Read The Arabian Nights: Alf Laylah Wa-Laylah by Anonymous Husain Haddawy Online

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Full of mischief and valor, ribaldry and romance, The Arabian Nights is a work that has enthralled readers for centuries. The text presented here is that of the 1932 Modern Library edition for which Bennett A. Cerf chose the "most famous and representative" of the stories from the multivolume translation of Richard F. Burton. The origins of The Arabian Nights are obscure.Full of mischief and valor, ribaldry and romance, The Arabian Nights is a work that has enthralled readers for centuries. The text presented here is that of the 1932 Modern Library edition for which Bennett A. Cerf chose the "most famous and representative" of the stories from the multivolume translation of Richard F. Burton. The origins of The Arabian Nights are obscure. About a thousand years ago a vast number of stories in Arabic from various countries began to be brought together; only much later was the collection called The Arabian Nights or the Thousand and One Nights. All the stories are told by Shahrazad (Scheherazade), who entertains her husband, King Shahryar, whose custom it was to execute his wives after a single night. Shahrazad begins a story each night but withholds the ending until the following night, thus postponing her execution. The Modern Library has played a significant role in American cultural life for the better part of a century. The series was founded in 1917 by the publishers Boni and Liveright and eight years later acquired by Bennett Cerf and Donald Klopfer. It provided the foundation for their next publishing venture, Random House. The Modern Library has been a staple of the American book trade, providing readers with afford-able hardbound editions of impor-tant works of literature and thought. For the Modern Library's seventy-fifth anniversary, Random House redesigned the series, restoringas its emblem the running torch-bearer created by Lucian Bernhard in 1925 and refurbishing jackets, bindings, and type, as well as inau-gurating a new program of selecting titles. The Modern Library continues to provide theworld's best books, at the best prices.This selection includes many of the stories that are universally known though seldom read in this authentic form: "Alaeddin; or, the Wonderful Lamp," "Sindbad the Seaman and Sindbad the Landsman," and "Ali Baba and the Forty Thieves." These, and the tales that accompany them, make delightful reading, demonstrating, as the Modern Library noted in 1932, that Shahrazad's spell remains unbroken....

Title : The Arabian Nights: Alf Laylah Wa-Laylah
Author :
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ISBN : 9780393959062
Format Type : Paperback
Number of Pages : 560 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

The Arabian Nights: Alf Laylah Wa-Laylah Reviews

  • Manny
    2019-05-10 22:24

    Ah, if only I could write like the late Sir Richard Burton! Normally I dislike translations, but to refuse to read The Arabian Nights on those grounds would be like refusing to read the Bible. I love parodying people's styles, and I have tried my utmost to parody Burton convincingly, but I can't do it. He's too clever. He has taken this unique book, a miraculous survival from the most ancient antiquity, and he has created a unique language to make it accessible to us: the backbone is a kind of Spenserian English, but he has modified it in subtle ways, adding some French roots here, some Nordic ones there, pinches of more obscure ingredients when he feels he needs them, creating alliterations and internal rhymes and odd sentence structures to echo the rhythms of the original, inserting endless footnotes to tell us poor people what we're missing through not knowing Arabic. Burton is always present in the text, leading us by the hand through his favorite passages, flooring us with a jaw-droppingly inappropriate comment one moment (it isn't sexist or racist: it transcends sexism and racism) and then turning round a second later to hit us with a marvellous piece of poetry or romance or heroism, crowing over his rivals' mistakes, inserting irrelevant anecdotes or obscure pieces of etymology that he just couldn't resist, showing off his knowledge of the seventeen languages he speaks fluently and the others that he just has a passing acquaintance with. And all the time, often without us even realizing what he's doing, telling us about Islam, the religion so many of us Westerners fear without understanding it, showing us what it's like from the inside, from the perspective of an eighth century cobbler or Caliph or slave-girl, how, whatever else it may be, it is a great religion, one that hundreds of millions of people have gladly lived and died in, without ever questioning the will of Allah or his prophet Mohammed, peace be upon him.I have never read anything like it.

  • Petra X
    2019-05-03 01:29

    When I was a little girl my grandmother gave me a big, blue, cloth bound edition of this book. It had the most exquisite coloured plates protected by tissue paper interleaved with the printed sheets. It was the perfect storybook for a bookish, fanciful child living in an abusive home. I spent a year reading this book. Every night I would read it and disappear from all the fear and unpleasantness around me into this realm of people in exotic clothes who could do magic. I cherished the book. I took it everywhere. It was never on display but always kept in the airing cupboard where it would be warm and dry. (view spoiler)[I think I got this from my father. He used to read dirty books in the bath and leave them in the airing cupboard to dry out. I read quite a lot of Miller, DH Lawrence etc. that way. (hide spoiler)]One year I rented my London flat to a thieving pig. He looked very nice, tall, handsome, very well-spoken and supposedly had family from one of the sister islands I live on. He would write cheques with the sixes and nines reversed (in his favour), ones he'd 'forgotten' to sign. When I eventually got possession of the place, he superglued the bedroom doors locks, ripped the panelling off the bathtub, and threw black paint on the mattresses. And stole all my rare books. One was an amazing underground banned book on Turkey, a sort of guide book to what they don't want you to see, went missing and another one was this one.I phoned his father. He was all shock/horror on the phone. But when he came round he threatened me. If I took it further he and his sons would make me very sorry. I kind of wish I had a book like this again. One with the capability of taking me far away into another realm where the troubles of the day just don't intrude. But I'm grown up now and books no longer have that amazing, all-encompassing, lost for hours effect.

  • Aaron
    2019-04-30 21:20

    The more I read user reviews of The Arabian Nights, the more convinced I am that people are just posting negative things to be contrary. How can you not love this collection of stories? Common complaints: 1)It's racist -- Yes, the work itself, by today's standards, could probably be considered racist. This work was originally written many thousands of years ago. Keep that in mind and get off your high horse.2) It's misogynistic-- I disagree. That which would be considered misogynistic falls into the category of that described above. Attitudes towards women were considerably different back then. Get off your high horse. Also, the entire book revolves around a woman who outsmarts her captor. Depicting a woman of such high wit and education is hardly misogynistic. The stories themselves are full of women who outsmart the men who suppress them. If anything, the women in The Arabian Nights come off as being considerably more worldly than their male counterparts. 3) Too long-- It is true that the work is quite long. I might have been better served breaking the book into chunks. Read a few stories, read something else, come back to this so that I could read a few more stories. This strategy might have relieved some of my own "tedium" since the stories get considerably longer as the work progresses. I read the whole work in one stretch. Yes, I got a little antsy to get to the end. But it is a book of stories. It can be split into sections. The book's weight and heft should not be an excuse to pass this one by.Not all of the stories are fantastic. Not all of the stories are even interesting. But this is a seminal work in the history of published writing and its influence is well-earned. Highly recommended.

  • JG (The Introverted Reader)
    2019-04-30 01:41

    For those 2 people who don't know, The Arabian Nights is sort of a collection of short stories told in the Arabian world, as I'm told it should be called, (which seems to include India and parts of China) waaaaaay back in the day. The framework of the story is about a sultan who caught his wife cheating on him. After he has her killed, he decides to take out his revenge on the entire sex, so he marries a different wife every day and has her killed the next morning. Scheherazade is the Grand Vizier's beautiful, intelligent daughter. She realizes that this can't go on, so she comes up with a plan. She asks to be the next wife of the sultan, and she starts telling him a story on their wedding night. But buried within that story is another story. The sultan is so intrigued by the story that he decides to let her live so he can find out how the story ends. She keeps stringing him along like this, theoretically for 1000 nights, until he relents and gives her a full pardon and takes her for his real wife. But that's only a very small part of the book. The biggest part of the book is the stories Scheherazade tells the sultan. Included are Aladdin, Ali Baba, Sinbad, and others that we've probably all heard in one form or another.I just picked this up because I wanted to see what it was all about. This version was very readable. It was interesting to see a slice of Arabian life. I would catch myself thinking, "They treat women so badly over there" and then I would remember that when these stories were first told, women were treated badly pretty much everywhere. But then there would be some stories where the women had surprising freedom and I would catch myself wondering where things started going bad. I can't say that I know enough about the culture to comment on what's changed and what hasn't, but these stories do give you a little idea of what life is/was like in the Middle East and where they're coming from. And in these times, a little understanding can only be a good thing.

