Aladdin story in urdu pdf Continue This article contains an article about original folklore. For other uses, see Aladdin (disambiguation) and Aladdin (name). Magic lights turn to this page. For other uses, see Magic lantern (disambiguation). Aladdin and Wonderful LampAladdin found beautiful lights inside the cave. FolkloreNameAladdin and ʻAlāʼ ud-Dīn/ ʻAlāʼ ad-Dīn, IPA: [abbreviated as adˈdiːn], ATU 561, 'Aladdin') is the , اﻟﺪﻳﻦ aﻋﻼ :Wonderful LampDataAarne-ThompsonATU 561 (Aladdin)RegionArabiaPublished inThe Thousand and One Nights, translated by Antoine Galland's Middle Eastern folklore Aladdin (/əˈlædɪn/ ə-LAD-in; Arabic most likely folklore of the Middle East. Although it is not part of the original Arabic text of The Book of One Thousand and One Nights (The Arabian Nights), it is one of the most famous stories associated with the collection. It was actually added by French player Antoine Galland, who obtained the story from Maronite Christian storyteller Hanna Diyab. [1] Sources known along with Ali Baba as one of the orphan stories, the story is not part of the original Nights collection and has no authentic Arabic textual source, but is included in the book Les mille et une nuits by his French translator, Antoine Galland. [2] John Payne cited parts of Galland's unpublished diary: recording Galland's encounter with a Maronite storyteller from Aleppo, Hanna Diyab. [1] According to Galland's diary, he met Hanna, who had traveled from Aleppo to Paris with renowned French tourist Paul Lucas, on March 25, 1709. Galland's diary further reports that his transcription of Aladdin for publication occurred in the winter of 1709–10. It was included in volumes ix and x of the Nights, published in 1710, without mentioning or publishing recognition of Hanna's contributions. Paulo Lemos Horta, in his introduction to the translation of Aladdin, speculates that Diyab may even be the original author of at least some orphaned stories, including Aladdin. [3] To return to Payne, he also recorded the discovery at the Bibliothèque Nationale in Paris of two Arabic manuscripts containing Aladdin (with two more stories interpolated). One was written by a Syrian Christian priest living in Paris, named Dionysios Shawish, aka Dom Denis Chavis. The other was supposed to be a copy of Mikhail Sabbagh made from a manuscript written in Baghdad in 1703. It was purchased by the Bibliothèque Nationale in the late nineteenth century. [4] As part of his work on the first critical edition of The Night, Muhsin Mahdi of Iraq has shown[5] that both manuscripts are re-translations of galland texts into Arabic. [7] A summary of The Sorcerer's plot traps Aladdin in a magical cave. This story is often retold Variations. The following is a précis from Burton's 1885 translation. [8] Aladdin was a poor, poor, poor young ne'er-do-well, in one of the cities in China. He was recruited by a witch from the Maghreb, who turned himself in as the brother of Aladdin's late father, Mustapha the tailor, convinced Aladdin and his mother would be good by pretending to establish the boy as a wealthy merchant. The witch's real motive is to persuade young Aladdin to take a beautiful oil lamp from a magical cave that trapped her breasts. After the witch attempted to cross it twice, Aladdin found himself trapped inside the cave. Aladdin still wears the magic ring that the witch lent. When he rubs his hands in despair, he accidentally rubs the ring and the jinnī (or genie) appears and releases it from the cave, allowing him to return to his mother while having the lamp. When her mother tries to clean the lights, so they can sell them to buy food for their dinner, a much stronger second genie appears bound to do the bidding of the person holding the lamp. With the help of the lamp genie, Aladdin became rich and powerful and married Princess Badroulbadour, the sultan's daughter (after miraculously thwarting his marriage to a vizier son). Jin built Aladdin and his bride a beautiful palace, much grander than the sultan. The witch heard Aladdin's good fortune, and returned; he gets his hands on the lamp by tricking Aladdin's wife (who is unaware of the importance of the lamp) by offering to swap the new lamp for the old one. He ordered the lamp genie to take the palace, along with all its contents, to his home in the Maghreb. Aladdin still has a magic ring and is able to summon a smaller genie. The ring genie cannot directly undo the magic of the genie lamp, but he can transport Aladdin to the Maghreb where, with the help of the princess's female ruse, he restores the lights and kills the witch, returning the palace to the right place. The witch's more powerful and evil brother plots to destroy Aladdin for killing