هزار و یک شب

هزار و یک شب مجموعه‌ای از داستان‌های افسانه‌ای قدیمی هندی ، ایرانی و عربی است که به زبان‌های متعددی منتشر شده‌است.

شروع داستان به نقل از پادشاهی است ساسانی با عنوان شهریار (پادشاه) و روایتگر آن شهرزاد (دختر وزیر) است. اکثر ماجراهای آن در بغداد و ایران می‌گذرد و داستان‌های آن را از ریشهٔ ایرانی دانسته‌اند، که تحت تاثیر آثار هندی و عربی بوده‌است. اینکه داستان‌های هزار و یک شب مشخص و روشن باشند و تعداد آن‌ها دقیقا هزار و یک باشد چندان واقعی به نظر نمی‌رسد. اما داستان‌های زیادی زیر نام هزار و یک شب نوشته شده‌است.

محتویات [نمایش]
پیشینه [ویرایش]



سلطان شهرزاد را می‌بخشد
به‌گفته علی‌اصغر حکمت این کتاب پیش از دوره هخامنشی در هند به وجود آمده و قبل از حمله اسکندر به فارسی (پهلوی) ترجمه شده و در قرن سوم هجری زمانی که بغداد مرکز علم و ادب بود از پهلوی به عربی برگردانده شده‌است. اصل پهلوی کتاب ظاهراً از زمانی که به عربی ترجمه شده از میان رفته‌است. او دلیل آنکه کتاب پیش از اسکندر به فارسی درآمده را به مروج‌الذهب مسعودی متوفی به سال ۳۴۶ ه. ق و الفهرست ابن ندیم متوفی به سال ۳۸۵ ه. ق مراجعه می‌دهد و سپس با اشاراتی به مشابهت هزار و یک شب با کتاب استر تورات استدلال می‌کند که هر دو کتاب در یک زمان و پیش از حمله اسکندر نوشته شده‌اند و ریشه واحد دارند. نام ایرانی آن هزار افسان است و وقتی به عربی ترجمه شده، نخست الف خرافه و سپس الف لیله خوانده شده، و چنانکه حکمت می‌گوید در زمان خلفای فاطمی مصر به صورت الف لیلة و لیله (هزار شب و یک شب) در آمده‌است.

در سال ۱۲۵۹ هجری قمری، در زمان محمد شاه به دست عبداللطیف طسوجی به فارسی ترجمه شده (این کتاب دارای ارزش تاریخی است اما در کل یک سوم کتاب اصلی را هم شامل نمی شود.) و میرزا محمد علی سروش اصفهانی اشعاری به فارسی برای داستان‌های آن سروده‌است که تا زمان ناصرالدین شاه ادامه داشته‌است. داستان‌های این کتاب دارای محتوای بسیار بوده از جمله طنز، تعالیم اخلاقی چه بد و چه خوب (بعضی از داستان‌های آن تشویق به عیش و نوش و خوش‌گذرانی می‌نموده برای همین از این حکایات صرف نظر شده‌است ولی در بعضی حکایات هم تشویق به عدالت و ایثار و جوانمردی نموده‌است.)، آداب و سنن ملل مختلف، مشکلات اجتماعی، مسافرت و سیاحت و...

نسخه کنونی فارسی را عبدالطیف طسوجی در زمان محمد شاه و پسرش ناصرالدین شاه به فارسی درآورد و به چاپ سنگی رسید. «هزار و یک شب» نامی است که از زمان ترجمه طسوجی در دوره قاجار در ایران شهرت یافته و نام قدیم آن هزار افسان بوده‌است. چاپ کتاب تا زمان انقلاب اسلامی به همان سیاقی که چاپ کلاله خاور درآمده بود، مشکلی نداشت. بعد از انقلاب هم انتشارات هرمس این کتاب را در سال ۱۳۸۳ منتشر کرد که در ۱۳۸۶ به چاپ دوم رسید.

نخستین ترجمهٔ هزار و یکشب به زبان‌های اروپایی در قرن شانزدهم میلادی به دست آنتوان گالان به فرانسوی درآمد و در سال ۱۷۰۴ میلادی منتشر شد. سر ریچارد برتون نخستین ترجمه انگلیسی این کتاب را در ۱۸۸۵ عرضه کرد. بورخس همه آثارش را مدیون هزار و یک شب می‌دانست و تأثیر آن بر بسیاری از نویسندگان معروف جهان از جمله کسانی چون جیمز جویس انکارناپذیر است.

حکمت برای اصل و نسب هندی کتاب دو دلیل می‌آورد. یکی از آن‌ها قصه‌های تو در تو (حکایت در حکایت) است که در ادبیات هند سابقه دارد و ایرانیان نیز به گفته علامه قزوینی با این شیوه آشنایی داشتند.

شخصیت‌ها [ویرایش]

علاالدین
شهرزاد قصه‌گو
محققین هزار ویک شب [ویرایش]

در شرق و غرب بسیاری به تحقیق درباره هزارویک شب پرداخته اند. در ایران هم افرادی به این امر مشغول بوده و هستند.

محمدابراهیم اقلیدی (هزار و یک شب - دنیای قصه گویی)
بهرام بیضایی (ریشه یابی درخت کهن)
جلال ستاری (افسون شهرزاد)
نغمه ثمینی (کتاب عشق و شعبده)


منابع [ویرایش]

مقاله شاهین خدادادی مقدم در وب‌گاه بی‌بی‌سی فارسی
پیوند به بیرون [ویرایش]

در ویکی‌انبار پرونده‌هایی دربارهٔ هزارویک شب موجود است.
نمونه‌ای از قصه‌های هزارویک شب
[نهفتن]
ن • ب • و
داستان‌ها و افسانه‌های کلاسیک
معروف در سطح بین‌المللی
ارباب حلقه‌ها آلیس در سرزمین عجایب بزبز قندی پری دریایی پی‌پی جوراب‌بلنده پیر گینت پینوکیو تام انگشتی جادوگر شهر از جوجه اردک زشت خانه شکلاتی دخترک کبریت‌فروش راپانزل زیبای خفته سفیدبرفی شنل قرمزی کفش قرمزی کلیله و دمنه کوراوغلی ماجراهای تن‌تن و میلو نی‌نواز هاملین هزار و یک شب بابا لنگ‌دراز جک و لوبیای سحرآمیز

کلاسیک فارسی
ابومسلم‌نامه اسکندرنامه نقالی افسانه شیر سپیدیال امیر ارسلان نامدار چهل‌طوطی خاله سوسکه خاورنامه خروسک پریشان داراب‌نامه طرطوسی داستان فلک‌ناز داستان‌های امیرحمزه داستان‌های حسنک دختر شاه پریان سلیم جواهری سمک عیار سندباد شهر موش‌ها شیرزاد یا ببر و پیرزن عروسک سنگ صبور علاءالدین و چراغ جادو علی‌بابا و چهل دزد بغداد علی‌مردان‌خان عمو زنجیرباف قصه حسین کرد شبستری قصه‌های شاهنامه کدوی قلقله‌زن گرگ بد گنده گنجشکک اشی مشی ماهی سیاه کوچولو نارنج و ترنج نجمان خاکی هزار و یک شب هفت‌لشکر
رده‌های صفحه: ادبیات فارسی اساطیر ایرانی صد کتاب برتر همه زمان‌ها به انتخاب گاردین فرهنگ عراق کتاب‌هاهزار و یک شب
از ویکی پدیا
قس عربی
ألف لیلة ولیلة أو کما تعرف لدى الغرب (بالإنجلیزیة: Arabian Nights) أی اللیالی العربیة هی مجموعة متنوعة من القصص الشعبیة عددها حوالی مائتی قصة یتخللها شعر فی نحو 1420 مقطوعة، ویرجع تاریخها الحدیث عندما ترجمها إلى الفرنسیة المستشرق الفرنسی انطوان جالان عام 1704م، والذی صاغ الکتاب بتصرف کبیر، وصار معظم الکتاب یترجم عنه طوال القرن الثامن عشر وما تلاه. وقد قُلّدت اللیالی بصورة کبیرة وأستعملت فی تألیف القصص وخاصة قصص الأطفال، کما کانت مصدراً لإلهام الکثیر من الرسامین والموسیقیین. وتحتوی قصص ألف لیلة ولیلة على شخصیات أدبیة خیالیة مشهورة منها کعلاء الدین، وعلی بابا والأربعین حرامی و معروف الإسکافی و على زیبق المصرى والسندباد البحری، وبدور فی شهرزاد وشهریار الملک، والشاطر حسن.
أما الحقائق الثابتة حول أصلها، فهی أنها لم تخرج بصورتها الحالیة، وإنما أُلّفت على مراحل وأضیفت إلیها على مر الزمن مجموعات من القصص بعضها له أصول هندیة قدیمة معروفة، وبعضها مأخوذ من أخبار العرب وقصصهم الحدیثة نسبیاً. أما موطن هذه القصص، فقد ثبت أنها تمثل بیئات شتى خیالیة وواقعیة, وأکثر البیئات بروزا هی فی مصر والعراق وسوریا . والقصص بشکلها الحالی یرجح کتابتها فی القرن الرابع عشر المیلادی 1500م. وقد قامت دولة مصر منذ عدة سنوات بإنتاج عمل درامی اذاعی لهذا الکتاب ،اخرجه محمد محمود شعبان بطولة الفنانة زوزو نبیل وعمر الحریری وآخرون.
محتویات [أخف]
1 أهمیة کتاب ألف لیلة ولیلة
2 البناء القصصی
3 التأثیر
4 مؤلف الکتاب
5 عصر الکتاب واسمه
[عدل]أهمیة کتاب ألف لیلة ولیلة

حظی کتاب ألف لیلة و لیلة باعتناء الغرب و الشرق على حد سواء, و توفرت منه نسخ عدیدة و طبعات. و قد اصطبغ العالم الغربی فی نظرته إلى المشرق الإسلامی بصبغة هذا الکتاب و فحواه; فقد حرصت السیاسیة الغربیة على تصویر المجتمع الإسلامی بصورة مشوهة فیها الکثیر من التحریف التاریخی, بل هی صورة خارجة عن التاریخ کله, وقد کان للاستشراق دور فی صنع هذه الصورة و مقابلاتها و انعکاساتها.
ولیس التاریخ ما ذکر فی بطون الکتب التی تقص القصص, کما أنه لیس مجرد آثار تدرس و یدبج علیها بضعة أرقام لتصنیف فی المتاحف على أساس هذه الرؤیة المبتورة التی غالبا ما تکون زوایاها غیر واضحة بل ناقصة المعالم و الرؤى, کما أن التاریخ طرف فیه الروایة الصحیحة التی تتحدث عن الأحداث بصورة صحیحة, فیها تناقل الرواة العدول الثقات عن امثالهم حتى منتهى السند.
وهکذا فإن کتاب ألف لیلة و لیلة کتاب أسطوری بکل ما تحمل الکلمة من دلالة فی عصرنا, فهناک قصد ما لکاتب ما من وراء ما جاء فیه من قص و سرد. ففیه کل الأحلام أو الآمال او الحلول أو المفارقات التی تتلاحق فی ذهن الکاتب الذی کتب هذه اللیالی.
و لسنا نعلم شیئا قاطعا یدل أو یشی بمن ألف هذه اللیالی و نظمها , ومهما کان ما یصل إلیه المستنتج المستنبط فإن المهم طبیعة هذا الکتاب و بنیته.
[عدل]البناء القصصی

[عدل]التأثیر

من الجلی مدى تأثیر "ألف لیلة ولیلة" فی الأدب الأوروبی، فبعد أن ترجمت هذه الروایة إلى اللغات الأوروبیة وطبعت عدة طبعات منها، اقتبس الکاتب الإیطالی الشهیر "بوکاتشیو " فی کتابه "الأیام العشرة" الکثیر منها. فانتشر الکتاب فی بلدان أوروبا الغربیة، واقتبس منه الکاتب الإنجلیزی "شکسبیر" موضوع مسرحیته "العبرة بالنهایة". وسار "شوسر" على نهج "بوکاتشیو" فکتب "قصص کانتوبوری" على المنوال نفسه.
[عدل]مؤلف الکتاب