  • Agir(آگِر)
    2019-05-18 23:14

    ،ترس تو از مرگترسناک می کندمرگ را که تغذیه از ترس می کندیدالله رویاییهزار و یک شب کتابی است در مورد ترس هاترس از خیانت، ترس از مرگشهرزاد برای نجات جان خود و دیگر زنان شهر، مجبور به قصه گویی می شودتا با آن پادشاه روانپریشی را معالجه کندشهرزاد وقت وداع گفت: فقط چند واژه مرا از مرگ می گیرداین پادشاه بر اساس تجربه شخصی خود و برادرش، همه زنان را خائن می داند و بعد برطرف ساختن شهوتش، آنان را به جلاد می سپارد. همین ترس از مرگ، شهرزاد را استاد قصه گویی می سازدشهرزاد به جلادش می گفت: که مرگ خالق بزرگی است. وقتی مجبور باشیم، می سازیم. و جلاد دانسته بود که بهترین خلق ها زیر ِ هراس ِ مرگ جان گرفتند:هزار و یک شب و عشق و خیانتارهان پاموک می گوید: من از هرجور «وابستگی» به اندازه ی عشق وحشت دارمفلسفه پاموک پذیرفتن زندگی در شکل واقعی اش است. او زندگی را پر از دروغ و فریب می داندزوبای یونانی هم بیشتر زنان را بی وفا می دانست و با آن کنار آمده بود با اینحال بشدت به زنان عشق می ورزید، فقط خود را وابسته ی آنان نمی کرد؛ چون بر این باور بود که بالاخره روزی معشوقه هایش او را ترک خواهند کرد:ارهان پاموک تجربه اش از خواندن هزارو یکشب را چنین بیان می کنددر دومین باری که هزارویکشب را خواندم کتاب اذیتم کرد و عصبی ام کردحالا پس از سی سال به گمانم می دانم چی بود که این همه آزارم می داد: در اغلب این حکایت ها، مردها و زن ها درگیر جنگی پایان ناپذیر برای فریب یکدیگر هستند. بازی ها، حقه ها خیانت ها، فتنه های بی پایان انها مرا عصبانی می کرد. در دنیای هزارو یک شب هیچ زنی قابل اطمینان نیست. یک کلمه از حرف زن ها را نمی شود باور کرد؛ هیچ کاری ندارند جز فریب دادن مردها با بازی ها و نیرنگ های حقیرشان. این ها از همان صفحه اول شروع می شود، که در آن شهرزاد مرد سنگدلی را شیفته ی حکایت هایش می کند تا از کشتن خویش بازش دارد. تکرار این الگو در سراسر کتاب هیچ معنایی نمی تواند داشته باشد جز اینکه در فرهنگی که این حکایات را تولید کرده، مردها سخت از زن ها می ترسیده اند. و همین کاملا موید این واقعیت است که سلاحی که زنان با موفقیت تمام از آن بهره می برند، افسون جنسی آنهاست. به این تعبیر، هزارویک شب تبیینی است فاخر از شدیدترین ترسی که مردهای آن عصر درگیرش بودند: این که زنی ترک شان کند، باعث شود به بی غیرتی بیفتند، و به انزوا محکوم شان کند. حکایتی که از همه بیشتر چنین ترسی را احضار می کند- و لذتی بس مازوخیستی را موجب می شود- حکایت پادشاهای است که به تمام کنیزان حرم سرایش دستور داد با غلامان سیاهش به خطا روند و خود به تماشا نشست. حکایتی است موید عمیق ترین ترس ها و تعصب های جنس مذکر در باب جنس مونثمن در دومین دهه زندگی ام بودم و لبریز از ترس های معمول مردانه از جنسِ ازل تا به ابد غیرقابل اطمینانِ زن، چنین حکایت هایی را خفقان آور، بیش از حد شرقی و حتی به نوعی رکیک می دیدم. آن روزها هزارو یک شب ظاهرا سخت مایه عشرت طرفداران ماجراهای اندرونی بود، ایضا شخصیت های عامی، دورو، و بدجنس (که اگر خودشان هم زشت نبودند زشت سیرتی شان را با زشت صورت نمودن شان برجسته می کردند) که سرتاپا نفرت انگیز بودند و از سر بدترین رذائل رفتار می کردند، محض اینکه داستان ادامه پیدا کندسومین بار که هزارویک شب را خواندم تازه توانستم نظر خوشی نسبت به آن پیدا کنم. شاید با گذشت زمان به این پذیرش رسیدم که آنقدر عمر کرده ام که بدانم زندگی از خیانت و کینه ساخته شده. بنابراین در سومینِ بار خواندن، بالاخره موفق شدم هزارویکشب را در مقام اثر هنری قدر بدانم و از سفسطه گری های بی پایان، مخفی کاری ها، قایم باشک ها و از حکایت های فراوان ان در باب مکر زنان لذت ببرمو بالاخره توانستم در میانه ی دهه سوم عمرم، هزارویک شب را به خاطر منطق پنهان آن، لطایف درونی اش، غنایش، زیبایی های نجیب و عجیبش، میان پرده های قبیحش، هرزه درایی و رکاکتش بخوانم. رابطه عشق و نفرت پیشینم با کتاب دیگر محلی از اعراب نداشت: کودکی که نمی توانست دنیای خودش را در آن کتاب بیابد، کودکی بود که هنوز زندگی را چنان که هست نپذیرفته بود؛ و همچنین بود جوانی که کتاب را رکیک و مبتذل می دانست و پست می شمرد. چون من کم کم به این درک رسیده ام که اگر هزارو یک شب راچنان که هست نپذیریم- مثل خود زندگی که اگر سرباز زنیم از پذیرفتنش، چنان که هست- همچنان در حکم مایه ی آزار خواهد بود:حرف آخردر مورد بی وفایی باید بگویم که تنها مختص به زنان نیست و مردان شاید حتی بیشتر از زنان اینگونه باشندمهمتر از همه این است که طبیعت همه انسانها باهم متفاوت است و هستند کسانی که در تمام زندگی شان وفادار می مانند؛ چنین شخصیتی را هاینریش بل در کتاب "عقاید یک دلقک" به صورتی عالی نشان داده استبه همین خاطر است که کشورهای پیشرفته شرایط زندگی را برای همه نوع انسان مهیا کرده اند چه تک همسر و چه تنوع طلبدرمورد ستاره های کتاب، چون نتوانستم کتاب را بیشتر از 500 صفحه بخوانم به آن ستاره ای ندادم، اگه روزی تمامش کردم بهش ستاره خواهم داددو جمله بولد شده دومی و سومی که در ابتدای ریویو از زبان شهرزاد گفته شده، از یدالله رویایی هستند

  • Ahmad Sharabiani
    2019-05-09 19:22

    996. The Thousand and One Nights – Anonymousتاریخ نخستین خوانش: سال 1981 و سپس بارها نسخه های متفات را نیز خوانده امهزار و یک شب؛ همیشه ماندنی، همیشه یادگار قصه ها و غصه های روزهای دور، همیشه دوست دوستدر بارهء اصل «هزار و یک شب» که از شناخته ­ترین کتاب­های جهان است و تقریبا به همهء زبان­های زندهء دنیا ترجمه شده، سخن بسیار گفته­ اند و از معتبرترین نوشته ­ها در این باب یکی مطلبی است که مسعودی (متوفی به­ سال 346 هجری قمری) در مروج­ الذهب آورده، و دیگری قول ابن­ ندیم (متوفی به­ سال 385 هجری قمری) در الفهرست، از سخنان این دو چنین برمی­آید، که کتاب ایرانی «هزار افسانه» بی تردید مرجع اصلی «الف لیلة ولیله» بوده است. اما ممکن است، و احتمال زیاد هم دارد، که خود هزار افسانهء پهلوی و یا چارچوبهء «داستان شهرزاد و شهریار» و برخی از داستان­های آن، از منابع هندی گرفته شده، و از روی سرمشق و الگویی هندی در ایران پدید آمده، و «الف لیل» میراث هند و فرس باشد. چون علاوه بر مشابهت ­های دقیقی که میان بعضی داستانهای قدیمی هزارویک شب و داستانهای هندی کهن میتوان یافت؛ که در تقدم تاریخی کتابهای هندی بر هزارویک شب پارسی حرفی نیست، شیوهء نقل و روایت داستانهای پیاپی و تودرتو، و درج قصه در قصه، برای مانع شدن از انجام یافتن کاری شتاب­زده و نسنجیده و به­ دست­ کردن مهلت نظیر کتاب «طوطی­نامه» نیز، شگرد خاص هندیان است، و در ادبیات دیگر ملل جهان بی­نظیر است و یا کمتر مانند دارد. به­ هر حال چه هزارافسانه از کتاب هندی اقتباس شده باشد، و چه زادهء طبع ایرانیان باشد، تردیدی نیست که همین هزار افسانهء پهلوی در عصر خلفای عباسی به عربی ترجمه شده، و «الف لیلة ولیله» یا همان هزارویک شب نام گرفته است. البته هزار افسانهء اصلی نیز بخش مختصری از هزارویک شب کنونی را که کتابی پرحجم است، تشکیل میداده و میدهد، چون هزارویک شب امروزین، به مرور فراهم آمده و بدین حجم رسیده، و در روزگاران مختلف داستانهای گوناکون از منابع ایرانی، هندی، یونانی، یهود، عربی و اسلامی بر آن افزوده­ اند. بنابراین کتاب، چون مجموعه­ ای که پیوسته آن را تکمیل کرده­ اند به دست امروزیان رسیده است، اما این جمله در مدت زمانی دراز، رنگ ­و بوی اسلامی نیز یافته، یعنی راویان و ناقلان مختلف، قصه­ های غیراسلامی را تا آنجا که توانسته­ اند به رنگ­ و نگار اسلام درآورده­ اند، و بدین علت در حال حاضر کتاب، که قسمت عمدهء آن رنگ اسلامی و عربی دارد، گنجینه و جـُنگی از ادبیات عامیانه مشرق زمین در قرون میانه است، و نقش و تصویری از کلیت تمدن و فرهنگ دنیای اسلام را در قرون وسطی عرضه میدارد. ا. شربیانی

  • ميقات الراجحي
    2019-05-12 00:27

    هذا الكتاب المجهول النسب (يُعتبر) من أشهر كتبنا العربية في ثقافتنا رغم ضعف لغته وركاكة اسلوبه وتفشي المفردة العامية فيه لكنه هو من ساهم بالتعريف ومايزال يساهم بالتعريف بالهوية الثقافية العربية الأدبية وغير الأدبية.هذه الهوية التي باتت أحيان مكان مسبة عند الغربي من ناحية تركّز ثقافة صورة الجمل وحب النبيذ وسطوة الذكورية وإتساع الهوة بين الذكر والإنثى والكثير من الصور السيئة التي يحملها ألف ليلة وليلة لأن الغاية من تأليفه في العهد العباسي كانت تشويه صورة الخليفة العباسي دون تحديد هوية من يكون هذا الخليفة وإن كان هارون الرشيد كان صاحب الصفحات الأكثر. ثمة كتب ترجمت للعالم من خلال نصوصنا العربية ومنها مابدأ منذ مرحلة مبكرة عن طريق دار الحكمة في عهد المأمون ومن تبعه وكذلك حركة الترجمة في العصر الأندلسي. تُرجمت مقطوعات (لنصوص جاهلية)، وترجم (رسالة الغفران) بل حتى أعتبر كتاب الإيطاليين الأول (الكوميديا الإلهية) لدانتي قد حصل على فكرته من رسالة (المعري) وفق بعض الدراسات الفرنسية والألمانية – وهذا ليس موضوعي هنا – حول هذا الكتاب وترجمت (مؤلفات فلسفية * ) عباسية وأندلسية ومغربية، ومؤلقات ونصوص منتقاة (للجاحظ)، وقصة (حي بن يقظان) التي عدت عند الفرنسيين أثناء ترجمتها رواية فلـسفية، و(كليلة ودمنة) رغم عدم نسبته للأصل العربي بعد أن فقدت أصوله الهندية والفارسية، وهذا الكتاب أي ألف ليلة وليلة مثله مثل رباعيات الخيام الفضل لأوروبا في (إعادة) اكتشافه عندما خرج في بداية القرن الثامن عشر بترجمة انجليزية سرّعت بتحقيق واخراج النسخة العربية (الأصل)..هذا أحد الكتب التي مرت بعدة مراحل كتابية وزاد بعض النساخ وعدلت فيه بعض بدايات ونهايات وطريقة سرد بعض قصصه مثل قصص السيرة الشعبية التي تناقلها الرواة في (عنترة) و(سيف ذي يزن) و(الزير سالم) وهي لا تختلف في شعبيتها عن ألف ليلة وليلة. الفرق بينهم أن ألف ليلة وليلة يمنحك تجاه شعور بالحب والتعلق والشغف. هوية الكتاب المجهولة تؤكد قصصها أنه مزيج من :القصص الفارسية - الأدب البهلوي Persian literatureالهندية عند إلتقاء حضارتها بالإسلاميةالعربية في مراحل الخلافة العباسية عامة، وبلاد العراق – بغداد خاصة، وبلاد مصرفهو ليس إبنًا عربيًا خالصًا. لكن نستطيع أن نقول أن الجينات العربية غلبت على بقية المنافسة وسر فحولتها يكمن في توصيف المشهد العباسي والأشعار العربية – رغم ركاكتها – المضاف إليها والأمثال والحكم العربية.ينقل لك الكثير من ثقافات القرون الأولى وعاداتهم.. تعيش روعة الترحال والسفر والبحر والمغامرات والتشويق والقتل في قالب كوميدي أحيان والخديعة والجنس والشعر والخيانات والمكيدة والسحر والشعودة والجن والعفاريت.. كتاب خيالي روعة بكل ما تحمله الكلمة من معنى. فتنني سندباد ومغامراته وعلي بايا وعلاء الدين وقصص المغامرات. كتاب ألف ليلة وليلة كتاب يستحق الإقتناء والقراءة أكثر من مرة وإن كنت قرأته مرتين فقط ولن أفعلها مرة أخرى لتجاوز القراءة عندي الآن سقف (ألف ليلة وليلة) وليس هذا تقليل من شأنه. ولكن كثرة الكتب التي في القائمة. أفضل طبعة هى (برسلاو 1837م) تصحيح (مكسيميليا نوس بن هابخط) في (12 مجلد) دون أي تحريف، وطبعة (المكتبة الثقافية 4 مجلدات) ببيروت، وطبعة (دار الشعب 1969م) في (11 جزء / مجلدان) عناية رشدي صالح وهي جميعها دون تحريف.ـــــــــــــــــــــــــــــــــــــــــــــــــــ(*)يزعم الناقد المغربي عبد الفتاح كيليطو أن الكوميديا الإلهية هو السبب في شهرة رسالة الغفران رغم أسبقية الثاني، أنظر لن تتكلم لغتي، دار الطليعة، بيروت، ط 1، 2002م, ص 21.

