Known along withAli Baba as one of the "orphan tales", the story was not part of the originalNights collection and has no authentic Arabic textual source, but was incorporated into the bookLes mille et une nuits by itsFrench translator,Antoine Galland.[2]
John Payne quotes passages from Galland's unpublished diary recording Galland's encounter with aMaronite storyteller fromAleppo,Hanna Diyab.[1] According to Galland's diary, he met with Hanna, who had travelled from Aleppo toParis with celebrated French travellerPaul 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 his volumes ix and x of theNights, published in 1710, without any mention or published acknowledgment of Hanna's contribution.
Payne also records the discovery in theBibliothèque Nationale in Paris of twoArabic manuscripts containingAladdin (with two more of the "interpolated" tales). One was written by a Syrian Christian priest living in Paris, namedDionysios Shawish, alias Dom Denis Chavis. The other is supposed to be a copy Mikhail Sabbagh made of a manuscript written inBaghdad in 1703. It was purchased by the Bibliothèque Nationale at the end of the nineteenth century.[3] As part of his work on the first critical edition of theNights,Iraq'sMuhsin Mahdi has shown[4] that both these manuscripts are "back-translations" of Galland's text into Arabic.[5][6]
Ruth B. Bottigheimer[7] and Paulo Lemos Horta[8][9] have argued that Hanna Diyab should be understood as the original author of some of the stories he supplied, and even that several of Diyab's stories (includingAladdin) were partly inspired by Diyab's own life, as there are parallels with his autobiography.[10]
The story is often retold with variations. The following is a précis of the Burton translation of 1885.[11]
Aladdin is an impoverished young ne'er-do-well, dwelling in "one of the cities of Ancient China." He is recruited by asorcerer from theMaghreb, who passes himself off as the brother of Aladdin's late father, Mustapha thetailor, convincing Aladdin and his mother of his good will by pretending to set up the lad as a wealthy merchant. The sorcerer's real motive is to persuade young Aladdin to retrieve a wonderfuloil lamp (chirag) from abooby-trapped magic cave. After the sorcerer attempts to double-cross him, Aladdin finds himself trapped in the cave. Aladdin is still wearing amagic ring the sorcerer has lent him. When he rubs his hands in despair, he inadvertently rubs the ring and agenie appears and releases him from the cave, allowing him to return to his mother while in possession of the lamp. When his mother tries to clean the lamp, so they can sell it to buy food for their supper, a second, far more powerful genie appears; this one is bound to do the bidding of the person holding the lamp.
With the aid of the genie of the lamp, Aladdin becomes rich and powerful and marries PrincessBadroulbadour, thesultan's daughter (after magically foiling her marriage to thevizier's son). The genie builds Aladdin and his bride a wonderful palace, far more magnificent than the sultan's.
The sorcerer hears of Aladdin's good fortune, and returns; he gets his hands on the lamp by tricking Aladdin's wife (who is unaware of the lamp's importance) by offering to exchange "new lamps for old". He orders the genie of the lamp to take the palace, along with all its contents, to his home in the Maghreb. Aladdin still has the magic ring and is able to summon the lesser genie. The genie of the ring is too weak to directly undo any of the magic of the genie of the lamp, but he is able to transport Aladdin to the Maghreb where, with the help of the "woman's wiles" of the princess, he recovers the lamp and slays the sorcerer, returning the palace to its proper place.
The sorcerer's more powerful and evil brother plots to destroy Aladdin for killing his brother by disguising himself as an old woman known for her healing powers. Badroulbadour falls for his disguise and commands the "woman" to stay in her palace in case of any illnesses. Aladdin is warned of this danger by the genie of the lamp and slays the impostor.
Aladdin eventually succeeds to his father-in-law's throne.
The opening sentences of the story, in both the Galland and the Burton versions, set it in "one of the cities of China".[12] On the other hand, there is practically nothing in the rest of the story that is inconsistent with a Middle Eastern setting. For instance, the ruler is referred to as "Sultan" rather than "Emperor", as in some retellings, and the people in the story areMuslims and their conversation is filled with Muslim platitudes. AJewish merchant buys Aladdin's wares, but there is no mention ofBuddhists,Daoists orConfucians.
