Grade 8 Unit 18: West Asian Literature

Table of Contents

Introduction 2

Objectives 2

Lesson 1: West Asian Literature 3

Warm-up! 3
Learn About It! 4
Check Your Understanding 6
Let’s Step Up! 7

Lesson 2: West Asian Folktales 8

Warm-up! 8
Learn About It! 9
Check Your Understanding 13
Let’s Step Up! 14

Lesson 3: Examining West Asian Literature 15

Warm-up! 15
Learn About It! 15
Check Your Understanding 18
Let’s Step Up! 19

Performance Task 20

Self-Check: How Well Did I Learn? 22

Wrap Up 23

Bibliography 24
GRADE 8| English

UNIT 18
West Asian Literature

Do you still remember Aladdin and his genie, Ali

Baba and the forty thieves, or Sinbad the Sailor?
They are some of the memorable book characters
from your childhood that make West Asian
literature popular no matter how many centuries
have passed. In this unit, you will get to know
more about West Asian literature and how to
examine literary texts from this region, keeping in
mind its literary elements and context.

Objectives
In this unit, you should be able to:

● identify distinguishing features found in religious texts, epics, myths, dramas and
short stories contributed by West Asian writers;
● express appreciation for sensory images used;
● explain figurative language used;
● determine key ideas, tone, and purpose of the author; and
● explain how a selection is influenced by culture, history and environment.

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 Lesson 1: West Asian Literature

Literature can be influenced by historical turn of

events: the geographical location, the economic life,
and the evolving culture of a nation. Some kinds of
literature can also be shaped through the people’s
philosophical beliefs, spirituality, or religion. In this
lesson, you will know more about West Asian
literature and how its philosophy became one of its
important contributors.

Warm-up!
Think-Pair-Share

With a classmate, discuss your opinion about the quotes below:

1. “Time is gold.”
2. “Eat, drink, and be merry, for tomorrow we
die.”
3. “To every thing there is a season, and a time
to every purpose under the heaven.”
(Ecclesiastes 3:1-2)

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 Learn About It!

West Asian literature is largely dominated by Arabic, Jewish,

Persian, and Turkish poetry and prose. Among the oldest and
greatest classical literary pieces were produced in West Asia,
specifically in Persia (now Iran) and in the Arabian peninsula. It is
widely known for its religious and philosophical texts like the
Qu’ran, a very crucial text in Islamic literature and religion, and
the Holy Bible, which is also the basis of the Catholic faith. Over
the years, West Asian writers have also influenced writers from
other nations, including the Western countries. Today, more West
Asian writers are making names in the world literary scene--maintaining
the prestige of West Asian literature all over the world.

One of the unique literary forms that West Asian literature contributed
to world literature is the Persian poetic form called ruba’i.

Ruba’i, or quatrain in Persian, is a lyric poem with a stanza that consists

of four lines of 13 syllables, with a number of possible rhyme schemes
(e.g. AABA, AAAA, etc.).

The rhythm within each line is

rather free, but the usual metre of a Persian ruba’i is – –
u u – u – u – – u u –, where “-” represents a long
syllable, and "u" a short one. Another pattern involves
an occasional sequence of two short syllables (u u) that
can be replaced by a single long one (–). A third variety
is to use the same first metre, but with the eighth and
ninth syllables reversed like – – u u – – u u – – u u –. This
poetic form is more non-traditional compared to other forms of Arabic and Persian poetry.
Arabian and Persian poetry often use a single rhythm throughout the poem despite its length.

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One perfect example of this poetic form is Omar Khayyam’s Rubaiyat (plural of rubai) written
in the 9th or 10th century. He is an astronomer/astrologer, mathematician and philosopher. It
basically contains reflections on the meaning of life which always ends with the firm
conclusion that people should eat, drink and be merry while they are still alive.

In twelfth-century Persia, where strict Islamic laws were implemented, Khayyam’s ideas were
considered highly dangerous, especially if such kind of belief and lifestyle became known to
the authorities. Thus, the Rubaiyat were circulated secretly by word of mouth and not through
written means. Nobody knows who wrote it only until Omar Khayyam’s death when some
poems were attributed to him.

