One Thousand and One Nights

And earth, high prince, already is thine own.

What fortune brought thee here for our delights, Directly from the One Thousand Nights? If thou like Scheherazade art rich in stories, My favor shall ensure thee higher glories.

Be ready always, when your world of day, As often haps, disgusts me every way.

Lord High Steward enters hastily.

Here indeed was an adventure not often to be met with in this unromantic age and the young man's body thrilled as he experienced hitherto unknown emotions.

He was Sir Galahad searching for the Grail, Columbus staring at a newly discovered world, a calendar from the Arabian Nights tumbling upon the magical beauty of the world, a jinn's daughter lovely and unapproachable.

Up and up went the stair twisting and turning like an eel until Haskins losing count of time thought he was mounting to the North Star.

Finally the steps ceased to wind and the explorer clambered up a straight flight which terminated in a small opening out of which he emerged onto the top of the cliff and immediately below the ivy-draped wall.

"I know lots of Homer and of Shakespeare and of Keats and—" "Stop, stop," interrupted Gerald hastily.

"How can you when, according to your message, you are unable to read?" "Oh, Shaibar taught me." "Shaibar?" Mavis nodded with bright eyes.

"You know, the Peri Banu's brother in the Arabian Nights.

His real name is Arnold, Mr. Arnold.

that chronological sequential approach.

The Bible, The Thousand and One Nights, are examples of books that you don't read from beginning to end.

You enter wherever you feel like entering and you leave in the same way.

It is a book, therefore, where the reader plays a creative, a structural role.

that chronological sequential approach.

The Bible, The Thousand and One Nights, are examples of books that you don't read from beginning to end.

You enter wherever you feel like entering and you leave in the same way.

It is a book, therefore, where the reader plays a creative, a structural role.

An anthology is a book that, though it, it is inevitably, uh, packaged with a beginning and an end, deliberately wants to break that chronological sequential approach.

The Bible, uh, the Thousand and One Nights, uh, are examples of books that you don't read from beginning to end.

It-- you enter wherever you feel like entering, and you leave in the same way.

Um, it is a book, therefore, where the reader plays a creative, a structural, a role, and it is the sensibility of that reader, the, the moment in which that reader finds, uh, themselves that allows for the discovery.

that chronological sequential approach.

The Bible, The Thousand and One Nights, are examples of books that you don't read from beginning to end.

You enter wherever you feel like entering and you leave in the same way.

It is a book, therefore, where the reader plays a creative, a structural role.

All this was much set off to by the glimpses one caught through a rusty gate standing ajar of quiet, sleepy courtyards, having stately old houses within, as silent as tombs.

It was all very like one of the descriptions in the Arabian Nights.

The three one-eyed calendars might have knocked at any one of those doors till the street rang again, and the porter who persisted in asking questions, the man who had the delicious purchases put into his basket in the morning, might have opened it quite naturally.

After breakfast next morning, we sallied forth to see the lions.

that chronological sequential approach.

The Bible, The Thousand and One Nights, are examples of books that you don't read from beginning to end.

You enter wherever you feel like entering and you leave in the same way.

It is a book, therefore, where the reader plays a creative, a structural role.