صفحة من النسخة العربیة لکتاب الف لیلة ولیلة وهی أقدم نسخة موجودة إلى الآن من الکتاب.
بالنظر إلى أن العالم الذی تصفه قصص "ألف لیلة ولیلة" عالم مشغول بالسحر والسحرة، صاخب إلى أبلغ درجات الصخب والهوس والعربدة، ماجن إلى آخر حد، مجنون مفتون، نابض بالحیاة والخلق والحکمة والطرب، مال بعض النقاد إلى أن واضع هذا الکتاب لیس فرداً واحداً. والحجة على ذلک من صلب الکتاب أن العوالم المحکیة فیه، والمجتمعات الموصوفة، والمعتقدات المذکورة، کل ذلک شدید الاختلاف، مما یقوی الاعتقاد أن مؤلفها أکثر من واحد، وأن تألیفها ممتد فی الزمان. ویحتوی الکتاب على حکایات عدیدة نسبت إلى مصر و القاهرة و الإسکندریة و الهند وبلاد فارس وحکایات تنسب إلى بغداد والکوفة والبصرة.
أصبحت حکایات ألف لیلة ولیلة رمزا حقیقیا أصیلا لمدینة بغداد، بغداد المجد والعظمة، وقد توافد المئات من المفکرین والشعراء والکتاب على مدینة بغداد منذ مطلع القرن العشرین حتى بدایة الغزو الأمریکی للعراق، وقاموا بتالیف العدید من الکتب والروایات والقصص التی تربط بین هذه الحکایات وعظمة مدینة بغداد وتاریخ العراق الهائل الغنی. وقد کان شارع أبی نواس فی بغداد هو الرمز التصویری لهذه القصص والحکایات حتى إن المطربة الأسترالیة الشهیرة تینا ارینا قد ذکرت مجد بغداد وربطتها بتاریخ شهرزاد وألف لیلة ولیلة فی أغنیتها المشهروة "اسمی بغداد" (Je m'appelle Bagdad)، وقد غنتها باللغة الفرنسیة وحققت نجاحا هائلا فی الفن الغنائی فی عام 2005 وما تلاه.
وقد کتب محسن مهدی فی مقدمة طبعة ا. ی. بریل عام 1984 أنه "بعد أن انتقلت نسخة الکتاب الخطیة بین مصر والشام مدة تزید على أربعة قرون من الزمن، وترجم من نسخ خطیة إلى اللغة الترکیة والفرنسیة والإنجلیزیة، وظهرت منه مقتطفات مطبوعة فی إنجلترا فی نهایة القرن الثامن عشر من المیلاد، طبع الکتاب لأول مرة فی کلکتا فی الهند فی جزئین، فی المطبعة الهندوستانیة برعایة کلیة فورت ولیم - الجزء الأول بعنوان "حکایات مائة لیلة من ألف لیلة ولیلة" عام 1814 م، والجزء الثانی بعنوان "المجلد الثانی من کتاب ألف لیلة ولیلة یشتمل على حکایات مائة لیلة وأخبار السندباد مع الهندباد" عام 1818 م - نشره الشیخ أحمد بن محمود شیروانی الیمانی أحد أعضاء هیئة التدریس فی قسم اللغة العربیة فی الکلیة المذکورة. وقد اقتصر الناشر على وضع مقدمة موجزة باللغة الفارسیة ذات الأسلوب الهندی فی أول کل واحد من الجزئین هذا نصها وترجمتها:
"لا یخفى أن مؤلف ألف لیلة ولیلة شخص عربی اللسان من أهل مصرأوالعراق. وکان غرضه من تألیف هذا الکتاب أن یقرأه من یرغب فی أن یتحدث بالعربیة فتحصل له من قرائته طلاقة فی اللسان عند التحدث بها. ولهذا کتب بعبارات سهلة کما یتحدث بها العرب، مستعملاً فی بعض المواضع ألفاظًا ملحونة بحسب کلام العرب الدارج. ولذلک فلا یظن من یتصفح هذا الکتاب ویجد ألفاظًا ملحونة فی مواضع منه أنها غفلة من المصحح، وإنما وضعت عمدًا تلک الألفاظ التی قصد المؤلف استعمالها کما هی."
وإن کان محسن مهدی یرجع ما یصفه الشیخ شیروانی بالألفاظ الملحونة إلى التعدیلات التی قام الأخیر بها "کما اشتهى وکما أملاه طبعه اللغوی وذوقه الأدبی" وهی إشارة من محسن مهدی أن النسخة الأصلیة قد مرت بأطوار من التعدیلات على مر الناشرین.
[عدل]عصر الکتاب واسمه

یغلب الظن أن الصیغة النهائیة من هذا الکتاب وضعت بین القرنین الثالث عشر والرابع عشر؛ إلا أنه معروف من قدیم، وعلى وجه الدقة من عهد المؤرخ العربی الشهیر: علی بن الحسین المسعودی. ففی کتابه "مروج الذهب ومعادن الجوهر" (فی فصل عنوانه: "ذکر الأخبار عن بیوت النیران وغیرها") ذکر ما روی عن إرم ذات العماد، وقال: "وقد ذکر کثیر من الناس ممن له معرفة بأخبارهم (یعنی بنی أمیة) أن هذه أخبار موضوعة مزخرفة مصنوعة، نظمها من تقرب إلى الملوک بروایتها، وصال على أهل عصره بحفظها والمذاکرة بها، وأن سبیلها سبیل الکتب المنقولة إلینا والمترجمة لنا من الفارسیة والهندیة والرومیة (یعنی الیونانیة)، وسبیل تألیفها مما ذکرنا مثل کتاب 'هزار أفسانة'، وتفسیر ذلک من الفارسیة إلى العربیة: 'ألف خرافة'؛ والخرافة بالفارسیة یقال لها أفسانة؛ والناس یسمون هذا الکتاب 'ألف لیلة ولیلة'، وهو خبر الملک والوزیر وابنته وجاریتها، وهما شیرزاد ودینازاد، ومثل کتاب 'فرزة وسیماس' وما فیه من أخبار ملوک الهند والوزراء، ومثل کتاب 'السندباد'، وغیرها من الکتب فی هذا المعنى". وفی ما ذکره المسعودی فوائد: منها أن "ألف لیلة ولیلة" کان معروفا فی عهده (فی القرن الرابع للهجرة، العاشر للمیلاد، وقد صرح هو نفسه فی کتابه أنه ألفه سنة 332 / 943-944)، وأن قصة السندباد لم تکن من أصل الکتاب بل کانت قصة مفردة برأسها، وإنما ألحقها بالکتاب جالان، مترجمه الأول إلى الفرنسیة، وأن أصل القصص الواردة فی "ألف لیلة" هندی وفارسی، إلا أنها مع مرور الزمان وتعاقب الزیادات علیها غلب علیها الطابع العربی، بل به عرفها الأوربیون. وتبدأ اللیالی بقصة الملک شهریار الذی یعلم بخیانة زوجتهِ لهُ فیأمر بقتلها وقطع رأسها، وأن ینذر على أن یتزوج کل لیلة فتاة من مدینته ویقطع رأسها فی الصباح أنتقاماً من النساء. حتى أتى یوم لم یجد فیه الملک من یتزوجها فیعلم أن وزیره لدیهِ بنت نابغة اسمها شهرزاد فقرر أن یتزوجها وتقبل هی بذلک. وتطلب شهرزاد من أختها دنیازاد أن تاتی إلى بیت الملک وتطلب من أختها أن تقص علیها وعلى الملک قصة أخیرة قبل موتها فی صباح ذلک الیوم فتفعل أختها دنیازاد ما طلب منها. فی تلک اللیلة قصت علیهم شهرزاد قصة لم تنهها وطلبت من الملک أنه لو أبقاها حیة فستقص علیه بقیة القصة فی اللیلة التالیة. وهکذا بدات شهرزاد فی سرد قصص مترابطة بحیث تکمل کل قصة فی اللیلة التی تلیها حتى وصلت بهم اللیالی ألف ولیلة واحدة. فوقع الملک فی حبها وأبقاها زوجة لهُ وتاب عن قتل الفتیات وأحتفلت مدینة الملک بذلک لمدة ثلاثة أیام. إن"الف لیلة ولیلة" لیس مجرد کتاب حکایات, إنه عالم أسطوری ساحر، ملیء بالحکایات الجمیلة والحوادث العجیبة والقصص الممتعة والمغامرات الغریبة. عالم یعبره القارئ بمرکبه الروحی من رحلة من أجمل رحلات الاستمتاع النفسی ینتهی منها مفتوناً، مأخوذاً بصور الجمال الباهرة والأحداث المتداخلة والسرد العفوی أحیانا. وهی بالإضافة إلى ذلک، إنجاز أدبی ضخم قدره الغربیون فترجموهُ إلى لغاتهم، وأمعنوا فیه دراسة وتحلیلاً. حتى تحولت اللیالی إلى وحی لفنانین کثیرین أخصبت خیالهم إلى حد الابداع، فظهر ذلک فی أعمالهم الروائیة والمسرحیة والشعریة والموسیقیة وغیرها. "ألف لیلة ولیلة" جدیرة بالدخول إلى کل بیت لیقرأها الآباء والأبناء وکل من یبحث عن الخیال والجمال والثقافة.

یوجد فی ویکی مصدر نص أصلی یتعلق بهذا المقال: ألف لیلة ولیلة
هناک المزید من الصور والملفات فی ویکیمیدیا کومنز حول: ألف لیلة ولیلة
تصنیفات: میثولوجیا عربیة قدیمةألف لیلة ولیلةقصصکتبحکایاتتراث عراقینصوص مترجمة للعربیةشخصیات من ألف لیلة ولیلة
قس مصری
الف لیله و لیله دى مجموعه من الحوادیت منتشرة بلغات کتیره جدا، ومش معروف الحوادیت دى بدت امتى او فین بالظبط. ألف لیله و لیله ماکانش الإسم الاصلى للکتاب ده. الکتاب بدا کحوادیت بیحکیها الحکواتیه اللى ما کانوش عارفین ان الحوادیت حاتتجمع فى کتاب واحد اسمه الف لیله و لیله. و لا حتى عدد الحوادیت اللى فى الکتاب ده 1001 حدوته. فى الأول الکتاب ده کان اسمه "الف خرافه" و بعدین بقى اسمه "الف لیله"، و ما حدش یعرف لیه الاسم اتغیر أو لیه اتسمى بعد کده الف لیله و لیله، لکن من المفترض ان ده حصل عشان الحوادیت تتلائم مع اسطورة شهرزاد اللى قعدت تحکى کل لیله حکایه لشهریار.

نصوص حکایات الف لیله و لیله ملیانه کلام بـ المصرى و أمثال شعبیه مصریه صمیمه و بتظهر فیها البیئه المصریه و أسواق القاهرة و اسکندریة بطریقه واقعیه عن أى مکان أو بلد تانیه بتظهر فیها، و حتى الحکایات اللى حوداثها بتجرى بره مصر فیها ما یوحى بإنها من خیال مصرى. و ده خلا کتیر من العلما و الباحثین یرجحوا إن أصل ألف لیله و لیله مصرى، رسمها نفس الخیال الشعبى المصرى اللى خلق سیرة الظاهر بیبرس و سیرة سیف بن ذى یزن.

بیرجح العلما و المؤرخین انها اتکتبت بشکلها الحالى فى القاهره فى مصر من حوالى سنة 1450 [1]، و بیأکد الدکتور عفیف نایف حاطوم محقق کتاب الف لیله و لیله إن اصل کتاب الف لیله و لیله مصرى ألفه کاتب مصرى [2]، و ده کمان اللى بیرجحه المؤرخ و المستشرق الکبیر ادوارد لین Edward Lean مترجم الف لیله و لیله للانجلیزى اللى قال فى مقدمة الترجمه الانجلیزیه لحوادیت الف لیله و لیلة (1839)، إن اللى کتبها کان کاتب مصرى، و کتبها فى نهایات العصر المملوکى وبدایات العصر العثمانلى ما بین سنة 1475 و سنة 1529. و بیأکد المؤرخ و الباحث الأمریکى الکبیر هارولد لام Harold Lamb إن هارون الرشید اللى بیظهر فى الف لیله و لیله عباره عن تحریف و انه فى الأصل الظاهر بیبرس سلطان مصر. بتظهر فى الف لیله ولیله اسامى موجوده فى سیرة الظاهر بیبرس زى "حبظلم بظاظا" اللى ظهر فى حکایة "علاء الدین مع زبیده العودیه" و اللى لیه نفس الصفات فى الکتابین، و بتظهر عبارات و ألفاظ موجوده فى کتب مؤرخین مصر فى العصور الوسطى و حتى کلام جه على لسان سلاطین مصر فى العصر المملوکى.

الأکید و الواضح لکل الباحثین و المؤرخین إن الف لیله و لیله على الأقل فیها جزء اتکتب فى مصر و اتضاف لیها فى عصر الدوله المملوکیه [3]، اللى خرجت فیه کمان سیرة الظاهر بیبرس و کتب فطاحل التأریخ زى المقریزى و ابن تغرى و ابن إیاس و غیرهم. المؤرخ و المستشرق الالمانى اوجست مولر August Müller قدر یحدد جزء کبیر من الف لیله و لیله اتکتب فى مصر [4]



المحتویات [تخبیة]
1 الطبعات
2 حکایات
3 فهرست وملحوظات
4 مراجع
الطبعات

اول طبعه للمخطوط المصرى کانت "طبعه بولاق الأولى" اللى صدرت سنة 1835 و تبعتها طبعة بولاق التانیه بعدها بتمانیه و عشرین سنه، الطبعتین دول بیعتبروا أصل کل الطبعات الشرقیه اللى صدرت بعد کده. ما بین سنة 1888 و 1890 اصدرت مطبعة الأباء الیسوعیین الکتاب فى خمس مجلدات بعد ما حذفت منه کلام اعتبرته مش مناسب. و اتبعتت النسخه المصریه للهند و اتطبعت فى کلکتا فى اربع مجلدات بین سنة 1839 و سنة 1842 و اتسمت الطبعه دى "طبعة کلکتا" أو "طبعة کلکتا الکامله" و بعدین اطبعت کمان فى بومباى و صدرت فى اربع مجلدات [5].

الف لیله و لیله کانت موضوع رسالة الدکتوراه بتاعة الدکتوره سهیر القلماوى بإشراف طه حسین.

حکایات

بتتکون الف لیله و لیله من حکایات کتیره بتبدأ کل حکایه او تکمله لحکایه بقول شهرزاد للملک شهریار "بلغنى أیها الملک السعید". فیه قصص قصیره و فیه قصص طویله من القصص الصغیره قصة "حکایة اللص و والى الاسکندریة" و "حکایة الملک الناصر و الولاه الثلاثه" و "حکایة علاء الدین أبى الشامات" ابن شاه بندر تجار مصر. و من اشهر حکایات الف لیله و لیله "حکایة الاسکافى معروف" اللى کان جزماتى فى مصر المحروسه، و "ابو قیر و ابو صیر" و "على بابا" و "السندباد البحرى" و "علاء الدین" و "على زیبق المصرى".

