1001 arabian nights stories pdf


    “The pleasure we derive from perusing the Thousand-and-One Stories ture, namely The Arabian Nights, the Kama Sutra, and The Perfumed. Garden, at his. "The Arabian Nights" is a magnificent collection of ancient tales told by the sultana Scheherazade, who relates them as entertainment for her jealous and. The Arabian Nights Entertainments by Andrew Lang. No cover available. Download; Bibrec Subject, Children's stories. Subject, Arabs -- Folklore.

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    1001 Arabian Nights Stories Pdf

    Such versions may serve in an inadequate degree to make the Arabian Nights known to those who care only for the bare stories; but educated readers, who are . For Help with downloading a Wikipedia page as a PDF, see Help:Download as Thousand and One Nights · New Arabian Nights · Arabian Nights and Days. tales, and they thought these Arab stories the best that they had ever read. They In this book "The Arabian Nights" are translated from the French version of.

    Essays Arabian Nights Stories The collection of Arabian Nights Stories is the most famous literary product of a classical Islamic Civilization that was formed through a merging of Arabic culture especially religion and the great imperial traditions of the eastern Mediterranean and the Persian empire of the Sassanians. Ironically, the work was not widely accepted as serious literature by the intellectual and literary elite of the Islamic world. This rejection reflects the Koran's condemnation of fictional narratives as lying. Most traditional Arabic narrative was didactic or religious - history, useful knowledge moral instruction. Imagination and fantasy were more commonly expressed in poetry which had a tradition in Arabic life pre-dating Islam and was not constrained by religious concerns. The Arabian Nights has often been banned by Arab governments even as recently as when Egypt issued a ban. The first documented evidence for the collection is a 12th century Cairene notebook : the oldest manuscripts date from the 15th century and consist of about nights. The stories were circulated in manuscript for centuries until they were written down in a definite form during the late 13th century, somewhere in Syria or Egypt. All later manuscript versions originate in this now-lost document and they fall into two main bunches - one developed in Syria and the other in Egypt. The Syrian collection remained close to the original.

    Haroun al-Rashid , Caliph of Baghdad, who figures in many tales of the Arabian Nights, together with Jaffar, his minister and Mesrour, his executioner, is celebrated in a poem by Longfellow : One day, Haroun al-Raschid read A book wherein the poet said: Where are the kings, and where the rest Of those who once the world possessed?

    They're gone with all their pomp and show, They are gone the way that thou shalt go. Haroun al Raschid bowed his head: Tears fell upon the page he read. It has popularity in England. Meester admirably speaks about this translation saying: [These stories] furnished on our languages with number of expressions and images, they have imprinted on our minds many scenes of Oriental life.

    Meester speaks admirably about this translation saying: [These stories] furnished on our languages with number of expressions and images, they have imprinted on our minds many scenes of Oriental life.

    Robinson Crusoe portrays the life and adventures of Crusoe, who saved himself from the spoil with the assistance of a few stores and utensils.

    The discovery of Crusoe looks like the discoveries of the Bagdadian Sindbad during seven arduous journeys as a merchant. Again, Jonathan Swift — in Gulliver's Travels sets out on an imaginary voyage to remote lands all over the globe. He gathers giants as well as pygmies all together. There is also a flying island and a civilized race of horses in Gulliver's Travels. The Arabian Nights has equivalent stories. Sindbad launches his voyages despite the hardships which he faced.

    If seems that Sindbad and Gulliver work against fate. In looking deep to the production of Gulliver's Travels or Robinson Crusoe, one would conclude that they would not be any work of fiction without the Arabian Nights. Lady Mary W. Montagu was also inspired by the Arabian Nights. In her writings, the allusions and themes are Arabian. She is fascinated by the charming portrayal of the Harem life, the den of the affective beauty, the Turkish baths, and the Oriental rituals in the Arabian Nights.

