Republic of the Philippines

BOHOL ISLAND STATE UNIVERSITY - CLARIN CAMPUS

Poblacion Norte, Clarin, Bohol

WORLD
LITERATURE

Prepared by: Menchie A. Labrigas, MAEd-Eng

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Introduction:

A study of representative works of world literature from Antiquity, the Middle Ages, and
the Renaissance. The course emphasizes the study and consideration of the literary, cultural,
and human significance of selected great works of the Western and non-Western literary
traditions. An important goal of the class is to promote an understanding of the works in their
cultural/historical contexts and of the enduring human values which unite the different literary
traditions. The course's pedagogy gives special attention to critical thinking and writing within a
framework of cultural diversity as well as comparative and interdisciplinary analysis.
Course Learning Outcomes:
1. Identified the author, country, and approximate time of composition for selected
works of literature.
2. Listed and defined literary elements within selected works and provide examples
and explanations from the literature.
3. Described the cultural and political environment shaping the literary pieces with
specific references from the literature.
4. Identified common themes, literary elements, form, and content shared by the
selected literary pieces.
5. Analyzed works to connect this world literature to students’ culture and present
day experiences, contemporary literature, and other contemporary forms of art
and media.
6. Identified plot, characters, conflict, and resolution in selected literary works.
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Table of Contents
Introduction
Table of Contents
Course Syllabus
Learning Unit 1. INTRODUCTION TO LITERATURE
Lesson 1: Why Study Literature?
Lesson 2: Poetry and Prose
Lesson 3: Literary Genres
Lesson 4: Techniques for Reading Poetry

Learning Unit 2. ANCIENT SUMERIAN-ARABIC LITERATURE (300-400 B.C.)

Lesson 1: The Bible – the creation and fall (Genesis) (Summary of the Creation)
Lesson 2: The Koran
Lesson 3: Rubaiyat by Omar Khayyan
Lesson 4: Folk tales from the Thousand and One Nights

Learning Unit 3. INDIAN, CHINESE, JAPANESE, AND ANCIENT GREEK LITERATURE

(323- 1400 A.D.)
Lesson 1: Gitanjale by Rabindranath Tagore
Lesson 2: Ramayana
Lesson 3: The Trojan War
Lesson 4: The Helen of Troy
Activities: Imagery, Journal Writing, Drawing

Learning Unit 4. LITERATURE IN THE MIDDLE AGES-CONTEMPORARY

LITERATURE (1300 A.D. – 1945 A.D.)
Lesson 1: William Shakespeare: Sonnet 116
Lesson 2: How Much Land Does a Man Have? By Leo Tolstoy
Lesson 3: The Metamorphosis by Franz Afka
Lesson 4: The Happy Man by Najib Mahfouz
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Learning Unit 1. INTRODUCTION TO LITERATURE

Lesson 1: Literature: Classification, and Approaches

I. Objectives
 Explain the definition of literature;
 Create concepts related to literature; and
 Reflect on the relevance of studying the literatures of the world.
II. Time Frame: 3 hours
III. Values Integration: Appreciation of one’s literary works
IV. Content
The word literature is derived from the Latin term litera which means letter. Literature is a
written or spoken text which is formed by using partly or completely symbolic language
that gives the human life new meaning that isbased on fanciful perspectives by using
imagination along with the reason.

General Types of Literature

Literature can generally be divided into two types: prose and poetry. Prose consists of
those written within the common flow of conversation in sentences and paragraphs,
while poetry refers to those expressions in verse, with measure and rhyme, line, and
stanza and has a more melodious tone.

Why We Need to Study Literature?

We can enumerate many reasons for studying literature.
Here are but a few: We study literature so that we can better appreciate our literary
heritage. We cannot appredate something that we do not understand. Through a study
of our literature, we can trace the rich heritage of ideas handed down to us from our
forefathers. Then we can understand ourselves better and take pride in being a Filipino.

Like other races of the world, we need to understand that we have a great and noble
trådition which can serve as the means to assimilate other cultures.

Through such a study, we will realize our literary limitations conditioned by certain
historical factors and we can take steps to overcome them.

Above all, as Filipinos, who truly love and take pride in our own culture, we have to
manifest our deep concern for our own literature and this we can do by gtudying ty
literature of our country.

Literature and History

Literature and history are closely interrelated. In discovering the history of a race, the
feelings, aspiration, customs and traditions of a people are sure to be included… and
these feelings, aspirations, customs, and traditions that are written is literature. History
can also be written down are part of true literature. Literature, therefore, is a part of
history.
Literature and history, however, also have differences. Literature may be figments of the
imagination or events of truth, which have been written down, while history is made up of
events that really happened.

Literary Compositions that Have Influenced the World. Among them are:
1. The Bible or the Sacred Writings: This has become the basis of Christianity originating
from Palestine and Greece.
2. Koran: The Muslim Bible originating from Arabia.
3. The Iliad and the Odyssey: These have been the source cfmytbs and legends of
Greece. They were written by Homer.
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4. The Mahab-harata: The longest epic of the world. It contains the history of religion in
India.
5. Canterbury Tales: It depicts the religion and customs of the English in the early days.
This originated from England and wag written by Chaucer.
6. Uncle Tom's Cabin: Written by Harriet Beecher Stowe of the US. This depicted the
gad fate of slaves; this became the basis of democracy later on.
7. The Divine Comedy: (by Dante of Italy) this shows the religion and customs of the
early Italians.
8. El Cid Compeador: This shows the cultural characteristics of the Spaniards and their
national history.
9. The Song of Roland: This includes Doce Pares and Roncesvalles of France. It tells
about the Golden Age of Christianity in France.
10. The Book of the Dead: This includes the cult of Osiris and the mythology and
theology of Egypt.
11. The Book of the Days: This was written by Confucius of China. This became the
basis of the Christian religion.
12. One Thousand and One Nights or The Arabian Nights: from Arabia and Persia (Iran).
It shows the ways of government, of industries and of the society of the Arabs and
Persians.
V. Guide Questions
1. Why is it important to study the literatures of the world? (10 points)
VI. Notes and Suggested Reading
Approaches of literature
VII. References
Abcarian R. & M. Klotz. (2000). Literature: Reading and writing the human experience
(7th shorter ed.) Boston & New York: Bedford/St. Martin’s.
Hamilton, E. (1942). Mythology: Timeless tales of gods and goddess. New York &
Boston: Grand Central Publishing.
Tomeldan, Y. V. (general ed.), et al. (1986). Prism: An introduction to world literature.
Mandaluyong City: National Bookstore.

