Arabic Version A101 (Hundred and One Nights) - Revision history

Noeth at 11:25, 23 February 2026

2026-02-23T11:25:47Z

← Older revision		Revision as of 11:25, 23 February 2026
Line 12:		Line 12:
	There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011), English ([[Fudge, One Hundred and One Nights (2016)]]), and German ([[Ott, 101 Nacht (2012)]]).		There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011), English ([[Fudge, One Hundred and One Nights (2016)]]), and German ([[Ott, 101 Nacht (2012)]]).
	\|Has Title=مائة ليلة وليلة (Hundred and One Nights)		\|Has Title=مائة ليلة وليلة (Hundred and One Nights)
	~~\|Has Siglum=A101 (Hundred and One Nights)~~
	\|Has Branch Of Tradition=Book of Sindbad		\|Has Branch Of Tradition=Book of Sindbad
	\|Has Parent Version=Seven Viziers		\|Has Parent Version=Seven Viziers

Noeth at 13:18, 18 February 2026

2026-02-18T13:18:42Z

Noeth: Text replacement - "Has Original Language Of Version" to "Has Language Of Version"

2026-01-27T11:22:03Z

Text replacement - "Has Original Language Of Version" to "Has Language Of Version"

← Older revision		Revision as of 11:22, 27 January 2026
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	\|Has Siglum=A101 (Hundred and One Nights)		\|Has Siglum=A101 (Hundred and One Nights)
	\|Has Branch Of Tradition=Book of Sindbad		\|Has Branch Of Tradition=Book of Sindbad
	\|Has ~~Original~~ Language Of Version=Arabic		\|Has Language Of Version=Arabic
	\|Has Place Of Text Composition=Maghreb, Western Islamic world		\|Has Place Of Text Composition=Maghreb, Western Islamic world
	\|Has Start Date Of Composition=900		\|Has Start Date Of Composition=900

Noeth: Text replacement - "Book of Sindibad" to "Book of Sindbad"

2025-12-03T14:54:09Z

Text replacement - "Book of Sindibad" to "Book of Sindbad"

← Older revision		Revision as of 14:54, 3 December 2025
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	\|Has Title=مائة ليلة وليلة (Hundred and One Nights)		\|Has Title=مائة ليلة وليلة (Hundred and One Nights)
	\|Has Siglum=A101 (Hundred and One Nights)		\|Has Siglum=A101 (Hundred and One Nights)
	\|Has Branch Of Tradition=Book of ~~Sindibad~~		\|Has Branch Of Tradition=Book of Sindbad
	\|Has Original Language Of Version=Arabic		\|Has Original Language Of Version=Arabic
	\|Has Place Of Text Composition=Maghreb, Western Islamic world		\|Has Place Of Text Composition=Maghreb, Western Islamic world

Bonsall at 13:35, 3 December 2025

2025-12-03T13:35:19Z

Noeth: Text replacement - "Has Branch Of Tradition=East" to "Has Branch Of Tradition=Book of Sindibad"

2025-12-03T12:42:10Z

Text replacement - "Has Branch Of Tradition=East" to "Has Branch Of Tradition=Book of Sindibad"

← Older revision		Revision as of 12:42, 3 December 2025
Line 14:		Line 14:
	\|Has Title=مائة ليلة وليلة (Hundred and One Nights)		\|Has Title=مائة ليلة وليلة (Hundred and One Nights)
	\|Has Siglum=A101 (Hundred and One Nights)		\|Has Siglum=A101 (Hundred and One Nights)
	\|Has Branch Of Tradition=~~East~~		\|Has Branch Of Tradition=Book of Sindibad
	\|Has Original Language Of Version=Arabic		\|Has Original Language Of Version=Arabic
	\|Has Place Of Text Composition=Maghreb, Western Islamic world		\|Has Place Of Text Composition=Maghreb, Western Islamic world

Bonsall at 12:03, 3 December 2025

2025-12-03T12:03:32Z

← Older revision		Revision as of 12:03, 3 December 2025
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	{{Version		{{Version
	\|Has Description=The story collection titled the ''One Hundred and One Nights'' (مائة ليلة وليلة, ''~~Mi’at~~ layla wa-layla''), is linked to its longer sister-narrative, the ''Thousand and One Nights'' (ألف ليلة وليلة'', Alf layla wa-layla''). The frame story in both concerns a king who, embittered and vengeful after witnessing his wife's adultery, marries a new maiden every night, and has her executed every morning. The string of murders is ~~interrupted~~ when the king marries Shahrazād, a vizier’s daughter. Shahrazād delays her own death and keeps the king's attention by telling incomplete stories every night, promising their resolution the following evening if the king allows her to live on. In the end, Shahrazād wins the king’s affection, and all ends happily. Both the ''Thousand and One Nights'' and the ''One Hundred and One Nights'' contain a version of the Seven Sages narrative as one of the embedded stories that Shahrazād tells the king, usually referred to in English as the ''Seven Viziers''.		\|Has Description=The story collection titled the ''One Hundred and One Nights'' (مائة ليلة وليلة, ''Miʾat layla wa-layla''), is linked to its longer sister-narrative, the ''Thousand and One Nights'' (ألف ليلة وليلة'', Alf layla wa-layla''). The frame story in both concerns a king who, embittered and vengeful after witnessing his wife's adultery, marries a new maiden every night, and has her executed every morning. The string of murders is broken when the king marries Shahrazād, a vizier’s daughter. Shahrazād delays her own death and keeps the king's attention by telling incomplete stories every night, promising their resolution the following evening if the king allows her to live on. In the end, Shahrazād wins the king’s affection, and all ends happily. Both the ''Thousand and One Nights'' and the ''One Hundred and One Nights'' contain a version of the Seven Sages narrative as one of the embedded stories that Shahrazād tells the king, usually referred to in English as the ''Seven Viziers''.