    It is a marvelous experience of the Caliph Valid Almanzor. The character of Almyna is modelled on Scheherazade. In Arabian Nights, Scheherazade works to raise the voice of freedom. Almyna, the over-romantic heroine, confronts with the violation of women rights as being broken by tyrant Arab sultans like Sharayar in the Arabian Nights.

    The influence of the Arabian Nights on the English mind and literature is extraordinarily strong. In this connection, Martha P.

    Conant claims that the Arabian Tales are the fairy godmother of English novel p. Yeats considers the Arabian Nights as one of the greatest books in the world. He places the Arabian Nights next to Shakespeare. In a gathering in America, he remarks: Then somebody asked what would be my six books, and I said I wanted six authors, not six books, and I named four authors choosing not from those that I should, but from those that did most move me, and said, I had forgotten the names of the other two.

    In the Arabian Nights, the young Prince spends a year of pleasure with 'forty damsels, and is then left to the temptation of the hundredth door of gold. In Sir W. Jones's tale, the same story happens but when the Prince Agib comes in the seventh door, he finds behind it an old man. His name is Religion, and has to take Prince Agib to Heaven.

    As Prince Agib's eye is hit by the magic horse, the horse puts him on the top of the palace, and the Prince realises that the old man is a mendicant.

    This story made Coleridge a deep impression on him Matthew, Coleridge also made an effort to write a play, Diadeste - an Arabian Entertainment. In his Kubla Khan, the Oriental dreams of kings and prophets are interwoven in the poem. Coleridge was keen to bring the morality of The Ancient Mariner to the same approach as he had found out in the Arabian Nights Ahmad, The works of Coleridge strongly indicates his awareness of the Oriental tales.

    His Vathek, an Arabian Tale or The History of the Caliph Vathek is influenced by the Arabian Nights because of its Arabian elements of supernatural machinery, exotic settings and peculiar experiences. The originality of Vathek lies in revealing two distinct worlds, the creative world of man's soul; and the actual exterior world known through his senses. But unlike other dreams it advances man's quest beyond the normal dimensions of his understanding and thoughts to find his true identity.

    Such a creative world is an outcome of the concrete, exotic East which is not only avowedly Oriental. This disagreement might hark back to the false portrayal of the Arabian personality of Haroun al-Rashid in the Arabian Nights. Despite the reputation of the Arabian tales in the period, Vathek is strange in its exposure to and consideration of the elements of Islamic life and customs. During the eighteenth and the nineteenth centuries, the interest in the Orient developed with several translations of the most popular tales from the East.

    The Arabian Nights has popularized Oriental tales in the framework of English literature. They have gained general currency and found their approach into the leading literary journals of the day, as for instance, Steele and Addison's magazines, Spectator, Tatler and Rambler.

    The magicians, genies, fairies, charms, enchanted rings, lamps and talismans of all sorts caught public fascination. The play, Aladdin or the Wonderful Lamp, staged first in , selected stories from the Arabian Nights. These stories were performed for years at the Theatre Royal in London. It had a significant influence on the Romantic models. Nasir , a researcher in the Victorian affairs, confirms that it is not easy to find a person who had never read the Tales in his youth and does not remember them still p.

    For the Romantic poets, Arabia with its topography and people is an existing exotic mystery in making Arabs free from the chains of classical traditions. Thus, Romanticism deals with nature as one unit with various portraits. William Wordsworth in The Prelude describes the wonders of the Arabian fiction when he says: "I had a precious treasure at that time, A little, yellow canvas - cover'd book.

    It is to be noted that Wordsworth pays high appreciation to the Arabian Nights in his ode The Prelude.

    1001 Arabian Nights [Volume 4 of 16]

    For Wordsworth, the Arabian Nights is a powerful source of entertainment ever known in the world. The stories of the romantic Arabia are the lamps that delight the dark nights.

