br />
So much for Vinaver’s analysis of Malory; now let's apply these considerations to the <i>Nights</i>:<br />
<br />
Andras Hamori, in his <i>On the Art of Medieval Arabic Literature</i>, has the following comments to make about the ‘Porter and the three Ladies of Baghdad’, to which he devotes an entire chapter:<br />
<br />
<blockquote>
The reader will immediately notice that the tale is a series of echoes and reflections ... My purpose is to examine the relation between the formal coherence of events in the story and the storyteller’s evaluation of the moral coherence among the events he narrates. It could be argued that the structural properties of the tale, the neat and interesting relations among motifs and variations on motifs, are not unlike musical relations, and that the pleasure the audience derives from them is a musical pleasure. It could also be argued that periodicity is a storyteller’s device for holding the audience’s attention. You know that something is destined to happen again, but you also know that it will come in by a different door or even a window. Of course you are interested to see how an analogous result comes about through a different process, but you are not necessarily concerned with the good and evil of it, or with the question whether or not the actors in the different episodes deserved the same fate. (Hamori, 1975, p. 172)</blockquote>
Hamori’s argument about the <i>moral </i>elements concealed in the seemingly random universe of the ‘Three Ladies’ is ingenious in the extreme, and he deserves credit for being virtually the first to take the tale’s original teller seriously as an artist.<br />
<br />
Mia Gerhardt, by contrast, does little more than speculate that ‘it was the original creator of the story who made an ambitious effort to set up a sort of double frame [‘the well-known plot that turns on the presence of Harûn incognito; on the other hand, the ransom device that is intended to motivate the telling of the mendicants’ stories’], but, having attempted too much, did not quite succeed’ - basing this conclusion mainly on the asymmetrical absence of a story for the lady-cateress (1963, pp. 408-10).<br />
<br />
Another of Hamori's major points is:<br />
<br />
<blockquote>
The invariants in the dervishes’ narratives ... all three are blind in one eye ... Each is a prince; each has been involved with a splendidly equipped underground hiding place; each has contributed in one way or another to the destruction of the occupants of these catacombs. (1975, p. 173)</blockquote>
One reason why I find myself finally unconvinced by the subtly nihilistic motives detected by Hamori in the mass marriage which concludes the whole intertwined set of stories - the just and the unjust alike paired off by the Caliph according to symmetry rather than mutual inclination - is because the ‘structural properties’ of ‘motifs and variations on motifs’ which form so large a part of his argument can be parallelled not only among the other stories of the <i>Nights</i>, but also in Malory.<br />
<br />
I have already discussed the number symbolism and repetitive motifs to be found in the ‘Noble Tale of Sir Launcelot’ and the ‘Tale of Sir Gareth’. As befits a story on a larger scale, ‘The Porter and the Three Ladies of Baghdad’ plays the changes on seven as well as three. The repetitive nature of certain motifs in the story is not altered by the fact that here events tend to be doubled or mirrored rather than simply repeated. The idea of a frame-story, or a series of stories told by the protagonists of other stories is something for which the <i>Nights </i>is justly celebrated - but in narrative effect, it could surely be parallelled with the ‘nesting’ technique of strands of different stories employed by Malory?<a class="style23" href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn11" name="_ftnref11" title="">[11]</a><br />
<br />
I can claim little originality in applying the analytical methods devised by Vinaver and Hamori to the very texts which they discuss. Already. however, I think it can be seen that an exchange of information between these two systems can be mutually illuminating. Compared with the French Prose Vulgate version of the Arthurian romances, Malory does indeed look ‘modern’ - but when the doubled motifs and the (surely thematically arbitrary) repetitions of numbers such as ‘three’ and ‘three plus one’ and ‘three-score’ are seen in other contexts as well, it is clear that another term must be found to characterise this narrative method.<br />
<br />
Similarly, seen in isolation, it is tempting to postulate a cunning subversion of the dominant values of ‘romance’ (love, marriage, loyalty, kingship) in the unnaturally symmetrical patterns of the ‘Three Ladies of Baghdad’ - but when an almost equally obsessive attention to such details of externalised structure can be found in ‘The Tale of Sir Gareth’, substantiating such an argument becomes far more difficult.<br />
<br />
*<br />
<br />
In conclusion, then, it remains to offer at least some possible reasons for the common patterns in these two examples of medieval story-telling.<br />
<br />
Let me begin by saying that I want to disavow any intention of claiming these features of numerical repetition, doubling of motifs, and nesting or framing stories as the discovery of some ‘link’ between these two literary traditions. On the contrary, I see them as two not dissimilar responses to a not dissimilar problem of literary technique - one which arises (I imagine) inevitably at the point of intersection between oral and written story-telling.<br />
<br />
Both Malory’s romances and the stories of the <i>Thousand and One Nights </i>are intensely <i>written </i>texts - copied (with modifications) from other writings which were themselves responses to earlier written texts. The French Prose Vulgate was itself an elaboration of earlier layers of Arthurian romance in both verse and prose. The <i>Nights </i>had the Persian <i>Hazár Afsáneh </i>as its immediate original, but finally grew to contain entire cycles of stories, both Arabic and Persian, within its compass.<br />
<br />
Nevertheless, regardless of the literacy of Sir Thomas Malory or the ZER scribe’s immediate circle of acquaintanceship, their works were intended (whether primarily or secondarily) to be read aloud to an audience. Thus, the patterns within their narratives had to be comprehensible when communicated orally.<br />
<br />
Hence, I imagine, what I have referred to above the ‘over-determined’ nature of both sets of stories. Hamori’s remark about the ‘musical pleasure’ to be derived from contemplation of the ‘relations among motifs and variations on motifs’ is, to my mind, more accurate than he realises. Like music, story-telling depends on the possibility of grasping the <i>structure</i> as well as the discrete nature of the sounds which one listens to.<br />
<br />
At this point it might be as well to make some acknowledgement to the one precedent I am aware of for this particular comparison, the Rev. Cameron Mann’s ‘The “Thousand and One Nights” and the “Morte d’Arthure”’, published in the North American Review on January 18th, 1907. The Bishop of North Dakota concludes his article by avowing:<br />
<br />
<blockquote>
Yes, it would be hard to find two other books so alike in their origin - each a composite of myths and legends, each with a strict theological creed, each with its Bible in the background and its Paradise ahead, yet so utterly unlike and repugnant in their contents. In the one, we enter a palace where fountains plash in the court, where the walls reek with glowing and erotic decoration, where wild music clangs and wilder dancers spin .... where silk-clad men and women idle out the time with libidinous toying and coarse jest. In the other, we wander through the grave forest, where we meet, now a gladsome company who have been a-maying and return laden with blossoms, now a priest with solemn eyes bent upon his breviary, now a stalwart knight in full armor riding after some perilous but noble deed. (Mann, 1907, pp. 155-56)</blockquote>
Strangely enough, while I remain unmoved by his argument that ‘these two books stand for the ideals of their respective communities; for what the disciples of Jesus and the disciples of Mahomet felt and wished, long after the founders of their religion had passed away’ (1907, p. 151), I feel that there <i>is </i>a certain amount to be said for the manner in which Mann conducts his discussion. The difference between us is, of course, that he wants to contrast the systems of morality implicit within the two works, whereas I'm setting out to compare their respective narrative methodologies.<br />
<br />
Even in these terms, I feel the Reverend Mann overestimates the extent to which the Nights are ‘thoroughly, unblushingly, callously sensual’ (p.152). He certainly overestimates the moral virtues of Malory (perhaps a clue lies in the fact that the article ends with an invocation of Tennyson’s Arthur as the ‘faultless man’ (p. 156) - <i>The Idylls of the King </i>would actually suit his argument far better than the deadpan violence of the ‘Noble Tale of Sir Launcelot’).<br />
<br />
Nevertheless, he <i>does </i>set two highly-developed products of different cultural traditions against each other with the explicit intention of increasing our understanding of both (however tendentiously), and this still seems to me preferable to the mystical quest for their common origins or descendants which has dominated so much subsequent criticism.<br />
<div align="center">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1XCzVSPkrlLYantA_l5qzpkrGI5iJPr7me-VyqL-nVUHpv9RiUzXh2dGGR9tICt851Ag7yB1jLpHQvyiuULK483r46Fu_Rk3ABl2L-HIa38EyfanKeUa8vSib62RcKLnyqfpw/s1600-h/dulac1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5362599703176398834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1XCzVSPkrlLYantA_l5qzpkrGI5iJPr7me-VyqL-nVUHpv9RiUzXh2dGGR9tICt851Ag7yB1jLpHQvyiuULK483r46Fu_Rk3ABl2L-HIa38EyfanKeUa8vSib62RcKLnyqfpw/s400/dulac1.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 178px;" /></a><span style="font-size: 85%;">[<a href="http://www.artpassions.net/cgi-bin/dulac_image.pl?../galleries/dulac/arabian1.jpg">Edmond Dulac, "Scheherazade"</a> (1907)]</span></div>
<br />
<blockquote>
<br />
<hr align="left" noshade="noshade" size="1" width="70%" />
<br />
<b>Notes:</b><br />
<div id="ftn1">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn1" name="_ftn1" title="">1.</a> Antoine Galland's translation appeared in 12 volumes between 1704 and 1717. The name ‘Arabian Nights’ Entertainments’ was first coined by an anonymous English translator of this version (<i>Arabian Nights Entertainments: Consisting of One Thousand and One Stories, Told by the Sultaness of the Indies, to divert the Sultan from the Execution of a bloody Vow he had made </i>... first published in London between 1706 and 1717; my edition dates from Edinburgh, 1781.</div>
<div id="ftn2">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn2" name="_ftn2" title="">2.</a> The Winchester manuscript of Malory's works was first discovered in 1934, and subsequently (1990) edited by Eugene Vinaver. This is the text to which I shall be referring throughout.</div>