Lesson 2: Poetry and Prose

I. Objectives
 Compare and contrast prose and poetry through Venn diagram;
 Explain the types of prose and poetry; and
 Reflect on the importance of using the forms of literature in teaching children.
II. Time Frame: 3 hours
III. Values Integration: Appreciation of one’s literary works
IV. Content

Literature refers to written creative work, particularly those which have a high and
enduring value. It is known for its form in which the message is presented or
communicated and its content. Prose and poetry are the two common forms of literature;
wherein prose is written work, which contains sentences and paragraphs, and does not
have any metrical structure. As against, poetry is a genre of literature which is based on
a particular form, that creates a rhyme.

Comparison Chart
BASIS FOR
PROSE POETRY
COMPARISON
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BASIS FOR
PROSE POETRY
COMPARISON

Meaning Prose is a straight Poetry is that form of

forward form of literature in which the
literature, wherein the poet uses a unique style
author expresses his and rhythm, to express
thoughts and feelings intense experience.
in a lucid way

Language Straight Forward Expressive or Decorated

Nature Pragmatic Imaginative

Essence Message or Experience

information

Purpose To provide information To delight or amuse.

or to convey a
message.

Ideas Ideas can be found in Ideas can be found in

sentences, which are lines, which are
arranged in paragraph. arranged in stanzas.

Line break No Yes

Paraphrasing Possible Exact paraphrasing is

not possible.

PROSE

There are many types of prose. These include novels or biographies, short stories,
contemporary dramas, legends, fables, essays, anecdotes, new, and speeches.

a. Novel – this is a ling narrative divided into chapters. The events are taken form true-to-life
stories and spans a long period of time. There are mny characters involved.
b. Short story – this is a narrative involving one or more characters, one plot and one single
impression.
c. Plays – this is presented on a stage, is divided into acts and each act has many scenes.
d. Legends – these are fictitious narratives, usually about origins.
e. Fables – these are also fictitious and they deal with animals and inanimate things who speak
and act like people and their purpose is to enlighten the minds of children to events that can
mold their ways and attitudes.
f. Anecdotes – these are merely products of the writer’s imagination and the main aim is to bring
out lessons to the reader. It can be stories about animals or children.
g. Essay – this expresses the viewpoint or opinion of the writer about a particular problem or
event. The best example of this is the Editorial page of a newspaper.
h. Biography – this deals with the life of a persion which may be about himself. His
autobiography or that of others.
i. News – this is a report of everyday events in society, government, science and industry, and
accidents, happening nationally or not.
j. Oration – this is a formal treatment of a subject and is intended to be spoken in public. It
appeals to the intellect, to the will or to the emotions of the audience.
POETRY
a. Narrative – this form describes important events in life either real or imaginary. The different
varieties are:
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1. Epic – this is an etended narrative about hero exploits often unfer supernatural
control. It may deals with heroes and gods.
2. Metrical tale – this is a narrative which is written in verse and can be classified either
as a ballad or a metrical romance. Examples of these are simple idylls or home tales, love tales,
tales of the supernatural or tales written for a strong moral purpose in verse form.
3. Ballads – of the narrative poems, this is considered the shortest and simplest. It has a
simple structure and tells of a single incident. There are also variations of these: live ballads,
war ballads, sea ballads, humorous, moral, and historical or mythical ballads.
b. Lyric – originally, this refers to that kind of poetry meant to be sung to the accompaniment of
a lyre, but now, this applies to any type of poetry that expresses emotions and feelings of the
poet. They are usually short, simple and easy to understand. There are different types of lyric
poetry:
1. Folksongs – these are short poems intended to be sung. The common theme is love,
despair, grief, doubt, joy, hope and sorrow.
2. Sonnets – this is a lyric poem of 14 lines dealing with an emotions, a feeling, or an
idea. There are two types: Italian and Shakespearean.
3. Elegy – this is a lyric poem which expresses feelings of grief and melancholy, and
whose theme is death.
4. Ode – this is a poem of a noble feeling, expressed with dignity, with no definite
number of syllables or definite number of syllables or definite number of lines in a stanza.
5. Psalms – this is a song praising God or the Virgin Mary and containing a philosophy of
life.
6. Song – these have measures of twelves syllables (dodecasyllabic) and slowly sung to
the accompaniment of a guitar or bandura.
7. Corridos – these have measures of eight syllables (octosyllabic) and recited to a
martial beat.
c. Dramatic – included in this form are the following:
1. Comedy – the word comedy comes from the Greek term comos meaning festivity or
revelry. This form usually is light and written with the purpose of amusing, and usually has a
happy ending.
2. Melodrama – this is usually used in musical plays with the opera. Today, this is
related to tragedy just as the farce is to comedy. It arouses immediate and intense emotion and
is usually sad but there is a happy ending for the principal character.
3. Tragedy – this involves the hero struggling mightily against dynamic forcesl he meets
death or ruin without success and satisfaction obtained by the protagonist in a comedy.
4. Farce – this is an exaggerated comedy. It seeks to arouse mirth by laughable lines;
situations are too ridiculous to be true; the characters seem to be caricatures and the motives
undignified and absurd.
5. Social Poems – this form is either purely comic or tragic and it pictures the life of
today. It may aim to bring about changes in the social conditions.
V. Guide Questions
1. Using a Venn diagram, compare and contrast prose and poetry. (20 points)
VI. Notes and Suggested Reading
Characterics to prose and poetry writings
VII. References
Abcarian R. & M. Klotz. (2000). Literature: Reading and writing the human experience
(7th shorter ed.) Boston & New York: Bedford/St. Martin’s.
Hamilton, E. (1942). Mythology: Timeless tales of gods and goddess. New York &
Boston: Grand Central Publishing.
Tomeldan, Y. V. (general ed.), et al. (1986). Prism: An introduction to world literature.
Mandaluyong City: National Bookstore.
https://keydifferences.com/difference-between-prose-and-poetry.html
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Lesson 3: Literary Genres

