One Thousand and One Nights
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Manuscripts of Arabic fairy tales
The Book of the Thousand and One Nights (Arabic: ─تابللش ليلة وليلة kitāb ' alf layla wa layla; Persian: هزار و ي ي شب hazār va ayak šab) is a monument of medieval Arabic and Persian literature, a collection of short stories framed by the story of the Persian king Shahriyar and his wife named Scheherazade (Scheherazade).
Content
1 History of creation 1.1 Hammer Purgstahl hypothesis 1.2 de Sacy hypothesis 1.3 Lane Hypothesis 1.4 Estrup Hypothesis
2 Contents 2.1 Heroic fairy tales 2.2 Adventurous fairy tales 2.3 Roguish fairy tales
3 Editions of the text 4 Translations 5 Notes 6 Literature 7 References
Creation history[edit / edit wiki text]
The question of the origin and development of "1001 nights" has not been fully clarified to date.
Attempts to search for the ancestral home of this collection in India, made by its first researchers, have not yet received sufficient justification.
The prototype of the "Nights" on Arabic soil was probably a translation of the Persian collection "Hezar Afsane" ("A Thousand legends", from the Persian words "Hezar" — "a thousand", "Afsane" — "fairy tale, legend") made in the X century.
This translation, which was called "A Thousand Nights" or "A Thousand and One Nights", was, as the Arab writers of that time testify, very popular in the capital of the eastern caliphate, in Baghdad.
We cannot judge his character, since only the story that frames him, coinciding with the frame of "1001 nights", has reached us.
Various stories were inserted into this convenient frame at different times, sometimes whole cycles of stories, in turn framed, such as "The Tale of the Hunchback", "The Porter and the Three Girls" and others.
Individual fairy tales of the collection, before their inclusion in the written text, often existed independently, sometimes in a more common form.
It can be assumed with great reason that the first editors of the text of fairy tales were professional storytellers who borrowed their material directly from oral sources; under the dictation of the storytellers, fairy tales were recorded by booksellers who sought to satisfy the demand for the manuscripts of "1001 nights".
Hammer Purgstahl's hypothesis[edit / edit wiki text]
When studying the question of the origin and composition of the collection, European scientists diverged in two directions.
Josef von Hammer Purgstahl stood for their Indian and Persian origin, referring to the words of Mas'udiya and the bibliographer An Nadim (before 987), that the old Persian collection "Hezâr efsâne" ("A Thousand Fairy Tales"), of either Achaemenid, Arshakid and Sasanian origin, was translated by the best Arab writers under the Abbasids into Arabic and is known as"1001 Nights".
According to Hammer's theory, the translation of the Persian "Hezar Efsane", which was constantly being rewritten, grew and took, even under the Abbasids, new layers and new additions into its convenient frame, mostly from other similar Indo—Persian collections (among which, for example, "The Book of Sinbad") or even from Greek works; when the center of Arab literary prosperity was transferred from Asia to Egypt in the XII — XIII centuries, 1001 nights was intensively copied there and again received new ones under the pen of new scribes layers: a group of stories about the glorious past times of the caliphate with the central figure of Caliph Harun ar Rashid (786-809), and a little later their local stories from the period of the Egyptian dynasty of the second Mamelukes (the so called Circassian or Borjite).
When the conquest of Egypt by the Ottoman Empire undermined Arab intellectual life and literature, "1001 nights", according to Hammer, stopped growing and was preserved in the form in which it was found by the Ottoman conquest.
The de Sacy hypothesis[edit / edit wiki text]
A radically opposite view was expressed by Sylvester de Sacy.
He argued that the whole spirit and worldview of "1001 nights" is thoroughly Muslim, the mores are Arabic and, moreover, quite late, no longer of the Abbasid period, the usual scene of action is Arab places (Baghdad, Mosul, Damascus, Cairo), the language is not classical Arabic, but rather vernacular, with the manifestation, apparently, of Syrian dialect features, that is, close to the era of literary decline.
