https://db.seven-sages-of-rome.org/api.php?action=feedcontributions&feedformat=atom&user=Bildhauer 2026-04-10T02:03:08Z User contributions MediaWiki 1.43.6 https://db.seven-sages-of-rome.org/index.php?title=Hebrew_Erasto&diff=16251 2026-03-16T14:51:46Z

<p>Bildhauer: </p> <hr /> <div>{{Secondary Version<br /> |Has Description=The Hebrew translation of the ''Erasto'' narrative was first published in the 17th century in Jerusalem, and was translated by Uziel Isaak ben Abraham.<br /> |Has Parent Version=Erasto (Es)<br /> |Has Branch Of Tradition=Seven Sages of Rome<br /> |Has Language Of Version=Hebrew<br /> |Is Date Uncertain=No<br /> |Has Modern Edition=Uziel Isaak ben Abraham, Proverbs of Erastus, ed by Abraham Elmaleh (1945)<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=%E2%80%9CHier_boghint_(sic)_de_historie_van_den_vij_wijsen_mannen_van_Rome%E2%80%9D._Antwerp:_Niclaes_Leeu,_1488&diff=16250 2026-03-16T14:45:29Z

<p>Bildhauer: </p> <hr /> <div>{{Print<br /> |Has Reference Number=GermanPrint9<br /> |Has Display Title=Hier boghint [sic] de historie van den vij wijsen mannen van Rome (incipit) Antwerpen: Niclaes Leeu, 11 April 1488<br /> |Has Total Number Of Pages=92<br /> |Has Format=4°, a⁸b–p⁶<br /> |Has Incipit Or Textual Title=Hier boghint [sic] de historie van den vij wijsen mannen van Rome<br /> |Has Siglum Of The Version Of The Seven Sages=H (Historia Septem Sapientum)<br /> |Has Language Group Within Version=German Version H<br /> |Has Narrative Or Scholarly Group Within Version=German Prints (H)<br /> |Has Source For Information On Textual Relationship to Broader Tradition=Schlusemann (2023)<br /> |Has Printer=Niclaes Leeu<br /> |Has Place Of Printing=Antwerp, Belgium<br /> |Has Start Date Of Print=1488-04-11<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Production=Schlusemann (2023), GW<br /> |Has Language=German (High and Low German)<br /> |Has Regional Language=Low German<br /> |Has Source For Regional Language=Schlusemann 2024<br /> |Has Illustrations=Yes<br /> |Has Digitisation=København KglB: https://nbn-resolving.de/urn:nbn:de:hbz:6-82009588449<br /> |Has Modern Research Literature=Schlusemann (2023); GW; Hain (1826-1838); Klebs (1938); Borchling / Claussen (1931-1957); Conway (1884); Kok (1994); Campbell (1874-1890); Hellinga (1966); ILC (1999); Madsen (1935-1963); ISTC; Schlusemann (2024)<br /> |Has Catalogue=GW 12874: https://www.gesamtkatalogderwiegendrucke.de/docs/GW12874.htm<br /> |Has Note=* 23 woodcuts<br /> * the GW also lists &quot;Runte: Seven Sages 143&quot; as a source without any further information<br /> }}<br /> {{Copy<br /> |Has Library=København, Det Kongelige Bibliotek<br /> |Has Shelfmark=Inc. Haun. 1993<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Teheran_Daneshgah_132-d&diff=16232 2026-03-13T17:15:23Z

<p>Bildhauer: Created page with &quot;{{Manuscript |Has Location=Teheran, Daneshgah |Has Siglum=132-d |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama |Has Language=Persian |Has Start Date Of Production=1622 |Has End Date Of Production=1623 |Has Islamic Date Of Production=1032 |Is Date Uncertain=No |Has Total Pages In Manuscript=128 |Has Illustrations=No }}&quot;</p> <hr /> <div>{{Manuscript<br /> |Has Location=Teheran, Daneshgah<br /> |Has Siglum=132-d<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Start Date Of Production=1622<br /> |Has End Date Of Production=1623<br /> |Has Islamic Date Of Production=1032<br /> |Is Date Uncertain=No<br /> |Has Total Pages In Manuscript=128<br /> |Has Illustrations=No<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Teheran_Daneshgah_268&diff=16231 2026-03-13T17:12:14Z

<p>Bildhauer: Created page with &quot;{{Manuscript |Has Reference Number=Persian5 |Is Date Uncertain=No |Has Illustrations=No }}&quot;</p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=Persian5<br /> |Is Date Uncertain=No<br /> |Has Illustrations=No<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Teheran_Daneshgah_46-ayn&diff=16230 2026-03-13T17:05:05Z

<p>Bildhauer: Created page with &quot;{{Manuscript |Has Reference Number=Persian4 |Has Location=Teheran, Daneshgah |Has Siglum=46-ayn |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama |Has Language=Persian |Has Start Date Of Production=1383 |Has End Date Of Production=1384 |Has Islamic Date Of Production=785 |Is Date Uncertain=No |Has Source For Date Of Production=FANKHA 414f. |Has Total Pages In Manuscript=134...&quot;</p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=Persian4<br /> |Has Location=Teheran, Daneshgah<br /> |Has Siglum=46-ayn<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Start Date Of Production=1383<br /> |Has End Date Of Production=1384<br /> |Has Islamic Date Of Production=785<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Production=FANKHA 414f.<br /> |Has Total Pages In Manuscript=134<br /> |Has Illustrations=No<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Teheran_Daneshgah_272-f&diff=16229 2026-03-13T17:01:03Z

<p>Bildhauer: Created page with &quot;{{Manuscript |Has Reference Number=Persian3 |Has Location=Teheran, Daneshgah |Has Siglum=272-f |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama |Has Language=Persian |Has Start Date Of Production=1217 |Has End Date Of Production=1218 |Has Islamic Date Of Production=614 |Is Date Uncertain=No |Has Total Pages In Manuscript=135 |Has Illustrations=No }}&quot;</p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=Persian3<br /> |Has Location=Teheran, Daneshgah<br /> |Has Siglum=272-f<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Start Date Of Production=1217<br /> |Has End Date Of Production=1218<br /> |Has Islamic Date Of Production=614<br /> |Is Date Uncertain=No<br /> |Has Total Pages In Manuscript=135<br /> |Has Illustrations=No<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Istanbul_S%C3%BCleymaniye_K%C3%BCt%C3%BCphanesi_S%C3%BCleymaniye_861&diff=16228 2026-03-13T16:25:55Z

<p>Bildhauer: Created page with &quot;{{Manuscript |Has Reference Number=Persian2 |Has Location=Istanbul, Süleymaniye Kütüphanesi |Has Siglum=Süleymaniye 861 |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama |Has Digitisation=https://portal.yek.gov.tr/works/detail/144230 |Has Modern Edition=Ateş, Sindbād̲-nāme (1948) |Has Start Date Of Production=1383 |Has End Date Of Production=1384 |Has Islamic Date O...&quot;</p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=Persian2<br /> |Has Location=Istanbul, Süleymaniye Kütüphanesi<br /> |Has Siglum=Süleymaniye 861<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Digitisation=https://portal.yek.gov.tr/works/detail/144230<br /> |Has Modern Edition=Ateş, Sindbād̲-nāme (1948)<br /> |Has Start Date Of Production=1383<br /> |Has End Date Of Production=1384<br /> |Has Islamic Date Of Production=785<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Production=https://portal.yek.gov.tr/works/detail/144230<br /> |Has Total Pages In Manuscript=133<br /> |Has Script Style=Arabic Nesih<br /> |Has Illustrations=No<br /> }}<br /> {{ExternalCatalogueLink<br /> |Has External Catalogue Link=https://portal.yek.gov.tr/works/detail/144230<br /> |Has Internal Notes=from Philip Bockholt listed, entered by Bettina Bildhauer<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Https://db.seven-sages-of-rome.org/Zahiri_al_Samarqandi,_Sindbadnama&diff=16125 2026-03-12T15:38:57Z

<p>Bildhauer: Replacing embedded stories</p> <hr /> <div><br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes et simia<br /> |Has Sequence Number=1<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Camelus<br /> |Has Sequence Number=2<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantus<br /> |Has Sequence Number=3<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Rex simiarum<br /> |Has Sequence Number=4<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=5<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=6<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=7<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=8<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=9<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=10<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=11<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula 3<br /> |Has Sequence Number=12<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=13<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Balneator<br /> |Has Sequence Number=14<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=15<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=16<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=17<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Annuli<br /> |Has Sequence Number=18<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=19<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=20<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=21<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=22<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=23<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=24<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=25<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mater negligens<br /> |Has Sequence Number=26<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=27<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=28<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=29<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=4 liberatores<br /> |Has Sequence Number=30<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fatum<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Upupa<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vespa et formica<br /> |Has Narrator=Sindbad<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Https://db.seven-sages-of-rome.org/index.php%3Ftitle%3DZahiri_al_Samarqandi,_Sindbadnama%26action%3Dformedit&diff=16124 2026-03-12T15:38:01Z