<div id="ftn3">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn3" name="_ftn3" title="">3.</a> The so-called ‘Vulgate’ or standard text of the <i>Nights</i>, derived from an Egyptian version of the whole work, was first identified by Hermann Zotenberg, keeper of Eastern manuscripts at the Bibliothèque Nationale in Paris. It was first employed by Edward William Lane for his selected and expurgated version (1839-1841), and later by Francesco Gabrieli for his complete Italian translation (1972).</div>
<div id="ftn4">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn4" name="_ftn4" title="">4.</a> I should perhaps say ‘compilation’ rather than ‘composition’ because all of the elements of this edition are far older (as are Malory’s sources). Enno Littmann (1960, pp. 358-64), gives an account of the various Arabic editions and their source-material.</div>
<div id="ftn5">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn5" name="_ftn5" title="">5.</a> See also, in this connection, E. J. Ranelagh’s <i>The Past We Share</i> (1979, pp. 195-242) for an amusing account of various parallels between the <i>Nights</i> and folk-tales from different traditions.</div>
<div id="ftn6">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn6" name="_ftn6" title="">6.</a> This Persian collection (’A Thousand Tales’) is no longer extant, but its frame-story at least had been translated into Arabic by the ninth century - see Manzalaoui (1973, I: 39).</div>
<div id="ftn7">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn7" name="_ftn7" title="">7.</a> Burton (1885, 10: 78): ‘the tales common to all [texts and MSS.] are the following thirteen: - 1. The Introduction ... 2. The Trader and the Jinni ... 3. The Fisherman and the Jinni ... 4. The Porter and the Three Ladies of Baghdad ... 5. The Tale of the Three Apples. 6. The Tale of Núr al-Dín Ali and his son Badr al-Dín Hasan. 7. The Hunchback’s Tale ... 8. Nur al-Dín and Anís al-Jalís. 9. Tale of Ghánim bin ‘Ayyúb ... 10. Alí bin Bakkár and Shams al-Nahár ... 11. Tale of Kamar al-Zamán. 12. The Ebony Horse; and 13. Julnár the Seaborn.’</div>
<div id="ftn8">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn8" name="_ftn8" title="">8.</a> The information about Camelot's now being called ‘Wynchester’ in "The Tale of King Arthur", for example (see Vinaver, 1990, 1: 92). Caxton disagrees, thinking it a town ‘in Wales’.</div>
<div id="ftn9">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn9" name="_ftn9" title="">9.</a> This is illustrated by Burton (1886-88, 15: 45) when he notes of a story which is a ‘replica’ of one in Volume IV: ‘I have retained it on account of the peculiar freshness and naïveté of treatment which distinguishes it, also as a specimen of how extensively editors and scriveners can vary the same subject’. The search for the author of a ‘subject’, rather than the actual text of a story, must be the object of any quest for the origins of the various components of the <i>Thousand and One Nights</i>.</div>
<div id="ftn10">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn10" name="_ftn10" title="">10.</a> Refer to my summary of the ‘Tale’ for a more precise demarcation of these episodes.</div>
<div id="ftn11">
<a href="http://dinarzade.blogspot.com/2007/09/malory-and-scheherazade-study-in.html#_ftn11" name="_ftn11" title="">11.</a> The fact that Vinaver describes this as a corruption of the twelfth century ‘tapestry’ technique, and as a move in the direction of the ‘modern’ is neither here nor there. Frame-stories, too, existed both before and after the <i>Thousand and One Nights</i>. My intention in these analyses of different stories is to point to the workings of these techniques in actual texts, not their possible provenance or authority.</div>
<br /></blockquote>
<br />
<div align="center">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4rAgIe31QpBq2KGDKgKbhOfaeZDUXjH5IjQ3EDYqwr1SC_IK792y8I_-IyMzytuQufP0NKbhoZLY7MIJ2wMHPZ3ahgt_uVeshYg4ntN9DIfbGTt2Vg6jhKrUfZpeeBryJ-Lsz/s1600-h/scheherazade5.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5362599591604948482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4rAgIe31QpBq2KGDKgKbhOfaeZDUXjH5IjQ3EDYqwr1SC_IK792y8I_-IyMzytuQufP0NKbhoZLY7MIJ2wMHPZ3ahgt_uVeshYg4ntN9DIfbGTt2Vg6jhKrUfZpeeBryJ-Lsz/s400/scheherazade5.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 394px;" /></a><span style="font-size: 85%;">[<a href="http://retrotrash.org/database.htm">Scheherazade</a>]</span></div>
<br />
<blockquote>
<br />
<b>Works Cited:</b><br />
<ul><br />
<li>Abbott, Nabia. (1949). A Ninth-Century Fragment of the 'Thousand Nights.' <i>Journal of Near-Eastern Studies</i>, 8: 129-64.</li>
<br />
<li>Attar, Farid ud-Din.(1984). <i>The Conference of the Birds</i>. Trans. Afkham Darbandi and Dick Davis. Harmondsworth: Penguin.</li>
<br />
<li>Burton, Richard F, trans. (1885). <i>A Plain and Literal Translation of The Arabian Nights’ Entertainments, Now Entituled The Book of the Thousand Nights and a Night: With Introduction, Explanatory Notes on the Manners and Customs of Moslem Men and a Terminal Essay upon the History of the Nights</i>. 10 vols. Benares [= Stoke-Newington]: Kamashastra Society. N.p. [= Boston]: The Burton Club, n.d.</li>
<br />
<li>Burton, Richard F., trans. (1886-88). <i>Supplemental Nights to the Book of the Thousand Nights and a Night with Notes Anthropological and Explanatory</i>. 6 vols. Benares [= Stoke-Newington]: Kamashastra Society. 7 vols . N.p. [= Boston]: The Burton Club, n.d.</li>
<br />
<li>Caracciolo, Peter L., ed. (1988). <i>The Arabian Nights in English Literature: Studies in the Reception of The Thousand and One Nights into British Culture</i>. London: Macmillan, 1988.</li>
<br />
<li>Chaucer, Geoffrey. (1989). <i>The Riverside Chaucer</i>. Third Edition. Ed. Larry D. Benson. 1987. Oxford: Oxford University Press.</li>
<br />
<li>Ferdowsi. (1985). <i>The Epic of the Kings: Shah-Nama, the National Epic of Persia</i>. Trans. Reuben Levy. 1967. Rev. Amin Banani. London: Routledge & Kegan Paul.</li>
<br />
<li>Gabrieli, Francesco, ed. (1972). <i>Le mille e una notte: Prima versione integrale dall’arabo</i>. Trans. Francesco Gabrieli, Antonio Cesaro, Constantino Pansera, Umberto Rizzitano and Virginia Vacca. 1948. Gli struzzi 35. 4 vols. Torino: Einaudi.</li>
<br />
<li>Gerhardt, Mia I. (1963). <i>The Art of Story-Telling: A Literary Study of the Thousand and One Nights</i>. Leiden: E. J. Brill.</li>
<br />
<li>Gittes, Katharine Slater. (1983). The Canterbury Tales and the Arabic Frame Tradition <i>PMLA </i>98: 237-51.</li>
<br />
<li>Hamori, Andras. (1975). <i>On the Art of Medieval Arabic Literature.</i> Princeton, NJ: Princeton University Press.</li>
<br />
<li>Lane, Edward William, trans. (1839-41). <i>The Thousand and One Nights, Commonly Called, in England, The Arabian Nights’ Entertainments. A New Translation from the Arabic, with Copious Notes</i>. 3 vols. London: Charles Knight.</li>
<br />
<li>Lewis, C. S. (1963). The English Prose <i>Morte</i>. In J. A. W. Bennett, ed. <i>Essays on Malory</i>. Oxford: Oxford University Press. Pp.7-28.</li>
<br />
<li>Littmann, Enno. (1960). Alf Layla wa-Layla. In <i>The Encyclopaedia of Islam</i>. Leiden & London: E. J. Brill. Pp. 358-64.</li>
<br />
<li>Littmann, Enno, trans. (1976). <i>Die Erzählungen aus den Tausendundein Nächten: Vollständige deutsche Ausgabe in zwölf Teilbänden zum ersten mal nach dem arabischen Urtext der Calcuttaer Ausgabe aus dem Jahre 1839 übertragen von Enno Littmann</i>. 1921-28. 2nd ed. 1953. 6 vols in 12. Frankfurt am Main: Insel Verlag.</li>
<br />
<li>MacDonald, Duncan B. (1924). The Earlier History of the <i>Arabian Nights</i>. <i>Journal of the Royal Asiatic Society,</i> 1924: 353-97.</li>
<br />
<li>Malory, Sir Thomas. (1953). <i>Le Morte d’Arthur</i>. 1485. Everyman’s Library. 2 vols. London & New York: Dent & Dutton.</li>
<br />
<li>Mann, Rev. Cameron. (1907). The <i>Thousand and One Nights </i>and the <i>Morte d’Arthure</i>. <i>North American Review</i>, 184: 150-56.</li>
<br />
<li>Manzalaoui, Mahmoud A. (1973). The Arabian Nights. Cassell’s Encyclopaedia of World Literature. 3 vols. London: Cassell. 1: 38-41.</li>
<br />
<li>May, Georges. (1986). <i>Les Mille et une Nuits d’Antoine Galland, ou le chef-d’oeuvre invisible</i>. Paris: PUF.</li>
<br />
<li>Mosès, François, ed. (1991). <i>Lancelot du Lac: Roman français du XIIIe siècle</i>. Lettres gothiques. Paris: Livre de Poche.</li>
<br />
<li>Payne, John, trans. (1882-84). <i>The Book of the Thousand Nights and One Night; Now First Completely Done into English Prose and Verse, from the Original Arabic</i>. 9 vols. London: Villon Society.</li>
<br />
<li>Ranelagh, E. J. (1979). <i>The Past We Share: The Near Eastern Ancestry of Western Folk Literature</i>. London: Quartet.</li>
<br />
<li>Said, Edward W. (1985). <i>Orientalism</i>. 1978. Harmondsworth: Penguin.</li>
<br />
<li>Schacht, Joseph, and C. E. Bosworth, ed. (1974). <i>The Legacy of Islam</i>. 2nd ed. Oxford: Clarendon Press.</li>
<br />
<li>Sommer, H. Oskar, ed. (1909-16). <i>The Vulgate Version of The Arthurian Romances, Edited from Manuscripts in the British Museum</i>. 8 vols. Washington, D. C.</li>
<br />
<li>Vinaver, Eugène, ed. (1990). <i>The Works of Sir Thomas Malory</i>. 3 vols. 1947. 3rd ed. rev. P. J. C. Field. Oxford: Clarendon Press.</li>
</ul>
<br />
<div align="center">
<br />
<span style="font-size: 85%;">[This paper, under the title “Malory and Scheherazade: A Study in Narrative Method” was read as a Department of English Staff Seminar at Auckland University on 16 April, 1992.]</span></div>
<br /></blockquote>
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Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-15076065013164222962007-09-19T15:52:00.000-07:002012-10-30T16:32:24.634-07:00The Poetics of Stasis:<div align="center">
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<b><span style="font-size: 130%;">Twentieth-century Readings of the <i>Nights</i></span></b><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOjTUHqWYZdO_JhPzvtzF_UKF-kmCMClcabUQPItQFurBG9bXrvIt_QY8BLbsioLi2qKJoC2kCAHGevrY0zNWLCRSQAs1QC0Mb_8FF62d-FoXL5JRa-w_e3g1UzzhvS8rCGJYq/s1600-h/1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5112052403420655458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOjTUHqWYZdO_JhPzvtzF_UKF-kmCMClcabUQPItQFurBG9bXrvIt_QY8BLbsioLi2qKJoC2kCAHGevrY0zNWLCRSQAs1QC0Mb_8FF62d-FoXL5JRa-w_e3g1UzzhvS8rCGJYq/s400/1.jpg" style="display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="font-size: 85%;">[<a href="http://www.bellydanceschoolcalgary.com/">Arthur Boyd Houghton, "The Sultan Pardons Scheherazade"</a>]</span></div><br />
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Every era seems to have its own questions to ask about the <i>Thousand and One Nights</i>. In the nineteenth century, as we have just seen, the psychology of the main participants (and the inherent implausibility of most of the stories) led a number of writers to fabricate a “1,002nd Night.” In the late twentieth century, our questions took a stranger turn.<br />
<br />