Hence, de Sassi, followed by the conclusion that "1001 nights" is quite an Arabic work, compiled, not gradually, but at once, with one author, in Syria, about half of the XV century; death, probably interrupted the work of the Syrian compiler, and because "1001 nights" was finished by his successors, which was attributed to the collection of different endings of the other fantastic material that walked among the Arabs, for example, of the voyages of Sindbad, Синдбâдовой books about women's deceit, etc.
From the Persian "Хезâр эфсâне", the conviction de Sassi, the Syrian Arab originator of the "1001 nights" nothing was taken, but the title and framework, that is manners to put the tale in the mouth of Shehrezade; if any area with a purely Arab situation and manners are sometimes referred to as the "1001 nights" Persia, India or China, it is only for the greater importance, and it generates as a result, some just amusing anachronisms.
Lane's hypothesis[edit / edit wiki text]
Subsequent scholars have tried to reconcile both views; especially important in this regard was the authority of Edward Lane( E. W. Lane), a well known expert on the ethnography of Egypt.
In considerations about the late time of the addition of "1001 nights" on late Arab soil by an individual, sole writer, Lane went even further than de Sacy: from the mention of the Adiliye mosque, built in 1501, sometimes about coffee, once about tobacco, also about firearms, Lane concluded that "1001 nights" was started at the end of the XV century and finished in the 1st quarter of the XVI century; the last, final fragments could be attached to the collection even under the Ottomans, in the XVI and XVII centuries.
The language and style of "1001 nights", according to Lane, is an ordinary style of a literate, but not too learned Egyptian of the XV XVI century; the conditions of life described in" 1001 nights " are specifically Egyptian; the topography of the cities, even if they were called Persian, Mesopotamian and Syriac names, is the detailed topography of Cairo of the late Mameluke era.
In the literary treatment of "1001 nights" Lane saw such a remarkable uniformity and consistency of the late Egyptian color that he did not allow a century — long gradual addition and recognized only one, at most, two compilers (the second could finish the collection), who — or who—during a short time, between the XV XVI centuries, in Cairo, at the Mameluke court, compiled "1001 nights".
The compiler, according to Lane, had at his disposal an Arabic translation of "Hezar Efsane", preserved from the X to the XV century in its ancient form, and took from there the title, the frame and, perhaps, even some fairy tales; he also used other collections of Persian origin (compare the story of the flying horse) and Indian ("Gild and Shimas"), Arabic warlike novels of the time of the Crusaders (King Omar Noman), instructive (Wise the virgin of Tawaddod), ostensibly historical Stories about Harun ar Rashid, specially historical Arabic works (especially those with a rich anecdotal element), semi scientific Arabic geographies and cosmographies (The Travels of Sinbad and the cosmography of Qazvini), oral humorous folk tales, etc.
The Egyptian compiler of the XV—XVI centuries compiled and carefully processed all these heterogeneous and different time materials; the scribes of the XVII—XVIII centuries made only a few changes in his editions.
Lane's view was considered generally accepted in the scientific world until the 80s of the XIX century.
However, even then the articles of M. J. de Goeje (M. J. de Goeje) consolidated, with weak amendments on the issue of criteria, the old Lane's view of the compilation of "1001 nights" in the Mameluke era (after 1450, according to de Goeje) by the sole compiler, and the new English translator (for the first time not afraid of reproach for scurrilousness) J. J. Payne did not deviate from Lane's theory; but at the same time, with the new translations of "1001 Nights", new research began.
Back in 1839, X. Torrens (H. Torrens, "Athenaeum", 1839, 622) quoted from the historian of the XIII century Ibn Said (1208-1286), where it is said about some embellished folk stories (in Egypt) that they resemble "1001 nights".
Now the same words of ibn Said were drawn to the attention of an unsigned author of criticism[1] on the new translations of Payne and Burton (R. F. Burton).