Notably,ethnic groups in Chinese history have long includedMuslim groups, including large populations ofUyghurs, and theHui people as well as theTajiks whose origins go back toSilk Road travelers.Islamic communities have been known to exist in the region since theTang dynasty (which rose to power simultaneously with the prophetMuhammad's career.) Some have suggested that the intended setting may beTurkestan (encompassingCentral Asia and the modern-day Chinese autonomous region ofXinjiang inWestern China).[13] The Arabicized TurkicKara-Khanid Khanate, which was located in this region and had a strong identification with China, bears a strong resemblance to the setting, their rulers even adopting the Arab title ofSultan, even going so far as to adopt the title of "Sultan of the East and China", which was used alongside Turkic titles such asKhan (title) andKhagan; however, chancellors were referred to asHajib rather thanVizier.
For all this, speculation about a "real" Chinese setting depends on a knowledge of China that the teller of a folk tale (as opposed to a geographic expert) might well not possess.[14] Although the story was first recorded in French, early Arabic usage of China is known to have been used in an abstract sense to designate an exotic, faraway land.[15][16]
The story of Aladdin is classified in theAarne–Thompson–Uther Index as tale type ATU 561, "Aladdin", after the character.[17][18][19] In the Index, the "Aladdin" story is situated next to two similar tale types: ATU 560,The Magic Ring, and ATU 562,The Spirit in the Blue Light.[20][21][22][23] All of these stories deal with a down-on-his-luck and impoverished boy or soldier, who finds a magical item (ring, lamp, tinderbox) that grants his wishes. In this regard, German folkloristHans-Jörg Uther, in his revision of the international index, published in 2004, remarked that the similarities between the three tale types make it hard to differentiate them.[24] On the other hand, perStith Thompson'sThe Folktale, in type 561, the magical item is stolen, but eventually recovered thanks to the use of another magical object.[25] Similarly, Czech scholarKarel Horálek [cs] distinguishes the three types in that, in type 560, the hero is helped by animals (the snake gives the ring and the dog and the cat retrieve the stolen object); type 561 does away with the animals, leaving the hero to recover the stolen lamp with the second object, and, finally, type 562 inserts another person that helps the hero.[26] The ultimate source[citation needed] of thegenie in a container tales is Homer'sIliad, where the god Ares is trapped in a bronze urn and offers to grantHermes whatever he wants if he is set free.[27][original research?]
Since its appearance inThe One Thousand and One Nights, the tale has integrated into oral tradition.[28] Scholars Ton Deker and Theo Meder located variants across Europe and the Middle East.[29] In addition, according to scholarKurt Ranke, inEnzyklopädie des Märchens, the "greatest distribution density" occurs in Europe and in the Mediterranean region, with variants also collected in the Middle East (Turkey, Palestine, Iraq, Yemen, Iran), Central Asia (in Tajikistan and Uzbekistan), India (among theSantal people),[30][31] and in Southeast Asia (Indonesia and the Philippines).[32]
Adaptations vary in their faithfulness to the original story. In particular, difficulties with the Chinese setting are quite often resolved by giving the story a more typicalArabian Nights background.
One of the many literary retellings of the tale appears inA Book of Wizards (1966) andA Choice of Magic (1971), byRuth Manning-Sanders. Another is the early Penguin version for children,Aladdin and His Wonderful Lamp, illustrated by John Harwood with many Chinese details; the translator or re-teller is not acknowledged. This was a "Porpoise" imprint printed in 1947 and released in 1948.
Aladdin: Master of the Lamp (1992), edited byMike Resnick andMartin H. Greenberg, is an anthology containing 43 original short stories inspired by the tale.
"The Nobility of Faith" byJonathan Clements, in the anthologyDoctor Who Short Trips: The Ghosts of Christmas (2007), is a retelling of the Aladdin story in the style of the Arabian Nights, but featuringthe Doctor in the role of the genie.
In 1962, the Italian branch ofWalt Disney Productions published the storyPaperino e la grotta di Aladino (Donald and Aladdin's Cave), written by Osvaldo Pavese and drawn byPier Lorenzo De Vita. As in manypantomimes, the plot is combined with elements of theAli Baba story:Uncle Scrooge leadsDonald Duck and theirnephews on an expedition to find the treasure of Aladdin and they encounter the Middle Eastern counterparts of theBeagle Boys. Scrooge describes Aladdin as abrigand who used the legend of the lamp to cover the origins of his ill-gotten gains. They find the cave holding the treasure—blocked by a huge rock requiring a magic password ("open sesame") to open.[34]
The original version of the comic book characterGreen Lantern was partly inspired by the Aladdin myth; the protagonist discovers a "lantern-shaped power source and a 'power ring'" which gives him the power to create and control matter.[35]
The Japanesemanga seriesMagi: The Labyrinth of Magic is not a direct adaptation, but features Aladdin as the main character of the story and includes many characters from otherOne Thousand and One Nights stories. An adaptation of this comic to ananime television series was made in October 2012 in which Aladdin is voiced byKaori Ishihara in Japanese andErica Mendez in English.