I. Objectives
 Identify the main literary genres;
 Create a graphic organizer showing the characterics of the different
genres of literature; and
 Reflect on the relevance of using different genres in literature in
teaching children.
II. Time Frame: 3 hours
III. Values Integration: Appreciation of one’s literary works
IV. Content
Five Main Genres of Literature
A. Fiction
One of the most popular genres of literature, fiction, features imaginary characters and
events. This genre is often broken up into five subgenres: fantasy, historical fiction,
contemporary fiction, mystery, and science fiction. Nonetheless, there are more than just
five types of fiction, ranging from romance to graphic novels.
In fantasy, the characters or settings could not exist in the world as we know it because
they require a sort of “magical” element. The Harry Potter and Twilight series are popular
examples.
Historical fiction, however, features made-up stories that accurately portray life during a
particular period in history. Examples include books such as The Da Vinci Code or The
Boy in the Striped Pajamas.
Similar to historical fiction is the subgenre of contemporary fiction. In this category,
stories take place in the present day and characters encounter modern day difficulties
and issues. The Hate U Give and Sisterhood of the Traveling Pants are popular
contemporary fiction novels.
Another popular subgenre of fiction is mystery. In these suspense-filled stories,
characters use various clues to solve crimes or uncover a culprit. The Nancy Drew and
Sherlock Holmes novels are prime examples of the mystery genre.
The last subgenre of fiction is science fiction. In these types of stories, authors and
readers explore new and exciting realities made possible by imagined technologies or
social changes. Star Wars is one of the most famous examples.
B. Nonfiction
Unlike fiction, nonfiction tells the story of real people and events. Examples include
biographies, autobiographies, or memoirs.
C. Drama
Another popular category of literature, known as drama or play, is a story created
specifically for a stage performance. The most renowned author of drama was William
Shakespeare—the writer of Macbeth, Hamlet, and Romeo and Juliet. More modern
plays include A Streetcar Named Desire and A Raisin in the Sun.
D. Poetry
The fourth genre of literature is poetry. In this style of writing, words are arranged in a
metrical pattern and often (though not always) in rhymed verse. Renowned poets include
E.E. Cummings, Robert Frost, and Maya Angelou.
E. Folktale
Another beloved genre of literature is folktale. Folktale, which is also referred to as
mythology, tells stories of originally oral literature and are meant to pass on particular
moral lessons. These tales often have a timeless quality, dealing with common concerns
that are relevant despite the time period.
V. Guide Questions
1. Using a graphic organizer, summarize the different genres of literature. (20 points)
VI. Notes and Suggested Reading
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Features and characters of literary genres

VII. References
Anthology of World Literature, 3rd ed. Vols. A., B, C., Norton, 2012.
Abcarian R. & M. Klotz. (2000). Literature: Reading and writing the human experience
(7th shorter ed.) Boston & New York: Bedford/St. Martin’s.
Hamilton, E. (1942). Mythology: Timeless tales of gods and goddess. New York &
Boston: Grand Central Publishing.
Tomeldan, Y. V. (general ed.), et al. (1986). Prism: An introduction to world literature.
Mandaluyong
https://vhlblog.vistahigherlearning.com/the-five-main-genres-of-literature.html

Lesson 4: Techniques for Reading Poetry

I. Objectives
 Name examples of ICT Policies which are applicable to teaching and learning;
 Discuss some issues that relate to the ICT policy;
 Reflect on the significance of educating teachers and students on safety rules
and issues in using ICT for teaching and learning.
II. Time Frame: 3 hours
III. Values Integration: Appreciation of one’s literary works
IV. Content
Techniques for Reading Poetry
Poetry is one of the hardest forms of literature to read aloud. Every poem has its own
rhythm, can contain rhyme, and often uses fragments or phrases to form lines (which is
drastically different from the complete sentences which people have a familiarity).
Therefore, interpreting how to read a line of poetry is unique from interpreting how to
read a line of prose. However, there are some essential techniques to master in order to
even being uttering verse aloud. The following tactics are the foundation for performing
poetry well.
Do a Preview
Preview the poem by reading the title and paying attention to the poem’s form: shape on
the page, stanzas, number of lines and ending punctuation.
Read Aloud
Read poem aloud several times to hear rhyme, rhythm, and the overall sound of the
poem. This makes it easier to understand the poem.
Understand the Language
There is nothing worse than listening to a Poetry performance where the reader lacks
conviction of the piece. Belief in the message alone is not enough. Understanding the
very words of the poem is crucial. How can a performer properly interpret and express
the needed emotion without fully grasping what the text means? And if there is any
doubt or confusion there is also the chance of it appearing on the performer's face. Thus,
if there are any words which are confusing or not understood, grab a dictionary and
figure out the definition.
Visualize
Visualize the images by paying close attention to strong verbs, and comparisons in
poem. Do the images remind you of anything? Let the comparisons paint a picture in
your head.
Clarific words and phrases
Clarify words and phrases by allowing yourself to find the meaning of words or phrases
that stand out, are repeated, or you do not understand the meaning. Use dictionary,
context clues, teacher or peer.
Find a Rhythm through Punctuation
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Every poem has a specific meter which the poet has instilled with every foot, through
every line, and in every stanza of the piece. There is a rhythm embedded within the
poem that becomes unleashed when read aloud. Poets understand the musicality of
language. How words, when carefully combined, can heighten the beauty or beastliness
of a work. The secret to discovering the poem’s rhythm is to simply read it out loud; as a
poem is meant to be read. As one reads they will take notice of punctuation. This is a
natural occurrence, one we are trained for as punctuation is essentially rules for written
language. Anyway, by adhering to every pause (periods, commas, semi-colons, colons,
line breaks, hyphen, ellipsis, etc.) and not stopping in the middle of a long string of
words, a poem’s rhythm is found. Give appropriate weight, or non-weight, to the
punctuation (such as a comma having a longer pause than perhaps an ellipsis or colon)
and rhythm will become apparent.
Interpretation
Understanding what a poem means is critical for understanding how to read it aloud.
Look at the language, style, diction, punctuation, author’s intent, historical context and
more to decipher what the poem means. When the verse holds some message and
meaning to a performer then it can be read with some feeling. No interpretation means a
shallow presentation of poetry, for how can a reader convey emotion without knowing
what the poem means?
Avoid Being Monotonously Melodic
Though poetry comes with a built in rhythm, this does not mean a reader is exempt from
being trapped in the mode of reciting in a sing-song style. Meaning: the vocal
interpretation of the piece can become predictable and void of feeling. Often, poems
which rely on rhyme are the perpetrators for creating a repeated flow. When this
happens sometimes readers get caught and find it hard to escape the monotony. Try. A
Poetry selection that becomes encased with the same tempo, tone, rhythm, etc.
becomes increasingly boring with every meter.
Evaluate
Evaluate the poem’s theme by asking what message is the poet trying to send or help
you understand? Does it relate to your life in any way?
V. Guide Questions
1. Using a graphic organizer, concisely summarize the different techniques for reading
poetry. (20 points)
VI. Notes and Suggested Reading
Steps in reading prose and poetry
VII. References

Anthology of World Literature, 3rd ed. Vols. A., B, C., Norton, 2012.
Abcarian R. & M. Klotz. (2000). Literature: Reading and writing the human experience
(7th shorter ed.) Boston & New York: Bedford/St. Martin’s.
Hamilton, E. (1942). Mythology: Timeless tales of gods and goddess. New York &
Boston: Grand Central Publishing.
Tomeldan, Y. V. (general ed.), et al. (1986). Prism: An introduction to world literature.
Mandaluyong
https://www.forensicscommunity.com/poetry/techniques-reading-poetry-aloud
https://www.scholastic.com/content/dam/teachers/lesson-plans/migrated-files-in-
body/poetryreadingstrategies.pdf
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Learning Unit 2. ANCIENT SUMERIAN-ARABIC LITERATURE (300-400 B.C.)

