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The edition was also rendered in the s, and the language within has not aged well -- there are all lot of "forsooth"s and "verily"s that bog down the reading.

If you're interested in a historical analysis of how these tales have been rendered over the years, by all means become familiar with the Burton version, but if you're just looking for light bedtime reading, give the Burton edition a pass.

I hope that this comparison will be helpful. Jul 18, K. Oh, the wonders of literature! While reading this book I could not help but sing the songs or hum the tunes associated with the tales: Only my father loved reading books and we had very few compared to what I have now classics and contemporary books at home.

My parents did not read to me when I was young. Those are the reasons why Oh, the wonders of literature!

Those are the reasons why I missed all those children's books. So, reading these Tales from Nights a. You see, the story of Aladdin and the Magic Lamp , although I read it just now, is so popular that we must all have seen it in movies, read in local adaptations as individual children's books or comics or even seen in TV ads.

However, if you compare the original story to the Disney-produced movie, the carpet in the book does not fly.

Rather, it just covers the distance between the entrance of the King's palace and Alladin's pavilion so that the princess, Lady Badar Al-Budur maybe the equivalent of Princess Jasmine will not walk on mud.

The story is fantastic. I admire how the magician thinks: I hate Alladin before he got rich particularly on his laziness and how he treats his old mother.

She marches like a soldier and with eyes wide and scary. Who would not remember ourselves shouting: Then expecting our mom or playmate to open it for us?

Who says that this book treats women badly? In this tale, the maid Morgiana is so smart that she saves his master's Ali Baba life several times.

I remember the tune and I thought that it is similar to "Popeye the Sailor Man" or maybe as catchy as that. Well, the tale of Sinbad the Sailor is a short one and it talks about is mistake of killing his falcon.

It is one of those tales inside another tale. The king and his brother have philandering wives who they have killed so the King does not want to have a wife anymore so he orders his vizier assistant to bring young pretty girls from the village and after one night of sex, the king orders his soldiers to kill the girl.

To survive, the wise Scheherazade tells the tales, part-by-part. The king, so eager to know what comes next, decides not to kill her until all the tales are told.

I will not tell you if she gets eventually killed in the end. Aug 21, Ali added it. This used to be a comment on my not-yet-review of the first volume of the Lyons translation of the Nights, but I thought it would be more helpful if it was a review.

I've expanded on some of my earlier comments and tried to be more critical than "I like this one" or "this one seems odd", which was all I had time to write at the time I posted the comment.

This is restr [As I have not read the Nights yet, this is not a commentary on them, but rather a comparison of the many translations available.

This is restricted to editions I have, as well as those of the Amazon review mentioned below, but I will put other editions into the review if they're submitted in the comments.

As many readers of foreign literature will tell you, trranslation can drastically affect your enjoyment of a book. There have been a couple of times when I have disliked something until I read it in a new translation, as with Camus' the Stranger.

My reaction to the original translation by Stewart Gilbert was lukewarm. I didn't dislike it, but I felt that something was missing which didn't allow me to hear his authorial voice.

Reading the Matthew Ward translation restored that something, and allowed me to enjoy the novel more thoroughly.

Nowhere is this truer than the classic Arabian Nights. There are many, many translations, both complete and partial, all of which are written in disparate styles and which all handle the more unsavory elements in different ways, and choosing one can be daunting.

TO that end, I have written commentary for the passages of eight different translations, and have tried to assess them in a manner which lays out the advantages and disadvantages of each.

I got this idea from an Amazon review where someone typed out the opening passage from the first story, which contains both sexual and racial content, to see how four different translators handled them.

I'll incorperate both her and my translations. The first four are hers though in the case of the Burton, I also own it , and the rest are mine.

Now there were in the King's palace certain windows that looked on to the garden, and, as King Shahzaman leaned there and looked out, the door of the palace opened and twenty women slaves with twenty men slaves came from it; and the wife of the King, his brother, was among them and walked there in all her bright beauty.

I like the sound of it. It's readable, the sexual and racial content is handled very well, however it's not originally translated from the Arabic, but from the French, and has been criticised for inaccuracy by purists.

Mardrus took many liberties with the texts, including the addition of extra tales from a supposed newly discovered secret manuscript that no one actually saw, and the expansion of sexual material.

Not everyone will care, I don't think I'll even care once I've read a translation originally from the Arabic, because it really is a lot of fun to read, but it's worth knowing.