  • Mohammed-Makram
    2019-04-28 23:25

    عالم من الحكايا و الأساطير و الأدب المبكر جدا فى تاريخنا العربىلم اقتنع أبدا برقم ألف ليلة و ليلة فقررت أن أزيدكم من الشعر بيتو لما كانت الليلة الثانية بعد الألفجلس الملك شهريار يأكل الممبارو يشاهد فيلم العار قائلا لشهرزاد أن نور الشريف لم يكن حمارو أن روقه هي ست الدارثم تناول الريموت و باكو البسكوت و اتبع سياسة خدوهم بالصوت و نادى على مسرور فأتى له قائلا صبـاح الفل فرد شهريار صباح النور و البنور يا معلم مسرور يا ملك البخورخذ مفاتيح السيارة و انزل لأنى نسيت أن اطفىء النور و أحضر لى معك علبتي سجائر و واحده كيت كات و كيس لسان عصفورفقال له مسرور: مولاىلقد انفقت شهرزاد في هذا الشهر الكثير من النقودو الفيزا ليمت لم يعد بلا حدودو السوبر ماركت لم يعد يقبل الكريدت من البيض و لا السودقطب شهريار حاجبيه و استدعى نائبيه و وبخهما كثيرا و سبح ربه بكرة و اصيلاو قال لهم مات الكلاملئن لم تأتيانى بحل لهذه المشكلة لأمرت مسرور بنحركما و أعين مكانكما إبراهيم و حسامفقال له نائبه الأول يا مولاى كل شيء اليوم أصبح بإيه و بكامهذا ليس زمن الكلامهذا زمن معاك كام تساوى كامو هنا جاءت شهرزاد حسب الميعاد و تناولت الريموت و أمرت الجميع بالسكوتفقد جاء موعد المسلسل التركى حريم السلطانو هي متابعة جيدة لسليمان و هويامو بناء عليه فقد انفض الجمع الكريمعلى أن يتجنب شهريار الحريمو يروح يلعب بلاى ستيشن مع أولاده دلال و كريمإلى أن تنهى شهرزاد المسلسل و سوبر ستارو تنام مبكرا و تصحو من الفجر لتحضر لهم الفطار.

  • Aubrey
    2019-05-22 22:31

    A library of books is the fairest garden in the world, and to walk there is an ecstasy.Within the span of the ninth to the thirteen centuries my library consists of these: Beowulf, The Pillow Book, The Tale of Genji, As I Crossed a Bridge of Dreams, The Sagas of Icelanders, Njal's Saga, and this. What a show of power, then, that a monumental collection the likes of which the Anglo world has never even attempted to replicate is popularly framed as a collection of children's tales, sexy times, and a text that is of little worth without the supposed genius of one bastardizing Orientalist. I'm not going to pretend that I enjoyed all of this, or most, or even more than a mere handful of tales in their entirety and bits and pieces of the rest of the thousand and one nights, but I do recognize its worth. It's rather sad that most prefer to coddle this or simplify it to extremes, for these times are in desperate need of critical consideration when it comes to the culture that brought about this work.The most contemporary descendant of this work in my library is The Corpse Exhibition: And Other Stories of Iraq. Do you know how sad that is? Look, in a lot of ways the uglier parts of the Islamic Golden Age have been inherited by the European Golden Age in the forms of anti-blackness, antisemitism, rape culture and so much else illustrated by the contents of these tales (slaves of the Trans-Saharan trade weren't allowed into Islam for fear they would realize the horrifying hypocrisy of it all), but that does not justify this persistent void in history, in literature, in Disney movies and so-called common sense. Wiki says, "The best scholars and notable translators, such as Hunayn ibn Ishaq, had salaries that are estimated to be the equivalent of professional athletes today." Wiki also describes hoards of sciences and art and appreciative insight, taught today as "discovered" by Europeans along with whatever else was judged as fit pickings. Everything else apparently is sufficiently covered by mentions of terrorism and hijabs.You know those stories that involve proto-legends of ancient civilizations, glorious in their existence and devastating in their fall, always hoped to have remnants, always yearned towards by a few of the wiser characters? Where is that for the civilizations of these tales? Where is that deep and abiding interest in the historical complexities these tales incorporate, the genre bending that describes the bridgework between Ancient Greece and modern Grimm, an inheritance that does not bend over backwards to insist white people have always and ever shall be the people? I'm not justifying Orientalism, or god forbid implying that even more of the ancient architecture and cultural artifacts of this era should be stripped away from their homelands and carted off as so much stolen booty to the likes of the British Museum. What concerns me is this terrifying lack of caring about the worlds that brought these tales together and, for all popular media likes to pretend, are still with us today. China, Persia turned Iran, Rûm on one side and Rome on the other, India before Pakistan and Bangladesh, Damascus in contemporary Syria, Constantinople turned Istanbul in contemporary Turkey, Cairo in contemporary Egypt, Greece, even much belittled Sudan and, of course, Irāq. Looking above, the works I mentioned previously are all of recently Anglocentric rehabilitated Japanese and Northern European construction. Yeah, I could put more effort into expanding my reading, but don't tell me there aren't ideological forces interested in keeping the trek beyond the infantilized The Arabian Nights a hard one.What I found in this were traces of fairy tales, science fiction, horror stories of corpse-eaters and refrains of that much esteemed Odyssey. Hospitality was paramount, hygiene was mandated, and riches were glossed over as much as the titles of colonial lords and plantation owners were in later years. Gender was every so often malleable, entertainment was a consideration of disguise and ethics, and the descriptions of jewels and gardens and what I could get of the poetry were beyond compare. Islam is the main tenet, but much as Beowulf did with pagans and The Divine Comedy with philosophers, quality of past ancestry outweighs lack of present belief. Tropes run as rampant across these tales as they do across television shows and sociopolitical relations, and more often than not the fictioned morales and implied -isms were a mirror to the Anglo mores of today. It wouldn't surprise me that, for every reader frightened by the myriad similarities between the Golden Age of nine centuries past and their present, there is another combing the pages to fuel their Islamophobia. There may be insinuations in these pages that Christians bless themselves with the shit of their religious leaders, but the hegemony they were written in has long since passed, and contemporary retribution is justified by nothing.More than two thousand pages have passed since I opened Volume One, and all I can say is that I didn't have the toolkit to appreciate the sociocultural wealth that has amazingly survived till this day. True, it's not that esteemed by even its proper home of the Arabic canon, but it wouldn't hurt if more readers could engage with this with more than entertainment or Fox News in mind, cause no, the Middle East didn't pop out of nowhere. No, the best place for this work is not an uncritical pedestal and a lah-de-dah translation. All that does is steamroll that indoctrinated gap between the Ancient Greeks and the European Renaissance even more, and the world of today is much too small for that to hold.Whether they are written or spoken, words can destroy kings and ruin empires.There is nothing new under the sun. Are you ready to seriously consider the old?P.S. Yes, I'm including this in my Summer of Women 2015 count. Anyone who begs to differ, bring it on. Women were reading and writing a hell of a lot earlier in Islam than in Anglo Christianity, and appealing to historical stereotypes is a poor excuse indeed.