اترجمت حکایات الف لیله و لیله بتصرف للفرنساوى عن طریق المستشرق انطوان جالان (1704 - 1717) و ظهرت فى اتناشر جزء، و اترجمت عن ترجمته للغات أوروبیه تانیه بطریقه مستمره فى القرن 18، و کان أهم اللى ترجموها سیر ریتشارد بیرتون، و ولیام لین، و ج. مردروس، و اتقلدت کتیر فى قصص الأطفال و المسرحیات و الهمت رسامین و موسیقیین کتار. فولتیر کان من الادبا الکبار اللى اتاثروا بألف لیله ولیله و قراها اربعتاشر مره [6].

فهرست وملحوظات

↑ W.R. Benet, p.44
↑ حاطوم 1/3
↑ طه عبد الرؤوف 1/8
↑ Britannica p.976/IX
↑ حاطوم 1/4
↑ حاطوم 1/8
مراجع

أحمد نظمی، (أستاذ مساعد بقسم الدراسات العربیة والاسلامیة - جامعة وارسو)،الحکایات ذات الأصول المصریة فی ألف لیلة، بحث للجمعیه االبولندیه المصریه 2008.
قاسم عبده قاسم (دکتور): بین التاریخ و الفولکلور، عین للدراسات الانسانیة و الاجتماعیة، القاهرة
عفیف نایف حاطوم (دکتور استاذ بکلیة الاداب - الجامعه اللبنانیه)، الف لیله و لیله،الطبعه الأصلیه الکامله، دار صادر، بیروت 2008.
طه عبد الرؤوف سعد،الف لیله و لیله، مقدمة، مکتبة زهران، القاهره 1999
الموسوعة الثقافیة، مؤسسة فرانکلین للطباعة والنشر، القاهرة -نیویورک
Lamb, Harold. The Crusades. Garden City Publishing, 1934
Sallis, Eva. Sheherazade through the looking glass: the metamorphosis of the Thousand and One Nights, 1999
Benet, W.R.: The Reader Encyclopedia, j. W. Arrowsmith, Bristol 1977
The New Encyclopædia Britannica, Micropædia,H.H. Berton Publisher,1973-1974
فیه فایلات فى تصانیف ویکیمیدیا کومونز عن:
الف لیله و لیله
تصانیف: ادب کتب ادب شعبى مصرى ادب مصرى اساطیر
قس آذربایجانی
Min bir gecə - Yaxın Şərq xalqlarının min illərdən bəri yaratdıqları və çoxsaylı müəllif, tərcüməçi və tətqiqatçılar tərəfindən toplanmış nağıllar toplusu.
Orijinal əlyazmasının heç vaxt tapılmamasına baxmayaraq bu nağıllar toplusunun bizim eranın 800-900-cü illərinə aid olduğu söylənilir. Nağıllar bir qayda olaraq Şəhrizadə tərəfindən əri və şahı Şəhriyara min bir gecəlik zaman müddətində nəql edilir.
Şəhriyar arvadlarından birinin xəyanətindən dərin sarsılır və yer üzünün bütün qadinlarını da etibarsız elan edir. O qadınlardan özünəməxsus şəkildə qisas alır. Belə ki evləndiyi qadını hər gecənin səhərində qətlə yetirir. Növbə vəzirin gözəl və ağıllı qızı Şəhrizadəyə çatır. Ağıllı Şəhrizadə şahının niyyətini gözəl anlayır və evləndikləri gecə şaha maraqlı bir nağıl danışır, lakin onu səhərə yaxın ən maraqlı yerində yarımçıq bitirir. Beləliklə, hər gecə şaha bir yeni nağıl söyləyən Şəhrizadə hər nağılı belecə tamamlamamış halda bitirir və hər yarımçıq nağılı ilə həyatını xilas edir. Əhvalat bu minvalla düz 1001 gecə davam edir və yekunda Şəhrizad şahın qəzəbindən həmişəlik qurtula bilir.
[redaktə]"Min bir gecə" - dünya sərvətidir

Şərq xalqlarının "Min bir gecə" nağıllarındakı müdrikliyi və fantaziyaları, süjetlərin, simvolların, alleqoriyaların rəngarəng müəmmalı olması musiqiçiləri dəfələrlə müxtəlif janr və formalı əsərlər yaratmağa sövq etmişdir. Etik və estetik təsir gücünə malik dolğun və incə poetik obrazları ilə müxtəlif yaşlı oxucuları sehrli aləmilə ovsunlayan Şəhrizadın nağılları dünya sərvətinə çevrilmişdir.
[redaktə]"Min bir gecə" baleti

"Min bir gecə" nağıllarında ilham alan azərbaycanın görkəmli bəstəkarlarından Fikrət Əmirov dünyada şöhrət qazanmış eyni adlı baletin müəllifidir. Balet ilk dəfə 1979-cu ildə M.F. Axundov adına Opera və Balet Teatrında göstərilmişdir.
Fikrət Əmirov "Min bir gecə" nağıllarının mövzusuna elə bir zamanda müraciət etmişdir ki, artıq dünya dinləyiciləri Rimski-Korsakovun "Şəhrizadə"si kimi dahiyanə simfonik süitası ilə tanış idilər. Tanınmış musiqişünas Pavel Xuçuanın sözləri ilə desək, bu süjetə müraciət etmək istəyən bəstəkardan "böyük yaradıcılıq cəsarəti, yüksək peşəkarlıq, ustalıq və zəngin Şərq musiqisinin incə təbii hisslərinə malik olmaq tələb edilirdi". [1]
[redaktə]Mənbə

↑ http://www.fikretamirov.com/site/balet.php "Min bir gecə" baleti
Bu məqalənin azərbaycan dili əlifbasının ərəb qrafikası ilə qarşılığı vardır. Bax: مین بیر گئجه
Kateqoriya: Ərəb ədəbiyyatı
قس انگلیسی
One Thousand and One Nights (Arabic: کتاب ألف لیلة ولیلة‎ Kitāb alf laylah wa-laylah) is a collection of Middle Eastern and South Asian stories and folk tales compiled in Arabic during the Islamic Golden Age. It is often known in English as the Arabian Nights, from the first English language edition (1706), which rendered the title as The Arabian Nights' Entertainment.[1]
The work was collected over many centuries by various authors, translators and scholars across the Middle East, Central Asia and North Africa. The tales themselves trace their roots back to ancient and medieval Arabic, Persian, Indian, Turkish, Egyptian and Mesopotamian folklore and literature. In particular, many tales were originally folk stories from the Caliphate era, while others, especially the frame story, are most probably drawn from the Pahlavi Persian work Hazār Afsān (Persian: هزار افسان‎, lit. A Thousand Tales) which in turn relied partly on Indian elements.[2]
What is common throughout all the editions of the Nights is the initial frame story of the ruler Shahryār (from Persian: شهریار‎, meaning "king" or "sovereign") and his wife Scheherazade (from Persian: شهرزاد‎, possibly meaning "of noble lineage"[3]) and the framing device incorporated throughout the tales themselves. The stories proceed from this original tale; some are framed within other tales, while others begin and end of their own accord. Some editions contain only a few hundred nights, while others include 1,001 or more.
Some of the stories of The Nights, particularly "Aladdin's Wonderful Lamp", "Ali Baba and the Forty Thieves" and "The Seven Voyages of Sinbad the Sailor", while almost certainly genuine Middle-Eastern folk tales, were not part of The Nights in Arabic versions, but were interpolated into the collection by Antoine Galland and other European translators.[4] The innovative and rich poetry and poetic speeches, chants, songs, lamentations, hymns, beseeching, praising, pleading, riddles and annotations provided by Scheherazade or her story characters are unique to the Arabic version of the book. Some are as short as one line, while others go for tens of lines.
Contents [show]
[edit]Synopsis

See also: List of stories within One Thousand and One Nights and List of characters within One Thousand and One Nights

Queen Scheherazade tells her stories to King Shahryār.
The main frame story concerns a Persian king and his new bride. He is shocked to discover that his brother's wife is unfaithful; discovering his own wife's infidelity has been even more flagrant, he has her executed: but in his bitterness and grief decides that all women are the same. The king, Shahryar, begins to marry a succession of virgins only to execute each one the next morning, before she has a chance to dishonour him. Eventually the vizier, whose duty it is to provide them, cannot find any more virgins. Scheherazade, the vizier's daughter, offers herself as the next bride and her father reluctantly agrees. On the night of their marriage, Scheherazade begins to tell the king a tale, but does not end it. The king is thus forced to postpone her execution in order to hear the conclusion. The next night, as soon as she finishes the tale, she begins (and only begins) a new one, and the king, eager to hear the conclusion, postpones her execution once again. So it goes on for 1,001 nights.
The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, burlesques and various forms of erotica. Numerous stories depict Jinns, Ghouls, Apes,[5] sorcerers, magicians, and legendary places, which are often intermingled with real people and geography, not always rationally; common protagonists include the historical Abbasid caliph Harun al-Rashid, his Grand Vizier, Jafar al-Barmaki, and his alleged court poet Abu Nuwas, despite the fact that these figures lived some 200 years after the fall of the Sassanid Empire in which the frame tale of Scheherazade is set. Sometimes a character in Scheherazade's tale will begin telling other characters a story of his own, and that story may have another one told within it, resulting in a richly layered narrative texture.


A manuscript of the One Thousand and One Nights
The different versions have different individually detailed endings (in some Scheherazade asks for a pardon, in some the king sees their children and decides not to execute his wife, in some other things happen that make the king distracted) but they all end with the king giving his wife a pardon and sparing her life.
The narrator's standards for what constitutes a cliffhanger seem broader than in modern literature. While in many cases a story is cut off with the hero in danger of losing his life or another kind of deep trouble, in some parts of the full text Scheherazade stops her narration in the middle of an exposition of abstract philosophical principles or complex points of Islamic philosophy, and in one case during a detailed description of human anatomy according to Galen—and in all these cases turns out to be justified in her belief that the king's curiosity about the sequel would buy her another day of life.
[edit]History: versions and translations



Princess Dunyazade.
The history of the Nights is extremely complex and modern scholars have made many attempts to untangle the story of how the collection as it currently exists came about. Robert Irwin summarises their findings: "In the 1880s and 1890s a lot of work was done on the Nights by [the scholar] Zotenberg and others, in the course of which a consensus view of the history of the text emerged. Most scholars agreed that the Nights was a composite work and that the earliest tales in it came from India and Persia. At some time, probably in the early 8th century, these tales were translated into Arabic under the title Alf Layla, or 'The Thousand Nights'. This collection then formed the basis of The Thousand and One Nights. The original core of stories was quite small. Then, in Iraq in the ninth or tenth century, this original core had Arab stories added to it – among them some tales about the Caliph Harun al-Rashid. Also, perhaps from the tenth century onwards, previously independent sagas and story cycles were added to the compilation [...] Then, from the thirteenth century onwards, a further layer of stories was added in Syria and Egypt, many of these showing a preoccupation with sex, magic or low life. In the early modern period yet more stories were added to the Egyptian collections so as to swell the bulk of the text sufficiently to bring its length up to the full 1,001 nights of storytelling promised by the book’s title."[6]
[edit]Speculation about Indian origins
Some scholars have seen an ultimate Indian origin for the Nights. The collection makes use of devices found in Sanskrit literature such as frame stories and animal fables.[7] Indian folklore is represented in the Nights by certain animal stories, which reflect influence from ancient Sanskrit fables. The influence of the Panchatantra and Baital Pachisi is particularly notable.[8] The Jataka Tales are a collection of 547 Buddhist stories, which are for the most part moral stories with an ethical purpose. The Tale of the Bull and the Ass and the linked Tale of the Merchant and his Wife are found in the frame stories of both the Jataka and the Nights.[9]


A page from Kelileh va Demneh dated 1429, from Herat, a Persian translation of the Panchatantra – depicts the manipulative jackal-vizier, Dimna, trying to lead his lion-king into war.
[edit]Persian prototype: Hazār Afsān
The earliest mentions of the Nights refer to it as an Arabic translation from a Persian book, Hazār Afsān (or Afsaneh or Afsana), meaning "The Thousand Stories". In the 10th century Ibn al-Nadim compiled a catalogue of books (the "Fihrist") in Baghdad. He noted that the Sassanid kings of Iran enjoyed "evening tales and fables".[10] Al-Nadim then writes about the Persian Hazār Afsān, explaining the frame story it employs: a bloodthirsty king kills off a succession of wives after their wedding night; finally one concubine had the intelligence to save herself by telling him a story every evening, leaving each tale unfinished until the next night so that the king would delay her execution.[11] In the same century Al-Masudi also refers to the Hazār Afsān, saying the Arabic translation is called Alf Khurafa ("A Thousand Entertaining Tales") but is generally known as Alf Layla ("A Thousand Nights"). He mentions the characters Shirazd (Scheherazade) and Dinazad.[12] No physical evidence of the Hazār Afsān has survived[7] so its exact relationship with the existing later Arabic versions remains a mystery.[13] However, in the mid-20th century the scholar Nabia Abbott found a document with a few lines of an Arabic work with the title The Book of the Tale of a Thousand Nights, dating from the ninth century. This is the earliest surviving fragment of the Nights.[14]
The Scheherezade frame story of the Nights as it now exists was taken from the Persian prototype. Several other tales have Persian origins, although it is unclear how they entered the collection.[15] They include the cycle of "King Jali'ad and his Wazir Shimas" and "The Ten Wazirs or the History of King Azadbakht and his Son" (derived from the seventh-century Persian Bakhtiyarnama).[16]
[edit]Arabic versions