One day, Shahriar had started on a great hunting match, about two days' journey from his capital; but Shahzenan, pleading ill health, was left behind.

Seems fairly competant, but the translator removes all hint of sexual indiscretion, which means that any reaction from the man watching will seem like an overreaction if all they're doing is conversing.

Yet I would recommend this version for children, because though it is sanitised, it does not go nearly to the same lengths as Now the Sultan Schahriar had a wife whom he loved more than all the world, and his greatest happiness was to surround her with splendour, and to give her the finest dresses and the most beautiful jewels.

Not recommended, at all. As you can see, it's completely different from any translation we've previously looked at, makes use of heavy paraphrasing, and results in the story being made incoherent, maybe even to the children for whom it was intended.

Sir Richard Burton this is an interesting one: Thereupon Shah Zaman drew back from the window, but he kept the bevy in sight espying them from a place whence he could not be espied.

I would ignore Burton's version outright, if not for the fact that it does have certain advantages. Yes, it is racist, turning Saeed into an almost cartoonish figure because of the words used to describe him and the sexual act.

Burton blatantly inserts his own materials into the text at will, something I can tell even not having any knowledge of the Arabic originals.

The other translators do a little of this too, but not as much as Burton. Yet I have read other parts of these tales in his translation, and I would say that they are worth at least a quick glance because of the fascinating and esoteric quality of his prose.

In reading the Burton, you almost have to learn a new way of reading, because Burton never met an obscure word or phrase he didn't like, and he freely inserted them into the Nights.

He would sometimes make up words when the ones available to him didn't suit the story. His energy and sense of diction is at many points amazing, and even with the racism, I found myself beguiled while reading him.

Also, if you can't be bothered spending money for the Lyons translation, which is what I recommend below, his versions can be found for free online.

Now there were in King Shahzeman's apartments lattice-windows overlooking his brother's garden, and as the former was sitting looking on the garden, behold a gate of the palace opened, and out came twenty damsels and twenty black slaves, and among them his brother's wife, who was wonderfully fair and beautiful.

They all came up to a fountain, where the girls and slaves took off their clothes and sat down together. Then the queen called out, "O Mesoud!

Then he lay with her, and on likewise did the other slaves with the girls. And they ceased not from kissing and clipping and cricketing and carousing until the day began to wane.

This was the basis for the Burton translation [some even criticised Burton for plagiarism, though he claimed he got permission from Payne to reuse passages].

The writing is a little flowery, in typical Victorian style, but isn't too bad otherwise. Payne's accomplishment here is hard to overstate.

He taught himself Arabic, and using this knowledge, translated the first and one of the most complete versions of the Arabian Nights we now have.

It's just too bad he only produced five hundred copies, which left Richard Burton's translation to take over and be the more influential of the two. Jonathan Scott the so-called Aldine Edition: While he was thus absorbed in grief, a circumstance occurred which attracted the whole of his attention.

A secret gate of the sultan's palace suddenly opened, and there came out of it twenty women, in the midst of whom walked the sultaness, who was easily distinguished from the rest by her majestic air.

This princess thinking that the king of Tartary was gone a-hunting with his brother the sultan, came with her retinue near the windows of his apartment.

For the prince had so placed himself that he could see all that passed in the garden without being perceived himself. He observed, that the persons who accompanied the sultaness threw off their veils and long robes, that they might be more at their ease, but he was greatly surprised to find that ten of them were black men, and that each of these took his mistress.

The sultaness, on her part, was not long without her gallant. She clapped her hands, and called "Masoud, Masoud," and immediately a black descended from a tree, and ran towards her with great speed.

Modesty will not allow, nor is it it necessary, to relate what passed between the blacks and the ladies. It is sufficient to say, that Shaw-zummaun saw enough to convince him, that his brother was as much to be pitied as himself.

This amorous company continued together till midnight, and having bathed together in a great piece of water, which was one of the chief ornaments of the garden, they dressed themselves, and re-entered the palace by the secret door, all except Masoud, who climbed up his tree, and got over the garden wall as he had come in.

I'm not sure what to think of this one. The way in which he glosses over the sex is kind of hilarious. He freely inserts new material not in the original for the sake of a better story, and the syntax is weird [piece of water?

They came to a fountain where they took off their clothes and the women sat with the men. I think this is the best version, and it's my personal recommendation.

The English is clear and readable, there are annotations, not nearly to the extent of Burton, but they are there and help, and the language has been optimised to sound good to the ear.

