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One Thousand and One Nights

One Thousand and One Nights (أَلْفُ لَيْلَةٍ وَلَيْلَةٌ ) is a collection of Middle Eastern folktales compiled in the Arabic language during the Islamic Golden Age. It is often known in English as the Arabian Nights, from the first English-language edition (c. 1706–1721), which rendered the title as The Arabian Nights' Entertainment.

The work was collected over many centuries by various authors, translators, and scholars across West Asia, Central Asia, South Asia, and North Africa. Some tales trace their roots back to ancient and medieval Arabic, Sanskrit, Persian, and Mesopotamian literature. Most tales, however, were originally folk stories from the Abbasid and Mamluk eras, while others, especially the frame story, are probably drawn from the Pahlavi Persian work (, lit. 'A Thousand Tales'), which in turn may be translations of older Indian texts.

Common to all the editions of the Nights is the framing device of the story of the ruler Shahryar being narrated by his wife Scheherazade, with one tale told over each night of storytelling. The stories proceed from this original tale; some are framed within other tales, while some are self-contained. Some editions contain only a few hundred nights of storytelling, while others include 1001 or more. The bulk of the text is in prose, although verse is occasionally used for songs and riddles and to express heightened emotion. Most of the poems are single couplets or quatrains, although some are longer.

Some of the stories commonly associated with the Arabian Nights—particularly "Aladdin and the Wonderful Lamp" and "Ali Baba and the Forty Thieves"—were not part of the collection in the original Arabic versions, but were instead added to the collection by French translator Antoine Galland after he heard them from Syrian writer Hanna Diyab during the latter's visit to Paris. Other stories, such as "The Seven Voyages of Sinbad the Sailor", had an independent existence before being added to the collection.

Synopsis
The main frame story concerns Shahryār, whom the narrator calls a "Sasanian king" ruling in "India and China". Shahryār is shocked to learn that his brother's wife is unfaithful. Discovering that his own wife's infidelity has been even more flagrant, he has her killed. In his bitterness and grief, he decides that all women are the same. Shahryār begins to marry a succession of virgins only to execute each one the next morning, before she has a chance to dishonor him.

Eventually the Vizier (Wazir), whose duty it is to provide them, cannot find any more virgins. Scheherazade, the vizier's daughter, offers herself as the next bride and her father reluctantly agrees. On the night of their marriage, Scheherazade begins to tell the king a tale, but does not end it. The king, curious about how the story ends, is thus forced to postpone her execution in order to hear the conclusion. The next night, as soon as she finishes the tale, she begins another one, and the king, eager to hear the conclusion of that tale as well, postpones her execution once again. This goes on for one thousand and one nights, hence the name.

The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, burlesques, and various forms of erotica. Numerous stories depict jinn, ghouls, ape people, sorcerers, magicians, and legendary places, which are often intermingled with real people and geography, not always rationally. Common protagonists include the historical Abbasid caliph Harun al-Rashid, his Grand Vizier, Jafar al-Barmaki, and the famous poet Abu Nuwas, despite the fact that these figures lived some 200 years after the fall of the Sassanid Empire, in which the frame tale of Scheherazade is set. Sometimes a character in Scheherazade's tale will begin telling other characters a story of their own, and that story may have another one told within it, resulting in a richly layered narrative texture.

Versions differ, at least in detail, as to final endings (in some Scheherazade asks for a pardon, in some the king sees their children and decides not to execute his wife, in some other things happen that make the king distracted) but they all end with the king giving his wife a pardon and sparing her life.

The narrator's standards for what constitutes a cliffhanger seem broader than in modern literature. While in many cases a story is cut off with the hero in danger of losing their life or another kind of deep trouble, in some parts of the full text Scheherazade stops her narration in the middle of an exposition of abstract philosophical principles or complex points of Islamic philosophy, and in one case during a detailed description of human anatomy according to Galen—and in all of these cases she turns out to be justified in her belief that the king's curiosity about the sequel would buy her another day of life.

A number of stories within the One Thousand and One Nights also feature science fiction elements. One example is "The Adventures of Bulukiya", where the protagonist Bulukiya's quest for the herb of immortality leads him to explore the seas, journey to the Garden of Eden and to Jahannam, and travel across the cosmos to different worlds much larger than his own world, anticipating elements of galactic science fiction; along the way, he encounters societies of jinns, mermaids, talking serpents, talking trees, and other forms of life. In another Arabian Nights tale, the protagonist Abdullah the Fisherman gains the ability to breathe underwater and discovers an underwater submarine society that is portrayed as an inverted reflection of society on land, in that the underwater society follows a form of primitive communism where concepts like money and clothing do not exist. Other Arabian Nights tales deal with lost ancient technologies, advanced ancient civilizations that went astray, and catastrophes which overwhelmed them. "The City of Brass" features a group of travellers on an archaeological expedition across the Sahara to find an ancient lost city and attempt to recover a brass vessel that Solomon once used to trap a jinn, and, along the way, encounter a mummified queen, petrified inhabitants, life-like humanoid robots and automata, seductive marionettes dancing without strings, and a brass horseman robot who directs the party towards the ancient city. "The Ebony Horse" features a robot in the form of a flying mechanical horse controlled using keys that could fly into outer space and towards the Sun, while the "Third Qalandar's Tale" also features a robot in the form of an uncanny boatman. "The City of Brass" and "The Ebony Horse" can be considered early examples of proto-science fiction.

History, versions and translations
The history of the Nights is extremely complex and modern scholars have made many attempts to untangle the story of how the collection as it currently exists came about. Robert Irwin summarises their findings:

"In the 1880s and 1890s a lot of work was done on the Nights by Zotenberg and others, in the course of which a consensus view of the history of the text emerged. Most scholars agreed that the Nights was a composite work and that the earliest tales in it came from India and Persia. At some time, probably in the early eighth century, these tales were translated into Arabic under the title Alf Layla, or 'The Thousand Nights'. This collection then formed the basis of The Thousand and One Nights. The original core of stories was quite small. Then, in Iraq in the ninth or tenth century, this original core had Arab stories added to it—among them some tales about the Caliph Harun al-Rashid. Also, perhaps from the tenth century onwards, previously independent sagas and story cycles were added to the compilation [...] Then, from the 13th century onwards, a further layer of stories was added in Syria and Egypt, many of these showing a preoccupation with sex, magic or low life. In the early modern period yet more stories were added to the Egyptian collections so as to swell the bulk of the text sufficiently to bring its length up to the full 1,001 nights of storytelling promised by the book's title."

Possible Indian influence
Devices found in Sanskrit literature such as frame stories and animal fables are seen by some scholars as lying at the root of the conception of the Nights. The motif of the wise young woman who delays and finally removes an impending danger by telling stories has been traced back to Indian sources. Indian folklore is represented in the Nights by certain animal stories, which reflect influence from ancient Sanskrit fables. The influence of the Panchatantra and Baital Pachisi is particularly notable.

It is possible that the influence of the Panchatantra is via a Sanskrit adaptation called the Tantropakhyana. Only fragments of the original Sanskrit form of the Tantropakhyana survive, but translations or adaptations exist in Tamil, Lao, Thai, and Old Javanese. The frame story follows the broad outline of a concubine telling stories in order to maintain the interest and favour of a king—although the basis of the collection of stories is from the Panchatantra—with its original Indian setting.

The Panchatantra and various tales from Jatakas were first translated into Persian by Borzūya in 570 CE; they were later translated into Arabic by Ibn al-Muqaffa in 750 CE. The Arabic version was translated into several languages, including Syriac, Greek, Hebrew and Spanish.

Persian prototype:
The earliest mentions of the Nights refer to it as an Arabic translation from a Persian book, (also known as Afsaneh or Afsana), meaning 'The Thousand Stories'. In the tenth century, Ibn al-Nadim compiled a catalogue of books (the "Fihrist") in Baghdad. He noted that the Sassanid kings of Iran enjoyed "evening tales and fables". Al-Nadim then writes about the Persian, explaining the frame story it employs: a bloodthirsty king kills off a succession of wives after their wedding night. Eventually one has the intelligence to save herself by telling him a story every evening, leaving each tale unfinished until the next night so that the king will delay her execution.

However, according to al-Nadim, the book contains only 200 stories. He also writes disparagingly of the collection's literary quality, observing that "it is truly a coarse book, without warmth in the telling". In the same century Al-Masudi also refers to the, saying the Arabic translation is called ('A Thousand Entertaining Tales'), but is generally known as  ('A Thousand Nights'). He mentions the characters Shirāzd (Scheherazade) and Dināzād.

No physical evidence of the has survived, so its exact relationship with the existing later Arabic versions remains a mystery. Apart from the Scheherazade frame story, several other tales have Persian origins, although it is unclear how they entered the collection. These stories include the cycle of "King Jali'ad and his Wazir Shimas" and "The Ten Wazirs or the History of King Azadbakht and his Son" (derived from the seventh-century Persian ).

