Arabic Version A101 (Hundred and One Nights): Difference between revisions
From The Seven Sages of Rome
No edit summary |
No edit summary |
||
| Line 3: | Line 3: | ||
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. 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.'' | 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. 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.'' | ||
The ''One Hundred and One Nights'' was translated into 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 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) | ||
| Line 15: | Line 17: | ||
|Has Modern Research Literature=Lerner (2018); Marzolph and van Leeuwen (1994); Grotzfeld (1984); Walther (1987); Chraïbi (2008); Ott (2012); Gaudefroy-Demombynes (1911) | |Has Modern Research Literature=Lerner (2018); Marzolph and van Leeuwen (1994); Grotzfeld (1984); Walther (1987); Chraïbi (2008); Ott (2012); Gaudefroy-Demombynes (1911) | ||
|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 ( | |Has Note=Note: the story order below (from Nishimura) 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 | ||
Revision as of 15:51, 29 January 2025
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.
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. 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.
The One Hundred and One Nights was translated into 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).
Identification & General Information
Tradition & Lineage
Branch of the tradition
Recorded Secondary Versions
Connected Manuscripts
Language & Composition
Place of composition
Date of Composition
900 - 1350
Source for date of composition
Modern Scholarship & Editions
Modern research literature
Notes & Commentary
Note
Note: the story order below (from Nishimura) 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.
Pattern of Embedded Stories in This Version
| Has Short Title | Has Sequence Number | Has Narrator | Has Name Variation |
|---|---|---|---|
| Elephantus | 1 | Sindbad | |
| Leo | 2 | First Master | |
| Avis – The Bird | 3 | First Master | |
| Lavator | 4 | Empress | |
| Panes | 5 | Second Master | |
| Gladius – The Drawn Sword | 6 | Second Master | |
| Striga – The Prince and the Ogress | 7 | Empress | |
| Mel | 8 | Third Master | |
| Zuchara | 9 | Third Master | |
| Fons | 10 | Empress | |
| Balneator | 11 | Fourth Master | |
| Canicula – The Weeping Dog | 12 | Fourth Master | |
| Aper – The Boar and the Fruit | 13 | Empress | |
| Canis – The Faithful Dog | 14 | Fifth Master | |
| Pallium | 15 | Fifth Master | |
| Simia | 16 | Empress | |
| Piscis | 17 | Sixth Master | |
| Elephantinus | 18 | Sixth Master | |
| Nomina | 19 | Seventh Master |