<p>Bildhauer: Replacing embedded stories</p> <hr /> <div><br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes et simia<br /> |Has Sequence Number=1<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Camelus<br /> |Has Sequence Number=2<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantus<br /> |Has Sequence Number=3<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Rex simiarum<br /> |Has Sequence Number=4<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=5<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=6<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=7<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=8<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=9<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=10<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=11<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula 3<br /> |Has Sequence Number=12<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=13<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Balneator<br /> |Has Sequence Number=14<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=15<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=16<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=17<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Annuli<br /> |Has Sequence Number=18<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=19<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=20<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=21<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=22<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=23<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=24<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=25<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mater negligens<br /> |Has Sequence Number=26<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=27<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=28<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=29<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=4 liberatores<br /> |Has Sequence Number=30<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fatum<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Upupa<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vespa et formica<br /> |Has Narrator=Sindbad<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Topkap%C4%B1_Saray%C4%B1,_Istanbul_(F%C4%81ti%E1%B8%A5_3682)&diff=16123 2026-03-12T15:29:08Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=SamarqandiSindbadnama2<br /> |Has Location=Istanbul, Topkapı Sarayı Müzesi Kütüphanesi<br /> |Has Siglum=H.3682<br /> |Has Page Range=ff. 1-171<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Regional Language=Dari (Insha)<br /> |Has Digitisation=TYEKB portal (Turkish Manuscript Institution Presidency); https://portal.yek.gov.tr/works/detail/242022<br /> |Has Modern Edition=Ahmed Ateş, Sindbād-nāme (Yazarı: Zahîrî-yi Semerkandî), Istanbul: Milli Eğitim Basımevi, 1948<br /> |Has Author=Muḥammad ibn ʿAlī al-Ẓāhīrī al-Samarqandī<br /> |Has Canonical Name Of Author=Zahiri al Samarqandi<br /> |Has Place Of Production=Shiraz<br /> |Has Start Date Of Production=1483<br /> |Has End Date Of Production=1488<br /> |Has Islamic Date Of Production=883-884<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Production=Ahmed Ateş, Sindbād-nāme (Yazarı: Zahîrî-yi Semerkandî), Istanbul: Milli Eğitim Basımevi, 1948<br /> |Has Material=Paper<br /> |Has Height=24.5 cm<br /> |Has Width=16.5 cm<br /> |Has Script Style=Nastaliq<br /> |Has Literary Form=Prose<br /> |Has Illustrations=Yes<br /> |Has Catalogue=F. E. Karatay, Topkapı Sarayı Müzesi Kütüphanesi Farsça Yazmalar Kataloğu (Catalogue of Persian Manuscripts in the Topkapi Palace Museum Library), Istanbul, 1961<br /> }}<br /> {{ExternalCatalogueLink<br /> |Has External Catalogue Link=https://portal.yek.gov.tr/works/detail/242022<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Topkap%C4%B1_Saray%C4%B1,_Istanbul_(Ahmet_III_2990)&diff=16122 2026-03-12T15:23:43Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=SamarqandiSindbadnama1<br /> |Has Location=Istanbul, Topkapı Sarayı Müzesi Kütüphanesi<br /> |Has Page Range=entire manuscript<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Regional Language=Dari (Insha)<br /> |Has Scribe=Zahiri al Samarqandi<br /> |Has Author=Zahiri al Samarqandi<br /> |Has Canonical Name Of Author=Zahiri al Samarqandi<br /> |Has Place Of Production=Samarqand (likely)<br /> |Has Start Date Of Production=1208<br /> |Has End Date Of Production=1209<br /> |Has Islamic Date Of Production=605<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Production=Colophon<br /> |Has Total Pages In Manuscript=150<br /> |Has Illustrations=No<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Royal_Asiatic_Society_(MS_P.337)&diff=16121 2026-03-12T15:21:23Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=SamarqandiSindbadnama3<br /> |Has Location=Library of the Royal Asiatic Society of Great Britain and Ireland<br /> |Has Page Range=ff. 1-117<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Regional Language=Dari (Insha)<br /> |Has Scribe=unknown - colophon says it was copied from a manuscript by Lalah Sahib Wali Ni'matullah<br /> |Has Author=Lalah Sahib Wali Ni'matullah<br /> |Has Place Of Production=Central India<br /> |Has Date Of Production=1785<br /> |Is Date Uncertain=No<br /> |Has Literary Form=Prose<br /> |Has Illustrations=No<br /> |Has Collation=The majority of the manuscript is made up of the Jawami ul-Hikayat, an early 13th century collection of mirabilia (aja'ib) by Muhammad Awfi, who likely knew Zahiri al Samarqandi personally, and who, in his other notable work, the Lubab ul-Albab, provides much of the testimonia we have concerning Zahiri al Samarqandi and the broader Persian tradition. This text was considerably more popular than the Sindbadnameh, with 111 manuscripts surviving, and enjoyed great esteem in both Islamicate courts and among European orientalists.<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=London_British_Library_Or._225&diff=16119 2026-03-12T15:14:31Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Location=London, British Library<br /> |Has Siglum=Or. 225<br /> |Has Page Range=f1v - f155r<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Was Translated Or Adapted From=Claims to be adapted from Fanaruzi's 9th century translation of a Pahlavi original<br /> |Has Language=Persian<br /> |Has Regional Language=Dari (Insha)<br /> |Has Modern Edition=Seyyed Mohammad Bagher Kamaladdini, Tehran, 2013 (Zahiri Sindbadnameh)<br /> |Has Author=Muhammad b. 'Ali az-Zahiri as-Samarqandi<br /> |Has Canonical Name Of Author=Zahiri al-Samarqandi<br /> |Has Place Of Production=Hyderabad (Decca)<br /> |Has Date Of Production=1622<br /> |Has Islamic Date Of Production=1029<br /> |Is Date Uncertain=No<br /> |Has Material=Paper<br /> |Has Total Pages In Manuscript=155<br /> |Has Script Style=Nastaliq<br /> |Has Literary Form=Prose<br /> |Has Illustrations=No<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=London_British_Library_IO_Islamic_3214&diff=16117 2026-03-12T15:08:09Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=Sindbadnama_Yazdi1<br /> |Has Location=London, British Library<br /> |Has Siglum=British Library IO Islamic 3214<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Further Primary Scholarly Subgroup=Azod Yazdi versification<br /> |Was Translated Or Adapted From=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Digitisation=No<br /> |Has Modern Edition=Yazdi, Azod. Sindbad-nameh-ye Manzum. Ed. Mohammad Jaʿfar Mahjub. Tehran: Tus, 2002.<br /> |Has Scribe=unknown<br /> |Has Author=Seyyed Jalaloddin Azod-e Yazdi<br /> |Has Canonical Name Of Author=Azod Yazdi<br /> |Has Start Date Of Production=1575<br /> |Has End Date Of Production=1585<br /> |Is Date Uncertain=No<br /> |Has Material=Paper<br /> |Has Total Pages In Manuscript=157<br /> |Has Height=435<br /> |Has Width=300<br /> |Has Script Style=Nastaliq<br /> |Has Literary Form=Verse<br /> |Has Illustrations=Yes<br /> |Has Collation=None<br /> }}<br /> {{ExternalCatalogueLink<br /> |Has External Catalogue Title=Ethé, Hermann. Catalogie of Persian manuscripts in the library of the India Office, 1236<br /> |Has External Catalogue Link=https://archive.org/details/catalogueofpersi01greauoft/page/n383/mode/2up<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Amasya_Bayezid_%C4%B0l_Halk_K%C3%BCt%C3%BCphanesi,_MS_750.&diff=16115 2026-03-12T15:02:08Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=Persian1<br /> |Has Location=Amasya Bayezid İl Halk Kütüphanesi<br /> |Has Siglum=MS 750<br /> |Has Page Range=1-110<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Modern Edition=Ateş, Sindbād̲-nāme (1948)<br /> |Has Author=Muhammad ibn 'Ali az-Zahiri as-Samarqandi<br /> |Has Canonical Name Of Author=Zahiri al Samarqandi<br /> |Has Start Date Of Production=1601<br /> |Has End Date Of Production=1800<br /> |Has Islamic Date Of Production=1001-1200<br /> |Is Date Uncertain=No<br /> |Has Material=Paper<br /> |Has Total Pages In Manuscript=110<br /> |Has Height=21.5cm<br /> |Has Width=15.5cm<br /> |Has Script Style=Nastaliq<br /> |Has Literary Form=Prose<br /> |Has Illustrations=No<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=S%C3%BCleymaniye_K%C3%BCt%C3%BCphanesi,_AE_Fars%C3%A7a_1062&diff=16114 2026-03-12T14:57:05Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=Süleymaniye Kütüphanesi, AE Farsça 1062<br /> |Has Location=Süleymaniye Kütüphanesi, Istanbul<br /> |Has Siglum=AE Farsça 1062<br /> |Has Page Range=1-179<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Modern Edition=Consulted by Ates (1948)<br /> |Has Start Date Of Production=1675<br /> |Has End Date Of Production=1676<br /> |Has Islamic Date Of Production=1086<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Production=https://portal.yek.gov.tr/works/detail/158058<br /> |Has Material=Paper<br /> |Has Total Pages In Manuscript=83<br /> |Has Script Style=Nastaliq (mid Ottoman nakkaşhane)<br /> |Has Literary Form=Prose<br /> |Has Illustrations=Yes<br /> }}<br /> {{ExternalCatalogueLink<br /> |Has External Catalogue Link=https://portal.yek.gov.tr/works/detail/158058<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=S%C3%BCleymaniye_K%C3%BCt%C3%BCphanesi,_AE_Fars%C3%A7a_1062&diff=16113 2026-03-12T14:56:00Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=Süleymaniye Kütüphanesi, AE Farsça 1062<br /> |Has Location=Süleymaniye Kütüphanesi, Istanbul<br /> |Has Siglum=AE Farsça 1062<br /> |Has Page Range=1-179<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Modern Edition=Consulted by Ates (1948)<br /> |Has Place Of Production=Istanbul (likely)<br /> |Has Start Date Of Production=1675<br /> |Has End Date Of Production=1676<br /> |Has Islamic Date Of Production=1086<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Production=https://portal.yek.gov.tr/works/detail/158058<br /> |Has Material=Paper<br /> |Has Total Pages In Manuscript=83<br /> |Has Script Style=Nastaliq (mid Ottoman nakkaşhane)<br /> |Has Literary Form=Prose<br /> |Has Illustrations=Yes<br /> }}<br /> {{ExternalCatalogueLink<br /> |Has External Catalogue Link=https://portal.yek.gov.tr/works/detail/158058<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=%C4%B0zmir_Mill%C3%AE_K%C3%BCt%C3%BCphane_MS_457&diff=16112 2026-03-12T14:53:09Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=İzmir Millî Kütüphane MS 457<br /> |Has Location=Izmir, Turkey (zmir Millî Kütüphane (İzmir National Library))<br /> |Has Siglum=MS 457 (formerly in the library of Şehîd Ali Paşa).<br /> |Has Page Range=ff. 1-99<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Has Language=Persian<br /> |Has Digitisation=https://portal.yek.gov.tr/works/detail/282281<br /> |Has Modern Edition=Ateş, Ahmed (1948). Sindbād-nāme<br /> |Has Scribe=ʿAlī ibn Muḥammad al-Kāshī<br /> |Has Canonical Name Of Scribe=ʿAlī ibn Muḥammad al-Kāshī<br /> |Has Author=Muḥammad ibn ʿAlī al-Ẓāhīrī al-Samarqandī<br /> |Has Canonical Name Of Author=Zahiri al Samarqandi<br /> |Has Place Of Production=Unknown<br /> |Has Start Date Of Production=1207<br /> |Has End Date Of Production=1208<br /> |Has Islamic Date Of Production=604<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Production=https://portal.yek.gov.tr/works/detail/282281<br /> |Has Material=Paper<br /> |Has Total Pages In Manuscript=135<br /> |Has Script Style=Naskh<br /> |Has Literary Form=Prose<br /> |Has Illustrations=No<br /> }}<br /> {{ExternalCatalogueLink<br /> |Has External Catalogue Link=https://portal.yek.gov.tr/works/detail/282281<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Persian_Sindbadnama&diff=16110 2026-03-12T14:39:48Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The earliest Persian version that has survived is Ẓahīrī of Samarqand’s ''Sindbādnāma'' [Book of Sindbad] dated to around 1160CE. There is also a shortened version embedded into Nakhshabī’s ''Ṭūṭīnāma'' [Tales of a Parrot] (''c.''1330CE) and a versified version by ‘Aḍud Yazdī from ''c.'' 1375CE (on these texts, see the individual version entries). <br /> <br /> Most scholars now assume that the ''Seven Sages of Rome/Book of Sindbad'' story-matter was first written down in Persian long before the extant versions. Several early Arabic and Persian historians evidence the existence of a Persian book about Sindbad, now lost, which Krönung 2016 dates to the sixth to seventh centuries but which may also have been written earlier or later. The Persian historian Hamza of Isfahan, for example, states in his ''Annals'' of Persian history (961CE) that a book with this title was written after the death of Alexander the Great and before the arrival of the Sasanians, under the Arsacid kings of Armenia (Perry 1960). Michael Andreopoulos in his Greek ''Syntipas'' (c. 1090–1100CE) mentions a previous story of Sindbad by someone called “Mousos the Persian”. Most academics agree that Mousos/Musa was an Arabic writer who translated an existing story in Pahlavi (Middle Persian) into Arabic (Nöldeke 1879, Krönung 2016, Belcher 1987). Ẓahīrī in his ''Sindbādnāma'' says that the text was translated from Pahlavi (Middle Persian) into Dari (Persian) in 950–951CE. The current scholarly consensus, following Perry 1960, is that a Pahlavi (Middle Persian) text was translated into Arabic and from there into Syriac and then Greek (Krönung 2016), as well as continuing to be transmitted in Persian. <br /> <br /> Some Arabic historians writing in the ninth and tenth centuries also mention that the story may have had Indian precursors. While much older scholarship presumed that there was an Indian version predating the Persian text, most academics since Perry (1960) think that this is unlikely, as no written traces of such an Indian version have been found, though its existence is still considered a possibility by Krönung 2016. <br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Persian Sindbadnama<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Nakhshabi Tutinama; Zahiri al Samarqandi, Sindbadnama; Azod Yazdi versification<br /> |Has Language Of Version=Persian<br /> |Has Start Date Of Composition=200<br /> |Has End Date Of Composition=800<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016); Perry (1960)<br /> |Has Modern Research Literature=Perry (1960); Zakeri (2023); Dabir Siyaqi (1955); Krönung (2016); Nöldeke (1879); Belcher (1987)<br /> |Has Internal Notes=Roughly 50% of the early manuscripts are to be found in Iranian libraries, who did not reply before the completion of this database. Below is a list of manuscripts in Iranian libraries whose existence can be confirmed:<br /> <br /> <br /> Tehran, Danishgah 964/1556-57         <br /> <br /> Teheran, Danishgah 272<br /> <br /> Teheran, Danishgah 46 ع<br /> <br /> Teheran, Dehkhoda 268<br /> <br /> Teheran, Adabiyyat 132-d<br /> <br /> Qom, Gulpaygani 36/199–8199<br /> <br /> Mashhad, Āstān-i Quds-i Raḍavī  MS 9415<br /> <br /> <br /> <br /> Check: turtures 2; canicula 3 AND 2; Aper 1, Annuli, Ingenia 1a<br /> |Has Note=Note: story order (below) is based on the Zahiri al-Samarqandi narrative.<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes et simia<br /> |Has Sequence Number=1<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Camelus<br /> |Has Sequence Number=2<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantus<br /> |Has Sequence Number=3<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Rex simiarum<br /> |Has Sequence Number=4<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=5<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=6<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=7<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=8<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=9<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=10<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=11<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula 3<br /> |Has Sequence Number=12<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=13<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Balneator<br /> |Has Sequence Number=14<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=15<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=16<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=17<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Annuli<br /> |Has Sequence Number=18<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=19<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=20<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=21<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=22<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=23<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=24<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=25<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mater negligens<br /> |Has Sequence Number=26<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=27<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=28<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=29<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=4 liberatores<br /> |Has Sequence Number=30<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fatum<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Upupa<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vespa et formica<br /> |Has Narrator=Sindbad<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Persian_Sindbadnama&diff=16109 2026-03-12T14:39:22Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The earliest Persian version that has survived is Ẓahīrī of Samarqand’s ''Sindbādnāma'' [Book of Sindbad] dated to around 1160CE. There is also a shortened version embedded into Nakhshabī’s ''Ṭūṭīnāma'' [Tales of a Parrot] (''c.''1330CE) and a versified version by ‘Aḍud Yazdī from ''c.'' 1375CE (on these texts, see the individual version entries). <br /> <br /> Most scholars now assume that the ''Seven Sages of Rome/Book of Sindbad'' story-matter was first written down in Persian long before the extant versions. Several early Arabic and Persian historians evidence the existence of a Persian book about Sindbad, now lost, which Krönung 2016 dates to the sixth to seventh centuries but which may also have been written earlier or later. The Persian historian Hamza of Isfahan, for example, states in his ''Annals'' of Persian history (961CE) that a book with this title was written after the death of Alexander the Great and before the arrival of the Sasanians, under the Arsacid kings of Armenia (Perry 1960). Michael Andreopoulos in his Greek ''Syntipas'' (c. 1090–1100CE) mentions a previous story of Sindbad by someone called “Mousos the Persian”. Most academics agree that Mousos/Musa was an Arabic writer who translated an existing story in Pahlavi (Middle Persian) into Arabic (Nöldeke 1879, Krönung 2016, Belcher 1987). Ẓahīrī in his ''Sindbādnāma'' says that the text was translated from Pahlavi (Middle Persian) into Dari (Persian) in 950–951CE. The current scholarly consensus, following Perry 1960, is that a Pahlavi (Middle Persian) text was translated into Arabic and from there into Syriac and then Greek (Krönung 2016), as well as continuing to be transmitted in Persian. <br /> <br /> Some Arabic historians writing in the ninth and tenth centuries also mention that the story may have had Indian precursors. While much older scholarship presumed that there was an Indian version predating the Persian text, most academics since Perry (1960) think that this is unlikely, as no written traces of such an Indian version have been found, though its existence is still considered a possibility by Krönung 2016. <br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Persian Sindbadnama<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Nakhshabi Tutinama; Zahiri al Samarqandi, Sindbadnama; Azod Yazdi versification<br /> |Has Language Of Version=Persian<br /> |Has Start Date Of Composition=200<br /> |Has End Date Of Composition=800<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016); Perry (1960)<br /> |Has Modern Research Literature=Perry (1960); Zakeri (2023); Dabir Siyaqi (1955); Krönung (2016); Nöldeke (1879); Belcher (1987)<br /> |Has Internal Notes=Roughly 50% of the early manuscripts are to be found in Iranian libraries, who did not reply before the completion of this database. Below is a list of manuscripts in Iranian libraries whose existence can be confirmed:<br /> <br /> <br /> Tehran, Danishgah 964/1556-57         <br /> <br /> Teheran, Danishgah 272<br /> <br /> Teheran, Danishgah 46 ع<br /> <br /> Teheran, Dehkhoda 268<br /> <br /> Teheran, Adabiyyat 132-d<br /> <br /> Qom, Gulpaygani 36/199–8199<br /> <br /> Mashhad, Āstān-i Quds-i Raḍavī  MS 9415<br /> <br /> <br /> <br /> Check: turtures 2; canicula 3 AND 2; Aper 1, Annuli, Ingenia 1a<br /> |Has Note=Note: story order (below) is based on the Zahiri al-Samarqandi narrative.<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes et simia<br /> |Has Sequence Number=1<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Camelus<br /> |Has Sequence Number=2<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantus<br /> |Has Sequence Number=3<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Rex simiarum<br /> |Has Sequence Number=4<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=5<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=6<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=7<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=8<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=9<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=10<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=11<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula 3<br /> |Has Sequence Number=12<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=13<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Balneator<br /> |Has Sequence Number=14<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=15<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=16<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=17<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Annuli<br /> |Has Sequence Number=18<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=19<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=20<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=21<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=22<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=23<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=24<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=25<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mater negligens<br /> |Has Sequence Number=26<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=27<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=28<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=29<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=4 liberatores<br /> |Has Sequence Number=30<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fatum<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Upupa<br /> |Has Narrator=Sindbad<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vespa et formica<br /> |Has Narrator=Sindbad<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Pertsch_(1867)&diff=16061 2026-03-10T10:46:14Z

