Books

Royal 8vo. 2 vols. 710 pp. 620 pp. Floral woodcut sarlawh to each volume. Somewhat later 19th century leather-backed green marbled boards; spine ruled and titled in gilt. Marbled endpapers. First complete edition in Arabic of the Thousand and One Nights, and the first edition printed in the Arab world. Very rare, with only eight copies of the set located in libraries worldwide (the Spanish National Research Council, the Library of the Congress, Leiden University, Danish Union Catalogue, Danish Royal Library, Biblioth�que Nationale de France, Huntington, and Yale). - The Bulaq edition was preceded by another two-volume edition printed at Calcutta between 1814 and 1818, which contained a selection of 200 "Nights" only; the German orientalist Max Habicht began his multi-volume, so-called Breslau edition in 1824, though it remained incomplete on his death in 1839, and at any rate used the Bulaq text as one of its many sources. The Bulaq edition was prepared by one 'Abd al-Rahman al-Sifti al-Sharqawi, probably from a single manuscript which is now lost. It proved "more correct than the garbled and semi-colloquial renderings given by the manuscripts used in the compilations of Calcutta I and Breslau", and was instrumental in stabilising the Thousand and One Nights corpus (Irwin, The Arabian Nights: A Companion, p. 44). It was the main source for Edward Lane's pioneering English translation (1889-41) and for the last of the four historically important Arabic editions, published at Calcutta in 1839-42 (and known as "Calcutta II"). Bulaq and Calcutta II "superseded almost completely all other texts and formed the general notion of the Arabian Nights. For more than half a century it was neither questioned nor contested that the text of the Bulaq and Calcutta II editions was the true and authentic text" (Marzolph, The Arabian Nights Reader, p. 88). - The printing press at Bulaq, Cairo, founded in 1821 by Muhammad 'Ali Pasha, was the first indigenous press in Egypt and one of the first anywhere in the Arab world, its literary output catering to a keen export market and increased demand among the expanding professional classes of Muhammad 'Ali's Egypt. For the first few years the press used types cast in Italy, then France. However, "in 1826 Muhammad 'Ali sent a delegation to Europe to study printing, and by the 1830s printing had reached a good technical level at Bulaq" (Kent et al., eds., Encyclopaedia of Library and Information Science, vol. 24, p. 63). The present edition exhibits the high standards of Bulaq printing, with the main text composed in authentic and legible naskh-style types, interspersed with attractive headings in nasta'liq. - Bindings show some very gentle wear and subtle professional repairs. Very few hints of internal spotting, with text quite bright and clean and binding firm and in very good condition. - Provenance: from the collection of the Dutch bibliophile Clemens Haro Beels (1889-1972), notable for his distinctive illustrated bookplates, two attractive examples of which appear on the rear pastedown in both volumes. Also with the ownership stamp of G. Blondat, and a booksellers' plate from Bauer, based at number 7 Passage des Petits-P�res, Paris. - Chauvin IV, 18, 20K. Brunet III, 1715. Graesse IV, 523. Fawzi M. Tadrus, Printing in the Arab World with emphasis on Bulaq Press (Doha: University of Qatar, 1982), p. 64. Middle Eastern Languages and the Print Revolution. A Cross-Cultural Encounter, Westhofen 2002, p. 184. Heinz Grotzfeld. Neglected Conclusions of the "Arabian Nights": Gleanings in Forgotten and Overlooked Recensions. In: Journal of Arabic Literature, Vol. 16, (1985), pp. 73-87. Ulrich Marzolph (ed.). The Arabian nights in transnational perspective, Wayne State University Press 2007, p. 51.

The "Kitāb 'Alf Layla wa-Layla" (The Book of One Thousand and One Nights), commonly known in English as "The Arabian Nights," is a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age. Spanning from the 8th to the 14th centuries, this collection has been a significant cultural artifact, reflecting the complexity, traditions, and values of the Islamic world of its time. It has also played a crucial role in shaping Western perceptions of the East and has influenced an array of literary, musical, cinematic, and artistic endeavors across the globe. This essay explores the origins, structure, themes, and influence of "The Arabian Nights," shedding light on its enduring legacy and significance. The origins of "The Arabian Nights" are complex and multicultural, with stories traced back to ancient and medieval Persian, Indian, Egyptian, and Mesopotamian literature. These tales were gradually compiled and translated into Arabic, with the earliest references to the collection appearing in the 9th century. However, it was during the Islamic Golden Age that the collection, as known today, began to take shape, incorporating various stories of merchants, heroes, villains, jesters, and supernatural beings, reflecting the vibrant tapestry of the societies within the Islamic caliphates. At the heart of "The Arabian Nights" is the frame story of Shahrazad (Scheherazade), the daughter of the vizier, who volunteers to marry the sultan Shahryar. The sultan, betrayed by his first wife, vows to marry a new bride each day and have her executed the next morning to prevent further betrayal. Shahrazad, to save herself and future brides, tells Shahryar a story each night, leaving it incomplete and promising to finish it the following night. This narrative technique not only serves to connect the disparate tales but also showcases the power of storytelling as a means of transformation and survival. "The Arabian Nights" encapsulates a plethora of themes, including justice, betrayal, love, bravery, and the supernatural. The stories range from historical narratives and tragic romances to humorous anecdotes and moral lessons, offering insights into the diverse and complex societies from which they originate. The collection also frequently employs motifs such as jinn, magical devices, and fantastical creatures, weaving a rich tapestry that blurs the lines between reality and fantasy. The impact of "The Arabian Nights" on world literature and culture cannot be overstated. The tales have been translated into numerous languages and have inspired countless adaptations in literature, opera, film, and visual arts. Characters like Aladdin, Sinbad, and Ali Baba have become cultural icons, and the themes of the tales have resonated with audiences around the globe, transcending cultural and temporal boundaries. Moreover, "The Arabian Nights" has contributed significantly to Western perceptions of the East, albeit through an orientalist lens that has often romanticized and exoticized Eastern cultures. This aspect of its legacy invites critical examination and dialogue about cultural representation and appropriation.