Other editions of book Arabian Nights

One Thousand and One Nights is a collection of stories collected over many centuries by various authors, translators and scholars in various countries across the Middle East and South Asia. These collections of tales trace their roots back to ancient Arabia and Yemen, ancient Indian literature and Persian literature, ancient Egyptian literature and Mesopotamian mythology, ancient Syria and Asia Minor, and medieval Arabic folk stories from the Caliphate era. Though the oldest Arabic manuscript dates from the fourteenth century, scholarship generally dates the collection's genesis to somewhere between AD 800–900.

The Talking Bird, the Singing Tree, and the Golden WaterThe Story of the Fisherman and the GenieThe History of the Young King of the Black IslesThe Story of Gulnare of the SeaThe Story of Aladdin; or, the Wonderful LampThe Story of Prince AgibThe Story of the City of BrassThe Story of Ali Baba and the Forty ThievesThe History of Codadad and His BrothersThe Story of Sinbad the Voyager

The Arabian Nights was introduced to Europe in a French translation by Antoine Galland in 1704, and rapidly attained a unique popularity. There are even accounts of the translator being roused from sleep by bands of young men under his windows in Paris, importuning him to tell them another story.The learned world at first refused to believe that M. Galland had not invented the tales. But he had really discovered an Arabic manuscript from sixteenth-century Egypt, and had consulted Oriental story-tellers. In spite of inaccuracies and loss of color, his twelve volumes long remained classic in France, and formed the basis of our popular translations.A more accurate version, corrected from the Arabic, with a style admirably direct, easy, and simple, was published by Dr. Jonathan Scott in 1811. This is the text of the present edition.The Moslems delight in stories, but are generally ashamed to show a literary interest in fiction. Hence the world's most delightful story book has come to us with but scant indications of its origin. Critical scholarship, however, has been able to reach fairly definite conclusions.The reader will be interested to trace out for himself the similarities in the adventures of the two Persian queens, Schehera-zade, and Esther of Bible story, which M. de Goeje has pointed out as indicating their original identity (Encyclopædia Britannica, "Thousand and One Nights"). There are two or three references in tenth-century Arabic literature to a Persian collection of tales, called The Thousand Nights, by the fascination of which the lady Schehera-zade kept winning one more day's lease of life. A good many of the tales as we have them contain elements clearly indicating Persian or Hindu origin. But most of the stories, even those with scenes laid in Persia or India, are thoroughly Mohammedan in thought, feeling, situation, and action.The favorite scene is "the glorious city," ninth-century Bagdad, whose caliph, Haroun al Raschid, though a great king, and heir of still mightier men, is known to fame chiefly by the favor of these tales. But the contents (with due regard to the possibility of later insertions), references in other writings, and the dialect show that our Arabian Nights took form in Egypt very soon after the year 1450. The author, doubtless a professional teller of stories, was, like his Schehera-zade, a person of extensive reading and faultless memory, fluent of speech, and ready on occasion to drop into poetry. The coarseness of the Arabic narrative, which does not appear in our translation, is characteristic of Egyptian society under the Mameluke sultans. It would have been tolerated by the subjects of the caliph in old Bagdad no more than by modern Christians.More fascinating stories were never told. Though the oath of an Oriental was of all things the most sacred, and though Schah-riar had "bound himself by a solemn vow to marry a new wife every night, and command her to be strangled in the morning," we well believe that he forswore himself, and granted his bride a stay of execution until he could find out why the ten polite young gentlemen, all blind of the right eye, "having blackened themselves, wept and lamented, beating their heads and breasts, and crying continually, 'This is the fruit of our idleness and curiosity.'" To be sure, when the golden door has been opened, and the black horse has vanished with that vicious switch of his tail, we have a little feeling of having been "sold,"—a feeling which great art never gives. But we are in the best of humor; for were we not warned all along against just this foible of curiosity, and is not the story-teller smiling inscrutably and advising us to be thankful that we at least still have our two good eyes?

'Do you see that mountain?' asked the king, pointing to a huge mass that towered into the sky about three leagues from Schiraz; 'go and bring me the leaf of a palm that grows at the foot.' The words were hardly out of the king's mouth when the Indian turned a screw placed in the horse's neck, close to the saddle, and the animal bounded like lightning up into the air, and was soon beyond sight even of the sharpest eyes. -from "The Enchanted Horse" A startlingly prolific collector of fairy tales from around the world, Andrew Lang, in this 1898 work, brought together in one volume the "fairy tales of the East," the delightful and resoundingly entertaining adventures of The Arabian Nights. Translated from a French version that omits all the "very dull and stupid" additions of early European retellings, this wonderful book regales us with the stories of Sindbad and his seven voyages, the "Vizir who was Punished," Aladdin and his magic lamp, and many, many more. Complete with beautiful pen-and-ink illustrations, this is a collection to treasure, whether you're studying comparative mythology or just seeking a rollicking good read. Scottish journalist and author ANDREW LANG (1844-1912), a friend of Robert Louis Stevenson, produced a stunning variety and number of volumes, including books of poetry, novels, children's books, histories, and biographies, as well as criticism, essays, scholarly works of anthropology, and translations of classical literature. * * *

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Tales from the Arabian Nights are about the magic and the mystery of far-flung places -- or at least they were far-flung when Aladdin and the Lamp, Sinbad the Sailor and Ali Baba and the Forty Thieves first became popular in the West in the 18th and 19th centuries. Here was a land of camels, of silks, of fabulously wealthy palaces, guards with turbans and gleaming, polished scimitars; the women were scented, had kohl under their eyes and lounged on cushions or danced. And most importantly there was magic. There were flying carpets, angry Djinns and helpful genies stuck in bottles or in rings, who would do the will of their masters. There were palaces that could appear and disappear in a trice, or be transported across vast deserts to another country, leaving just an empty space where they once were. And there was the beautiful Sheherezade who, with her sister Dinazarde, kept the Sultan Shariah amused, aghast and on tenterhooks with each of her tales for 1001 nights -- until he finally acknowledged that his Sheherezade was too special to behead like her predecessors. Toby Stephens' theatrical Shakespearean credits for the RSC include Measure for Measure, All's Well That Ends Well, for which he was awarded the Sir John Gielgud Award for best actor as well as the Ian Charleson Award. His film and television appearances include Camomile Lawn, The Tenant of Wildfell Hall, The Great Gatsby. He has also performed the part of Edmund in the Naxos AudioBooks' production of King Lear.