For a thorough observation of the author, a cultural and historical allusions, and other data, based on which lane (and pain) attributed the compilation of "1001 nights" to the XV—XVI centuries, explains how conventional interpolation newest scribes, and manners in the East do not change so quickly, so their description could accurately distinguish any age from one to the previous two: "1001 night" could therefore be compiled in the thirteenth century, and not surprisingly, the Barber in "the Tale of the hunchback" acertive horoscope for 1255; however, in the next two centuries, the scribes could make ready "1001 night" new additions.
A. Muller[2] rightly said that if the orders of Ibn said "1001 nights" existed in Egypt in the thirteenth century, and to the XV century, in a rather transparent directed by Abul Махâсына, managed not to get their latest compounding, for durable, correct judgment about it, it is first necessary to allocate these later compounding and restore thus the form which had the "1001 nights" in the XIII century, you need to collate all the lists of "1001 nights" and discard them unequal parts like the layering of the XIV—XV centuries.
This work was thoroughly carried out by X. Zotenberg[3] and Richard Burton in the afterword to their translation, 1886-1888; a brief and informative review of the manuscripts is now available in Chauvin (V. Chauvin) in "Bibliographie arabe", 1900, vol. IV; Muller himself in his article also made a feasible comparison.
It turned out that the first part of the collection is mostly the same in different lists, but what in it, perhaps, it is impossible to find Egyptian themes at all; stories about the Abbasids of Baghdad predominate (especially about Harun), and there are also a small number of Indian — Persian fairy tales; hence the conclusion that a large ready — made collection of fairy tales, compiled in Baghdad, probably in the tenth century, and centered in content around the idealized personality of the Caliph Harun Al Rashid, was squeezed into the frame of an incomplete Arabic translation of Hezar Efsane, which was made in In the IX century and even under Mas'udiya, it was known as "1001 nights"; it means that it was created, as Hammer thought, not by one author at once, but by many, gradually, over the centuries, but its main component element is the national Arabic; there is little Persian.
The Arab A. Salkhanyi took almost the same point of view[4]; in addition, based on the words of Nadim that the Arab Jahshiyari (a Baghdadi, probably of the X century) also took up the compilation of the collection "1000 nights", which included selected Persian, Greek, Arabic and other fairy tales, Salkhanyi expresses the belief that the work of Jahshiyari is the first Arabic edition of "1001 nights", which then, constantly being rewritten, especially in Egypt, significantly increased in volume.
In the same year, 1888, Neldeke [5] pointed out that even historical and psychological grounds force one to see an Egyptian origin in some fairy tales "1001 nights", and in others — a Baghdad origin.
The Estrup hypothesis[edit / edit wiki text]
As a result of a thorough acquaintance with the methods and research of his predecessors, a detailed dissertation by I. Estrup[6].
Probably, the latest author of the history, an Arab, also used Estrup's book.
lit. - K. Brockelmann[7]; in any case, the short reports he offers about "1001 nights" closely coincide with the provisions developed by Estrup.
Their content is as follows:
the "1001 nights" received its current form in Egypt, most of all during the first period of the Mamelukes ' rule (since the XIII century).
Whether the entire "Hezr efsane" was included in the Arabic "1001 nights" or only selected fairy tales of it is a secondary question.
We can say with full confidence that the frame of the collection (Shehriyar and Shehrezada), the Fisherman and the spirit, Hasan of Basria, Prince Badr and Princess Jauhar of Samandal, Ardeshir and Hayat an Nofusa, Qamar az zaman and Bodura are taken from" Hezar Efsane".
These fairy tales are poetic and psychological the decoration of the whole "1001 nights"; they bizarrely intertwine the real world with the fantastic, but their distinctive feature is that supernatural beings, spirits and demons are not a blind, spontaneous force, but consciously harbor friendship or hostility to famous people.
The second element of "1001 nights" is the one that was layered in Baghdad.
In contrast to the Persian fairy tales, the Bagdad ones, in the Semitic spirit, are distinguished not so much by the general entertaining plot and artistic consistency in its development, as by the talent and wit of individual parts of the story or even individual phrases and expressions.
