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20 hours ago Abdel Moneim Ajab Al-Faya 613 visits Abdel Moneim Ajab Al-Faya I begin the discussion with a sweeping generalization and say that the book (One Thousand and One Nights) is the foundation upon which the art of story and novel was founded in Europe and the whole world. However, we postpone the details of this topic to the next article, and limit our discussion here to the impact of this great book on Latin American literature. Magical realism, as is known, is a description given by Western critics to Latin American literature. This description became widespread on the eve of the Colombian, Gabriel García Márquez, winning the Nobel Prize for Literature in 1982. By magical realism, they mean the writer’s use of the mysteries, legends, and supernatural traditions in popular narrative and novelistic narratives. Since then, Arab critics and writers, like others, began repeating the term magical realism without realizing the fact that the magical realism from which Latin American writers and Western writers in general are drawn are nothing but tales. (One Thousand and One Nights), and without realizing the fact that (One Thousand and One Nights) is the basis upon which the art of the story and the modern novel in the West was founded in its various forms and narrative techniques and in all stages of its development until today. In fact, the influence of Latin American writers on the stories of “One Thousand and One Nights” is not subject to debate, and does not need a statement or arguments, because Latin American writers themselves are proud of this fact and speak of it with pride without anyone asking them to do so, and they do not wait for others to discover the impact of this great travel. In their literary production, they consider this impact part of their cultural heritage. It caught my attention, for example, that Gabriel Garcia Marquez often repeats, in his interviews, articles, and memoirs, talk about the profound impact that the stories of “One Thousand and One Nights” had in shaping his artistic conscience and his doctrine of narrative writing. He says in his memoirs, which he published under the title (We Live It to Tell It), that the first book he read after learning to read and write was the book One Thousand and One Nights. He found it lying in a storeroom in the family home, covered with dust and incomplete. The book attracted attention from the first page, and he fell upon it, devouring its pages to the point that one of his educated relatives, when he saw him in this state, exclaimed, saying: “Oh my God! This boy will become a writer.” Here, Márquez stresses that one of the stories in the book One Thousand Nights And one night, it was deeply engraved in his conscience and gained his admiration, as he said, like no other story he had read throughout his entire life. The story tells, as Marquez says, about a fisherman who promised his neighbor that he would give her the first fish he caught if she would lend him her own fishing net. When he gave her the fish and the woman opened the fish to cook it, she found inside it a diamond the size of an almond. Reading One Thousand and One Nights allowed him to taste, at an early age, the novels of Kafka and James Joyce, who were in turn influenced by this immortal travel. The story (The Metamorphosis) by Franz Kafka, in which the hero awakens. From sleep in the morning, he finds himself transformed into a large insect, reminding him of the world of Scheherazade in One Thousand and One Nights. Márquez says about the story of the metamorphosis in his memoirs: “And again there was Scheherazade, but not in her thousand-year-old world, where everything is possible, but in a world that cannot be replaced, in which everything is lost.” It is understood from the words of Márquez and others, about this precious book, that educated families in Latin America were keen to acquire and keep a copy of the translation of the book One Thousand and One Nights. For future generations, it becomes clear to us that the secret behind giving the name “magical realism” to Latin American literature lies in these writers’ inspiration for the narrative spirit in the tales of “One Thousand and One Nights.” Here we must remember that the cultural heritage of Latin American writers is, at its core, of Spanish, Andalusian, Arab and Islamic origins. Among the continent’s most prominent writers who have always reminded people of the profound impact that One Thousand and One Nights left on them is the Argentinian Jorge Luis. Jorge Jorge, the Brazilian Jorge Amado, Pablo Coelho and others. However, the Argentine poet, storyteller and thinker Jorge Jorge is considered the most profound Latin American writer influenced by One Thousand and One Nights, so that it can be said that everything he wrote in poetry or prose over his long life, even the names of the texts and the titles of the books, was inspired by this great human treasure. He describes One Thousand and One Nights by saying: “He composes a part of our memory and says that he read the book while he was in it.” At the age of eleven, he found his father in his office in the English translation that Richard Wharton had completed under the title (The Arabian Nights). He says that he was impressed by the title of the translation, but he finds that it is less beautiful than the original title of the book. The number “one thousand” is synonymous with the infinite. To say “a thousand nights” means to talk about infinite nights, about countless nights. The title “One Thousand and One Nights” was published by him in his book (Seven Nights). The topics of this book are lectures he gave to university students. In one of his lectures, he talked about the central value of the book One Thousand and One Nights in world literature and his relationship to this book and its influence on it. Jose summarizes the lessons in the art of storytelling that world writers learned from (One Thousand and One Nights) in three, namely: the idea of frame narration or creating a story within a story, meaning that there is a story that constitutes the frame of reference for the story or a group of stories that are woven based on it. This frame. The second lesson is the idea of circular narrative time, meaning cutting the story, suspending it, and then returning again to the point of cutting and suspending. The third and final lesson is to employ dreaming and dreams to make way for the creation of creative, renewed worlds. Despite all of this, we find that when the term magical realism first became popular, only a few of the most brilliant Arab critics