	Produced in the Maghreb or Western periphery of the Muslim world (Muslim Spain or North Africa) sometime between the 10th and 14th centuries, the ''Hundred and One Nights'' differs in several respects from the ''Thousand and One Nights'' (which was composed in the Eastern region of the Islamic world, e.g. Egypt, Iran, and/or Syria). The ''One Hundred and One Nights'' contains not only fewer but also different stories than its longer analogue, and the relationship between the frame story and the embedded tales is less persistently emphasised. In fact, only two of the eighteen stories in the ''One Hundred and One Nights'' are also found in the longer text: ''The Ebony Horse,'' and the version of the Seven Sages narrative known as ''The Seven Viziers'' (Krönung 2016).		Produced in the Maghreb or Western periphery of the Muslim world (Muslim Spain or North Africa) sometime between the 10th and 14th centuries, the ''Hundred and One Nights'' differs in several respects from the ''Thousand and One Nights'' (which was composed in the Eastern region of the Islamic world, e.g. Egypt, Iran, and/or Syria). The ''One Hundred and One Nights'' contains not only fewer but also different stories than its longer analogue, and the relationship between the frame story and the embedded tales is less persistently emphasised. In fact, only two of the eighteen stories in the ''One Hundred and One Nights'' are also found in the longer text: ''The Ebony Horse,'' and the version of the Seven Sages narrative known as ''The Seven Viziers'' (Krönung 2016).

	The version of the ''Seven Viziers'' contained within the ''One Hundred and One Nights'' shares about half of the embedded stories with the version found in the ''Thousand and One Nights.'' This iteration of the ''Seven Viziers'' is less embellished than that found in the ''Thousand and One Nights'', and diverges in some notable ways: it opens with the story of ~~[[Elephantus\|~~the king and the elephant]], told by the sage ~~Sendebar/~~Sindbad, as a model of an exempla prior to the storytelling contest~~; it~~ includes five ~~new~~ stories; and it ends with the empress-figure being pardoned (Lacarra 2009).		The version of the ''Seven Viziers'' contained within the ''One Hundred and One Nights'' shares about half of the embedded stories with the version found in the ''Thousand and One Nights.'' This iteration of the ''Seven Viziers'' is less embellished than that found in the ''Thousand and One Nights'', and diverges in some notable ways: it opens with [[Elephantus]], the story of the king and the elephant, told by the sage Sindbad as a model of an exempla prior to the storytelling contest. It includes five stories that do not appear in the ''Thousand and One Nights'' version, and it ends with the empress-figure being pardoned (Lacarra 2009).

	Such differentiations are central to critical analysis of the transmission history of the early 'Eastern' versions of the narrative, and to understanding the relationships between different branches of the tradition. For example, tracking these and other key distinctions, Bettina Krönung (2016) observes the 'striking closeness' between the Greek ''Syntipas'', Syriac ''Book of Sindbad'', [[Libro de los Engaños\|Spanish ''Libro de los Engaños'']], the independently transmitted [[Arabic Version A (The Seven Viziers)\|Arabic ''Seven Viziers'']], and the version in the ''One Hundred and One Nights'' (p. 374). On the other hand, the divergent story orders in the ''One Thousand and One Nights,'' Hebrew ''Mishle Sendebar,'' and the Persian ''Sindbād-nāma'' are distinct enough to reveal the shared 'cores' of the other 'Eastern' texts, and to suggest that they may represent something 'very close to the Middle Persian original' (~~Krönung 2016~~).		Such differentiations are central to critical analysis of the transmission history of the early 'Eastern' versions of the narrative, and to understanding the relationships between different branches of the tradition. For example, tracking these and other key distinctions, Bettina Krönung (2016) observes the 'striking closeness' between the Greek ''Syntipas'', Syriac ''Book of Sindbad'', [[Libro de los Engaños\|Spanish ''Libro de los Engaños'']], the independently transmitted [[Arabic Version A (The Seven Viziers)\|Arabic ''Seven Viziers'']], and the version in the ''One Hundred and One Nights'' (p. 374). On the other hand, the divergent story orders in the ''One Thousand and One Nights,'' Hebrew ''Mishle Sendebar,'' and the Persian ''Sindbād-nāma'' are distinct enough to reveal the shared 'cores' of the other 'Eastern' texts, and to suggest that they may represent something 'very close to the Middle Persian original' (ibid.).