In terms of content, these are, firstly, urban novels with an interesting love tie, for the resolution of which the beneficent Caliph often appears on the stage as a deus ex machina; secondly, stories explaining the occurrence of some characteristic poetic couplet and more appropriate in historical literary, stylistic anthologies.
It is possible that the Baghdad excerpts of "1001 nights" also included, although not in full form, the Travels of Sinbad; but Brockelman believes that this novel, which is missing in many manuscripts, was written in "1001 nights" later.
When "1001 Nights" began to be rewritten in Egypt, a third component element entered into it: local Cairo fairy tales, del' genero picaresco, as Estrup says.
There are two types of Cairo fairy tales: some are everyday fablios, which describe the clever tricks of cheats (for example, the skilled thief Ahmed ad Danaf) and all sorts of funny incidents, and stones are thrown into the garden of dishonest and corrupt authorities and clergy; others are fairy tales with an element of the supernatural and fantastic, but of a completely different kind than in Persian fairy tales: there, spirits and demons have their favorites and unloved among people, and here a talisman plays a role (for example, the magic lamp of Aladdin), blindly helping its owner, whoever he is, and spontaneously turning against his former owner if he falls into other hands; the themes of such fairy tales are probably inherited by Arab Egypt from classical, ancient Egypt[8].
In Egypt, in order for the fairy tale material to be enough just for "1001 nights", some scribes inserted into the collection such works that previously had a completely separate literary existence and were compiled in different periods: a long novel about King Noman, the enemy of Christians, Sinbad's book (about female deceit), perhaps the Adventures of Sinbad the Sailor, King Gild and Minister Shimas, Akhykar the Wise (Old Russian Akir), Tawaddoda, etc.
In 1899, V. Chauvin ("La récension égyptienne des 1001 n.", Luttich), having considered the Egyptian fairy tales "1001 nights" from the point of view of artistry, noted that among them there are talented ones (like "The Tale of the Hunchback" with the stories of "The Silent Barber" inserted), and the rest are incompetent.
For Chauvin's reasons (which, however, still require verification), the first group was formed earlier than the second.
Since the second (voluminous) group contains many stories about the conversion of Jews to Islam and there are many directly borrowed from Jewish literature, Chauvin concludes that the last, final editor of "1001 Nights" was a Jew who converted to Islam; in his opinion, such a Jew could be a pseudo Maimonides, the author of the Jewish book "The Oath", published in Constantinople in 1518[9]
Contents[edit / edit wiki text]
Persian illustrations of the middle of the XIX century
Faced with the infidelity of his first wife, Shahizamon executed her and went to his brother Shahriyar to share his grief.
However, the brother's wife turned out to be even more dissolute than the wife of Shahizamon.
And soon the brothers met a woman who wore a necklace of 570 rings, the number of which indicated how many times she cheated on her husband jinn right in his presence while he was sleeping.
The brothers returned home to Shahriyar and executed his wife and concubines.
Since then, having decided that all women are promiscuous, Shahriyar takes an innocent girl every day, takes possession of her, and at dawn the next day executes her.
However, this terrible order is violated when the turn comes to Scheherazade — the wise daughter of the Vizier Shahriyar.
Every night she tells a fascinating story and every time Scheherazade was "caught in the morning" at the most interesting place and she "stopped the permitted speeches"[10].
Every morning he thinks: "I will be able to execute her tomorrow, and this night I will hear the end of the story."
This goes on for a thousand and one nights.
After their passage, Scheherazade came to the king with three sons born during this time, "one of whom walked, another crawled, and the third sucked."
In their name, Scheherazade asked the king not to execute her.
To which Shahryar replied that he had pardoned her even earlier, before the children appeared, because she was pure, chaste and God fearing.