In the 1950s, the Iraqi scholar Safa Khulusi suggested (on internal rather than historical evidence) that the Persian writer Ibn al-Muqaffa' was responsible for the first Arabic translation of the frame story and some of the Persian stories later incorporated into the Nights. This would place genesis of the collection in the eighth century.

Evolving Arabic versions

In the mid-20th century, the scholar Nabia Abbott found a document with a few lines of an Arabic work with the title The Book of the Tale of a Thousand Nights, dating from the ninth century. This is the earliest known surviving fragment of the Nights. The first reference to the Arabic version under its full title The One Thousand and One Nights appears in Cairo in the 12th century. Professor Dwight Reynolds describes the subsequent transformations of the Arabic version:

"Some of the earlier Persian tales may have survived within the Arabic tradition altered such that Arabic Muslim names and new locations were substituted for pre-Islamic Persian ones, but it is also clear that whole cycles of Arabic tales were eventually added to the collection and apparently replaced most of the Persian materials. One such cycle of Arabic tales centres around a small group of historical figures from ninth-century Baghdad, including the caliph Harun al-Rashid (died 809), his vizier Jafar al-Barmaki (d. 803) and the licentious poet Abu Nuwas (d. c. 813). Another cluster is a body of stories from late medieval Cairo in which are mentioned persons and places that date to as late as the thirteenth and fourteenth centuries."

Two main Arabic manuscript traditions of the Nights are known: the Syrian and the Egyptian. The Syrian tradition is primarily represented by the earliest extensive manuscript of the Nights, a fourteenth- or fifteenth-century Syrian manuscript now known as the Galland Manuscript. It and surviving copies of it are much shorter and include fewer tales than the Egyptian tradition. It is represented in print by the so-called Calcutta I (1814–1818) and most notably by the 'Leiden edition' (1984). The Leiden Edition, prepared by Muhsin Mahdi, is the only critical edition of 1001 Nights to date, believed to be most stylistically faithful representation of medieval Arabic versions currently available.

Texts of the Egyptian tradition emerge later and contain many more tales of much more varied content; a much larger number of originally independent tales have been incorporated into the collection over the centuries, most of them after the Galland manuscript was written, and were being included as late as in the 18th and 19th centuries.

All extant substantial versions of both recensions share a small common core of tales:

 * The Merchant and the Genie
 * The Fisherman and the Genie
 * The Porter and the Three Ladies
 * The Three Apples
 * Nur al-Din Ali and Shams al-Din (and Badr al-Din Hasan)
 * Nur al-Din Ali and Anis al-Jalis
 * Ali Ibn Bakkar and Shams al-Nahar

The texts of the Syrian recension do not contain much beside that core. It is debated which of the Arabic recensions is more "authentic" and closer to the original: the Egyptian ones have been modified more extensively and more recently, and scholars such as Muhsin Mahdi have suspected that this was caused in part by European demand for a "complete version"; but it appears that this type of modification has been common throughout the history of the collection, and independent tales have always been added to it.

Printed Arabic editions
The first printed Arabic-language edition of the One Thousand and One Nights was published in 1775. It contained an Egyptian version of The Nights known as "ZER" (Zotenberg's Egyptian Recension) and 200 tales. No copy of this edition survives, but it was the basis for an 1835 edition by Bulaq, published by the Egyptian government. The Nights were next printed in Arabic in two volumes in Calcutta by the British East India Company in 1814–1818. Each volume contained one hundred tales.

Soon after, the Prussian scholar Christian Maximilian Habicht collaborated with the Tunisian Mordecai ibn al-Najjar to create an edition containing 1001 nights both in the original Arabic and in German translation, initially in a series of eight volumes published in Breslau in 1825–1838. A further four volumes followed in 1842–1843. In addition to the Galland manuscript, Habicht and al-Najjar used what they believed to be a Tunisian manuscript, which was later revealed as a forgery by al-Najjar.

Both the ZER printing and Habicht and al-Najjar's edition influenced the next printing, a four-volume edition also from Calcutta (known as the Macnaghten or Calcutta II edition). This claimed to be based on an older Egyptian manuscript (which has never been found).

A major recent edition, which reverts to the Syrian recension, is a critical edition based on the fourteenth- or fifteenth-century Syrian manuscript in the Bibliothèque Nationale originally used by Galland. This edition, known as the Leiden text, was compiled in Arabic by Muhsin Mahdi (1984–1994). Mahdi argued that this version is the earliest extant one (a view that is largely accepted today) and that it reflects most closely a "definitive" coherent text ancestral to all others that he believed to have existed during the Mamluk period (a view that remains contentious). Still, even scholars who deny this version the exclusive status of "the only real Arabian Nights" recognize it as being the best source on the original style and linguistic form of the medieval work.

In 1997, a further Arabic edition appeared, containing tales from the Arabian Nights transcribed from a seventeenth-century manuscript in the Egyptian dialect of Arabic.

Modern translations
The first European version (1704–1717) was translated into French by Antoine Galland from an Arabic text of the Syrian recension and other sources. This 12-volume work, Les Mille et une nuits, contes arabes traduits en français ('The Thousand and one nights, Arab stories translated into French'), included stories that were not in the original Arabic manuscript. "Aladdin's Lamp", and "Ali Baba and the Forty Thieves" (as well as several other lesser-known tales) appeared first in Galland's translation and cannot be found in any of the original manuscripts. He wrote that he heard them from the Christian Maronite storyteller Hanna Diab during Diab's visit to Paris. Galland's version of the Nights was immensely popular throughout Europe, and later versions were issued by Galland's publisher using Galland's name without his consent.

As scholars were looking for the presumed "complete" and "original" form of the Nights, they naturally turned to the more voluminous texts of the Egyptian recension, which soon came to be viewed as the "standard version". The first translations of this kind, such as that of Edward Lane (1840, 1859), were bowdlerized. Unabridged and unexpurgated translations were made, first by John Payne, under the title The Book of the Thousand Nights and One Night (1882, nine volumes), and then by Sir Richard Francis Burton, entitled The Book of the Thousand Nights and a Night (1885, ten volumes) – the latter was, according to some assessments, partially based on the former, leading to charges of plagiarism.

In view of the sexual imagery in the source texts (which Burton emphasized even further, especially by adding extensive footnotes and appendices on Oriental sexual mores ) and the strict Victorian laws on obscene material, both of these translations were printed as private editions for subscribers only, rather than published in the usual manner. Burton's original 10 volumes were followed by a further six (seven in the Baghdad Edition and perhaps others) entitled The Supplemental Nights to the Thousand Nights and a Night, which were printed between 1886 and 1888. It has, however, been criticized for its "archaic language and extravagant idiom" and "obsessive focus on sexuality" (and has even been called an "eccentric ego-trip" and a "highly personal reworking of the text").

Later versions of the Nights include that of the French doctor J. C. Mardrus, issued from 1898 to 1904. It was translated into English by Powys Mathers, and issued in 1923. Like Payne's and Burton's texts, it is based on the Egyptian recension and retains the erotic material, indeed expanding on it, but it has been criticized for inaccuracy.

Muhsin Mahdi's 1984 Leiden edition, based on the Galland Manuscript, was rendered into English by Husain Haddawy (1990). This translation has been praised as "very readable" and "strongly recommended for anyone who wishes to taste the authentic flavour of those tales". An additional second volume of Arabian nights translated by Haddawy, composed of popular tales not present in the Leiden edition, was published in 1995. Both volumes were the basis for a single-volume reprint of selected tales of Haddawy's translations.

A new English translation was published by Penguin Classics in three volumes in 2008. It is translated by Malcolm C. Lyons and Ursula Lyons with introduction and annotations by Robert Irwin. This is the first complete translation of the Macnaghten or Calcutta II edition (Egyptian recension) since Burton's. It contains, in addition to the standard text of 1001 Nights, the so-called "orphan stories" of Aladdin and Ali Baba as well as an alternative ending to The seventh journey of Sindbad from Antoine Galland's original French. As the translator himself notes in his preface to the three volumes, "[N]o attempt has been made to superimpose on the translation changes that would be needed to 'rectify' ... accretions, ... repetitions, non sequiturs and confusions that mark the present text," and the work is a "representation of what is primarily oral literature, appealing to the ear rather than the eye". The Lyons translation includes all the poetry (in plain prose paraphrase) but does not attempt to reproduce in English the internal rhyming of some prose sections of the original Arabic. Moreover, it streamlines somewhat and has cuts. In this sense it is not, as claimed, a complete translation.

A new English language translation was published in December 2021, the first solely by a female author, Yasmine Seale, which removes earlier sexist and racist references. The new translation includes all the tales from Hanna Diyab and additionally includes stories previously omitted featuring female protagonists, such as tales about Parizade, Pari Banu, and the horror story Sidi Numan.