  • Manny
    2019-04-30 22:22

    As I say in my review, I wanted to write a parody of this wonderful book but was forced to admit defeat. Burton is too damn clever for a good parody to be possible. During my preliminary negotiations, I had however received a remarkable offer from Alfonso. A Burton parody without political incorrectness is unthinkable, and Alfonso bravely put himself forward to play the role of an evil blackamoor of hideous appearance. It seems wrong that Alfonso's selfless devotion to literature should go unrewarded. I am therefore proud to present:A Fragment of the Tale of Rashid al-Bhattan and al-Fonso the MaghrabiNow there dwelt not far from the Caliph's court another foreigner, a Darwaysh from the Maghrib named al-Fonso, a powerful magician and geomancer; from his earliest age upwards he had been addicted to witchcraft and had studied and practiced every manner of occult science, for which unholy lore the city of Africa is notorious. And the Maghrabi possessed a seal ring, a signet that once had graced the hand of Solomon Davids-son; yet so woven about with secret spells and enchantments was it, that the Maghrabi could not avail himself of its familiar, for all his arts. But by his gramarye, the Maghrabi learned how it stood with Rashid, and he thought himself a scheme whereby he might bend the ring to his will. And one day, as Rashid left the Caliph's court, the Maghribi thrust himself in Rashid's way; and addressing him, he asked if he would learn the infallible method to win the favour of any woman, even the highest and most beautiful.The Maghrabi was a hideous blackamoor, ill-favoured and foul with grease and grime, and Rashid laughed to hear his words, believing that he spoke in jest. But the Maghrabi spoke kindly to Rashid and flattered him and used all his charms to put him at his ease; and presently he took forth the ring and instructed him in its use, telling him that he had but to rub it to gain aught that he might want, but that only one of the Isles of the Setting Sun might thus constrain the Spirit of the Ring; and Rashid still doubting, the Maghrabi put the ring on Rashid's finger and told him to rub it. Rashid did as the Maghrabi bade; and instantly before him appeared a Marid. He trembled at the terrible sight; but, hearing the Slave of the Ring say, "Ask whatso thou wantest, verily, I am thy thrall, seeing that the signet of my lord be upon thy finger", he took courage. "Command the Marid," said the Maghrabi, "that he transport us to the Caliph's Harim." Rashid did as the Maghrabi said; "Hearing and obeying," replied the Marid, and smote the earth, so that it clave in two; and taking the Maghrabi under one arm and Rashid under the other, he bore them to the innermost sanctum of the Harim."Hide thyself in this closet," said the Maghrabi to Rashid, when they were arrived. "As soon as thou dost espy one of the Caliph's concubines, command the Marid to make me in all ways pleasing to her; then shalt thou see the true power of the Ring." Rashid did as the Maghrabi said; and no sooner had he concealed himself, than entered a girl high-bosomed and pleasing of face, slender-waisted and heavy of hip, of whom one might soothly say as the poet¹ Eyes like two stars and hair as black as nightLips ruby red caught in a winsome puckerSo fair a maid I ween ne'er crossed my sightTo look on her is aye to wish to embrace her.She glanced with displeasure on the Maghrabi; but Rashid, heeding the magician's rede, rubbed the ring and commanded the Marid. The Maghrabi spake some words to the girl; and instantly her aspect changed, and she did with goodly gree suffer the Maghrabi, for all his hideousness, to kiss her and toy with her, and presently to disrobe her of her gold-purfled dress and even of her petticoat-trousers and know her carnally², whereby she joyed with great joyance. "Now command the Marid to take us hence," said the Maghrabi without even making the Ghusl-ablution, for he was a Kafir; and again Rashid commanded the Marid, and they made good their escape, leaving the Caliph's concubine swooned on the ground.Notes¹ I use Lane's somewhat anaemic translation.² The Breslau Edition adds some details concerning the excessive size of the Maghrabi's manhood; the wording leaves it unclear whether or not this can be ascribed to the influence of the Ring.

  • Antonio
    2019-05-20 21:34

    ¿Aladino era de China? ¿¡DE CHINA!? Mi vida entera ha sido un engaño...

  • Ahmad Sharabiani
    2019-04-30 02:21

    996. The Thousand and One Nights – Anonymousهزار و یک شب ، ابراهیم اقلیدی در شش جلدتاریخ خوانش: هفده ژوئن سال 2013 میلادیدر مجلد نخست داستانهای: «شهریار و برادرش شاه زمان»، «دهقان و گاو و خر او»، «بازرگان و دیو»، «پیر نخستین و ماده آهو»، «پیر دوم»، «پیر سوم»، «ماهیگیر و دیو»، «وزیر یونان شاه و رویان حکیم»، «شاهزاده و ماده دیو»، «شاهزاده جادو شده و ماهیان»، «سرگذشت قلندر دوم»، «ابومحمد تنبل»، «علی مصری و بازرگان بغدادی»، «شاهزاده و ماده دیو»، «چشمه افسون شده»، «مرد غمگین»، «پسر پادشاه و معشوقه دیو»، «جوذر ماهیگیر و برادرانش». مجلد در 224 صفحه عرضه شده استدر جلد دوم پریانه‌ ها: «قصه‌های گلنار دریایی و پسرش ماه خندان پادشاه ایران»، «سیف الملوک و بدیع الجمال»، «حسن بصری»، «عبدالله پسر فاضل و برادرانش» آمده است. این مجلد تقریبا پرحجم‌ترین قصه‌ها را در خود گردآورده و حجم آن از پنج کتاب دیگر این مجموعه افزونتر است، در 376 صفحهکتاب سوم این مجموعه داستان های سفرهای دریایی نام دارد، که در آن قصه معروف «سندباد بحری» بیشترین حجم کتاب را به خود اختصاص داده است. در این مجلد علاوه بر «هفت سفر سندباد» داستانهای «ابوقیر و ابوصیر»، «عبدالله بحری و عبدالله بری» نیز آمده است. این مجلد در 168 صفحه استکتاب چهارم این مجموعه بازهم درباره سفر است، و عنوان آن: داستانهای سفر به ناکجا است. دراین مجموعه داستانهای: «حاسب کریم الدین و سفر او به شهر ماران و...»، «سرگذشت بلوقیا»، «سرگذشت جانشاه و شمسه»، بقیه داستان «جانشاه پسر طیغموس شاه»، «شهر مسین»، «جوذر ماهیگیر و برادرش» و داستان معروف «پینه دوز» آمده است. این مجلد در 312 صفحه عرضه شده استپنجمین مجلد: «حکایت دلگشای پرندگان و حیوانات» از این مجموعه است، که کم حجم ترین کتاب این مجموعه شش جلدی هم به شمار میرود. این مجلد به رغم حجم کم بیشترین قصه ها و کوتاهترین آنها را در خود جای داده است. قصه های این مجموعه عبارتند از: «طاووس و مرغابی»، «مرد پارسا و کبوتران»، «دختر جوان و مرد چوپان»، «سنگ پشت و مرغ آبی»، «روباه و گرگ»، «شاهین و کبک»، «ماری که از مارگیری میگریخت»، «موش و راسو»، «کلاغ و گربه»، «روباه و کلاغ»، «کک و موش»، «قرقی و پرندگان کوچک»، «گنجشگ و عقاب»، «خارپشت و فاخته»، «دزد و بازرگان»، «گنجشک و طاووس»، «گربه و موش»، «ماهیان و خرچنگ»، «مار و زاغ»، «گور و شغال»، «زاغ و شاهین»، «عنکبوت و باد»، «شیر و شکارچی»، «روباه و گرگ»، «دراج و سنگپشتان» است. این مجلد در 104 صفحه عرضه شده استآخرین مجلد از این مجموعه: عشق و پارسایی نام دارد، که در آن نزدیک به شصت داستان آمده است. این مجلد خود به سه مجموعه: «سرگذشت بخشندگان و جوانمردان»، «داستانهای خواب» و «داستانهای عاشقان: تقسیم شده است. این داستان‌ها در هزار و یک شب به دو صورت روایت میشود، نخست داستانهایی که شهرزاد بیواسطه برای شنونده (شهریار و دنیازاد) و خواننده روایت می‌کند، و دوم حکایت‌هایی که شهرزاد از زبان شخصیتی دیگر در قصه‌ ای مستقل می‌گوید. تمامی این داستانها اصالتا عربی هستند و حتی شخصیت‌های آنها هم همانند: «هارون» و «خاندان برامکه» و «مامون» و ... عرب هستند. این مجلد در 240 صفحه، عرضه شده است. مجلدات این مجموعه در قطع رقعی و با جلد گالینگور منتشر شده استا. شربیانی

  • Huda Yahya
    2019-05-05 03:42

    ------------------------------------------------ألف ليلة وليلة النص الأصلى -4 مجلدات في كتاب واحد1451صفحةنسخة حجم صغيرر------------------------------------------------