The traditional Aladdin pantomime is the source of the well-known pantomime characterWidow Twankey (Aladdin's mother). In pantomime versions, changes in the setting and story are often made to fit it better into "China" (albeit a China situated in theEast End of London rather than medievalBaghdad), and elements of other Arabian Nights tales (in particularAli Baba) are often introduced into the plot. One version of the "pantomime Aladdin" isSandy Wilson'smusicalAladdin, from 1979.
New Crowns for Old, a 19th-century British cartoon based on the Aladdin story (Disraeli as Abanazer from thepantomime version of Aladdin offeringQueen Victoria an Imperial crown (of India) in exchange for a Royal one)
The 1926 animated filmThe Adventures of Prince Achmed (the earliest surviving animated feature film) combined the story of Aladdin with that of the prince. In this version the princess Aladdin pursues is Achmed's sister and the sorcerer is his rival for her hand. The sorcerer steals the castle and the princess through his own magic and then sets a monster to attack Aladdin, from which Achmed rescues him. Achmed then informs Aladdin he requires the lamp to rescue his own intended wife, Princess Pari Banou, from the demons of the Island of Wak Wak. They convince the Witch of the Fiery Mountain to defeat the sorcerer, and then all three heroes join forces to battle the demons.
The animated featureAladdin and His Magic Lamp by Film Jean Image was released in 1970 in France. The story contains many of the original elements of the story as compared to the Disney version.
Aladdin and his Wonderful Lamp (1975), Japanese short anime film produced byToei Animation, featured in the seriesClassic Tales Retold (Sekai Meisaku Dōwa Manga Shirīzu).
Aladdin is a 48-minuteanimated film based on the story. It was produced byGolden Films and the American Film Investment Corporation. Like all other Golden Films productions, the film featured a single song, "Rub the Lamp", written and composed by Richard Hurwitz and John Arrias. It was released direct to video on April 27, 1992, byGoodTimes Home Video (months before Disney's version was released), and was reissued on DVD in 2002 as part of the distributor's Collectible Classics line of products.
Aladdin, the 1992 animated feature byWalt Disney Feature Animation (currently the best-known retelling of the story). In this version, several characters are renamed or amalgamated. For instance, the Sorcerer and the Sultan's vizier were combined into one character namedJafar, while the Princess is renamedJasmine. They have new motivations for their actions. TheGenie of the Lamp only grants three wishes and desires freedom from his role. A sentientmagic carpet replaces the ring's genie, while Jafar uses a royal magic ring to find Aladdin. The names "Jafar" and "Abu", the Sultan's delight in toys, and their physical appearances are borrowed from the 1940 filmThe Thief of Bagdad. The setting is moved from China to the fictional Arabian city of Agrabah, and the structure of the plot is simplified.
The 1940 British movieThe Thief of Bagdad borrows elements of the Aladdin story, although it also departs from the original story fairly freely: for instance the genie grants only three wishes and the minor character of the Emperor's vizier is renamedJaffar and becomes the main villain, replacing the sorcerer from the original plot.
A Thousand and One Nights (1945) is a tongue-in-cheek Technicolor fantasy film set in the Baghdad of the One Thousand and One Nights, starring Cornel Wilde as Aladdin, Evelyn Keyes as the genie of the magic lamp, Phil Silvers as Aladdin's larcenous sidekick, and Adele Jergens as the princess Aladdin loves.
The Wonders of Aladdin is a 1961 film directed by Mario Bava and Henry Levin and starringDonald O'Connor as Aladdin. This film has a more working-class focus: Aladdin helps the prince (Mario Girotti) and princess (as does afakir) but never becomes one and ends up in a romantic relationship with his neighbor, Djalma (Noelle Adam). The genie (Vittorio De Sica) can grant only three wishes (although what constitutes as a single wish is quite malleable, probably due to his sympathies with Aladdin) and shrinks with each one, which is leading to his eternal rest after 12,000 years.