Lesson 1: The Bible – The Creation and Fall (Genesis)

I. Objectives
 Explain the significant events on The Creation in the Bible;
 Construct a story map of The Fall of Man;
 Reflect on the importance of knowing the Bible in one’s spiritual
growth.
II. Time Frame: 3 hours
III. Values Integration: Appreciation of one’s literary works
IV. Content
In the English language, more allusions are made to the Bible than any other work of
literature. Its number of references even beats out Greek and Roman
mythology. Allusions to the Bible permeate our artwork, our music, our literature, our
conversation, and even pop culture. In spite of this ever-presence of the Bible's
influence, many students lack a basic familiarity with the Bible, its stories, and its
language. This leaves students to puzzle over allusions that they encounter in art and
literature.
This excerpt from the King James Version of the Bible tells of God's creation of the
heaven and the earth. The King James Version, more than any other English translation
of the Bible, has had the most direct influence on the English language.
In the beginning God created the heaven and the earth. And the earth was without form,
and void; and darkness was upon the face of the deep. And the Spirit of God moved
upon the face of the waters. And God said, Let there be light: and there was light. And
God saw the light, that it was good: and God divided the light from the darkness. And
God called the light Day, and the darkness he called Night. And the evening and the
morning were the first day. And God said, Let there be a firmament in the midst of the
waters, and let it divide the waters from the waters. And God made the firmament, and
divided the waters which were under the firmament from the waters which were above
the firmament: and it was so. And God called the firmament Heaven. And the evening
and the morning were the second day. And God said, Let the waters under the heaven
be gathered together unto one place, and let the dry land appear: and it was so. And
God called the dry land Earth; and the gathering together of the waters called the Seas:
and God saw that it was good. And God said, Let the earth bring forth grass, the herb
yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself, upon
the earth: and it was so. And the earth brought forth grass, and herb yielding seed after
his kind, and the tree yielding fruit, whose seed was in itself, after his kind: and God saw
that it was good. And the evening and the morning were the third day. And God said, Let
there be lights in the firmament of the heaven to divide the day from the night; and let
them be for signs, and for seasons, and for days, and years: And let them be for lights in
the firmament of the heaven to give light upon the earth: and it was so. And God made
two great lights; the greater light to rule the day, and the lesser light to rule the night: he
made the stars also. And God set them in the firmament of the heaven to give light upon
the earth, and to rule over the day and over the night, and to divide the light from the
darkness: and God saw that it was good. And the evening and the morning were the
fourth day. And God said, Let the waters bring forth abundantly the moving creature that
hath life, and fowl that may fly above the earth in the open firmament of heaven. And
God created great whales, and every living creature that moveth, which the waters
brought forth abundantly, after their kind, and every winged fowl after his kind: and God
saw that it was good. And God blessed them, saying, Be fruitful, and multiply, and fill the
waters in the seas, and let fowl multiply in the earth. And the evening and the morning
were the fifth day. And God said, Let the earth bring forth the living creature after his
kind, cattle, and creeping thing, and beast of the earth after his kind: and it was so. And
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God made the beast of the earth after his kind, and cattle after their kind, and every thing
that creepeth upon the earth after his kind: and God saw that it was good. And God said,
Let us make man in our image, after our likeness: and let them have dominion over the
fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth,
and over every creeping thing that creepeth upon the earth. So God created man in his
own image, in the image of God created he him; male and female created he them. And
God blessed them, and God said unto them, Be fruitful, and multiply, and replenish the
earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the
air, and over every living thing that moveth upon the earth. And God said, Behold, I have
given you every herb bearing seed, which is upon the face of all the earth, and every
tree, in the which is the fruit of a tree yielding seed; to you it shall be for meat. And to
every beast of the earth, and to every fowl of the air, and to every thing that creepeth
upon the earth, wherein there is life, I have given every green herb for meat: and it was
so. And God saw every thing that he had made, and, behold, it was very good. And the
evening and the morning were the sixth day. Thus the heavens and the earth were
finished, and all the host of them. And on the seventh day God ended his work which he
had made; and he rested on the seventh day from all his work which he had made. And
God blessed the seventh day, and sanctified it: because that in it he had rested from all
his work which God created and made.
The Fall of Man
Adam was the first man who ever lived. God created him from the dust of the earth and
breathed life into him. God knew that Adam would be lonely by himself so he had a plan
to create a partner for him. But before he did that God showed Adam all of the animals
so that Adam could name them. While he was naming the animals Adam noticed that
every animal had a partner. Would there be a partner for Adam?
God caused Adam to fall into a deep sleep so that he could remove one of his ribs.
From Adam’s rib God formed a woman. This woman was called Eve and she was the
very first woman who ever lived. Adam and Eve worked together in taking care of the
Garden of Eden as God commanded. They were so happy in the garden that they did
not even feel embarrassed that they wore no clothes.
God took good care of Adam and Eve. He gave them many trees with good fruit to eat.
God said, “The fruit on these trees is for you to enjoy. But do not eat the fruit from the
tree in the middle of the garden. If you do, something terrible called death will happen to
you.” Adam and Eve did not even know what death was because no one had ever eaten
the fruit so no one had ever died.
One day Eve was walking through the garden alone when she heard a strange voice.
Eve started looking around to see who was talking to her. While she was looking at the
tree in the middle of the garden, she saw a snake. Eve was surprised that a snake was
talking to her! What Eve didn’t know was that it was really Satan who was talking to her
through the snake.
“Did God really say you should not eat the fruit from any tree in the garden?” the snake
asked.
“God said we may eat the fruit from any tree, except for the one in the middle of the
garden,” Eve said. “God said something terrible would happen to us if we ate any of the
fruit from that tree.”
“Nothing terrible will happen to you,” the snake hissed. “In fact, God knows that if you eat
some of that fruit, you’ll be like Him! You will know the difference between right and
wrong.”
Eve looked at the fruit on the tree and thought, “The fruit is beautiful. It looks like it would
taste good too. Besides, if it will make us wise like God, nothing terrible could happen to
us.” So she picked some of the fruit and ate it.
Then Eve also gave some of the fruit to Adam.
When Adam saw the beautiful fruit Eve h ad brought him, he took the fruit from her and
ate it. Suddenly Adam and Eve began to feel unhappy. Nothing seemed as beautiful or
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as nice as it had before. Adam and Eve knew that something terrible had happened:
they had disobeyed God.
When they heard God in the garden, they ran away and hid.
“Adam!” God called. But Adam didn’t answer.
God called again, “Adam! Where are you?”
Finally, Adam said, “I heard You calling, and I was afraid. So I ran away and hid.”
God knew what Adam and Eve had done, but He wanted them to tell Him, so He asked,
“Did you eat from the tree I told you not to eat from?”
“Eve gave the fruit to me,” said Adam.
“But the snake told me to eat it,” said Eve.
How sad God was! “You have disobeyed Me,” He said. “Adam, you and Eve must leave
the garden. From now on things will be harder for you. You will have to plant your own
gardens for food and you will not be as happy as you were here.”
Adam and Eve were sad too. Something terrible had happened to them, just as God had
said it would. Adam and Eve knew they had done wrong and deserved to be punished.
So they put on the clothes God gave them, which were made from animal skins instead
of leaves, and walked slowly, sadly out to the beautiful garden that had been their home.
They were never allowed to come back to the garden.

