bleana janeeka redlee
Vittoria Pretlow
Known along with Ali Baba as one of the "orphan tales", the story was not part of the original Nights collection and has no authentic Arabic textual source, but was incorporated into the book Les mille et une nuits by its French translator, Antoine Galland.[2]
Payne also records the discovery in the Bibliothque Nationale in Paris of two Arabic manuscripts containing Aladdin (with two more of the "interpolated" tales). One was written by a Syrian Christian priest living in Paris, named Dionysios Shawish, alias Dom Denis Chavis. The other is supposed to be a copy Mikhail Sabbagh made of a manuscript written in Baghdad in 1703. It was purchased by the Bibliothque Nationale at the end of the nineteenth century.[3] As part of his work on the first critical edition of the Nights, Iraq's Muhsin Mahdi has shown[4] that both these manuscripts are "back-translations" of Galland's text into Arabic.[5][6]
Ruth B. Bottigheimer[7] and Paulo Lemos Horta[8][9] have argued that Hanna Diyab should be understood as the original author of some of the stories he supplied, and even that several of Diyab's stories (including Aladdin) were partly inspired by Diyab's own life, as there are parallels with his autobiography.[10]
Aladdin is an impoverished young ne'er-do-well, dwelling in "one of the cities of Ancient China." He is recruited by a sorcerer from the Maghreb, who passes himself off as the brother of Aladdin's late father, Mustapha the tailor, convincing Aladdin and his mother of his good will by pretending to set up the lad as a wealthy merchant. The sorcerer's real motive is to persuade young Aladdin to retrieve a wonderful oil lamp (chirag) from a booby-trapped magic cave. After the sorcerer attempts to double-cross him, Aladdin finds himself trapped in the cave. Aladdin is still wearing a magic ring the sorcerer has lent him. When he rubs his hands in despair, he inadvertently rubs the ring and a genie appears and releases him from the cave, allowing him to return to his mother while in possession of the lamp. When his mother tries to clean the lamp, so they can sell it to buy food for their supper, a second far more powerful genie appears who is bound to do the bidding of the person holding the lamp.
With the aid of the genie of the lamp, Aladdin becomes rich and powerful and marries Princess Badroulbadour, the sultan's daughter (after magically foiling her marriage to the vizier's son). The genie builds Aladdin and his bride a wonderful palace, far more magnificent than the sultan's.
The sorcerer hears of Aladdin's good fortune, and returns; he gets his hands on the lamp by tricking Aladdin's wife (who is unaware of the lamp's importance) by offering to exchange "new lamps for old". He orders the genie of the lamp to take the palace, along with all its contents, to his home in the Maghreb. Aladdin still has the magic ring and is able to summon the lesser genie. The genie of the ring is too weak to directly undo any of the magic of the genie of the lamp, but he is able to transport Aladdin to the Maghreb where, with the help of the "woman's wiles" of the princess, he recovers the lamp and slays the sorcerer, returning the palace to its proper place.
The sorcerer's more powerful and evil brother plots to destroy Aladdin for killing his brother by disguising himself as an old woman known for her healing powers. Badroulbadour falls for his disguise and commands the "woman" to stay in her palace in case of any illnesses. Aladdin is warned of this danger by the genie of the lamp and slays the impostor.
The opening sentences of the story, in both the Galland and the Burton versions, set it in "one of the cities of China".[12] On the other hand, there is practically nothing in the rest of the story that is inconsistent with a Middle Eastern setting. For instance, the ruler is referred to as "Sultan" rather than "Emperor", as in some retellings, and the people in the story are Muslims and their conversation is filled with Muslim platitudes. A Jewish merchant buys Aladdin's wares, but there is no mention of Buddhists, Daoists or Confucians.
Notably, ethnic groups in Chinese history have long included Muslim groups, including large populations of Uyghurs, and the Hui people as well as the Tajiks whose origins go back to Silk Road travelers. Islamic communities have been known to exist in the region since the Tang dynasty (which rose to power simultaneously with the prophet Muhammad's career.) Some have suggested that the intended setting may be Turkestan (encompassing Central Asia and the modern-day Chinese autonomous region of Xinjiang in Western China).[13] The Arabicized Turkic Kara-Khanid Khanate, which was located in this region and had a strong identification with China, bears a strong resemblance to the setting, their rulers even adopting the Arab title of Sultan, even going so far as to adopt the title of "Sultan of the East and China", which was used alongside Turkic titles such as Khan (title) and Khagan; however, chancellors were referred to as Hajib rather than Vizier.