The story of Princess Parizade and the Magic Tree.[17]
The first reference to the Arabic version under its full title The One Thousand and One Nights appears in Cairo in the 12th century.[18] Professor Dwight Reynolds describes the subsequent transformations of the Arabic version: "Some of the earlier Persian tales may have survived within the Arabic tradition altered such that Arabic Muslim names and new locations were substituted for pre-Islamic Persian ones, but it is also clear that whole cycles of Arabic tales were eventually added to the collection and apparently replaced most of the Persian materials. One such cycle of Arabic tales centres around a small group of historical figures from 9th-century Baghdad, including the caliph Harun al-Rashid (died 809), his vizier Jafar al-Barmaki (d.803) and the licentious poet Abu Nuwas (d. c. 813). Another cluster is a body of stories from late medieval Cairo in which are mentioned persons and places that date to as late as the thirteenth and fourteenth centuries."[19]
Two main Arabic manuscript traditions of the Nights are known: the Syrian and the Egyptian. The Syrian tradition includes the oldest manuscripts; these versions are also much shorter and include fewer tales. It is represented in print by the so-called Calcutta I (1814–1818) and most notably by the Leiden edition (1984), which is based above all on the Galland manuscript. It is believed to be the purest expression of the style of the mediaeval Arabian Nights.[20][21]
Texts of the Egyptian tradition emerge later and contain many more tales of much more varied content; a much larger number of originally independent tales have been incorporated into the collection over the centuries, most of them after the Galland manuscript was written,[22] and were being included as late as in the 18th and 19th centuries, perhaps in order to attain the eponymous number of 1001 nights. The final product of this tradition, the so-called Zotenberg Egyptian Recension, does contain 1001 nights and is reflected in print, with slight variations, by the editions known as the Bulaq (1835) and the Macnaghten or Calcutta II (1839–1842).
All extant substantial versions of both recensions share a small common core of tales, namely:
The Merchant and the Demon.
The Fisherman and the Jinni.
The Story of the Porter and the Three Ladies.
The Hunchback cycle.
The Story of the Three Apples, enframing the Story of Nur al-Din and Shams al-Din
The Story of Nur al-Din Ali and Anis al-Jalis
The Story of Ali Ibn Baqqar and Shams al-Nahar, and
The Story of Qamar al-Zaman.
The texts of the Syrian recension don't contain much beside that core. It is debated which of the Arabic recensions is more "authentic" and closer to the original: the Egyptian ones have been modified more extensively and more recently, and scholars such as Muhsin Mahdi have suspected that this may have been caused in part by European demand for a "complete version"; but it appears that this type of modification has been common throughout the history of the collection, and independent tales have always been added to it.[22][23]
[edit]Modern translations
The first European version (1704–1717) was translated into French by Antoine Galland from an Arabic text of the Syrian recension and other sources. This 12-volume book, Les Mille et une nuits, contes arabes traduits en français ("Thousand and one nights, Arab stories translated into French"), included stories that were not in the original Arabic manuscript. "Aladdin's Lamp" and "Ali Baba and the Forty Thieves" appeared first in Galland's translation and cannot be found in any of the original manuscripts. He wrote that he heard them from a Syrian Christian storyteller from Aleppo, a Maronite scholar whom he called "Hanna Diab." Galland's version of the Nights was immensely popular throughout Europe, and later versions were issued by Galland's publisher using Galland's name without his consent.
As scholars were looking for the presumed "complete" and "original" form of the Nights, they naturally turned to the more voluminous texts of the Egyptian recension, which soon came to be viewed as the "standard version". The first translations of this kind, such as that of Edward Lane (1840, 1859), were bowdlerized. Unabridged and unexpurgated translations were made, first by John Payne, under the title The Book of the Thousand Nights and One Night (1882, nine volumes), and then by Sir Richard Francis Burton, entitled The Book of the Thousand Nights and a Night (1885, ten volumes) – the latter was, according to some assessments, partially based on the former, leading to charges of plagiarism.[24][25] In view of the sexual imagery in the source texts (which Burton even emphasized further, especially by adding extensive footnotes and appendices on Oriental sexual mores[25]) and the strict Victorian laws on obscene material, both of these translations were printed as private editions for subscribers only, rather than published in the usual manner. Burton's original 10 volumes were followed by a further six entitled The Supplemental Nights to the Thousand Nights and a Night, which were printed between 1886 and 1888. It has, however, been criticized for its "archaic language and extravagant idiom" and "obsessive focus on sexuality" (and has even been called an "eccentric ego-trip" and a "highly personal reworking of the text").[25]
Later versions of the Nights include that of the French doctor J. C. Mardrus, issued from 1898 to 1904. It was translated into English by Powys Mathers, and issued in 1923. Like Payne's and Burton's texts, it is based on the Egyptian recension and retains the erotic material, indeed expanding on it, but it has been criticized for inaccuracy.[24]
A notable recent version, which reverts to the Syrian recension, is a critical edition based on the 14th or 15th century Syrian manuscript in the Bibliothèque Nationale, originally used by Galland. This version, known as the Leiden text, was compiled in Arabic by Muhsin Mahdi (1984) and rendered into English by Husain Haddawy (1990). Mahdi argued that this version is the earliest extant one (a view that is largely accepted today) and that it reflects most closely a "definitive" coherent text ancestral to all others that he believed to have existed during the Mamluk period (a view that remains contentious).[22][26][27] Still, even scholars who deny this version the exclusive status of "the only real Arabian Nights" recognize it as being the best source on the original style and linguistic form of the mediaeval work[20][21] and praise the Haddawy translation as "very readable" and "strongly recommended for anyone who wishes to taste the authentic flavour of those tales".[27] An additional second volume of Arabian nights translated by Haddawy, composed of popular tales not present in the Leiden edition, was published in 1995.
In 2008 a new English translation was published by Penguin Classics in three volumes. It is translated by Malcolm C. Lyons and Ursula Lyons with introduction and annotations by Robert Irwin. This is the first complete translation of the Macnaghten or Calcutta II edition (Egyptian recension) since Sir Richard Burton. It contains, in addition to the standard text of 1001 Nights, the so-called "orphan stories" of Aladdin and Ali Baba as well as an alternative ending to The seventh journey of Sindbad from Antoine Galland's original French. As the translator himself notes in his preface to the three volumes, "[N]o attempt has been made to superimpose on the translation changes that would be needed to 'rectify' ... accretions, ... repetitions, non sequiturs and confusions that mark the present text," and the work is a "representation of what is primarily oral literature, appealing to the ear rather than the eye." The Lyons translation includes all the poetry, omitted in some translations, but does not attempt to reproduce in English the internal rhyming of some prose sections of the original Arabic.
[edit]Timeline


Arabic Manuscript of The Thousand and One Nights dating back to the 1300s
Scholars have assembled a timeline concerning the publication history of The Nights:[28][29][30]
One of the oldest Arabic manuscript fragments from Syria (a few handwritten pages) dating to the early 9th century. Discovered by scholar Nabia Abbott in 1948, it bears the title Kitab Hadith Alf Layla ("The Book of the Tale of the Thousand Nights") and the first few lines of the book in which Dinazad asks Shirazad (Scheherazade) to tell him stories.[19]
10th century – Mention of Hazar Afsan in Ibn al-Nadim's "Fihrist" (Catalogue of books) in Baghdad. He attributes a pre-Islamic Sassanian Persian origin to the collection and refers to the frame story of Scheherazade telling stories over a thousand nights to save her life. However, according to al-Nadim, the book contains only 200 stories. Curiously, al-Nadim also writes disparagingly of the collection's literary quality, observing that "it is truly a coarse book, without warmth in the telling".[31]
10th century – Reference to The Thousand Nights, an Arabic translation of the Persian Hazar Afsan ("Thousand Stories"), in Muruj Al-Dhahab (The Meadows of Gold) by Al-Masudi.[12]
11th century – Mention of The Nights by Qatran Tabrizi in the following couplet in Persian:
هزار ره صفت هفت خوان و رویین دژ
فرو شنیدم و خواندم من از هزار افسان
A thousand times, accounts of Rouyin Dezh and Haft Khān
I heard and read from Hezār Afsān (literally Thousand Fables)[citation needed]
12th century; - A document from Cairo refers to a Jewish bookseller lending a copy of The Thousand and One Nights (this is the first appearance of the final form of the title).[18]
14th century – Existing Syrian manuscript in the Bibliothèque Nationale in Paris (contains about 300 tales).
1704 – Antoine Galland's French translation is the first European version of The Nights. Later volumes were introduced using Galland's name though the stories were written by unknown persons at the behest of the publisher wanting to capitalize on the popularity of the collection.
1706 – An anonymously translated version in English appears in Europe dubbed the "Grub Street" version. This is entitled The Arabian Nights' Entertainment - the first known use of the common English title of the work.
1775 – Egyptian version of The Nights called "ZER" (Hermann Zotenberg's Egyptian Recension) with 200 tales (no surviving edition exists).
1814 – Calcutta I, the earliest existing Arabic printed version, is published by the British East India Company. A second volume was released in 1818. Both had 100 tales each.
Early 19th century: Modern Persian translations of the text are made, variously under the title Alf leile va leile, Hezār-o yek šab (هزار و یک شب), or, in distorted Arabic, Alf al-leil. One early extant version is that illustrated by Sani al-Molk (1814–1866) for Mohammad Shah Qajar.[32]
1825–1838 – The Breslau/Habicht edition is published in Arabic in 8 volumes. Christian Maxmilian Habicht (born in Breslau, Kingdom of Prussia, 1775) collaborated with the Tunisian Murad Al-Najjar and created this edition containing 1001 stories. Using versions of The Nights, tales from Al-Najjar, and other stories from unknown origins Habicht published his version in Arabic and German.
1842–1843 – Four additional volumes by Habicht.
1835 Bulaq version – These two volumes, printed by the Egyptian government, are the oldest printed (by a publishing house) version of The Nights in Arabic by a non-European. It is primarily a reprinting of the ZER text.
1839–1842 – Calcutta II (4 volumes) is published. It claims to be based on an older Egyptian manuscript (which was never found). This version contains many elements and stories from the Habicht edition.
1838 – Torrens version in English.
1838–1840 – Edward William Lane publishes an English translation. Notable for its exclusion of content Lane found "immoral" and for its anthropological notes on Arab customs by Lane.
1882–1884 – John Payne publishes an English version translated entirely from Calcutta II, adding some tales from Calcutta I and Breslau.
1885–1888 – Sir Richard Francis Burton publishes an English translation from several sources (largely the same as Payne[24]). His version accentuated the sexuality of the stories vis-à-vis Lane's bowdlerized translation.
1889–1904 – J. C. Mardrus publishes a French version using Bulaq and Calcutta II editions.
1984 – Muhsin Mahdi publishes an Arabic edition which he claims is faithful to the oldest Arabic versions surviving (primarily based on the Syrian manuscript in the Bibliothèque Nationale in combination with other early manuscripts of the Syrian branch).
1990 – Husain Haddawy publishes an English translation of Mahdi.
2008 — New Penguin Classics translation (in three volumes) by Malcolm C. Lyons and Ursula Lyons of the Calcutta II edition
[edit]Literary themes and techniques

The One Thousand and One Nights and various tales within it make use of many innovative literary techniques, which the storytellers of the tales rely on for increased drama, suspense, or other emotions.[33] Some of these date back to earlier Persian, Indian and Arabic literature, while others were original to the One Thousand and One Nights.


A girl with Parrot, scene from the One Thousand and One Nights
[edit]Frame story
An early example of the frame story, or framing device, is employed in the One Thousand and One Nights, in which the character Scheherazade narrates a set of tales (most often fairy tales) to the Sultan Shahriyar over many nights. Many of Scheherazade's tales are also frame stories, such as the Tale of Sindbad the Seaman and Sindbad the Landsman being a collection of adventures related by Sindbad the Seaman to Sindbad the Landsman. The concept of the frame story dates back to ancient Sanskrit literature, and was introduced into Persian and Arabic literature through the Panchatantra.
[edit]Embedded narrative
An early example of the "story within a story" technique can be found in the One Thousand and One Nights, which can be traced back to earlier Persian and Indian storytelling traditions, most notably the Panchatantra of ancient Sanskrit literature. The Nights, however, improved on the Panchatantra in several ways, particularly in the way a story is introduced. In the Panchatantra, stories are introduced as didactic analogies, with the frame story referring to these stories with variants of the phrase "If you're not careful, that which happened to the louse and the flea will happen to you." In the Nights, this didactic framework is the least common way of introducing the story, but instead a story is most commonly introduced through subtle means, particularly as an answer to questions raised in a previous tale.[34]
An early example of the "story within a story within a story" device is also found in the One Thousand and One Nights, where the general story is narrated by an unknown narrator, and in this narration the stories are told by Scheherazade. In most of Scheherazade's narrations there are also stories narrated, and even in some of these, there are some other stories.[35] This is particularly the case for the "Sinbad the Sailor" story narrated by Scheherazade in the One Thousand and One Nights. Within the "Sinbad the Sailor" story itself, the protagonist Sinbad the Sailor narrates the stories of his seven voyages to Sinbad the Porter. The device is also used to great effect in stories such as "The Three Apples" and "The Seven Viziers". In yet another tale Scheherazade narrates, "The Fisherman and the Jinni", the "Tale of the Wazir and the Sage Duban" is narrated within it, and within that there are three more tales narrated.
[edit]Dramatic visualization
Dramatic visualization is "the representing of an object or character with an abundance of descriptive detail, or the mimetic rendering of gestures and dialogue in such a way as to make a given scene 'visual' or imaginatively present to an audience". This technique dates back to the One Thousand and One Nights.[36] An example of this is the tale of "The Three Apples" (see Crime fiction elements below).
[edit]Fate and destiny
A common theme in many Arabian Nights tales is fate and destiny. The Italian filmmaker Pier Paolo Pasolini observed:[37]
“ every tale in The Thousand and One Nights begins with an 'appearance of destiny' which manifests itself through an anomaly, and one anomaly always generates another. So a chain of anomalies is set up. And the more logical, tightly knit, essential this chain is, the more beautiful the tale. By 'beautiful' I mean vital, absorbing and exhilarating. The chain of anomalies always tends to lead back to normality. The end of every tale in The One Thousand and One Nights consists of a 'disappearance' of destiny, which sinks back to the somnolence of daily life ... The protagonist of the stories is in fact destiny itself. ”
Though invisible, fate may be considered a leading character in the One Thousand and One Nights.[38] The plot devices often used to present this theme are coincidence,[39] reverse causation and the self-fulfilling prophecy (see Foreshadowing below).