And finally, the partial translation by N. Dawood, also from Penguin Classics: While Shahzaman sat at one of the windows overlooking the King's garden, he saw a door open in the palace, through which came twenty slave-girls and twenty Negroes.

In their midst was his brother's queen, a woman of surpassing beauty. They made their way to the fountain, where they all undressed and sat on the grass.

The King's wife then called out: So also did the Negroes with the slave-girls, revelling together till the approach of night.

Another good and fun one. It's only a partial translation, a little over pages, but considering the quality, I don't mind that much.

It's not censored, but as with most of the translations, handles the sexual and racial content in such a way that the reader knows they exist, but does not descend into caricature or racism.

View all 24 comments. Aug 26, Madeline rated it liked it Shelves: I am planning to read through this whole book someday, I swear.

But it's going to be a slow process. Here, in list form, are the reasons I may or may not finish The Arabian Nights. Since her father is the king's vizier, she gets exempted from said batshit crazy king's plan to marry and then kill every single available virgin in the city.

But she I am planning to read through this whole book someday, I swear. But she volunteers for the job anyway, based purely on her plan to keep telling the king stories until he decides she's much too interesting to kill.

She starts a story in which a man with some unsolvable problem attempts to solve it. He meets three other men. They then meet a djin.

The men all tell stories to the djin. The djin tells stories. They tell a story in which a person meets another person, and tells them stories.

The whole book is like some kind of reverse Jenga game: There's lots of orgies and naked slave girls running around, and since Scheherazade's sister sleeps in her bedroom and is there when the king visits her every night, I got the sense that there were some kinky three-ways going on before Story Time started.

Not only that, most of the cheating women and it is always the women who sleep around in the book are found ravenously sexing up black men. It's at this point that we break for a lovely footnote by the translator that explains how black men, owing to their insanely massive genitalia, are the paramour of choice for cheating wives.

He adds that several men he knows will not allow their wives to visit Africa with them, since the danger of their being seduced by a well-hung Negro is just too high.

I am not making any of this up. Did I mention that already? View all 13 comments. This edition is a translation of the first nights from the " Nights" cycle.

One of my favorite aspects of this work is the role of Shahrazad. While many people discuss that she is telling the stories to save her own life, what people fail to recognize many times is that, really, she volunteers to be placed in the position in order to save her kingdom.

She's a great literary heroine--saving the world through storytelling. It also provides a great lens into a world that today is depicted i This edition is a translation of the first nights from the " Nights" cycle.

It also provides a great lens into a world that today is depicted in US media as a wartorn hotbed for terrorist activity.

For me it was a reminder that Bagdhad used to be a beautiful, opulent city and cultural center. Anyone with an interest in storytelling, folklore, or the culture of Persia and the Arabian world should check out this work.

Although I have no other translations for comparison, I think that this one is excellent. I found it readable, but with important words and names left untranslated.

Also, Haddawy isn't afraid to describe sexual situations plainly, without overly poetic euphamisms. What you thought was the Arabian Nights was more likely Richard Burton's bastardized, inflated 19th-century adaptation, which was as much about Richard Burton and his weird ideas about sex as it was about Arabia.

Which is sortof neither here nor there; there is no canonical version of Arabian Nights anyway. It's just an umbrella term for, basically, all of the Middle East's favorite stories.

And if the version that heavily influenced guys like Borges was Burton's, isn't Burton's version the on What you thought was the Arabian Nights was more likely Richard Burton's bastardized, inflated 19th-century adaptation, which was as much about Richard Burton and his weird ideas about sex as it was about Arabia.

And if the version that heavily influenced guys like Borges was Burton's, isn't Burton's version the one that's a cornerstone of Western fiction?

Ali Baba and the 40 Thieves is not in the original, is what I'm saying, and this is a text where the quest for an official version is in some ways doomed and pointless.

But that doesn't stop me from being all twitchy about it, because I'm an obsessive dork; I wanted to get as close as I could to the original, canonical Arabian Nights.

And here it is: Husain Haddawy has gone back to the oldest surviving version, from 14th-century Syria.

Lots of fucking, is what these stories have. It's all very Decameron. Well, sometimes it's a little confusing.

But it's always, always entertaining. There are no misses in this book at all. Haddawy's translation is good, except for his poetry, of which there's quite a bit; for all I know the original poetry was itself terrible, but it seems more likely that it's Haddawy's fault.