  • Sidharth Vardhan
    2019-05-20 22:23

    A Story to Save a LiveThe beauty of the stories and the poetry of the thought that most destructive demons can be tamed back with a few stories was fascinating to me even when I first saw the serialized version on tv. What I didn’t realized was that the stories Scheherazade, that great goddess of story tellers and inventor of cliff-hangings, told the king weren’t as random but had an order in themselves.This book has made Scherzade my favorite superhero – superhero was the word we use for one who risk one’s life for others, don’t we? I mean we like Doctor Who for he won’t use weapons – and yet the enemies he fought weren’t in any way real. What Scherzade had to fight was real, and after centuries of her single victory continues unfortunately to remain real – lack of trust among sexes. Sheriyar is misogyny humanized. There is another famous collection of stories called ‘Tota Maine ke kise’ from same regions (Iraq, Iran, India etc) which comprise of a parrot and she-parrot who are in love. The frame story is simple. The parrot would say mynah is sure to cheat him and would back that prediction with a story where a woman cheated on her lover. Mynah, in her turn, would say it is parrot who is sure to cheat her and will back that up with a story of how some man cheated on his lover. Then parrot would come back with another story – and this exchange of accusations will go on and on. A similar conversation takes place between Shylock’s daughter and her lover towards the end of ‘Merchant of Venice’. Sheriyar is the result of this mistrust among sexes. In a short time, he comes across three cases of adulatory committed by three women, including one by his own wife, and generalizes to the whole of the fair sex. Remember how Hamlet concluded ‘Frailty thy…’ after seeing frailty of a single woman (his mother). A person who is suffering because he thinks he is cheated can be quite suggestible (Othello) . And a generalization can be temting. The parrot and she-parrot were afraid of how vulnerable they are making themselves to other’s injuries. Sheriyar has developed this fear after being cheated his wife. His Black Widower’s wish, to kill his spouse the morning after marriage, is height of this mistrust.And Sherzade is the beauty who tamed this beast. She did this – she fought away her death - the literal sword of her own father a few hours away from being forced to cut her head; with armor of a pleasant smile on her lips and the weapon of story on her tongue. And she does that. Repeatedly. For a thousand and one nights.In the play I’ll teach the KingNot the play but through the stories (repetitive Shakespearean references are coincidental). A tyrant can’t be reasoned with directly. Same goes for a prejudiced person - prejudice is by very definition refusal to reconsider the already reached false conclusions. Now imagine prejudiced tyrants. Scherzade knew this well enough. Instead, she used her stories to make king see the truth. The change of heart, which the king admitted to on the thousand and the first night, wasn’t born all of sudden but came out of efforts of last thousand nights – over which she gradually changed the opinion of the king.And it is the way she changed king’s opinion that I love so much. As good as the stories are in themselves, they carry a trend. One of the very first story, Scherzade told the king – was about a wicked woman, but a woman made wicked by jealousy against his husband’s new wife. May be the king understood her jealousy, maybe he didn’t.Then you come across the story of a king, suffering from misfortune caused by an adulterous wife – a king not unlike Scheriyar, may be Scheherazade is simply saying what king would love to hear … but look carefully, and you will notice that the villain wife suddenly gets a voice. Even though she was beheaded, the wife in the story did get a say – love of an adultress woman is love still. You see what Scherzade did.Move a little ahead and roles are reversed. Now we meet a woman who has to suffer on account of meaningless jealousy of her husband – a husband who doesn’t want her to show his face in public. Her husband is made to repent in the end. (There is a similar story towards the end, except there it is husband suffering of his wife’s jealousy.)So now you see the trend. There is soon a story in which a king Haroon is at fault – making people suffer with his tyrannies … but he is quick to repent upon realizing the mistake – and even makes up for the loss of these people. Did you get you lesson, Sheriyar?And so it goes on. One story actually involved a prince who has formed a bad opinion regarding all women kind from all the mischief caused by them that he read about in his books. His mother, the queen asked him to think about all the tyrant kings that the world has and what they have done to the women over centuries (I can imagine Scheherazade having her tongue in her cheek when she must have narrated the scene)Later on, Scheherazade diverts to stories about how married women have fun at the expense of their wanna-be-lovers.The last story is that of a woman – Ulysses and Penlope combined into one woman, who goes out on a difficult journey while maintaining her loyality to her husband against all the suitors.Gradually, the stories change to afford a better position for women and while also reminding the king that even King can make mistakes – and how much more troublesome are their mistakes than that of an ordinary person. There are a few stories (e.g. Sindbad) where the issue of friction between sexes is not raised but the general trend is too good to miss. In fact, very first few pages you find a remark by a woman (other than Scherzade) about futility of keeping women under lock. In Aladin’s story, it is the princess who kills the bad guy (and her name is not Jasmine – Sherzade got that wrong, Disney knew better.) In Ali Baba’s story, it is a woman, avery, very clever woman who kills all the forty thieves. While we are talking about fighting prejudice – a good reason for people to read it to observe how lightly the veil is used by women. Women, who wear vile while being out, are shown at liberty and often chose to show their face to whoever they wish to. (They often do it for the guy, even if he is a stranger, they found handsome who in turn is almost always ‘pierced’ by their beauty.) Not only that, there are a lot of night parties and extra-marital kissing. Yes, there are strict and overprotective fathers but I mean that goes everywhere. Then in at least one place, there is a remark on regarding how the judges are too strict regarding how women should behave. (It is surprising these same judges had nothing to say about drinking wine or when their king had more than four wives.) Moreover, there seems to be no way men can cheat their wives - men are permitted marry multiple times and can have sex with slaves under Islam (like other religions) but women are not - this means men can not cheat on their wives. Celebrating the art of StorytelliingThere are a number of techniques used by the Scheherazade – cliff hangings, repetitive characters (king Haroon and his wife, Zobeida) story-within-story (at times story-within-story-within-story-within-story) etc. One time Scheherazade forgets a part of narrative and have to retreat to cover that part.Cliff-hangings though were never that important and never that close to being figurative. Here they are saving lives – the stakes on which Scherzade bargains to get another day of life. Regarding the story-within-story thing, you may claim that too many of the stories are told by characters trying to save lives. But look at Scheherazade, the original story teller. Isn’t she doing the same? Won’t her psychology affect her stories? And it is the most excellent part – that story-teller and the listener are both part of the story; you get most out of it when you think about how their minds are involved in and are affected by the stories. Just imagine the thoughts that Sheriyar would carry in his mind at the end of each story.There is a criticism that some of stories are too similar – but you see it is because of the central theme. And I mean how much diversity you can wish for? There are love stories –both comedies and tragedies, stories of adventures, stories of genies, humorous stories (especially the one about tailor), criminal stories, stories of suddenly found treasures. There is one short story about the three brothers who can reason backwards – a little like Sherlock Holmes. Given its time, the stories show remarkable diversity.In one weird story, a woman disguised as her own husband marries another woman. Latter this second woman marries husband of first. Weird enough? Wait till the two women find a crush for each other’s sons.Antisemitism, Racism and Body ShamingFrom beautiful to ugly ... There is a lot of (much more than you can imagine) antisemitism, racism and body shaming specially in first 200 or so pages, especially for a book trying to fight prejudice. All wicked wizards are African, Jew, Worshiper of fire or Hindu. All cheating merchants are Jews. It probably speaks as much about powerful men’s sexual jealousies as about slavery, that a lot of slaves were eunuchs. The filthy tradition of eunuchs was not limited to Arabia though. Some female slaves do seem to gain independence and are lawfully married - but that is a fairy tale sort of thing. The terrible treatment of a hunch-back in particular made me stop reading it for a month.I don’t believe in cultural, temporal or spatial relativism; so I won't defend the book. I just took away six stars from my rating. It was already twenty-nine stars.Some advice if you chose to live in medieval Persia(view spoiler)[1. There is nothing more risky than serving lovers’ cause or kings. 2.The most dangerous job is that Vizir – better be a slave than a vizir. Since king may take you along on a expedition (mostly in disguise); find random people or dead bodies and want you to discover the truth behind them within three, thirty or forty days; failing which your head is likely to be beheaded. 3.If a married woman seems to be answering your requests to take you as lover, than she is just kidding and is probably going to get you a lot of trouble.4. If you suddenly found yourself in room of some person of opposite sex, than it is probably doing of some Jinn and Pari. Soon you will found yourself in love with other person but will forget to ask where the hell you are. Then early morning, you shall be thrown back to your place. And after a lot of suffering shall found your lover again.5. If you got separated from your family, don’t worry, you shall find them after a few years healthy and happy – bringing a family reunion and happily ever after; unless Scherzade chose to give your story a sequel.6. Have a story to tell, in case you get in trouble with king or a Jinn.7.If two darveshes wants admittance to your house than it is probably king and his ministers, specially there are multiple sisters in the house. Admit him and tell him something strange. For, he would then make you rich.8. You are most likely to be married to the king, if you are youngest of three sisters. Youngest of brothers are lucky too. Also in case of princes, it helps your future prospects greatly if your mother was deserted by king.9. If you are young, poor and handsome man, than you will soon be wealthy – it just follows. If you are are a beautiful woman, than your veil is liable to flown away by wind in front of some man who will instantly fall in love with you.10. If your husband has something old and useless lying around, don’t give it away – it is sure to be magical.11. Password for cave is ‘open Sim-sim’. 12. Sea journeys are especially dangerous if you are single or your spouse is lost.And above all,13. If you found an old lamp, to rub it. (hide spoiler)]

  • K.D. Absolutely
    2019-05-16 22:30

    Oh, the wonders of literature! While reading this book I could not help but sing the songs or hum the tunes associated with the tales:♪♫♪ A whole new worldA new fantastic point of viewNo one to tell us noOr where to goOr say we're only dreaming ♪♫♪ I grew up with mostly Filipino komiks around me. Only my father loved reading books and we had very few (compared to what I have now) classics and contemporary books at home. My parents did not read to me when I was young. Those are the reasons why I missed all those children's books. So, reading these Tales from 1001 Nights a.k.a., The Arabian Nights was like going back to the komiks time in the province. You see, the story of Aladdin and the Magic Lamp, although I read it just now, is so popular that we must all have seen it in movies, read in local adaptations as individual children's books or comics or even seen in TV ads. However, if you compare the original story to the Disney-produced movie, the carpet in the book does not fly. Rather, it just covers the distance between the entrance of the King's palace and Alladin's pavilion so that the princess, Lady Badar Al-Budur (maybe the equivalent of Princess Jasmine) will not walk on mud. The story is fantastic. I admire how the magician thinks: cunning and devious. I hate Alladin before he got rich particularly on his laziness and how he treats his old mother.♪♫♪ A-li-ba-ba... A-li-ba-ba... ♪♫♪ I still remember the theme and my sister used to mimic it. Low key. She marches like a soldier and with eyes wide and scary. The other tale that I liked was Ali Baba and The Forty Thieves. Who would not remember ourselves shouting: Open Se-sa-me! when we saw a closed door when we were kids? Then expecting our mom or playmate to open it for us? Who says that this book treats women badly? In this tale, the maid Morgiana is so smart that she saves his master's (Ali Baba) life several times.♪♫♪ Sinbad the SailorSailing through the seas... ♪♫♪ I tried looking this up for lyrics but I think that there is a popular Hindi rock song with the same title. I remember the tune and I thought that it is similar to "Popeye the Sailor Man" or maybe as catchy as that. Well, the tale of Sinbad the Sailor is a short one and it talks about is mistake of killing his falcon. It is one of those tales inside another tale.All of these 70+ (whew!) tales are framed into a story that Scheherazade is telling King Shahryar so that she will not be killed. The king and his brother have philandering wives who they have killed so the King does not want to have a wife anymore so he orders his vizier (assistant) to bring young pretty girls from the village and after one night of sex, the king orders his soldiers to kill the girl. To survive, the wise Scheherazade tells the 1001 tales, part-by-part. The king, so eager to know what comes next, decides not to kill her until all the tales are told. I will not tell you if she gets eventually killed in the end.

