1001 Arabian Nights In Telugu

BALANANDA BOMMALA ARABIAN NIGHTS- ABDUTA KATHALU PART 1 Vijayawada: Navratna Book House. Telugu toTelugu dictionary of synonyms and etymologly written. Download 1001 Arabian Nights The Adventures of Sinbad torrent or any other torrent from Comics category. 'The Arabian Nights' is a magnificent collection of ancient tales told by the sultana Scheherazade, who relates them as entertainment for her jealous and. The Arabian Nights include fairy tales, fables, romances, farces, legends, and parables. The tales use a sweeping variety of settings, including Baghdad, Basrah, Cairo and Damascus, as well as China, Greece, India, North Africa and Turkey.

ABU DHABI, United Arab Emirates – It's all about sex. That, at least, was the surprise conclusion that came bursting out of a panel discussion Monday on what people in the Arab world are looking for when they go to the Internet. In other words, they are like Web surfers everywhere else in the world. Ramzi El Khoury, the founder of an Arabic-language Internet portal, kicked up the temperature on the discussion during the second International Summit on Internet and Multimedia when he cited a study that found that 80 percent of Arab-world Internet traffic heads for sex sites. 'I disagree with Ramzi when he says that 80 percent of the traffic goes to sex sites,' said Khaldoon Tabaza, co-founder of Arabia Online in Amman, Jordan. 'Of course there is a much bigger need in the Arab world because of the sexual suppression,' he said. 'If it's illegal, then people want it.

It's not because they are oversexed, or their sexual needs are more than other people. But if you make something illegal, especially something as natural as sex, then it becomes more in demand.

'Certain countries have very strict cultural and government regulation regarding the subject of sex. In Jordan, for example, you can have a girlfriend and have sex before marriage. But not in a lot of the other countries.' The United Arab Emirates, like many other countries in the Arab world, block users from accessing such content – or at least try. For example, if a visitor at the Abu Dhabi Hilton types in www.playboy.com, he encounters a stop sign.

A message pops up on the screen announcing that the site in question is on the 'Emirates Internet Control List.' The screen shows what looks like a large diamond-shaped stop sign reading, 'Blocked site,' flashing in English and Arabic. 'Emirates Internet denies access to this site,' the page reads. 'For more information on Emirates Internet services,.' El Khoury and others who favor political and cultural liberalization in the Arab world see the lure of the sex sites as a good thing. It gets people thinking about the larger world out there.

'We have to ask ourselves: Should government be allowed to censor the Internet?' 'Here in the United Arab Emirates and in Saudi Arabia and in Syria, there are government-controlled proxies that block traffic and filter it. So you cannot go to certain sites. 'Some proxies are advanced and powerful enough to block your searches. But no proxy is perfect. So people living in these countries become amateur hackers.

They teach each other ways to reach certain sites.' And it's not like they are ever lacking in motivation, either. More importantly, El Khoury and others believe there are important social trends at work here.

Sex is both graphic reality and metaphor for the possibilities out there, including something as taken for granted in the United States as news of the world. Some of that traffic will be devoted to such mundane matters as e-commerce for basic household necessities. Haddad was arguing for that as a major advance. But not everyone agreed. 'I do not agree that you have to help the housewife to get a bar of soap or whatever she wants,' said Hosam El Sokkari, head of BBCArabic, which provides original Arabic-language news reporting on its site. News like that from the outside world – El Sokkari works in London – changes the way people in the Arab world have access to information, not just directly, but indirectly.

Arabic papers are gaining more freedom, bit by bit. 'Because a piece of news appears on the Internet, the newspaper is able to say, 'I am not publishing this news, I am not breaking this story, I am only republishing it,' El Khoury said. 'To censors, this is an important distinction. 'The governments have not changed in the Middle East. But they are forced to deal with a new reality. They need the Internet.

They need IT. They have a choice: Either they are going to become backward, or they are going to liberalize.

They are either going to allow their people to use the new technology that other people are using, or they are going to destroy their countries. What choice do they have? 'People like me see the Internet as an opportunity to work toward real, democratic government. It is a force too powerful for any government to stop, unless they want to harm their own people. And in the Arab world, governments are patriarchal. They do not want to harm their own people.

So it is just a matter of time.'