Timeline
Scholars have assembled a timeline concerning the publication history of The Nights:
 * One of the oldest Arabic manuscript fragments from Syria (a few handwritten pages) dating to the early ninth century. Discovered by scholar Nabia Abbott in 1948, it bears the title Kitab Hadith Alf Layla ("The Book of the Tale of the Thousand Nights") and the first few lines of the book in which Dinazad asks Shirazad (Scheherazade) to tell her stories.
 * 10th century: mention of Hezār Afsān in Ibn al-Nadim's "Fihrist" (Catalogue of books) in Baghdad. He attributes a pre-Islamic Sassanid Persian origin to the collection and refers to the frame story of Scheherazade telling stories over a thousand nights to save her life.
 * 10th century: reference to The Thousand Nights, an Arabic translation of the Persian Hezār Afsān ("Thousand Stories"), in Muruj Al-Dhahab (The Meadows of Gold) by Al-Mas'udi.
 * 12th century: a document from Cairo refers to a Jewish bookseller lending a copy of The Thousand and One Nights (this is the first appearance of the final form of the title).
 * 14th century: existing Syrian manuscript in the Bibliothèque nationale de France in Paris (contains about 300 tales).
 * 1704: Antoine Galland's French translation is the first European version of Nights. Later volumes were introduced using Galland's name, though the stories were written by unknown persons at the behest of the publisher, who wanted to capitalize on the popularity of the collection.
 * c. 1706 – c. 1721: an anonymously translated 12-volume English version appears in Europe, dubbed the "Grub Street" version. This is entitled Arabian Nights' Entertainments—the first known use of the common English title of the work.
 * 1768: first Polish translation, 12 volumes. Based, as with many European versions, on the French translation.
 * 1775: Egyptian version of Nights called "ZER" (Hermann Zotenberg's Egyptian Recension) with 200 tales (no extant edition).
 * 1804–1806, 1825: Austrian polyglot and orientalist Joseph von Hammer-Purgstall (1774–1856) translates a subsequently lost manuscript into French between 1804 and 1806. His French translation, which was partially abridged and included Galland's "orphan stories", has been lost, but its translation into German,  published in 1825, survives.
 * 1814: Calcutta I, the earliest existing Arabic printed version, is published by the British East India Company. A second volume was released in 1818. Both had 100 tales each.
 * 1811: Jonathan Scott (1754–1829), an Englishman who learned Arabic and Persian in India, produces an English translation, mostly based on Galland's French version, supplemented by other sources. Robert Irwin calls it the "first literary translation into English", in contrast to earlier translations from French by  "Grub Street hacks".
 * Early 19th century: Modern Persian translations of the text are made, variously under the title Alf leile va leile,  Hezār-o yek šhab (هزار و یک شب), or, in distorted Arabic, Alf al-leil. Muhammad Baqir Khurasani Buzanjirdi (b.1770) finalized his translation in 1814, patronized by Henry Russell, 2nd Baronet (1783–1852), British Resident in Hyderabad. Three decades later, Abdul Latif Tasuji completed his translation. It was later illustrated by Sani ol Molk (1814–1866)  for Mohammad Shah Qajar.
 * 1825–1838: the Breslau/Habicht edition is published in Arabic in 8 volumes. Christian Maximilian Habicht (born in Breslau, Prussia, 1775) collaborated with the Tunisian Mordecai ibn al-Najjar to create this edition containing 1001 nights. In addition to the Galland manuscript, they used what they believed to be a Tunisian manuscript, which was later revealed as a forgery by al-Najjar. Using versions of Nights, tales from Al-Najjar, and other stories of unknown origin, Habicht published his version in Arabic and German.
 * 1842–1843: Four additional volumes by Habicht.
 * 1835: Bulaq version: these two volumes, printed by the Egyptian government, are the oldest printed and published version of Nights in Arabic by a non-European. It is primarily a reprinting of the ZER text.
 * 1839–1842: Calcutta II (4 volumes) is published. It claims to be based on an older Egyptian manuscript (this has never been found). This version contains many elements and stories from the Habicht edition.
 * 1838: Torrens version in English.
 * 1838–1840: Edward William Lane publishes an English translation. Notable for Lane's exclusion of content he found immoral and for his anthropological notes on Arab customs.
 * 1882–1884: John Payne publishes an English version translated entirely from Calcutta II, adding some tales from Calcutta I and Breslau.
 * 1885–1888: Sir Richard Francis Burton publishes an English translation from several sources (largely the same as Payne ). His version accentuated the sexuality of the stories vis-à-vis Lane's bowdlerized translation.
 * 1889–1904: J. C. Mardrus publishes a French version using Bulaq and Calcutta II editions.
 * 1973: First Polish translation based on the original language edition, but compressed 12 volumes to 9, by Państwowy Instytut Wydawniczy.
 * 1984: Muhsin Mahdi publishes an Arabic edition based on the oldest surviving Arabic manuscript (based on the oldest surviving Syrian manuscript currently held in the Bibliothèque Nationale).
 * 1986–1987: French translation by Arabist René R. Khawam.
 * 1990: Husain Haddawy publishes an English translation of Mahdi.
 * 1991: French translation by Arabists Jamel-Eddine Bencheikh and André Miquel for the Bibliothèque de la Pléiade.
 * 2008: New Penguin Classics translation (in three volumes) by Malcolm C. Lyons and Ursula Lyons of the Calcutta II edition

Literary themes and techniques

The One Thousand and One Nights and various tales within it make use of many innovative literary techniques, which the storytellers of the tales rely on for increased drama, suspense, or other emotions. Some of these date back to earlier Persian, Indian and Arabic literature, while others were original to the One Thousand and One Nights.

Frame story
The One Thousand and One Nights employs an early example of the frame story, or framing device: the character Scheherazade narrates a set of tales (most often fairy tales) to the Sultan Shahriyar over many nights. Many of Scheherazade's tales are themselves frame stories, such as the Tale of Sinbad the Seaman and Sinbad the Landsman, which is a collection of adventures related by Sinbad the Seaman to Sinbad the Landsman.

In folkloristics, the frame story is classified as ATU 875B*, "Storytelling Saves a Wife from Death".

Embedded narrative
Another technique featured in the One Thousand and One Nights is an early example of the "story within a story", or embedded narrative technique: this can be traced back to earlier Persian and Indian storytelling traditions, most notably the Panchatantra of ancient Sanskrit literature. The Nights, however, improved on the Panchatantra in several ways, particularly in the way a story is introduced. In the Panchatantra, stories are introduced as didactic analogies, with the frame story referring to these stories with variants of the phrase "If you're not careful, that which happened to the louse and the flea will happen to you." In the Nights, this didactic framework is the least common way of introducing the story: instead, a story is most commonly introduced through subtle means, particularly as an answer to questions raised in a previous tale.

The general story is narrated by an unknown narrator, and in this narration the stories are told by Scheherazade. In most of Scheherazade's narrations there are also stories narrated, and even in some of these, there are some other stories. This is particularly the case for the "Sinbad the Sailor" story narrated by Scheherazade in the One Thousand and One Nights. Within the "Sinbad the Sailor" story itself, the protagonist Sinbad the Sailor narrates the stories of his seven voyages to Sinbad the Porter. The device is also used to great effect in stories such as "The Three Apples" and "The Seven Viziers". In yet another tale Scheherazade narrates, "The Fisherman and the Jinni", the "Tale of the Wazir and the Sage Duban" is narrated within it, and within that there are three more tales narrated.

Dramatic visualization
Dramatic visualization is "the representing of an object or character with an abundance of descriptive detail, or the mimetic rendering of gestures and dialogue in such a way as to make a given scene 'visual' or imaginatively present to an audience". This technique is used in several tales of the One Thousand and One Nights, such as the tale of "The Three Apples" (see Crime fiction elements below).

Fate and destiny
A common theme in many Arabian Nights tales is fate and destiny. Italian filmmaker Pier Paolo Pasolini observed:

"[E]very tale in The Thousand and One Nights begins with an 'appearance of destiny' which manifests itself through an anomaly, and one anomaly always generates another. So a chain of anomalies is set up. And the more logical, tightly knit, essential this chain is, the more beautiful the tale. By 'beautiful' I mean vital, absorbing and exhilarating. The chain of anomalies always tends to lead back to normality. The end of every tale in The One Thousand and One Nights consists of a 'disappearance' of destiny, which sinks back to the somnolence of daily life ... The protagonist of the stories is in fact destiny itself."

Though invisible, fate may be considered a leading character in the One Thousand and One Nights. The plot devices often used to present this theme are coincidence, reverse causation, and the self-fulfilling prophecy (see Foreshadowing section below).

Foreshadowing

Early examples of the foreshadowing technique of repetitive designation, now known as "Chekhov's gun", occur in the One Thousand and One Nights, which contains "repeated references to some character or object which appears insignificant when first mentioned but which reappears later to intrude suddenly in the narrative." A notable example is in the tale of "The Three Apples" (see Crime fiction elements below).

Another early foreshadowing technique is formal patterning, "the organization of the events, actions and gestures which constitute a narrative and give shape to a story; when done well, formal patterning allows the audience the pleasure of discerning and anticipating the structure of the plot as it unfolds." This technique is also found in One Thousand and One Nights.