The arithmetic of the matter, for instance: Why 1001 nights? One of the characters in John Barth’s novel <i>The Tidewater Tales </i> admits that “she’d thought the number meant simply plenty and then some ... a taleteller’s number” (1988, p. 533). There is, however, a possible gynaecological aspect to the question. At the end of the <i>Nights </i>(in Burton’s version, at any rate) Scheherazade presents her husband with three sons “one walking, one crawling and one sucking” (Burton, 1885, 10: 54).<br />
<br />
As Barth observes, this means that “her pregnancies must have been spaced about equally through the 1001 nights. 3 ›‹ 266 = 798 from 1001 leaves 203 nights before and between” (1988, p. 454). So far so good, but in “The Story of Scheherazade’s First Second Menstruation” which begins a few pages later, the numbers are “crunched” (his word) very thoroughly indeed:<br />
<br />
<blockquote>
it would not have been very wise of young Scheherazade to do Night One with Shahryar at a time when she happened to be menstruating ... Seems to me that along with the body count you’d’ve been keeping tabs on the moon and your menstrual calendar before you made your big move, and that once you’d cleared the first hurdle by surviving Night One, you’d want as much time as possible to firm up your position before the night comes when you have to make it on art without sex. (Barth, 1988, p. 534)</blockquote>
So, if a boy child “walks” at twelve to fifteen months, “crawls” from 6 months to a year, and “suckles” before that, it seems “pretty clear” to Barth’s boy genius Chip Sherritt that Scheherazade “must have ovulated and menstruated once after each of her three babies was born, and that she then got pregnant again at the very next ovulation after each of those menstruations – at least after the first and second of them. Otherwise the kids come out to be the wrong ages at the end.” So:<br />
<br />
<blockquote>
Assuming for the sake of simplicity and ... symmetry, that she first got pregnant on Night One ... She delivers Number One on Night Two Six Seven. That makes him two years and four days old on Night Ten Oh One; he’s been walking for maybe a year ... on Night Three Thirty, she gets pregnant for the second time, and she delivers Son Number Two exactly two hundred sixty-six days later, on Night Five Ninety-Six. That’ll make <i>him </i>thirteen months, ten days old on Night Ten Oh One: not too late to be crawling still ... Seven weeks later she menstruates again, on Night Six Forty-five – you could call that her second <i>first </i>menstruation – and two weeks after that she gets pregnant for the <i>third </i>time. On Night Nine Twenty-five she delivers her third son, so he’s just two and a half months old at the end of the story: nursing, but not crawling yet. Seven weeks later she menstruates again, just as she did after her first three pregnancies ... But the thing to notice is that if she ovulated right on schedule on Night Nine Eighty-eight there and <i>didn’t </i>get pregnant ... then she’s going to menstruate again on Night Ten Oh Two. As a matter of fact, since she always tells her stories just before daybreak, Night Ten Oh One is really Morning Ten Oh Two, and it could be she ... calls in the children and pleads for her life because she realises that for the first time in a thousand and one nights she’s having a normal twenty-eight-day menstrual period. The king hasn’t made her pregnant again on schedule: it’s her first second menstruation. (Barth, 1988, p. 539)</blockquote>
<br />
“How is this night different from all other nights?” (p. 536), then – not because of a case of “Storyteller’s Block” – but because the King “isn’t going to get it again for nearly a week” (p. 540).<br />
<br />
Of course, all of this calculation has a rather frivolous air: the main reason for stopping, as another of Barth’s characters adds, “went without saying: that at the end of Night Ten Oh One, Shahryar had been a good boy for exactly as long as he’d been a bad one. It was the right time to make her move, even without the private extra reason.” (p. 540).<br />
<br />
•<br />
<br />
All of which leads us to another, more serious level of calculation. If, in the period before his meeting with Scheherazade, Shahryar killed 1001 virgins, then his brother Shah Zaman, who did not have the benefit of her ministrations, must have killed 2002. This forms the subject of Barth’s novella “Dunyaziad,” where Scheherazade’s younger sister, who has been married off to Shahryar’s younger brother at the end of the <i>Nights</i>, gives her own version of the whole story to her new husband, whom she has tied to the bed in preparation for a revenge castration and killing.<br />
<br />
Luckily, the brother is able to plead in extenuation that he in fact executed no-one, because his very first virgin told him of a local tradition that there was a land far to the west “peopled entirely with women, adjoining another wholly male: for two months every spring they mated freely with each other on neutral ground, the women returning home as they found themselves pregnant, giving their male children to the neighbouring tribe and raising the girls as members of their own.” (Barth, 1982, pp. 49-50).<br />
<br />
She advised him, even if this legend were untrue, to <i>make </i>it true with his own exiled brides, and thus avoid a parting of the ways with his elder brother. Dunyazad, reluctantly, agrees to forgive Shah Zaman and try the experiment of trusting him, just as her elder sister, similarly armed with a razor, is persuaded simultaneously to let Shahryar, her own husband, live.<br />
<br />
This is not the only complicating factor about the end of the <i>Nights</i>, however.<br />
<br />
In his book <i>L’Œil et l’aiguille </i>[The Eye and the Needle], the critic Abdelfattah Kilito sets out to examine the implications of the image, so frequent in the text, “<i>d’écrire, au coin de votre œil, avec un aiguille très fine, toute une histoire chargée d’une leçon morale</i>” [writing, in the corner of your eye, with a fine needle, a whole story charged with a moral lesson] (Kilito, 1992, p. 7).<br />
<br />
Where do the stories that Scheherazade tells come from? We are told that she “had collected a thousand books of histories relating to antique races and departed rulers” (Burton, 1885, 1: 15), but does she bring them with her to the palace? Whether the books move physically or not, they are contained within her, and she retells their narratives. At the end of the nights, the King commands that the stories that Scheherazade has told him are to be written down in “<i>un livre en trente volumes qu’ils intitulèrent </i>Le Livre des mille et une nuits<i>. Le roi le déposa dans sa bibliothèque</i>.” [One book in thirty volumes which they entitled <i>The Book of the Thousand and One Nights</i>. The King deposited it in his library](Kilito, 1992, p. 20).<br />
<br />
The stories are thus protected in three ways – first by being written down at all, second by being recorded in letters of imperishable gold, third by being preserved in the King’s library. In some versions the King himself sends out copies to edify the population, but in most this dispersal is left to a later monarch who reads the one unique copy preserved in the royal archives.<br />
<br />
Who do the stories come from, then? Logically, there are only three witnesses to the whole train of events – the King, Scheherazade herself, and her sister Dunyazade. “<i>La fonction royale de Shâhriyâr ne s’accorde avec la vocation de conteur; dans les Nuits, les rois sont toujours en position d’auditeurs, jamais de narrateurs ... Quant à Dunyâzâde, il n’est pas dit que sa mémoire lui permettrait de prendre les relais de sa soeur. Elle apparaît avant tout comme une complice</i>” [The royal rôle of Shahryar is not consonant with the vocation of story-teller; in the <i>Nights</i>, kings are always in the position of listeners, never of narrators ... As for Dunyazade, it is nowhere said that her memory would allow her to follow in her sister’s footsteps. She seems more like an accomplice] (Kilito, 1992, p. 24).<br />
<br />
We are left, then, with Scheherazade – who must either retell all 1001 nights of stories to the scribes – “<i>En fait, il lui faudra plus de mille et une nuits, car désormais elle ne va pas raconter mais dicter ses contes, et la dictée prend évidemment beaucoup plus de temps que la narration</i>” [In fact, it will take her more than a thousand and one nights, because from now on she will not be telling but dictating her stories, and dictation obviously takes far more time than narration] (Kilito, 1992, p. 25):<br />
<br />
<blockquote>
<i>Mais peut-être ne s’est-elle pas donné tant de peine, peut-être a-t-elle tout bonnement remis aux scribes ses livres, ceux du moins qui ont servi de base à ses histoires. Le mille et unième livre ne serait alors qu’un extrait, un fragment, une citation des mille livres qui constituaient la bibliothèque de la reine de la nuit. </i>(p. 26)<br />
<br />
[But perhaps she didn’t go to all that trouble, perhaps she simply lent the scribes her books, at any rate those which were the basis of the stories. The thousand and first book would accordingly be no more than an extract, a fragment, a citation of the thousand books which constitute the library of the Queen of the night.]</blockquote>
However idle this speculation may seem, the point I wish to make is that it is the same <i>kind </i>of conjecture as John Barth feels driven to make about the <i>Nights</i>. In fact, in the “Dunyaziade,” he settles the argument over the source of Scheherazade’s stories by sending a thinly disguised version of himself back in time as a genie, who prompts her with stories from his own copy of Burton’s 10-volume English translation of the collection!<br />
<br />
•<br />
<br />
When the argument is not concerned with arithmetic, it centres on labyrinths. Kilito (1992, p. 15) refers in his book to Jorge Luis Borges’ claim that on the 602nd Night:<br />
<br />
<blockquote>
<i>el rey oye de boca de la reina su propia historia. Oye el principio de la historia, que abarca a todas las demás, y también – de monstruoso modo –, a sí mismo. ?Intuye claramente el lector la vasta posibilidad de esa interpolación, el curioso peligro? Que la reina persista y el inmóvil rey oirá para siempre la trunca historia de Las Mil y Una Noches, ahora infinita y circular ... </i>(Borges, 1989-90, 2: 47)<br />
<br />
[The King hears his own story from the Queen’s mouth. He hears the beginning of the story, which embraces all the others as well as – monstrously – itself. Does the reader really understand the vast possibilities of that interpolation, the curious danger – that the Queen may persist and the Sultan, immobile, will hear forever the truncated story of <i>A Thousand and One Nights</i>, now infinite and circular?</blockquote>
Kilito claims that this idea is to be understood only symbolically, and that only the naïve reader will go from version to version of the <i>Nights </i>trying to verify the fact.<br />
<br />