  • Ali
    2019-05-11 19:18

    [As I have not read the Nights yet, this is not a commentary on them, but rather a comparison of the many translations available. This used to be a comment on my not-yet-review of the first volume of the Lyons translation of the Nights, but I thought it would be more helpful if it was a review. I've expanded on some of my earlier comments and tried to be more critical than "I like this one" or "this one seems odd", which was all I had time to write at the time I posted the comment. This is restricted to editions I have, as well as those of the Amazon review mentioned below, but I will put other editions into the review if they're submitted in the comments.As many readers of foreign literature will tell you, trranslation can drastically affect your enjoyment of a book. There have been a couple of times when I have disliked something until I read it in a new translation, as with Camus' the Stranger. My reaction to the original translation by Stewart Gilbert was lukewarm. I didn't dislike it, but I felt that something was missing which didn't allow me to hear his authorial voice. Reading the Matthew Ward translation restored that something, and allowed me to enjoy the novel more thoroughly.Nowhere is this truer than the classic Arabian Nights. There are many, many translations, both complete and partial, all of which are written in disparate styles and which all handle the more unsavory elements in different ways, and choosing one can be daunting. TO that end, I have written commentary for the passages of eight different translations, and have tried to assess them in a manner which lays out the advantages and disadvantages of each.I got this idea from an Amazon review where someone typed out the opening passage from the first story, which contains both sexual and racial content, to see how four different translators handled them. I'll incorperate both her and my translations. The first four are hers (though in the case of the Burton, I also own it), and the rest are mine.Mardrus and Mathers:Now there were in the King's palace certain windows that looked on to the garden, and, as King Shahzaman leaned there and looked out, the door of the palace opened and twenty women slaves with twenty men slaves came from it; and the wife of the King, his brother, was among them and walked there in all her bright beauty. When they came to the pool of a fountain they all undressed and mingled one with another. Suddenly, on the King's wife crying: 'O Masud! Ya Masud!', a gigantic negro ran towards her, embraced her, and, turning her upon her back, enjoyed her. At this signal, all the other men slaves did the same with the women and they continued thus a long while, not ceasing their kisses and embraces and goings in and the like until the approach of dawn.(I like the sound of it. It's readable, the sexual and racial content is handled very well, however it's not originally translated from the Arabic, but from the French, and has been criticised for inaccuracy by purists. Dr. Mardrus took many liberties with the texts, including the addition of extra tales from a supposed newly discovered secret manuscript that no one actually saw, and the expansion of sexual material. Not everyone will care, I don't think I'll even care once I've read a translation originally from the Arabic, because it really is a lot of fun to read, but it's worth knowing.)The English translations of Dalziel's Illustrated Arabian Nights, from Barnes and Noble Classics:One day, Shahriar had started on a great hunting match, about two days' journey from his capital; but Shahzenan, pleading ill health, was left behind. He shut himself up in his apartment, and sat down at a window that looked into the garden. Suddenly a secret gate of the palace opened, and there came out of it twenty women, in the midst of whom walked the Sultaness. The persons who accompanied the Sultaness threw off their veils and long robes, and Shahzenan was greatly surprised when he saw that ten of them were black slaves, each of whom chose a female companion. The Sultaness clapped her hands, and called: "Masoud, Masoud!" and immediately a black came running to her; and they all remained conversing familiarly together.(Seems fairly competant, but the translator removes all hint of sexual indiscretion, which means that any reaction from the man watching will seem like an overreaction if all they're doing is conversing. Yet I would recommend this version for children, because though it is sanitised, it does not go nearly to the same lengths as...Andrew Lang:Now the Sultan Schahriar had a wife whom he loved more than all the world, and his greatest happiness was to surround her with splendour, and to give her the finest dresses and the most beautiful jewels. It was therefore with the deepest shame and sorrow that he accidentally discovered, after several years, that she had deceived him completely, and her whole conduct turned out to have been so bad, that he felt himself obliged to carry out the law of the land, and order the grand-vizir to put her to death.("I used to love my wife, but she did a bad thing, so I'm going to kill her!" I can only imagine parents trying to explain away the unnamed bad thing to their children. Not recommended, at all. As you can see, it's completely different from any translation we've previously looked at, makes use of heavy paraphrasing, and results in the story being made incoherent, maybe even to the children for whom it was intended.)Sir Richard Burton (this is an interesting one:Thereupon Shah Zaman drew back from the window, but he kept the bevy in sight espying them from a place whence he could not be espied. They walked under the very lattice and advanced a little way into the garden till they came to a jetting fountain amiddlemost a great basin of water; then they stripped off their clothes and behold, ten of them were women, concubines of the King, and the other ten were white slaves. Then they all paired off, each with each: but the Queen, who was left alone, presently cried out in a loud voice, "Here to me, O my lord Saeed!" and then sprang with a drop leap from one of the trees a big slobbering blackamoor with rolling eyes which showed the whites, a truly hideous sight. He walked boldly up to her and threw his arms round her neck while she embraced him as warmly; then he bussed her and winding his legs round hers, as a button loop clasps a button, he threw her and enjoyed her.(I would ignore Burton's version outright, if not for the fact that it does have certain advantages. Yes, it is racist, turning Saeed into an almost cartoonish figure because of the words used to describe him and the sexual act. Burton blatantly inserts his own materials into the text at will, something I can tell even not having any knowledge of the Arabic originals. The other translators do a little of this too, but not as much as Burton. Yet I have read other parts of these tales in his translation, and I would say that they are worth at least a quick glance because of the fascinating and esoteric quality of his prose. In reading the Burton, you almost have to learn a new way of reading, because Burton never met an obscure word or phrase he didn't like, and he freely inserted them into the Nights. He would sometimes make up words when the ones available to him didn't suit the story. His energy and sense of diction is at many points amazing, and even with the racism, I found myself beguiled while reading him. Also, if you can't be bothered spending money for the Lyons translation, which is what I recommend below, his versions can be found for free online.)John Payne:Now there were in King Shahzeman's apartments lattice-windows overlooking his brother's garden, and as the former was sitting looking on the garden, behold a gate of the palace opened, and out came twenty damsels and twenty black slaves, and among them his brother's wife, who was wonderfully fair and beautiful. They all came up to a fountain, where the girls and slaves took off their clothes and sat down together. Then the queen called out, "O Mesoud!" And there came to her a black slave, who embraced her and she him. Then he lay with her, and on likewise did the other slaves with the girls. And they ceased not from kissing and clipping and cricketing and carousing until the day began to wane.(This was the basis for the Burton translation [some even criticised Burton for plagiarism, though he claimed he got permission from Payne to reuse passages]. The writing is a little flowery, in typical Victorian style, but isn't too bad otherwise. Payne's accomplishment here is hard to overstate. He taught himself Arabic, and using this knowledge, translated the first and one of the most complete versions of the Arabian Nights we now have. It's just too bad he only produced five hundred copies, which left Richard Burton's translation to take over and be the more influential of the two.)Jonathan Scott (the so-called Aldine Edition):While he was thus absorbed in grief, a circumstance occurred which attracted the whole of his attention. A secret gate of the sultan's palace suddenly opened, and there came out of it twenty women, in the midst of whom walked the sultaness, who was easily distinguished from the rest by her majestic air. This princess thinking that the king of Tartary was gone a-hunting with his brother the sultan, came with her retinue near the windows of his apartment. For the prince had so placed himself that he could see all that passed in the garden without being perceived himself. He observed, that the persons who accompanied the sultaness threw off their veils and long robes, that they might be more at their ease, but he was greatly surprised to find that ten of them were black men, and that each of these took his mistress. The sultaness, on her part, was not long without her gallant. She clapped her hands, andcalled "Masoud, Masoud," and immediately a black descended from a tree, and ran towards her with great speed. Modesty will not allow, nor is it it necessary, to relate what passed between the blacks and the ladies. It is sufficient to say, that Shaw-zummaun saw enough to convince him, that his brother was as much to be pitied as himself. This amorous company continued together till midnight, and having bathed together in a great piece of water, which was one of the chief ornaments of the garden, they dressed themselves, and re-entered the palace by the secret door, all except Masoud, who climbed up his tree, and got over the garden wall as he had come in.(I'm not sure what to think of this one. The way in which he glosses over the sex is kind of hilarious. it's not really censored, because he mentions the word "amorous", which makes it obvious what's going on, but he still skirts around it. He freely inserts new material not in the original for the sake of a better story, and the syntax is weird [piece of water?], so perhaps not a good fit for purists, which I am to an extent, but it could be fun to read.)malcolm and ursula Lyons (this is the newest translation from Penguin Classics):In the royal palace there were windows that overlooked Shahriyar’s garden, and as Shah Zaman was looking, a door opened and out came twenty slave girls and twenty slaves, in the middle of whom was Shahriyar’s very beautiful wife. They came to a fountain where they took off their clothes and the women sat with the men. ‘Mas‘ud,’ the queen called, at which a black slave came up to her and, after they had embraced each other, he lay with her, while the other slaves lay with the slave girls and they spent their time kissing, embracing, fornicating and drinking wine until the end of the day.(I think this is the best version, and it's my personal recommendation. The English is clear and readable, there are annotations, not nearly to the extent of Burton, but they are there and help, and the language has been optimised to sound good to the ear.)And finally, the partial translation by N. J. Dawood, also from Penguin Classics:While Shahzaman sat at one of the windows overlooking the King's garden, he saw a door open in the palace, through which came twenty slave-girls and twenty Negroes. In their midst was his brother's queen, a woman of surpassing beauty. They made their way to the fountain, where they all undressed and sat on the grass. The King's wife then called out: "Come Mass'ood!" and there promptly came to her a black slave, who mounted her after smothering her with embraces and kisses. So also did the Negroes with the slave-girls, revelling together till the approach of night.(Another good and fun one. It's only a partial translation, a little over 400 pages, but considering the quality, I don't mind that much. It's not censored, but as with most of the translations, handles the sexual and racial content in such a way that the reader knows they exist, but does not descend into caricature or racism.)

  • Destiny Dawn Long
    2019-05-09 01:28

    This edition is a translation of the first 271 nights from the "1001 Nights" cycle. One of my favorite aspects of this work is the role of Shahrazad. While many people discuss that she is telling the stories to save her own life, what people fail to recognize many times is that, really, she volunteers to be placed in the position in order to save her kingdom. She's a great literary heroine--saving the world through storytelling. It also provides a great lens into a world that today is depicted in US media as a wartorn hotbed for terrorist activity. For me it was a reminder that Bagdhad used to be a beautiful, opulent city and cultural center. Anyone with an interest in storytelling, folklore, or the culture of Persia and the Arabian world should check out this work. Although I have no other translations for comparison, I think that this one is excellent. I found it readable, but with important words and names left untranslated. Also, Haddawy isn't afraid to describe sexual situations plainly, without overly poetic euphamisms.

  • Madeline
    2019-05-12 21:25

    I am planning to read through this whole book someday, I swear. But it's going to be a slow process. Here, in list form, are the reasons I may or may not finish The Arabian Nights.Reasons I May Finish This Ridiculously Long Book:-Scheherazade (or whichever of the twenty ways to spell her name you prefer) is kind of a badass genius. Since her father is the king's vizier, she gets exempted from said batshit crazy king's plan to marry and then kill every single available virgin in the city. But she volunteers for the job anyway, based purely on her plan to keep telling the king stories until he decides she's much too interesting to kill. -Her method of telling the stories is really complicated and interesting. She starts a story in which a man with some unsolvable problem attempts to solve it. He meets three other men. They then meet a djin. The men all tell stories to the djin. The djin tells stories. They tell a story in which a person meets another person, and tells them stories. The whole book is like some kind of reverse Jenga game: she keeps piling stories on top of stories and we can't help but be baffled that she even manages to keep them all straight in her head, much less prevent them from collapsing around her. -It's pretty dirty. There's lots of orgies and naked slave girls running around, and since Scheherazade's sister sleeps in her bedroom and is there when the king visits her every night, I got the sense that there were some kinky three-ways going on before Story Time started. Reasons I May Not Finish This Ridiculously Long Book:-It's racist and misongynist to a level I have never experienced before (and I've read Stephenie Meyer and Ian Fleming, so I know misongyny when I see it). Here's an example: so, the king finds out that his wife has been cheating on him, and with a black slave, no less. Not only that, most of the cheating women (and it is always the women who sleep around) in the book are found ravenously sexing up black men. It's at this point that we break for a lovely footnote by the translator that explains how black men, owing to their insanely massive genitalia, are the paramour of choice for cheating wives. He adds that several men he knows will not allow their wives to visit Africa with them, since the danger of their being seduced by a well-hung Negro is just too high. I am not making any of this up. -The book is ridiculously long. Did I mention that already?