The self-fulfilling prophecy
Several tales in the One Thousand and One Nights use the self-fulfilling prophecy, as a special form of literary prolepsis, to foreshadow what is going to happen. This literary device dates back to the story of Krishna in ancient Sanskrit literature, and Oedipus or the death of Heracles in the plays of Sophocles. A variation of this device is the self-fulfilling dream, which can be found in Arabic literature (or the dreams of Joseph and his conflicts with his brothers, in the Hebrew Bible).

A notable example is "The Ruined Man who Became Rich Again through a Dream", in which a man is told in his dream to leave his native city of Baghdad and travel to Cairo, where he will discover the whereabouts of some hidden treasure. The man travels there and experiences misfortune, ending up in jail, where he tells his dream to a police officer. The officer mocks the idea of foreboding dreams and tells the protagonist that he himself had a dream about a house with a courtyard and fountain in Baghdad where treasure is buried under the fountain. The man recognizes the place as his own house and, after he is released from jail, he returns home and digs up the treasure. In other words, the foreboding dream not only predicted the future, but the dream was the cause of its prediction coming true. A variant of this story later appears in English folklore as the "Pedlar of Swaffham" and Paulo Coelho's The Alchemist; Jorge Luis Borges' collection of short stories A Universal History of Infamy featured his translation of this particular story into Spanish, as "The Story of the Two Dreamers".

"The Tale of Attaf" depicts another variation of the self-fulfilling prophecy, whereby Harun al-Rashid consults his library (the House of Wisdom), reads a random book, "falls to laughing and weeping and dismisses the faithful vizier Ja'far ibn Yahya from sight. Ja'afar, disturbed and upset, flees Baghdad and plunges into a series of adventures in Damascus, involving Attaf and the woman whom Attaf eventually marries". After returning to Baghdad, Ja'afar reads the same book that caused Harun to laugh and weep, and discovers that it describes his own adventures with Attaf. In other words, it was Harun's reading of the book that provoked the adventures described in the book to take place. This is an early example of reverse causation.

Near the end of the tale, Attaf is given a death sentence for a crime he did not commit but Harun, knowing the truth from what he has read in the book, prevents this and has Attaf released from prison. In the 12th century, this tale was translated into Latin by Petrus Alphonsi and included in his Disciplina Clericalis, alongside the "Sindibad" story cycle. In the 14th century, a version of "The Tale of Attaf" also appears in the Gesta Romanorum and Giovanni Boccaccio's The Decameron.

Repetition

Leitwortstil is "the purposeful repetition of words" in a given literary piece that "usually expresses a motif or theme important to the given story." This device occurs in the One Thousand and One Nights, which binds several tales in a story cycle. The storytellers of the tales relied on this technique "to shape the constituent members of their story cycles into a coherent whole".

Another technique used in the One Thousand and One Nights is thematic patterning, which is:"[T]he distribution of recurrent thematic concepts and moralistic motifs among the various incidents and frames of a story. In a skillfully crafted tale, thematic patterning may be arranged so as to emphasize the unifying argument or salient idea which disparate events and disparate frames have in common."Several different variants of the "Cinderella" story, which has its origins in the ancient Greek story of Rhodopis, appear in the One Thousand and One Nights, including "The Second Shaykh's Story", "The Eldest Lady's Tale" and "Abdallah ibn Fadil and His Brothers", all dealing with the theme of a younger sibling harassed by two jealous elders. In some of these, the siblings are female, while in others they are male. One of the tales, "Judar and His Brethren", departs from the happy endings of previous variants and reworks the plot to give it a tragic ending instead, with the younger brother being poisoned by his elder brothers.

Sexual humour
The Nights contain many examples of sexual humour. Some of this borders on satire, as in the tale called "Ali with the Large Member" which pokes fun at obsession with penis size.

Unreliable narrator
The literary device of the unreliable narrator was used in several fictional medieval Arabic tales of the One Thousand and One Nights. In one tale, "The Seven Viziers" (also known as "Craft and Malice of Women or The Tale of the King, His Son, His Concubine and the Seven Wazirs"), a courtesan accuses a king's son of having assaulted her, when in reality she had failed to seduce him (inspired by the Qur'anic/Biblical story of Yusuf/Joseph). Seven viziers attempt to save his life by narrating seven stories to prove the unreliability of women, and the courtesan responds by narrating a story to prove the unreliability of viziers. The unreliable narrator device is also used to generate suspense in "The Three Apples" and humor in "The Hunchback's Tale" (see Crime fiction elements below).

Crime fiction
An example of the murder mystery and suspense thriller genres in the collection, with multiple plot twists and detective fiction elements was "The Three Apples", also known as Hikayat al-sabiyya 'l-maqtula ('The Tale of the Murdered Young Woman').

In this tale, Harun al-Rashid comes to possess a chest, which, when opened, contains the body of a young woman. Harun gives his vizier, Ja'far, three days to find the culprit or be executed. At the end of three days, when Ja'far is about to be executed for his failure, two men come forward, both claiming to be the murderer. As they tell their story it transpires that, although the younger of them, the woman's husband, was responsible for her death, some of the blame attaches to a slave, who had taken one of the apples mentioned in the title and caused the woman's murder.

Harun then gives Ja'far three more days to find the guilty slave. When he yet again fails to find the culprit, and bids his family goodbye before his execution, he discovers by chance his daughter has the apple, which she obtained from Ja'far's own slave, Rayhan. Thus the mystery is solved.

Another Nights tale with crime fiction elements was "The Hunchback's Tale" story cycle which, unlike "The Three Apples", was more of a suspenseful comedy and courtroom drama rather than a murder mystery or detective fiction. The story is set in a fictional China and begins with a hunchback, the emperor's favourite comedian, being invited to dinner by a tailor couple. The hunchback accidentally chokes on his food from laughing too hard and the couple, fearful that the emperor will be furious, take his body to a Jewish doctor's clinic and leave him there. This leads to the next tale in the cycle, the "Tale of the Jewish Doctor", where the doctor accidentally trips over the hunchback's body, falls down the stairs with him, and finds him dead, leading him to believe that the fall had killed him. The doctor then dumps his body down a chimney, and this leads to yet another tale in the cycle, which continues with twelve tales in total, leading to all the people involved in this incident finding themselves in a courtroom, all making different claims over how the hunchback had died. Crime fiction elements are also present near the end of "The Tale of Attaf" (see Foreshadowing above).

Horror fiction
Haunting is used as a plot device in gothic fiction and horror fiction, as well as modern paranormal fiction. Legends about haunted houses have long appeared in literature. In particular, the Arabian Nights tale of "Ali the Cairene and the Haunted House in Baghdad" revolves around a house haunted by jinn. The Nights is almost certainly the earliest surviving literature that mentions ghouls, and many of the stories in that collection involve or reference ghouls. A prime example is the story The History of Gherib and His Brother Agib (from Nights vol. 6), in which Gherib, an outcast prince, fights off a family of ravenous Ghouls and then enslaves them and converts them to Islam.

Horror fiction elements are also found in "The City of Brass" tale, which revolves around a ghost town.

The horrific nature of Scheherazade's situation is magnified in Stephen King's Misery, in which the protagonist is forced to write a novel to keep his captor from torturing and killing him. The influence of the Nights on modern horror fiction is certainly discernible in the work of H. P. Lovecraft. As a child, he was fascinated by the adventures recounted in the book, and he attributes some of his creations to his love of the 1001 Nights.

Fantasy and science fiction

Several stories within the One Thousand and One Nights feature early science fiction elements. One example is "The Adventures of Bulukiya", in which the protagonist Bulukiya's quest for the herb of immortality leads him to explore the seas, journey to Paradise and to Hell, and travel across the cosmos to different worlds much larger than his own world, anticipating elements of galactic science fiction; along the way, he encounters societies of jinn, mermaids, talking serpents, talking trees, and other forms of life. In "Abu al-Husn and His Slave-Girl Tawaddud", the heroine Tawaddud gives an impromptu lecture on the mansions of the Moon, and the benevolent and sinister aspects of the planets.

In another 1001 Nights tale, "Abdullah the Fisherman and Abdullah the Merman", the protagonist Abdullah the Fisherman gains the ability to breathe underwater and discovers an underwater society that is portrayed as an inverted reflection of society on land, in that the underwater society follows a form of primitive communism where concepts like money and clothing do not exist. Other Arabian Nights tales also depict Amazon societies dominated by women, lost ancient technologies, advanced ancient civilizations that went astray, and catastrophes which overwhelmed them.

"The City of Brass" features a group of travellers on an archaeological expedition across the Sahara to find an ancient lost city and attempt to recover a brass vessel that Solomon once used to trap a jinni, and, along the way, encounter a mummified queen, petrified inhabitants, lifelike humanoid robots and automata, seductive marionettes dancing without strings, and a brass horseman robot who directs the party towards the ancient city, which has now become a ghost town. The "Third Qalandar's Tale" also features a robot in the form of an uncanny boatman.