<p>Bildhauer: Created page with &quot;{{Modern Research Literature |Has Author=Wilhelm Pertsch |Has Chapter Title=Über Nachschabî&#039;s Papagaienbuch |Has Book Title=Zeitschrift der deutschen morgenländischen Gesellschaft |Has Volume And Issue=21: 4 |Has Date=1867 |Has Page Range=505-551 |Has Type=Modern Research Literature }}&quot;</p> <hr /> <div>{{Modern Research Literature<br /> |Has Author=Wilhelm Pertsch<br /> |Has Chapter Title=Über Nachschabî's Papagaienbuch<br /> |Has Book Title=Zeitschrift der deutschen morgenländischen Gesellschaft<br /> |Has Volume And Issue=21: 4<br /> |Has Date=1867<br /> |Has Page Range=505-551<br /> |Has Type=Modern Research Literature<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Nakhshabi_Tutinama&diff=16060 2026-03-10T10:42:48Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=Nachshabi’s ''Tutinama'' (c. 1330CE) is one of three extant Persian versions.<br /> <br /> Pertsch (1867) describes Nachshabi’s ''Tutinama'' on the basis of three manuscripts, all of which contain the story of The Prince and the Seven Veziers as one of the embedded tales told by a parrot to prevent his female owner from committing adultery. Two of the manuscript feature this story in the eighth night, one of them in the ninth night. We have not yet traced which of the many manuscripts of Nachshabi’s ''Tutinama'' contain this embedded story.<br /> |Has Title=Nakhshabi, Tutinama<br /> |Has Author=Ziya' al-Din Nakhshabi<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Has Parent Version=Persian Sindbadnama<br /> |Is Adapted From=Persian Sindbadnama<br /> |Has Source For Composition And Adaption Information=Perry (1960)<br /> |Has Language Of Version=Persian<br /> |Has Regional Language=Dari (Insha)<br /> |Has Date Of Text Composition=1330<br /> |Has Islamic Date Of Text Composition=8th century<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Perry (1960)<br /> |Has Modern Research Literature=Perry (1960); Pertsch (1867)<br /> |Has Modern Edition=Nakhshabī, Z̤iyāʼ al-Dīn. Ṭūṭī-nāma. Edited by Fatḥ-Allāh Mujtabāʼī and Ghulām-ʿAlī Āryā. Tehran: Intishārāt-i Zuvvār, 1372 SH<br /> |Has Internal Notes=From Alfie Watkins: <br /> <br /> &quot;The Indian physician and Sufi mystic Ziya' al-Din Nakhshabi possibly included a heavily abridged version of the Sindbadnama in his Tutinama, a 14th century Persian adaptation of the Sanskrit ''Śukasaptati''. However, the earliest manuscripts we have of the Tutinama date from the 1560s, which saw an explosion of interest in the text under the Mughal Emperor Akbar, who was a great benefactor of the Chishti Sufi order, of which Nakhshabi was a prominent member. The most well known product of this is a version and possible abridgement by Muhammad Kadiri at the turn of the 17th century, with which the Sindbadnama abridgements are always associated, and which was used in most early European editions of the text, to the extent that Brockhaus felt confident enough in 1845 to publish on the topic of 'Nachshebis sieben weisen meister'. However, it is difficult to assess to what extent Kadiri was simply a compiler with access to the original Nakhshabi text or an adapter of his underlying material. Some, but by no means all, of these manuscripts contain an abridged version of the Sindbadnama, but it is impossible to know whether it was included in Nakhshabi's original, or whether the story was inserted by Kadiri because of its later popularity. The manuscripts which do contain the Sindbadnama are also inconsistent, with some containing only the frame narrative and others containing very brief abridgements of some of the inset stories, though all are associated with the 8th night of tales in the narrative. It is also impossible to be sure that the Samarqandi Sindbadnama was the version which was used: the Tutinama abridgements are far more focused on the Makr al Nisa (wiles of women), whereas Samarqandi's version is significantly more nuanced. Given that the late 9th century polymath al-Yaqubi refers to the Sindbadnama of his day as a Makr al Nisa text, it is perhaps more likely that Nakhshabi was working off an earlier version (likely either the Fanaruzi or Rudaki versions, both now lost or highly fragmentary and difficult to attribute.&quot;<br /> <br /> &quot;Notable Tutinama manuscripts containing a Sindbadnama abridgement:<br /> <br /> Cambridge University Library MS Ff. 2. 21 (Browne 308): 19th century manuscript, central India<br /> <br /> British Library Or. 15665 (East India Library 754): undated but likely Mughal based on stylistic evidence. Early Kadiri translation.<br /> <br /> Library of the Hungarian Academy of Sciences Perzsza O.060: 17th century (commissioned at Akbar's court)&quot;<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Group_B:_Alexander_og_L%C3%BA%C3%B0v%C3%ADk&diff=16037 2026-03-09T10:38:30Z