V. Guide Questions
1. Using a story map, summarize The Creation (10 points) and the Fall. (10 points).
2. Is it important to read, understand, and apply the teachings of the Bible? Explain. (10
points).
Note: If you are in other sector/religion, please substitute the Bible with the Book of your
reference.
VI. Notes and Suggested Reading
Bible verses relating to The Creation and Fall
VII. References
Anthology of World Literature, 3rd ed. Vols. A., B, C., Norton, 2012.
Abcarian R. & M. Klotz. (2000). Literature: Reading and writing the human experience
(7th shorter ed.) Boston & New York: Bedford/St. Martin’s.
Hamilton, E. (1942). Mythology: Timeless tales of gods and goddess. New York &
Boston: Grand Central Publishing.
Tomeldan, Y. V. (general ed.), et al. (1986). Prism: An introduction to world literature.
Mandaluyong
https://creativeenglishteacher.com/pages/the-bible-as-literature
https://cdn.shopify.com/s/files/1/2084/0507/files/FROM_GENESIS.pdf?11
https://missionbibleclass.org/old-testament/part1/creation-through-noah/the-fall-of-man/

Lesson 2: The Koran

I. Objectives
 Identify and explain the emergence of Koran; and
 Create a graphic organizer on the literary elements of Koran.
II. Time Frame: 4 hours
III. Values Integration: Appreciation of one’s literary works
IV. Content
The Koran Literary Elements
The Quran, also romanized Qur'an or Koran, is the central religious text of Islam,
believed by Muslims to be a revelation from God (Allah). It is widely regarded as the
finest work in classical Arabic literature. It is organized in 114 chapters, which consist of
verses.
Genre
Religious scripture
Setting and Context
 14

Written in the 7th century near Mecca

Narrator and Point of View
According to the Islamic faith, the Koran is the text that Muhammad the prophet received
from Allah through the angel Gabriel. It contains narrative elements that are written from
an omniscient third-person perspective
Tone and Mood
The tone can rightly be said to be sacred. It is clear that the Koran understands itself to
be sacred religious texts, and it argues clearly for its own authority and status as the only
authoritative religious text. It is Eastern or Arabic in nature, and it reads suchly. To a
Western audience, the text would seem exotic, because it constitutes a radical break
from the Western, Judeo-Christian culture.
Protagonist and Antagonist
Allah is the one true God. The antagonist is anyone who misleads the followers of Islam
through false prophesy or false teachings, including those who deny the authority of the
Koran as sacred text.
Imagery
The most beautiful imagery in the text is its descriptions of paradise, which mean
pleasure and satisfaction in a beautiful heaven for all eternity for all those who behave
well according to the teachings of the Koran.

V. Guide Questions
1. Create a summary of the elements using a graphic organizer. Make it brief and
concise. (20 points)
VI. Notes and Suggested Reading
Facts about The Koran
VII. References
Anthology of World Literature, 3rd ed. Vols. A., B, C., Norton, 2012.
Abcarian R. & M. Klotz. (2000). Literature: Reading and writing the human experience
(7th shorter ed.) Boston & New York: Bedford/St. Martin’s.
Hamilton, E. (1942). Mythology: Timeless tales of gods and goddess. New York &
Boston: Grand Central Publishing.
Tomeldan, Y. V. (general ed.), et al. (1986). Prism: An introduction to world literature.
Mandaluyong
https://en.wikipedia.org/wiki/Quran
https://www.gradesaver.com/the-koran/study-guide/literary-elements

Lesson 3: Rubaiyat by Omar Khayyam

I. Objectives
 Explain the verses of the poem;
 Construct concepts or ideas on the given verses; and
 Relate the given verses in the present world situation.
II. Time Frame: 4 hours
III. Values Integration: Appreciation of one’s literary works
IV. Content
Rubái is a Farsi word for quatrain, a four-line poetry stanza. The plural
of rubái is rubáiyát. Thus, a literal English rendering of the title of this famous poem
is The Quatrains of Omar Khayyám. (Farsi is the language that has been spoken in Iran
since the about the ninth century AD. It is written with Arabic characters.)
Type of Work and Publication History
The Rubáiyát of Omar Khayyám is a lyric poem in quatrains (four-line stanzas). Rather
than telling a story with characters, a lyric poem presents the deep feelings and
emotions of the poet on subjects such as life, death, love, and religion.
 15

The Rubáiyát was published in March 1859 but received little attention. However, after
poet Dante Gabriel Rossetti (1828-1882) read and praised it in 1860, the poem became
highly popular. FitzGerald revised it four times thereafter so that there are five published
editions of the poem in all. This study guide uses the first edition. Some changes
FitzGerald incorporated in subsequent editions are significant, as in the wording of the
eleventh stanza in the first edition, which became the twelfth stanza in the fifth.