However, it certainly <i>is </i>the case that on page 199 of Burton’s sixth volume Scheherazade begins to tell the story of the “King’s Son and the Ifrit’s Mistress,” which does loosely resume the story of Shahryar’s encounter with the woman kept in a chest by the Genie from the frame-story. Elsewhere, in “<i>El jardín de los senderos que se bifurcan</i>” [The Garden of Forking Paths], Borges attributes the phenomenon to a copyist’s error, but in a context that makes it clear that what essentially concerns him is his own story’s theme: how a single book can become infinite:<br />
<br />
<blockquote>
<i>Antes de exhumar esta carta, yo me había preguntado de qué manera un libro puede ser infinito ... Recordé también esa noche que está en el centro de las 1001 Noches, cuando la reina Shahrazad (por una mágica distracción del copista) se pone a referir textualmente la historia de las 1001 Noches, con riesgo de llegar otra vez a la noche en que la refiere, y así hasta lo infinito.</i> (Borges, 1985, 2: 169-70)<br />
<br />
[Before uncovering this letter, I’d been asking myself how a book could be infinite ... I remembered, too, that night in the middle of <i>The Thousand and One Nights </i>when Queen Shahrazad, through a magical slip of the copyist, started to retell the story of <i>The Thousand and One Nights</i>, with the risk of again arriving at the night on which she would begin it, and so on to infinity.]</blockquote>
We’ve already seen some of the problems associated with Scheherazade’s retelling all her stories for the King’s library – also the temptation to compose a 1,002nd Night. Borges finds those ideas comparatively uninteresting. In his late poem “<a href="http://dinarzade.blogspot.com/2006/09/metaphors-of-1001-nights.html">Metaphors of the 1001 Nights</a>,” he tries to sum up the collection’s appeal in terms of recurrent images – the River, the Web of a tapestry, the Dream, and the Map.<br />
<br />
His images, for the most part, emphasise change and flow – but a flow confined to a static, circular course – and this seems to be one of the things that these obsessively self-questioning twentieth-century readings of the <i>Nights </i>have in common.<br />
<br />
•<br />
<br />
At the end of his reading of the story “The Porter and the Three Ladies of Baghdad,” the critic Andras Hamori emphasises the idea of arbitrary, almost self-satirising patterns of repetition – the threes and sevens which abound in the story (and which Borges also refers to in his poem) – and points out that they have a certain quotient of terror when imposed ethically.<br />
<br />
The marriages imposed at the end of the tale by the “Commander of the Faithful” Harun al-Rashid solve no real problems, but indicate his tendency to exert power over things he does not even understand: something also signalled in his discovery, again at the very end of the story, that as titular head of Islam and thus the heir of Mohammed and Solomon, he has power even over such supernatural beings as Jinnis and Jinniyahs.<br />
<br />
Are the <i>Nights</i>, too, trapped in a kind of stasis – which, my Etymological Dictionary informs me, originated as a pathological terms referring to a general stoppage of circulation in the veins and arteries of the body (for which read the body politic, bodies of laws and conventions, and so on)?<br />
<br />
Well, yes, on the surface this <i>is </i>the state of things in Shahryar’s kingdom. It is a spiritual wasteland, plagued by a dragon – or by an idealist disillusioned with the world as it is. In the Grail legend, the Waste Land is cured by a question which the wise do not think to ask; Shahryar, similarly, is cured by a reenactment of the materials and minutiae of life – a total reeducation in the structure of his world. Scheherazade thus becomes, in a very literal sense, the mother of the nation – her skill at subcreation cures an imbalance in Creation.<br />
<br />
And why are our authors and critics so fascinated with this construct? Is it not, finally, with the idea of <i>retelling </i>our dilemma until it forms a curative pattern. It seems, then, that W. H. Auden’s tribute to Sigmund Freud:<br />
<br />
<blockquote>
He wasn’t clever at all: he merely told<br />
The unhappy Present to recite the Past<br />
Like a poetry lesson till sooner<br />
Or later it faltered at the line where<br />
<br />
Long ago the accusations had begun (Auden, 1979, p. 92)</blockquote>
ought to be matched against the title of an essay written at the height of the furore over the anti-novel and the <i>nouveau roman</i>:: “Scheherazade Runs out of Plots, Goes on Talking; the King, Puzzled, Listens: An Essay on New Fiction” (1973).<br />
<br />
Borges ends his poem, then, with a message meant specifically for us:<br />
<br />
<blockquote>
<i>Sigue leyendo mientras muere el día<br />Y Shahrazad te contará tu historia.</i><br />
(1989-90, 3: 170)<br />
<br />
Keep reading as the day declines and<br />
Scheherazade will tell you your own story.</blockquote>
<br />
<div align="center">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4DNd95KmItaudf389J4COF3O2xG1yHd34IqcKCECGK3SzL65jyl75pjBBhTwrZkdWCiTh-8AFcJZtpMiBUbf9tZe2FLtCm3LAGdTb2Si0SCdmDezCFOiXVCm1CNzk8mizNxWu/s1600/borges2.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="400" width="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4DNd95KmItaudf389J4COF3O2xG1yHd34IqcKCECGK3SzL65jyl75pjBBhTwrZkdWCiTh-8AFcJZtpMiBUbf9tZe2FLtCm3LAGdTb2Si0SCdmDezCFOiXVCm1CNzk8mizNxWu/s400/borges2.jpg" /></a><br /><span style="font-size: 85%;">[<a href="http://www.johncoulthart.com/feuilleton/2012/08/14/books-borges-never-wrote/">Books Borges Never Wrote</a>]</span></div><br />
<br />
<blockquote>
<br />
<b>Works cited</b><br />
<ul><br />
<li>Auden, W. H. (1979). <i>Selected Poems</i>. Ed. Edward Mendelson. London: Faber.</li>
<br />
<li>Barth, John. (1982). <i>Chimera</i>. 1972. London: Granada.</li>
<br />
<li>Barth, John. (1988). <i>The Tidewater Tales: A Novel</i>. 1987. London: Methuen.</li>
<br />
<li>Borges, J. L. (1989-90). <i>Obras completas </i>(1 – 1923-1949; 2 – 1952-1972; 3 – 1975-1985). 3 vols. Buenos Aires: Emecé Editores.</li>
<br />
<li>Borges, J. L. (1985). <i>Prosa completa </i>(1930-1975). 4 vols. Barcelona: Editorial Bruguera.</li>
<br />
<li>Burton, Richard F., trans. (1885). <i>The Book of the Thousand Nights and a Night: A Plain and Literal Translation of the Arabian Nights Entertainments</i>. 10 vols. U.S.A.: The Burton Club, n.d.</li>
<br />
<li>Galland, Antoine, trans. (1965). <i>Les Mille et Une Nuits: Contes arabes</i>. 12 vols. 1704-17. Ed. Jean Gaulmier. 3 vols. Paris: Garnier-Flammarion, 1990, 1985, 1991.</li>
<br />
<li>Hamori, Andras. (1975). <i>On the Art of Medieval Arabic Literature</i>. 1974. Princeton: Princeton UP.</li>
<br />
<li>Kilito, Abdelfattah. (1992). <i>L'Œil et l'aiguille: Essai sur "les mille et une nuits."</i> Textes à l'appui: série islam et société. Paris: Editions la Découverte.</li>
<br />
<li>Skeat, W. W. (1988). <i>An Etymological Dictionary of the English Language</i>. 1879-1882. Oxford: Clarendon Press.</li>
</ul>
<br />
<div align="center">
<br />
<span style="font-size: 85%;">[This paper, under the title “Barth, Borges and the Poetics of Stasis in <i>The Thousand and One Nights</i>” was first read at the STASIS Conference, Auckland University, on 9 June, 1995. It was published, in slightly different form, in <i>Magazine</i> 2 (2004): 7-18.]</span></div>
</blockquote>
<br />
<div align="center">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5362591049088274098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" style="cursor: hand; cursor: pointer; display: block; height: 199px; margin: 0px auto 10px; text-align: center; width: 177px;" /></a></div>
Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-39303253846308416132006-09-16T17:48:00.000-07:002012-10-30T16:38:41.275-07:00Metaphors of The 1001 Nights<div align="center">
<br />
<a href="http://photos1.blogger.com/blogger2/4016/4051/1600/Borges.jpg"><img alt="" border="0" src="http://photos1.blogger.com/blogger2/4016/4051/320/Borges.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="font-size: 85%;">[<a href="http://www.themodernword.com/borges/borges_images.html">Jorge Luis Borges</a>]</span></div>
<br />
<b><br />The first metaphor</b> is the river –<br />
father of waters. The living crystal<br />
guarding those miracles<br />
which were Islam’s, but now are<br />
yours and mine: The kick-ass<br />
talisman doubling as a slave;<br />
the genie jammed inside a jar<br />
by Solomon’s seal; that King’s command<br />
to give his one-night stand<br />
the chop – matching a lunar beauty<br />
with the white sheen of the sword;<br />
washing your hands with ashes;<br />
the voyages of Sindbad, that Ulysses<br />
inspired by the thrill of <i>risk</i><br />
not punished by a god; the magic lamp;<br />
the signs that showed Rodrigo<br />
the Moors conquering Spain;<br />
the ape who proved he was a man<br />
by winning at chess; the leprous king;<br />
tall caravans; the magnetic<br />
mountain that collects ships;<br />
the sheikh and the gazelle; a fluid orb<br />
of forms changing like clouds,<br />
subject to Destiny – or Chance<br />
(the same thing, in effect);<br />
the beggar who could be an angel<br />
and the cave called Sesame.<br />
<span style="padding-left: 2em;"><b>The second metaphor</b> is the web</span><br />
of a tapestry, which looks up close<br />
like a chaos of colours and arbitrary<br />
lines, a dizzying expanse<br />
of chance – but secret laws delimit it.<br />
Just like that other dream, the Universe,<br />
the Book of the Nights is made up<br />
of master-numbers and motifs:<br />
seven brothers and seven voyages,<br />
three Kazis and three wishes<br />
for whoever sees the Night of Nights,<br />
the dark-haired beauty in whose arms<br />
the lover watches three whole nights,<br />
three Wazirs and three punishments,<br />
and, behind all the others, that first<br />
and final number of the Lord: the One.<br />
<span style="padding-left: 2em;"><b>The third metaphor</b> is a dream</span><br />
woven by Persians and Muslims<br />
in the courtyards of the veiled East<br />
or in orchard closes turned to dust.<br />
People will keep dreaming it<br />
till the end of time. As in<br />
the Eleatic paradox, the dream<br />
divides into another dream<br />
and then another, and so on,<br />
entwining in a static labyrinth.<br />
In this book is <i>the</i> Book. The careless<br />
Queen tells the King their own<br />
half-forgotten story. Distracted<br />
by the din of past enchantments<br />
they forget who they are ... and dream.<br />
<span style="padding-left: 2em;"><b>The fourth metaphor</b> is a map</span><br />
of that indefinable region, Time,<br />
which measures the pace of shadows<br />
and the slow erosion of marble<br />
and the tread of the generations.<br />
Everything. The voice and the echo –<br />
that vision of Janus, two-faced god –<br />
worlds of silver and worlds of gold<br />
and the vast vigil of the stars.<br />
The Arabs say no-one can ever<br />
read right through the Book of the Nights.<br />
The <i>Nights</i> are Time, which never sleeps.<br />
Keep reading as the day declines and<br />
Scheherazade will tell you your own story.<br />
<div align="center">
<br />