Poetry
There is an abundance of Arabic poetry in One Thousand and One Nights. It is often deployed by stories' narrators to provide detailed descriptions, usually of the beauty of characters. Characters also occasionally quote or speak in verse in certain settings. The uses include but are not limited to:

 * Giving advice, warning, and solutions.
 * Praising God, royalties and those in power.
 * Pleading for mercy and forgiveness.
 * Lamenting wrong decisions or bad luck.
 * Providing riddles, laying questions, challenges.
 * Criticizing elements of life, wondering.
 * Expressing feelings to others or one's self: happiness, sadness, anxiety, surprise, anger.

In a typical example, expressing feelings of happiness to oneself from Night 203, Prince Qamar Al-Zaman, standing outside the castle, wants to inform Queen Bodour of his arrival. He wraps his ring in a paper and hands it to the servant who delivers it to the Queen. When she opens it and sees the ring, joy conquers her, and out of happiness she chants this poem:

Translations:

In world culture
The influence of the versions of The Nights on world literature is immense. Writers as diverse as Henry Fielding to Naguib Mahfouz have alluded to the collection by name in their own works. Other writers who have been influenced by the Nights include John Barth, Jorge Luis Borges, Salman Rushdie, Orhan Pamuk, Goethe, Walter Scott, Thackeray, Wilkie Collins, Elizabeth Gaskell, Nodier, Flaubert, Marcel Schwob, Stendhal, Dumas, Hugo, Gérard de Nerval, Gobineau, Pushkin, Tolstoy, Hofmannsthal, Conan Doyle, W. B. Yeats, H. G. Wells, Cavafy, Calvino, Georges Perec, H. P. Lovecraft, Marcel Proust, A. S. Byatt and Angela Carter.

Various characters from this epic have themselves become cultural icons in Western culture, such as Aladdin, Sinbad and Ali Baba. Part of its popularity may have sprung from improved standards of historical and geographical knowledge. The marvelous beings and events typical of fairy tales seem less incredible if they are set further "long ago" or farther "far away"; this process culminates in the fantasy world having little connection, if any, to actual times and places. Several elements from Arabian mythology are now common in modern fantasy, such as genies, bahamuts, magic carpets, magic lamps, etc. When L. Frank Baum proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go.

In 1982, the International Astronomical Union (IAU) began naming features on Saturn's moon Enceladus after characters and places in Burton's translation because "its surface is so strange and mysterious that it was given the Arabian Nights as a name bank, linking fantasy landscape with a literary fantasy."

In Arab culture
There is little evidence that the Nights was particularly treasured in the Arab world. It is rarely mentioned in lists of popular literature and few pre-18th-century manuscripts of the collection exist. Fiction had a low cultural status among Medieval Arabs compared with poetry, and the tales were dismissed as khurafa (improbable fantasies fit only for entertaining women and children). According to Robert Irwin, "Even today, with the exception of certain writers and academics, the Nights is regarded with disdain in the Arabic world. Its stories are regularly denounced as vulgar, improbable, childish and, above all, badly written".

Nevertheless, the Nights have proved an inspiration to some modern Egyptian writers, such as Tawfiq al-Hakim (author of the Symbolist play Shahrazad, 1934), Taha Hussein (Scheherazade's Dreams, 1943) and Naguib Mahfouz (Arabian Nights and Days, 1979). Idries Shah finds the Abjad numerical equivalent of the Arabic title, alf layla wa layla, in the Arabic phrase ʾumm al-qiṣṣa, meaning 'mother of stories'. He goes on to state that many of the stories "are encoded Sufi teaching stories, descriptions of psychological processes, or enciphered lore of one kind or another".

On a more popular level, film and TV adaptations based on stories like Sinbad and Aladdin enjoyed long lasting popularity in Arabic speaking countries.

Early European literature
Although the first known translation into a European language appeared in 1704, it is possible that the Nights began exerting its influence on Western culture much earlier. Christian writers in Medieval Spain translated many works from Arabic, mainly philosophy and mathematics, but also Arab fiction, as is evidenced by Juan Manuel's story collection El Conde Lucanor and Ramón Llull's The Book of Beasts.

Knowledge of the work, direct or indirect, apparently spread beyond Spain. Themes and motifs with parallels in the Nights are found in Chaucer's The Canterbury Tales (in The Squire's Tale the hero travels on a flying brass horse) and Boccaccio's Decameron. Echoes in Giovanni Sercambi's Novelle and Ariosto's Orlando Furioso suggest that the story of Shahriyar and Shahzaman was also known. Evidence also appears to show that the stories had spread to the Balkans and a translation of the Nights into Romanian existed by the 17th century, itself based on a Greek version of the collection.

Galland translations (1700s)
The modern fame of the Nights derives from the first known European translation by Antoine Galland, which appeared in 1704. According to Robert Irwin, Galland "played so large a part in discovering the tales, in popularizing them in Europe and in shaping what would come to be regarded as the canonical collection that, at some risk of hyperbole and paradox, he has been called the real author of the Nights".

The immediate success of Galland's version with the French public may have been because it coincided with the vogue for contes de fées ('fairy stories'). This fashion began with the publication of Madame d'Aulnoy's Histoire d'Hypolite in 1690. D'Aulnoy's book has a remarkably similar structure to the Nights, with the tales told by a female narrator. The success of the Nights spread across Europe and by the end of the century there were translations of Galland into English, German, Italian, Dutch, Danish, Russian, Flemish and Yiddish.

Galland's version provoked a spate of pseudo-Oriental imitations. At the same time, some French writers began to parody the style and concoct far-fetched stories in superficially Oriental settings. These tongue-in-cheek pastiches include Anthony Hamilton's Les quatre Facardins (1730), Crébillon's Le sopha (1742) and Diderot's Les bijoux indiscrets (1748). They often contained veiled allusions to contemporary French society. The most famous example is Voltaire's Zadig (1748), an attack on religious bigotry set against a vague pre-Islamic Middle Eastern background. The English versions of the "Oriental Tale" generally contained a heavy moralising element, with the notable exception of William Beckford's fantasy Vathek (1786), which had a decisive influence on the development of the Gothic novel. The Polish nobleman Jan Potocki's novel Saragossa Manuscript (begun 1797) owes a deep debt to the Nights with its Oriental flavour and labyrinthine series of embedded tales.

The work was included on a price-list of books on theology, history, and cartography, which was sent by the Scottish bookseller Andrew Millar (then an apprentice) to a Presbyterian minister. This is illustrative of the title's widespread popularity and availability in the 1720s.

19th century–20th century
The Nights continued to be a favourite book of many British authors of the Romantic and Victorian eras. According to A. S. Byatt, "In British Romantic poetry the Arabian Nights stood for the wonderful against the mundane, the imaginative against the prosaically and reductively rational." In their autobiographical writings, both Coleridge and de Quincey refer to nightmares the book had caused them when young. Wordsworth and Tennyson also wrote about their childhood reading of the tales in their poetry. Charles Dickens was another enthusiast and the atmosphere of the Nights pervades the opening of his last novel The Mystery of Edwin Drood (1870).

Several writers have attempted to add a thousand and second tale, including Théophile Gautier (La mille deuxième nuit, 1842) and Joseph Roth (Die Geschichte von der 1002 Nacht, 1939). Edgar Allan Poe wrote "The Thousand-and-Second Tale of Scheherazade" (1845), a short story depicting the eighth and final voyage of Sinbad the Sailor, along with the various mysteries Sinbad and his crew encounter; the anomalies are then described as footnotes to the story. While the king is uncertain—except in the case of the elephants carrying the world on the back of the turtle—that these mysteries are real, they are actual modern events that occurred in various places during, or before, Poe's lifetime. The story ends with the king in such disgust at the tale Scheherazade has just woven, that he has her executed the very next day.

Another important literary figure, the Irish poet W. B. Yeats was also fascinated by the Arabian Nights, when he wrote in his prose book, A Vision an autobiographical poem, titled The Gift of Harun Al-Rashid, in relation to his joint experiments with his wife Georgie Hyde-Lees, with Automatic writing. The automatic writing, is a technique used by many occultists in order to discern messages from the subconscious mind or from other spiritual beings, when the hand moves a pencil or a pen, writing only on a simple sheet of paper and when the person's eyes are shut. Also, the gifted and talented wife, is playing in Yeats's poem as "a gift" herself, given only allegedly by the caliph to the Christian and Byzantine philosopher Qusta Ibn Luqa, who acts in the poem as a personification of W. B. Yeats. In July 1934 he was asked by Louis Lambert, while in a tour in the United States, which six books satisfied him most. The list that he gave placed the Arabian Nights, secondary only to William Shakespeare's works.

Modern authors influenced by the Nights include James Joyce, Marcel Proust, Jorge Luis Borges, John Barth and Ted Chiang.

Film, radio and television

Stories from the One Thousand and One Nights have been popular subjects for films, beginning with Georges Méliès' Le Palais des Mille et une nuits (1905).