[edit]Foreshadowing


A Sufi Imam from the One Thousand and One Nights
Early examples of the foreshadowing technique of repetitive designation, now known as "Chekhov's gun", occur in the One Thousand and One Nights, which contains "repeated references to some character or object which appears insignificant when first mentioned but which reappears later to intrude suddenly in the narrative".[40] A notable example is in the tale of "The Three Apples" (see Crime fiction elements below).
Another early foreshadowing technique is formal patterning, "the organization of the events, actions and gestures which constitute a narrative and give shape to a story; when done well, formal patterning allows the audience the pleasure of discerning and anticipating the structure of the plot as it unfolds". This technique also dates back to the One Thousand and One Nights.[36]
Another form of foreshadowing is the self-fulfilling prophecy, which dates back to the story of Krishna in ancient Sanskrit literature. A variation of this device is the self-fulfilling dream, which dates back to medieval Arabic literature. Several tales in the One Thousand and One Nights use this device to foreshadow what is going to happen, as a special form of literary prolepsis. A notable example is "The Ruined Man who Became Rich Again through a Dream", in which a man is told in his dream to leave his native city of Baghdad and travel to Cairo, where he will discover the whereabouts of some hidden treasure. The man travels there and experiences misfortune, ending up in jail, where he tells his dream to a police officer. The officer mocks the idea of foreboding dreams and tells the protagonist that he himself had a dream about a house with a courtyard and fountain in Baghdad where treasure is buried under the fountain. The man recognizes the place as his own house and, after he is released from jail, he returns home and digs up the treasure. In other words, the foreboding dream not only predicted the future, but the dream was the cause of its prediction coming true. A variant of this story later appears in English folklore as the "Pedlar of Swaffham" and Paulo Coelho's "The Alchemist"; Jorge Luis Borges' collection of short stories A Universal History of Infamy featured his translation of this particular story into Spanish, as "The Story Of The Two Dreamers."[41]
Another variation of the self-fulfilling prophecy can be seen in "The Tale of Attaf", where Harun al-Rashid consults his library (the House of Wisdom), reads a random book, "falls to laughing and weeping and dismisses the faithful vizier" Ja'far ibn Yahya from sight. Ja'afar, "disturbed and upset flees Baghdad and plunges into a series of adventures in Damascus, involving Attaf and the woman whom Attaf eventually marries." After returning to Baghdad, Ja'afar reads the same book that caused Harun to laugh and weep, and discovers that it describes his own adventures with Attaf. In other words, it was Harun's reading of the book that provoked the adventures described in the book to take place. This is an early example of reverse causation.[42] Near the end of the tale, Attaf is given a death sentence for a crime he didn't commit but Harun, knowing the truth from what he has read in the book, prevents this and has Attaf released from prison. In the 12th century, this tale was translated into Latin by Petrus Alphonsi and included in his Disciplina Clericalis,[43] alongside the "Sinbad the Sailor" story cycle.[44] In the 14th century, a version of "The Tale of Attaf" also appears in the Gesta Romanorum and Giovanni Boccaccio's The Decameron.[43]
[edit]Repetition


Due to her patience and understanding Shirin becomes one of the most respected Queens in the One Thousand and One Nights.
Leitwortstil is 'the purposeful repetition of words' in a given literary piece that "usually expresses a motif or theme important to the given story". This device occurs in the One Thousand and One Nights, which binds several tales in a story cycle. The storytellers of the tales relied on this technique "to shape the constituent members of their story cycles into a coherent whole."[33]
Thematic patterning is "the distribution of recurrent thematic concepts and moralistic motifs among the various incidents and frames of a story. In a skillfully crafted tale, thematic patterning may be arranged so as to emphasize the unifying argument or salient idea which disparate events and disparate frames have in common". This technique also dates back to the One Thousand and One Nights (and earlier).[36]
Several different variants of the "Cinderella" story, which has its origins in the Egyptian story of Rhodopis, appear in the One Thousand and One Nights, including "The Second Shaykh's Story", "The Eldest Lady's Tale" and "Abdallah ibn Fadil and His Brothers", all dealing with the theme of a younger sibling harassed by two jealous elders. In some of these, the siblings are female, while in others they are male. One of the tales, "Judar and His Brethren", departs from the happy endings of previous variants and reworks the plot to give it a tragic ending instead, with the younger brother being poisoned by his elder brothers.[45]
[edit]Satire and parody
The Nights contain many examples of sexual humour. Some of this borders on satire, as in the tale called "Ali with the Large Member" which pokes fun at obsession with human penis size.[46]
Repetition is also used to humorous effect in the One Thousand and One Nights. Sheherezade sometimes follows up a relatively serious tale with a cruder or more broadly humorous version of the same tale. For example, "Wardan the Butcher's Adventure With the Lady and the Bear" is paralleled by "The King's Daughter and the Ape", "Harun al-Rashid and the Two Slave-Girls" by "Harun al-Rashid and the Three Slave-Girls", and "The Angel of Death With the Proud King and the Devout Man" by "The Angel of Death and the Rich King". The idea has been put forward that these pairs of tales are deliberately intended as examples of self parody,[47] although this assumes a greater degree of editorial control by a single writer than the history of the collection as a whole would seem to indicate.
[edit]Unreliable narrator
The literary device of the unreliable narrator was used in several fictional medieval Arabic tales of the One Thousand and One Nights. In one tale, "The Seven Viziers" (also known as "Craft and Malice of Women or The Tale of the King, His Son, His Concubine and the Seven Wazirs"), a courtesan accuses a king's son of having assaulted her, when in reality she had failed to seduce him (inspired by the Qur'anic/Biblical story of Yusuf/Joseph). Seven viziers attempt to save his life by narrating seven stories to prove the unreliability of women, and the courtesan responds back by narrating a story to prove the unreliability of viziers.[48] The unreliable narrator device is also used to generate suspense in "The Three Apples" and humor in "The Hunchback's Tale" (see Crime fiction elements below).
[edit]Crime fiction elements


Ali Baba by Maxfield Parrish (1909).
An example of the murder mystery[49] and suspense thriller genres in the collection, with multiple plot twists[50] and detective fiction elements[51] was "The Three Apples", also known as Hikayat al-sabiyya 'l-muqtula ("The Tale of the Murdered Young Woman"),[52] one of the tales narrated by Scheherazade in the One Thousand and One Nights. In this tale, Harun al-Rashid, comes to possess a chest, which, when opened, contains the body of a young woman. Harun gives his vizier, Ja’far, three days to find the culprit or be executed. At the end of three days, when Ja’far is about to be executed for his failure, two men come forward, both claiming to be the murderer. As they tell their story it transpires that, although the younger of them, the woman’s husband, was responsible for her death, some of the blame attaches to a slave, who had taken one of the apples mentioned in the title and caused the woman’s murder. Harun then gives Ja’far three more days to find the guilty slave. When he yet again fails to find the culprit, and bids his family goodbye before his execution, he discovers by chance his daughter has the apple, which she obtained from Ja’far’s own slave, Rayhan. Thus the mystery is solved.
Another Nights tale with crime fiction elements was "The Hunchback's Tale" story cycle which, unlike "The Three Apples", was more of a suspenseful comedy and courtroom drama rather than a murder mystery or detective fiction. The story is set in a fictional China and begins with a hunchback, the emperor's favourite comedian, being invited to dinner by a tailor couple. The hunchback accidentally chokes on his food from laughing too hard and the couple, fearful that the emperor will be furious, take his body to a Jewish doctor's clinic and leave him there. This leads to the next tale in the cycle, the "Tale of the Jewish Doctor", where the doctor accidentally trips over the hunchback's body, falls down the stairs with him, and finds him dead, leading him to believe that the fall had killed him. The doctor then dumps his body down a chimney, and this leads to yet another tale in the cycle, which continues with twelve tales in total, leading to all the people involved in this incident finding themselves in a courtroom, all making different claims over how the hunchback had died.[53] Crime fiction elements are also present near the end of "The Tale of Attaf" (see Foreshadowing above).
[edit]Horror fiction elements


The Majlis al-Jinn cave in Oman, literally "Meeting place of the Jinn". It is one of the world's biggest cave chambers.
Haunting is used as a plot device in gothic fiction and horror fiction, as well as modern paranormal fiction. Legends about haunted houses have long appeared in literature. In particular, the Arabian Nights tale of "Ali the Cairene and the Haunted House in Baghdad" revolves around a house haunted by jinns.[54] The Nights is almost certainly the earliest surviving literature that mentions ghouls, and many of the stories in that collection involve or reference ghouls. A prime example is the story The History of Gherib and His Brother Agib (from Nights vol. 6), in which Gherib, an outcast prince, fights off a family of ravenous Ghouls and then enslaves them and converts them to Islam.[55]
Horror fiction elements are also found in "The City of Brass" tale, which revolves around a ghost town.[56]
The horrific nature of Scheherazade's situation is magnified in Stephen King's Misery, in which the protagonist is forced to write a novel to keep his captor from torturing and killing him. The influence of the Nights on modern horror fiction is certainly discernible in the work of H. P. Lovecraft. As a child, he was fascinated by the adventures recounted in the book, and he attributes some of his creations to his love of the 1001 Nights.[57]
[edit]Fantasy and Science fiction elements
Several stories within the One Thousand and One Nights feature early science fiction elements. One example is "The Adventures of Bulukiya", where the protagonist Bulukiya's quest for the herb of immortality leads him to explore the seas, journey to Paradise and to Hell, and travel across the cosmos to different worlds much larger than his own world, anticipating elements of galactic science fiction;[58] along the way, he encounters societies of djinns,[59] mermaids, talking serpents, talking trees, and other forms of life.[58] In "Abu al-Husn and His Slave-Girl Tawaddud", the heroine Tawaddud gives an impromptu lecture on the mansions of the Moon, and the benevolent and sinister aspects of the planets.[60]
In another 1001 Nights tale, "Abdullah the Fisherman and Abdullah the Merman", the protagonist Abdullah the Fisherman gains the ability to breathe underwater and discovers an underwater submarine society that is portrayed as an inverted reflection of society on land, in that the underwater society follows a form of primitive communism where concepts like money and clothing do not exist. Other Arabian Nights tales also depict Amazon societies dominated by women, lost ancient technologies, advanced ancient civilizations that went astray, and catastrophes which overwhelmed them.[61] "The City of Brass" features a group of travellers on an archaeological expedition[62] across the Sahara to find an ancient lost city and attempt to recover a brass vessel that Solomon once used to trap a jinn,[63] and, along the way, encounter a mummified queen, petrified inhabitants,[64] life-like humanoid robots and automata, seductive marionettes dancing without strings,[65] and a brass horseman robot who directs the party towards the ancient city,[66] which has now become a ghost town.[56] "The Ebony Horse" features a flying mechanical horse controlled using keys that could fly into outer space and towards the Sun.[67] Some modern interpretations see this horse as a robot.[66] The titular ebony horse can fly the distance of one year in a single day, and is used as a vehicle by the Prince of Persia [disambiguation needed ], Qamar al-Aqmar, in his adventures across Persia, Arabia and Byzantium. This story appears to have influenced later European tales such as Adenes Le Roi's Cleomades and "The Squire's Prologue and Tale" told in Geoffrey Chaucer's The Canterbury Tales.[68] "The City of Brass" and "The Ebony Horse" can be considered early examples of proto-science fiction.[69] The "Third Qalandar's Tale" also features a robot in the form of an uncanny boatman.[66]

[edit]The Arabic poetry in One Thousand and One Nights
This unreferenced section requires citations to ensure verifiability.