– Jorge Luis Borges, "Metáforas de <i>Las Mil y Una Noches.</i>" <i>Historia de la noche</i> (1977)<br />
<br />
<span style="font-size: 85%;"><br />[Translation by Jack Ross first published in <i>Magazine</i> 1 (2003): 36-38.]</span><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5362591049088274098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" style="cursor: hand; cursor: pointer; display: block; height: 199px; margin: 0px auto 10px; text-align: center; width: 177px;" /></a></div>
Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-1156574836576686082006-08-25T23:40:00.000-07:002009-07-25T19:45:43.632-07:00Scheherazades<div align="center"><br /><strong><span style="font-size:180%;">Blonde, brunette or redhead -</span><br /><span style="font-size:130%;">Images from the net:</span><br /></strong><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsiVZ0zRkuXDMGv3ssYtvtfZz5ilsvLj7wWBfjoF86UEKW5rz_Ig2fgRK2tu-2AiZ2Jjfqnp2pZb8yyPsJ-PLqhq39YU3_-ISvNpQxF8iVLJUl-tIl-coP4uZV0Ja9upjacn_0/s1600-h/Chasseriau.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 318px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsiVZ0zRkuXDMGv3ssYtvtfZz5ilsvLj7wWBfjoF86UEKW5rz_Ig2fgRK2tu-2AiZ2Jjfqnp2pZb8yyPsJ-PLqhq39YU3_-ISvNpQxF8iVLJUl-tIl-coP4uZV0Ja9upjacn_0/s400/Chasseriau.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273519922050433186" /></a><span style="font-size:85%;">[<a href="http://membres.lycos.fr/chasseriau/">Théodore Chassériau</a>]<br /></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbISvcbNuy5eIYKRcvqZFU38IoEgNOKjnwlydrykQ92avmTjkEj75XwBGl8cjDvqERKSJJwH_txBKyFYeunE68VP43eucX3UAmWBVAJhuA2-7ddorbpuseOzcA9qWV9UYKWK9f/s1600-h/anna.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 244px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbISvcbNuy5eIYKRcvqZFU38IoEgNOKjnwlydrykQ92avmTjkEj75XwBGl8cjDvqERKSJJwH_txBKyFYeunE68VP43eucX3UAmWBVAJhuA2-7ddorbpuseOzcA9qWV9UYKWK9f/s400/anna.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273520554223452242" /></a><span style="font-size:85%;">[<a href="http://www.newquayart.co.uk/">Sally</a>]<br /></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOYrUbdlDmP0XE3zPNtaI8mQCBDktVPAf3arxEcm6a3PmENvRdi6cE22ytkBoMyInDIjYdVfY4wvIpF_kW2UTWsFtWw0iUGjdN74Yh4v61sPuuuK4C1fOkK3mwIul3cMAGOs9m/s1600-h/grimm_scheherazade.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 247px; height: 380px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOYrUbdlDmP0XE3zPNtaI8mQCBDktVPAf3arxEcm6a3PmENvRdi6cE22ytkBoMyInDIjYdVfY4wvIpF_kW2UTWsFtWw0iUGjdN74Yh4v61sPuuuK4C1fOkK3mwIul3cMAGOs9m/s400/grimm_scheherazade.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273520289037228882" /></a><span style="font-size:85%;">[<a href="http://www.goethezeitportal.de/index.php?id=665">Brüder Grimm-Museum</a>]<br /></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW65d2BsX1dUXjGABgeXV0NZ1vdCAATyo-Zt0bIgXyP4f8nEl7w9m4ehdjhM-jqQYs6zio8jp6BX-l-usdsAHzsa1wchJo9qmD1lNaJa4QZAbKbWArNFxkTQiq7vqQLWPntC5r/s1600-h/gaetano.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 273px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW65d2BsX1dUXjGABgeXV0NZ1vdCAATyo-Zt0bIgXyP4f8nEl7w9m4ehdjhM-jqQYs6zio8jp6BX-l-usdsAHzsa1wchJo9qmD1lNaJa4QZAbKbWArNFxkTQiq7vqQLWPntC5r/s400/gaetano.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273520123402025250" /></a><span style="font-size:85%;">[<a href="http://www.nickgaetano.com/illustrations2.html">Nick Gaetano</a>]<br /></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuCg2pl6jT0X9S-oIV8PjqetVAX9spQjVl41mx6CC3H9gN7KMx7tDIF0a8UuslzTecLXOD17TVJQIzvigB7nKQesMpzEV5tHbmOaumZATNb5Y6bRRky8SdX-axA6rEWsttGuWP/s1600-h/scheherazade.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 303px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuCg2pl6jT0X9S-oIV8PjqetVAX9spQjVl41mx6CC3H9gN7KMx7tDIF0a8UuslzTecLXOD17TVJQIzvigB7nKQesMpzEV5tHbmOaumZATNb5Y6bRRky8SdX-axA6rEWsttGuWP/s400/scheherazade.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273519672069565826" /></a><span style="font-size:85%;">[<a href="http://booksforallreasons.blogspot.com/2007/12/book-cover-art-artist-of-week.html">Rowena</a>]<br /></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi33__9L6uu-60Cv8H1xlFspBzLW3ROgO7Im0qtlo4ISw2qiz5QHF-Wp8FEIDP2c1103EdEDMu79eM92avj7O_pYLIfALfNMkQ24RWddPdyFKN2CW2qFMVtDX9WH1rUkjJGSuzf/s1600-h/scheherazade2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 294px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi33__9L6uu-60Cv8H1xlFspBzLW3ROgO7Im0qtlo4ISw2qiz5QHF-Wp8FEIDP2c1103EdEDMu79eM92avj7O_pYLIfALfNMkQ24RWddPdyFKN2CW2qFMVtDX9WH1rUkjJGSuzf/s400/scheherazade2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273521552266448898" /></a><span style="font-size:85%;">[<a href="http://www.e-earthborn.com/gallery/photoshop/e_pages/scheherazade.html">earthborn</a>]<br /></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgivQWaw1tScPGz2Exk5FMV8ekFKyzWJ3WuYPb9z79pAIDM4ZbfP22Fg74ZZf3c1InmJ29rAoOz6Be4lnbI_ISbFJB_Ivztyqw44Y8KcPGhnGCmIsKBD6ZvGz2qQk-TAPuTyKlH/s1600-h/scheherazade3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 273px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgivQWaw1tScPGz2Exk5FMV8ekFKyzWJ3WuYPb9z79pAIDM4ZbfP22Fg74ZZf3c1InmJ29rAoOz6Be4lnbI_ISbFJB_Ivztyqw44Y8KcPGhnGCmIsKBD6ZvGz2qQk-TAPuTyKlH/s400/scheherazade3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273522719016474354" /></a><span style="font-size:85%;">[<a href="http://www.vfsterrett.com/arabian_nights_001.asp">Virginia Frances Sterrett</a>]</span><br /></div><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-1156475234747221762006-08-24T19:13:00.000-07:002009-07-25T19:44:51.300-07:00The School for Paradox<div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzJTtteTK0XIMWThYm2tqiTST-vI4XdH9eRKLvTbBNOGFRpnbyOHNECae6maWMwxb5NWwpDjA2NQyq-NbBh2ihaekKPeL_AqfGV1RsS5yLBv_e0ZxjG2hwQHFYuSHtMcMVO3yg/s1600-h/tarot-1001.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 356px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzJTtteTK0XIMWThYm2tqiTST-vI4XdH9eRKLvTbBNOGFRpnbyOHNECae6maWMwxb5NWwpDjA2NQyq-NbBh2ihaekKPeL_AqfGV1RsS5yLBv_e0ZxjG2hwQHFYuSHtMcMVO3yg/s400/tarot-1001.jpg" alt="" id="BLOGGER_PHOTO_ID_5273507326790495554" border="0" /></a><span style="font-size:85%;">[<a href="http://www.astroamerica.com/t-1001.html">Giacinta Gaudennzi, Tarot of the <em>1001 Nights</em></a>]</span><br /></div><br />One way of approaching the <em>Nights</em> is with a catechism: a series of questions and answers which go some way towards explaining just <em>why </em>it's always been such a source of fascination:<br /><br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7VN7sBFq3SjCGx36FbWaROLBa7o67hs0KjZo1Hze42o4ruEH5eqt750oc5z-y8qGBV8ICi7Bk6p8yn_FzgFNqE6G8oljVtAbheCLjDd4TQ2jldW990oQbJhk2yRsRrN7XFDy1/s1600-h/1001-nights-03261.jpg"><img id="BLOGGER_PHOTO_ID_5112057849439186802" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7VN7sBFq3SjCGx36FbWaROLBa7o67hs0KjZo1Hze42o4ruEH5eqt750oc5z-y8qGBV8ICi7Bk6p8yn_FzgFNqE6G8oljVtAbheCLjDd4TQ2jldW990oQbJhk2yRsRrN7XFDy1/s400/1001-nights-03261.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.aeclectic.net/tarot/cards/1001-nights/">King of Pentacles</a>]</span><br /></div><br /><strong><br />Why specifically <em>1001</em> nights?</strong><br /><blockquote><br />Burton states categorically “Without the Nights no Arabian Nights” (1885, 1: xiii), and denounces his predecessors for not retaining the full machinery of this punctuation to each stage of the narrative. But doesn't it really mean something more like “forever and a day” – infinity plus one – a figure of speech taken literally by later copyists, rather than the original authors (whoever they may have been) of the collection? Perhaps the essence of the matter is that it's a self-fulfilling prophecy. Whatever the figure meant originally, it was inevitable that it would eventually be taken literally.<br /><br />It is no accident that the figure of the labyrinth recurs so often in discussions of the <em>Nights</em>. I look at the paragraph above and realise that no statement in it can be left without further explanation. In fact, that' s my first critical axiom about the <em>Thousand and One Nights</em>: “No single assertion can be made about it which does not require immediate qualification.”<br /><br />One might go so far as to say that “No statement can be made about it whose opposite is not equally true.” Welcome to looking-glass land!<br /></blockquote><br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj0LTZeraRmtzqOUfI5J-2b8xAuWdaBWxBZihFVVwT2CPp7OGsnM_ViiU5dU9cDzADxJ8ovRGVAbekxDq8SMYPYij96KWxmhloLX5M7Mx063lNlPeE2ksCYbY45zf3exyPToe5/s1600-h/1001-nights-03258.jpg"><img id="BLOGGER_PHOTO_ID_5112064137271308210" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj0LTZeraRmtzqOUfI5J-2b8xAuWdaBWxBZihFVVwT2CPp7OGsnM_ViiU5dU9cDzADxJ8ovRGVAbekxDq8SMYPYij96KWxmhloLX5M7Mx063lNlPeE2ksCYbY45zf3exyPToe5/s320/1001-nights-03258.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.aeclectic.net/tarot/cards/1001-nights/">1</a>]</span><br /></div><br /><strong><br />So what <em>is</em> the <em>Thousand and One Nights</em>? A book, or many books?</strong><br /><blockquote><br />Generally when you talk about a book, you tend to think in terms of the <em>text</em> you're reading, the <em>author</em> (or authors) who wrote that text, and the <em>era</em> in which it was written. The French historian Taine told us to preface any literary-critical account of a book with an examination of “<em>l’homme, le moment, le milieu</em>.” That's precisely what we can't do in this case.<br /></blockquote><br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NrgE2F2RRJPdhRLdhcV14xWbr1UPVtTKMHWhfaXwTDsjXmYEB-KKjwFonTG-Ee10lYNdPCc_4KhyphenhyphenDeWGMEi4pcug-631mre3biu-itDgwUvxpv1Ldc6WAahkCF_HRXcwJaTr/s1600-h/1001-nights-03260.jpg"><img id="BLOGGER_PHOTO_ID_5112064287595163602" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NrgE2F2RRJPdhRLdhcV14xWbr1UPVtTKMHWhfaXwTDsjXmYEB-KKjwFonTG-Ee10lYNdPCc_4KhyphenhyphenDeWGMEi4pcug-631mre3biu-itDgwUvxpv1Ldc6WAahkCF_HRXcwJaTr/s320/1001-nights-03260.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.aeclectic.net/tarot/cards/1001-nights/">2</a>]</span><br /></div><br /><strong><br />Why not? Presumably it has those things – an author and an era. It must have a <em>text</em>, or we wouldn’t be able to read it.</strong><br /><blockquote><br />Firstly, the <strong>author</strong>:<br /><br />Nobody knows who wrote <em>The Thousand and One Nights</em>. <p></p><p>Lane, in 1839, attributed it to an Egyptian author of the sixteenth century ; René Khawam, in 1986, revised this to a Central Asian story-teller on the ancient Silk Route ; Burton, however, states baldly that “The author is unknown for the best reason; there never was one.” (1885, 10: 94). Clearly the different stories, like Grimm’s <em>Kinder- und Hausmärchen</em>, have many different authors. The divergences in language and topical references put this beyond dispute. Just as clearly, the frame-story must have been used for the very first time by someone, somewhere, to collect a group of stories. Probably it was in Persia, but quite likely the resultant collection contained none of the stories which we are accustomed to see in collections of the <em>Thousand and One Nights</em>.