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    Arabian Nights Aparate

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    Simbolul scatter si simbolul eild sunt si ele disponibile si aduc castiguri grozave. Sheriyar is misogyny humanized. The frame story is simple.

    The parrot would say mynah is sure to cheat him and would back that prediction with a story where a woman cheated on her lover. Mynah, in her turn, would say it is parrot who is sure to cheat her and will back that up with a story of how some man cheated on his lover.

    Then parrot would come back with another story — and this exchange of accusations will go on and on. Sheriyar is the result of this mistrust among sexes.

    In a short time, he comes across three cases of adulatory committed by three women, including one by his own wife, and generalizes to the whole of the fair sex.

    A person who is suffering because he thinks he is cheated can be quite suggestible Othello. And a generalization can be temting.

    Sheriyar has developed this fear after being cheated his wife. And Sherzade is the beauty who tamed this beast. She did this — she fought away her death - the literal sword of her own father a few hours away from being forced to cut her head; with armor of a pleasant smile on her lips and the weapon of story on her tongue.

    And she does that. For a thousand and one nights. Same goes for a prejudiced person - prejudice is by very definition refusal to reconsider the already reached false conclusions.

    Now imagine prejudiced tyrants. Scherzade knew this well enough. Instead, she used her stories to make king see the truth. As good as the stories are in themselves, they carry a trend.

    Then you come across the story of a king, suffering from misfortune caused by an adulterous wife — a king not unlike Scheriyar, may be Scheherazade is simply saying what king would love to hear … but look carefully, and you will notice that the villain wife suddenly gets a voice.

    Even though she was beheaded, the wife in the story did get a say — love of an adultress woman is love still. You see what Scherzade did.

    Move a little ahead and roles are reversed. Her husband is made to repent in the end. So now you see the trend.

    There is soon a story in which a king Haroon is at fault — making people suffer with his tyrannies … but he is quick to repent upon realizing the mistake — and even makes up for the loss of these people.

    Did you get you lesson, Sheriyar? And so it goes on. One story actually involved a prince who has formed a bad opinion regarding all women kind from all the mischief caused by them that he read about in his books.

    His mother, the queen asked him to think about all the tyrant kings that the world has and what they have done to the women over centuries I can imagine Scheherazade having her tongue in her cheek when she must have narrated the scene Later on, Scheherazade diverts to stories about how married women have fun at the expense of their wanna-be-lovers.

    The last story is that of a woman — Ulysses and Penlope combined into one woman, who goes out on a difficult journey while maintaining her loyality to her husband against all the suitors.

    Gradually, the stories change to afford a better position for women and while also reminding the king that even King can make mistakes — and how much more troublesome are their mistakes than that of an ordinary person.

    There are a few stories e. Sindbad where the issue of friction between sexes is not raised but the general trend is too good to miss. In fact, very first few pages you find a remark by a woman other than Scherzade about futility of keeping women under lock.

    While we are talking about fighting prejudice — a good reason for people to read it to observe how lightly the veil is used by women.

    Women, who wear vile while being out, are shown at liberty and often chose to show their face to whoever they wish to.

    Not only that, there are a lot of night parties and extra-marital kissing. Yes, there are strict and overprotective fathers but I mean that goes everywhere.

    Then in at least one place, there is a remark on regarding how the judges are too strict regarding how women should behave.

    It is surprising these same judges had nothing to say about drinking wine or when their king had more than four wives. Moreover, there seems to be no way men can cheat their wives - men are permitted marry multiple times and can have sex with slaves under Islam like other religions but women are not - this means men can not cheat on their wives.

    Celebrating the art of Storytelliing There are a number of techniques used by the Scheherazade — cliff hangings, repetitive characters king Haroon and his wife, Zobeida story-within-story at times story-within-story-within-story-within-story etc.

    One time Scheherazade forgets a part of narrative and have to retreat to cover that part. Cliff-hangings though were never that important and never that close to being figurative.

    Here they are saving lives — the stakes on which Scherzade bargains to get another day of life. Regarding the story-within-story thing, you may claim that too many of the stories are told by characters trying to save lives.

    But look at Scheherazade, the original story teller. And it is the most excellent part — that story-teller and the listener are both part of the story; you get most out of it when you think about how their minds are involved in and are affected by the stories.

    Just imagine the thoughts that Sheriyar would carry in his mind at the end of each story. There is a criticism that some of stories are too similar — but you see it is because of the central theme.

    And I mean how much diversity you can wish for? There are love stories —both comedies and tragedies, stories of adventures, stories of genies, humorous stories especially the one about tailor , criminal stories, stories of suddenly found treasures.

    There is one short story about the three brothers who can reason backwards — a little like Sherlock Holmes. Given its time, the stories show remarkable diversity.

    In one weird story, a woman disguised as her own husband marries another woman. Latter this second woman marries husband of first.

    Antisemitism, Racism and Body Shaming From beautiful to ugly There is a lot of much more than you can imagine antisemitism, racism and body shaming specially in first or so pages, especially for a book trying to fight prejudice.