<p>Bildhauer: </p> <hr /> <div>{{Secondary Version<br /> |Has Description=Group B (designation Seelow 1989: 201) consists of those manuscripts that only include the story [[Vaticinium and Amici]] as an individual text. In Icelandic it is known as the ''Ævintýri af Alexander og Lúðvík'' that survived in five manuscripts with the [[København Det kongelige Bibliotek Thott 1776 4to|oldest extant one]] being written in the first quarter of the 18&lt;sup&gt;th&lt;/sup&gt; century. We have included this group here even though it does not meet our minimum criteria for inclusion (transmission of the frame narrative plus at least some embedded stories) for completeness and because two of the manuscripts still include parts of the frame narrative (see Seelow 1989: 212, 214). <br /> <br /> <br /> [Added by Elisabeth Böttcher]<br /> |Has Display Title=Group B: Alexander og Lúðvík<br /> |Has Language Within Version=Icelandic<br /> |Has Narrative Or Scholarly Group=Icelandic Prose: Sjö meistara saga<br /> |Has Parent Version=Icelandic Prose: Sjö meistara saga<br /> |Has Branch Of Tradition=Seven Sages of Rome<br /> |Is Date Uncertain=No<br /> |Has Modern Research Literature=Seelow (1989)<br /> |Is Adapted From=Danish Version H<br /> |Has Source For Composition And Adaption Information=Seelow (1989)<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vaticinium and Amici<br /> |Has Sequence Number=1<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Persian_Sindbadnama&diff=15908 2026-03-06T11:07:26Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The earliest Persian version that has survived is Ẓahīrī of Samarqand’s ''Sindbādnāma'' [Book of Sindbad] dated to around 1160CE. There is also a shortened version embedded into the eighth night of Nakhshabī’s ''Ṭūṭīnāma'' [Tales of a Parrot] (''c.''1330CE) and a versified version by ‘Aḍud Yazdī from ''c.'' 1375CE (on these texts, see the individual version entries). <br /> <br /> But most scholars now assume that the ''Seven Sages of Rome/Book of Sindbad'' story-matter was first written down in Persian, in a version now lost. Several early Arabic and Persian historians evidence the existence of a Persian book about Sindbad, which Krönung 2016 dates to the sixth to seventh centuries but may also have been written earlier or later. The Persian historian Hamza of Isfahan, for example, states in his ''Annals'' of Persian history (961CE) that a book with this title was written after the death of Alexander the Great and before the arrival of the Sasanians, under the Arsacid kings of Armenia (Perry 1960). Perry (1960) points out that literature at that time must have been written in Greek or possibly Syriac or Aramaic, but not Persian, but emphasises that for Hamza, the book was already old and associated with Persia in 961AD. Michael Andreopoulos in his Greek ''Syntipas'' (c. 1090–1100CE) mentions a previous story of Sindbad by “Mousos the Persian”. Most academics agree that Mousos/Musa was an Arabic writer who translated an existing story in Pahlavi (Middle Persian) into Arabic (Nöldeke 1879, Krönung 2016, Belcher 1987). Ẓahīrī in his ''Sindbādnāma'' states that the text was translated from Pahlavi (Middle Persian) into Dari (Persian) in the 950–951CE. The current scholarly consensus, following Perry 1960, is that a Pahlavi (Middle Persian) text was translated into Arabic and from there into Syriac and then Greek (Krönung 2016), as well as continuing to be transmitted in Persian. <br /> <br /> Other ninth- and tenth-century Arabic historians also mention that the story may have had Indian precursors. While much older scholarship presumed an Indian version predating the Persian text, most academics since Perry (1960) think that this may be unlikely, as no written traces of such an Indian versions have been found, though this is still considered a possibility by Krönung 2016. <br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Persian Sindbadnama<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Nakhshabi Tutinama; Zahiri al Samarqandi, Sindbadnama; Azod Yazdi versification<br /> |Has Language Of Version=Persian<br /> |Has Start Date Of Composition=200<br /> |Has End Date Of Composition=800<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016); Perry (1960)<br /> |Has Modern Research Literature=Perry (1960); Zakeri (2023); Dabir Siyaqi (1955); Krönung (2016); Nöldeke (1879); Belcher (1987)<br /> |Has Internal Notes=Roughly 50% of the early manuscripts are to be found in Iranian libraries, who did not reply before the completion of this database. Below is a list of manuscripts in Iranian libraries whose existence can be confirmed:<br /> <br /> <br /> Tehran, Danishgah 964/1556-57         <br /> <br /> Teheran, Danishgah 272<br /> <br /> Teheran, Danishgah 46 ع<br /> <br /> Teheran, Dehkhoda 268<br /> <br /> Teheran, Adabiyyat 132-d<br /> <br /> Qom, Gulpaygani 36/199–8199<br /> <br /> Mashhad, Āstān-i Quds-i Raḍavī  MS 9415<br /> <br /> <br /> <br /> Check: turtures 2; canicula 3 AND 2; Aper 1, Annuli, Ingenia 1a<br /> |Has Note=Note: story order (below) is based on the Zahiri al-Samarqandi narrative.<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes et simia<br /> |Has Sequence Number=1<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Camelus<br /> |Has Sequence Number=2<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantus<br /> |Has Sequence Number=3<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Rex simiarum<br /> |Has Sequence Number=4<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=5<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=6<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=7<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=8<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=9<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=10<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=11<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=12<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=13<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Balneator<br /> |Has Sequence Number=14<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula 2<br /> |Has Sequence Number=15<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=16<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=17<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Annuli<br /> |Has Sequence Number=18<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=19<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=20<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=21<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=22<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=23<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=24<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=25<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mater negligens<br /> |Has Sequence Number=26<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=27<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=28<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=29<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=4 liberatores<br /> |Has Sequence Number=30<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fatum<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Upupa<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vespa et formica<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Perry_(1960)&diff=15869 2026-03-05T14:01:55Z