	There is some variation in the ''Seven Viziers'' stories contained in different manuscripts of the ''One Hundred and One Nights''. The story order below (from [[Fudge (2016)\|Fudge]]'s edition of [[Paris Bibliothèque nationale de France, Arabe 3662\|BNF Arabe 3662]]; see also Nishimura and Krönung) is broadly reflective of the pattern found in most exemplars of the ''101 Nights'', which are usually consistent from the beginning through story 18, [[Elephantinus]]. The story order listed below is also found in [[Paris Bibliothèque nationale de France, Arabe 3661\|BNF Arabe 3661]], [[Tunis Bibliothèque nationale de Tunisie, MWT 04576\|Tunis T4057]], and [[Toronto Aga Khan Museum 00513\|Aga Khan Museum]], according to Nishimura; however, the final stories vary in some other manuscripts. For example, [[Paris Bibliothèque nationale de France, Arabe 3660\|BNF Arabe 3660]] omits [[Nomina]] and concludes with the [[Amantes]] and [[Lac venenatum]] after the stories listed below. In [[Leiden Universiteit Or. 14.303\|Leiden Or. 14.303]], the story [[Ingenia 2]] follows [[Ingenia]], and the text concludes with [[Linteum]] (see Nishimura for more details).		There is some variation in the ''Seven Viziers'' stories contained in different manuscripts of the ''One Hundred and One Nights''. The story order below (from [[Fudge (2016)\|Fudge]]'s edition of [[Paris Bibliothèque nationale de France, Arabe 3662\|BNF Arabe 3662]]; see also Nishimura and Krönung) is broadly reflective of the pattern found in most exemplars of the ''101 Nights'', which are usually consistent from the beginning through story 18, [[Elephantinus]]. The story order listed below is also found in [[Paris Bibliothèque nationale de France, Arabe 3661\|BNF Arabe 3661]], [[Tunis Bibliothèque nationale de Tunisie, MWT 04576\|Tunis T4057]], and [[Toronto Aga Khan Museum 00513\|Aga Khan Museum]], according to Nishimura; however, the final stories vary in some other manuscripts. For example, [[Paris Bibliothèque nationale de France, Arabe 3660\|BNF Arabe 3660]] omits [[Nomina]] and concludes with the [[Amantes]] and [[Lac venenatum]] after the stories listed below. In [[Leiden Universiteit Or. 14.303\|Leiden Or. 14.303]], the story [[Ingenia 2]] follows [[Ingenia]], and the text concludes with [[Linteum]] (see Nishimura for more details).

Bonsall at 10:27, 11 November 2025

2025-11-11T10:27:57Z

← Older revision		Revision as of 10:27, 11 November 2025
Line 8:		Line 8:
	Such differentiations are central to critical analysis of the transmission history of the early 'Eastern' versions of the narrative, and to understanding the relationships between different branches of the tradition. For example, tracking these and other key distinctions, Bettina Krönung (2016) observes the 'striking closeness' between the Greek ''Syntipas'', Syriac ''Book of Sindbad'', [[Libro de los Engaños\|Spanish ''Libro de los Engaños'']], the independently transmitted [[Arabic Version A (The Seven Viziers)\|Arabic ''Seven Viziers'']], and the version in the ''One Hundred and One Nights'' (p. 374). On the other hand, the divergent story orders in the ''One Thousand and One Nights,'' Hebrew ''Mishle Sendebar,'' and the Persian ''Sindbād-nāma'' are distinct enough to reveal the shared 'cores' of the other 'Eastern' texts, and to suggest that they may represent something 'very close to the Middle Persian original' (Krönung 2016).		Such differentiations are central to critical analysis of the transmission history of the early 'Eastern' versions of the narrative, and to understanding the relationships between different branches of the tradition. For example, tracking these and other key distinctions, Bettina Krönung (2016) observes the 'striking closeness' between the Greek ''Syntipas'', Syriac ''Book of Sindbad'', [[Libro de los Engaños\|Spanish ''Libro de los Engaños'']], the independently transmitted [[Arabic Version A (The Seven Viziers)\|Arabic ''Seven Viziers'']], and the version in the ''One Hundred and One Nights'' (p. 374). On the other hand, the divergent story orders in the ''One Thousand and One Nights,'' Hebrew ''Mishle Sendebar,'' and the Persian ''Sindbād-nāma'' are distinct enough to reveal the shared 'cores' of the other 'Eastern' texts, and to suggest that they may represent something 'very close to the Middle Persian original' (Krönung 2016).

	There is some variation in the ''Seven Viziers'' stories contained in different manuscripts of the ''One Hundred and One Nights''. The story order below (from [[Fudge (2016)\|Fudge]]'s edition of [[Paris Bibliothèque nationale de France, Arabe 3662\|BNF Arabe 3662]]; see also Nishimura and Krönung) is broadly reflective of the pattern found in most exemplars of the ''101 Nights'', which are usually consistent from the beginning through story 18, [[Elephantinus]]. The story order listed below is also found in [[Paris Bibliothèque nationale de France, Arabe 3661\|BNF Arabe 3661]], [[Tunis Bibliothèque nationale de Tunisie, MWT 04576\|Tunis T4057]], and [[Toronto Aga Khan Museum 00513\|Aga Khan Museum]], according to Nishimura; however, the final stories vary in some other manuscripts. [[Paris Bibliothèque nationale de France, Arabe 3660\|BNF Arabe 3660]] omits [[Nomina]] and concludes with the [[Amantes]] and [[Lac venenatum]] after the stories listed below. In [[Leiden Universiteit Or. 14.303\|Leiden Or. 14.303]], the story [[Ingenia 2]] follows [[Ingenia]], and the text concludes with [[Linteum]] (see Nishimura for more details).		There is some variation in the ''Seven Viziers'' stories contained in different manuscripts of the ''One Hundred and One Nights''. The story order below (from [[Fudge (2016)\|Fudge]]'s edition of [[Paris Bibliothèque nationale de France, Arabe 3662\|BNF Arabe 3662]]; see also Nishimura and Krönung) is broadly reflective of the pattern found in most exemplars of the ''101 Nights'', which are usually consistent from the beginning through story 18, [[Elephantinus]]. The story order listed below is also found in [[Paris Bibliothèque nationale de France, Arabe 3661\|BNF Arabe 3661]], [[Tunis Bibliothèque nationale de Tunisie, MWT 04576\|Tunis T4057]], and [[Toronto Aga Khan Museum 00513\|Aga Khan Museum]], according to Nishimura; however, the final stories vary in some other manuscripts. For example, [[Paris Bibliothèque nationale de France, Arabe 3660\|BNF Arabe 3660]] omits [[Nomina]] and concludes with the [[Amantes]] and [[Lac venenatum]] after the stories listed below. In [[Leiden Universiteit Or. 14.303\|Leiden Or. 14.303]], the story [[Ingenia 2]] follows [[Ingenia]], and the text concludes with [[Linteum]] (see Nishimura for more details).