. One Thousand and One Nights (: أَلْف لَيْلَة وَلَيْلَة‎, ʾAlf layla wa-layla) is a collection of folk tales compiled in Arabic during the. It is often known in English as the Arabian Nights, from the first English-language edition (c. 1721), which rendered the title as The Arabian Nights' Entertainment. The work was collected over many centuries by various authors, translators, and scholars across West, Central, and South Asia and North Africa. The tales themselves trace their roots back to ancient and medieval, and folklore and literature.

In particular, many tales were originally folk stories from the, while others, especially the frame story, are most probably drawn from the Hezār Afsān (: هزار افسان‎, lit. A Thousand Tales), which in turn relied partly on Indian elements. What is common throughout all the editions of the Nights is the initial of the ruler and his wife and the incorporated throughout the tales themselves. The stories proceed from this original tale; some are framed within other tales, while others begin and end of their own accord. Some editions contain only a few hundred nights, while others include 1,001 or more.

The bulk of the text is in prose, although verse is occasionally used for songs and riddles and to express heightened emotion. Most of the poems are single or, although some are longer.

Some of the stories commonly associated with The Nights, in particular ', ', and ', were not part of The Nights in its original Arabic versions but were added to the collection by and other European translators. Scheherazade and Shahryār by, 1880 The main concerns Shahryār (: شهريار‎, from šahr-dār, lit.

'holder of realm' ), whom the narrator calls a ' king' ruling in 'India and China'. He is shocked to learn that his brother's wife is unfaithful; discovering that his own wife's infidelity has been even more flagrant, he has her killed. In his bitterness and grief, he decides that all women are the same. Shahryār begins to marry a succession of virgins only to execute each one the next morning, before she has a chance to dishonour him. Eventually the, whose duty it is to provide them, cannot find any more virgins. (: شهرزاد‎, from Middle Persian čehr/lineage + āzād/noble ), the vizier's daughter, offers herself as the next bride and her father reluctantly agrees.

On the night of their marriage, Scheherazade begins to tell the king a tale, but does not end it. The king, curious about how the story ends, is thus forced to postpone her execution in order to hear the conclusion. The next night, as soon as she finishes the tale, she begins (and only begins) a new one, and the king, eager to hear the conclusion of this tale, postpones her execution once again. This goes on for 1,001 nights. The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, and various forms of.

Numerous stories depict, sorcerers, magicians, and legendary places, which are often intermingled with real people and geography, not always rationally. Common include the historical, his, and the famous poet, despite the fact that these figures lived some 200 years after the fall of the, in which the frame tale of Scheherazade is set. Sometimes a character in Scheherazade's tale will begin telling other characters a story of his own, and that story may have another one told within it, resulting in a richly layered narrative texture. An Abbasid of the One Thousand and One Nights The different versions have different individually detailed endings (in some Scheherazade asks for a pardon, in some the king sees their children and decides not to execute his wife, in some other things happen that make the king distracted) but they all end with the king giving his wife a pardon and sparing her life. The narrator's standards for what constitutes a 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, and in one case during a detailed description of according to —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. History: versions and translations 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.

Summarises their findings: 'In the 1880s and 1890s a lot of work was done on the Nights by 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 and. 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.

Also, perhaps from the 10th century onwards, previously independent sagas and story cycles were added to the compilation. Then, from the 13th century onwards, a further layer of stories was added in Syria and Egypt, many of these showing a preoccupation with sex, magic or low life. 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 1,001 nights of storytelling promised by the book’s title.'

Possible Indian influence 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 motif of the wise young woman who delays and finally removes an impending danger by telling stories has been traced back to Indian sources. Indian folklore is represented in the Nights by certain animal stories, which reflect influence from ancient. The influence of the and is particularly notable. Are a collection of 547, which are for the most part moral stories with an ethical purpose. The Tale of the Bull and the Ass and the linked Tale of the Merchant and his Wife are found in the frame stories of both the Jataka and the Nights. It is possible that the influence of the 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, Lao, Thai and Old Javanese. The frame story is particularly interesting, as it follows the broad outline of a concubine telling stories in order to maintain the interest and favour of a king—although the basis of the collection of stories is from the Panchatantra—with its original Indian setting. The Panchatantra and various tales from Jatakas were first translated into Persian by in 570 CE, they were later translated into Arabic by in 750 CE. The Arabic version was translated into several languages, including Syriac, Greek, Hebrew and Spanish. Persian prototype: Hezār Afsān.