<p>Bildhauer: </p> <hr /> <div>{{Modern Research Literature<br /> |Has Author=Ben Edwin Perry<br /> |Has Chapter Title=The Origin of the Book of Sindbad<br /> |Has Book Title=Fabula<br /> |Has Volume And Issue=3(1)<br /> |Has Date=1960<br /> |Has Page Range=1-94<br /> |Has Type=Modern Research Literature<br /> }}<br /> {{ResearchMaterial<br /> |Has Research Material Title=Perry_The Origin of the Book of Sindbad_1960.pdf<br /> |Has Research Material Link=https://cloud.kallimachos.de/f/230132<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15867 2026-03-05T12:14:59Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. Entries in the manuscript mentions the date 1579CE (as well as the date 1583CE, and elsewhere the date 1660CE), which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). Sachau's catalogue of the Berlin library (1899), however, considers these entries to be a later addition, and dates the manuscript to 1400-1450CE. The current digital Berlin library catalogue follows this dating. <br /> <br /> There is credible evidence that the text itself must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his Greek ''Syntipas'' is close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Krönung 2016 assumes that the Syriac version was composed some time in the ninth, tenth or eleventh centuries, Minets 2023 speaks of the eighth to the eleventh centuries. <br /> <br /> The frame narrative in this version is set at the court of King Cyrus, and the prince is taught by Sindban alone, who reads the prophecy in the stars. The seven philosophers who come to the prince's defence are the king's counsellors. The sequence of stories is the same as in Andreopoulos' ''Syntipas'', except for three lacunae. A leaf is missing in the manuscript just after the fourth philosopher had announced that he would tell his first story (which is 'Balneator' in Andreopoulos' ''Syntipas''). The text start again in the middle of his second story, 'Canicula'. Three leaves are missing after the seventh philosopher has just begun to tell 'Ingenia'. The ending is also missing, just after the prince has started telling the story 'Senex Caecus'. In Andreopoulos' ''Syntipas,'' this ending includes two more stories, 'Vulpes' and 'Fatum'.<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Source For Composition And Adaption Information=Krönung (2016); Perry (1960); Toth (2016)<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912); Krönung (2016); Perry (1960); Sachau (1899)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> <br /> '''Bibliography:'''<br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=1<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=2<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=3<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=4<br /> |Has Narrator=Second Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=5<br /> |Has Narrator=Second Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=6<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=7<br /> |Has Narrator=Third Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=8<br /> |Has Narrator=Third Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=9<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=––––<br /> |Has Sequence Number=10<br /> |Has Narrator=Fourth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=11<br /> |Has Narrator=Fourth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=12<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=13<br /> |Has Narrator=Fifth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=14<br /> |Has Narrator=Fifth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=15<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=16<br /> |Has Narrator=Sixth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantinus<br /> |Has Sequence Number=17<br /> |Has Narrator=Sixth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=18<br /> |Has Narrator=Seventh Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=19<br /> |Has Narrator=Seventh Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=20<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=21<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=22<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=23<br /> |Has Narrator=Prince<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15866 2026-03-05T12:00:49Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. Entries in the manuscript mentions the date 1579CE (as well as the date 1583, and elsewhere the date 1660), which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). Sachau's catalogue of the Berlin library (1899), however, considers these entries to be a later addition, and dates the manuscript to 1400-1450CE. The current digital Berlin library catalogue follows this dating. <br /> <br /> There is credible evidence that the text itself must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his Greek ''Syntipas is'' close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Krönung 2016 assumes that the Syriac version was composed some time in the ninth, tenth or eleventh centuries, Minets 2023 speaks of the eighth to the eleventh centuries. <br /> <br /> The frame narrative in this version is set at the court of King Cyrus, and the prince is taught by Sindban alone, who reads the prophecy in the stars. The seven philosophers who come to the defence of the prince are the king's counsellors. The sequence of stories is the same as in Andreopoulos' ''Syntipas'', except for three lacunae. A leaf is missing in the manuscript just after the fourth philosopher had announced that he would tell his first story (which is 'Balneator' in Andreopoulos' ''Syntipas''). The text start again in the middle of his second story, 'Canicula'. Three leaves are missing after the seventh philosopher has just begun to tell 'Ingenia'. The ending is also missing, just after the prince has started telling the story 'Senex Caecus'. In Andreopoulos' ''Syntipas,'' this ending includes two more stories, 'Vulpes' and 'Fatum'.<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Source For Composition And Adaption Information=Krönung (2016); Perry (1960); Toth (2016)<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912); Krönung (2016); Perry (1960); Sachau (1899)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> <br /> '''Bibliography:'''<br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=1<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=2<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=3<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=4<br /> |Has Narrator=Second Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=5<br /> |Has Narrator=Second Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=6<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=7<br /> |Has Narrator=Third Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=8<br /> |Has Narrator=Third Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=9<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=––––<br /> |Has Sequence Number=10<br /> |Has Narrator=Fourth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=11<br /> |Has Narrator=Fourth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=12<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=13<br /> |Has Narrator=Fifth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=14<br /> |Has Narrator=Fifth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=15<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=16<br /> |Has Narrator=Sixth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantinus<br /> |Has Sequence Number=17<br /> |Has Narrator=Sixth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=18<br /> |Has Narrator=Seventh Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=19<br /> |Has Narrator=Seventh Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=20<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=21<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=22<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=23<br /> |Has Narrator=Prince<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15865 2026-03-05T11:44:11Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. Entries in the manuscript mentions the date 1579CE (as well as the date 1583, and elsewhere the date 1660), which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). Sachau's catalogue of the Berlin library (1899), however, considers these entries to be a later addition, and dates the manuscript to 1400-1450CE. The current digital Berlin library catalogue follows this dating. <br /> <br /> There is credible evidence that the text itself must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his Greek ''Syntipas is'' close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Krönung 2016 assumes that the Syriac version was composed some time in the ninth, tenth or eleventh centuries, Minets 2023 speaks of the eighth to the eleventh centuries. <br /> <br /> The frame narrative in this version is set at the court of King Cyrus, the prince is taught by Sindban alone, who reads the prophecy in the stars. The seven philosophers who come to the defence of the prince are the king's counsellors.<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Source For Composition And Adaption Information=Krönung (2016); Perry (1960); Toth (2016)<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912); Krönung (2016); Perry (1960); Sachau (1899)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> <br /> '''Bibliography:'''<br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=1<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=2<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=3<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=4<br /> |Has Narrator=Second Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=5<br /> |Has Narrator=Second Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=6<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=7<br /> |Has Narrator=Third Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=8<br /> |Has Narrator=Third Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=9<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=––––<br /> |Has Sequence Number=10<br /> |Has Narrator=Fourth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=11<br /> |Has Narrator=Fourth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=12<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=13<br /> |Has Narrator=Fifth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=14<br /> |Has Narrator=Fifth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=15<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=16<br /> |Has Narrator=Sixth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantinus<br /> |Has Sequence Number=17<br /> |Has Narrator=Sixth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=18<br /> |Has Narrator=Seventh Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=19<br /> |Has Narrator=Seventh Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=20<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=21<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=22<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=23<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes<br /> |Has Sequence Number=24<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fatum<br /> |Has Sequence Number=25<br /> |Has Narrator=Syntipas<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15864 2026-03-05T11:37:53Z

<p>Bildhauer: Replacing embedded stories</p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. Entries in the manuscript mentions the date 1579CE (as well as the date 1583, and elsewhere the date 1660), which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). Sachau's catalogue of the Berlin library (1899), however, considers these entries to be a later addition, and dates the manuscript to 1400-1450CE. The current digital Berlin library catalogue follows this dating. <br /> <br /> There is credible evidence that the text itself must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his Greek ''Syntipas is'' close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Krönung 2016 assumes that the Syriac version was composed some time in the ninth, tenth or eleventh centuries, Minets 2023 speaks of the eighth to the eleventh centuries. <br /> <br /> The frame narrative in this version is set at the court of King Cyrus, the prince is taught by Sindban alone, who reads the prophecy in the stars. The seven philosophers who come to the defence of the prince are the king's counsellors.<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Source For Composition And Adaption Information=Krönung (2016); Perry (1960); Toth (2016)<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912); Krönung (2016); Perry (1960); Sachau (1899)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> <br /> '''Bibliography:'''<br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=1<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=2<br /> |Has Narrator=First Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=3<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=4<br /> |Has Narrator=Second Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=5<br /> |Has Narrator=Second Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=6<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=7<br /> |Has Narrator=Third Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=8<br /> |Has Narrator=Third Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=9<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Balneator<br /> |Has Sequence Number=10<br /> |Has Narrator=Fourth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=11<br /> |Has Narrator=Fourth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=12<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=13<br /> |Has Narrator=Fifth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=14<br /> |Has Narrator=Fifth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=15<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=16<br /> |Has Narrator=Sixth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantinus<br /> |Has Sequence Number=17<br /> |Has Narrator=Sixth Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=18<br /> |Has Narrator=Seventh Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=19<br /> |Has Narrator=Seventh Master<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=20<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=21<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=22<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=23<br /> |Has Narrator=Prince<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes<br /> |Has Sequence Number=24<br /> |Has Narrator=Empress<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fatum<br /> |Has Sequence Number=25<br /> |Has Narrator=Syntipas<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15863 2026-03-05T11:34:46Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. Entries in the manuscript mentions the date 1579CE (as well as the date 1583, and elsewhere the date 1660), which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). Sachau's catalogue of the Berlin library (1899), however, considers these entries to be a later addition, and dates the manuscript to 1400-1450CE. The current digital Berlin library catalogue follows this dating. <br /> <br /> There is credible evidence that the text itself must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his Greek ''Syntipas is'' close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Krönung 2016 assumes that the Syriac version was composed some time in the ninth, tenth or eleventh centuries, Minets 2023 speaks of the eighth to the eleventh centuries. <br /> <br /> The frame narrative in this version is set at the court of King Cyrus, the prince is taught by Sindban alone, who reads the prophecy in the stars. The seven philosophers who come to the defence of the prince are the king's counsellors.<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Source For Composition And Adaption Information=Krönung (2016); Perry (1960); Toth (2016)<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912); Krönung (2016); Perry (1960); Sachau (1899)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> <br /> '''Bibliography:'''<br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Sachau_(1899)&diff=15862 2026-03-05T11:31:31Z