	There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011) and English (''One Hundred and One Nights'', trans. by Bruce Fudge, Library of Arabic Literature 45, New York: NYU Press, 2016).		There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011) and English (''One Hundred and One Nights'', trans. by Bruce Fudge, Library of Arabic Literature 45, New York: NYU Press, 2016).

Bonsall at 10:26, 11 November 2025

2025-11-11T10:26:05Z

← Older revision		Revision as of 10:26, 11 November 2025
Line 6:		Line 6:
	The version of the ''Seven Viziers'' contained within the ''One Hundred and One Nights'' shares about half of the embedded stories with the version found in the ''Thousand and One Nights.'' This iteration of the ''Seven Viziers'' is less embellished than that found in the ''Thousand and One Nights'', and diverges in some notable ways: it opens with the story of [[Elephantus\|the king and the elephant]], told by the sage Sendebar/Sindbad, as a model of an exempla prior to the storytelling contest; it includes five new stories; and it ends with the empress-figure being pardoned (Lacarra 2009).		The version of the ''Seven Viziers'' contained within the ''One Hundred and One Nights'' shares about half of the embedded stories with the version found in the ''Thousand and One Nights.'' This iteration of the ''Seven Viziers'' is less embellished than that found in the ''Thousand and One Nights'', and diverges in some notable ways: it opens with the story of [[Elephantus\|the king and the elephant]], told by the sage Sendebar/Sindbad, as a model of an exempla prior to the storytelling contest; it includes five new stories; and it ends with the empress-figure being pardoned (Lacarra 2009).

	Such differentiations are central to critical analysis of the transmission history of the early 'Eastern' versions of the narrative, and to understanding the relationships between different branches of the tradition. For example, tracking these and other key distinctions, Bettina Krönung (2016) observes the 'striking closeness' between the Greek ''Syntipas'', Syriac ''Book of Sindbad'', [[Libro de los Engaños\|Spanish ''Libro de los Engaños'']], the independently transmitted [[Arabic Version A (The Seven Viziers)\|Arabic ''Seven Viziers'']], and the version in the ''One Hundred and One Nights'' (p. 374). On the other hand, the divergent story orders in the ''One Thousand and One Nights,'' Hebrew ''Mishle Sendebar,'' and the Persian ''Sindbād-nāma'' are distinct enough to reveal the shared 'cores' of the other 'Eastern' texts, and to suggest that they may represent something 'very close to the Middle Persian original'.		Such differentiations are central to critical analysis of the transmission history of the early 'Eastern' versions of the narrative, and to understanding the relationships between different branches of the tradition. For example, tracking these and other key distinctions, Bettina Krönung (2016) observes the 'striking closeness' between the Greek ''Syntipas'', Syriac ''Book of Sindbad'', [[Libro de los Engaños\|Spanish ''Libro de los Engaños'']], the independently transmitted [[Arabic Version A (The Seven Viziers)\|Arabic ''Seven Viziers'']], and the version in the ''One Hundred and One Nights'' (p. 374). On the other hand, the divergent story orders in the ''One Thousand and One Nights,'' Hebrew ''Mishle Sendebar,'' and the Persian ''Sindbād-nāma'' are distinct enough to reveal the shared 'cores' of the other 'Eastern' texts, and to suggest that they may represent something 'very close to the Middle Persian original' (Krönung 2016).

	There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011) and English (''One Hundred and One Nights'', trans. by Bruce Fudge, Library of Arabic Literature 45, New York: NYU Press, 2016).		There is some variation in the ''Seven Viziers'' stories contained in different manuscripts of the ''One Hundred and One Nights''. The story order below (from [[Fudge (2016)\|Fudge]]'s edition of [[Paris Bibliothèque nationale de France, Arabe 3662\|BNF Arabe 3662]]; see also Nishimura and Krönung) is broadly reflective of the pattern found in most exemplars of the ''101 Nights'', which are usually consistent from the beginning through story 18, [[Elephantinus]]. The story order listed below is also found in [[Paris Bibliothèque nationale de France, Arabe 3661\|BNF Arabe 3661]], [[Tunis Bibliothèque nationale de Tunisie, MWT 04576\|Tunis T4057]], and [[Toronto Aga Khan Museum 00513\|Aga Khan Museum]], according to Nishimura; however, the final stories vary in some other manuscripts. [[Paris Bibliothèque nationale de France, Arabe 3660\|BNF Arabe 3660]] omits [[Nomina]] and concludes with the [[Amantes]] and [[Lac venenatum]] after the stories listed below. In [[Leiden Universiteit Or. 14.303\|Leiden Or. 14.303]], the story [[Ingenia 2]] follows [[Ingenia]], and the text concludes with [[Linteum]] (see Nishimura for more details).