Aladdin and the Wonderful Lamp is a 1927Indian silent film, by Bhagwati Prasad Mishra, based on the folktale.[47]
Alladin and the Wonderful Lamp is a 1931 Indian silent film, adapted from the folktale, by Jal Ariah.[47]
Aladdin Aur Jadui Chirag (Aladdin and the Wonderful Lamp) is a 1933 IndianHindi-language fantasy-adventure film by Jal Ariah. A remake of the 1931 film in sound.[47]
Aaj Ka Aladdin (Today's Aladdin) is a 1935 Indian Hindi-language film by Nagendra Majumdar. It is a modern retelling of the folktale.[47]
Aladdin Aur Jadui Chirag (Aladdin and the Wonderful Lamp) is a 1937 Indian Hindi-language film adaptation by Navinchandra.[47]
Alif-Laila is a 1955 Indian Hindi-language fantasy film byK. Amarnath, Vijay Kumar portrays the character of Aladdin with actressNimmi as the femalegenie.
Chirag-e-Cheen (Lamp of China) is a 1955 Indian Hindi-language film adaptation by G.P. Pawar and C. M. Trivedi.[47]
Alladin Ka Beta (Son of Alladin) is a 1955 Indian Hindi-language action film, it follows the story of the son of Alladin.
Sindbad Alibaba and Aladdin is a 1965 Indian Hindi-language musical fantasy-adventure film by Prem Narayan Arora. It features the three most popular characters from the Arabian Nights. Very loosely based on the original, in which the heroes get to meet and share in each other's adventures. In this version, the lamp'sjinni (genie) is female and Aladdin marries her rather than the princess (she becomes a mortal woman for his sake).
Main Hoon Aladdin (I am Aladdin) is a 1965 Indian Hindi-language film by Mohammed Hussain, starringAjit in the title role.[47]
A Mexican production,Pepito y la Lampara Maravillosa was made en 1972, where comedianChabelo plays the role of the genie who grant wishes to a young kid called Pepito in 1970s Mexico City.
Adventures of Aladdin is a 1978 Indian Hindi-language adventure-film based on the tale, by Homi Wadia.
In 1986, an Italian production (under supervision ofGolan-Globus) of a modern-day Aladdin was filmed inMiami under the titleSuperfantagenio, starring actorBud Spencer as the genie and his daughter Diamante as the daughter of a police sergeant.
In the 2020 Japanese live action seriesKamen Rider Saber, this story is adapted into a "Wonder Ride Book" named "Lamp Do Alangina", which is the main Wonder Ride Book of Kamen Rider Espada.
The Arabian Nights, episode of the Rankin/Bass seriesFestival of Family Classics (1972–1973), inspired by different tales of the collection, also including Aladdin.
"Aladdin and the Magic Lamp",[49] an episode ofRabbit Ears Productions'We All Have Tales series, televised onPBS in 1991, featuringJohn Hurt as narrator, with illustrations by Greg Couch and music byMickey Hart. This version is set inIsfahan, Persia, and closely follows the original plot, including the origin of the sorcerer. The audiobook version was nominated for aGrammy Award forBest Spoken Word Album for Children in 1994.
Aladdin, an animated series produced byDisney based on their movie adaptation that ran from 1994 to 1995.
An elderly version of Aladdin appears as a protagonist in the 1975 anime seriesArabian Nights: Sinbad's Adventures. Furthermore, the same story is adapted in episodes 14–16.
An episode of French animated seriesLes Mille et Une Nuits (1993).
Pekkle - Aladdin and His Magic Lamp (1993), an episode of OVA seriesHello Kitty and Friends.
World Fairy Tale Series (Sekai meisaku dōwa shirīzu - Wa-o! Meruhen ōkoku), anime series produced byToei Animation based on classic tales. Episode 1 is an adaptation ofAladdin.
A segment of theMarty Feldman episode ofThe Muppet Show retells the story of Aladdin withThe Great Gonzo in the role of Aladdin and Marty Feldman playing the genie of the lamp.
A 1967 TV movie was based on the Prince Street Players stage musical. This version is very close to the touring musical with about 15 minutes cut to be adapted into the 50 minutes TV program. It had Will B. Able as the Genii and Fred Grades as Aladdin.