One example is a rubai by Omar Khayyam below:

Khayyam, if you are intoxicated with wine, enjoy!

If you are seated with a lover of thine, enjoy!
In the end, the Void the whole world employ
Imagine thou art not, while waiting in line, enjoy!

In this rubai, notice that the last word of all four lines (quatrain) rhyme with each other (AAAA).
However, the number of syllables is not 13 and not consistent all throughout the stanza due
to its translation to English. The first line has a pattern of - u - u - - u - u - - u - u while the
second one has - u - - u - - - u - u - u, thus, showing the free rhythm present in rubai.

In terms of message, notice how the first line encourages one to enjoy the time of their life
with excessive drinking and with a lover because at the end of their life, everyone will be in the
Void. Thus, the persona reiterates that while one waits for their inevitable turn to die, they
should enjoy their life.

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 Check Your Understanding

Fill in the blanks with the word/s that would complete the information on West Asian
literature.

1. West Asian literature is known for its religious or ________________ texts that became the
basis of many religions like Islam and Christianity.
2. A rubai has 4 lines and _______ syllables.
3. Omar Khayyam’s “Rubaiyat” contain reflections on the ________________.
4. Because Khayyam’s themes in “Rubaiyat” were considered dangerous during his time,
his poems were secretly spread by ________________.
5. In Khayyam’s rubais, the persona always encourages the readers to ______________ their
life because there might not be tomorrow.

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Let’s Step Up!

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 Lesson 2: West Asian Folktales

West Asian literature is rich with folktales which are stories

passed down through generations, mainly by telling.
Different kinds of folktales include fairy tales, tall tales,
trickster tales, myths, and legends. One of these classic
folktales that we have loved as a child was The Arabian
Nights or One Thousand and One Nights from the Middle
East which introduced you to unforgettable characters like
Aladdin, Ali Baba, and Sinbad the Sailor. You will read more of these fascinating stories in this
lesson.

Warm-up!
Quick Write

What ideas or values do you associate with a bull and an ass? Write your answers surrounding
the pictures below. Share your answers with your seatmate afterwards.

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 Learn About It!

In order to fully appreciate folktales, the following elements

should be examined:

1. Imagery. These are sensory words that help the readers

imagine what scene or situation is described in the story. It
can be visual (eyes), auditory (ears), olfactory (nose),
gustatory (tongue), tactile (skin), kinesthetic (action), or
organic (inside the body).

2. Tone. It is the attitude of the writer towards the subject of

the story or the poem-- sad, happy, sarcastic, indifferent,
and many others.

3. Figures of Speech. These are words that should not be taken literally because they have
deeper meanings. Some examples of figures of speech that show comparison are simile
(an indirect comparison using “like” or “as”), metaphor (direct comparison), and
personification (comparing an animal or inanimate object with humans). There are also
figures of speech that show contrast like irony (opposite of what one means or does) and
hyperbole (an exaggeration).

Take note that all of these fulfill a purpose or a role in a story. Readers must always ask why
these details are mentioned or implied in the text. They always link it to the ideas, theme,
or message that the text wants to put forward for the readers to realize.

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Below is one famous example of a West Asian folktale from the Arabian Nights:

THE TALE OF THE BULL AND THE ASS

from the Arabian Nights

KNOW, O my daughter, that there was once a merchant who owned much money and many
men, and who was rich in cattle and camels. He had also a wife and family, and he dwelt in the
country, being experienced in husbandry and devoted to agriculture. Now Allah Most High had
endowed him with understanding the tongues of beasts and birds of every kind, but under pain
of death if he divulged the gift to any. So he kept it secret for very fear. He had in his cow house a
bull and an ass, each tethered in his own stall, one hard by the other. As the merchant was sitting
near-hand one day with his servants and his children were playing about him, he heard and bull
say to the ass:

"Hail and health to thee O Father of Waking! for that thou enjoyest rest and good ministering.
All under thee is clean-swept and fresh-sprinkled. Men wait upon thee and feed thee, and thy
provaunt is sifted barley and thy drink pure spring water, while I (unhappy creature!) am led forth
in the middle of the night, when they set on my
neck the plow and a something called yoke, and I
tire at cleaving the earth from dawn of day till set
of sun. I am forced to do more than I can and to
bear all manner of ill-treatment from night to
night. After which they take me back with my sides
torn, my neck flayed, my legs aching, and mine
eyelids sored with tears. Then they shut me up in
the byre and throw me beans and crushed straw
mixed with dirt and chaff, and I lie in dung and
filth and foul stinks through the livelong night. But
thou art ever in a place swept and sprinkled and cleansed, and thou art always lying at ease,
save when it happens (and seldom enough!) that the master hath some business, when he
mounts thee and rides thee to town and returns with thee forthright. So it happens that I am
toiling and distrest while thou takest thine ease and thy rest. Thou sleepest while I am sleepless, I
hunger still while thou eatest thy fill, and I win contempt while thou winnest goodwill."

When the bull ceased speaking, the ass turned toward him and said: "O Broad-o'-Brow, O thou

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lost one! He lied not who dubbed thee bullhead, for thou, O father of a bull, hast neither
forethought nor contrivance. Thou art the simplest of simpletons, and thou knowest naught of
good advisers. Hast thou not heard the saying of the wise?

"For others these hardships and labors I bear,

And theirs is the pleasure and mine is the care,
As the bleacher who blacketh his brow in the sun
To whiten the raiment which other men wear.

But thou, O fool, art full of zeal, and thou toilest and moilest before the master, and thou
tearest and wearest and slayest thyself for the comfort of another. Hast thou never heard the saw
that saith 'None to guide and from the way go wide'? Thou wendest forth at the call to dawn
prayer and thou returnest not till sundown, and through the livelong day thou endurest all
manner hardships: to wit, beating and belaboring and bad language.

"Now hearken to me, Sir Bull! When they tie thee to thy stinking manger, thou pawest the
ground with thy forehand and lashest out with thy hind hoofs and pushest with thy horns and
bellowest aloud, so they deem thee contented. And when they throw thee thy fodder, thou fallest
on it with greed and hastenest to line thy fair fat paunch. But if thou accept any advice, it will be
better for thee, and thou wilt lead an easier life even than mine. When thou goest afield and they
lay the thing called yoke on thy neck, be down and rise not again, though haply they swings thee.
And if thou rise, lie down a second time. And when they bring thee home and offer thee thy
beans, fall backward and only sniff at thy meat and withdraw thee and taste it not, and be
satisfied with thy crushed straw and chaff. And on this wise feign thou art sick, and cease not
doing thus for a day or two days or even three days; so shalt thou have rest from toil and moil."

When the Bull heard these words, he knew the ass to be his friend and thanked him, saying,
"Right is thy rede," and prayed that all blessings might requite him, and cried: "O Father Wakener!
Thou hast made up for my failings." (Now the merchant, O my daughter, understood all that
passed between them.) Next day the driver took the bull and, settling the plow on his neck, made
him work as wont. But the bull began to shirk his plowing, according to the advice of the ass, and
the plowman drubbed him till he broke the yoke and made off. But the man caught him up and
leathered him till he despaired of his life. Not the less, however, would he do nothing but stand
still and drop down till the evening. Then the herd led him home and stabled him in his stall, but
he drew back from his manger and neither stamped nor ramped nor butted nor bellowed as he
was wont to do, whereat the man wondered. He brought him the beans and husks, but he sniffed

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at them and left them and lay down as far from them as he could and passed the whole night
fasting. The peasant came next morning and, seeing the manger full of beans, the crushed straw
untasted, and the ox lying on his back in sorriest plight, with legs outstretched and swollen belly,
he was concerned for him, and said to himself, "By Allah, he hath assuredly sickened, and this is
the cause why he would not plow yesterday."

Then he went to the merchant and reported: "O my master, the bull is ailing. He refused his
fodder last night- nay, more, he hath not tasted a scrap of it this morning." Now the
merchant-farmer understood what all this meant, because he had overheard the talk between
the bull and the ass, so quoth he, "Take that rascal donkey, and set the yoke on his neck, and
bind him to the plow and make him do bull's work." Thereupon the plowman took the ass, and
worked him through the livelong day at the bull's task. And when be failed for weakness, he made
him eat stick till his ribs were sore and his sides were sunken and his neck was rayed by the yoke.
And when he came home in the evening he could hardly drag his limbs along, either forehand or
hind legs. But as for the bull, he had passed the day lying at full length, and had eaten his fodder
with an excellent appetite, and he ceased not calling down blessings on the ass for his good
advice, unknowing what had come to him on his account.