			There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011) and English (''One Hundred and One Nights'', trans. by Bruce Fudge, Library of Arabic Literature 45, New York: NYU Press, 2016).
	\|Has Parent Version=Seven Viziers		\|Has Parent Version=Seven Viziers
	\|Has Title=مائة ليلة وليلة (Hundred and One Nights)		\|Has Title=مائة ليلة وليلة (Hundred and One Nights)
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	\|Has Modern Research Literature=Lerner (2018); Grotzfeld (1984); Walther (1987); Chraïbi (2008); Ott (2012); Gaudefroy-Demombynes (1911); Lacarra (2009); Krönung (2016); Marzolph and van Leeuwen (2004); Fudge (2016)		\|Has Modern Research Literature=Lerner (2018); Grotzfeld (1984); Walther (1987); Chraïbi (2008); Ott (2012); Gaudefroy-Demombynes (1911); Lacarra (2009); Krönung (2016); Marzolph and van Leeuwen (2004); Fudge (2016)
	\|Has Modern Edition=Pétis de la Croix, Les Mille et un jours (1710-12); Tarshuna, Miʾat layla wa-layla (1984); Shuraybiṭ, Miʾat layla wa layla (2005); Ott, 101 Nacht (2012)		\|Has Modern Edition=Pétis de la Croix, Les Mille et un jours (1710-12); Tarshuna, Miʾat layla wa-layla (1984); Shuraybiṭ, Miʾat layla wa layla (2005); Ott, 101 Nacht (2012)
	\|Has Note=Note: the story order below (from Fudge, relying largely on BNF Arabe 3662) and Krönung) is broadly reflective of the pattern found in most exemplars of the 101 Nights, which are consistent from the beginning through story 18, Elephantinus. However, the final stories vary from text to text; BNF Arabe 3660 ends after Lac venenatum, following the order presented here, while in BNF Arabe 3662 and Leiden Or. 14.303, Nomina follows Elephantinus, then Ingenia, and in the Leiden text, is then followed by Linteum.		\|Has Note=Note: the story order below (from Fudge, relying largely on BNF Arabe 3662) and Krönung) is broadly reflective of the pattern found in most exemplars of the ''101 Nights'', which are consistent from the beginning through story 18, Elephantinus. However, the final stories vary from text to text; BNF Arabe 3660 ends after Lac venenatum, following the order presented here, while in BNF Arabe 3662 and Leiden Or. 14.303, Nomina follows Elephantinus, then Ingenia, and in the Leiden text, is then followed by Linteum.
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
Line 123:		Line 125:
	\|Has Sequence Number=20		\|Has Sequence Number=20
	\|Has Narrator=Seventh Master		\|Has Narrator=Seventh Master
	}}
	~~{{EmbeddedStory~~
	~~\|Has Short Title=Lac venenatum~~
	~~\|Has Sequence Number=21~~
	~~\|Has Narrator=Prince~~
	}}
	~~{{EmbeddedStory~~
	~~\|Has Short Title=Amantes~~
	~~\|Has Sequence Number=22~~
	~~\|Has Narrator=Seventh Master~~
	}}
	~~{{EmbeddedStory~~
	~~\|Has Short Title=Linteum~~
	~~\|Has Sequence Number=23~~
	}}		}}

Bonsall at 17:20, 5 November 2025

2025-11-05T17:20:17Z

← Older revision		Revision as of 17:20, 5 November 2025
Line 23:		Line 23:
	\|Has Modern Edition=Pétis de la Croix, Les Mille et un jours (1710-12); Tarshuna, Miʾat layla wa-layla (1984); Shuraybiṭ, Miʾat layla wa layla (2005); Ott, 101 Nacht (2012)		\|Has Modern Edition=Pétis de la Croix, Les Mille et un jours (1710-12); Tarshuna, Miʾat layla wa-layla (1984); Shuraybiṭ, Miʾat layla wa layla (2005); Ott, 101 Nacht (2012)
	\|Has Note=Note: the story order below (from Fudge, relying largely on BNF Arabe 3662) and Krönung) is broadly reflective of the pattern found in most exemplars of the 101 Nights, which are consistent from the beginning through story 18, Elephantinus. However, the final stories vary from text to text; BNF Arabe 3660 ends after Lac venenatum, following the order presented here, while in BNF Arabe 3662 and Leiden Or. 14.303, Nomina follows Elephantinus, then Ingenia, and in the Leiden text, is then followed by Linteum.		\|Has Note=Note: the story order below (from Fudge, relying largely on BNF Arabe 3662) and Krönung) is broadly reflective of the pattern found in most exemplars of the 101 Nights, which are consistent from the beginning through story 18, Elephantinus. However, the final stories vary from text to text; BNF Arabe 3660 ends after Lac venenatum, following the order presented here, while in BNF Arabe 3662 and Leiden Or. 14.303, Nomina follows Elephantinus, then Ingenia, and in the Leiden text, is then followed by Linteum.
			}}
			{{EmbeddedStory
			\|Has Short Title=Elephantus
			\|Has Sequence Number=1
			\|Has Narrator=Sindbad
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Leo		\|Has Short Title=Leo
	\|Has Sequence Number=1		\|Has Sequence Number=2
	\|Has Narrator=First Master		\|Has Narrator=First Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Avis		\|Has Short Title=Avis
	\|Has Sequence Number=2		\|Has Sequence Number=3
	\|Has Narrator=First Master		\|Has Narrator=First Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Lavator		\|Has Short Title=Lavator
	\|Has Sequence Number=3		\|Has Sequence Number=4
	\|Has Narrator=Empress		\|Has Narrator=Empress
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Panes		\|Has Short Title=Panes
	\|Has Sequence Number=4		\|Has Sequence Number=5
	\|Has Narrator=Second Master		\|Has Narrator=Second Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Gladius		\|Has Short Title=Gladius
	\|Has Sequence Number=5		\|Has Sequence Number=6
	\|Has Narrator=Second Master		\|Has Narrator=Second Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Striga		\|Has Short Title=Striga
	\|Has Sequence Number=6		\|Has Sequence Number=7
	\|Has Narrator=Empress		\|Has Narrator=Empress
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Mel		\|Has Short Title=Mel
	\|Has Sequence Number=7		\|Has Sequence Number=8
	\|Has Narrator=Third Master		\|Has Narrator=Third Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Zuchara		\|Has Short Title=Zuchara
	\|Has Sequence Number=8		\|Has Sequence Number=9
	\|Has Narrator=Third Master		\|Has Narrator=Third Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Fons		\|Has Short Title=Fons
	\|Has Sequence Number=9		\|Has Sequence Number=10
	\|Has Narrator=Empress		\|Has Narrator=Empress
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Balneator		\|Has Short Title=Balneator
	\|Has Sequence Number=10		\|Has Sequence Number=11
	\|Has Narrator=Fourth Master		\|Has Narrator=Fourth Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Canicula		\|Has Short Title=Canicula
	\|Has Sequence Number=11		\|Has Sequence Number=12
	\|Has Narrator=Fourth Master		\|Has Narrator=Fourth Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Aper		\|Has Short Title=Aper
	\|Has Sequence Number=12		\|Has Sequence Number=13
	\|Has Narrator=Empress		\|Has Narrator=Empress
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Canis		\|Has Short Title=Canis
	\|Has Sequence Number=13		\|Has Sequence Number=14
	\|Has Narrator=Fifth Master		\|Has Narrator=Fifth Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Pallium		\|Has Short Title=Pallium
	\|Has Sequence Number=14		\|Has Sequence Number=15
	\|Has Narrator=Fifth Master		\|Has Narrator=Fifth Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Simia		\|Has Short Title=Simia
	\|Has Sequence Number=15		\|Has Sequence Number=16
	\|Has Narrator=Empress		\|Has Narrator=Empress
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Piscis		\|Has Short Title=Piscis
	\|Has Sequence Number=16		\|Has Sequence Number=17
	\|Has Narrator=Sixth Master		\|Has Narrator=Sixth Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Elephantinus		\|Has Short Title=Elephantinus
	\|Has Sequence Number=17		\|Has Sequence Number=18
	\|Has Narrator=Sixth Master		\|Has Narrator=Sixth Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Nomina		\|Has Short Title=Nomina
	\|Has Sequence Number=22		\|Has Sequence Number=19
	\|Has Narrator=Seventh Master		\|Has Narrator=Seventh Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
	\|Has Short Title=Ingenia		\|Has Short Title=Ingenia
	\|Has Sequence Number=19		\|Has Sequence Number=20
	\|Has Narrator=Seventh Master		\|Has Narrator=Seventh Master
	}}
	~~{{EmbeddedStory~~
	~~\|Has Short Title=Amantes~~
	~~\|Has Sequence Number=20~~
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory
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	\|Has Sequence Number=21		\|Has Sequence Number=21
	\|Has Narrator=Prince		\|Has Narrator=Prince
			}}
			{{EmbeddedStory
			\|Has Short Title=Amantes
			\|Has Sequence Number=22
			\|Has Narrator=Seventh Master
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory

← Older revision		Revision as of 13:18, 18 February 2026
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	There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011), English ([[Fudge, One Hundred and One Nights (2016)]]), and German ([[Ott, 101 Nacht (2012)]]).		There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011), English ([[Fudge, One Hundred and One Nights (2016)]]), and German ([[Ott, 101 Nacht (2012)]]).
	~~\|Has Parent Version=Seven Viziers~~
	\|Has Title=مائة ليلة وليلة (Hundred and One Nights)		\|Has Title=مائة ليلة وليلة (Hundred and One Nights)
	\|Has Siglum=A101 (Hundred and One Nights)		\|Has Siglum=A101 (Hundred and One Nights)
	\|Has Branch Of Tradition=Book of Sindbad		\|Has Branch Of Tradition=Book of Sindbad
			\|Has Parent Version=Seven Viziers
	\|Has Language Of Version=Arabic		\|Has Language Of Version=Arabic
			\|Has Regional Language=Maghrebi
	\|Has Place Of Text Composition=Maghreb, Western Islamic world		\|Has Place Of Text Composition=Maghreb, Western Islamic world
	\|Has Start Date Of Composition=900		\|Has Start Date Of Composition=900
	\|Has End Date Of Composition=1350		\|Has End Date Of Composition=1350
	\|Has Source For Date Of Text Composition=Lerner (2018); Marzolph and Chraïbi (2012)		\|Has Source For Date Of Text Composition=Lerner (2018); Marzolph and Chraïbi (2012)
	~~\|Has Text Language=Arabic~~
	~~\|Has Regional Language=Maghrebi~~
	\|Has Modern Research Literature=Lerner (2018); Grotzfeld (1984); Walther (1987); Chraïbi (2008); Ott (2012); Gaudefroy-Demombynes (1911); Lacarra (2009); Krönung (2016); Marzolph and van Leeuwen (2004); Fudge (2016)		\|Has Modern Research Literature=Lerner (2018); Grotzfeld (1984); Walther (1987); Chraïbi (2008); Ott (2012); Gaudefroy-Demombynes (1911); Lacarra (2009); Krönung (2016); Marzolph and van Leeuwen (2004); Fudge (2016)
	\|Has Modern Edition=Tarshuna, Miʾat layla wa-layla (1984); Shuraybiṭ, Miʾat layla wa layla (2005); Ott, 101 Nacht (2012)		\|Has Modern Edition=Tarshuna, Miʾat layla wa-layla (1984); Shuraybiṭ, Miʾat layla wa layla (2005); Ott, 101 Nacht (2012)