The critic Robert Irwin singles out the two versions of The Thief of Baghdad (1924 version directed by Raoul Walsh; 1940 version produced by Alexander Korda) and Pier Paolo Pasolini's Il fiore delle Mille e una notte (1974) as ranking "high among the masterpieces of world cinema." Michael James Lundell calls Il fiore "the most faithful adaptation, in its emphasis on sexuality, of The 1001 Nights in its oldest form".

Alif Laila (1933) was a Hindi-language fantasy film based on One Thousand and One Nights from the early era of Indian cinema, directed by Balwant Bhatt and Shanti Dave. K. Amarnath made, Alif Laila (1953), another Indian fantasy film in Hindi based on the folktale of Aladdin. Niren Lahiri's Arabian Nights, an adventure-fantasy film adaptation of the stories, released in 1946. A number of Indian films based on the Nights and The Thief of Baghdad were produced over the years, including Baghdad Ka Chor (1946), Baghdad Thirudan (1960), and Baghdad Gaja Donga (1968). A television series, Thief of Baghdad, was also made in India which aired on Zee TV between 2000 and 2001.

UPA, an American animation studio, produced an animated feature version of 1001 Arabian Nights (1959), featuring the cartoon character Mr. Magoo.

The 1949 animated film The Singing Princess, another movie produced in Italy, is inspired by The Arabian Nights. The animated feature film, One Thousand and One Arabian Nights (1969), produced in Japan and directed by Osamu Tezuka and Eichii Yamamoto, featured psychedelic imagery and sounds, and erotic material intended for adults.

Alif Laila (The Arabian Nights), a 1993–1997 Indian TV series based on the stories from One Thousand and One Nights produced by Sagar Entertainment Ltd, aired on DD National starts with Scheherazade telling her stories to Shahryār, and contains both the well-known and the lesser-known stories from One Thousand and One Nights. Another Indian television series, Alif Laila, based on various stories from the collection aired on Dangal TV in 2020.

Alf Leila Wa Leila, Egyptian television adaptations of the stories was broadcast between the 1980s and early 1990s, with each series featuring a cast of big name Egyptian performers such as Hussein Fahmy, Raghda, Laila Elwi, Yousuf Shaaban (actor), Nelly (Egyptian entertainer), Sherihan and Yehia El-Fakharany. Each series premiered on every yearly month of Ramadan between the 1980s and 1990s.

One of the best known Arabian Nights-based films is the 1992 Walt Disney animated movie Aladdin, which is loosely based on the story of the same name.

Arabian Nights (2000), a two-part television mini-series adopted for BBC and ABC studios, starring Mili Avital, Dougray Scott, and John Leguizamo, and directed by Steve Barron, is based on the translation by Sir Richard Francis Burton.

Shabnam Rezaei and Aly Jetha created, and the Vancouver-based Big Bad Boo Studios produced 1001 Nights (2011), an animated television series for children, which launched on Teletoon and airs in 80 countries around the world, including Discovery Kids Asia.

Arabian Nights (2015, in Portuguese: As Mil e uma Noites), a three-part film directed by Miguel Gomes, is based on One Thousand and One Nights.

Alf Leila Wa Leila, a popular Egyptian radio adaptation was broadcast on Egyptian radio stations for 26 years. Directed by famed radio director Mohamed Mahmoud Shabaan also known by his nickname Baba Sharoon, the series featured a cast of respected Egyptian actors, among them Zouzou Nabil as Scheherazade and Abdelrahim El Zarakany as Shahryar.

Aladdin (2019) is a musical fantasy film directed by Guy Ritchie from a screenplay he co-wrote with John August. Co-produced by Walt Disney Pictures and Rideback, it is a live-action remake of Disney's 1992 animated feature film of the same title.

Music
The Nights has inspired many pieces of music, including:

Classical
 * François-Adrien Boieldieu: Le calife de Bagdad (1800)
 * Carl Maria von Weber: Abu Hassan (1811)
 * Luigi Cherubini: Ali Baba (1833)
 * Robert Schumann: Scheherazade (1848)
 * Peter Cornelius: Der Barbier von Bagdad (1858)
 * Ernest Reyer: La statue (1861)
 * C. F. E. Horneman: Aladdin (overture), (1864)
 * Nikolai Rimsky-Korsakov: Scheherazade Op. 35 (1888)
 * Johann Strauss II: Indigo und die vierzig Räuber (1871)
 * Johann Strauss II: Tausend und eine Nacht (1871)
 * Tigran Chukhajian: Zemire (1891)
 * Maurice Ravel: Shéhérazade (1898)
 * Ferrucio Busoni: Piano Concerto in C major (1904)
 * Henri Rabaud: Mârouf, savetier du Caire (1914)
 * Carl Nielsen: Aladdin suite (1918–1919)
 * Collegium musicum: Suita po tisic a jednej noci (1969)
 * Fikret Amirov: Arabian Nights (ballet, 1979)
 * Ezequiel Viñao: La noche de las noches (1990)
 * Carl Davis: Aladdin (ballet, 1999)

Pop, rock, and metal
 * Umm Kulthum: "Alf leila wa leila" (1969)
 * Renaissance: Scheherazade and Other Stories (1975)
 * Doce: "Ali-Bábá, um homem das Arábias" (1981)
 * Icehouse: "No Promises" (from the album Measure for Measure) (1986)
 * Kamelot: "Nights of Arabia" (from the album The Fourth Legacy) (1999)
 * Sarah Brightman: "Harem" and "Arabian Nights" (from the album Harem) (2003)
 * Ch!pz: "1001 Arabian Nights (song)" (from the album The World of Ch!pz) (2006)
 * Nightwish: "Sahara" (2007)
 * Rock On!!: "Sinbad the Sailor" (2008)
 * Abney Park: "Scheherazade" (2013)

Musical theatre

 * "A Thousand and One Nights" (from Twisted: The Untold Story of a Royal Vizier) (2013)
 * Ghost Quartet (2014)

Games
Popular modern games with an Arabian Nights theme include the Prince of Persia series, Crash Bandicoot: Warped, Sonic and the Secret Rings, Disney's Aladdin, Bookworm Adventures, and the pinball table Tales of the Arabian Nights. Additionally, the popular game Magic: The Gathering released an expansion set titled Arabian Nights.

Illustrators
Many artists have illustrated the Arabian nights, including: Pierre-Clément Marillier for Le Cabinet des Fées (1785–1789), Gustave Doré, Léon Carré (Granville, 1878 – Alger, 1942), Roger Blachon, Françoise Boudignon, André Dahan, Amato Soro, Albert Robida, Alcide Théophile Robaudi and Marcelino Truong; Vittorio Zecchin (Murano, 1878 – Murano, 1947) and Emanuele Luzzati; The German Morgan; Mohammed Racim (Algiers, 1896 – Algiers 1975), Sani ol-Molk (1849–1856), Anton Pieck and Emre Orhun, Virginia Frances Sterrett (1928).

Famous illustrators for British editions include: Arthur Boyd Houghton, John Tenniel, John Everett Millais and George John Pinwell for Dalziel's Illustrated Arabian Nights Entertainments, published in 1865; Walter Crane for Aladdin's Picture Book (1876); Frank Brangwyn for the 1896 edition of Lane's translation; Albert Letchford for the 1897 edition of Burton's translation; Edmund Dulac for Stories from the Arabian Nights (1907), Princess Badoura (1913) and Sindbad the Sailor & Other Tales from the Arabian Nights (1914). Others artists include John D. Batten, (Fairy Tales From The Arabian Nights, 1893), Kay Nielsen, Eric Fraser, Errol le Cain, Maxfield Parrish, W. Heath Robinson and Arthur Szyk (1954).

Comic books

 * Classics Illustrated #8 (1947) — abridged version of One Thousand and One Nights in comic book form.
 * Carl Barks, the creator of Scrooge McDuck, wrote two substantial adventure stories based on the Nights.
 * "Desert Shadows", Wet Dreams (Heavy Metal, 2000), by Alfonso Azpiri.
 * "Ramadan", The Sandman #50 (DC Vertigo, June 1993), by Neil Gaiman (story) and P. Craig Russell (art).
 * One Thousand and One Nights by Jeon Jin Seok (story) and Han Seughee (art) — a manhwa rewriting of the Nights for female Korean teenagers.
 * Les 1001 nuits de Scheherazade. Paris: Albin Michel, 2001, by Eric Maltaite.

title: One Thousand and One Nights


text:
Traffic

Traffic comprises pedestrians, vehicles, ridden or herded animals, trains, and other conveyances that use public ways (roads/sidewalks) for travel and transportation.

Traffic laws govern and regulate traffic, while rules of the road include traffic laws and informal rules that may have developed over time to facilitate the orderly and timely flow of traffic. Organized traffic generally has well-established priorities, lanes, right-of-way, and traffic control at intersections.

Traffic is formally organized in many jurisdictions, with marked lanes, junctions, intersections, interchanges, traffic signals, cones, or signs. Traffic is often classified by type: heavy motor vehicle (e.g., car, truck), other vehicle (e.g., moped, bicycle), and pedestrian. Different classes may share speed limits and easement, or may be segregated. Some jurisdictions may have very detailed and complex rules of the road while others rely more on drivers' common sense and willingness to cooperate.