The poems, prose, proverbs found in the literature of the One Thousand and One Nights reveals many cultural details.
There is an abundance of poetry in One Thousand and One Nights. Characters occasionally provide poetry in certain settings, covering many uses. However, pleading, beseeching and praising toward the powerful is the most significant.
The uses would include but are not limited to:
Giving advice, warning, and solutions.
Praising God, royalties and those in power.
Pleading for mercy and forgiveness.
Lamenting wrong decisions or bad luck.
Providing riddles, laying questions, challenges.
Criticizing elements of life, wondering.
Expressing feelings to others or one’s self: happiness, sadness, anxiety, surprise, anger.
In a typical example, expressing feelings of happiness to oneself from Night 203, Prince Qamar Al-Zaman,[70] standing outside the castle, wants to inform Queen Bodour of his arrival. He wraps his ring in a paper and hands it to the servant who delivers it to the Queen. When she opens it and sees the ring, joy conquers her, and out of happiness she chants this poem (Arabic):[71]
وَلَقـدْ نَدِمْـتُ عَلى تَفَرُّقِ شَمْــلِنا :: دَهْـرَاً وّفاضَ الدَّمْـعُ مِنْ أَجْفـانی
وَنَـذَرْتُ إِنْ عـادَ الزَّمـانُ یَلُمـُّـنا :: لا عُــدْتُ أَذْکُــرُ فُرْقًــةً بِلِســانی
هَجَــمَ السُّــرورُ عَلَــیَّ حَتَّـى أَنَّهُ :: مِـنْ فَــرَطِ مـا سَــرَّنی أَبْکــــانی
یا عَیْـنُ صـارَ الدَّمْـعُ مِنْکِ سِجْیَةً :: تَبْکیــنَ مِـنْ فَـــرَحٍ وَأَحْزانـــــی
Transliteration:
Wa-laqad nadimtu ‘alá tafaraqi thamlinā :: Dahran wa-fāḍa ad-dam‘u min ajfānī
Wa-nadhartu in ‘āda az-zamānu yalumanā :: la ‘udtu adhkuru furqatan bilisānī
Hajama as-sarūru ‘alayya ḥatá adhdhahu :: min faraṭi mā saranī ankānī
Yā ‘aynu ṣāra ad-dam‘u minki sijyatan :: tankīna min faraḥin wa-’aḥzānī
Translation:
And I have regretted the separation of our companionship :: An eon, and tears flooded my eyes
And I’ve sworn if time brought us back together :: I’ll never utter any separation with my tongue
Joy conquered me to the point of :: which it made me happy that I cried
Oh eye, the tears out of you became a principle :: You cry out of joy and out of sadness
[edit]The Nights in world culture

Main article: List of works influenced by the 1001 Nights
The influence of the versions of The Nights on world literature is immense. Writers as diverse as Henry Fielding to Naguib Mahfouz have alluded to the collection by name in their own works. Other writers who have been influenced by the Nights include John Barth, Jorge Luis Borges, Salman Rushdie, Goethe, Walter Scott, Thackeray, Wilkie Collins, Elizabeth Gaskell, Nodier, Flaubert, Marcel Schwob, Stendhal, Dumas, Gérard de Nerval, Gobineau, Pushkin, Tolstoy, Hofmannsthal, Conan Doyle, W. B. Yeats, H. G. Wells, Cavafy, Calvino, Georges Perec, H. P. Lovecraft, Marcel Proust, A. S. Byatt and Angela Carter.[72]
Various characters from this epic have themselves become cultural icons in Western culture, such as Aladdin, Sinbad and Ali Baba. Part of its popularity may have sprung from the increasing historical and geographical knowledge, so that places of which little was known and so marvels were plausible had to be set further "long ago" or farther "far away"; this is a process that continues, and finally culminate in the fantasy world having little connection, if any, to actual times and places. Several elements from Arabian mythology and Persian mythology are now common in modern fantasy, such as genies, bahamuts, magic carpets, magic lamps, etc. When L. Frank Baum proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go.[73]
[edit]In Arabic culture


The stories of the One Thousand and One Nights still inspire many cultures around the world.
There is little evidence that the Nights was particularly treasured in the Arab world. It is rarely mentioned in lists of popular literature and few pre-18th century manuscripts of the collection exist.[74] Fiction had a low cultural status among Medieval Arabs compared with poetry, and the tales were dismissed as khurafa (improbable fantasies fit only for entertaining women and children). According to Robert Irwin, "Even today, with the exception of certain writers and academics, the Nights is regarded with disdain in the Arabic world. Its stories are regularly denounced as vulgar, improbable, childish and, above all, badly written."[75] The Nights have proved an inspiration to some modern Egyptian writers, such as Tawfiq al-Hakim (author of the Symbolist play Shahrazad, 1934), Taha Hussein (Scheherazade's Dreams, 1943) [76] and Naguib Mahfouz (Arabian Nights and Days, 1981).
[edit]Possible early influence on European literature
Although the first known translation into a European language only appeared in 1704, it is possible that the Nights began exerting its influence on Western culture much earlier. Christian writers in Medieval Spain translated many works from Arabic, mainly philosophy and mathematics, but also Arab fiction, as is evidenced by Juan Manuel's story collection El Conde Lucanor and Ramón Llull's The Book of Beasts.[77] Knowledge of the work, direct or indirect, apparently spread beyond Spain. Themes and motifs with parallels in the Nights are found in Chaucer's The Canterbury Tales (in The Squire's Tale the hero travels on a flying brass horse) and Boccaccio's Decameron. Echoes in Giovanni Sercambi's Novelle and Ariosto's Orlando furioso suggest that the story of Shahriyar and Shahzaman was also known.[78] Evidence also appears to show that the stories had spread to the Balkans and a translation of the Nights into Romanian existed by the 17th century, itself based on a Greek version of the collection.[79]
[edit]Western literature from the 18th century onwards


An illustration of a flying horse, from the One Thousand and One Nights.
The modern fame of the Nights derives from the first known European translation by Antoine Galland, which appeared in 1704. According to Robert Irwin,Galland "played so large a part in discovering the tales, in popularizing them in Europe and in shaping what would come to be regarded as the canonical collection that, at some risk of hyperbole and paradox, he has been called the real author of the Nights."[80] The immediate success of Galland's version with the French public may have been because it coincided with the vogue for contes de fées ("fairy stories"). This fashion began with the publication of Madame d'Aulnoy's Histoire d'Hypolite in 1690. D'Aulnoy's book has a remarkably similar structure to the Nights, with the tales told by a female narrator. The success of the Nights spread across Europe and by the end of the century there were translations of Galland into English, German, Italian, Dutch, Danish, Russian, Flemish and Yiddish.[81] Galland's version provoked a spate of pseudo-Oriental imitations. At the same time, some French writers began to parody the style and concoct far-fetched stories in superficially Oriental settings. These tongue-in-cheek pastiches include Anthony Hamilton's Les quatre Facardins (1730), Crébillon's Le sopha (1742) and Diderot's Les bijoux indiscrets (1748). They often contained veiled allusions to contemporary French society. The most famous example is Voltaire's Zadig (1748), an attack on religious bigotry set against a vague pre-Islamic Middle Eastern background.[82] The English versions of the "Oriental Tale" generally contained a heavy moralising element,[83] with the notable exception of William Beckford's fantasy Vathek (1786), which had a decisive influence on the development of the Gothic novel. The Polish nobleman Jan Potocki's novel Saragossa Manuscript (begun 1797) owes a deep debt to the Nights with its Oriental flavour and labyrinthine series of embedded tales.[84]
The Nights was a favourite book of many British authors of the Romantic and Victorian eras. According to A. S. Byatt, "In British Romantic poetry the Arabian Nights stood for the wonderful against the mundane, the imaginative against the prosaically and reductively rational." [85] In their autobiographical writings, both Coleridge and de Quincey refer to nightmares the book had caused them when young. Wordsworth and Tennyson also wrote about their childhood reading of the tales in their poetry.[86] Charles Dickens was another enthusiast and the atmosphere of the Nights pervades the opening of his last novel The Mystery of Edwin Drood (1870).[87]
Several writers have attempted to add a thousand and second tale,[88] including Théophile Gautier (La mille deuxième nuit, 1842)[76] and Joseph Roth (Die Geschichte von der 1002. Nacht, 1939).[88] Edgar Allan Poe wrote "The Thousand and Second Tale of Scheherazade" (1845). It depicts the eighth and final voyage of Sinbad the Sailor, along with the various mysteries Sinbad and his crew encounter; the anomalies are then described as footnotes to the story. While the king is uncertain—except in the case of the elephants carrying the world on the back of the turtle—that these mysteries are real, they are actual modern events that occurred in various places during, or before, Poe's lifetime. The story ends with the king in such disgust at the tale Scheherazade has just woven, that he has her executed the very next day.
Modern authors influenced by the Nights include James Joyce, Marcel Proust, Jorge Luis Borges and John Barth.
[edit]Cinema
Stories from the One Thousand and One Nights have been popular subjects for films, beginning with Georges Méliès's Le Palais des Mille et une nuits in 1905. The best known film based upon the Nights is Disney's Aladdin, an animated musical adventure featuring Robin Williams as the voice of the Genie. The most successful animated film upon its initial release, it still ranks as one of the Disney studio's best loved films. The critic Robert Irwin singles out the two versions of The Thief of Baghdad (1924 version directed by Raoul Walsh; 1940 version produced by Alexander Korda) and Pier Paolo Pasolini's Il fiore delle Mille ed una notte (1974) as ranking "high among the masterpieces of world cinema."[89]
There is also a Japanese animated version of One Thousand and One Nights. Directed by Osamu Tezuka and Eichii Yamamoto, the imagery and psychedelic sounds reflect the period in which the full feature animation was produced. The piece is also considered for an adult audience given the erotic scenes between some of the characters.[90]
[edit]Music
The Nights has inspired many pieces of music :
François-Adrien Boieldieu: Le calife de Bagdad (1800)
Carl Maria von Weber: Abu Hassan (1811)
Luigi Cherubini: Ali Baba (1833)
Peter Cornelius: Der Barbier von Bagdad (1858)
Ernest Reyer: La statue (1861)
C. F. E. Horneman (1840–1906), Aladdin (overture), 1864
Nikolai Rimsky-Korsakov : Scheherazade Op. 35 (1888) [91]
Henri Rabaud: Mârouf, savetier du Caire (1914)
Carl Nielsen, Aladdin Suite (1918–1919)
Fikret Amirov: Arabian Nights (Ballet, 1979)
Ezequiel Viñao, La Noche de las Noches (1990)
Carl Davis, Aladdin
Kamelot, Nights of Arabia (1999)
[edit]Illustrators
Many artists have illustrated the Arabian nights, including : Pierre-Clément Marillier for Le Cabinet des Fées (1785–1789)Gustave Doré, Léon Carré (Granville, 1878 - Alger, 1942), Roger Blachon, Françoise Boudignon, André Dahan, Amato Soro, Albert Robida, Alcide Théophile Robaudi and Marcelino Truong; Vittorio Zecchin (Murano, 1878 – Murano, 1947) and Emanuele Luzzati; The German Morgan; Mohammed Racim (Algiers, 1896 - Algiers 1975), Sani ol-Molk (1849–1856) and Emre Orhun.
Famous illustrators for British editions include: Arthur Boyd Houghton, John Tenniel, John Everett Millais and George John Pinwell for Dalziel's Illustrated Arabian Nights Entertainments, published in 1865; Walter Crane for Aladdin's Picture Book (1876); Albert Letchford for the 1897 edition of Burton’s translation ; Edmund Dulac for Stories from the Arabian Nights (1907), Princess Badoura (1913) and Sindbad the Sailor & Other Tales from the Arabian Nights (1914). Others artists include John D. Batten, (Fairy Tales From The Arabian Nights, 1893), Kay Nielsen, Eric Fraser, Errol le Cain, Maxfield Parrish and W. Heath Robinson.[92]
[edit]Popular culture
The stories and the culture exhibited from the One thousand and one nights have continued to inspire modern culture, including popular modern games such as Nadirim, a game placed in a fantasy world inspired by the tales of the 1001 Nights.[93] Including films such as Aladdin, Prince of Persia and the The theif of bagdad.
[edit]See also

Novels portal
Book: One Thousand and One Nights
Wikipedia books are collections of articles that can be downloaded or ordered in print.
Arabic literature
Hamzanama
List of One Thousand and One Nights characters
List of stories from The Book of One Thousand and One Nights (translation by R. F. Burton)
List of works influenced by the 1001 Nights
Persian literature
Shahnameh

One Thousand and One Nights book.