For all this, speculation about a "real" Chinese setting depends on a knowledge of China that the teller of a folk tale (as opposed to a geographic expert) might well not possess.[14] In early Arabic usage, China is known to have been used in an abstract sense to designate an exotic, faraway land.[15][16]
Adaptations vary in their faithfulness to the original story. In particular, difficulties with the Chinese setting are quite often resolved by giving the story a more typical Arabian Nights background.
Sega Sammy have released a line of pachinko machines based on Aladdin since 1989. Sega Sammy have sold over 570,000 Aladdin pachinko machines in Japan, as of 2017[update].[41] At an average price of about $5,000,[42] this is equivalent to approximately $2.85 billion in pachinko sales revenue.
One thing that is quite surprising about A Whole New World: A Twisted Tale, is that it has a number of dark plot twists. These sudden changes in events leave a lasting impression because it is not a direction that you would expect from a Disney retelling. Instead, such events leave the reader shaken as these incidences highlight the villainy of Jafar.
Overall, I enjoyed reading this book Though it is targeted at a younger audience, I feel that older readers will enjoy this as well because of the refreshing tale that Liz Braswell has spun on the question: What would have happened if Aladdin never got the lamp?
The tale of Aladdin is found in The Arabian Nights tales or One Thousand and One Nights. An enchanting and magical collection of fairy tales of Middle Eastern origin. The Arabian Nights stories were first introduced to Europe in a French translation by Antoine Galland in 1704. These fantastic and exotic stories rapidly gained popularity. There are reports of Galland being roused from sleep by young men under his windows in Paris, imploring him to tell more stories.
Interestingly, there are two different genies that are summoned in this tale. As we would expect from modern retellings, one of these genies appears when the lamp is rubbed. However, there is also a second genie that only appears when Aladdin rubs the ring that was given to him by the wizard at the beginning of the story.
Curated by University of Colorado Boulder students under the direction of Sean Babbs (Instruction Coordinator for the Libraries' Rare and Distinctive Collections) and Suzanne Magnanini (Associate Professor of Italian and President's Teaching Scholar)
The illustrations in this book attest to its incongruent cultural identity. While Aladdin and the princess are notably depicted as Caucasian, the villain, an African magician, displays grotesque, exaggerated features. Most of the background characters, included to create a landscape for the text, have stereotypical Middle Eastern features. And the genies, characters whose identities have changed the most with every new sociocultural adaptation, look like a mashup of cultural types.
Sir Richard Francis Burton (translator). Leonard B. Lubin (illustrator). Aladdin and His Wonderful Lamp. New York: Delacorte Press, 1982. The Lee Walp Family Juvenile Book Collection, Gift of the Lee Walp Family.
The origin of Aladdin is disputed amongst historians, but many believe that the story first appeared in One Thousand and One Nights, a collection of stories that originated in the early 9th century. However, the first literary version of Aladdin can be traced back to a French author, Antoine Galland, who claimed to have heard the tale from a Syrian storyteller while on his travels.
Enter the fairy tale world of genies and magic in this delightful new addition to the Peek Inside a Fairy Tale series. Aladdin is a poor boy, but by trusting his instincts, and with a little luck, he achieves his heart's desire. Delicately cut holes in the pages entice the reader through Aladdin's adventure, with flaps revealing magical transformations.
Series: Peek Inside a Fairy Tale Board Books
Journey into these fairy tales, peeking through the trees, lifting flaps to see what's beneath things, and watch the story unfold with each turn of the page.
Aladdin and Ali Baba were actually written by Hanna Diyab, a Syrian writer and storyteller. Antoine Galland did the first European translation-edition of The 1001 Nights, published in 12 volumes between 1704 and 1717 as Les mille et une nuits, but he met Diyab on 1709 in France, being the source to both tales. However, Galland never gave Diyab the credit, claiming these stories were part of a now-lost original manuscript, which is partly true since Diyab versions of the tales are lost for sure.
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