The Rubaiyat of Omar Khayyam

1 And David's Lips are 11
AWAKE ! for Morning in lockt ; but in divine
the Bowl of Night High piping Pehlevi, Here with a Loaf of
Has flung the Stone with " Wine ! Wine ! Bread beneath the
that puts the Stars to Wine! Bough,
Flight: Red Wine ! " - the A Flask of Wine, a
And Lo ! the Hunter of Nightingale cries to the Book of Verse - and
the East has caught Rose Thou
The Sultan's Turret in a That yellow Cheek of Beside me singing in
Noose of Light. her's to incarnadine. the Wilderness -
And Wilderness is
2 7 Paradise enow.
Dreaming when Dawn's Come, fill the Cup, and
Left Hand was in the in the Fire of Spring 12
Sky The Winter Garment of "How sweet is mortal
I heard a Voice within Repentance fling: Sovranty ! " - think
the Tavern cry, The Bird of Time has some:
"Awake, my Little ones, but a little way Others - "How blest the
and fill the Cup To fly - and Lo! the Bird Paradise to come ! "
Before Life's Liquor in is on the Wing. Ah, take the Cash in
its Cup be dry." hand and waive the
8 Rest;
3 And look - a thousand Oh, the brave Music of
And, as the Cock crew, Blossoms with the Day a distant Drum!
those who stood before Woke - and a thousand
The Tavern shouted -'' scatter'd into Clay: 13
Open then the Door! And this first Summer Look to the Rose that
You know how little Month that brings the blows about us - " Lo,
while we have to stay, Rose Laughing," she says,
And, once departed, Shall take Jamshyd and "into the World I blow:
may return no more." Kaikobad away. At once the silken
Tassel of my Purse
4 9 Tear, and its Treasure
Now the New Year But come with old on the Garden throw."
reviving old Desires, Khayyam, and leave
The thoughtful Soul to the Lot 14
Solitude retires, Of Kaikobad and The Worldly Hope men
Where the WHITE Kaikhosru forgot: set their Hearts upon
HAND OF MOSES on Let Rustum lay about Turns Ashes - or it
the Bough him as he will, prospers; and anon,
Puts out, and Jesus Or Hatim Tai cry Like Snow upon the
from the Ground Supper - heed them Desert's dusty Face
suspires. not. Lighting a little Hour or
two - is gone.
5 10
Iram indeed is gone With me along some 15
with all its Rose, Strip of Herbage strown And those who
And Jamshyd's Sev'n- That just divides the husbanded the Golden
ring'd Cup where no desert from the sown, Grain,
one knows; Where name of Slave And those who flung it
But still the Vine her and Sultan scarce is to the Winds like Rain,
ancient Ruby yields, known, Alike to no such
And still a Garden by And pity Sultan aureate Earth are turn'd
the Water blows. Mahmud on his Throne. As, buried once, Men
want dug up again.
6
 16

16 And we, that now make

Think, in this batter'd merry in the Room 28
Caravanserai They left, and Summer With them the Seed of
Whose Doorways are dresses in new Bloom, Wisdom did I sow,
alternate Night and Ourselves rnust we And with my own hand
Day, beneath the Couch of labour'd it to grow:
How Sultan after Sultan Earth And this was all the
with his Pomp Descend, ourselves to Harvest that I reap'd -
Abode his Hour or two, make a Couch - for "I came like Water, and
and went his way. whom? like Wind I go."

17 23 29
They say the Lion and Ah, make the most of Into this Universe,
the Lizard keep what we yet may and why not knowing,
The Courts where spend, Nor whence, like Water
Jamshyd gloried and Before we too into the willy-nilly flowing:
drank deep: Dust descend; And out of it, as Wind
And Bahram, that great Dust into Dust, and along the Waste,
Hunter - the Wild Ass under Dust, to lie, I know not whither,
Stamps o'er his Head, Sans Wine, sans Song, willy-nilly blowing.
and he lies fast asleep. sans Singer, and - sans
End ! 30
18 What, without asking,
I sometimes think that 24 hither hurried whence?
never blows so red Alike for those who for And, without
The Rose as where TO-DAY prepare, asking, whither hurried
some buried Caesar And those that after a hence !
bled; TO-MORROW stare, Another and another
That every Hyacinth the A Muezzin from the Cup to drown
Garden wears Tower of Darkness The Memory of this
Dropt in its Lap from cries Impertinence !
some once lovely "Fools ! your Reward is
Head. neither Here nor There!' 31
Up from Earth's Centre
19 25 through the Seventh
And this delightful Herb Why, all the Saints and Gate
whose tender Green Sages who discuss'd I rose, and on the
Fledges the River's Lip Of the Two Worlds so Throne of Saturn sate,
on which we lean - learnedly, are thrust And many Knots
Ah, lean upon it lightly ! Like foolish Prophets unravel'd by the Road;
for who knows forth; their Words to But not the Knot of
From what once lovely Scorn Human Death and
Lip it springs unseen ! Are scatter'd, and their Fate.
Mouths are stopt with
20 Dust. 32
Ah, my Beloved, fill the There was a Door to
Cup that clears 26 which I found no Key:
TO-DAY of past Oh, come with old There was a Veil past
Regrets and future Khayyam, and leave which I could not see:
Fears - the Wise Some little Talk awhile
To-morrow ? - Why, To- To talk; one thing is of ME and THEE
morrow I may be certain, that Life flies; There seem'd - and
Myself with Yesterday's One thing is certain, then no more of THEE
Sev'n Thousand Years. and the Rest is Lies; and ME.
The Flower that once
21 has blown for ever dies. 33
Lo! some we loved, the Then to the rolling
loveliest and best 27 Heav'n itself I cried,
That Time and Fate of Myself when young did Asking, " What Lamp
all their Vintage prest, eagerly frequent had Destiny to guide
Have drunk their Cup a Doctor and Saint, and Her little Children
Round or two before, heard great Argument stumbling in the Dark?"
And one by one crept About it and about: but And - "A blind
silently to Rest. evermore Understanding!" Heav'n
Came out by the same replied.
22 Door as in I went.
 17

34 You know, my Friends, 46

Then to this earthen how long since in my For in and out, above,
Bowl did I adjourn House about, below,
My Lip the secret Well For a new Marriage I 'Tis nothing but a Magic
of Life to learn: did make Carouse: Shadow-show,
And Lip to Lip it Divorced old barren Play'd in a Box whose
murmur'd - "While you Reason from my Bed, Candle is the Sun,
live And took the Daughter Round which we
Drink ! - for once dead of the Vine to Spouse. Phantom Figures come
you never shall return." and go.
41
35 47
I think the Vessel, that For "IS" and "IS-NOT" And if the Wine you
with fugitive though with Rule and drink, the Lip you press,
Articulation answer'd, Line, End in the Nothing all
once did live, And "UP-AND- Things end in - Yes -
And merry-make; and DOWN" without, I could Then fancy while Thou
the cold Lip I kiss'd define, art, Thou art but what
How many Kisses I yet in all I only cared Thou shalt be - Nothing
might it take - and give ! to know, - Thou shalt not be
Was never deep in less.
36 anything but - Wine.
For in the Market-place, 48
one Dusk of Day, 42 While the Rose blows
I watch'd the Potter And lately, by the along the River Brink,
thumping his wet Clay: Tavern Door agape, With old Khayyam the
And with its all Came stealing through Ruby Vintage drink:
obliterated Tongue the Dusk an Angel And when the Angel
It murmur'd - "Gently, Shape with his darker Draught
Brother, gently, pray!" Bearing a Vessel on his Draws up to Thee -
Shoulder; and take that, and do not
37 He bid me taste of it; shrink.
Ah, fill the Cup: - what and 'twas - the Grape!.
boots it to repeat 49
How Time is slipping 43 'Tis all a Chequer-board
underneath our Feet: The Grape that can of Nights and Days
Unborn TO-M0RROW, with Logic absolute Where Destiny with
and dead The Two-and-Seventy Men for Pieces plays:
YESTERDAY, jarring Sects confute: Hither and thither
Why fret about them if The subtle Alchemist moves, and mates, and
TO-DAY be sweet ! that in a Trice slays,
Life's leaden Metal into And one by one back in
38 Gold transmute. the Closet lays.
One Moment in
Annihilation's Waste, 44 50
One Moment, of the The mighty Mahmud, The Ball no Question
Well of Life to taste - the victorious Lord, makes of Ayes and
The Stars are setting That all the Noes,
and the Caravan misbelieving and black But Right or Left as
Starts for the Dawn of Horde strikes the Player goes;
Nothing - Oh, make Of Fears and Sorrows And He that toss'd
haste ! that infest the Soul. Thee down into the
Scatters and slays with Field,
39 his enchanted Sword. He knows about it all -
How long, how long, in HE knows - HE knows !
infinite Pursuit 45
Of This and That But leave the Wise to 51
endeavour and wrangle, and with me
dispute? The Quarrel of the The Moving Finger
Better be merry with the Universe let be: writes; and, having writ,
fruitful Grape And, in some corner of Moves on: nor all thy
Than sadden after the Hubbub coucht, Piety nor Wit
none, or bitter, Fruit. Make Game of that Shall lure it back to
which makes as much cancel half a Line,
40 of Thee. Nor all thy Tears wash
out a Word of it.
 18

