الموضوع: اعظم 100 كتاب في التاريخ: ما سر هذه العظمة؟- دراسة بحثية
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قديم 01-20-2013, 03:58 PM
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افتراضي
One Thousand and One Nights (Arabic: كتاب ألف ليلة وليلة‎ Kitāb alf laylah wa-laylah) is a collection of West and South Asian stories and folk tales compiled in Arabic during the Islamic Golden Age. It is often known in English as the Arabian Nights, from the first English language edition (1706), which rendered the title as The Arabian Nights' Entertainment.[1]
The work was collected over many centuries by various authors, translators, and scholars across West, Central, South Asia and North Africa. The tales themselves trace their roots back to ancient and medieval Arabic, Persian, Indian, Egyptian and Mesopotamian folklore and literature. In particular, many tales were originally folk stories from the Caliphate era, while others, especially the frame story, are most probably drawn from the Pahlavi Persian work Hazār Afsān (Persian: هزار افسان‎, lit. A Thousand Tales) which in turn relied partly on Indian elements.[2]
What is common throughout all the editions of the Nights is the initial frame story of the ruler Shahryār (from Persian: شهريار‎, meaning "king" or "sovereign") and his wife Scheherazade (from Persian: شهرزاد‎, possibly meaning "of noble lineage"[3]) and the framing device incorporated throughout the tales themselves. The stories proceed from this original tale; some are framed within other tales, while others begin and end of their own accord. Some editions contain only a few hundred nights, while others include 1,001 or more.
Some of the stories of The Nights, particularly "Aladdin's Wonderful Lamp", "Ali Baba and the Forty Thieves" and "The Seven Voyages of Sinbad the Sailor", while almost certainly genuine Middle Eastern folk tales, were not part of The Nights in Arabic versions, but were added into the collection by Antoine Galland and other European translators.[4] The innovative and rich poetry and poetic speeches, chants, songs, lamentations, hymns, beseeching, praising, pleading, riddles and annotations provided by Scheherazade or her story characters are unique to the Arabic version of the book. Some are as short as one line, while others go for tens of lines.

Synopsis</SPAN>

The main frame story concerns a Persian king and his new bride. He is shocked to discover that his brother's wife is unfaithful; discovering his own wife's infidelity has been even more flagrant, he has her executed: but in his bitterness and grief decides that all women are the same. The king, Shahryar, begins to marry a succession of virgins only to execute each one the next morning, before she has a chance to dishonour him. Eventually the vizier, whose duty it is to provide them, cannot find any more virgins. Scheherazade, the vizier's daughter, offers herself as the next bride and her father reluctantly agrees. On the night of their marriage, Scheherazade begins to tell the king a tale, but does not end it. The king, curious about how the story ends, is thus forced to postpone her execution in order to hear the conclusion. The next night, as soon as she finishes the tale, she begins (and only begins) a new one, and the king, eager to hear the conclusion, postpones her execution once again. So it goes on for 1,001 nights.
The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, burlesques and various forms of erotica. Numerous stories depict Jinns, Ghouls, Apes,[5] sorcerers, magicians, and legendary places, which are often intermingled with real people and geography, not always rationally; common protagonists include the historical AbbasidcaliphHarun al-Rashid, his Grand Vizier, Jafar al-Barmaki, and his alleged court poetAbu Nuwas, despite the fact that these figures lived some 200 years after the fall of the Sassanid Empire in which the frame tale of Scheherazade is set. Sometimes a character in Scheherazade's tale will begin telling other characters a story of his own, and that story may have another one told within it, resulting in a richly layered narrative texture.
The different versions have different individually detailed endings (in some Scheherazade asks for a pardon, in some the king sees their children and decides not to execute his wife, in some other things happen that make the king distracted) but they all end with the king giving his wife a pardon and sparing her life.
The narrator's standards for what constitutes a cliffhanger seem broader than in modern literature. While in many cases a story is cut off with the hero in danger of losing his life or another kind of deep trouble, in some parts of the full text Scheherazade stops her narration in the middle of an exposition of abstract philosophical principles or complex points of Islamic philosophy, and in one case during a detailed description of human anatomy according to Galen—and in all these cases turns out to be justified in her belief that the king's curiosity about the sequel would buy her another day of life.

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