I ended up skimming or outright skipping all the verse; it's usually not plot-related and it's never any good.

This is one of the most important books ever written, despite its not really being a book and also not exactly having been written, and it's incredibly fun stuff.

Sep 20, Vit Babenco rated it it was amazing. It is first of all magic of the oriental world. And of course I was at once mesmerized with the incredible frame tale of Shahryar and Scheherazade.

Nowhere is so much magic as in Arabian Nights: This who appeared before thee is the Slave of the Lamp!

And of course my favourite tales are Voyages of Sindbad the Seaman… Stunning adventures in the distant lands full of fantastic beasts, evil creatures, monsters, wonders and miracles.

And most of all I was stupefied and simultaneously disgusted with Old Man of the Sea: So praised be Allah for thy safety!

Nov 27, Erik rated it it was ok Shelves: I really need a 2. As a generic, I can neither recommend nor disavow this book. Okay so the beloved Arabian Nights, tales from a thousand and one nights.

I should start with what this is NOT. This is not a linear story about a princess telling stories to a king. This is not a children's read involving genies, magic, and cyclopi I refuse to spell this any other way, no matter the red line beneath it.

This IS a collecti I really need a 2. This IS a collection of stories, probably oral traditions, dating back from ancient times. Taken on their own, many of the stories are quite fascinating.

Unfortunately, as a straight through read, I quickly became bored. The stories are, with some notable exceptions, more or less the same.

But she had no interest in being married, and her father the king, though he doted on her, could not accept this and so he locked her up. But on the other side of the world, there's a handsome gent whose eyes burned like saucers of the sun, his lips were sweeter than the nectar that camels walked thousands of miles to obtain and carry back, and his hair floated like all the Towers of Babylon.

He, also, had no interest in being married, truly he said to HIS father the other king, "I have no interest in being married," and though his father was wroth and consulted his Wazir extensively, no plan was made.

Then deus-ex-machina style, there are two omnipotent Djinnis that decide to compare the two and yadda yadda yadda. Congrats, you have had the Arabian Nights experience!

In short, this book, quaint translation included he joyed with exceeding joyness! Reading one story a week, lest you get tired of it. Unfortunately it's not good enough to keep by your bedside for several years, so where does that leave it?

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The narrator's standards for what constitutes a cliffhanger seem broader than in modern literature. While in many cases a story is cut off with the hero in danger of losing his life or another kind of deep trouble, in some parts of the full text Scheherazade stops her narration in the middle of an exposition of abstract philosophical principles or complex points of Islamic philosophy , and in one case during a detailed description of human anatomy according to Galen —and in all these cases turns out to be justified in her belief that the king's curiosity about the sequel would buy her another day of life.

The history of the Nights is extremely complex and modern scholars have made many attempts to untangle the story of how the collection as it currently exists came about.

Robert Irwin summarises their findings:. In the s and s a lot of work was done on the Nights by Zotenberg and others, in the course of which a consensus view of the history of the text emerged.

Most scholars agreed that the Nights was a composite work and that the earliest tales in it came from India and Persia. At some time, probably in the early 8th century, these tales were translated into Arabic under the title Alf Layla , or 'The Thousand Nights'.

This collection then formed the basis of The Thousand and One Nights. The original core of stories was quite small.

Then, in Iraq in the 9th or 10th century, this original core had Arab stories added to it—among them some tales about the Caliph Harun al-Rashid.

Also, perhaps from the 10th century onwards, previously independent sagas and story cycles were added to the compilation [ In the early modern period yet more stories were added to the Egyptian collections so as to swell the bulk of the text sufficiently to bring its length up to the full 1, nights of storytelling promised by the book's title.

Devices found in Sanskrit literature such as frame stories and animal fables are seen by some scholars as lying at the root of the conception of the Nights.

The influence of the Panchatantra and Baital Pachisi is particularly notable. It is possible that the influence of the Panchatantra is via a Sanskrit adaptation called the Tantropakhyana.

Only fragments of the original Sanskrit form of this work exist, but translations or adaptations exist in Tamil, [14] Lao, [15] Thai [16] and Old Javanese.

In the 10th century Ibn al-Nadim compiled a catalogue of books the "Fihrist" in Baghdad. He noted that the Sassanid kings of Iran enjoyed "evening tales and fables".

He also writes disparagingly of the collection's literary quality, observing that "it is truly a coarse book, without warmth in the telling".