The "Thousand and One Nights" is built on the principle of a framed story, which allows you to include all new texts that have an independent meaning in the collection One of the characters says "something happened to that", and his interlocutor asks "How was it?", after which a new story or an insert novella begins[ One of the characters says "something happened to that", and his interlocutor asks "How was it?", after which a new story or an insert novella begins.
The fairy tales of Scheherazade can be divided into three main groups, which can be conditionally called heroic, adventurous and roguish fairy tales
Heroic fairy tales[edit / edit wiki text]
The group of heroic fairy tales includes fantastic stories, probably forming the oldest core of the "Thousand and One Nights" and going back in some of its features to its Persian prototype "Hezar Efsane", as well as long chivalric novels of an epic nature.
The style of these stories is solemn and somewhat gloomy; the main characters in them are usually kings and their nobles.
In some fairy tales of this group, such as in the story of the wise maiden Takaddul, a didactic tendency is clearly visible.
From a literary point of view, heroic stories are processed more carefully than others; turns of folk speech are banished from them, poetic inserts — mostly quotations from classical Arab poets — on the contrary, are abundant.
The" court " fairy tales include, for example, "Qamar az Zaman and Budur", "Badr Basim and Jauhar", "The Story of King Omar ibn an Numan", "Ajib and Gharib" and some others.
Adventurous fairy tales[edit / edit wiki text]
Other moods are in the "adventurous" novels, which probably arose in the trade and craft environment.
Kings and sultans appear in them not as beings of the highest order, but as the most ordinary people; the favorite type of ruler is the famous Harun ar Rashid, who ruled from 786 to 809, that is, much earlier than the tales of Scheherazade took their final form.
Therefore, references to the Caliph Harun and his capital Baghdad cannot serve as a basis for dating the "Nights".
The real Harun ar Rashid was very little like the kind, generous sovereign from the "Thousand and One Nights", and the fairy tales in which he participates, judging by their language, style and everyday details found in them, could only have developed in Egypt.
According to the content, most of the "adventurous" fairy tales are typical urban fablios.
These are most often love stories, the heroes of which are rich merchants, almost always doomed to be passive performers of the cunning plans of their lovers.
The latter usually play a leading role in fairy tales of this type — a feature that sharply distinguishes " adventurous "stories from" heroic " ones.
Typical for this group of fairy tales are: "The story of Abu'l Hasan from Oman", "Abu'l Hasan the Khorasan", "Nima and Num", "Loving and beloved", "Aladdin and the Magic Lamp".
Picaresque fairy tales[edit / edit wiki text]
The "picaresque" fairy tales naturalistically depict the life of the urban poor and the declassified elements.
Their heroes are usually clever swindlers and cheats - both men and women, for example, the immortals in Arabic fairy tale literature Ali Zibak and Delilah the cunning.
There is no trace of reverence for the upper classes in these fairy tales; on the contrary, "rogue" fairy tales are full of mocking attacks against representatives of the authorities and clerics.
The language of the "picaresque" stories is close to colloquial; there are almost no poetic passages that are incomprehensible to readers inexperienced in literature.
The heroes of the picaresque fairy tales are distinguished by courage and enterprise and present a striking contrast with the pampered harem life and idleness of the heroes of" adventurous " fairy tales.
In addition to the stories about Ali Zibak and Delilah, the picaresque fairy tales include the magnificent story about Maruf the shoemaker, the tale about the fisherman (named) Khalifa, standing on the border between stories of the "adventurous" and "roguish" type, and some other stories.
Editions of the text[edit / edit wiki text]
Incomplete first Calcutta (1814-1818), complete second Calcutta by V. McNaughten (1839-1842), Bulak (1835; often reprinted), Breslau (modern Wroclaw in Poland) by M. Habicht and G. Fleischer (1825-1843), cleansed from obscenities Beirut (1880-1882), even more refined Beirut Jesuit, very elegant and cheap (1888-1890).
The texts were published from manuscripts that differ significantly from one another, and not all the handwritten material has been published yet.
For an overview of the contents of the manuscripts (the oldest is the Gallan one, between 1425 and 1537), see Zotenberg, Burton, and briefly Chauvin ("Bibliogr. arabe").