So when night set in and the ass returned to the byre, the bull rose up before him in honor,
and said: "May good tidings gladden thy heart, O Father Wakener! Through thee I have rested all
this day, and I have eaten my meat in peace and quiet." But the ass returned no reply, for wrath
and heart burning and fatigue and the beating he had gotten. And he repented with the most
grievous of repentance, and quoth he to himself: "This cometh of my folly in giving good counsel.
As the saw saith, I was in joy and gladness, naught save my officiousness brought me this
sadness. And now I must take thought and put a trick upon him and return him to his place, else I
die." Then he went aweary to his manger while the bull thanked him and blessed him.

In the lines, “After which they take me back with (1) my sides torn, my neck flayed, my legs
aching, and mine eyelids sored with tears. Then they shut me up in the byre and throw me
beans and crushed straw mixed with dirt and chaff, and I lie in dung and (2) filth and foul stinks
through the livelong night.”, there are many images that appeal to the reader’s sense of
feeling (1) as the bull feels so much pain from the labor that he did the entire day, and sense
of smell (2) as the bull describes his unbearable place for resting. These images were perhaps
included in order for the readers to feel sympathetic for the suffering that the bull went
through because of heeding to the ass’ advice.

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A striking figure of speech is the irony that the ass that gave good advice was the one who
suffered the consequence of his own advice as expressed in the line, "This cometh of my folly
in giving good counsel.”.

The purpose of this irony is perhaps to put forward the idea or message that people have to
be careful with the advice that they give others because they may have negative
consequences afterwards.

The tone of the writer is most likely moralistic or didactic as the writer would like the readers
to learn a lesson from the folktale.

Check Your Understanding

Identify whether the line from the folktale “The Bull and the Ass” is an image (I) or a
figure of speech (F).

1. “Allah Most High had endowed him with understanding the tongues of beasts and birds
of every kind…”
2. “After which they take me back with my sides torn, my neck flayed, my legs aching, and
mine eyelids sored with tears.”
3. “ As the bleacher who blacketh his brow in the sun/ To whiten the raiment which other
men wear.”

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4. “seeing the manger full of beans, the crushed straw untasted, and the ox lying on his
back in sorriest plight, with legs outstretched and swollen belly, he was concerned for
him, and said to himself, ‘By Allah, he hath assuredly sickened, and this is the cause why
he would not plow yesterday.’”
5. “he made him eat stick till his ribs were sore and his sides were sunken and his neck
was rayed by the yoke.”

Let’s Step Up!

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 Lesson 3: Examining West Asian Literature

As people are greatly influenced and defined by their

family background, race, and surroundings, it is also
best to find connections between the literary text and
the culture, history, and environment of its origin. This
lesson will teach you how to do that.

Warm-up!
Think-Pair-Share
Recall a huge mistake or sin you have committed against another person.

1. What was its effect on you and others?

2. How did it feel to commit it?
3. What did you do after you realized your mistake?
4. What did you learn from this mistake?

Share your answers with your seatmate.

Learn About It!

Certain cultural or religious beliefs can influence the

writing of a literary text. For example, The Arabian Nights’
stories have some female characters who are treated as
inferior, showing how the Asian or Islamic culture,
specifically, are largely and strictly dominated by males. The main frame of the story is about a
king who would like to kill one bride every day to take revenge against his first wife who was

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unfaithful to him. However, one wise woman named Scheherazade thought of a brilliant plan
to destroy the king’s plan through her storytelling, thus, the thousand and one stories were
told in this collection.

The historical context of The Arabian Nights also had great influence in its plot. In 800 A.D.,
Abbasid caliphs ruled all of Western Asia and much of the southern Mediterranean from their
city of Baghdad which is the setting for The Arabian Nights stories. The story clearly shows the
influence of the Islamic monarchy on this classic as it exhibits the indomitable power of King
Sharyar to execute a bride every day on their first night until he had killed most of the people’s
daughters. Nobody from the kingdom dared to protest against this injustice because during
this time in their history, the monarchy had ultimate sovereignty.