The characters of Aladdin, Jasmine, Jafar and the Sultan, along with Agrabah as the setting and the genie of the lamp were adapted into thesixth season of TV seriesOnce Upon a Time, with Aladdin portrayed byDeniz Akdeniz, Jasmine portrayed byKaren David, and Jafar portrayed byOded Fehr. Jafar previously appeared in thespin-offOnce Upon a Time in Wonderland, portrayed byNaveen Andrews. Both were produced by ABC Television Studios and based on the Disney version of the story.
InKyōryū Sentai Zyuranger, the sixteenth installment of the long-runningSuper Sentaimetaseries, the Djinn (voiced by Eisuke Yoda) that appears in the eleventh episode ("My Master!" Transcription: "Goshujin-sama!" (Japanese: ご主人さま!)) reveals that he was the genie from the tale of "Aladdin and the Magic Lamp", which did take place.
Aladdin – Jaanbaaz Ek Jalwe Anek (2007–2009), an Indian fantasy television series based on the story of Aladdin that aired onZee TV, starring Mandar Jadhav in the title role of Aladdin.
The Disney version of Aladdin appears throughout the Disney/Square Enix crossover seriesKingdom Hearts, with Agrabah being a visitable world.
The video gameSonic and the Secret Rings is heavily based on the story of Aladdin, and both genies appear in the story. The genie of the lamp is the main antagonist, known in the game as the Erazor Djinn, and the genie of the ring, known in the game as Shahra, appears as Sonic's sidekick and guide through the game. Furthermore, the ring genie is notably lesser than the lamp genie in the story.
Sega Sammy have released a line ofpachinko machines based onAladdin since 1989. Sega Sammy have sold over 570,000Aladdin pachinko machines in Japan, as of 2017[update].[53] At an average price of about $5,000,[54] this is equivalent to approximately$2.85 billion in pachinko sales revenue.
^Aarne, Antti; Thompson, Stith.The types of the folktale: a classification and bibliography. Folklore Fellows Communications FFC no. 184. Helsinki: Academia Scientiarum Fennica, 1961. p. 204.
^Uther, Hans-Jörg (2004).The Types of International Folktales: A Classification and Bibliography, Based on the System of Antti Aarne and Stith Thompson. Suomalainen Tiedeakatemia, Academia Scientiarum Fennica. p. 329.ISBN978-951-41-0963-8.
^Ashliman, D. L.A Guide to Folktales in the English Language: Based on the Aarne-Thompson Classification System. Bibliographies and Indexes in World Literature, vol. 11. Westport, Connecticut: Greenwood Press, 1987. pp. 122-123.ISBN0-313-25961-5.
^Ranke, Kurt (2016) [1977]. "Alad(d)in (AaTh 561)" [Aladdin (ATU 561)]. In Rolf Wilhelm Brednich; Heidrun Alzheimer; Hermann Bausinger; Wolfgang Brückner; Daniel Drascek; Helge Gerndt; Ines Köhler-Zülch; Klaus Roth; Hans-Jörg Uther (eds.).Enzyklopädie des Märchens Online (in German). Berlin, Boston: De Gruyter. pp. 245–246.doi:10.1515/emo.1.059.AaTh 561 hat eine starke Affinität zu den benachbarten Märchentypen AaTh 560 (Zauberring) und AaTh 562 (Geist im blauen Licht). [[Type] AaTh 561 has a strong affinity with the neighbouring types AaTh 560 ("Magic Ring") and AaTh 562 ("Spirit in the Blue Light").]
^Thompson, Stith (1977).The Folktale. University of California Press. pp. 70–72.ISBN0-520-03537-2.
^van den Berg, Paula (1997). "De tondeldoos". In Ton Dekker; Jurjen van der Kooi; Theo Meder (eds.).Van Aladdin tot Zwaan kleef aan. Lexicon van sprookjes: ontstaan, ontwikkeling, variaties (in Dutch) (first ed.). Kritak: Sun. p. 366.De typen at 560 ('The Magic Ring'), 561 ('Aladdin en de wonderlamp') en 562 zijn nauw aan elkaar verwant en worden vaak door elkaar gemengd. [Types 560, 561 and 562 are greatly connected and many times are contaminated.]
^Uther, Hans-Jörg (2004).The Types of International Folktales: A Classification and Bibliography, Based on the System of Antti Aarne and Stith Thompson. Suomalainen Tiedeakatemia, Academia Scientiarum Fennica. pp. 328, 330, 331.ISBN978-951-41-0963-8.
