• DOI:10.1017/S0041977X00141540
• Corpus ID: 161610007

An allegory from the Arabian nights: the City of Brass

@article{Hmori1971AnAF,
  title={An allegory from the Arabian nights: the City of Brass},
  author={Andr{\'a}s H{\'a}mori},
  journal={Bulletin of the School of Oriental and African Studies},
  year={1971},
  volume={34},
  pages={9 - 19}
}

• A. Hámori
• Published 1 February 1971
• History
• Bulletin of the School of Oriental and African Studies

Gloomiest of travelogues, the tale of the City of Brass engages our attention in puzzling ways. Through its maze of stations conventional pessimism and the old cry ubi sunt are staged, sensed, and at last transcended. I am attempting a few remarks here on the nature and fascination of this maze, hoping to demonstrate its coherence and to show the source of its power. The story is an account of an archaeological expedition that consists of two parts: one planned and one fortuitous. In the opening scene, the Caliph 'Abd al-Malik ibn Marwan and his courtiers are seen discussing legends of the past. The talk turns to King Solomon's dominion over the jinn, and the still extant brass bottles in which he imprisoned the refractory ones. The Caliph is overwhelmed by curiosity, and at once an expedition is organized to the country in the far west where such bottles may be found. The project is successful, for, in spite of losing their way in the desert, the explorers manage to reach their destination and return to Damascus with several exhibits. Of the two leaders, Talib ibn Sahl falls victim to his greed in the City of Brass, and the Amir Miisa, his mission accomplished, retires to a life of piety in Jerusalem. The focal point of the tale is the visit to the City of Brass. It comes about when the party strays from the direct road, and its description is simply inserted in the larger narrative. This is not, however, an instance of the usual technique of employing a frame story to bring together many stories and hold the audience's attention