<br /><br />Secondly, the <strong>era</strong>:<br /><br />Nobody knows when the <em>Nights</em> were written. </p><p>The earliest fragment of Arabic manuscript with the names of Sharyar and Shahrazad inscribed on it dates from the ninth century . This, however, would appear to come from an Arabic translation of a Persian original which has not survived. Many (perhaps most) of the stories are later than this – though the references in them to dateable commodities like coffee and gunpowder might have been added by later copyists. The oldest substantial manuscript (used by Antoine Galland for his French translation – the first into any European language) dates from the fourteenth century, but the first complete printed edition in Arabic did not appear until 1835. Almost certainly the origins of the collection are pre-Hegira, but the book that we have is so thoroughly imbued with the Islamic spirit that this original can only really be thought of as an Ur-Nights.<br /><br />So, contradicting Taine’s prescription: <em>pas d’homme, pas de moment, pas de milieu: </em>No man, no moment, no milieu. </p><p>Nobody knows where the <em>Nights</em> come from. The frame-story – quite possibly the sole substantial link between the Persian <em>Thousand Nights</em> and the Arabic <em>Thousand and One Nights</em> – has been shown to have Sanskrit analogues, which suggests an Indian origin. Enno Littmann detects Persian, Iraqi, Syrian, and Egyptian levels in the complete work, but there no real consensus on which stories belong to which levels . The later storytellers tend to imitate the earlier ones, which makes it harder to apply such criteria. One should add as a corollary that there was a tendency among nineteenth-century critics to attribute anything of real substance to India, seen by them as the ancient mother of Aryan culture . Persians and Arabs were typed as mere transmitters of material inherited from, on the one hand, India, and, on the other hand, Greece.<br /><br />Thirdly, the <strong>text</strong>:<br /><br />Nobody has yet suggested an unequivocal criterion for telling which stories should legitimately be included in the collection, and which are spurious interpolations. Though translators and editors continue to place their faith in different texts and textual traditions, the one thing we can say for certain is that no two versions are ever exactly the same.<br /></p></blockquote><br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqMjfQ4F9lhDZlj_8ZyVtz8Brb1J6lmMEJKy5yt81XNm5vXtKDxTO9p3H36m6xW1kTS9CC4slzuUF1990HGCejrd_ztaoWs9god3_Dms42zKrUyibe-4BX5_GrjhFl7CY4UNqc/s1600-h/1001-nights-03259.jpg"><img id="BLOGGER_PHOTO_ID_5112064205990784962" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqMjfQ4F9lhDZlj_8ZyVtz8Brb1J6lmMEJKy5yt81XNm5vXtKDxTO9p3H36m6xW1kTS9CC4slzuUF1990HGCejrd_ztaoWs9god3_Dms42zKrUyibe-4BX5_GrjhFl7CY4UNqc/s320/1001-nights-03259.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.aeclectic.net/tarot/cards/1001-nights/">9</a>]</span><br /></div><br /><strong><br />What you're describing is a state of utter chaos. If there’s no fixed text, no author, and no era, how can we regard the <em>Nights </em>as a work of literature?</strong><br /><blockquote><br />I did mention earlier that everything about the <em>Thousand and One Nights</em> is paradoxical. “No single statement can be made about the Nights which does not require immediate qualification,” I said above, and then there's the variation on that: “No statement can be made about the Nights whose opposite is not equally true”?<br /><br />Let’s run through our checklist again, then.<br /><br />There <em>is</em> a fixed <strong>text</strong> of the <em>Thousand and One Nights</em>. Or, rather, there are two. The first is Antoine Galland’s manuscript, the oldest ever found of the collection, which has recently been edited and published in full for the first time by Muhsin Mahdi (1995). This is generally referred to as the Syrian text of the Nights. No doubt it originated in Iraq, but Galland’s incomplete copy came from modern Lebanon. It forms the basis of only the first half of Galland’s classic translation.<br /><br />The second, Egyptian text, is referred to under various other names, notably as the “Vulgate” – by analogy with the Vulgate French text of the Arthurian romances, the cycle of prose stories used by Malory when he was translating / writing the <em>Morte d’Arthur</em>. It is also called “Z.E.R.” (standing for <em>Zotenberg’s Egyptian Recension</em>), as the existence of this textual tradition was first pointed out by Hermann Zotenberg in his <em>Notice sur quelques manuscrits des Mille et une nuits et la traduction de Galland</em> (1888). It is a very full text of the collection, compiled at some point after 1500 in Cairo - Mahdi puts it as late as 1775 (1995, p. 100) - and it forms the basis both of the Bulaq and Macnaghten editions of the Arabic. It is true that much doubt has been thrown on its authority by Mahdi, who has demonstrated that this syncretic Egyptian text has been in some ways influenced by Galland himself, but that does not alter the fact that this Vulgate text has a kind of traditional authority through its very fullness which is virtually independent of questions of <em>ultimate</em> authority.<br /><br />Similarly, there may not be a single <strong>moment</strong> or a single milieu to fix on when talking of the <em>Nights</em>, but one can concentrate on at least two. Baghdad before its destruction by Tamerlane – the city of Harûn al-Rashid – and late-medieval Cairo. André Miquel has shown us how to confirm this. In a recent (and rather brilliant) study he took the unusual step of counting all the place names and geographical indications to be found in Burton’s complete translation of the <em>Nights</em>. He notes the repetitive and patterned nature of city descriptions in the collection, but goes on to say that they fall into two major groups:<br /><blockquote><br /><em>D’un côté, toutes celles qui reproduisent peu ou prou le modèle que l’on vient d’esquisser …: telle est Bagdad, peu connue par ailleurs, tant elle est devenue lointaine sur la carte comme dans le souvenir, et qui ne nous offre guère, en fait de toponymes inclus dans celui, général, de la ville, que le nom d’Al-Kharkh, le grand marché sur la rive droite du Tigre, aux abords de la première cité palatine … D’un autre côté, les villes mieux connues dans leurs détails, la Mekke et Médine, et surtout le Caire, lieu toujours vivant, lieu où s’enregistrent une bonne partie des contes et qui fait une large place aux toponymes spécialisés: les pyramides, le Nil, le lac de Qârûn … Grosse moisson, on le voit, prise à une ville vivante dont les souvenirs sont là, in situ dirais-je, face à la prestigieuse mais vieille Bagdad, la capitale d’un passé mort ou presque</em>. (Miquel, 1991, p. 65)<br /><br />[On the one hand, there are all those which reproduce, more or less, the model which we have just been outlining …: such is Bahgdad, little known otherwise, so far away has it become on the map as well as in memory, that it hardly offers us any details in the way of place-names, besides that of the city itself, with the exception of the name of the great market al-Kharkh on the right bank of the Tigris, on the borders of the first royal domain. On the other hand, there are cities better known in their details, Mecca and Medina, and above all Cairo, an ever-lively place, a place where a good many of the stories take place and which gives a good deal of space to specialised place-names: the pyramids, the Nile, Lake Karun. .. a good deal of information, we can see, taken from a still-living city or whose memory is active, just outside the door I should say, by comparison with the prestigious but ancient Baghdad, the capital of a dead or almost-defunct past].<br /></blockquote><br />One shouldn't be surprised to discover that the authors of the stories in the “Egyptian Recension” of the Nights knew more details about the topography of Cairo than of far-off, fallen Baghdad; but it's interesting to have the “imaginary” and “real” put in their places with such precision. They may <em>claim</em> to be writing about Baghdad or Persia or the Isles of Camphor, but it was actually the Mediterranean coast and the Red Sea which were there in front of their eyes.<br /><br />Coming back to the <strong>author</strong>, finally: We have one, of course; we have Scheherazade. Before you accuse me of frivolity, consider the closest analogy we have to the text of <em>Nights</em> – the Bible. This book has no single author (with the possible exception of God), no single known point of origin, even for the individual books; no single language or culture – no consensus, finally, on what should and should not be included in the text.<br /><br />What makes the <em>Bible</em> more than just the anthology of ancient Hebrew literature it has often been called is the presence of a common theme - the history of man’s relations with God, and also (through the idea of divine revelation) a common <em>implied</em> author in the person of the Almighty.<br /><br />Just as the Angel Gabriel dictated the Koran to Muhammad, and he to his followers, so the God of the Old and New Testaments was forced to rely on earthly means of transmission for the texts he inspired.<br /><br />Is Scheherazade any less the author of the <em>Nights</em> than Charles Dickens of <em>Household Words</em>, for example? Nothing can be inserted in the text without some sense of its appropriateness or inappropriateness in her mouth – she is, in short, a kind of gatekeeper or editor. It is not that she composed all the texts (that is a claim never made in <em>any</em> version), but she <em>is</em> their editor and transmitter. Dickens did write (though he left them unsigned) many of the articles in his weekly paper, but the mere fact of leaving them unsigned made all of it somehow his work. All of it – and none of it – at the same time.<br /></blockquote><br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi17JkaZjpLdJGaTd9v2dnGQSl0rPVjxYeFaYJFrdD-Q7ZXkVc9_ag9xc7s2MvfeE_AlwweRLEhRQQOujw-OfmwaCoY1GX7vMLDzYDtHcQlo_a1VEEeKVHG1siicWd3536IlhKO/s1600-h/1001-nights-03255.jpg"><img id="BLOGGER_PHOTO_ID_5112063896753139586" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi17JkaZjpLdJGaTd9v2dnGQSl0rPVjxYeFaYJFrdD-Q7ZXkVc9_ag9xc7s2MvfeE_AlwweRLEhRQQOujw-OfmwaCoY1GX7vMLDzYDtHcQlo_a1VEEeKVHG1siicWd3536IlhKO/s320/1001-nights-03255.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.aeclectic.net/tarot/cards/1001-nights/">I</a>]</span><br /></div><br /><strong><br />So there <em>is</em> a fixed text (or two), there <em>is</em> a milieu (various different contexts, in fact), and there <em>is</em> a kind of Platonic idea of an author hovering above this very eclectic text. Two questions arise from that: Which is the best version to read for someone with a finite amount of time? and, how can one seriously study a book with such indefinite antecedents?</strong><br /><blockquote><br />One of the reviewers of Burton’s translation put it rather well: “Galland for the nursery, Lane for the library, Payne for the study, and Burton for the gutter.”