A101 (Hundred and One Nights): Difference between revisions

Revision as of 10:50, 3 April 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. 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 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, Spanish Libro de los Engaños, the independently transmitted 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'.

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).

Identification and general Information
Reference Number
Siglum of the version of the Seven Sages	A101 (Hundred and One Nights)
Version Number
Title	مائة ليلة وليلة (Hundred and One Nights)
Author

Tradition and Lineage
Branch of the tradition	East
Adapted from (version)
Adapted into (version)
Source for composition and adaptation information

Recorded secondary versions
A101 (Hundred and One Nights) Arabic A101

Connected manuscripts

Language and Composition
Original language of version	Arabic
Language of text	Arabic
Regional or specific language of version	Maghrebi
Translated into (languages)
Place of composition	Maghreb, Western Islamic world
Date of composition	900 - 1350
Islamic date of composition
Hebrew date of composition
Source for date of composition	Lerner (2018), Marzolph and Chraïbi (2012)

Modern Scholarship and Editions
Modern research literature	Lerner (2018), Marzolph and van Leeuwen (1994), Grotzfeld (1984), Walther (1987), Chraïbi (2008), Ott (2012), Gaudefroy-Demombynes (1911), Lacarra (2009), Krönung (2016)
Modern Editions	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)

Notes and Commentary
Note
Notes on motifs
Notes on the frame

Pattern of embedded stories in this version

Connected prints
No connected prints

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 |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''.
-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. 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 ''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).
+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 A|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'.
+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 Title=مائة ليلة وليلة (Hundred and One Nights)
 |Has Siglum=A101 (Hundred and One Nights)
@@ Line 15: / Line 19: @@
 |Has Text Language=Arabic
 |Has Regional Language=Maghrebi
-|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); Lacarra (2009); Krönung (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 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.