← Older revision		Revision as of 13:35, 3 December 2025
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	\|Has Description=The story collection titled the ''One Hundred and One Nights'' (مائة ليلة وليلة, ''Miʾat layla wa-layla''), is linked to its longer sister-narrative, the ''Thousand and One Nights'' (ألف ليلة وليلة'', Alf layla wa-layla''). The frame story in both concerns a king who, embittered and vengeful after witnessing his wife's adultery, marries a new maiden every night, and has her executed every morning. The string of murders is broken when the king marries Shahrazād, a vizier’s daughter. Shahrazād delays her own death and keeps the king's attention by telling incomplete stories every night, promising their resolution the following evening if the king allows her to live on. In the end, Shahrazād wins the king’s affection, and all ends happily. Both the ''Thousand and One Nights'' and the ''One Hundred and One Nights'' contain a version of the Seven Sages narrative as one of the embedded stories that Shahrazād tells the king, usually referred to in English as the ''Seven Viziers''.		\|Has Description=The story collection titled the ''One Hundred and One Nights'' (مائة ليلة وليلة, ''Miʾat layla wa-layla''), is linked to its longer sister-narrative, the ''Thousand and One Nights'' (ألف ليلة وليلة'', Alf layla wa-layla''). The frame story in both concerns a king who, embittered and vengeful after witnessing his wife's adultery, marries a new maiden every night, and has her executed every morning. The string of murders is broken when the king marries Shahrazād, a vizier’s daughter. Shahrazād delays her own death and keeps the king's attention by telling incomplete stories every night, promising their resolution the following evening if the king allows her to live on. In the end, Shahrazād wins the king’s affection, and all ends happily. Both the ''Thousand and One Nights'' and the ''One Hundred and One Nights'' contain a version of the Seven Sages narrative as one of the embedded stories that Shahrazād tells the king, usually referred to in English as the ''Seven Viziers''.

	Produced in the Maghreb or Western periphery of the Muslim world (Muslim Spain or North Africa) sometime between the 10th and 14th centuries, the ''Hundred and One Nights'' differs in several respects from the ''Thousand and One Nights'' (which was composed in the Eastern region of the Islamic world, e.g. Egypt, Iran, and/or Syria). The ''One Hundred and One Nights'' contains not only fewer but also different stories than its longer analogue, and the relationship between the frame story and the embedded tales is less persistently emphasised. In fact, only two of the eighteen stories in the ''One Hundred and One Nights'' are also found in the longer text: ''The Ebony Horse,'' and the version of the Seven Sages narrative known as ''The Seven Viziers'' (Krönung 2016).		Produced in the Maghreb or Western periphery of the Muslim world (Muslim Spain or North Africa) sometime between the 10th and 14th centuries (according to [[Ott (2012)\|Ott, 2012)]], the ''Hundred and One Nights'' differs in several respects from the ''Thousand and One Nights'' (which was composed in the Eastern region of the Islamic world, e.g. Egypt, Iran, and/or Syria). The ''One Hundred and One Nights'' contains not only fewer but also different stories than its longer analogue, and the relationship between the frame story and the embedded tales is less persistently emphasised. In fact, only two of the eighteen stories in the ''One Hundred and One Nights'' are also found in the longer text: ''The Ebony Horse,'' and the version of the Seven Sages narrative known as ''The Seven Viziers'' ([[Krönung (2016)\|Krönung 2016)]].

	The version of the ''Seven Viziers'' contained within the ''One Hundred and One Nights'' shares about half of the embedded stories with the version found in the ''Thousand and One Nights.'' This iteration of the ''Seven Viziers'' is less embellished than that found in the ''Thousand and One Nights'', and diverges in some notable ways: it opens with [[Elephantus]], the story of the king and the elephant, told by the sage Sindbad as a model of an exempla prior to the storytelling contest. It includes five stories that do not appear in the ''Thousand and One Nights'' version, and it ends with the empress-figure being pardoned (Lacarra 2009).		The version of the ''Seven Viziers'' contained within the ''One Hundred and One Nights'' shares about half of the embedded stories with the version found in the ''Thousand and One Nights.'' This iteration of the ''Seven Viziers'' is less embellished than that found in the ''Thousand and One Nights'', and diverges in some notable ways: it opens with [[Elephantus]], the story of the king and the elephant, told by the sage Sindbad as a model of an exempla prior to the storytelling contest. It includes five stories that do not appear in the ''Thousand and One Nights'' version, and it ends with the empress-figure being pardoned ([[Lacarra (2009)\|Lacarra 2009]]).

	Such differentiations are central to critical analysis of the transmission history of the early 'Eastern' versions of the narrative, and to understanding the relationships between different branches of the tradition. For example, tracking these and other key distinctions, Bettina Krönung (2016) observes the 'striking closeness' between the Greek ''Syntipas'', Syriac ''Book of Sindbad'', [[Libro de los Engaños\|Spanish ''Libro de los Engaños'']], the independently transmitted [[Arabic Version A (The Seven Viziers)\|Arabic ''Seven Viziers'']], and the version in the ''One Hundred and One Nights'' (p. 374). On the other hand, the divergent story orders in the ''One Thousand and One Nights,'' Hebrew ''Mishle Sendebar,'' and the Persian ''Sindbād-nāma'' are distinct enough to reveal the shared 'cores' of the other 'Eastern' texts, and to suggest that they may represent something 'very close to the Middle Persian original' (ibid.).		Such differentiations are central to critical analysis of the transmission history of the early 'Eastern' versions of the narrative, and to understanding the relationships between different branches of the tradition. For example, tracking these and other key distinctions, Bettina Krönung (2016) observes the 'striking closeness' between the Greek ''Syntipas'', Syriac ''Book of Sindbad'', [[Libro de los Engaños\|Spanish ''Libro de los Engaños'']], the independently transmitted [[Arabic Version A (The Seven Viziers)\|Arabic ''Seven Viziers'']], and the version in the ''One Hundred and One Nights'' (p. 374). On the other hand, the divergent story orders in the ''One Thousand and One Nights,'' Hebrew ''Mishle Sendebar,'' and the Persian ''Sindbād-nāma'' are distinct enough to reveal the shared 'cores' of the other 'Eastern' texts, and to suggest that they may represent something 'very close to the Middle Persian original' (ibid.).