<br /><br />In other words, it depends what you want to read the book for. If you want a book of romances and fairy-stories, a version descended from Galland’s 17th-century French translation is still the best one to read – it is the basis for most of the children’s versions even now.<br /><br />If you want to understand the cultural and historical background, and yet still be shielded from the eroticism and violence of the complete work, Lane’s 1839 translation is an excellent compromise.<br /><br />If you want the text of the complete work with minimal editorial interference, there is Payne’s admirably clear 1882-84 translation. This has not yet been superseded in English, but in German there is now Enno Littmann’s scrupulously complete though largely unannotated translation (1976), and in Italian there is Gabrieli’s complete translation of the Bulaq text (1972).<br /><br />Finally, there is Burton’s very full, very eccentrically written, and absolutely uncastrated version of the complete work. If you can accustom yourself to his strange archaisms, and are at all curious about the highways and byways of Eastern life, this is the one to read. One should remark in advance, though, that Burton’s annotations have a tendency to overshadow his text at times.<br /></blockquote><br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnzL_qiCVoaBZKr95sasEsvxg_OBjTjJSDffoEc8IVzh8M0JuaaADY280TeVPRnjDeCknGqwjuQ23WlqnDnzMO4AqO4WyOvb7CU73VPVcb4JggbJ8XgWJ0o0aG1uBpzV3HdgJ7/s1600-h/1001-nights-03256.jpg"><img id="BLOGGER_PHOTO_ID_5112063982652485522" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnzL_qiCVoaBZKr95sasEsvxg_OBjTjJSDffoEc8IVzh8M0JuaaADY280TeVPRnjDeCknGqwjuQ23WlqnDnzMO4AqO4WyOvb7CU73VPVcb4JggbJ8XgWJ0o0aG1uBpzV3HdgJ7/s320/1001-nights-03256.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.aeclectic.net/tarot/cards/1001-nights/">VI</a>]</span><br /></div><br /><strong><br />So I should read Burton?</strong><br /><blockquote><br />Well, not necessarily. There are at least two other versions to consider. First, there is Dr. J. C. Mardrus’s 1899-1904 French translation, which claimed to be “literal and complete,” but which actually combines freedom of interpretation with textual inaccuracy to a bewildering degree. The English version of this, by Edward Powys Mathers (1972), is quite possibly the most entertaining (though certainly the least trustworthy) “complete” version on the market. Mathers turns Mardrus’s French prose dithyrambs into beautiful little English verses, so it really is most attractive to read.<br /><br />Secondly, there are a number of worthwhile selections and partial translations. There's J. A. Dawood’s (1982) Penguin translation of selected stories from Bulaq; there is A. J. Arberry’s (1953) similarly small selection, and now there is Husain Haddawy’s (1992) translation of Muhsin Mahdi’s edition of the Galland Ms. This is the most important recent version in English, as it includes the whole of the three surviving volumes of Galland’s original manuscript. Haddawy has supplemented it (1995) with another volume of selections from the whole text, which rather obscures the purpose of the exercise, but that’s a small criticism.<br /></blockquote><br /><strong>So I should read Burton for completeness, Mardrus-Mathers for entertainment, and Haddawy for authority?</strong><br /><blockquote><br />Basically, yes. Lane (1839-41) is still worth it for the illustrations and the notes, and Galland (1975) is a classic which will never be superseded, but there are no other versions in English which one really has to worry about. It actually takes quite a long time to read <em>any</em> of them.<br /></blockquote><br /><div align="center"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibk-Ir8xr6JaK2eIlr6MDvu-CNQg1E63KW-0I7Oio9-6w3QBpRbe7jSBbqBpjRMjCNKVK5oNUDre69X48wTiZBHua3qvFpLYel9FB_b_rhpbu4G88XnzWn2p9WSDzuSz3d4mEB/s1600-h/1001-nights-03257.jpg"><img id="BLOGGER_PHOTO_ID_5112064051371962274" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibk-Ir8xr6JaK2eIlr6MDvu-CNQg1E63KW-0I7Oio9-6w3QBpRbe7jSBbqBpjRMjCNKVK5oNUDre69X48wTiZBHua3qvFpLYel9FB_b_rhpbu4G88XnzWn2p9WSDzuSz3d4mEB/s320/1001-nights-03257.jpg" border="0" /></a><span style="font-size:85%;">[<a href="http://www.aeclectic.net/tarot/cards/1001-nights/">XX</a>]</span><br /></div><br /><strong><br />Will it be of any use to me beyond entertainment? Can I use it to illustrate my reading of <em>The Canterbury Tales</em> or <em>The Decameron</em> or any of the other great framed story-collections?</strong><br /><blockquote><br />Well, only with difficulty, I’m afraid. In fact, in a 1983 <em>PMLA </em>article on “Chaucer and the Arabic Frame Tradition,” Katherine Slater Gittes refuses even to include the collection in her argument because of this uncertainty of status. This is understandable , given the lack of a fixed text, author, and unified linguistic or cultural context. One solution is, of course, the old Comparative Literature standbys of <strong>Origin Studies</strong> and <strong>Influence Studies</strong>.<br /><br />The <em>first</em> consists of combing the archives for further clues to the semi-mythical ‘point/s of origin’ of the <em>Thousand and One Nights.</em><br /><br />The <em>second</em> involves studying the influence of the collection on various cultures, literatures, and authors. Both of these pursuits are extremely worthwhile, but they do rather evade the point.<br /><br /><em>The Arabian Nights’ Entertainments</em> – profoundly mutated translation from a lost original - can scarcely be said to have a point of origin, so it seems a trifle dubious to try and manufacture one. The <em>influence</em> of the book can be studied, certainly, but if there is no single artefact under discussion, it becomes a bit hard to distinguish the study from that of popular culture images of Arabic life in general.<br /><br />My own solution is to say that the <em>Thousand and One Nights</em> is a book because we <em>think</em> of it as a book. It is unified by the presence of the narrator Scheherazade, and consists of a library of all the stories which she has ever uttered – in whatever language (given that her original tongue was Persian rather than Arabic, there seems little reason to privilege Eastern versions over the European texts descended from Galland), at whatever time.<br /><br />Try thinking of it as Scheherazade’s web, and the fact that the centre of this web enshrines a fictional character should be seen simply as a accident of fortune. We ourselves inhabit flux, a flux patterned by our own life-myths, and that is the character of this book also.<br /><br />The advantage of this definition is that it frees us to consider the book in a multitude of ways. We can look at the patterning of its stories, we can examine its reflection of various strands of Middle-Eastern history, we can look at its influence on European writers and travellers – those who sought to imitate it, and those who tried to find it, intact, somewhere on earth (like Sir John Mandeville anatomising the Earthly Paradise). Rather than making a defect of its qualities, we ought to revel in its protean nature.<br /></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqkefeVms93xDOdBCNwtvSdLt3tkDLSTdsojKmDt-RBVYwpjv3Js5xyZ5ysD4DMXUv4BJ0HPcp5cFX2CvNkLC5h2lhfFzbJf195hNFAEPDqf11yFPH62Rdr_reIWLqjy8DcKSX/s1600-h/1001-nights-back.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 184px; height: 341px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqkefeVms93xDOdBCNwtvSdLt3tkDLSTdsojKmDt-RBVYwpjv3Js5xyZ5ysD4DMXUv4BJ0HPcp5cFX2CvNkLC5h2lhfFzbJf195hNFAEPDqf11yFPH62Rdr_reIWLqjy8DcKSX/s400/1001-nights-back.jpg" alt="" id="BLOGGER_PHOTO_ID_5273510912649103586" border="0" /></a><span style="font-size:85%;">[<a href="http://www.aeclectic.net/tarot/cards/1001-nights/">back of the pack</a>]</span><br /></div><br /><blockquote><br /><strong>Works cited</strong><br /><ul><br /><li>Abbott, Nabia. (1949). “A Ninth-Century Fragment of the ‘Thousand Nights.’” <em>Journal of Near-Eastern Studies</em> 8: 129-64.</li><br /><li>Arberry, A. J., trans. (1953). <em>Scheherazade: Tales from the Thousand and One Nights</em>. London: Allen and Unwin.</li><br /><li>Burton, Richard F, trans. (1885). <em>A Plain and Literal Translation of The Arabian Nights’ Entertainments, Now Entituled The Book of the Thousand Nights and a Night: With Introduction, Explanatory Notes on the Manners and Customs of Moslem Men and a Terminal Essay upon the History of the Nights</em>. 10 vols. Benares [= Stoke-Newington]: Kamashastra Society, 1885. N.p. [= Boston]: The Burton Club, n.d.</li><br /><li>Burton, Richard F., trans. (1886-88). <em>Supplemental Nights to the Book of the Thousand Nights and a Night with Notes Anthropological and Explanatory</em>. 6 vols. Benares [= Stoke-Newington]: Kamashastra Society, 1886-88. 7 vols. N.p. [= Boston]: The Burton Club, n.d.</li><br /><li>Dawood, N. J., trans. (1982). <em>Tales from the Thousand and One Nights</em>. 1954-57. 2nd ed. 1973. Harmondsworth: Penguin.</li><br /><li>Gabrieli, Francesco, ed. (1972). <em>Le mille e una notte: Prima versione integrale dall’arabo</em>. Trans. Francesco Gabrieli, Antonio Cesaro, Constantino Pansera, Umberto Rizzitano and Virginia Vacca. 1948. Gli struzzi 35. 4 vols. Torino: Einaudi.</li><br /><li>Galland, Antoine, trans. (1975). <em>Les Mille et Une Nuits: Contes arabes traduits par Galland</em>. 12 vols. 1704-17. Ed. Gaston Picard. 2 vols. 1960. Paris: Garnier.</li><br /><li>Gittes, Katharine Slater. (1983). “The Canterbury Tales and the Arabic Frame Tradition.” <em>PMLA</em> 98: 237-51.</li><br /><li>Haddawy, Husain, trans. (1992). <em>The Arabian Nights: Based on the Text of the Fourteenth-Century Syrian Manuscript edited by Muhsin Mahdi</em>. 1990. Everyman’s Library 87. London: David Campbell.</li><br /><li>Haddawy, Husain, trans. (1995). <em>The Arabian Nights II: Sindbad and Other Popular Stories</em>. New York: W. W. Norton & Co.</li><br /><li>Khawam, René R., trans. (1989). <em>Les Mille et une nuits</em>. 4 vols. 1965-67. 2nd ed. 1986. Paris: Presses Pocket.</li><br /><li>Lane, Edward William, trans. (1839-41). <em>The Thousand and One Nights, Commonly Called, in England, The Arabian Nights’ Entertainments. A New Translation from the Arabic, with Copious Notes</em>. 3 vols. London: Charles Knight.</li><br /><li>Littmann, Enno, trans. (1976). <em>Die Erzählungen aus den Tausendundein Nächten: Vollständige deutsche Ausgabe in zwölf Teilbänden zum ersten mal nach dem arabischen Urtext der Calcuttaer Ausgabe aus dem Jahre 1839 übertragen von Enno Littmann</em>. 1921-28. 2nd ed. 1953. 6 vols in 12. Frankfurt am Main: Insel Verlag.</li><br /><li>Mahdi, Muhsin. (1995). <em>The Thousand and One Nights</em>. Leiden: E. J. Brill.</li><br /><li>Mardrus, Dr. J. C., trans. (1989). <em>Le Livre des Mille et une Nuits</em>. 16 vols. Paris: Édition de la Revue blanche, 1899-1904. Ed. Marc Fumaroli. 2 vols. Paris: Laffont.</li><br /><li>Mathers, E. Powys, trans. (1972). <em>The Book of the Thousand Nights and One Night: Rendered into English from the Literal and Complete French Translation of Dr. J. C. Mardrus</em>. 4 vols. 1949. 