  • Alex
    2019-05-11 22:16

    What you thought was the Arabian Nights was more likely Richard Burton's bastardized, inflated 19th-century adaptation, which was as much about Richard Burton (and his weird ideas about sex) as it was about Arabia. Which is sortof neither here nor there; there is no canonical version of Arabian Nights anyway. It's just an umbrella term for, basically, all of the Middle East's favorite stories. And if the version that heavily influenced guys like Borges was Burton's, isn't Burton's version the one that's a cornerstone of Western fiction? Ali Baba and the 40 Thieves is not in the original, is what I'm saying, and this is a text where the quest for an official version is in some ways doomed and pointless.But that doesn't stop me from being all twitchy about it, because I'm an obsessive dork; I wanted to get as close as I could to the original, canonical Arabian Nights. And here it is: Husain Haddawy has gone back to the oldest surviving version, from 14th-century Syria. It is filthy.Lots of fucking, is what these stories have. It's all very Decameron. And they're great! Extremely convoluted: frequently Shahrazad will tell a story in which someone else tells a story about a third guy telling a story, so you're all wrapped up in multiple layers of story, which isn't really as confusing as it sounds. Well, sometimes it's a little confusing. But it's always, always entertaining. There are no misses in this book at all.Haddawy's translation is good, except for his poetry, of which there's quite a bit; for all I know the original poetry was itself terrible, but it seems more likely that it's Haddawy's fault. I ended up skimming or outright skipping all the verse; it's usually not plot-related and it's never any good.This is one of the most important books ever written, despite its not really being a book and also not exactly having been written, and it's incredibly fun stuff. Get psyched: this is the shit.

  • Vit Babenco
    2019-05-19 20:39

    When I first read One Thousand and One Nights I was literally put under the book’s spell – charmed, enchanted and bewitched. It isn’t just magic of fairytales. It is first of all magic of the oriental world. And of course I was at once mesmerized with the incredible frame tale of Shahryar and Scheherazade.Nowhere is so much magic as in Arabian Nights: magical word opening the cave door: “‘Open, Sesame!’ And forthwith appeared a wide doorway in the face of the rock. The robbers went in, and last of all their chief, and then the portal shut of itself,” powerful Jinni sealed in the magical lamp: “This is not he, O my mother. This who appeared before thee is the Slave of the Lamp!” and many, many others.And of course my favourite tales are Voyages of Sindbad the Seaman… Stunning adventures in the distant lands full of fantastic beasts, evil creatures, monsters, wonders and miracles. And most of all I was stupefied and simultaneously disgusted with Old Man of the Sea:“I told them all that had betided me, whereat they marveled with exceeding marvel and said: ‘He who rode on thy shoulder is called the Sheikh-al-Bahr or Old Man of the Sea, and none ever felt his legs on neck and came off alive but thou, and those who die under him he eateth. So praised be Allah for thy safety!’”Even nowadays I gratefully remember this miraculous book, which practically was for me a door into the absolutely new world.

  • Jan-Maat
    2019-05-16 00:16

    As a child I had a small selection of tales from the Arabian nights in a hardback volume with a few gorgeous full colour plates. From this a couple of stories stayed with me, a Sultan travelling in disguise meets a man who having learnt of the Sultan's weakness for baby cucumbers was intent on trying to fool him out of a fortune in exchange for them, the man although greedy is also garrulous, tells the Sultan in disguise his wicked plans enabling the Sultan to turn the tables on him and trick him and eat the cucumbers (view spoiler)[ from which we learn that if one becomes a Sultan or Sultana it is of prime importance to always wander one's Sultanate in disguise to avoid being tricked and fooled by the greedy (hide spoiler)], then a story about the keys of Destiny - (view spoiler)[ basically if a mysterious Sheikh turns up claiming to be your uncle and asking you to come into the desert and that your archery skills may come in handy - even if he saves your life he probably doesn't have your best interests at heart so don't be surprised that if he gives you a palace that it leaks and is damp and cold even in Egypt (hide spoiler)], and a story about a Sultan of Egypt who had a beautiful wife, excellent children, but none less had depression, then one day a mysterious old man who had spent so many years on mountain tops growing wise than he no longer needed to wear clothes ( ie his beard and hair had grown so long that it was wound about him to form a dense coat) wandered in to his palace and forced the Sultan to have an extremely unpleasant visionary experience which cures him of his depression (view spoiler)[ although possibly in the process leaving the Sultan conditioned with anxiety about Bathhouses and donkeys(hide spoiler)].So anyhow spotting a new translation in the Everyman series I determined to buy it - inevitably those stories were not in it. Apparently in the dim and distant past there were two story collections - the Arabian Nights and the 1000 and one nights which at one stage merged like a dream of Italo Calvino - indeed very much so as the stories became very popular in Europe through French translations, the translator spotting this, commissioned additional stories, or maybe just made up new ones to best match the taste of eighteenth century French readers. This collection purports to get round this by drawing on medieval manuscripts, the translation preserves the frequent divisions into nights some of which are less than a page long. This breaks up the flow of the stories, but provides the reader with the sense of frustration which was meant to be experienced in the framing story.As this version is truer to the manuscript tradition, some of the more familiar tales are missing however those given here have a certain power from their rhythm and the sense of the inevitable, the element and attitude towards sexual adventure reminded me very strongly of Boccaccio'sDecameron. Another attraction is the sense of falling through from one story to next as in the middle of one story a character will begin to tell a story to another character which the narrative then takes up. It is rather like If on a Winter's Night a Traveller and the effect is both disconcerting and exciting. A constant moving between narratives and framing stories all insanely nested within each other only missing an internal narrator to begin telling the story of Scheherazade to achieve a Möbius-strip narrative and for the reader to disappear without trace.

  • Erik
    2019-05-18 23:15

    I really need a 2.5 stars option, though I would end up using it on three-fourths of everything. As a generic, I can neither recommend nor disavow this book.Okay so the beloved Arabian Nights, tales from a thousand and one nights. I should start with what this is NOT. This is not a linear story about a princess telling stories to a king. This is not a children's read involving genies, magic, and cyclopi (I refuse to spell this any other way, no matter the red line beneath it). This IS a collection of stories, probably oral traditions, dating back from ancient times.Taken on their own, many of the stories are quite fascinating. Unfortunately, as a straight through read, I quickly became bored. The stories are, with some notable exceptions, more or less the same. "There's a beautiful girl whose eyes were like moonbeams, her lips were the color of coral, and as fresh, and she astounded with amazing astoundness all who beheld her. But she had no interest in being married, and her father the king, though he doted on her, could not accept this and so he locked her up. But on the other side of the world, there's a handsome gent whose eyes burned like saucers of the sun, his lips were sweeter than the nectar that camels walked thousands of miles to obtain and carry back, and his hair floated like all the Towers of Babylon. He, also, had no interest in being married, truly he said to HIS father the other king, "I have no interest in being married," and though his father was wroth and consulted his Wazir extensively, no plan was made. Then deus-ex-machina style, there are two omnipotent Djinnis that decide to compare the two and yadda yadda yadda. They get married." But, says the meta-princess, who is meta-telling the meta-king these stories so she doesn't get mega-decapitated, this story is not more fascinating than the other girl and guy who get screwed over, but fall in love anyway, and so on.Congrats, you have had the Arabian Nights experience!In short, this book, quaint translation included (he joyed with exceeding joyness!), is something that you'd have to keep by your bedside for several years. Reading one story a week, lest you get tired of it. Unfortunately it's not good enough to keep by your bedside for several years, so where does that leave it? 2.5 stars, baby.Get from library. Read a few so you can be edumacated. Write a witty review. Have ten times more fun watching Aladdin.Oh and I found this particular footnote moderately hilarious: "Four wives are allowed by Moslem law and for this reason. If you marry one wife she holds herself your equal, answers you and "gives herself airs"; two are always quarreling and making a hell of the house; three are "no company" and two of them always combine against the nicest to make her hours bitter. Four are company; they can quarrel and "make it up" amongst themselves, and the husband enjoys comparative peace."

  • Huda Aweys
    2019-05-21 19:21

    و قبل أن تدلف إلى هذا العالم الساحر و الشائق .. عالم (ألف ليلة و ليلة) .. من فضلك .. لا تنسى وضع عقلك خارجا على بوابته ! ، ***أرح عقلك قليلا ، و الا فلن تشعر بالمتعة أبدا :) !********** حكاية جوه حكاية من ورا حكاية ايه دا بجد :) !! ؟ كأنك واقع في محيط .. بتسحبك فيه و برغم ارادتك .. دوامة لذيذة ... بتسحبك من حكاية للتانية .. من عالم للتاني ... بتسحبك لتاريخ .. لحضارات .. لجزر و قصور .. لحضرة ملوك الجان وسلاطين الإنس ! ... بتسحبك .. بتسحبك .. بنعومة .. و انت مستسلم .. مستسلم .. لغاية ماتغرّق وعيك و تحتل حواسك شئ كده زي السحر ! :) ثم ..ماكل هذه الأنباء و الحكم و الأشعار و الآداب الرائعة التي حوتها تلك الألف ليلة و ليلة !؟ ***** على (ويكي مصدر ) كاملة على أربع اجزاء فرغت للآن من الجزء الثاني ، اكتشفت ان معظم القصص اللي قرأتها للآن سبق لي قرائتها منفردة زمان ، و انا طفلة ، معدة كقصص للأطفال، نصيب الأسد فيها كان لـ (كامل كيلاني) و من اعداده طبعا :)... و عموما مازلت مستمتعه بقراءتها كأول مرة :) ***** الجزء الأول : http://ar.wikisource.org/wiki/%D8%A3%...*****الجزء الثاني : http://ar.wikisource.org/wiki/%D8%A3%... *****الجزء الثالث : http://ar.wikisource.org/wiki/%D8%A3%... ***** الجزء الرابع :http://ar.wikisource.org/wiki/%D8%A3%...