A page from Kelileh va Demneh dated 1429, from Herat, a Persian version of the Panchatantra – depicts the manipulative jackal-vizier, Dimna, trying to lead his lion-king into war. The earliest mentions of the Nights refer to it as an Arabic translation from a Persian book, Hezār Afsān (or Afsaneh or Afsana), meaning 'The Thousand Stories'. In the 10th century compiled a catalogue of books (the 'Fihrist') in Baghdad. He noted that the kings of Iran enjoyed 'evening tales and fables'. Al-Nadim then writes about the Persian Hezār Afsān, explaining the frame story it employs: a bloodthirsty king kills off a succession of wives after their wedding night; finally one concubine had the intelligence to save herself by telling him a story every evening, leaving each tale unfinished until the next night so that the king would delay her execution. In the same century also refers to the Hezār Afsān, saying the Arabic translation is called Alf Khurafa ('A Thousand Entertaining Tales') but is generally known as Alf Layla ('A Thousand Nights'). He mentions the characters Shirāzd (Scheherazade) and Dināzād.

No physical evidence of the Hezār Afsān has survived, so its exact relationship with the existing later Arabic versions remains a mystery. Apart from the Scheherazade frame story, several other tales have Persian origins, although it is unclear how they entered the collection. These stories include the cycle of 'King Jali'ad and his Wazir Shimas' and 'The Ten Wazirs or the History of King Azadbakht and his Son' (derived from the 7th-century Persian Bakhtiyārnāma).

In the 1950s, the scholar suggested (on internal rather than historical evidence) that the Persian writer 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. Arabic versions. The story of Princess Parizade and the Magic Tree. In the mid-20th century, the scholar 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.

The first reference to the Arabic version under its full title The One Thousand and One Nights appears in Cairo in the 12th century. Professor Dwight Reynolds describes the subsequent transformations of the Arabic version: 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 (died 809), his vizier (d.803) and the licentious poet (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 and the Egyptian. 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 (1814–1818) and most notably by the Leiden edition (1984), which is based above all on the 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, and were being included as late as in the 18th and 19th centuries, perhaps in order to attain the eponymous number of 1001 nights. The final product of this tradition, the so-called Egyptian, does contain 1001 nights and is reflected in print, with slight variations, by the editions known as the Bulaq (1835) and the Macnaghten or Calcutta II (1839–1842). All extant substantial versions of both recensions share a small common core of tales:. The Merchant and the Genie. The Porter and the Three Ladies.

The Hunchback cycle. Nur al-Din Ali and Anis al-Jalis.

Ali Ibn Bakkar and Shams al-Nahar 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 Egyptian ones have been modified more extensively and more recently, and scholars such as have suspected that this may have been caused in part by European demand for a 'complete version'; but it appears that this type of modification has been common throughout the history of the collection, and independent tales have always been added to it.

Modern translations. Sinbad the sailor and Ali Baba and the forty thieves by, 1896 The first European version (1704–1717) was translated into by from an Arabic text of the Syrian recension and other sources. This 12-volume work, ('The Thousand and one nights, Arab stories translated into French'), included stories that were not in the original Arabic manuscript. 'Aladdin's Lamp', 'Ali Baba and the Forty Thieves' and 'The Seven Voyages of Sinbad the Sailor' (as well as several other, lesser known tales) appeared first in Galland's translation and cannot be found in any of the original manuscripts. He wrote that he heard them from a storyteller from, a scholar whom he called 'Hanna Diab.' Galland's version of the Nights was immensely popular throughout Europe, and later versions were issued by Galland's publisher using Galland's name without his consent.

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 (1840, 1859), were. Unabridged and unexpurgated translations were made, first by, under the title The Book of the Thousand Nights and One Night (1882, nine volumes), and then by, entitled (1885, ten volumes) – the latter was, according to some assessments, partially based on the former, leading to charges of. In view of the imagery in the source texts (which Burton even emphasized further, especially by adding extensive footnotes and appendices on Oriental sexual mores ) and the strict laws on obscene material, both of these translations were printed as private editions for subscribers only, rather than published in the usual manner. 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 1886 and 1888. It has, however, been criticized for its 'archaic language and extravagant idiom' and 'obsessive focus on sexuality' (and has even been called an 'eccentric ' and a 'highly personal reworking of the text').

Later versions of the Nights include that of the doctor, issued from 1898 to 1904. It was translated into English by, and issued in 1923.

