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Did You Know?

It is represented in print by the so-called Calcutta I (1814-1818) and most notably by the Leiden edition (1984), which is based above all on the Galland manuscript.

The Italian filmmaker Pier Paolo Pasolini observed:Though invisible, fate may be considered a leading character in the One Thousand and One Nights. The plot devices often used to present this theme are coincidence, reverse causation and the self-fulfilling prophecy (see Foreshadowing below).Early examples of the foreshadowing technique of repetitive designation, now known as "Chekhov's gun", occur in the One Thousand and One Nights, which contains "repeated references to some character or object which appears insignificant when first mentioned but which reappears later to intrude suddenly in the narrative". A notable example is in the tale of "The Three Apples" (see Crime fiction elements below).Another early foreshadowing technique is formal patterning, "the organization of the events, actions and gestures which constitute a narrative and give shape to a story; when done well, formal patterning allows the audience the pleasure of discerning and anticipating the structure of the plot as it unfolds".

The first translations of this kind, such as that of Edward Lane (1840, 1859), were bowdlerized.

" story narrated by Scheherazade in the ''One Thousand and One Nights''.

This version, known as the Leiden text, was compiled in Arabic by Muhsin Mahdi (1984) and rendered into English by Husain Haddawy (1990).

In Makdisi, Saree and Felicity Nussbaum: "The Arabian Nights in Historical Context: Between East and West"Irwin, Robert.