In the s, the Iraqi scholar Safa Khulusi suggested on internal rather than historical evidence that the Persian writer Ibn al-Muqaffa' may have been responsible for the first Arabic translation of the frame story and some of the Persian stories later incorporated into the Nights.

This would place genesis of the collection in the 8th century. In the midth century, the scholar Nabia Abbott found a document with a few lines of an Arabic work with the title The Book of the Tale of a Thousand Nights , dating from the 9th century.

This is the earliest known surviving fragment of the Nights. Some of the earlier Persian tales may have survived within the Arabic tradition altered such that Arabic Muslim names and new locations were substituted for pre-Islamic Persian ones, but it is also clear that whole cycles of Arabic tales were eventually added to the collection and apparently replaced most of the Persian materials.

One such cycle of Arabic tales centres around a small group of historical figures from 9th-century Baghdad, including the caliph Harun al-Rashid died , his vizier Jafar al-Barmaki d.

Another cluster is a body of stories from late medieval Cairo in which are mentioned persons and places that date to as late as the thirteenth and fourteenth centuries.

Two main Arabic manuscript traditions of the Nights are known: The Syrian tradition includes the oldest manuscripts; these versions are also much shorter and include fewer tales.

It is represented in print by the so-called Calcutta I — and most notably by the Leiden edition , which is based above all on the Galland manuscript.

It is believed to be the purest expression of the style of the mediaeval Arabian Nights. Texts of the Egyptian tradition emerge later and contain many more tales of much more varied content; a much larger number of originally independent tales have been incorporated into the collection over the centuries, most of them after the Galland manuscript was written, [37] and were being included as late as in the 18th and 19th centuries, perhaps in order to attain the eponymous number of nights.

The final product of this tradition, the so-called Zotenberg Egyptian Recension , does contain nights and is reflected in print, with slight variations, by the editions known as the Bulaq and the Macnaghten or Calcutta II — All extant substantial versions of both recensions share a small common core of tales: The texts of the Syrian recension do not contain much beside that core.

It is debated which of the Arabic recensions is more "authentic" and closer to the original: The first European version — was translated into French by Antoine Galland from an Arabic text of the Syrian recension and other sources.

He wrote that he heard them from a Syrian Christian storyteller from Aleppo , a Maronite scholar whom he called "Hanna Diab. As scholars were looking for the presumed "complete" and "original" form of the Nights, they naturally turned to the more voluminous texts of the Egyptian recension, which soon came to be viewed as the "standard version".

The first translations of this kind, such as that of Edward Lane , , were bowdlerized. Burton's original 10 volumes were followed by a further six seven in the Baghdad Edition and perhaps others entitled The Supplemental Nights to the Thousand Nights and a Night , which were printed between and It has, however, been criticized for its "archaic language and extravagant idiom" and "obsessive focus on sexuality" and has even been called an "eccentric ego-trip " and a "highly personal reworking of the text".

Later versions of the Nights include that of the French doctor J. Mardrus , issued from to It was translated into English by Powys Mathers , and issued in Like Payne's and Burton's texts, it is based on the Egyptian recension and retains the erotic material, indeed expanding on it, but it has been criticized for inaccuracy.

Mahdi argued that this version is the earliest extant one a view that is largely accepted today and that it reflects most closely a "definitive" coherent text ancestral to all others that he believed to have existed during the Mamluk period a view that remains contentious.

In a new English translation was published by Penguin Classics in three volumes. It is translated by Malcolm C. Lyons and Ursula Lyons with introduction and annotations by Robert Irwin.

It contains, in addition to the standard text of Nights, the so-called "orphan stories" of Aladdin and Ali Baba as well as an alternative ending to The seventh journey of Sindbad from Antoine Galland 's original French.

As the translator himself notes in his preface to the three volumes, "1305o attempt has been made to superimpose on the translation changes that would be needed to 'rectify' Moreover, it streamlines somewhat and has cuts.

In this sense it is not, as claimed, a complete translation. Scholars have assembled a timeline concerning the publication history of The Nights: The One Thousand and One Nights and various tales within it make use of many innovative literary techniques , which the storytellers of the tales rely on for increased drama, suspense, or other emotions.

An early example of the frame story , or framing device , is employed in the One Thousand and One Nights , in which the character Scheherazade narrates a set of tales most often fairy tales to the Sultan Shahriyar over many nights.