his brother by posing as an old woman known for her healing powers. Badroulbadour fell for his disguise and ordered the woman to stay in his palace in case of illness. Aladdin was warned of this danger by the genie lights and killed the imposter. Aladdin finally succeeded in gaining the throne of his father-in-law. Arranging the opening sentence of the story, in both Galland and Burton versions, sets it up in one of China's cities. [9] On the other hand, it is practically not in the rest of the story that is inconsistent with middle eastern arrangements. For example, rulers are referred to as Sultans rather than called Emperors, as in some retellings, and the people in the story are Muslim and their conversations are embraced with a devout Muslim attitude. A Jewish merchant bought a trade in Aladdin (and happened to deceive him), but none confucians (or other typical Chinese). Notably, ethnic groups in Chinese history have long included Muslim groups, including a large population of Uighurs, and Hui people whose origins go back to Silk Road travelers. The Islamic community has been known to exist in the region since the Tang Dynasty. Some have suggested that the intended arrangement may be Turkestan (covering Central Asia and the modern Chinese province of Xinjiang in Western China). [10] For all this, speculation about a real Chinese arrangement depends on knowledge of China that tellers of folklore (as opposed to geographical experts) may also not have. [11] At the beginning of the Use of Arabic, China was known to have been used in abstract senses to designate exotic and distant lands. [13] Aladdin's motifs and variants are classified in the Aarne-Thompson-Uther index as the ATU 561 tale type, Aladdin, after the character. In the Index, Aladdin's story is located next to two similar types of stories: ATU 560, The Magic Ring, and ATU 562, The Spirit in the Blue Light. All the stories deal with a less fortunate and poor boy or soldier, who finds magical items (rings, lights, tinderboxes) that grant his wishes. The magic item was stolen, but eventually recovered thanks to the use of other magical objects. [14] The South Asian variant has been proven, titled The Magic Lamp and collected among the Santal people. [16] Western variants of aladdin's story replaced the lights with tinderboxes. Adaptation See also: Aladdin adaptations (franchises) vary in their loyalty to the original story. In particular, difficulties with Chinese settings are sometimes solved by providing a more distinctive Arabian Nights background story. Book One of the many literary stories appeared in A Book of Wizards (1966) and A Choice of Magic (1971), by Ruth Manning-Sanders. Jonathan Clements's The Nobility of Faith in the anthology Doctor Who Short Trips: The Ghosts of Christmas (2007) is a retelling of Aladdin's story in arabian nights style, but features the Doctor in the role of genie. Pantomimes An 1886 theater poster advertises a pantomime production of Aladdin. In the United Kingdom, Aladdin's story was dramatized in 1788 by John O'Keefe for the Theatre Royal, Covent Garden. [17] It has been a popular subject for pantomime for more than 200 years. [18] Aladdin's traditional pantomime is the source of the famous pantomime character Widow Twankey (Aladdin's mother). In pantomime versions, changes in settings and stories are often made to better match China (although China is located in the East End of London rather than Medieval Baghdad), and elements of other Arabian Nights stories (especially Ali Baba) are often introduced into the plot. One pantomime version of Aladdin is the musical Aladdin Sandy Wilson, from 1979. 1979. in the early 1990s, Aladdin's pantomime tended to be influenced by Disney animation. For example, the 2007/8 production at the Birmingham Hippodrome starring John Barrowman featured songs from the Disney films Aladdin and Mulan. Another musical theatre New Crowns for Old, a 19th-century English cartoon based on the story of Aladdin (Disraeli as Abanazer from a pantomime version of Aladdin that boasts the Crown of Queen Victoria's Empire (in India) The New Aladdin is a successful Edwardian musical comedy in 1906. Adam Oehlenschläger wrote his verse play Aladdin in 1805. Carl Nielsen wrote incidental music for the play from 1918 to 1919. Ferruccio Busoni sets several verses from Aladdin Oehlenschläger's final scene in the final movement of his Piano Concerto, Op. 39. In 1958, the musical comedy version of Aladdin was written exclusively for U.S. television with a book by S. J. Perelman and music and lyrics by Cole Porter. A London stage production followed in 1959 in which 30-year-old Bob Monkhouse played the role of Aladdin at the Coliseum Theatre.