THE SAINT
by Kahlil Gibran

In my youth I once visited a saint in his silent grove beyond the hills; and as we were conversing
upon the nature of virtue a brigand came limping wearily up the ridge. When he reached the
grove he knelt down before the saint and said, “O saint, I
would be comforted! My sins are heavy upon me.”

And the saint replied, “My sins, too, are heavy upon me.”

And the brigand said, “But I am a thief and a plunderer.”

And the saint replied, “I too am a thief and a plunderer.”

And the brigand said, “But I am a murderer, and the
blood of many men
cries in my ears.”

And the saint replied, “I too am a murderer, and in my ears cries the blood of many men.”

And the brigand said, “I have committed countless crimes.”

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And the saint replied, “I too have committed crimes without number.”

Then the brigand stood up and gazed at the saint, and there was a strange look in his eyes. And
when he left us he went skipping down the hill.

And I turned to the saint and said, “Wherefore did you accuse yourself of uncommitted crimes?
See you not that this man went away no longer believing in you?”

And the saint answered, “It is true he no longer believes in me. But he went away much
comforted.”

At that moment we heard the brigand singing in the distance, and the echo of his song filled the
valley with gladness.

Kahlil Gibran was a Lebanese writer, poet, and visual artist who was very famous because of
his philosophical work, “The Prophet”. Many of Gibran's writings deal with Christianity,
especially on the topic of spiritual love, but one can actually see other philosophical influences
from Asia like Islam and Judaism in his works.

In the story above, it is evident how committing a sin is such a big deal in Christianity, Islam, or
Judaism as believers fear the consequences that go with it. However, notice the emphasis on
the humility of the saint that he comforts the brigand by telling him that he is just like any
other human being who commits mistakes and is not completely pure. This simple story
simply reminds believers that they should not lose hope because nobody is perfect and that
makes them human beings. All they need to do is to be humble in accepting their
imperfections.

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 Check Your Understanding

Match the descriptions in Column A with the details of West Asian literature in Column
B.

Column A Column B

1. the female character in Arabian Nights A. punishment for mistakes done

who showed a woman’s capacity to

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 outwit men

2. their rule in Western Asia, especially in B.King Sharyar

Baghdad, influenced Muslim culture
hugely

3. he represented the monarch and C. romantic love

patriarchal power in Middle Eastern
culture in Arabian Nights

4. The common subject of Kahlil Gibran’s D. Scheherazade

“The Prophet”

5. “The Saint” portrays one of the E. Abbasid caliphs

believers’ common fears

F. spiritual love

Let’s Step Up!

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 Performance Task
Comic Strip

Goal: Your task is to create a comic strip for a folktale from Arabian Nights.

Role: You are a young cartoonist for your school’s official newspaper. You are asked by the
editor-in-chief to make a comic strip that will show different values for your next issue.

Audience: Your audience are the junior high school students and faculty of your school who
will be reading the newspaper as soon as it is released.

Situation: The challenge involves dealing with showing awareness on the message the
folktale has through the comic strip.

Product/Performance and Purpose:

1. Choose a folktale from Arabian Nights that imparts a meaningful lesson.

2. After reading, make a rough storyboard or outline that will show the dialogue and
graphics you intend to put.
3. Make the comic strip not more than 10 frames. You may use the website Toondoo to
help you create a more modern cartoon strip. You can also choose to do it by hand.
Make it as creative as possible.
4. Let your seatmate peer-edit your work first before you submit it.
5. Submit your work on short bond paper.

Standards & Criteria for Success: Your work will be judged by looking at the following:

Criteria Beginning Developing Accomplished Score

(0-12 points) (13-16 points) (17-20 points)

Language Use The cartoon strip The cartoon The cartoon

has more than 3 strip has 1-3 strip has
grammatical grammatical flawless
mistakes and mistakes and grammar and

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 poor word choice. somewhat has
sophisticated sophisticated
word choice. word choice.