<p>Bildhauer: Created page with &quot;{{Modern Research Literature |Has Author=Eduard Sachau |Has Book Title=Verzeichniss der syrischen Handschriften der Königlichen Bibliothek zu Berlin, vol. 2 |Has Volume And Issue=23: 2 |Has Series=Die Handschriften-Verzeichnisse der Königlichen Bibliothek zu Berlin, 23 |Has Place Of Publication=Berlin |Has Publisher=Ascher |Has Date=1899 |Has Page Range=722-726 |Has Type=Catalogue |Has Digitisation=https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN1779094...&quot;</p> <hr /> <div>{{Modern Research Literature<br /> |Has Author=Eduard Sachau<br /> |Has Book Title=Verzeichniss der syrischen Handschriften der Königlichen Bibliothek zu Berlin, vol. 2<br /> |Has Volume And Issue=23: 2<br /> |Has Series=Die Handschriften-Verzeichnisse der Königlichen Bibliothek zu Berlin, 23<br /> |Has Place Of Publication=Berlin<br /> |Has Publisher=Ascher<br /> |Has Date=1899<br /> |Has Page Range=722-726<br /> |Has Type=Catalogue<br /> |Has Digitisation=https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN1779094817&amp;view=overview-toc&amp;PHYSID=PHYS_0293&amp;DMDID=DMDLOG_0001<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15861 2026-03-05T11:22:46Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. Entries in the manuscript mentions the date 1579CE (as well as the date 1583, and elsewhere the date 1660), which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). Sachau's catalogue of the Berlin library (1899), however, considers these entries to be a later addition, and dates the manuscript to 1400-1450CE. The current digital Berlin library catalogue follows this dating. <br /> <br /> There is credible evidence that the text itself must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his Greek ''Syntipas is'' close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Krönung 2016 assumes that the Syriac version was composed some time in the ninth, tenth or eleventh centuries. <br /> <br /> The frame narrative in this version is set at the court of King Cyrus, the prince is taught by Sindban alone, who reads the prophecy in the stars. The seven philosophers who come to the defence of the prince are the king's counsellors.<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Source For Composition And Adaption Information=Krönung (2016); Perry (1960); Toth (2016)<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912); Krönung (2016); Perry (1960); Sachau (1899)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> <br /> '''Bibliography:'''<br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15860 2026-03-05T11:13:16Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. Entries in the manuscript mentions the date 1579CE (as well as the date 1583, and elsewhere the date 1660), which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). Sachau's catalogue of the Berlin library (1899), however, considers these entries to be a later addition, and dates the manuscript to 1400-1450CE. The current digital Berlin library catalogue follows this dating. <br /> <br /> There is credible evidence that the text itself must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his Greek ''Syntipas is'' close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Most academics assume that the Syriac version was composed some time in the ninth, tenth or eleventh centuries (Krönung 2016).<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Source For Composition And Adaption Information=Krönung (2016); Perry (1960)<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912); Krönung (2016); Perry (1960); Sachau (1899)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> <br /> '''Bibliography:'''<br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15859 2026-03-05T11:12:14Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. Entries in the manuscript mentions the date 1579CE (as well as the date 1583, and elsewhere the date 1660), which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). Sachau's catalogue of the Berlin library (1899), however, considers these entries to be a later addition, and dates the manuscript to 1400-1450CE. The current digital Berlin library catalogue follows this dating. <br /> <br /> There is credible evidence that the text itself must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his Greek ''Syntipas is'' close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Most academics assume that the Syriac version was composed some time in the ninth, tenth or eleventh centuries (Krönung 2016).<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Source For Composition And Adaption Information=Krönung (2016); Perry (1960)<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912); Krönung (2016); Perry (1960)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> <br /> '''Bibliography:'''<br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15858 2026-03-05T10:30:24Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one fragmentary manuscript, Berlin Staatsbibliothek Petermann I 24. An entry in the manuscript mentions the date 1579CE, which led its German translator Baethgen (1879) to presume that is was written some time before 1579CE. Krönung (2016) follows that dating, as does Perry (1960). The Berlin library catalogue (in its printed form Sachau 283, as well as the current digital catalogue), however, considers this entry to be a later addition, and dates the manuscript to 1400-1450CE. <br /> <br /> There is credible evidence that the text must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text. The text of his ''Syntipas is'' close to the surviving Syriac manuscript, leading most academics to assume that both were based on a common source (Perry 1960, Krönung 2016). Most academics assume that the Syriac version was composed some time in the ninth, tenth or eleventh centuries (Krönung 2016).<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted From=Arabic Version A (The Seven Viziers)<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Likely near Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> |Has Note='''Bibliography:''' <br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15842 2026-03-03T17:46:00Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one manuscript, Berlin Staatsbibliothek Petermann I 24 (itself fragmentary). This manuscript was translated into German and dated to 1579CE by Baethgen 1879, but the Berlin library catalogue dates it to 1400-1450CE. <br /> <br /> However, there is credible evidence that the text must have been composed much earlier: Michael Andreopoulos plausibly claims to have translated his Greek ''Syntipas'' from a Syriac text (indeed, his Syntipas is close to the surviving Syriac fragment). Most scholars thus assume that the Syriac version was composed some time in the ninth, tenth or eleventh centuries (Krönung 2016).<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted From=Arabic Version A (The Seven Viziers)<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Likely near Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> |Has Note='''Bibliography:''' <br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15841 2026-03-03T17:45:11Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one manuscript, Berlin Staatsbibliothek Petermann I 24 (itself fragmentary). This manuscript was translated into German and dated to 1579CE by Baethgen 1879, but the Berlin library catalogue dates it to 1400-1450CE. <br /> <br /> However, there is credible evidence that the text must have been composed much earlier: Michael Andreopoulos claims to have translated his Greek ''Syntipas'' from a Syriac text, and both the surviving Syriac fragment and the surviving Syntipas versions are similar. Most scholars thus assume that the Syriac version was composed some time in the ninth, tenth or eleventh centuries (Krönung 2016).<br /> <br /> Entered by Bettina Bildhauer<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted From=Arabic Version A (The Seven Viziers)<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Likely near Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> |Has Note='''Bibliography:''' <br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15840 2026-03-03T17:44:01Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Syriac ''Sindban'' only survives in one manuscript, Berlin Staatsbibliothek Petermann I 24 (itself fragmentary). This manuscript was translated into German and dated to 1579CE by Baethgen 1879, but the Berlin library catalogue, both in print form(Sachau 238) and digitised, dates it to 1400-1450CE. <br /> <br /> However, there is credible evidence that the text must have been composed much earlier: Michael Andreopoulos claims to have translated his Greek ''Syntipas'' from a Syriac text, and both the surviving Syriac fragment and the surviving Syntipas versions are similar. Most scholars thus assume that the Syriac version was composed some time in the ninth, tenth or eleventh centuries (Krönung 2016).<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted From=Arabic Version A (The Seven Viziers)<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Likely near Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> |Has Note='''Bibliography:''' <br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15839 2026-03-03T17:27:18Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted From=Arabic Version A (The Seven Viziers)<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Likely near Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Internal Notes=Text from Alfie Watkins:<br /> <br /> The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> |Has Note='''Bibliography:''' <br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Syriac_Sindban&diff=15838 2026-03-03T17:19:44Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The beginnings of the Syriac ''Sindban'' tradition are very difficult to  secure. Estimates for the first Sindban translation range from the 8th -  11th centuries. The difficulty we have is that no other surviving Syriac  text refers to the ''Sindban'', and although intertextual references to similar 'migrating texts' such as Kalila wa Dimna are also very few (though not nonexistent), other  fabulistic narratives such as the Story of Ahiqar and the Fables of  Aesop are frequently referred to. Furthermore, the fact that we have  only one surviving manuscript (itself fragmentary) from a period of voluminous manuscript production adds to the fact that there is a  strong body of negative evidence that suggests that the Syriac ''Sindban'' tradition was not particularly widespread, and may, in fact, be limited  to the niche fabulistic interests of the monks of Mor Bar Sawmo monastery and the specifically 11th/12th century Byzantine interest in recovering the folklore of the lost Near Eastern provinces. <br /> <br /> We are thus unable to provide a secure stemma for the Syriac part of the ''Seven Sages'' tradition. The Greek Syntipas and Sachau 238 are virtually identical in  the plot lines of the surviving stories: the only differences can be explained by the reliance on rare vocabulary (e.g. the hunter storyline in Syriac uses the rare word ܢܐܳܫܘܪܽ for weasel, whose part is erased in Greek, likely due to the translator’s lack of familiarity with the  word). However, there are numerous differences in phraseology. This  raises the question of Michael Andreopoulos’ fidelity as a translator, which has divided scholars. If we assume Michael Andreopoulos was  a faithful translator, we must distinguish between the Syriac text  Andreopoulos claims to be translating and Sachau 238. Yuliya Minets has partly pushed back on this, suggesting that the  differences can be explained by Michael Andreopoulos’ creative  decontextualisation of the ''Sindban'', moving away from a Middle Eastern language of power and replacing it with a Greek one. It is  noteworthy, for example, that the Greek phraseology in describing the figures of royalty is significantly more vivid and precise than the Syriac, and the  language of philosophical instruction is significantly more sophisticated  (even accounting for the relative poverty of Syriac philosophical  vocabulary). It could, therefore, be the case that our surviving Syriac manuscript ('Syriac 2'), possibly  produced at the Mor Bar Sauma, faithfully draws off the Syriac text used by Michael Andreopoulos ('Syriac 1), and that  the divergence can be explained by Michael Andreopoulos’ creative  translation choices. However, we should note that a) Michael  Andreopoulos’ text was dedicated to Gabriel of Melitene, and likely  designed for the world of the frontier successor states following the  battle of Manzikert, not the Constantinopolitan court, so there was a smaller Hellenising incentive and b) Andreopoulos’ text rarely  reproduces common Byzantine formulae, eg rhetorical introductions  or courtroom procedure, which we would expect to see if he really  was creatively adapting the original Syriac 1. It is thus more likely  that the differences can be explained by the inferiority of Syriac 2,  either as a simpler copy of Syriac 1, or, more likely, that Syriac 2 was  working off a separate ''Sindban'' manuscript.  <br /> <br /> A final point to note is the interaction between the Sindban and the  wider Syriac fabulistic tradition. As is true of other versions (eg the  Sindbadnameh and Seven Viziers) and parallel works (''Fables of  Aesop, Kalila wa Dimna'', etc), there is a great deal of cross pollination  between the Sindban and other fabulistic works. In particular, the  theme of a falsely accused son being defended in a court setting by a  group of Seven Sages crops up several times. However, there is a great  deal of divergence in these pseudo Sindban tales. Thus, it is worth  making a firm distinction between the Syriac ''Sindban'' proper and the  broader Syriac ‘Fables of Sindban’ tradition. For more detail on the surviving manuscript, see manuscript page for Berlin Staatsbibliothek Petermann I 24.<br /> |Has Display Title=Syriac Sindban<br /> |Has Title=ܟܬܒܐ ܕܣܢܕܒܢ (The Book of Sindban)<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted From=Arabic Version A (The Seven Viziers)<br /> |Is Adapted Into=Andreopoulos Syntipas<br /> |Has Language Of Version=Syriac<br /> |Has Regional Language=Syriac (Serto script)<br /> |Is Translated Into Languages=Greek<br /> |Has Place Of Text Composition=Likely near Melitene (Malatya)<br /> |Has Start Date Of Composition=801<br /> |Has End Date Of Composition=1100<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Barsoum (2003); Macler (1903); Gollancz (1987); Minov (2013); Minets (2023); Jernstedt (1912)<br /> |Has Modern Edition=David Taylor (in progress as of 2025)<br /> |Has Note='''Bibliography:''' <br /> <br /> Baethgen, F., (ed.): Sindban oder Die Sieben weisen Meister. Syrisch  und Deutsch. Leipzig 1879. <br /> <br /> Barsoum, I. A,. The Scattered Pearls: A History of Syriac Literature  and Sciences, 2nd revised (Piscataway, New Jersey: Gorgias Press,  2003)., p: 196. <br /> <br /> Gollancz, H., ‘The History of Sindbad and the Seven Wise Masters’,  Transactions of the Folk-Lore Society 8 (1897), 99–130. <br /> <br /> Jernstedt, V., Mich. Andreopuli Liber Syntipae (1912). (Greek  translation) <br /> <br /> Macler, F., Contes syriaques. Histoire de Sindbad (1903). <br /> <br /> Minets, Y., “Language of Speaking, Arguing, and Persuading: Cultural  Exchange and Adaptation in Greek and Syriac Versions of the ‘History  of Sindban/Syntipas’,” Das Mit- telalter 28:1 (2023), 155–171. <br /> <br /> Minov, S., (ed.), A Comprehensive Bibliography on Syriac  Christianity (The Center for the Study of Christianity, The Hebrew  University of Jerusalem, 2013) <br /> <br /> Perry, Ben E.: The Origin of the Book of Sindbad. In: Fabula 3 (1960),  pp. 1–94. <br /> <br /> Roediger, E. Chrestomathia Syriaca. 1801-1874 ed. Halis Saxonum <br /> <br /> Sachau, E. ed., Die Handschriften-Verzeichnisse der Königlichen  Bibliothek zu Berlin, 23. Band:Verzeichniss der syrischen  Handschriften, 2 vols. (Berlin, 1899).<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Gollancz_(1987)&diff=15837 2026-03-03T17:12:18Z