realized the fact that this magical realism in Latin American literature is derived from the stories of One Thousand and One Nights. Among them is Dr. Kamal Abu Deeb. In the context of his mockery of Arab writers and intellectuals’ penchant for imitating European modernism and postmodernism, he reminds readers that magical realism An ancient Arabic way of storytelling and storytelling, which appears in its fullest form in the tales of One Thousand and One Nights. He says: “And we are now in the season of Derrida, the metaphysical, and postmodernism, and during all of that we have devoured Marquez’s techniques, and the data of magical realism as developed by others, and it did not occur to any of us that its first real crystallization had taken place in Arabic writing and then in the work of Tayeb Salih…” The narrative narrative is amazing. It was the result of a deep representation of Arabic narrative techniques, as represented in “One Thousand and One Nights,” the wondrous tales, the Wahrani shrines, and the heritage of the magical and superstitious, mixing them with realistic narrative techniques, and the components of Sufi and religious thought, in their supernatural and daily manifestations, creating all of this in the late sixties with a very distinctive and unique narrative structure, which is the structure of realism. The great Lebanese poet Abbas Baydoun shares what Kamal Abu Deeb said about Tayeb Salih: “Before the Latin American novel reached us, he established an Arab fantasy… And if Naguib Mahfouz’s novel was the pillar of the Arabic novel, then Tayeb Salih wrote the opposite novel, the novel of language, poetry, and magic.” Reality is connected to myth, superstition, dream, and the absurd, as he says: “Now they talk about magical realism and so on, but before I walked in this direction. In fact, I started writing while moving in this direction. And it is something that, to be honest, I did not invent because it exists in our environment.” However, the established fact is that the book One Thousand and One Nights did not only leave this profound impact on Latin American writers, but this book left its impact on the greatest novel and story writers in Europe since its inception in the fourteenth century. The Italian Boccaccio, the English Geoffrey Chaucher, and even Proust and Joyce in the twentieth century. In his research, which he devoted to (literature) and in which he co-authored the book (The Heritage of Islam) with a group of specialized researchers, the well-known British Orientalist, Hamilton Gibb, former professor of literature and the Arabic language at the Universities of London and Oxford, says: “Perhaps the best thing that Islamic literature did for medieval literature is that it influenced its Arab culture and thought, in poetry. The Middle Ages and its prose, whether the material taken from Arabic sources is apparent or not.” He adds in the same context: “And no matter how much Arab poetry has merit in stimulating poetic genius in the southern Roman peoples, what Europe in the Middle Ages owes to Arabic prose is hardly a matter of controversy.” By Arabic prose here he means folk stories, tales, and riddles, foremost of which are the tales of One Thousand and One Nights, about whose profound influence on European literatures Gebb says: “We are not It would be an exaggeration if we said that the stories of One Thousand and One Nights led popular writers to the door they were looking for, or if we said that without them, people would not have known the story of Robinson Crusoe, or perhaps they would not have known the story of Golfer’s Travels either.” Gibb goes so far as to say that the modern story or novel in Europe was influenced at its beginning by the Arab-Andalusian heritage. He believes that Cervantes himself was indebted to the Andalusian culture, and his story Don Quixoto, “as Prescott declared, is purely Andalusian in that it shows tact and wit. A number of men of Spanish literature other than Cervantes were influenced by the Andalusian culture, no less important than him.” However, Gibb believes that literary historians in Europe have neglected to study the overwhelming popularity that oriental stories found in Europe and the profound impact that it had. “I introduced it to European literature, especially in the eighteenth century.” We see that this criticism that Jubb directed at researchers in Europe also applies to scholars and literary historians in the Arab and Islamic world as well. No one speaks categorically about Europe, and the West in general, learning the art of modern narration from the book (One Thousand and One Nights). This is not surprising, as they follow research trends in the West and its doctrines, hoof on hoof, as they say, and are influenced by its cultural tendencies and regional biases. And ideology and ethnicity, and they do not express a definitive opinion on an issue unless its owner is European or American. Sources and footnotes: 1- We live it to tell it, Gabriel Garcia Marquez, translated by Rifaat Atfa, Ward Printing and Publishing, Syria, 2003 edition, p. 105, p. 2652 – Kamal Abu Deeb, Aesthetics or the Intertwining of Creative Spaces, Dar Al-Ilm Al-Millain, Beirut, 1st edition, p. 473 – Al-Tayeb Salih, Ali. Al-Darb: Features of an Autobiography, prepared by Talha Jibril, Sudanese Studies Center, 1st edition, 1997, pp. 118, 1194 – Abbas Baydoun, Tayeb Salih’s Future Novel, Beirut newspaper Al-Safir, February 19, 20095 – Issa Maalouf, Oriental Dreams: Bukharis in the Labyrinths of One Thousand and One Nights, Dar Al-Nahar, Beirut, first edition, 1996, p. 256-YJB, Literature, literature, research in the book: The Legacy of Islam, translated by the University Committee, Cairo, 1983 edition. (The book was published in English in 1931 by the University of Oxford, and a number of orientalists participated in it. It was translated into Arabic in the first edition in 1936 by the University Committee for Authorship, Translation and Publishing in Cairo. It was reprinted by the National Center for Translation in Cairo in 2007, pp. 190, 176, 2027). Essen Pelathius, The Impact of Islam on the Divine Comedy, translated by Jalal Mazhar, Egyptian General Book Authority, Cairo, 2015 edition – Katarina Mommzen, Goethe and the Arab World, translated by Adnan Abbas, reviewed by Dr. Abdul Ghaffar Makkawi, World of Knowledge Series, No. 194, Kuwait, February 1995, pp. 24, 26, 27, 289 – Giovanni Boccaccio, The Decameron, translated by Saleh Almani, Dar Al-Mada, first edition 2006 The Legacy of Islam, Oxford University Press, 1931 Abdel Moneim Ajab Al-Faya
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