In 1984-1995, a fundamentally new edition of Muhsin Mahdi was published in Leiden based on the oldest manuscripts, including the Gallanov one.
Translations[edit / edit wiki text]
A thousand and one nights.
The first full Russian translation (according to the edition of Mardrus).
one thousand nine hundred two
Already at the end of the X century, some fairy tales from the "Thousand and One Nights" were translated into Armenian.
In Europe, for the first time, the cycle became famous thanks to an incomplete French translation by Antoine Galland.
This translation was published in 1704-1717 and was translated into many European languages during the XVIII century.
Gallan supplemented the collection with several fairy tales, the source of which is not known; among them is the famous story about Ali Baba and the Forty robbers.
Galland's translation is far from literal; it is a treatment according to the tastes of the court of Louis XIV.
Gallan's work was continued by Cazotte and Chavis (1784-1793) in the same spirit.
Since 1899, a literal (from the Bulak text) and regardless of Victorian decency, a translation of Zh.
Mardru.
German translations were made first according to Gallan and Cazotte; a general summary with some additions to the Arabic original was given by Habicht, Hagen and Schall (1824-1825; 6th edition, 1881) and, apparently, Koenig (1869); from the Arabic — G. Weil (1837-1842; 3rd revised edition 1866-1867; 5th edition, 1889) and, more fully, from various texts, M. Henning (in the cheap Advertising "Library of Classics", 1895-1900); obscenities in the German translation have been removed.
English translations were made first according to Gallan and Cazotte and received additions from the Arabic originals; the most famous translation is by Jonathan Scott (1811), but the last (6th) volume, translated from Arabic, was not repeated in subsequent editions.
"Two thirds of 1001 nights, with the exception of places that are uninteresting or dirty, from Arabic" was translated by V. Lane (1839-1841; a revised edition was published in 1859, reprinted from the 1883 edition).
Complete English translations that have caused many accusations of immorality: J. Payne (1882-1889), and made according to many editions, with all sorts of explanations (historical, folklore, ethnographic, etc.)
- Rich.
Burton[12].
In Russian, translations from French appeared in the XVIII century[13].
In Russia, as in other European countries, on the eve of romanticism, it was "Arab fairy tales" with their aura of exotic orientalism that became a favorite reading of teenagers.
Here is how Sergey Timofeevich Aksakov tells about it in the book "The Childhood years of Bagrov's grandson":
At the first opportunity, I began to read Arabic fairy tales, which for a long time took possession of my hot imagination.
I liked all the fairy tales;
I didnot know which one to give the advantage to!
They aroused my childish curiosity, led to amazement by the unexpected nature of strange adventures, ignited my own fantasies.
Geniuses imprisoned in a well, then in an earthen vessel, people turned into animals, enchanted fish, a black dog that the beautiful Zobeida whips and then hugs and kisses with tears…
How many mysterious miracles, when reading which the spirit was engaged in the chest!
Among those published in the XIX century, the most scientific was considered to be the translation of Yu.
Doppelmayer[14].
The English translation of Len, "shortened due to stricter censorship conditions," was translated into Russian by L. Shelgunova in the appendix to the "Pictorial Review" (1894): there is an article by V. Chuiko, compiled according to de Guay, in the 1st volume.
The first Russian translation directly from Arabic was made by Mikhail Alexandrovich Salye (1899-1961) in 1929-39; on the basis of this translation, an edition compiled by I. M. Filshtinsky was published in 1986[15].
Other translations are indicated in the above mentioned works of A. Krymsky ("The Anniversary collection of V. Miller") and V. Chauvin (vol. IV).
The success of Gallan's alteration prompted Petis de la Croix to print "Les 1001 jours" [16].
Both in popular and even in folklore publications, "1001 day " merges with"1001 night".