<p>Bildhauer: Bildhauer moved page Gollancz (1987) to Seven Sages of Rome:Gollancz (1897): Misspelled title</p> <hr /> <div>#REDIRECT [[Seven Sages of Rome:Gollancz (1897)]]</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Seven_Sages_of_Rome:Gollancz_(1897)&diff=15836 2026-03-03T17:12:18Z

<p>Bildhauer: Bildhauer moved page Gollancz (1987) to Seven Sages of Rome:Gollancz (1897): Misspelled title</p> <hr /> <div>{{Modern Research Literature<br /> |Has Author=Hermann Gollancz<br /> |Has Chapter Title=The History of Sindban and the Seven Wise Masters<br /> |Has Book Title=Folklore<br /> |Has Volume And Issue=8.2<br /> |Has Date=1897<br /> |Has Page Range=99-130<br /> |Has Type=Modern Research Literature<br /> |Has Digitisation=http://dx.doi.org/10.1080/0015587X.1897.9720407<br /> }}<br /> {{ResearchMaterial}}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Minets_(2023)&diff=15835 2026-03-03T17:04:50Z

<p>Bildhauer: </p> <hr /> <div>{{Modern Research Literature<br /> |Has Author=Yulia Minets<br /> |Has Chapter Title=Language of Speaking, Arguing, and Persuading<br /> |Has Chapter Subtitle=Cultural Exchange and Adaptation in Greek and Syriac Versions of the 'History of Sindban/Syntipas'<br /> |Has Book Title=Das Mittelalter<br /> |Has Volume And Issue=28.1<br /> |Has Date=2023<br /> |Has Page Range=155-171<br /> |Has Type=Modern Research Literature<br /> |Has Digitisation=https://doi.org/10.17885/heiup.mial.2023.1.24773<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Persian_Sindbadnama&diff=15834 2026-03-03T16:59:33Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Persian ''Sindbadnama'' traditions are all thought to derive from a Middle Persian (Pahlavi) original. Older scholarship presumed an Indian source for this, but no Sanskrit texts have been found as evidence of this ([[Krönung (2016)]]). Scholars assume that there were several adaptations into early New Persian, by Rudaki (Dabir Siyaqi 1955) and Daqayeqi (Zakeri 2023). The only version that has survived is by Zahiri al-Samarqandi in c. 1160 CE/555 AH. <br /> <br /> The ''Sindbadnama'' was later inserted, in abridged form, into Nakhshabi’s ''Tutinama''. Later, in 1374, the Shirazi belletrist and courtier Azod Yazdi versified Zahiri's version for the govenor of Shiraz, Tamerlane's son Shah Rukh. Of these different surviving versions, Zahiri's version seems to have been by far the most popular and sought after, particularly in the Ottoman Empire.<br /> |Has Display Title=Persian Sindbadnama<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Is Adapted Into=Nakhshabi Tutinama; Zahiri al Samarqandi, Sindbadnama; Azod Yazdi versification<br /> |Has Language Of Version=Persian<br /> |Has Regional Language=Dari (Insha)<br /> |Has Start Date Of Composition=500<br /> |Has End Date Of Composition=950<br /> |Is Date Uncertain=No<br /> |Has Source For Date Of Text Composition=Krönung (2016)<br /> |Has Modern Research Literature=Perry (1960); Zakeri (2023); Dabir Siyaqi (1955); (see specific versions for more)<br /> |Has Internal Notes=Roughly 50% of the early manuscripts are to be found in Iranian libraries, who did not reply before the completion of this database. Below is a list of manuscripts in Iranian libraries whose existence can be confirmed:<br /> <br /> <br /> Tehran, Danishgah 964/1556-57         <br /> <br /> Teheran, Danishgah 272<br /> <br /> Teheran, Danishgah 46 ع<br /> <br /> Teheran, Dehkhoda 268<br /> <br /> Teheran, Adabiyyat 132-d<br /> <br /> Qom, Gulpaygani 36/199–8199<br /> <br /> Mashhad, Āstān-i Quds-i Raḍavī  MS 9415<br /> <br /> <br /> <br /> Check: turtures 2; canicula 3 AND 2; Aper 1, Annuli, Ingenia 1a<br /> |Has Note=Note: story order (below) is based on the Zahiri al-Samarqandi narrative.<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes et simia<br /> |Has Sequence Number=1<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Camelus<br /> |Has Sequence Number=2<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Elephantus<br /> |Has Sequence Number=3<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Rex simiarum<br /> |Has Sequence Number=4<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Avis<br /> |Has Sequence Number=5<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Gladius<br /> |Has Sequence Number=6<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lavator<br /> |Has Sequence Number=7<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Turtures<br /> |Has Sequence Number=8<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Zuchara<br /> |Has Sequence Number=9<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Striga<br /> |Has Sequence Number=10<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canis<br /> |Has Sequence Number=11<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula<br /> |Has Sequence Number=12<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Aper<br /> |Has Sequence Number=13<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Balneator<br /> |Has Sequence Number=14<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Canicula 2<br /> |Has Sequence Number=15<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mel<br /> |Has Sequence Number=16<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Panes<br /> |Has Sequence Number=17<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Annuli<br /> |Has Sequence Number=18<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Simia<br /> |Has Sequence Number=19<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Nomina<br /> |Has Sequence Number=20<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Pallium<br /> |Has Sequence Number=21<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fons<br /> |Has Sequence Number=22<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Leo<br /> |Has Sequence Number=23<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Ingenia<br /> |Has Sequence Number=24<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Lac venenatum<br /> |Has Sequence Number=25<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Mater negligens<br /> |Has Sequence Number=26<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 3 annorum<br /> |Has Sequence Number=27<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Puer 5 annorum<br /> |Has Sequence Number=28<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Senex Caecus<br /> |Has Sequence Number=29<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=4 liberatores<br /> |Has Sequence Number=30<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vulpes<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Fatum<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Upupa<br /> }}<br /> {{EmbeddedStory<br /> |Has Short Title=Vespa et formica<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=London_British_Library_Or._225&diff=15833 2026-03-03T16:58:09Z

