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First complete edition in Arabic of the Thousand and One Nights, the first edition printed in the Arab world; from the collection of the French oriental scholar Charles Barbier de Meynard; exceedingly rare in commerce and with fewer than a dozen complete copies located in libraries worldwide. The Bulaq edition was prepared by one 'Abd al-Rahman al-Sifti al-Sharqawi, probably from a single manuscript that is now lost. Its only competitors for priority were the so-called Calcutta I and Breslau editions. Calcutta I denotes the selection of 200 "Nights" only printed at Calcutta between 1814 and 1818. Breslau was the place of printing of the multi-volume edition by the German orientalist Max Habicht begun in 1824, though it remained incomplete on his death in 1839 and depended on the Bulaq text as one of its sources. The Bulaq edition proved "more correct than the garbled and semi-colloquial renderings given by the manuscripts used in the compilations of Calcutta I and Breslau", and helped to stabilize the Thousand and One Nights corpus (Irwin, p. 44). It was the primary source for Edward Lane's pioneering English translation (1838–41) 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 Bulaq and Calcutta II "superseded almost completely all other texts and formed the general notion of the Arabian Nights.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, 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. "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, 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. Provenance: from the collection of the French oriental scholar Charles Barbier de Meynard (1826–1906) with his stamp and ownership inscription "Bibliothèque de Mr. Barbier de Meynard" in both volumes. A member of the Société Asiatique and editor of Dictionnaire Géographique de la Perse, Barbier de Meynard published several books and articles and co-translated the 9-volume "Moruj al-dahab" ("Les prairies d'or") of Al-Masudi (Paris, 1861–77). His inscription "Donne par A. Dantan" in the first volume probably refers to Antoine Dantan, a member of the renowned French dragoman dynasty. READ MORE Two volumes, royal octavo (262 x 194 mm), pp. 710; 620. Later 19th-century brown hard-grain quarter morocco, spines lettered in gilt, place and date at foot, Papier Tourniquet sides, green paper tips, Schrottel-pattern marbled endpapers. Housed in a custom black cloth sliding case, unlettered. Printed in Arabic throughout, woodcut floral sarlawh at head of text in each volume, text within two-line frame throughout, titles in nasta'liq types. Manuscript table of contents in ink and pencil, probably in Barbier de Meynard's hand, laid into each volume; a few marginal notes in Arabic and French in pen and pencil throughout; typed title slips in English mounted on each front endpaper; shelf-mark in pencil on endpaper of vol. I; Barbier de Meynard's inkstamp in lower margin of first and last page in each volume. Bindings lightly rubbed, professional restoration to spine ends and lower joint of vol. II, a single tiny hole throughout at upper inner corner of printed frame, a little worming in lower margin of first 10 leaves, vol. II, one leaf (pp. 13/14) in same volume with faint stain at lower fore edge, a few other minor blemishes but generally clean and firm; overall, a very good copy. Brunet III, 1715; Chauvin IV, 18, 20K; Graesse IV, 523. Heinz Grotzfeld, "Neglected Conclusions of the 'Arabian Nights': Gleanings in Forgotten and Overlooked Recensions", Journal of Arabic Literature, 1985, vol. 16, pp. 73–87; Eva Hanebutt-Benz, Dagmar G.

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.