    All wicked wizards are African, Jew, Worshiper of fire or Hindu. All cheating merchants are Jews. The filthy tradition of eunuchs was not limited to Arabia though.

    Some female slaves do seem to gain independence and are lawfully married - but that is a fairy tale sort of thing.

    The terrible treatment of a hunch-back in particular made me stop reading it for a month. I just took away six stars from my rating.

    It was already twenty-nine stars. Some advice if you chose to live in medieval Persia view spoiler [ 1. The most dangerous job is that Vizir — better be a slave than a vizir.

    Since king may take you along on a expedition mostly in disguise ; find random people or dead bodies and want you to discover the truth behind them within three, thirty or forty days; failing which your head is likely to be beheaded.

    If a married woman seems to be answering your requests to take you as lover, than she is just kidding and is probably going to get you a lot of trouble.

    If you suddenly found yourself in room of some person of opposite sex, than it is probably doing of some Jinn and Pari. Soon you will found yourself in love with other person but will forget to ask where the hell you are.

    Then early morning, you shall be thrown back to your place. And after a lot of suffering shall found your lover again. Have a story to tell, in case you get in trouble with king or a Jinn.

    If two darveshes wants admittance to your house than it is probably king and his ministers, specially there are multiple sisters in the house.

    Admit him and tell him something strange. For, he would then make you rich. You are most likely to be married to the king, if you are youngest of three sisters.

    Youngest of brothers are lucky too. Also in case of princes, it helps your future prospects greatly if your mother was deserted by king.

    If you are young, poor and handsome man, than you will soon be wealthy — it just follows. If you are are a beautiful woman, than your veil is liable to flown away by wind in front of some man who will instantly fall in love with you.

    Sea journeys are especially dangerous if you are single or your spouse is lost. And above all, If you found an old lamp, to rub it.

    Several friends have asked me to discuss the differences between the editions, so I thought I'd present a four-way comparison and then talk about which version is best for which audience.

    For the purposes of the four-way comparison, I will draw text from the opening tale of the two kingly The Book of the Thousand Nights and One Night Vol.

    For the purposes of the four-way comparison, I will draw text from the opening tale of the two kingly brothers in order to highlight how each popular version handles "adult" content and racial content.

    When they came to the pool of a fountain they all undressed and mingled one with another. Suddenly, on the King's wife crying: At this signal, all the other men slaves did the same with the women and they continued thus a long while, not ceasing their kisses and embraces and goings in and the like until the approach of dawn.

    He shut himself up in his apartment, and sat down at a window that looked into the garden. Suddenly a secret gate of the palace opened, and there came out of it twenty women, in the midst of whom walked the Sultaness.

    The persons who accompanied the Sultaness threw off their veils and long robes, and Shahzenan was greatly surprised when he saw that ten of them were black slaves, each of whom chose a female companion.

    The Sultaness clapped her hands, and called: It was therefore with the deepest shame and sorrow that he accidentally discovered, after several years, that she had deceived him completely, and her whole conduct turned out to have been so bad, that he felt himself obliged to carry out the law of the land, and order the grand-vizir to put her to death.

    They walked under the very lattice and advanced a little way into the garden till they came to a jetting fountain amiddlemost a great basin of water; then they stripped off their clothes and behold, ten of them were women, concubines of the King, and the other ten were white slaves.

    Then they all paired off, each with each: He walked boldly up to her and threw his arms round her neck while she embraced him as warmly; then he bussed her and winding his legs round hers, as a button loop clasps a button, he threw her and enjoyed her.

    The editor and translator have deliberately worked the translation to be as readable to the English eye as possible, even making judicious choices about where to refrain from using diacritical points single quote sound points, as in 'ain in order to ease the reading experience.

    They've made a concerted effort to retain the adult content without being lewd, the racial content without descending into offensive caricature, the poetic content without overwhelming the reader, and the entire content without condensing the text and losing material.

    For children, however, the superior volume is probably the Muhsin al-Musawi edition. This edition is condensed, but the editing was done with great care to maintain story structure and content.

    The adult content has been toned down considerably, the racial content has been handled tactfully, the extra songs and poems have been almost entirely removed, and there are interesting and attractive pictures in the electronic edition.

    My biggest complain here is that the adult content has been excised to a degree that almost brings unfortunate implications: Still, if you want a sanitized version of the tales, the al-Musawi edition is almost certainly the way to go.

    I do not recommend the Lang edition. Lang's fairy tale collections, such as the color fairy tale books, are usually a delight, but his Arabian Nights edition is thin on content and heavily paraphrased.

    The stories are gutted to remove the adult content and shorten the tale length for children, but in many cases the changes are not carefully glossed over, and huge plot holes and unresolved threads are left dangling.

    I've never met a Lang reader who didn't ask me what was going on in one tale or other because the translation is so poorly rendered.

    Neither do I recommend the Burton version. If anything, the Burton version has the exact opposite problems as the Lang version: Burton's edition lengthens the stories with extensively lewd descriptions and offensive racial imagery.

    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!

    Arabian Nights Aparate Video

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