Organization Two events are One event is The sequence

(framing and not in its right not in its right of the events is
sequence of events) sequence; there sequence; easy to follow
are a lot of abrupt there’s a and is faithful
change in slightly abrupt to the original
frame/scene. change in story.
frame/scene.

Punctuality More than one One day late Submitted in

day late advance or on
time

Interesting dialogues Two or more One of the The dialogues

dialogues were dialogues was were creatively
not faithful to the not faithful to crafted and
original and were the original does not stray
created with poor and was away from the
taste. created with original
mediocre taste. meaning.

Comprehension of The comic strip The comic strip The comic strip
the Text shows a shallow shows a shows
understanding of somewhat comprehensive
the story’s comprehensive understanding
message. understanding of the story’s
of the story’s message.
message.

Graphics Most of the The graphics The graphics

graphics created created were created were
were not somewhat appropriate
appropriate and appropriate and artistic.
artistic. and artistic.

Score:

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 Self-Check: How Well Did I Learn?

Do a self-check on how well you learned the lessons in this unit. Place a checkmark in the
appropriate box.

I am familiar and
I think I need more I am confident that I
can perform well
Skills practice and can perform this on
with minimal
assistance my own
assistance
I can identify
distinguishing
features found in
religious texts, epics,
myths, dramas and
short stories
contributed by South
and West Asian
writers.
I can express
appreciation for
sensory images used.
I can explain
figurative language
used.
I can determine key
ideas, tone, and
purposes of the
author.
I can explain how a
selection is influenced
by culture, history and
environment.

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 Wrap Up
West Asian Literature
West Asia and Its Literature A rubai, or quatrain, is a lyric poem with a
stanza that consists of four lines of 13 syllables,
with a number of possible rhyme schemes (e.g.
AABA, AAAA, etc.) and free rhythm. Omar
Khayyam’s Rubaiyat expresses his deep
thoughts and feelings about life’s meaning.
West Asian Folktales
● Folktales are stories passed down
through generations, mainly by telling.
The different kinds of folktales include
fairy tales, tall tales, trickster tales,
myths, and legends.

● These literary elements are crucial in

putting forward the ideas, theme, or
message of a text: the image (sensory
descriptions), tone (attitude towards
the subject), and the figures of
speech that are used to creatively
express the writer’s message. All of
these are used by a writer with a
purpose in mind.
Examining West Asian Literature The culture, history, and environment of the
nation where a literary work was published can
have a huge influence on the writer and his/her
literary work.

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 Bibliography

Gibran, Kahlil. 2017. The Forerunners. Project Gutenberg. Accessed October 3, 2017.
https://www.gutenberg.org/files/54580/54580-0.txt

Gibran, Kahlil. n.d. . The Prophet. Archive.org. Accessed October 4, 2017.

https://archive.org/stream/TheProphetByKhalilGibran/The_Prophet_by_Khalil_Gibran_dj
vu.txt

Khayyam, Omar. 2008. “Rubaiyat”. Trans. Edward Fitzgerald. Project Gutenberg.

Accessed October 3, 2017. http://www.gutenberg.org/cache/epub/246/pg246.txt

Lang, Andrew. 2008. “The Arabian Nights Entertainments”. Project Gutenberg.

Accessed October 3, 2017. http://www.gutenberg.org/cache/epub/128/pg128.txt

Newman, Bob. 2005. “Rubai”. Accessed October 3,

2017.http://www.volecentral.co.uk/vf/rubai.htm

Tale of the Bull and the Ass.n.d. Sacred-Texts.com. Accessed October 3, 2017.
http://www.sacred-texts.com/neu/burt1k1/tale01.htm

Recommended Links for This Unit:

Bushrui, S. and Malarkey, J. 2015. A Brief, Wondrous History of Arabic Literature Truth,
Beauty, and the Poetry of Islam. Lithub. Accessed August 2, 2018.
https://lithub.com/a-brief-wondrous-history-of-arabic-literature/

Gibran. 2002. Accessed August 2, 2018. http://leb.net/gibran/.

Mikdadi, S. 2004. West Asia: Ancient Legends, Modern Idioms. The MET. Accessed August 2,
2018. https://www.metmuseum.org/toah/hd/almi/hd_almi.htm

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