Organization typically produces a better combination of travel safety and efficiency. Events which disrupt the flow and may cause traffic to degenerate into a disorganized mess include road construction, collisions, and debris in the roadway. On particularly busy freeways, a minor disruption may persist in a phenomenon known as traffic waves. A complete breakdown of organization may result in traffic congestion and gridlock. Simulations of organized traffic frequently involve queuing theory, stochastic processes and equations of mathematical physics applied to traffic flow.

Etymology and types
The word traffic originally meant "trade" (as it still does) and comes from the Old Italian verb trafficare and noun traffico. The origin of the Italian words is unclear. Suggestions include Catalan trafegar "decant", an assumed Vulgar Latin verb transfricare 'rub across', an assumed Vulgar Latin combination of trans- and facere 'make or do', Arabic tafriq 'distribution', and Arabic taraffaqa, which can mean 'seek profit'. Broadly, the term covers many kinds of traffic including network traffic, air traffic, marine traffic and rail traffic, but it is often used narrowly to mean only road traffic.

Rules of the road

Rules of the road and driving etiquette are the general practices and procedures that road users are required to follow. These rules usually apply to all road users, though they are of special importance to motorists and cyclists. These rules govern interactions between vehicles and pedestrians. The basic traffic rules are defined by an international treaty under the authority of the United Nations, the 1968 Vienna Convention on Road Traffic. Not all countries are signatory to the convention and, even among signatories, local variations in practice may be found. There are also unwritten local rules of the road, which are generally understood by local drivers.

As a general rule, drivers are expected to avoid a collision with another vehicle and pedestrians, regardless of whether or not the applicable rules of the road allow them to be where they happen to be.

In addition to the rules applicable by default, traffic signs and traffic lights must be obeyed, and instructions may be given by a police officer, either routinely (on a busy crossing instead of traffic lights) or as road traffic control around a construction zone, accident, or other road disruption.

Directionality
Traffic heading in inverse ways ought to be isolated so as to not hinder each other's way. The most essential guideline is whether to utilize the left or right half of the street.

Traffic regulations
In many countries, the rules of the road are codified, setting out the legal requirements and punishments for breaking them.

In the United Kingdom, the rules are set out in the Highway Code, which includes not only obligations but also advice on how to drive sensibly and safely.

In the United States, traffic laws are regulated by the states and municipalities through their respective traffic codes. Most of these are based at least in part on the Uniform Vehicle Code, but there are variations from state to state. In states such as Florida, traffic law and criminal law are separate; therefore, unless someone flees the scene of an accident or commits vehicular homicide or manslaughter, they are only guilty of a minor traffic offense. However, states such as South Carolina have completely criminalised their traffic law, so, for example, one is guilty of a misdemeanor simply for travelling 5 miles over the speed limit.

Trail ethics (right of way)
Informal rules exist with regard to right of way for users of trails, including hikers, mountaineers, equestrians, cyclists, and mountain bikers.

Passage priority (right of way)
Vehicles often come into conflict with other vehicles and pedestrians because their intended courses of travel intersect, and thus interfere with each other's routes. The general principle that establishes who has the right to go first is called "right of way" or "priority". It establishes who has the right to use the conflicting part of the road and who has to wait until the other does so.

Signs, signals, markings and other features are often used to make priority explicit. Some signs, such as the stop sign, are nearly universal. When there are no signs or markings, different rules are observed depending on the location. These default priority rules differ between countries, and may even vary within countries. Trends toward uniformity are exemplified at an international level by the Vienna Convention on Road Signs and Signals, which prescribes standardised traffic control devices (signs, signals, and markings) for establishing the right of way where necessary.

Crosswalks (or pedestrian crossings) are common in populated areas, and may indicate that pedestrians have priority over vehicular traffic. In most modern cities, the traffic signal is used to establish the right of way on the busy roads. Its primary purpose is to give each road a duration of time in which its traffic may use the intersection in an organised way. The intervals of time assigned for each road may be adjusted to take into account factors such as difference in volume of traffic, the needs of pedestrians, or other traffic signals. Pedestrian crossings may be located near other traffic control devices; if they are not also regulated in some way, vehicles must give priority to them when in use. Traffic on a public road usually has priority over other traffic such as traffic emerging from private access; rail crossings and drawbridges are typical exceptions.

Uncontrolled traffic
Uncontrolled traffic comes in the absence of lane markings and traffic control signals. On roads without marked lanes, drivers tend to keep to the appropriate side if the road is wide enough. Drivers frequently overtake others. Obstructions are common.

Intersections have no signals or signage, and a particular road at a busy intersection may be dominant – that is, its traffic flows – until a break in traffic, at which time the dominance shifts to the other road where vehicles are queued. At the intersection of two perpendicular roads, a traffic jam may result if four vehicles face each other side-on.

Turning
Drivers often seek to turn onto another road or onto private property. The vehicle's blinking turn signals (commonly known as "blinkers" or "indicators") are often used as a way to announce one's intention to turn, thus alerting other drivers. The actual usage of directional signals varies greatly amongst countries, although its purpose is to indicate a driver's intention to depart from the current (and natural) flow of traffic well before the departure is executed (typically 3 seconds as a guideline).

This will usually mean that turning traffic must stop and wait for a breach to turn, and this might cause inconvenience for drivers that follow them but do not want to turn. This is why dedicated lanes and protected traffic signals for turning are sometimes provided. On busier intersections where a protected lane would be ineffective or cannot be built, turning may be entirely prohibited, and drivers will be required to "drive around the block" in order to accomplish the turn. Many cities employ this tactic quite often; in San Francisco, due to its common practice, making three right turns is known colloquially as a "San Francisco left turn". Likewise, as many intersections in Taipei City are too busy to allow direct left turns, signs often direct drivers to drive around the block to turn.

Turning rules are by no means universal. For example, in New Zealand (a drive-on-the-left country) between 1977 and 2012, left turning traffic had to give way to opposing right-turning traffic wishing to take the same road (unless there were multiple lanes, but then one must take care in case a vehicle jumped lanes). New Zealand abolished this particular rule on 25 March 2012, except at roundabouts or when denoted by a Give Way or Stop sign. Although the rule caused initial driver confusion, and many intersections required or still require modification, the change is predicted to eventually prevent one death and 13 serious injuries annually.

On roads with multiple lanes, turning traffic is generally expected to move to the lane closest to the direction they wish to turn. For example, traffic intending to turn right will usually move to the rightmost lane before the intersection. Likewise, left-turning traffic will move to the leftmost lane. Exceptions to this rule may exist where for example the traffic authority decides that the two rightmost lanes will be for turning right, in which case drivers may take whichever of them to turn. Traffic may adapt to informal patterns that rise naturally rather than by force of authority. For example, it is common for drivers to observe (and trust) the turn signals used by other drivers in order to make turns from other lanes. If several vehicles on the right lane are all turning right, a vehicle may come from the next-to-right lane and turn right as well, in parallel with the other right-turning vehicles.

Intersections

In most of Continental Europe, the default rule is to give priority to the right, but this may be overridden by signs or road markings. There, priority was initially given according to the social rank of each traveler, but early in the life of the automobile this rule was deemed impractical and replaced with the priorité à droite (priority to the right) rule, which still applies. At a traffic circle where priorité à droite is not overridden, traffic on what would otherwise be a roundabout gives way to traffic entering the circle. Most French roundabouts now have give-way signs for traffic entering the circle, but there remain some notable exceptions that operate on the old rule, such as the Place de l'Étoile around the Arc de Triomphe. Priority to the right where used in continental Europe may be overridden by an ascending hierarchy of markings, signs, signals, and authorized persons.

In the United Kingdom, priority is generally indicated by signs or markings, so that almost all junctions between public roads (except those governed by traffic signals) have a concept of a major road and minor road. The default give-way-to-the-right rule used in Continental Europe causes problems for many British and Irish drivers who are accustomed to having right of way by default unless otherwise indicated. A very small proportion of low-traffic junctions are unmarked – typically on housing estates or in rural areas. Here the rule is to "proceed with great care" i.e. slow the vehicle and check for traffic on the intersecting road.

Other countries use various methods similar to the above examples to establish the right of way at intersections. For example, in most of the United States, the default priority is to yield to traffic from the right, but this is usually overridden by traffic control devices or other rules, like the boulevard rule. This rule holds that traffic entering a major road from a smaller road or alley must yield to the traffic of the busier road, but signs are often still posted. The boulevard rule can be compared with the above concept of a major and minor road, or the priority roads that may be found in countries that are parties to the Vienna Convention on Road Signs and Signals.

Also known as a "four-way" intersection, this intersection is the most common configuration for roads that cross each other, and the most basic type.
 * Perpendicular intersections

If traffic signals do not control a four-way intersection, signs or other features are typically used to control movements and make clear priorities. The most common arrangement is to indicate that one road has priority over the other, but there are complex cases where all traffic approaching an intersection must yield and may be required to stop.