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. A notable recent version, which reverts to the recension, is a critical edition based on the 14th or 15th-century manuscript in the, originally used by Galland. This version, known as the Leiden text, was compiled in Arabic by (1984) and rendered into English by Husain Haddawy (1990). 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 period (a view that remains contentious). Still, even scholars who deny this version the exclusive status of 'the only real Arabian Nights' recognize it as being the best source on the original style and linguistic form of the mediaeval work and praise the Haddawy translation as 'very readable' and 'strongly recommended for anyone who wishes to taste the authentic flavour of those tales'.

An additional second volume of Arabian nights translated by Haddawy, composed of popular tales not present in the Leiden edition, was published in 1995. In 2008 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.

This is the first complete translation of the Macnaghten or Calcutta II edition (Egyptian recension) since Burton's. It contains, in addition to the standard text of 1001 Nights, the so-called 'orphan stories' of and as well as an alternative ending to The seventh journey of from 's original French. As the translator himself notes in his preface to the three volumes, 'No attempt has been made to superimpose on the translation changes that would be needed to 'rectify'.

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Repetitions, non sequiturs and confusions that mark the present text,' and the work is a 'representation of what is primarily oral literature, appealing to the ear rather than the eye'. The Lyons translation includes all the poetry (in plain prose paraphrase) but does not attempt to reproduce in English the internal rhyming of some prose sections of the original Arabic.

Moreover, it streamlines somewhat and has cuts. In this sense it is not, as claimed, a complete translation. Timeline. Illustration of One Thousand and One Nights by, Iran, 1853 The One Thousand and One Nights and various tales within it make use of many innovative, which the storytellers of the tales rely on for increased drama, suspense, or other emotions.

Some of these date back to earlier, and, while others were original to the One Thousand and One Nights. Frame story An early example of the, or, is employed in the One Thousand and One Nights, in which the character narrates a set of tales (most often ) to the Sultan over many nights. Many of Scheherazade's tales are also frame stories, such as the being a collection of adventures related by Sindbad the Seaman to Sindbad the Landsman. The concept of the frame story dates back to ancient, and was introduced into Persian and Arabic literature through the. Embedded narrative An early example of the ' 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 of ancient.

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 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.' In the Nights, this didactic framework is the least common way of introducing the story, but instead, a story is most commonly introduced through subtle means, particularly as an answer to questions raised in a previous tale.

The general story is narrated by an unknown narrator, and in this narration the stories are told. In most of Scheherazade's narrations there are also stories narrated, and even in some of these, there are some other stories. This is particularly the case for the ' story narrated by Scheherazade in the One Thousand and One Nights. Within the 'Sinbad the Sailor' story itself, the protagonist Sinbad the Sailor narrates the stories of his seven voyages to Sinbad the Porter.

The device is also used to great effect in stories such as ' and '. In yet another tale Scheherazade narrates, ', the 'Tale of the Wazir and the Sage ' is narrated within it, and within that there are three more tales narrated. Dramatic visualization 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. An example of this is the tale of 'The Three Apples' (see below). Fate and destiny A common in many Arabian Nights tales is and. The filmmaker observed: every tale in The Thousand and One Nights begins with an 'appearance of destiny' which manifests itself through an anomaly, and one anomaly always generates another.

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 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. The plot devices often used to present this theme are, and the (see below).

And the Valley of Diamonds, from the Second Voyage. Early examples of the technique of, now known as ', 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'. A notable example is in the tale of 'The Three Apples' (see below). 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 also dates back to the One Thousand and One Nights. Another form of foreshadowing is the, which dates back to the story of in ancient, and or the death of in the plays of. A variation of this device is the self-fulfilling dream, which dates back to medieval (or the dreams of Joseph and his conflicts with his brothers, in the ).

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. 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 and travel to, 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.

A variant of this story later appears in as the ' and 's '; ' collection of short stories featured his translation of this particular story into Spanish, as 'The Story Of The Two Dreamers.' Another variation of the self-fulfilling prophecy can be seen in 'The Tale of Attaf', where consults his library (the ), reads a random book, 'falls to laughing and weeping and dismisses the faithful ' from sight. Ja'afar, 'disturbed and upset flees Baghdad and plunges into a series of adventures in, involving Attaf and the woman whom Attaf eventually marries.' After returning to Baghdad, Ja'afar reads the same book that caused Harun to laugh and weep, and discovers that it describes his own adventures with Attaf. 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.