2nd ed. 1964. London: Routledge and Kegan Paul.</li><br /><li>Miquel, André, ed. (1991). <em>Les Dames de Bagdad: Conte des Mille et une nuits</em>. Paris: Desjonquères.</li><br /><li>Payne, John, trans. (1882-84). <em>The Book of the Thousand Nights and One Night; Now First Completely Done into English Prose and Verse, from the Original Arabic</em>. 9 vols. London: Villon Society.</li><br /><li>Zotenberg, Hermann. (1888). <em>Histoire d’Alâ al-Din ou La Lampe Merveilleuse: Texte Arabe publié avec une notice sur quelques manuscrits des Mille et une nuits</em>. Paris; Imprimerie Nationale.</li><br /></ul></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0tag:blogger.com,1999:blog-33189808.post-1156296544941954302006-08-22T18:00:00.000-07:002009-07-25T19:44:33.321-07:00Redu '92<div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn6FwsUGgFQJq7xVVranSeoPwrMb6EW1LjPH9HCBKuhmOLhi9loiVJBySvGdDZaY5xurYgDNM4j3hO5AFwXR9UYvNdroY90ciw5VR-FBnMfRkEjx0Rfe9VOqaxf8uncjFH0BG6/s1600-h/arabian_nights.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 329px; height: 327px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn6FwsUGgFQJq7xVVranSeoPwrMb6EW1LjPH9HCBKuhmOLhi9loiVJBySvGdDZaY5xurYgDNM4j3hO5AFwXR9UYvNdroY90ciw5VR-FBnMfRkEjx0Rfe9VOqaxf8uncjFH0BG6/s400/arabian_nights.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273504454706974898" /></a><span style="font-size:85%;">[<a href="http://trashotron.com/agony/columns/2004/pre_raph_gallery.htm">Kay Nielsen, "Scheherazade and Shahryar"</a>]</span><br /></div><br />“<em>Why</em> are you so obsessed with the <em>Arabian Nights</em>?”<br /><br />It was a crisp winter day in the Ardennes. I was walking along a narrow street in the village of Redu with my (then) mother-in-law. We had been eating raspberry crêpes in a little café by a frozen water-pump, and were feeling pretty self-satisfied. Or <em>I</em> was, at least – <em>she</em> may well have been bored with the whole strange day’s outing.<br /><br />In my hand I held a paper package which had cost a thousand Belgian Francs (c. $NZ50). It was a three volume edition of Weil’s German translation of the <em>Thousand and One Nights</em>, with lively little line-drawings on almost every page. My German is too rudimentary for me to read the text without difficulty, but I could make out enough to know that this was something special: an entirely new version of the collection.<br /><br />Redu is famed in Belgium as the village of second-hand books. Virtually every house has a store of old tomes, arranged in upper and lower rooms and along the winding staircases. It was a cold day, and few of the buildings were heated, so my long-suffering companion must have had to wait in quite a few freezing basements as I snorted and snarked my way through heaps of books in French, German, Dutch and (occasionally) English.<br /><br /><em>Snorted and snarked</em>? A somewhat curious locution, you think? It' s not mine: I'm quoting it from the first volume of Richard Burton’s <em>Arabian Nights</em>, where the author vaunts himself on never hesitating “to coin a word when wanted.” The other example he gives in his preface is “when the dust-cloud raised by a tramping host is descried as ‘walling the horizon’” (Burton, 1885, 1: xiv).<br /><br /><em>That’s</em> a strange thought for a frosty day in North-western Europe – a desert sandstorm extending above the horizon in a single blue-black wall with the sky visible above it! I’ve seen the same effect here at home with storm-clouds over the Waitakeres, the range of hills west of Auckland.<br /><br />“Impossible even to open the pages without a vision starting into view.” Burton’s preface goes on:<br /><br /><blockquote><p>During my long years of official banishment to the luxuriant and deadly deserts of Western Africa, and to the dull and dreary half-clearings of South America, it proved itself a charm, a talisman against ennui and despondency. (Burton, 1885, 1: vii). </p></blockquote><br />“A talisman against ennui and despondency.” Is <em>that</em> all it is? Is that the secret of the <em>Thousand and One Nights</em> – a charm against boredom? I don’t think that's what I told Anne Jensen as we strolled through the streets of Redu, but it’s hard now to be sure. It's almost fifteen years ago.<br /><br />I supose that I tried to explain to her some of my theories about the origins and character of the book. I doubt she felt much the wiser at the end of my speech.<br /><br />There was certainly a good deal to be said for her question. <em>Why</em> does this guy insist on buying so many copies of the same book? And why do they all have to be in different languages? She had already seen me, that year and at previous Christmases, gloating over versions in Italian, German, Spanish, and even Arabic. A harmless monomania perhaps, but an inconvenient one – one, what's more, that put other people to a good deal of trouble and expense!<br /><br />Perhaps I understand better now what Burton meant by ennui and despondency, but the book has not lost its charm, and I hope never will:<br /><br /><blockquote>From my dull and commonplace and “respectable” surroundings, the Jinn bore me at once to the land of my predilection, Arabia, a region so familiar to my mind that even at first sight, it seemed a reminiscence of some by-gone metempsychic life in the distant past. Again I stood under the diaphanous skies, in air glorious as æther, whose every breath raises men’s spirits like sparkling wine …<br />(Burton, 1885, 1: vii). </blockquote>Jorge Luis Borges, another victim of this strange obsession, also owned a complete set of Burton's translation:<br /><br /><blockquote><p><em>Sé que nunca los habré leído todos pero sé que ahí están las noches esperándome; que mi vida puede ser desdichada pero ahí estarán los diecisiete volúmenes; ahí estará esa especie de eternidad de</em> Las mil y una noches <em>del Oriente</em>. ((Borges, 1989, 3: 237) </p><p>["I know I’ll never read all of them, but I know that there the nights are waiting for me; that my life may be wretched but the seventeen volumes will be there; there will be that species of eternity, <em>The Thousand and One Nights</em> of the Orient.” (Borges, 1986, p. 50)]. </p></blockquote>“Desdichada” = wretched, unhappy … it seems to be a constant theme. The fascination of the Nights can remain intact for Borges as long as he never reads his way to the end of the seventeen volumes.<br /><br />Alas, I have read my way to the end of Burton. “<em>La chair est triste, hélas ! et j’ai lu tous les livres</em>.” No! It wasn't true for Mallarmé, nor is it true for me. I may have read Lane, and Burton, and Galland – but then there are all the commentaries, and the cognate works (I’ve read most of those, too), and the other translations: Payne, and Littmann, and Weil, and then, of course, some day, the Arabic.<br /><br />One must beware, though; the adventure of the Nights is dangerous – the magic might simply evaporate, leaving one clawing through a mountain of dryasdust pages. Mia I. Gerhardt, who wrote a pioneering study of the storytelling techniques in the collection, concluded her book as follows:<br /><blockquote><br />It is a sad and sobering thought that … for some years to come, I shall not be able to read the ‘1001 Nights’ for pleasure. The work done and the mixed feelings of satisfaction and dissatisfaction it leaves behind will, unavoidably, stand in the way of the uncomplicated liking which occasioned it in the first place. (Gerhardt, 1963, p.472)</blockquote><br />“The really disquieting thing,” though, she goes on to say, “… is that there is no saying for what unexplored regions I will find myself heading next.” The Nights may be vast, but they are at least bounded – the requirement of a thousand and one nights of story-telling gives them a shape which is lacking to the Romance of <em>Baibars</em>, or <em>’Antar and ’Abla</em>, or even – most evocative name of all – <em>The Ocean of the Streams of Story</em>.<br /><blockquote><br /><strong>Works cited:</strong><br /><ul><br /><li>Borges, Jorge Luis. (1989) Las Mil y una noches. <em>Siete noches</em>. 1980. <em>Obras completas: 1975-1985</em>. 3 vols. Buenos Aires: Emecé Editores. 3: 232-41.</li><br /><li>Borges, Jorge Luis. (1986). The Thousand and One Nights. <em>Seven nights</em>. 1980. Trans. Eliot Weinberger. 1984. London: Faber. 42-57.</li><br /><li>Burton, Richard F, trans. (1885). <em>A Plain and Literal Translation of The Arabian Nights’ Entertainments, Now Entituled The Book of the Thousand Nights and a Night: With Introduction, Explanatory Notes on the Manners and Customs of Moslem Men and a Terminal Essay upon the History of the Nights</em>. 10 vols. Benares [= Stoke-Newington]: Kamashastra Society. N.p. [= Boston]: The Burton Club, n.d.</li><br /><li>Burton, Richard F., trans. (1886-88). <em>Supplemental Nights to the Book of the Thousand Nights and a Night with Notes Anthropological and Explanatory</em>. 6 vols. Benares [= Stoke-Newington]: Kamashastra Society. 7 vols. N.p. [= Boston]: The Burton Club, n.d.</li><br /><li>Galland, Antoine, trans. (1975). <em>Les Mille et Une Nuits: Contes arabes traduits par Galland</em>. 12 vols. 1704-17. Ed. Gaston Picard. 2 vols. 1960. Paris: Garnier.</li><br /><li>Gerhardt, Mia I. (1963). <em>The Art of Story-Telling: A Literary Study of the </em>Thousand and One Nights. Leiden: E. J. Brill.</li><br /><li>Lane, Edward William, trans. (1839-41). <em>The Thousand and One Nights, Commonly Called, in England, The Arabian Nights’ Entertainments. A New Translation from the Arabic, with Copious Notes</em>. 3 vols. London: Charles Knight.</li><br /><li>Littmann, Enno, trans. (1976). <em>Die Erzählungen aus den Tausendundein Nächten: Vollständige deutsche Ausgabe in zwölf Teilbänden zum ersten mal nach dem arabischen Urtext der Calcuttaer Ausgabe aus dem Jahre 1839 übertragen von Enno Littmann</em>. 1921-28. 2nd ed. 1953. 6 vols in 12. Frankfurt am Main: Insel Verlag.</li><br /><li>Payne, John, trans. (1882-84) <em>The Book of the Thousand Nights and One Night; Now First Completely Done into English Prose and Verse, from the Original Arabic</em>. 9 vols. London: Villon Society.</li><br /><li>Richmond, Diana. (1978). <em>'Antar and 'Abla, A Bedouin Romance</em>. London: Quartet Books.</li><br /><li>Penzer, N. M., ed. (1968). <em>The Ocean of Story: Being C. H. Tawney’s Translation of Somadeva’s Katha Sarit Sagara (or Ocean of Streams of Story).</em> 1880-84. 10 vols. 1924. Delhi: Motilal Banarsidass.</li><br /><li>Weil, Gustav, trans. (c.1960). <em>Tausendundeine Nacht</em>. 1838-41. Ed. Inge Dreecken. 3 vols. Wiesbaden: R. Löwit, n.d.</li><br /></ul></blockquote><br /><div align="center"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s1600-h/Arabian+Nights+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 177px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUYv0-2y_azhlMkvoGZSJygNVzTb9a3NUXbBSK_FLp2QcME80ky_8_u8KYKRS936UkGlLmuUHI243px2Y685cG1LsLM9FAKYODy5d7qKO8p71GgSRAW7nxsSV1yRMfArc1L_0/s400/Arabian+Nights+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5362591049088274098" /></a><br /></div>Dr Jack Rosshttp://www.blogger.com/profile/01805945600952222957noreply@blogger.com0