  • Shovelmonkey1
    2019-05-15 02:43

    Having just re-read this book i'm reminded how the flowery wording and a hint of "eastern promise" manages to white wash over the actual issues of the story. Sheharezade is actually technically being kept hostage with a death penalty hanging over her head, forced to spin yarns to save not only her skin but that of all the other virgins in the vicinty. Her tales touch on marital rape, mass murder, theft, deception, fratricide, regicide, racism and necromancy. And you all thought American Psycho was bad?? It's amazing what you can get past the critics when you flower it up a little and add a little middle eastern frou frou. Anyway, i digress...overall an epic book and easy to see why Burtons translation scandalised the purse-lipped puritans of 19th century England.If anyone wants to read more about or by Burton then try his Narrative of pilgrimage to Mecca and Al-Medina (vols 1 and 2)or for a different perspective try the Wilder Shores of Love by Lesley Blanche which includes a short biography of Burtons wife, Isabel (man trap) Burton. Alternatively watch Rupert Everetts genius TV biography of Burton which was produced for the BBC. It's worth it just for the bit with nuns!

  • The Books Blender
    2019-05-05 02:36

    NON CI POSSO CREDERE: L'HO FINITO!!!!Dopo un anno di tira e molla, finalmente Le mille e una notte entra di diritto tra i libri letti. Fiuuuu... non riuscivo a vederne la fine. In poche parole perché già il libro (vista la sua mole) potrebbe essere un'arma di distruzione di massa: sicuramente si tratta di un lavoro epico. Dalla storia di Shahrazàd che decide coraggiosamente di andare in sposa al sultano Shahriyàr, famoso per uccidere tutte le mogli con le quali trascorre una notte (zozzo!) per vendicarsi dell’infedeltà della prima, si apre tutto un sistema di scatole cinese, matrioske... insomma, chiamiamole come ci pare, che ci schiudono mille mondi e mille storie (per mille notti).Tra geni, fate, oggetti magici, consigli più o meno saggi, le idee contenute in queste favole potrebbero davvero far impallidire un moderno romanziere. Certo, alcuni passaggi sono simili anche a quelli che abbiamo noi in occidente (gente che viene trasformata in pietra se si guarda indietro, uomini malvagi e vogliosi, aggeggi magici di ogni tipo, gente fatata e un poco capricciosa, ect.), ma nessuno aveva mai pensato di mettere tutto 'sto ambaradan in una raccolta in cui un'altra storia facesse da filo conduttore per tutte le altre. Detto questo, però, e come promesso condensando al minimo il mio commento (a dispetto di quello che faccio solitamente XD), le favole sono ripetitive, lunghe (troooooooppo) e... ripetitive. Per carità, è evidente che molte hanno un intento educatorio (es. diffidare dai cattivi consiglieri, essere un bravo musulmano, aiutare il prossimo, non essere troppo superbo/a, ect.), ma... anche basta.Inoltre, non cadete nel mio stesso errore! Mi aspettavo, infatti, gli Aladin e i Simbad che avevo imparato ad amare fossero quelli; certo, qualche differenza è d'obbligo, ma il nocciolo duro pensavo fosse lo stesso... invece sappiate che le storie giunte a noi sono state pesantemente occidentalizzate (la favola originale di Simbad ha distrutto tutto!).

  • Maria Chnoic
    2019-05-24 19:16

    I read this a couple of times as a child. A long book but a good one.

  • Leonard Gaya
    2019-04-24 21:14

    Muchas son las noches de Shahrazad, muchas sus versiones (de Galland a Mardrus y a Miquel), muchos sus comentarios (de Proust a Borges y a Rushdie). La versión que comento ahora es una traducción española, de la mano de Dolors Cinca y Margarita Castells, basada en la edición que Muhsin Mahdi estableció hace unos años a partir del manuscrito árabe del siglo 14 (una versión siria, denominada "Leiden") que se conserva hoy día en la Bibliothèque Nationale de France, en París. Esta es, según asevera el prólogo de esta edición, "la versión más antigua conocida" de las Mil y Una Noches. Por supuesto, esto no quiere decir que esta versión sea más "auténtica" que las posteriores; esto solo indica una fecha en la larga historia de este texto cuyo corpus va evolucionando desde siempre. Este volumen de unas 600 páginas no incluye los cuentos que introdujo Antoine Galland en su recopilación y que llegaron a la fama que confirma hoy cualquier edición infantil. Hablo, por supuesto, del cuento de Aladino, del de Alí Baba y los Cuarenta Ladrones, de la odisea de Sindbad el Marino.Otros son los cuentos que cuenta Shahrazad aquí, en cada velada, a su hermana Dinarsad y a su esposo celoso Shahrayar, rey de China y de la India. La historia del "Comerciante y el Genio" y, más aún, la del "Pescador y el Genio", la de "Las tres manzanas" y la del "Enano jorobado" son cuentos de índole fantástica, encajados en el cuento principal y que a su vez encajan varios cuentos más (cuentos dentro de cuentos), donde se ven reflejados, tal vez hasta el infinito, la figura del califa Harún Arrashid y la de su fiel visir Gafar. Otras historias son romances de amor; a esta categoría pertenecen la "Historia de Nuraddín Alí Ben Bakkar", la "Historia de la esclava Anís Algalís", la "Historia de Gulanar del mar". Mis cuentos favoritos son los que consiguen mezclar con éxito estas dos tendencias (la de lo fantástico y de la magia, con la del amor y del erotismo), en especial el cuento del "Porteador y las tres muchachas" y la de "Camar Asamán".La versión de Cinca y Castells carece de los arcaísmos y preciosidades que algunas veces arruinan las traducciones de obras medievales. Sin embargo, la versión de Mahdi en la que se basan está salpicada de canciones y pasajes poéticos. En especial cuando se trata de celebrar el amor (o mejor dicho el dolor que lo acompaña) y la belleza de las mujeres, que a menudo son descritas como si fueran pasteles: "de almizcle el aroma y de rosas las mejillas, perlada la boca y cual vino la saliva". Otras formulaciones son menos pintorescas y no obstante más elegantes: "la joven volvió a montar su mula y partió, dejando detrás suyo algún que otro corazón roto".Shahrazad es una contadora por talento y por necesidad: su real esposo la sospecha de adulterio y, para ella, contar cuentos es una estratagema que equivale a salvarse la vida. A partir de ahí, brotan las historias y, como ocurre en nuestros propios destinos, nunca se sabe a dónde van a ir a parar. En varios de sus cuentos se repite esa funesta situación. Muchos son los cuentos de estas noches; tantas ocasiones son de celebrar la vida y el amor; tantas ocasiones son de conjurar la muerte.

  • Megan
    2019-05-18 19:31

    This is a very sad book, in the sense that it makes you think, "What the hell happened to Baghdad?". Here, Baghdad is pretty much the most magical city in the world, and most of the Arabian Nights takes place in or around it. The world of the Arabian Nights is amazingly liberal compared to Europe of the same period (which is roughly the 13th century), especially when it comes to women. From the storytelling heroine Scheherazade on down, most of the women of the Arabian Nights are well-educated and have minds of their own, even the ones who are slaves. That's more than anyone can say for the Grimm's female protagonists.My favorite story, though, is the one of Prince Carazdan and his wife Princess Badoura. The first part reminds me of A Midsummer Night's Dream, in which a prince and a princess who both have no interest in love or marriage become the subjects of a contest between a fairy and a genie. The second part of the story is also quite Shakespearean, as it involves Princess Badoura dressing as a man and becoming a king through her own merit, although she ends up getting married to a woman along the way and a comedy of errors ensues.Anyway, it's a great collection of fairytales as well as a fascinating cultural study. I highly recommend it.

  • Diba
    2019-05-14 03:34

    Although I simply have problem with the title, since it should be One thousand and one night, the translation of Burton is worthy to read and also should be praised to introduce such a masterpiece to Western literature. Not only do these stories depict cultural and social codes of Middle East and centra Asia, but also they convey how morality and wisdom were respected in these societies. As we are living in an era that most people are biased about their originality and are focused on the small world of their own society, these incredible stories make us believe that there is a universality, no matter where we come from and in what era we live, that works out and overcomes violence beyond any power and that is the power of imagination and narrative.

  • Terry
    2019-05-04 19:23

    “Shahrazad turned to King Shahrayar and said, ‘May I have your permission to tell a story?’ He replied, ‘Yes,’ and Shahrazad was very happy and said, “Listen”:Of all of the world’s story collections, surely The Arabian Nights has the best framing device—the best fictional pretext by which to justify the telling of the other stories. I mean the story of Shahrazad (as this text transliterates her name), the daughter of the vizier to King Shahrayar. Bitter over his first wife’s betrayal, Shahrayar decides that he will avenge himself on womankind by marrying a different woman every night and having her killed in the morning. As the tally of victims rises, the vizier, who has been charged with procuring these wives from among the daughters of the kingdom’s princes, becomes more and more desperate until one day Shahrazad herself volunteers to marry the king and stubbornly refuses to be dissuaded by her father. On the night of her nuptials, Shahrazad begins to tell Shahrayar a story to while away the hours until dawn when she will be killed. When the sun rises before she can complete the tale, the king decides to spare her until the next night so that he can find out whether a demon kills the merchant against whom he has raised his sword. And so begins the endless series of narrative delays and nesting of tales by which the storyteller manages to make herself indispensable to the tyrannical king—and so too begins the tyrannical king’s education in empathy as he listens to tales of justice and injustice, of fidelity and betrayal, of statecraft and misrule. Some of the tales have more artistry than others. Some are sentimental. Some seem intended merely to titillate. To my mind, no single tale lives up to the best of Chaucer, whose Canterbury Tales are roughly contemporary to these. Still, the power of the Nights is cumulative in the way of good refrains. Again and again, we are told, “But morning overcame Shahrazad, and she lapsed into silence”—only to have the tale taken up again the next night. These lapses and interruptions invest even the silliest tales with gravity, reminding us that all art is an appeal against our common death sentence, a plucky assertion of the meaningfulness of human experience against the overwhelming evidence that we are powerless and disposable. What could possibly have motivated Shahrazad, the safest of all the kingdom’s virgins, to put her body in the tyrant’s bed? One can only call it love, terrifying as it is to invoke that word: love for the victims that led her to love their killer and to gamble her life on the humanity of his heart.Though a translator’s note informs us that “tradition has it” Shahrazad bears Shahrayar three children and somewhere along the way earns enough trust to have her death sentence lifted, the tales where never finished by their original author—whoever that may have been. Later editors have felt free to add material, including many of the tales we most commonly associate with the Nights: Sinbad the Sailor, Aladdin and the Magic Lamp, Ali Babba and the Forty Thieves. Husain Haddawy leaves these out of his translation, following the editorial choices of Muhsin Mahdi, whose fourteenth-century Syrian manuscript is the earliest one we have. The fascinating history of the text and of its translation into Western languages is thoroughly documented in Haddawy’s introduction—convincingly enough to persuade me that I’m in the hands of a good translator as I read.