Near the end of the tale, Attaf is given a death sentence for a crime he didn't commit but Harun, knowing the truth from what he has read in the book, prevents this and has Attaf released from prison. In the 12th century, this tale was by and included in his, alongside the ' story cycle. In the 14th century, a version of 'The Tale of Attaf' also appears in the and 's. Repetition. Illustration of One Thousand and One Nights by, Iran, 1849–1856 is 'the purposeful of words' in a given literary piece that 'usually expresses a or important to the given story'. This device occurs in the One Thousand and One Nights, which binds several tales in a story cycle.

The storytellers of the tales relied on this technique 'to shape the constituent members of their story cycles into a coherent whole.' Is 'the distribution of recurrent concepts and moralistic among the various incidents and frames of a story. In a skillfully crafted tale, thematic patterning may be arranged so as to emphasize the unifying argument or salient idea which disparate events and disparate frames have in common'. This technique also dates back to the One Thousand and One Nights (and earlier). Several different variants of the ' story, which has its origins in the Egyptian story of, appear in the One Thousand and One Nights, including 'The Second Shaykh's Story', 'The Eldest Lady's Tale' and 'Abdallah ibn Fadil and His Brothers', all dealing with the theme of a younger sibling harassed by two jealous elders.

In some of these, the siblings are female, while in others they are male. One of the tales, 'Judar and His Brethren', departs from the of previous variants and reworks the plot to give it a ending instead, with the younger brother being poisoned by his elder brothers. Sexual humour The Nights contain many examples of sexual humour. Some of this borders on, as in the tale called 'Ali with the Large Member' which pokes fun at obsession with.

Unreliable narrator The literary device of the was used in several fictional medieval of the One Thousand and One Nights. In one tale, 'The Seven Viziers' (also known as 'Craft and Malice of Women or The Tale of the King, His Son, His Concubine and the Seven Wazirs'), a accuses a king's son of having assaulted her, when in reality she had failed to seduce him (inspired by the / story of /). Seven attempt to save his life by narrating seven stories to prove the unreliability of women, and the courtesan responds back by narrating a story to prove the unreliability of viziers. The unreliable narrator device is also used to generate in 'The Three Apples' and in 'The Hunchback's Tale' (see below). Crime fiction elements. Illustration depicting and the thieves from.

An example of the and genres in the collection, with multiple and elements was ', also known as Hikayat al-sabiyya 'l-maqtula ('The Tale of the Murdered Young Woman'), one of the tales narrated by in the One Thousand and One Nights. In this tale, comes to possess a chest, which, when opened, contains the body of a young woman. Harun gives his vizier, three days to find the culprit or be executed. At the end of three days, when Ja’far is about to be executed for his failure, two men come forward, both claiming to be the murderer. As they tell their story it transpires that, although the younger of them, the woman’s husband, was responsible for her death, some of the blame attaches to a slave, who had taken one of the apples mentioned in the title and caused the woman’s murder. Harun then gives Ja’far three more days to find the guilty slave.

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When he yet again fails to find the culprit, and bids his family goodbye before his execution, he discovers by chance his daughter has the apple, which she obtained from Ja’far’s own slave, Rayhan. Thus the mystery is solved. Another Nights tale with elements was 'The Hunchback's Tale' story cycle which, unlike 'The Three Apples', was more of a and rather than a murder mystery or detective fiction. The story is set in a fictional China and begins with a hunchback, the emperor's favourite, being invited to dinner by a couple. The hunchback accidentally chokes on his food from laughing too hard and the couple, fearful that the emperor will be furious, take his body to a 's and leave him there. This leads to the next tale in the cycle, the 'Tale of the Jewish Doctor', where the doctor accidentally trips over the hunchback's body, falls down the stairs with him, and finds him dead, leading him to believe that the fall had killed him. The doctor then dumps his body down a chimney, and this leads to yet another tale in the cycle, which continues with twelve tales in total, leading to all the people involved in this incident finding themselves in a, all making over how the hunchback had died.

Crime fiction elements are also present near the end of 'The Tale of Attaf' (see above). Horror fiction elements is used as a in and, as well as modern. Legends about have long appeared in literature. In particular, the Arabian Nights tale of 'Ali the Cairene and the Haunted House in Baghdad' revolves around a house haunted.