	There is some variation in the ''Seven Viziers'' stories contained in different manuscripts of the ''One Hundred and One Nights''. The story order below (from [[Fudge (2016)\|Fudge]]'s edition of [[Paris Bibliothèque nationale de France, Arabe 3662\|BNF Arabe 3662]]; see also Nishimura and Krönung) is broadly reflective of the pattern found in most exemplars of the ''~~101~~ Nights'', which are usually consistent from the beginning through story 18, [[Elephantinus]]. The story order listed below is also found in [[Paris Bibliothèque nationale de France, Arabe 3661\|BNF Arabe 3661]], [[Tunis Bibliothèque nationale de Tunisie, MWT 04576\|Tunis T4057]], and [[Toronto Aga Khan Museum 00513\|Aga Khan Museum]], according to Nishimura; however, the final stories vary in some other manuscripts. For example, [[Paris Bibliothèque nationale de France, Arabe 3660\|BNF Arabe 3660]] omits [[Nomina]] and concludes with the [[Amantes]] and [[Lac venenatum]] after the stories listed below. In [[Leiden Universiteit Or. 14.303\|Leiden Or. 14.303]], the story [[Ingenia 2]] follows [[Ingenia]], and the text concludes with [[Linteum]] (see Nishimura for more details).		There is some variation in the ''Seven Viziers'' stories contained in different manuscripts of the ''One Hundred and One Nights''. The story order below (from [[Fudge (2016)\|Fudge]]'s edition of [[Paris Bibliothèque nationale de France, Arabe 3662\|BNF Arabe 3662]]; see also Nishimura and Krönung) is broadly reflective of the pattern found in most exemplars of the ''One Hundred and One Nights'', which are usually consistent from the beginning through story 18, [[Elephantinus]] (The Elephant Figurine). The story order listed below is also found in [[Paris Bibliothèque nationale de France, Arabe 3661\|BNF Arabe 3661]], [[Tunis Bibliothèque nationale de Tunisie, MWT 04576\|Tunis T4057]], and [[Toronto Aga Khan Museum 00513\|Aga Khan Museum]], according to Nishimura; however, the final stories vary in some other manuscripts. For example, [[Paris Bibliothèque nationale de France, Arabe 3660\|BNF Arabe 3660]] omits [[Nomina]] and concludes with the [[Amantes]] and [[Lac venenatum]] after the stories listed below. In [[Leiden Universiteit Or. 14.303\|Leiden Or. 14.303]], the story [[Ingenia 2]] follows [[Ingenia]], and the text concludes with [[Linteum]] (see Nishimura for more details).

	There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011) ~~and~~ English (''One Hundred and One Nights'', ~~trans. by Bruce Fudge~~, ~~Library of Arabic Literature 45, New York: NYU Press, 2016~~).		There are now modern translations of the ''One Hundred and One Nights'' in Japanese, based on the Tarshūnah edition (''Hyakuichiya Monogatari: Mō hitotsu no Arabian Naito'' [''The One Hundred and One Nights: The Other “Arabian Nights”''] trans. by Akiko Sumi, Tokyo: Kawade Shobō Shinsha, 2011), English ([[Fudge, One Hundred and One Nights (2016)]]), and German ([[Ott, 101 Nacht (2012)]]).
	\|Has Parent Version=Seven Viziers		\|Has Parent Version=Seven Viziers
	\|Has Title=مائة ليلة وليلة (Hundred and One Nights)		\|Has Title=مائة ليلة وليلة (Hundred and One Nights)
Line 23:		Line 23:
	\|Has Regional Language=Maghrebi		\|Has Regional Language=Maghrebi
	\|Has Modern Research Literature=Lerner (2018); Grotzfeld (1984); Walther (1987); Chraïbi (2008); Ott (2012); Gaudefroy-Demombynes (1911); Lacarra (2009); Krönung (2016); Marzolph and van Leeuwen (2004); Fudge (2016)		\|Has Modern Research Literature=Lerner (2018); Grotzfeld (1984); Walther (1987); Chraïbi (2008); Ott (2012); Gaudefroy-Demombynes (1911); Lacarra (2009); Krönung (2016); Marzolph and van Leeuwen (2004); Fudge (2016)
	\|Has Modern Edition=~~Pétis de la Croix, Les Mille et un jours (1710-12);~~ Tarshuna, Miʾat layla wa-layla (1984); Shuraybiṭ, Miʾat layla wa layla (2005); Ott, 101 Nacht (2012)		\|Has Modern Edition=Tarshuna, Miʾat layla wa-layla (1984); Shuraybiṭ, Miʾat layla wa layla (2005); Ott, 101 Nacht (2012)
	\|Has Note=Note: the story order below (from Fudge, relying largely on BNF Arabe 3662) and Krönung) is broadly reflective of the pattern found in most exemplars of the ''101 Nights'', which are consistent from the beginning through story 18, Elephantinus. However, the final stories vary from text to text; BNF Arabe 3660 ends after Lac venenatum, following the order presented here, while in BNF Arabe 3662 and Leiden Or. 14.303, Nomina follows Elephantinus, then Ingenia, and in the Leiden text, is then followed by Linteum.		\|Has Note=Note: the story order below (from Fudge, relying largely on BNF Arabe 3662, and Krönung) is broadly reflective of the pattern found in most exemplars of the ''101 Nights'', which are consistent from the beginning through story 18, Elephantinus. However, the final stories vary from text to text; BNF Arabe 3660 ends after Lac venenatum, following the order presented here, while in BNF Arabe 3662 and Leiden Or. 14.303, Nomina follows Elephantinus, then Ingenia, and in the Leiden text, is then followed by Linteum.
	}}		}}
	{{EmbeddedStory		{{EmbeddedStory