By Ulrich Marzolph
This accomplished reference at the "Arabian Nights" provides precise learn on almost all features of the stories, together with significant protagonists, topics, vital translations, textual historical past, diversifications, reworkings, works encouraged by means of the stories and features of literary idea.
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Additional info for The Arabian Nights: An Encyclopedia, Volumes 1-2
Sample text
The educational message they transmit to the reader in a subtle way derives from the past experience of humanity, on the same level as history. However, instead of the message being constituted by memorable actions, here it is conveyed by ideas. Why is the peacock worried by the proximity of the beasts of prey (see Tale of the Birds and Beasts and the Carpenter)? Because it runs the risk of being devoured. Why does the cat worry about the absence of food (see The Mouse and the Cat)? Because it may die of starvation.
Mas‘ûdî mentions the Nights as one of a group of books containing 18 The Manuscript Tradition of the Arabian Nights marvelous stories translated from the Persian, Indian, or Greek. He gives the Persian title as Hazâr afsâna (A Thousand Tales) and the Arabic title used by (the common) people as Alf Layla (A Thousand Nights). In addition, he mentions the characters of the story—namely, the king, the vizier and his daughter Shîrâzâd, and her maiden slave Dînâzâd. The note of the Baghdad bookseller Ibn al-Nadîm in his Fihrist (Catalogue), dated 987, offers both an outline of the frame-story and the structure of the Nights, as consisting of the telling (and interrupting) of stories in order to postpone execution; the characters mentioned are the king, the maiden he has married, Shahrâzâd, and the house mistress Dînârzâd who assists Shahrâzâd in her ruse.
The Oral Connections of the Arabian Nights Hasan El-Shamy The narratives that constitute the various editions of the original Arabic Arabian Nights, henceforth Alf Layla (wa-layla), are derived mainly from indigenous lore. The rendering of these once orally transmitted and aurally perceived stories into the written, visually perceived form was the work of male scribes, most of whom possessed basic clerical skills, a knowledge (though often imperfect) of grammar, and repertoires of rhetorical embellishments required in literary composition (inshâ’-style).