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A Th ousand and One Nights 217 him integrate in to society, and off ers him his daughter in marriage. It is a mirror version of the Fourth Voyage except that this one ends very diff erently. As in the Fourth Voyage, Sindbad stumbles upon a foreign custom: Th e men fl y off once a month disguised as birds. With the strength of his rhetoric, and still as ethnologically curious as ever, he convinces them to take him along. When he “hear[s] the angels glorifying God in the heavenly dome,” he wonders and exclaims, ‘Praised be Allah! Extolled be the perfection of Allah!’” A fi re comes out of heaven, and the company curses him and leaves him alone on a high mountain. He has fl own, in a sense, on this ultimate ethnological trip with pagans and has remained true to Allah even so, saving himself one last time. Eventually he is rescued and returns to his wife. Th ey decide to leave the land and return to Baghdad. Th is had been his longest trip, twenty-seven years and, again like Odysseus, his people back <strong>home</strong> “had given up all hope of [him]” (461). Th is time, however, it would seem that Sindbad’s accumulated experiences have made him learn his lesson: “Th en I forswore travel and vowed to Allah the Most High I would venture no more by land or sea, for that this seventh and last voyage had surfeited me of travel and adventure.” For the seventh and last time Sindbad returns, and, although he does not say so this time, we can well believe that, as he has done all the previous times, he gives alms to beggars and widows and orphans, one of the more important pillars of Islam. Sindbad’s travels showcase his superior cleverness and demonstrate how he exploits opportunity, as he “regularly bumps into things he did not expect” (17). Th e last thing that needs to be said about Sindbad, and about all tricksters, is that they are exceedingly vital creatures. Th eir supernatural urge to save themselves and survive what would kill any other being attests that they are in love with life. In his third voyage, when Sindbad realizes that he cannot protect himself from being eaten by a snake except by building a bier, he gives voice to this fundamental drive: For “verily life is dear” (413). It is the intensity of this categorical proclamation that forces him over and over again to devise tactics by which to survive—strategic storytelling, bribery, trickery, brilliant improvisation—and instigates others to repeat “none ever came off alive but thou . . .” (437). As we have seen, Sindbad is such a trickster, a character who derives creative intelligence from his appetite for life.
218 A Th ousand and One Nights WORKS CITED Burton, Richard F., Trans. “Sindbad the Seaman and Sindbad the Landsman.” Tales from the Arabian Nights. Ed. David Shumaker. Random House: New York, 1977. Hyde, Lewis. Trickster Makes this World: Mischief, Myth, and Art. Farrar, Straus and Giroux: New York, 1998.
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Bloom's Literary Th emes f Alienati
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Bloom’s Literary Th emes THE TRIC
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, Contents . Series Introduction by
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Contents Th e Tempest (William Shak
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xii Series Introduction by Harold B
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, Volume Introduction by Harold Blo
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THE ADVENTURES OF HUCKLEBERRY FINN
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Th e Adventures of Huckleberry Finn
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the Works of sherman alexie ,. “F
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Th e Works of Sherman Alexie 11 Sup
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Th e Works of Sherman Alexie 13 reg
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Th e Works of Sherman Alexie 15 tea
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Th e Works of Sherman Alexie 17 A k
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The ConfidenCe-Man: his Masquerade
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Th e Confi dence-Man: His Masquerad
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DECAMERON (GIOVANNI BOCCACCIO) ,.
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Decameron 39 commonplace, eludes al
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Decameron 41 mercenary soldier, fal
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Decameron 43 pretends to confi de t
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Decameron 45 general laughter. Cala
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Decameron 47 For the storytellers j
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Decameron 49 alcuni, più gentili c
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Decameron 51 death and is, in this
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Decameron 53 city of Naples is iron
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Decameron 55 Th e Decameron constan
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Decameron 57 9. “Avvegna che, chi
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Decameron 59 20. It may be of inter
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Decameron 61 33. Lynn Th orndike, A
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THE NOVELS OF WILLIAM GOLDING Intro
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Th e Novels of William Golding 65 h
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Th e Novels of William Golding 67 u
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Th e Novels of William Golding 69 B
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Th e Novels of William Golding 71 t
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Th e Novels of William Golding 73 t
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Th e Novels of William Golding 75 I
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haMleT (William shakespeare) ,. “
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Hamlet 79 I picture the old fellow
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Hamlet 81 natural dignity of his tr
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Hamlet 83 the gruesome relics that
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Hamlet 85 Th e dialogue is terminat
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Hamlet 87 It appeared that our prop
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90 N. Scott Momaday Th e in-between
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92 N. Scott Momaday (Momaday, HMD,
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94 N. Scott Momaday with grace and
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96 N. Scott Momaday House made of d
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98 N. Scott Momaday fearsome experi
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100 N. Scott Momaday Jones, Peter N
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102 Franz Kafka notes in his deft a
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104 Franz Kafka hunger artist and t
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106 Franz Kafka evoked by the narra
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108 Franz Kafka Kafka, Franz. Th e
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110 William Shakespeare Contours, C
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112 William Shakespeare likeness of
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114 William Shakespeare Th roughout
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116 William Shakespeare the comic c
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118 William Shakespeare he had, iro
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ODYSSEY (HOMER) ,. “A General Vie
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Odyssey 123 without offending again
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Odyssey 125 their own miscarriages.
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Odyssey 127 SECT. V Th e action 7 o
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Odyssey 129 he should have ended il
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Odyssey 131 a passion that begins a
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Odyssey 133 which we only read or h
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Odyssey 135 the rest of the work, w
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ON THE ROAD (JACK KEROUAC) ,. “Fa
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On Th e Road 139 person with extrao
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On Th e Road 141 for limitless spac
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On Th e Road 143 motion.” Whether
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On Th e Road 145 Buddha . . . sator
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On Th e Road 147 the middle of the
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On Th e Road 149 faith when Dean le
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ORLANDO (VIRGINIA WOOLF ) ,. “Wit
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Orlando 153 a rather masculine view
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Orlando 155 the biographer, the len
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Orlando 157 often it is only the cl
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ROSENCRANTZ AND GUILDENSTERN ARE DE
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Page 230 and 231: A Th ousand and One Nights 215 Just
Page 234 and 235: UNCLE REMUS (JOEL CHANDLER HARRIS)
Page 236 and 237: Uncle Remus 221 Mixon’s view foun
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Page 244 and 245: “THE WIFE OF BATH’S TALE” (GE
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Page 257 and 258: 242 Acknowledgments Warde, Frederic
Page 259 and 260: 244 “Battle of the Maldon, Th e,
Page 261 and 262: 246 Free Fall (Golding), 65 Freud,
Page 263 and 264: 248 Lewis, R.W.B., 20, 30, 33, 34 l
Page 265 and 266: 250 narrative, 183, 184 Tatem, Sout
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