^Thompson, Stith.The Folktale. University of California Press. 1977. p. 71.ISBN0-520-03537-2
^Horálek, K. (1974). "Folk Poetry: History And Typology". In Arthur S. Abramson (ed.).Linguistics and Adjacent Arts and Sciences: Part 2. Berlin, Boston: De Gruyter Mouton. pp. 741–808 [778].doi:10.1515/9783110821659-004.ISBN978-3-11-082165-9.In the fairy tale about the magic ring [AT 560The magic ring] it is necessary for the hero to win the gratitude not only of the donor of the talisman (this is generally a serpent), but also of a dog and a cat (not of other animals) because these two animals are allotted a special task at the end of the fairy tale, i.e. to help the hero to recover the stolen talisman. (...) In the fairy tale about Aladdin [AT 561Aladdin's lamp] the situation is substantially different: the task of the dog and the cat would be superfluous here because besides the magic lamp the hero is in possession of another talisman with the help of which he recovers the lamp and also conjures up palace and princess. In type AT 562 [The spirit in the blue light], which is derived from the Aladdin fairy tale, the motif of the second talisman is missing, while the task of the helper is performed here by the hero's friend.
^Ranke, Kurt (2016) [1977]. "Alad(d)in (AaTh 561)" [Aladdin (ATU 561)]. In Rolf Wilhelm Brednich; Heidrun Alzheimer; Hermann Bausinger; Wolfgang Brückner; Daniel Drascek; Helge Gerndt; Ines Köhler-Zülch; Klaus Roth; Hans-Jörg Uther (eds.).Enzyklopädie des Märchens Online (in German). Berlin, Boston: De Gruyter. pp. 243–244.doi:10.1515/emo.1.059.
^Deker, Ton; Meder, Theo. "Aladdin en de wonderlamp". In:Van Aladdin tot Zwaan kleef aan. Lexicon van sprookjes: ontstaan, ontwikkeling, variaties. 1ste druk. Ton Dekker & Jurjen van der Kooi & Theo Meder. Kritak: Sun. 1997. p. 40.
^Campbell, A. (1891). "The Magic Lamp".Santal Folk-Tales. Pokhuria, India: Santal Mission Press. pp. 1–5.
^Brown, W. Norman (1919). "The Pañcatantra in Modern Indian Folklore".Journal of the American Oriental Society.39:1–54.doi:10.2307/592712.JSTOR592712.
^Ranke, Kurt (2016) [1977]. "Alad(d)in (AaTh 561)" [Aladdin (ATU 561)]. In Rolf Wilhelm Brednich; Heidrun Alzheimer; Hermann Bausinger; Wolfgang Brückner; Daniel Drascek; Helge Gerndt; Ines Köhler-Zülch; Klaus Roth; Hans-Jörg Uther (eds.).Enzyklopädie des Märchens Online (in German). Berlin, Boston: De Gruyter. p. 243.doi:10.1515/emo.1.059.
Badalkhan, Sabir (2004). "The Tale of "Aladdin and the Magic Lamp" in Balochi Oral Tradition".Fabula.45 (3–4):207–220.doi:10.1515/fabl.2004.45.3-4.207.
Gaál, E. (1973). "Aladdin and the Wonderful Lamp".Acta Orientalia Academiae Scientiarum Hungaricae.27 (3):291–300.JSTOR23657287.
Haddawy, Husain (2008).The Arabian Nights. W. W. Norton & Company.ISBN978-0-393-33166-0.
Huet, G. (1918). "Les Origines du Conte de Aladdin et la Lampe Merveilleuse".Revue de l'histoire des religions.77:1–50.JSTOR23663317.
Larzul, Sylvette (2004). "Further Considerations on Galland's 'Mille et une Nuits': A Study of the Tales Told by Hanna".Marvels & Tales.18 (2):258–271.doi:10.1353/mat.2004.0043.JSTOR41388712.S2CID162289753.
Marzolph, Ulrich (1 July 2019). "Aladdin Almighty: Middle Eastern Magic in the Service of Western Consumer Culture".Journal of American Folklore.132 (525):275–290.doi:10.5406/jamerfolk.132.525.0275.S2CID199268544.
Nun, Katalin; Stewart, Dr Jon (2014).Volume 16, Tome I: Kierkegaard's Literary Figures and Motifs: Agamemnon to Guadalquivir. Ashgate Publishing.ISBN978-1-4724-4136-2.