    In one passage he says: A gracious spirit o'er the earth presides, And o'er the heart of man: invisibly. It comes, to works of unimproved delight, And tendency benign, directing those Who care not, know not, think not what they do The Tales that charm away the wakeful night In Araby, romances; legends penned For solace by dim light of monkish lamps. Moreover, the company of the fisherman narrator gives straight away to the Oriental ethos of the poem in which his images, allusions, and attitudes stand for a distinguished religio-cultural image of the Arabian Nights.

    Byron has also utilised Arabian pictures and terminology. In Don Juan , Byron refers to the exotic rich Orient when he says: A far a dwarf buffoon stood telling tales European Journal of Social Sciences — Volume 31, Number 3 To a sedate grey circle of old smokers.

    Of secret treasures found in hidden vales, Of wonderful replies from Arab Jokers, Of charms to make good gold and cure bad ails, Of rocks bewitched that open to the knockers, Of magic ladies who by one sale act Transformed their lords to beasts In his Journey from Cornhill to Grand Cairo, in the chapter: Smyrna, first Glimpses of the East, where he writes about being with the Arabian Nights and on board of the Peninsular and Oriental vessels, and imagine to dip into Constantinople or Smyrna.

    He is amazed with the bazaars of the East. Thackeray remembers the Arabian Nights with pleasure, as a relief from the classical education whereas, for example, in one of his essays, The Friends, Thackeray recalls his 'first entrance into the mansion of a neighbouring Baronet' as being 'long connected in my childish imagination with the feelings and fancies stirred up in me by the perusal of the Arabian Nights' I, The influence of Arabian Nights is clear on Thackeray's novel The Newcomes, particularly in the following dialogue: Clive: I remember one of the days, when I first saw you, I had been reading the 'Arabian Nights' at school-and you came in a bright dress of short silk, amber and blue-and I thought you were like that fairy princess who came out of the crystal box -because.

    Ethel : Because why? Clive: Because I always thought that fairy somehow must be the most beautiful creature in the world-that is 'why and because VIII, For instance, in Thalaba, the young Arab, Thalaba, demolishes the kingdom of the magicians, Domdaniel, under the sea. With the aid of a magic ring, Thalaba, the hero, overcomes his enemies and razes the sorcerers and their rich kingdom. He scarifies his life in doing so, but is reunited in Paradise with his wife.

    The poem is full of magicians, magical settings and objects, flying car, magic boat which takes him across the sea to Domdaniel's Island.

    Again, in this poem, Thalaba fights with an 'Afrit,' an Arabic term for a demon, who has one eye ejecting fire. Southey states his indebtedness to the "New Arabian Nights" for the idea of Thalaba p.

    Although this narrative poem has an all Oriental cast, they are found uttering Biblical expressions. The Romantic emphasis on liberty also politicized his poetry, so that his Orientalist works—for example, Southey's Thalaba and Roderick the Last of the Goths depict the struggle to overthrow a powerful Oriental tyrant. The influence of Arabian Nights on English writers came through different translations.

    Sir Richard F. Burton — is one of the most famous nineteenth-century Western adventurers and travel writers. His accounts of his journeys to India, Arabia, Africa, and North America gave him widespread celebrity in his lifetime, and his sixteen translations, including that of The Arabian Nights' Entertainments in , brought him enduring fame long after his death in Trieste, Italy in The Arabian tales improve for the Western understanding and taste of the Oriental material.

    Another nineteenth century man of letter, whose writing carries the imprints of the Arabian Nights, is Victorian literary giant: Lord Alfred Tennyson — Tennyson expresses this perfectly in his poem.

    He seeks to recapture the splendour of Baghdad. These tales show the exotic plot and imagery of the Oriental life and customs. The Arabian Nights played an enormous role in the development of Charles Dickens's 70 imagination. Dickens generally uses allusions to the Arabian Nights in his novels and other writings, and in his speeches, to evoke a sense of wonder, beauty, glamour, mystery and terror.