Oh, Thou, who Man of What ! did the Hand

52 baser Earth didst make, then of the Potter shake
And that inverted Bowl And who with Eden ?"
we call The Sky, didst devise the Snake;
Whereunder crawling For all the Sin where 64
coop't we live and die, with the Face of Man Said one - "Folks of a
Lift not thy hands Is blacken'd, Man's surly Tapster tell,
to It for help - for It Forgiveness give - and And daub his Visage
Rolls impotently on as take ! with the Smoke of Hell;
Thou or I. They talk of some strict
KUZA-NAMA Testing of us - Pish !
53 He's a Good Fellow,
With Earth's first Clay 59 and 'twill all be well."
They did the Last Man's Listen again. One
knead, evening at the Close 65
And then of the Last Of Ramazan, ere the Then said another with
Harvest sow'd the better Moon arose, a long-drawn Sigh,
Seed: In that old Potter's Shop "My Clay with long
Yea, the first Morning of I stood alone oblivion is gone dry:
Creation wrote With the clay But, fill me with the old
What the Last Dawn of Population round in familiar juice,
Reckoning shall read. Rows. Methinks I might
recover by-and-bye !"
54 60
I tell Thee this - When, And, strange to tell, 66
starting from the Goal, among that Earthen Lot So while the Vessels
Over the shoulders of Some could articulate, one by one were
the flaming Foal while others not: speaking,
Of Heav'n Parwin and And suddenly one more One spied the little
Mushtara they flung, impatient cried- Crescent all were
In my predestin’d Plot Who is the Potter, pray, seeking:
of Dust and Soul. and who the Pot ? And then they jogged
each other, "Brother !
55 61 Brother !
The Vine had struck a Hark to the Porter's
Fibre; which about Then said another - Shoulder-knot a-
If clings my Being - let "Surely not in vain creaking !"
the Sufi flout; My Substance from the
Of my Base Metal may common Earth was 67
be filed a Key, ta'en, Ah, with the Grape my
That shall unlock the That He who subtly fading Life provide,
Door he howls without. wrought me into Shape And wash my Body
Should stamp me back whence the Life has
56 to common Earth died,
And this I know: again." And in a Windingsheet
whether the one True of Vine-leaf wrapt,
Light, 62 So bury me by some
Kindle to Love, or Another said - "Why sweet Garden-side.
Wrath consume me ne'er a peevish Boy,
quite, Would break the Bowl 68
One glimpse of It within from which he drank in That ev'n my buried
the Tavern caught Joy; Ashes such a Snare
Better than in the Shall He that made the Of Perfume shall fling
Temple lost outright. Vessel in pure Love up into the Air,
And Fancy, in an after As not a True Believer
57 Rage destroy !" passing by
Oh, Thou, who didst - But shall be overtaken
with Pitfall and with Gin 63 unaware.
Beset the Road I was to None answer'd this ;
wander in, but after Silence spake 69
Thou wilt not with A Vessel of a more Indeed the Idols I have
Predestination round ungainly Make: loved so long
Enmesh me, and "They sneer at me for Have done my Credit in
impute my Fall to Sin? leaning all awry Men's Eye much wrong;

58
 19

Have drown'd my One half so precious as

Honour in a shallow the Goods they sell. 74
Cup, Ah, Moon of my Delight
And sold my Reputation 72 who know'st no wane,
for a Song. Alas, that Spring should The Moon of Heav'n is
vanish with the Rose rising once again:
70 That Youth's sweet- How oft hereafter rising
Indeed, indeed, scented Manuscript shall she look
Repentance oft before should close ! Through this same
I swore - but was I The Nightingale that in Garden after me - in
sober when I swore ? the Branches sang, vain!
And then and then Ah, whence, and
came Spring, and whither flown again, 75
Rose-in-hand who knows ! And when Thyself with
My thread-bare shining Foot shall pass
Penitence apieces tore. 73 Among the Guests
Ah Love ! could thou Star-scatter'd on the
71 and I with Fate conspire Grass,
To grasp this sorry And in thy joyous
And much as Wine has Scheme of Things Errand reach the Spot
play'd the Infidel, entire, Where I made one -
And robb'd me of my Would not we shatter it turn down an empty
Robe of Honour - well, to bits - and then Glass !
I often wonder what the Re-mould it nearer to
Vintners buy the Heart's Desire !

V. Guide Questions
1. Pick on verse from the poem and answer these questions:
a. What does the verse implies? (10 points)
b. What lesson can reader get from that verse? (10 points)
VI. Notes and Suggested Reading
Facts about The Rubaiyat of Omar Khayyam

VII. References
Anthology of World Literature, 3rd ed. Vols. A., B, C., Norton, 2012.
Abcarian R. & M. Klotz. (2000). Literature: Reading and writing the human experience
(7th shorter ed.) Boston & New York: Bedford/St. Martin’s.
Hamilton, E. (1942). Mythology: Timeless tales of gods and goddess. New York &
Boston: Grand Central Publishing.
Tomeldan, Y. V. (general ed.), et al. (1986). Prism: An introduction to world literature.
Mandaluyong
http://www.omarkhayyamrubaiyat.com/text.htm
https://www.cummingsstudyguides.net/Guides3/rubaiyat.html

Lesson 4: Folk tales from the Thousand and One Nights

I. Objectives
 Identify the different folk tales of Thousand and One Nights
 Create a story map in one of the most standout stories; and
 Reflect on the importance of the tales given.
II. Time Frame: 4 hours
III. Values Integration: Appreciation of one’s literature
IV. Content
1,001 Nights, also known as The Thousand and One Nights or Arabian Nights, is a
collection of Middle Eastern and South Asian folk tales that were originally published
together during the Islamic Golden Age. The stories — from historical tales to tragic
romances to comedies — were collected over many centuries by a huge range of
scholars and authors. Read below to find ten of the most standout stories.
 20