[edit]Notes

^ See illustration of title page of Grub St Edition in Yamanaka and Nishio (p. 225)
^ Marzolph (2007), Arabian Nights, I, Leiden: Brill.
^ There is scholarly confusion over the exact form and original meaning of Scheherazade's name, see the note in Scheherazade's own Wiki article on this point
^ John Payne, Alaeddin and the Enchanted Lamp and Other Stories, (London 1901) gives details of Galland's encounter with 'Hanna' in 1709 and of the discovery in the Bibliothèque Nationale, Paris of two Arabic manuscripts containing Aladdin and two more of the 'interpolated' tales. Text of "Alaeddin and the enchanted lamp"
^ http://classiclit.about.com/library/bl-etexts/arabian/bl-arabian-3sindbad.htm
^ Irwin p.48
^ a b Reynolds p.271
^ Burton, Richard F. (2002). Vikram and the Vampire Or Tales of Hindu Devilry pg xi. Adamant Media Corporation
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Paperbacks, p. 65, ISBN 1-86064-983-1
^ Pinault p.1
^ Pinault p.4
^ a b Irwin p.49
^ Irwin p.51: "It seems probable from all the above [...] that the Persian Hazār Afsaneh was translated into Arabic in the eighth or early ninth century and was given the title Alf Khurafa before being subsequently retitled Alf Layla. However, it remains far from clear what the connection is between this fragment of the early text and the Nights stories as they have survived in later and fuller manuscripts, nor how the Syrian manuscripts related to later Egyptian versions."
^ Irwin p.51
^ Eva Sallis Scheherazade Through the Looking-Glass: The Metamorphosis of the Thousand and One Nights (Routledge, 1999), p.2 and note 6
^ Irwin p.76
^ http://books.google.com.pk/books?id=ATkQAAAAYAAJ&pg=PA543&dq=princess+parizade&hl=en&sa=X&ei=Kg9aT-aBPYa-0QXxqejSDQ&ved=0CC0Q6AEwAA#v=onepage&q=princess%20parizade&f=false
^ a b Irwin p.50
^ a b Reynolds p.270
^ a b Beaumont, Daniel. Literary Style and Narrative Technique in the Arabian Nights. P.1. In The Arabian nights encyclopedia, Volume 1
^ a b Irwin, Robert. 2004. The Arabian nights: a companion. P.55
^ a b c Sallis, Eva. 1999. Sheherazade through the looking glass: the metamorphosis of the Thousand and One Nights. P.18-43
^ Pinault, David. Story-telling techniques in the Arabian nights. P.1-12. Also in Encyclopedia of Arabic Literature, v.1
^ a b c Sallis, Eva. 1999. Sheherazade through the looking glass: the metamorphosis of the Thousand and One Nights. P.4 and passim
^ a b c Marzolph, Ulrich and Richard van Leeuwen. 2004. The Arabian nights encyclopedia, Volume 1. P.506-508
^ Madeleine Dobie, 2009. Translation in the contact zone: Antoine Galland's Mille et une nuits: contes arabes. P.37. In Makdisi, Saree and Felicity Nussbaum: "The Arabian Nights in Historical Context: Between East and West"
^ a b Irwin, Robert. 2004. The Arabian nights: a companion. P.1-9
^ Dwight Reynolds. "The Thousand and One Nights: A History of the Text and its Reception." The Cambridge History of Arabic Literature: Arabic Literature in the Post-Classical Period. Cambridge UP, 2006.
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, ISBN 1-86064-983-1
^ "The Oriental Tale in England in the Eighteenth Century", by Martha Pike Conant, Ph.D. Columbia University Press (1908)
^ Irwin pp.49-50
^ Ulrich Marzolph, The Arabian nights in transnational perspective, 2007, ISBN 978-0-8143-3287-0, p. 230.
^ a b Heath, Peter (May 1994), "Reviewed work(s): Story-Telling Techniques in the Arabian Nights by David Pinault", International Journal of Middle East Studies (Cambridge University Press) 26 (2): 358–360 [359–60]
^ Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf (2004), The Arabian Nights Encyclopedia, ABC-CLIO, pp. 3–4, ISBN 1-57607-204-5
^ Burton, Richard (September 2003), The Book of the Thousand Nights and a Night, Volume 1, Project Gutenberg
^ a b c Heath, Peter (May 1994), "Reviewed work(s): Story-Telling Techniques in the Arabian Nights by David Pinault", International Journal of Middle East Studies (Cambridge University Press) 26 (2): 358–360 [360]
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, p. 200, ISBN 1-86064-983-1
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, pp. 198, ISBN 1-86064-983-1
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, pp. 199–200, ISBN 1-86064-983-1
^ Heath, Peter (May 1994), "Reviewed work(s): Story-Telling Techniques in the Arabian Nights by David Pinault", International Journal of Middle East Studies (Cambridge University Press) 26 (2): 358–360 [359]
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, pp. 193–4, ISBN 1-86064-983-1
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, p. 199, ISBN 1-86064-983-1
^ a b Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf (2004), The Arabian Nights Encyclopedia, ABC-CLIO, p. 109, ISBN 1-57607-204-5
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, p. 93, ISBN 1-86064-983-1
^ Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf (2004), The Arabian Nights Encyclopedia, ABC-CLIO, p. 4, ISBN 1-57607-204-5
^ Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf (2004), The Arabian Nights Encyclopedia, ABC-CLIO, pp. 97–8, ISBN 1-57607-204-5
^ Yuriko Yamanaka, Tetsuo Nishio (2006), The Arabian Nights and Orientalism: Perspectives from East & West, I.B. Tauris, p. 81, ISBN 1-85043-768-8
^ Pinault, David (1992), Story-telling Techniques in the Arabian Nights, Brill Publishers, p. 59, ISBN 90-04-09530-6
^ Marzolph, Ulrich (2006), The Arabian Nights Reader, Wayne State University Press, pp. 240–2, ISBN 0-8143-3259-5
^ Pinault, David (1992), Story-Telling Techniques in the Arabian Nights, Brill Publishers, pp. 93, 95, 97, ISBN 90-04-09530-6
^ Pinault, David (1992), Story-Telling Techniques in the Arabian Nights, Brill Publishers, pp. 91 & 93, ISBN 90-04-09530-6
^ Marzolph, Ulrich (2006), The Arabian Nights Reader, Wayne State University Press, p. 240, ISBN 0-8143-3259-5
^ Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf (2004), The Arabian Nights Encyclopedia, ABC-CLIO, pp. 2–4, ISBN 1-57607-204-5
^ Yuriko Yamanaka, Tetsuo Nishio (2006), The Arabian Nights and Orientalism: Perspectives from East & West, I.B. Tauris, p. 83, ISBN 1-85043-768-8
^ Al-Hakawati. "The Story of Gherib and his Brother Agib". Thousand Nights and One Night. Retrieved October 2, 2008.
^ a b Hamori, Andras (1971), "An Allegory from the Arabian Nights: The City of Brass", Bulletin of the School of Oriental and African Studies (Cambridge University Press) 34 (1): 9–19 [10], DOI:10.1017/S0041977X00141540
^ Daniel Harms, John Wisdom Gonce, John Wisdom Gonce, III (2003), The Necronomicon Files: The Truth Behind Lovecraft's Legend, Weiser, pp. 87–90, ISBN 1-57863-269-2, 9781578632695
^ a b Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, p. 209, ISBN 1-86064-983-1
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, p. 204, ISBN 1-86064-983-1
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, p. 190, ISBN 1-86064-983-1
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, pp. 211–2, ISBN 1-86064-983-1
^ Hamori, Andras (1971), "An Allegory from the Arabian Nights: The City of Brass", Bulletin of the School of Oriental and African Studies (Cambridge University Press) 34 (1): 9–19 [9], DOI:10.1017/S0041977X00141540
^ Pinault, David (1992), Story-Telling Techniques in the Arabian Nights, Brill Publishers, pp. 148–9 & 217–9, ISBN 90-04-09530-6
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, p. 213, ISBN 1-86064-983-1
^ Hamori, Andras (1971), "An Allegory from the Arabian Nights: The City of Brass", Bulletin of the School of Oriental and African Studies (Cambridge University Press) 34 (1): 9–19 [12–3], DOI:10.1017/S0041977X00141540
^ a b c Pinault, David (1992), Story-Telling Techniques in the Arabian Nights, Brill Publishers, pp. 10–1, ISBN 90-04-09530-6
^ Geraldine McCaughrean, Rosamund Fowler (1999), One Thousand and One Arabian Nights, Oxford University Press, pp. 247–51, ISBN 0-19-275013-5
^ Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf (2004), The Arabian Nights Encyclopedia, ABC-CLIO, pp. 172–4, ISBN 1-57607-204-5
^ Academic Literature, Islam and Science Fiction
^ http://www.mythfolklore.net/1001nights/burton/kamar.htm
^ http://classiclit.about.com/library/bl-etexts/arabian/bl-arabian-nuraldin.htm
^ Irwin, Robert (2003), The Arabian Nights: A Companion, Tauris Parke Palang-faacks, p. 290, ISBN 1-86064-983-1
^ James Thurber, "The Wizard of Chitenango", p 64 Fantasists on Fantasy edited by Robert H. Boyer and Kenneth J. Zahorski, ISBN 0-380-86553-X.
^ Reynolds p.272
^ Irwin pp.81-82
^ a b Encyclopaedia Iranica
^ Irwin pp.92-94
^ Irwin pp.96-99
^ Irwin pp.61-62
^ Irwin p.14
^ Reynolds pp.279-81
^ Irwin pp.238-241
^ Irwin p.242
^ Irwin pp.245-260
^ A. S. Byatt On Histories and Stories (Harvard University Press, 2001) p.167
^ Wordsworth in Book Five of The Prelude; Tennyson in his poem "Recollections of the Arabian Nights". (Irwin, pp.266-69)
^ Irwin p.270
^ a b Byatt p.168
^ Irwin pp.291-292
^ www.thespinningimage.co.uk/cultfilms/displaycultfilm.asp?reviewid=4107
^ See Encyclopaedia Iranica (NB: Some of the dates provided there are wrong)
^ http://www.guardian.co.uk/books/2011/mar/12/arabian-nights-illustration
^ http://www.freemmostation.com/2010/08/nadirim-exclusive-interview.html
[edit]Sources

Robert Irwin The Arabian Nights: A Companion (Tauris Parke, 2005)
David Pinault Story-Telling Techniques in the Arabian Nights (Brill Publishers, 1992)
Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf,The Arabian Nights Encyclopedia (2004)
Ulrich Marzolph (ed.) The Arabian Nights Reader (Wayne State University Press, 2006)
Dwight Reynolds, "A Thousand and One Nights: a history of the text and its reception" in The Cambridge History of Arabic Literature Vol 6. (CUP 2006)
Eva Sallis Scheherazade Through the Looking-Glass: The Metamorphosis of the Thousand and One Nights (Routledge, 1999),
Yamanaka, Yuriko and Nishio, Tetsuo (ed.) The Arabian Nights and Orientalism – Perspectives from East and West (I.B.Tauris, 2006) ISBN 1-85043-768-8
Ch. Pellat, "Alf Layla Wa Layla" in Encyclopædia Iranica. Online Access June 2011 at [1]
[edit]Further reading

In Arabian Nights: A search of Morocco through its stories and storytellers by Tahir Shah, Doubleday, 2008.
The Islamic Context of The Thousand and One Nights by Muhsin J. al-Musawi, Columbia University Press, 2009.
Nurse, Paul McMichael. Eastern Dreams: How the Arabian Nights Came to the World Viking Canada: 2010. General popular history of the 1001 Nights from its earliest days to the present.
[edit]External links

Wikimedia Commons has media related to: Arabian Nights
Wikiquote has a collection of quotations related to: One Thousand and One Nights
Arabic Wikisource has original text related to this article:
ألف لیلة ولیلة
[edit]Online translations
The Thousand Nights and a Night in several classic translations, including unexpurgated version by Sir Richard Francis Burton, and John Payne translation, with additional material.
Project Bartleby edition of Stories From One Thousand and One Nights, (Lane and Poole translation)
Galland's French translation (an edition from 1822)
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Interview with Claudia Ott: A New Chapter in the History of Arab Literature
Journal of the 1001 Nights – An online blog resource for new and developing news, scholarship and info on the 1001 (aka The Arabian) Nights and their many manifestations.
Arabian Nights Six full-color plates of illustrations from the 1001 Nights which are in the public domain
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Categories: One Thousand and One NightsArab mythologyIraqi cultureMedieval Arabic literaturePersian literaturePersian mythologyIranian folklore
قس ترکی استانبولی
Binbir Gece Masalları (kısaca Binbir Gece, Arapça: کتاب ألف لیلة ولیلة Kitāb 'Alf Layla wa-Layla, Farsça: هزار و یک شب Hazâr-o Yak Šab) Orta Çağ'da kaleme alınmış Orta Doğu kökenli edebi eserdir. Şehrazad'ın hükümdar kocasına anlattığı hikâyelerden oluşur.
Konu başlıkları [gizle]
1 Tarihçe
2 Konusu
3 Farklı basımları
4 Uyarlamalar
4.1 Televizyon ve sinema
4.2 Müzik
5 Dış bağlantılar
6 Kaynakça
Tarihçe [değiştir]

8. yüzyılda Arap Abbasi Halifesi Harun Reşid zamanında Bağdat önemli bir kozmopolit şehirdi, İran, Çin, Hindistan, Afrika ve Avrupa'dan gelen tüccarlar ile dolup taşmaktaydı. Bu dönemde, şehrin kültürel yapısı da gelişmiş, Arap kültürü, özellikle diğer Doğu kültürleriyle harmanlanmıştı. Binbir Gece Masalları'ndaki hikâyeler işte bu dönemde, halk hikâyeleri olarak ortaya çıkmıştır. Sözle aktarılan bu hikâyeler sonunda tek bir eserde derlenmiştir. Hikâyelerin çekirdeğini eski bir Fars (İran) kitabı olan Hazâr Afsâna (Bin Efsane) oluşturmuştur. 9. yüzyıl dolaylarında hikâyeleri derleyen ve Arapça'ya çevirenin masalcı Ebu abdullah Muhammed el-Gahşigar olduğu söylenir. Eserdeki hikâyelerin çerçevesini oluşturan Şehrazad öyküsünün esere 14. yüzyıl dolaylarında katıldığı düşünülmektedir. Eser Fransızcaya 1704'te çevrilmiş, ilk modern Arapça derlemesi ise 1835'te Kahire'de yapılmıştır. Fransızca'ya 1704'te çevrilmişse de, eserin ve ihtiva ettiği hikâyelerin bir kısmının daha önceden Batı'ya geldiği düşünülmektedir.
Konusu [değiştir]