According to Petit de la Croix, his " Les 1001 jours "is a translation of the Persian collection" Hezâr yкk ruz", written according to the plots of Indian comedies by the Isfahan dervish Mohlis around 1675; but we can say with full confidence that such a Persian collection never existed and that" Les 1001 jours " was compiled by Petit de la Croix himself, it is unknown from what sources.
For example, one of the most lively, humorous of his fairy tales, "Papushi Abu Qasim"[17], is found in Arabic in the collection "Samarqt al aurq" by ibn Hijje.
Notes[edit / edit wiki text]
↑ "Edinburgh Review" 1886, No. 164 ↑ "Deutsche Rundschau", 1887, July ↑ H. Zotenberg, Paris, 1888, ott.
from XXVIII vol.
"Notices et extraits", see his preface to I vol. and appendix.
to V. T. of the Beirut ed. "1001 nights", 1888-1890;
Russian translation, verified and supplemented by A. Krymsky, in "
Miller's Anniversary Collection", Moscow, 1900 ↑ Th.
Nöldeke, " Z. D. Morg, Ges.", vol .
XLII ↑ J. Østrup, "Studier over Tusind og en nat", Copenhagen, 1891 ↑ C. Brockelmann, Berlin, 1899, vol .
II, pp.
58-62 ↑ cf.
Maspero, " Les contes pop. de l'eg. anc."
, Paris, 1889; F. Petri, "Eg. tales", 1898; V. Spiegelberg, " Die ägypt.
Novellen", Strasbourg, 1898 ↑ See also R. Basse, "Notes sur les 1001 n." (1894-1898, in the "Revue des trad. populaires", vol. IX, XI, XII, XIII), and A. Krymsky, " Introduction to the History of the Arab. stories and parables" (pechat.
in the series of ed. Laz.
instit.
Other works and studies are listed in A. Krymsky: "To the literary History of 1001 nights" ("V. Miller's Jubilee collection — -" Works of Ethnogr. department of Moscow region. total. he loves me. natural Sciences", vol. XIV) and V. Chauvin: "Bibliographie arabe" (vol.IV, Luttich, 1900).
Филь Filshtinsky, 1986, p. 5 ↑ Filshtinsky, 1986, p. 10 ↑ Burton; Benares, 1885-1888; reprinted in 12 volumes, with the exception of the most obscene places, London, 1894, 1763-1774 and 1794-1795; see also "New Arabic Fairy Tales", Small, 1796, 1889-90, with an added article by academician A. Veselovsky Филь Filshtinsky, 1986 ↑ Paris, 1710; translated from the French by Mikhail Popov, St. Petersburg, 1778-79; 2nd ed. 1801; article in "St. Petersburg. vestnik", 1778, part I, No. 4, pp.
316-320 ↑ Is known in the Ukrainian poetic treatment of Ivan Franko.
Literature[edit / edit wiki text]
One thousand and one nights / / Brockhaus and Efron Encyclopedic Dictionary : in 86 vol. (82 volumes and 4 supplements).
- St. Petersburg, 1890-1907.
Links[edit / edit wiki text]
A thousand and one nights in Wikicitatnik?
A thousand and one nights in Wikitek?
A thousand and one nights on Wikimedia Commons?
Almost the full version of the book "1001 nights" with comments Supplement to night 584
English translation by Edward Lane Khalif 1001 Nights: A Folk Dream.
The program of "Echo of Moscow" from the cycle "Everything is like this" Borges H. L. Translators of "A Thousand and one Nights" / Per.
I. Petrovsky (unavailable link from 21-05-2013 (940 days) - history, copy) Children's fairy tales "One Thousand and One Nights" Translated by M. A. Salye.
Selected fairy tales, stories and novellas from the "Thousand and One Nights" (4 books) / Compilation, introduction and notes by I. M. Filshtinsky.
- Moscow: Pravda, 1986 — - 2520 p.
When writing this article, we used material from the Encyclopedic Dictionary of Brockhaus and Efron (1890-1907).
The article is based on the materials of the Literary Encyclopedia 1929-1939.
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