<p>Bildhauer: </p> <hr /> <div>{{Manuscript<br /> |Has Reference Number=British Library (Or. 225)<br /> |Has Location=London, British Library<br /> |Has Siglum=Or. 225<br /> |Has Page Range=f1v - f155r<br /> |Has Standardised Title Of Narrative=Sindbadnama<br /> |Has Siglum Of The Version Of The Seven Sages=Persian Sindbadnama<br /> |Has Narrative Or Scholarly Group Within Version=Zahiri al Samarqandi, Sindbadnama<br /> |Was Translated Or Adapted From=Claims to be adapted from Fanaruzi's 9th century translation of a Pahlavi original<br /> |Has Language=Persian<br /> |Has Regional Language=Dari (Insha)<br /> |Has Modern Edition=Seyyed Mohammad Bagher Kamaladdini, Tehran, 2013 (Zahiri Sindbadnameh)<br /> |Has Author=Muhammad b. 'Ali az-Zahiri as-Samarqandi<br /> |Has Canonical Name Of Author=Zahiri al-Samarqandi<br /> |Has Place Of Production=Hyderabad (Decca)<br /> |Has Date Of Production=1622<br /> |Has Islamic Date Of Production=1029<br /> |Is Date Uncertain=No<br /> |Has Material=Paper<br /> |Has Total Pages In Manuscript=155<br /> |Has Script Style=Nastaliq<br /> |Has Literary Form=Prose<br /> |Has Illustrations=No<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Zakeri_(2023)&diff=15832 2026-03-03T16:56:47Z

<p>Bildhauer: Created page with &quot;{{Modern Research Literature |Has Author=Mohsen Zakeri |Has Chapter Title=Ẓahīrī of Samarqand’s ‘Sindbādnāma’ |Has Chapter Subtitle=A Mirror for Princes |Has Book Title=Das Mittelalter |Has Volume And Issue=28: 1 |Has Date=2023 |Has Page Range=172-188 |Has Digitisation=https://doi.org/10.17885/heiup.mial.2023.1.24774 }}&quot;</p> <hr /> <div>{{Modern Research Literature<br /> |Has Author=Mohsen Zakeri<br /> |Has Chapter Title=Ẓahīrī of Samarqand’s ‘Sindbādnāma’<br /> |Has Chapter Subtitle=A Mirror for Princes<br /> |Has Book Title=Das Mittelalter<br /> |Has Volume And Issue=28: 1<br /> |Has Date=2023<br /> |Has Page Range=172-188<br /> |Has Digitisation=https://doi.org/10.17885/heiup.mial.2023.1.24774<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Vogt_(1931)&diff=15831 2026-03-03T16:48:06Z

<p>Bildhauer: Created page with &quot;{{Modern Research Literature |Has Author=Walter Vogt |Has Chapter Title=Die sieben weisen Meister und der Teufelsbaumeister in der norwegischen Königssage |Has Book Title=Festgabe Anton Schifferer zum 60. Geburtstag, dargebracht von der Schleswig-Holsteinischen Universitätsgesellschaft und der Baltischen Kommission zu Kiel |Has Book Subtitle=Veröffentlichungen der Schleswig-Holsteinischen Universitätsgesellschaft, vol. 37 |Has Place Of Publication=Breslau |Has Publis...&quot;</p> <hr /> <div>{{Modern Research Literature<br /> |Has Author=Walter Vogt<br /> |Has Chapter Title=Die sieben weisen Meister und der Teufelsbaumeister in der norwegischen Königssage<br /> |Has Book Title=Festgabe Anton Schifferer zum 60. Geburtstag, dargebracht von der Schleswig-Holsteinischen Universitätsgesellschaft und der Baltischen Kommission zu Kiel<br /> |Has Book Subtitle=Veröffentlichungen der Schleswig-Holsteinischen Universitätsgesellschaft, vol. 37<br /> |Has Place Of Publication=Breslau<br /> |Has Publisher=Hirt<br /> |Has Date=1931<br /> |Has Page Range=38–61<br /> |Has Type=Modern Research Literature<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Lithuanian_Version_H&diff=15830 2026-03-03T16:41:15Z

<p>Bildhauer: </p> <hr /> <div>{{Secondary Version<br /> |Has Description=Runte, Wikeley, Farrell (1984) mentions a Lithuanian translation of version H published in 1892, and gives the name of the author as “Aug. Zeytz’a” and the place of publication as Plymouth, PA. A Lithuanian translation was also published without an author name in Brooklyn, New York, in 1912. This latter translation is digitised, and mentions a first edition from 1880 as well as a second edition from 1892, without giving further details.<br /> |Has Language Within Version=Lithuanian<br /> |Has Parent Version=H (Historia Septem Sapientum)<br /> |Has Branch Of Tradition=Seven Sages of Rome<br /> |Has Language Of Version=Lithuanian<br /> |Has Date Of Text Composition=1880<br /> |Is Date Uncertain=No<br /> |Has Modern Research Literature=Runte, Wikeley, Farrell (1984)<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Lithuanian_Version_H&diff=15829 2026-03-03T16:40:28Z

<p>Bildhauer: </p> <hr /> <div>{{Secondary Version<br /> |Has Description=Runte, Wikeley, Farrell (1984) mentions a Lithuanian translation of version H published in 1892, and gives the name of the author as “Aug. Zeytz’a” and the place of publication as Plymouth, PA. A Lithuanian translation was also published without an author name in Brooklyn, New York, in 1912. This latter translation is digitised, and mentions a first edition from 1880 as well as a second edition from 1892, without giving further details.<br /> |Has Language Within Version=Lithuanian<br /> |Has Parent Version=Version H; H (Historia Septem Sapientum)<br /> |Has Branch Of Tradition=Seven Sages of Rome<br /> |Has Language Of Version=Lithuanian<br /> |Has Date Of Text Composition=1880<br /> |Is Date Uncertain=No<br /> |Has Modern Research Literature=Runte, Wikeley, Farrell (1984)<br /> }}</div>

Bildhauer https://db.seven-sages-of-rome.org/index.php?title=Nakhshabi_Tutinama&diff=15821 2026-03-03T12:08:18Z

<p>Bildhauer: </p> <hr /> <div>{{Version<br /> |Has Description=The Indian physician and Sufi mystic Ziya' al-Din Nakhshabi possibly included a heavily abridged version of the Sindbadnama in his Tutinama, a 14th century Persian adaptation of the Sanskrit ''Śukasaptati''. However, the earliest manuscripts we have of the Tutinama date from the 1560s, which saw an explosion of interest in the text under the Mughal Emperor Akbar, who was a great benefactor of the Chishti Sufi order, of which Nakhshabi was a prominent member. Some, but by no means all, of these manuscripts contain an abridged version of the Sindbadnama, but it is impossible to know whether it was included in Nakhshabi's original, or whether the story was inserted because of its later popularity. The manuscripts which do contain the Sindbadnama are also inconsistent, with some containing only the frame narrative and others containing very brief abridgements of some of the inset stories. It is also impossible to be sure that the Samarqandi Sindbadnama was the version which was used: the Tutinama abridgements are far more focused on the Makr al Nisa (wiles of women), whereas Samarqandi's version is significantly more nuanced. Given that the late 9th century polymath al-Yaqubi refers to the Sindbadnama of his day as a Makr al Nisa text, it is perhaps more likely that Nakhshabi was working off an earlier version (likely either the Fanaruzi or Rudaki versions, both now lost or highly fragmentary and difficult to attribute.&lt;div&gt;&lt;div&gt;&lt;div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div&gt;&lt;div&gt;&lt;div&gt;<br /> *<br /> &lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div&gt;&lt;/div&gt;<br /> |Has Title=Nakhshabi, Tutinama<br /> |Has Author=Ziya' al-Din Nakhshabi<br /> |Has Branch Of Tradition=Book of Sindbad<br /> |Has Parent Version=Persian Sindbadnama<br /> |Is Adapted From=Persian Sindbadnama<br /> |Has Language Of Version=Persian<br /> |Has Regional Language=Dari (Insha)<br /> |Has Place Of Text Composition=Delhi<br /> |Has Date Of Text Composition=14th century<br /> |Has Islamic Date Of Text Composition=8th century<br /> |Is Date Uncertain=No<br /> |Has Modern Edition=Nakhshabī, Z̤iyāʼ al-Dīn. Ṭūṭī-nāma. Edited by Fatḥ-Allāh Mujtabāʼī and Ghulām-ʿAlī Āryā. Tehran: Intishārāt-i Zuvvār, 1372 SH<br /> |Has Note=Notable Tutinama manuscripts containing a Sindbadnama abridgement:<br /> {{{!}} class=&quot;wikitable&quot;<br /> {{!}}British Library ''Ṭūṭīnāma'', Or. 15665<br /> {{!}}British Library<br /> {{!}}Late 16th/early 17th century (commissioned by Akbar the Great for the Mughal court).<br /> {{!}} rowspan=&quot;3&quot; {{!}}<br /> {{!}}-<br /> {{!}}Cambridge University Library, MS Add. 3139<br /> {{!}}Cambridge University Library<br /> {{!}}19th century<br /> {{!}}-<br /> {{!}}Chester Beatty ''In 21''<br /> {{!}}Chester Beatty Library<br /> {{!}}Late 16th/early 17th century (commissioned by Akbar the Great for the Mughal court).<br /> {{!}}}<br /> }}</div>

Bildhauer