Binbir Gece Masalları, Arap edebiyatı'nın en güzel eserlerindendir. Gerek eskiliği ve gerekse anonim oluşu, bu masalların hızla yayılmasına yol açmıştır. Hatta çok sonraları "Binbir Gündüz Masalları" adında başka bir seri de ortaya çıkmıştır. Hemen hemen tüm dünya dillerine çevrilen masalar arasında "Ali Baba ve Kırk Haramiler" ve "Alaaddin'in Sihirli Lambası" da yer almaktadır.
Hikayeye göre; Fars kralı Şah Şehriyar Hindistan ile Çin arasındaki bir adada hüküm sürer (eserin daha sonraki biçimlerinde bunun yerine Şehriyar'ın Hint ve Çin'de egemenlik sürdüğü yazar). Şehriyar karısının kendisini aldattığını öğrenir ve öfkelenir, tüm kadınların sadakatsiz, nankör olduğuna inanmaya başlar. Önce karısını öldürtür, sonra da vezirine her gece kendisine yeni bir hanım bulmasını emreder. Her gece yeni bir gelin alan Şehriyar, geceyi hanımıyla geçirdikten sonra tan vakti hanımını idam ettirir. Bir süre bu böyle devam eder. Vezirin akıllı kızı Şehrazad bu kötü gidişata son vermek için bir plan kurar ve Şehriyar'ın bir sonraki eşi olmaya aday olur. Evlendikleri geceden başlayarak, kardeşi Dünyazad'ın hikaye dinlemeden uyuyamadığını söyler ver hergece Dünyazad'ın da yardımıyla çok güzel ve heyecanlı hikayeler anlatmaya başlar ama tam şafak vakti geldiğinde, hikayenin en heyecanlı yerinde, hikayeyi anlatmayı keser. Hikayenin sonunu merak eden Şehriyar, Şehrazad'ın hikayeye ertesi gece devam edebilmesi için, o gecelik Şehrazad'ın idamını erteler. Her gece bir önceki masalın devamını anlatıp yeni bir hikayeye başlar ve yine tam tan vakti hikayenin en heyecanlı yerinde anlatmayı bırakır. Kitabın sonuna kadar yer alan hikayeler, Şehrazad'ın Şehriyar'a anlattığı hikayelerdir. Sona gelindiğinde, Şehrazad üç erkek çocuğu doğurmuştur ve evliliklerinden uzunca bir süre geçmiştir. Kralın kadınlara olan öfkesi ve kötü düşünceleri dinmiş, Şehrazad'ın sadakatine inanmıştır.
Farklı basımları [değiştir]



Binbir Gece Masalları hakkında bir çizim
Eserin bir Avrupa dilindeki ilk baskısı, Antoine Galland tarafından yapılmış Fransızca çevirisidir (1704-1717). Bu çeviri eserin daha önce derlenmiş bir Arapça sürümünden yapılmıştır. 12 ciltten oluşan bu ilk çeviri, Les Mille et une nuits, contes arabes traduits en français , büyük ihtimalle çevirinin yapıldığı Arapça nüshada bulunmayan fakat çevirmen tarafından bilinen bazı Arapça hikâyeleri de içermekteydi.
850 yılı civarında ortaya çıkan Arapça derleme, Alf Layla (Bin Gece) ise büyük ihtimalle, daha önce yazılmış olan Hazar Afsanah (Bin Efsane) isimli Fars eserinin özetlenmiş bir tercümesiydi. Eserin günümüzdeki ismi olan Alf Layla wa-Layla (Binbir Gece) ise Orta Çağ'da ortaya çıkmıştır. Bu isim büyük ihtimalle sonsuzluk ötesi sayı düşüncesini sembolize etmekteydi, zira o zamanlar Arap matematik çevrelerinde 1000 sayısı kavram olarak sonsuzluğu sembolize ederdi. Belki de buradan yola çıkarak, eserdeki tüm hikâyeleri okuyan kişinin delireceğine dair bir efsane ortaya çıkmıştır.
Eser geleneksel Fars, Arap ve Hint hikâyelerinin bir derlemesi olarak görülür. Fakat, eserde bulunan ünlü hikâyelerden Alaaddin'in Lambası ve Ali Baba ve Kırk Haramiler, eserin Avrupa baskısına Antoine Galland tarafından eklenmiştir. Galland bu hikâyeleri Halepli, Marunî bir masalcıdan duyduğunu yazmıştır.
İngilizce'ye çevirisi Sir Richard Burton tarafından The Arabian Nights olarak yapılmıştır. Kendinden evvelkilerden farklı olarak bu çeviri özgün malzemeyi sansürlememiştir. İngiltere tarihinin muhafazakar Victoria döneminde yayımlanmasına rağmen bu çeviri, kaynağında bulunan erotik incelikleri ve cinsel tasvirleri içermektedir. Bu çevirinin yanı sıra, daha yakın zamanlarda Fransız doktoru J.C. Mardrus'un da bir çevirisi vardır. Mevcut çevirilerin en doğru ve güzeli olarak değerlenidirilen, Fransa'daki Bibliothèque Nationale'de bulunan 14. yüzyıldan kalma bir Suriye el yazmasından Hüssain Haddawy'nin yaptığı Arapça derlemedir.
Uyarlamalar [değiştir]

Televizyon ve sinema [değiştir]


Ali Baba ve Kırk Haramiler'i gösteren bir çizim


Denizci Sinbad
Binbir Gece Masalları'nın televizyon ve sinemaya pek çok uyarlaması yapılmıştır. Bunların asıl öykülere olan bağlılığı çok değişkendir. Fritz Lang'in 1921 yapımı Der Müde Tod, 1924 Hollywood yapımı (Douglas Fairbanks'ın başrolünde olduğu) The Thief of Baghdad ve onun 1940'daki İngiliz ikinci yapımı, Binbir Gece Masalları'ndan etkilenmişlerdir.
Hollywood'un Binbir Gece Masalları 'na dayandırılmış ilk konulu filmi 1942 yapımı Arabian Nights'dır. Başrollerde Şehrazad rolünde Maria Montez, Ali Ben Ali rolünde Sabu Dastagır ve Harun Reşid rolünde Jon Hall vardır. Filmin konusunun Binbir Gece Masalları ile neredeyse hiç ilgisi yoktur. Filmde Şehrazat, Halife Harun Reşid'i devirip kardeşiyle evlenmek isteyen bir dansözdür. Şehrazadın ilk suikast girişimi başarısızlığa uğrar ve esir olarak satılmasının ardından pek çok macera gelişir. Maria Montez ve Jon Hall 1944 yapımı Ali Baba ve Kırk Haramiler 'de de rol almışlardır.
1980'li yıllarda Şehrazat rolünde Annette Haven ve Şehriyar rolünde John Leslie'nin oynadığı 1001 Erotic Nights, bütçesi milyon doları aşan ilk porno film sayılır.
Binbir Gece Masalları'ın en başarılı sinema uyarlaması 1992 Walt Disney yapımı çizgi film Aladdin sayılabilir. Filmde Scott Weinger ve Robin Williams seslendirme yapmıştır. Bu filmi devam bölümleri ve televizyon serileri izlemiştir.
Sinbad'ın yolculukları, televizyon ve sinemaya birkaç kere uyarlanmıştır. Bunlardan en sonuncusu, seslendirmesini Brad Pitt ve Catherine Zeta-Jones'un yaptığı 2003 yapımı animasyon Sinbad: Legend of the Seven Seas dir. 1958 yapımı The Seventh Voyage of Sinbad en meşhur Sinbad filmi sayılabilir.
İngilizce olmayan uyarlamalar arasında çeşitli Hint (Bollywood) yapımları, İtalyan yönetmen Pier Paolo Pasolini'nin 1974 yapımı Il fiore delle mille e una notte'si, ve 1990 yapımı Fransız Les 1001 nuits sayılabilir.
Televizyon ve sinema uyarlamaları arasında aslına en sadık kalmış olanı 2000 yılında Amerikan ABC ve İngiliz BBC kanallarında gösterilen Arabian Nights dizisi sayılır. Emmy ödülünü alan bu iki bölümlük dizide Şehrazat rolünde Mili Avital, Sahriyar rolünde Dougray Scott oynamıştır.Günümüzde ise Kanal D ekranlarında masaldan uyarlanmış hali tv dizisi olarak çekilmiştir..
Müzik [değiştir]
Rus bestecisi Nikolai Rimsky-Korsakov, 1888'de Şehrazad adlı eserini tamamlamıştır. Parça dört masaldan esinlenmiştir: "Deniz ve Sinbad'in Gemisi", "Kalender Prens", "Genç Prens ve Prenses" ve "Bağdat'ta Şenlik".
Dış bağlantılar [değiştir]

Mısır'da "Binbir Gece Masalları": Şehrazad’a sansür
Binbir Gece Masalları'ndan 42 hikâyenin İngilizce çevirisi (1909-14)
Binbir Gece Masalları'nın bazı klasik çevirileri ve eser hakkında bilgi
Binbir Gece Masalları'nın etkileri ve içeriği üzerine notlar
Binbir Gece Masalları için 1001 kaynak ve bağlantı - University of Houston
Wikimedia Commons'ta Binbir Gece Masalları ile ilgili çoklu ortam kategorisi bulunur.
Kaynakça [değiştir]

İngilizce Vikipedi Binbir Gece Masalları maddesi
"Binbirgece Masalları" Yayına hazırlayan: Sadık Yalsızuçanlar, Timaş Yayınları, İstanbul 2003
Kategoriler: Binbir Gece MasallarıYasaklanmış kitaplar
قس ترکمنی
Müň bir gije ertekileri (pars. هزار و یک شب hezār o yek šab; arap. کتاب ألف لیلة ولیلة‎‎ kitāb 'alf layla wa layla) — orta asyrlar arap we pars edebiýatlarynyň ýadygärligi, eýran patyşasy Şähriýar bilen onuň aýaly Şährizada baradaky hekaýatlaryň ýygyndysy. Eser rusçadan Bäşim Ataýewiň terjime etmeginde 1978-nji ýylda "Türkmenistan" neşirýaty tarapyndan çap edildi.
Kategoriýalar: Elipbiý boýunça kitaplarMüň bir gijeErtekiler
قس اردو
الف لیلہ
وکیپیڈیا سے
کہانیوں کی مشہور کتاب جسے آٹھویں صدی عیسوی میں عرب ادبا نے تحریر کیا اور بعد ازاں ایرانی ، مصری اور ترک قصہ گویوں نے اس میں اضافے کیے۔ پورا نام (الف لیلۃ و لیلۃ ) ایک ہزار ایک رات۔ کہتے ہیں کہ سمرقند کا ایک بادشاہ شہر یار اپنی ملکہ کی بے وفائی سے دل برداشتہ ہو کر عورت ذات سے بدظن ہوگیا۔ اور اُس نے یہ دستور بنا لیا کہ ہر روز ایک نئی شادی کرتا اور دلہن کو رات بھر رکھ کر صبح کو قتل کر دیتا۔ آخر وزیر کی لڑکی شہر زاد نے اپنی صنف کو اس عذاب سے نجات دلانے کاتہیہ کر لیا اور باپ کو بمشکل راضی کرکے بادشاہ سے شادی کر لی۔ اُس نے رات کے وقت بادشاہ کو ایک کہانی سنانا شروع کی۔ رات ختم ہوگئی مگر کہانی ختم نہ ہوئی۔ کہانی اتنی دلچسپ تھی کہ بادشاہ نے باقی حصہ سننے کی خاطر وزیر زادی کا قتل ملتوی کردیا۔ دوسری رات اس نے وہ کہانی ختم کرکے ایک نئی کہانی شروع کردی ۔ اس طرح ایک ہزار ایک رات تک کہانی سناتی رہی اس مدت میں اُس کے دو بچے ہوگئے اور بادشاہ کی بدظنی جاتی رہی۔
الف لیلٰی کی اکثر کہانیاں ، بابل ، فونیشیا، مصر اور یونان کی قدیم لوک داستانوں کو اپنا کر لکھی گئی ہیں اور انھیں‌ حضرت سلیمان ، ایرانی سلاطین اور مسلمان خلفا پر منطبق کیا گیا ہے۔ ان کا ماحول آٹھویں صدی عیسوی کا ہے۔ ایسی کہانیاں جن میں ان چیزوں کا ذکر ملتا ہے جو آٹھویں صدی میں دریافت و ایجاد نہیں ہوئی تھیں بہت بعد کے اضافے ہیں۔
محمد بن اسحاق نے (الفہرست) میں کہانیوں کی ایک کتاب ہزار افسانہ کا ذکر کیا ہے جو بغداد میں لکھی گئی تھی اور اس کی ایک کہانی بھی درج کی ہے جو الف لیلہ کی پہلی کہانی ہے اس سے ثابت ہوتا ہے کہ پہلے کتاب کا نام (ہزارافسانہ ) تھا۔ نیز اس میں ایک ہزار ایک داستانیں نہ تھیں بعد میں مختلف مقامات پراس میں اضافے ہوئے اور کہانیوں کی تعداد ایک ہزار ایک کرکے اس کا نام الف لیلۃ و لیلہ رکھا گیا۔ یورپ میں سب سے پہلے ایک فرانسیسی ادیب گلاں نے اس کا ترجمہ کیا اسی سے دوسری زبانوں میں تراجم ہوئے۔اردو میں یہ کتاب انگریزی سے ترجمہ ہوئی۔
زمرہ: کتابیں