The Nights is almost certainly the earliest surviving literature that mentions, and many of the stories in that collection involve or reference ghouls. A prime example is the story The History of Gherib and His Brother Agib (from Nights vol.

6), in which Gherib, an outcast prince, fights off a family of ravenous Ghouls and then enslaves them and converts them to. Horror fiction elements are also found in 'The City of Brass' tale, which revolves around a. The horrific nature of 's situation is magnified in 's, in which the protagonist is forced to write a novel to keep his captor from torturing and killing him. The influence of the Nights on modern horror fiction is certainly discernible in the work of. As a child, he was fascinated by the adventures recounted in the book, and he attributes some of his creations to his love of the 1001 Nights.

Fantasy and science fiction elements. Illustration of the story of Prince Ahmed and the Fairy Paribanou, More tales from the Arabian nights by Willy Pogany (1915) Several stories within the One Thousand and One Nights feature early elements. One example is 'The Adventures of Bulukiya', where the Bulukiya's quest for the leads him to explore the seas, journey to and to, and travel across the to different worlds much larger than his own world, anticipating elements of science fiction; along the way, he encounters societies of, talking, talking trees, and other forms of life. In 'Abu al-Husn and His Slave-Girl Tawaddud', the heroine Tawaddud gives an impromptu on the mansions of the, and the benevolent and sinister aspects of the planets. In another 1001 Nights tale, 'Abdullah the Fisherman and Abdullah the Merman', the protagonist Abdullah the Fisherman gains the ability to breathe underwater and discovers an underwater society that is portrayed as an inverted reflection of society on land, in that the underwater society follows a form of where concepts like money and clothing do not exist.

Other Arabian Nights tales also depict societies dominated by women, lost ancient technologies, advanced ancient civilizations that went astray, and catastrophes which overwhelmed them. 'The City of Brass' features a group of travellers on an expedition across the to find an ancient lost city and attempt to recover a brass vessel that once used to trap a, and, along the way, encounter a queen, inhabitants, lifelike and, seductive dancing without strings, and a brass horseman who directs the party towards the ancient city, which has now become a. The 'Third Qalandar's Tale' also features a robot in the form of an uncanny. The Flying Carpet, a depiction of the hero of Russian folklore,.

The influence of the versions of The Nights on world literature is immense. Writers as diverse as to have alluded to the collection by name in their own works. Other writers who have been influenced by the Nights include, and. Various characters from this epic have themselves become cultural icons in Western culture, such as, and. Part of its popularity may have sprung from improved standards of historical and geographical knowledge. The marvelous beings and events typical of fairy tales seem less incredible if they are set further 'long ago' or farther 'far away'; this process culminates in the having little connection, if any, to actual times and places. Several elements from are now common in modern, such as, magic lamps, etc.

When proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go. In 1982, the (IAU) began naming features on 's moon after characters and places in 's translation because “its surface is so strange and mysterious that it was given the Arabian Nights as a name bank, linking fantasy landscape with a literary fantasy”. In Arab culture There is little evidence that the Nights was particularly treasured in the Arab world. It is rarely mentioned in lists of popular literature and few pre-18th-century manuscripts of the collection exist. Fiction had a low cultural status among Medieval Arabs compared with poetry, and the tales were dismissed as khurafa (improbable fantasies fit only for entertaining women and children). According to Robert Irwin, 'Even today, with the exception of certain writers and academics, the Nights is regarded with disdain in the Arabic world. Its stories are regularly denounced as vulgar, improbable, childish and, above all, badly written.'

Nevertheless; the Nights have proved an inspiration to some modern Egyptian writers, such as (author of the play Shahrazad, 1934), ( Scheherazade's Dreams, 1943) and (, 1981). Possible early influence on European literature Although the first known translation into a European language only appeared in 1704, it is possible that the Nights began exerting its influence on Western culture much earlier. Christian writers in Medieval Spain translated many works from Arabic, mainly philosophy and mathematics, but also Arab fiction, as is evidenced by 's story collection and 's The Book of Beasts. Knowledge of the work, direct or indirect, apparently spread beyond Spain. Themes and motifs with parallels in the Nights are found in 's (in the hero travels on a flying brass horse) and 's.

Echoes in 's Novelle and 's suggest that the story of Shahriyar and Shahzaman was also known. Evidence also appears to show that the stories had spread to the and a translation of the Nights into existed by the 17th century, itself based on a Greek version of the collection. Western literature from the 18th century onwards.