The earlier Arabic compilations are no more reliable, however-Irwin devotes a separate chapter to forerunners (conjectural or lost) over several centuries, from India to Persia and Egypt. Irwin wryly glosses these early translations, which distortedly mirror the original Eastern exoticism with the reflections of their age's prejudices and their translators' personal eccentricities (notably the lexical, racial, and sexual obsessions of the Victorian adventurer Sir Richard Burton). Most famously, Aladdin, who has no Arabic version predating his appearance in 18th-century France, may well have been the creation of translator Antoine Galland, not of Scheherazade. Irwin begins with the translators who popularized the Nights and, along the way, bowdlerized and warped it, or even inserted their own episodes. The most influential book in the Western canon that does not actually belong to it, The Arabian Nights never enjoyed the same literary status in the East, and its origins have been made only murkier by its reception in Europe. Matching The Arabian Nights' scope and enchantment with erudition and wit, Irwin (The Arabian Nightmare, 1987) explores its elusive kingdom of stories, delving into the vast work's textual genesis, cultural history, and literary legacy.
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