    Again in David Copperfield there is a reference to the Arabian Nights magician and the Tales of the Genii which models on the fairy tales of the Arabian Nights. In another inspiration from Matura Friends, Dickens depicts a wedding feast which takes place at a hotel in Greenwich, with the following words: What a dinner Specimens of all the fishes that swim in the sea, surely had swum their way to it and if samples of the fishes of divers colour that made a speech in the Arabian Nights quite a ministerial explanation in respect of cloudiness and then jumped out of the frying -pan, were not to be recognized, it was only, because they had all become of one hue by being cooked in batter among the whitebait Serve him right.

    I am glad to it. What business had he to be married to the Princes! Scrooge and his Ghosts, II,I I am in Damascus or Grand Cairo. The Marchioness is a Genie and having a had a wager with another Genie about who is the handsomest young man alive To sum up, Arabian Nights enriched the scope of inspiration with a wild inner sense of free thinking.

    It was not the exoticism of the Arabian Nights which evoked such an overwhelming reaction from readers in Europe. It is quite natural that the Arabian Nights by virtue of its enthralling themes, resplendent images and innovative narrative technique continues to enjoy the status of arguably the most widely read piece of Oriental literary material. One can easily find the Oriental elements in English literature, cinema, fiction, and in electronic media of the twentieth century.

    Forster, W. Yeats, H. Wells, James Joyce, T. Eliot and Doris Lessing, etc were all great admirers of the Arabian Nights. Their works contain allusions to the Arabian Nights. Having been exposed to the Arabian Nights, Rudyard Kipling — was inspired by Arabian legends. These Arabian tales depict the world as cunning with exploration, misfortune and enjoyment.

    They are early scientific fantasies of flight, imaginary journeys and utopias give us the flying carpet, a vehicle of enthusiasm and happiness as well as power over time and space. This ghost experiences the feelings: envy and greed. One day, when the weather was excessively hot, he was employed to carry a heavy burden from one end of the town to the other.

    Being much fatigued, he took off his load, and sat upon it, near a large mansion. He was much pleased that he stopped at this place; for the agreeable smell of wood of aloes and of pastils that came from the house, mixing with the scent of the rose-water, completely perfumed and embalmed the air. Besides, he heard from within a concert of instrumental music, accompanied with the harmonious notes of nightingales and other birds.

    This charming melody, and the smell of several sorts of savory dishes, made the porter conclude there was a feast with great rejoicings within.

    “The Arabian Nights”

    He went to some of the servants, whom he saw standing at the gate in magnificent apparel, and asked the name of the proprietor. I am every day exposed to fatigues and calamities, and can scarcely get coarse barley-bread for myself and my family, while happy Sindbad expends immense riches, and leads a life of continual pleasure.

    What has he done to obtain from Thee a lot so agreeable? And what have I done to deserve one so wretched? The servants brought him into a great hall, where a number of people sat round a table, covered with all sorts of savory dishes.

    At the upper end sat a comely, venerable gentleman, with a long white beard, and behind him stood a number of officers and domestics, all ready to attend his pleasure.

    This person was Sindbad. Hindbad, whose fear was increased at the sight of so many people, and of a banquet so sumptuous, saluted the company trembling. Sindbad bade him draw near, and seating him at his right hand, served him himself, and gave him excellent wine, of which there was abundance upon the sideboard. In Bagdad and Cairo to-day, that cafe never lacks customers where the blind storyteller relates to the spell-bound Arabs some chapter from the immortal Arabian Nights, the King of all Wonder Books.

    The Thousand and One Nights, Vol. I. by Lane-Poole, Poole, Harvey, and Lane - Free Ebook

    No one knows where the tales were written, except that they came out of the Far East, India, Arabia and Persia. Haroun Al Raschid, who was called The Just, was a real Eastern monarch who lived in Bagdad over eleven hundred years ago, about the same time that Charlemagne was King of France. We can believe that the tales are very old, but the most we know is that they were translated from Arabic into French in by a Frenchman named Galland, and that the manuscript of his translation is preserved in the French National Library.

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