Shahryar and Scheherazade

This frame story for the entirety of the work is the common thread between each edition
of Nights. Shahryar is a king who rules over India and China. He becomes aware of his
wife’s infidelity and has her executed, and afterward, in anger and sadness, decides all
women are guilty and must be executed. Shahryar marries and executes several virgins,
each on the morning after they are married. When the king takes Scheherazade as his
wife, she tells him a story on the night of their marriage, but she doesn’t have time to
finish it. The king postpones her execution to find out the end of the story. The next night
she finishes her story but begins a new one, and Shahryar postpones her execution
again. They continue this for 1,001 nights.
Aladdin’s Wonderful Lamp
Although it wasn’t added to the collection until the 18th century by French scholar
Antoine Galland, ‘Aladdin’ is one of the most popular tales from 1,001 Nights because of
its modern Disney adaptation. In the original tale, Aladdin is a poor, young man in ‘one of
the cities of China.’ A sorcerer deceives Aladdin and persuades him to steal an oil lamp
from a magic cave. Aladdin accidentally releases a genie from the lamp, and so a series
of events unfold in which Aladdin’s every wish comes true, but only to be dismantled by
the villain. Thankfully, a Disney-approved happy ending is in store.
The Three Apples
In this tale, a fisherman discovers a chest in the Tigris River that he sells to Harun al-
Rashid, the Abbasid Caliph. Harun finds that it contains the body of a dead woman and
orders his adviser, Ja’far, to solve the crime. The dead woman’s husband and father
both claim to have killed her, but the caliph believes the story of the husband who
believed her to have been unfaithful. The husband had bought three unique apples for
his wife when she was ill, and when he found a slave with one of the apples, the slave
claimed his girlfriend gave it to him. In a rage, the man killed his wife. The slave who
stirred up all the trouble ends up being Ja’far’s slave, and Ja’far begs for a pardon.
The Tale of the Hunchback
In Basrah, a tailor and his wife came upon an amusing hunchback who they decided to
invite to their home for dinner. While the hunchback was eating and joking, he choked on
a huge, sharp fishbone. The two wrapped the dead man up in cloth and pretended he
was a child with smallpox so everyone would leave them alone. The two left the
hunchback at the doctor’s house and ran away. The doctor was eager to see his patient,
and he tripped down the stairs, falling onto the hunchback. Believing he killed a patient,
the doctor pawns the dead body off on his neighbor. The hunchback is passed around
until the king’s broker is found with the dead body, and just as the broker is about to be
executed, a string of confessions comes from all the assumed murderers. But it turns out
the hunchback was never dead at all – a barber brings him back to life.
The Vizier and the Sage Duban
Duban is a sage, or a wise healer, who works for King Yunan who has leprosy. Yunan’s
advisor warns the king that Duban is going to try to kill him, and Yunan executes the
healer, fearing for his life. Duban gives the king a magic book just before he is
beheaded. After the execution, the king reads through the book and later dies because
of a secret poison Duban left on the pages.
Ali Baba and the Forty Thieves
This famous tale is another that was added by Galland in the 18th century. Ali Baba is a
poor but hardworking woodcutter who finds a thieves’ hideout protected by magic, which
he enters by saying, ‘Open Sesame.’ The den is filled with treasures, and Ali Baba lets
the secret out to his brother Cassim, who is killed by the thieves while trying to steal the
treasure. The thieves find out Ali Baba knows how to get into their hideout, so they set
off to kill him, but they are outwitted by Ali Baba’s clever slave, Morgiana.
The Fisherman and the Jinni
A poor fisherman casts out his net after calling upon God and pulls out a copper jar.
When he opens it, pleased to have found something so valuable, a powerful genie is
 21

released. Having been kept captive in the jar for so long, the genie is furious with
humanity and vows to kill whoever released him. The fisherman, a wise old man, has no
success pleading with the genie, so he tricks the genie into returning to the jar. Trapped
again, the genie pledges to reward the fisherman with a lake full of exotic fish if he is
released. The fisherman agrees and sells the fish to the sultan as the genie instructed.
When the sultan investigates the lake where the fish came from, he meets a prince who
is half stone. The sultan helps the prince and continues to stay friends with the
fisherman.
The Lovers of Bassorah
Harun al-Rashid, the caliph in the story, asks the famous writer al-Asma’i and the poet
Husayn al-Khali to tell him a story. Husayn tells him of visiting Bassorah to present a
poem. Husayn went inside a house to ask for a glass of water, and there he met a
beautiful woman who confessed her love for a young man who used to pass by the
house, but stopped when he saw the woman playing with her slave. Husayn decides to
help her meet him again by taking him a note, but the man refuses to come back. When
he visits the house a year later, however, he finds the two married.
The Three Princes and the Princes Nouronnihar
Three princes all want to marry their cousin Nouronnihar, and the Grand Sultan, their
father, guarantees the woman’s hand to the brother who finds the item with the highest
value. They each work to bring the best item to the table, including a magic carpet to
ride, a magical tube that shows the viewer his deepest wishes, and a healing apple.
After finding the items, the princes hear that Nouronnihar is ill, and rather than fighting
over her, they bring all of their items together to save her life.
The Seven Voyages of Sinbad the Sailor
A famous sailor named Sinbad tells the stories of his Homeric travels to a poor porter.
The tales include shipwrecks, ferocious beasts, the Old Man of the Sea, and other
dangers. The thrill of life at sea leads Sinbad to keep exploring despite the danger, but
after his seventh voyage, Sinbad finally decides to settle down. Sinbad’s stories are
another famous section of the collection, but they weren’t added until later compilations
– they date back to a Turkish collection in 1637.

V. Guide Questions
1. Among stories cited above, pick one and answer these questions (15 points):
a. Why did you pick that story?
b. What is the lesson?
c. In what way or instance you can relate to the story?
VI. Notes and Suggested Reading
Other readings of Folk tales from the Thousand and One Nights
VII. References

Anthology of World Literature, 3rd ed. Vols. A., B, C., Norton, 2012.
Abcarian R. & M. Klotz. (2000). Literature: Reading and writing the human experience
(7th shorter ed.) Boston & New York: Bedford/St. Martin’s.
Hamilton, E. (1942). Mythology: Timeless tales of gods and goddess. New York &
Boston: Grand Central Publishing.
Tomeldan, Y. V. (general ed.), et al. (1986). Prism: An introduction to world literature.
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https://theculturetrip.com/middle-east/articles/the-top-10-stories-from-1001-nights/