Many of Scheherazade's tales are also frame stories, such as the Tale of Sindbad the Seaman and Sindbad the Landsman being a collection of adventures related by Sindbad the Seaman to Sindbad the Landsman.

An early example of the " story within a story " technique can be found in the One Thousand and One Nights , which can be traced back to earlier Persian and Indian storytelling traditions, most notably the Panchatantra of ancient Sanskrit literature.

The Nights , however, improved on the Panchatantra in several ways, particularly in the way a story is introduced. In the Panchatantra , stories are introduced as didactic analogies, with the frame story referring to these stories with variants of the phrase "If you're not careful, that which happened to the louse and the flea will happen to you.

The general story is narrated by an unknown narrator, and in this narration the stories are told by Scheherazade.

In most of Scheherazade's narrations there are also stories narrated, and even in some of these, there are some other stories.

Within the "Sinbad the Sailor" story itself, the protagonist Sinbad the Sailor narrates the stories of his seven voyages to Sinbad the Porter.

In yet another tale Scheherazade narrates, " The Fisherman and the Jinni ", the "Tale of the Wazir and the Sage Duban " is narrated within it, and within that there are three more tales narrated.

Dramatic visualization is "the representing of an object or character with an abundance of descriptive detail, or the mimetic rendering of gestures and dialogue in such a way as to make a given scene 'visual' or imaginatively present to an audience".

This technique dates back to the One Thousand and One Nights. A common theme in many Arabian Nights tales is fate and destiny. The Italian filmmaker Pier Paolo Pasolini observed: So a chain of anomalies is set up.

And the more logical, tightly knit, essential this chain is, the more beautiful the tale. By 'beautiful' I mean vital, absorbing and exhilarating.

The chain of anomalies always tends to lead back to normality. The end of every tale in The One Thousand and One Nights consists of a 'disappearance' of destiny, which sinks back to the somnolence of daily life The protagonist of the stories is in fact destiny itself.

Though invisible, fate may be considered a leading character in the One Thousand and One Nights. Early examples of the foreshadowing technique of repetitive designation , now known as " Chekhov's gun ", occur in the One Thousand and One Nights , which contains "repeated references to some character or object which appears insignificant when first mentioned but which reappears later to intrude suddenly in the narrative".

Another early foreshadowing technique is formal patterning , "the organization of the events, actions and gestures which constitute a narrative and give shape to a story; when done well, formal patterning allows the audience the pleasure of discerning and anticipating the structure of the plot as it unfolds".

This technique is also found in One Thousand and One Nights. Another form of foreshadowing is the self-fulfilling prophecy , which dates back to the story of Krishna in ancient Sanskrit literature , and Oedipus or the death of Heracles in the plays of Sophocles.

A variation of this device is the self-fulfilling dream, which can be found in Arabic literature or the dreams of Joseph and his conflicts with his brothers, in the Hebrew Bible.

Several tales in the One Thousand and One Nights use this device to foreshadow what is going to happen, as a special form of literary prolepsis.

A notable example is "The Ruined Man who Became Rich Again through a Dream", in which a man is told in his dream to leave his native city of Baghdad and travel to Cairo , where he will discover the whereabouts of some hidden treasure.

The man travels there and experiences misfortune, ending up in jail, where he tells his dream to a police officer.

The officer mocks the idea of foreboding dreams and tells the protagonist that he himself had a dream about a house with a courtyard and fountain in Baghdad where treasure is buried under the fountain.

The man recognizes the place as his own house and, after he is released from jail, he returns home and digs up the treasure. In other words, the foreboding dream not only predicted the future, but the dream was the cause of its prediction coming true.

Another variation of the self-fulfilling prophecy can be seen in "The Tale of Attaf", where Harun al-Rashid consults his library the House of Wisdom , reads a random book, "falls to laughing and weeping and dismisses the faithful vizier Ja'far ibn Yahya from sight.

Ja'afar, "disturbed and upset flees Baghdad and plunges into a series of adventures in Damascus , involving Attaf and the woman whom Attaf eventually marries.

In other words, it was Harun's reading of the book that provoked the adventures described in the book to take place. This is an early example of reverse causation.

In the 12th century, this tale was translated into Latin by Petrus Alphonsi and included in his Disciplina Clericalis , [61] alongside the " Sindibad " story cycle.

Leitwortstil is 'the purposeful repetition of words' in a given literary piece that "usually expresses a motif or theme important to the given story".

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