In the United States, South Africa, and Canada, there are four-way intersections with a stop sign at every entrance, called four-way stops. A failed signal or a flashing red light is equivalent to a four-way stop, or an all-way stop. Special rules for four-way stops may include:

 * 1) In the countries that use four-way stops, pedestrians always have priority at crosswalks – even at unmarked ones, which exist as the logical continuations of the sidewalks at every intersection with approximately right angles – unless signed or painted otherwise.
 * 2) Whichever vehicle first stops at the stop line – or before the crosswalk, if there is no stop line – has priority.
 * 3) If two vehicles stop at the same time, priority is given to the vehicle on the right.
 * 4) If several vehicles arrive at the same time, a right-of-way conflict may arise wherein no driver has the legal right-of-way. This may result in drivers informally signaling to other drivers to indicate their intent to yield, for example by waving or flashing headlights.

In Europe and other places, there are similar intersections. These may be marked by special signs (according to the Vienna Convention on Road Signs and Signals), a danger sign with a black X representing a crossroads. This sign informs drivers that the intersection is uncontrolled and that default rules apply. In Europe and in many areas of North America the default rules that apply at uncontrolled four-way intersections are almost identical:

 * 1) Rules for pedestrians differ by country, in the United States and Canada pedestrians generally have priority at such an intersection.
 * 2) All vehicles must give priority to any traffic approaching from their right,
 * 3) Then, if the vehicle is turning right or continuing on the same road it may proceed.
 * 4) Vehicles turning left must also give priority to traffic approaching from the opposite direction, unless that traffic is also turning left.
 * 5) If the intersection is congested, vehicles must alternate directions and/or circulate priority to the right one vehicle at a time.

Protected intersection for bicycles
A number of features make this protected intersection. A corner refuge island, a setback crossing of the pedestrians and cyclists, generally between 1.5–7 metres of setback, a forward stop bar, which allows cyclists to stop for a traffic light well ahead of motor traffic who must stop behind the crosswalk. Separate signal staging or at least an advance green for cyclists and pedestrians is used to give cyclists and pedestrians no conflicts or a head start over traffic. The design makes a right turn on red, and sometimes left on red depending on the geometry of the intersection in question, possible in many cases, often without stopping.

This type of intersection is common in the bicycle-friendly Netherlands.

Pedestrian crossings
Pedestrians must often cross from one side of a road to the other, and in doing so may come into the way of vehicles traveling on the road. In many places pedestrians are entirely left to look after themselves, that is, they must observe the road and cross when they can see that no traffic will threaten them. Busier cities usually provide pedestrian crossings, which are strips of the road where pedestrians are expected to cross.

The actual appearance of pedestrian crossings varies greatly, but the two most common appearances are: (1) a series of lateral white stripes or (2) two longitudinal white lines. The former is usually preferred, as it stands out more conspicuously against the dark pavement.

Some pedestrian crossings accompany a traffic signal to make vehicles stop at regular intervals so pedestrians can cross. Some countries have "intelligent" pedestrian signals, where the pedestrian must push a button in order to assert their intention to cross. In some countries, approaching traffic is monitored by radar or by electromagnetic sensors buried in the road surface, and the pedestrian crossing lights are set to red if a speed infringement is detected. This has the effect of enforcing the local speed limit. See Speed Limits below.

Pedestrian crossings without traffic signals are also common. In this case, the traffic laws usually states that the pedestrian has the right of way when crossing, and that vehicles must stop when a pedestrian uses the crossing. Countries and driving cultures vary greatly as to the extent to which this is respected. In the state of Nevada the car has the right of way when the crosswalk signal specifically forbids pedestrian crossing. Traffic culture is a determinant factor for the behaviors of all road users’ traffic. Specifically, it has a main role in crashes.

Some jurisdictions forbid crossing or using the road anywhere other than at crossings, termed jaywalking. In other areas, pedestrians may have the right to cross where they choose, and have right of way over vehicular traffic while crossing.

In most areas, an intersection is considered to have a crosswalk, even if not painted, as long as the roads meet at approximate right angles. The United Kingdom and Croatia are among the exceptions.

Pedestrian crossings may also be located away from intersections.

Level crossings

A level crossing is an at-grade intersection of a railway by a road. Because of safety issues, they are often equipped with closable gates, crossing bells and warning signs.

Speed limits
The higher the speed of a vehicle, the more difficult collision avoidance becomes and the greater the damage if a collision does occur. Therefore, many countries of the world limit the maximum speed allowed on their roads. Vehicles are not supposed to be driven at speeds which are higher than the posted maximum.

To enforce speed limits, two approaches are generally employed. In the United States, it is common for the police to patrol the streets and use special equipment (typically a radar unit) to measure the speed of vehicles, and pull over any vehicle found to be in violation of the speed limit. In Brazil, Colombia and some European countries, there are computerized speed-measuring devices spread throughout the city, which will automatically detect speeding drivers and take a photograph of the license plate (or number plate), which is later used for applying and mailing the ticket. Many jurisdictions in the U.S. use this technology as well.

A mechanism that was developed in Germany is the Grüne Welle, or green wave, which is an indicator that shows the optimal speed to travel for the synchronized green lights along that corridor. Driving faster or slower than the speed set by the behavior of the lights causes the driver to encounter many red lights. This discourages drivers from speeding or impeding the flow of traffic. See related traffic wave and Pedestrian Crossings, above.

Overtaking
Overtaking (or passing) refers to a maneuver by which one or more vehicles traveling in the same direction are passed by another vehicle. On two-lane roads, when there is a split line or a dashed line on the side of the overtaker, drivers may overtake when it is safe. On multi-lane roads in most jurisdictions, overtaking is permitted in the "slower" lanes, though many require a special circumstance. See "Lanes" below.

In the United Kingdom and Canada, notably on extra-urban roads, a solid white or yellow line closer to the driver is used to indicate that no overtaking is allowed in that lane. A double white or yellow line means that neither side may overtake.

In the United States, a solid white line means that lane changes are discouraged and a double white line means that the lane change is prohibited.

Lanes
When a street is wide enough to accommodate several vehicles traveling side-by-side, it is usual for traffic to organize itself into lanes, that is, parallel corridors of traffic. Some roads have one lane for each direction of travel and others have multiple lanes for each direction. Most countries apply pavement markings to clearly indicate the limits of each lane and the direction of travel that it must be used for. In other countries lanes have no markings at all and drivers follow them mostly by intuition rather than visual stimulus.

On roads that have multiple lanes going in the same direction, drivers may usually shift amongst lanes as they please, but they must do so in a way that does not cause inconvenience to other drivers. Driving cultures vary greatly on the issue of "lane ownership": in some countries, drivers traveling in a lane will be very protective of their right to travel in it while in others drivers will routinely expect other drivers to shift back and forth.

Designation and overtaking

The usual designation for lanes on divided highways is the fastest lane is the one closest to the center of the road, and the slowest to the edge of the road. Drivers are usually expected to keep in the slowest lane unless overtaking, though with more traffic congestion all lanes are often used.

When driving on the left:

 * The lane designated for faster traffic is on the right.
 * The lane designated for slower traffic is on the left.
 * Most freeway exits are on the left.
 * Overtaking is permitted to the right, and sometimes to the left.

When driving on the right:

 * The lane designated for faster traffic is on the left.
 * The lane designated for slower traffic is on the right.
 * Most freeway exits are on the right.
 * Overtaking is permitted to the left, and sometimes to the right.

Countries party to the Vienna Convention on Road Traffic have uniform rules about overtaking and lane designation. The convention details (amongst other things) that "Every driver shall keep to the edge of the carriageway appropriate to the direction of traffic", and the "Drivers overtaking shall do so on the side opposite to that appropriate to the direction of traffic", notwithstanding the presence or absence of oncoming traffic. Allowed exceptions to these rules include turning or heavy traffic, traffic in lines, or situation in which signs or markings must dictate otherwise. These rules must be more strictly adhered to on roads with oncoming traffic, but still apply on multi-lane and divided highways. Many countries in Europe are party to the Vienna Conventions on traffic and roads. In Australia (which is not a contracting party), traveling in any lane other than the "slow" lane on a road with a speed limit at or above 80 km/h is an offence, unless signage is posted to the contrary or the driver is overtaking.

Many areas in North America do not have any laws about staying to the slowest lanes unless overtaking. In those areas, unlike many parts of Europe, traffic is allowed to overtake on any side, even in a slower lane. This practice is known as "passing on the right" in the United States and "overtaking on the inside" and "undertaking" in the United Kingdom. When referring to individual lanes on dual carriageways, one does not consider traffic travelling the opposite direction. The inside lane (in the British English sense, i.e. the lane beside the hard shoulder) refers to the lane used for normal travel, while the middle lane is used for overtaking cars on the inside lane. The outside lane (i.e. closest to oncoming traffic) is used for overtaking vehicles in the middle lane. The same principle lies with dual carriageways with more than three lanes.

U.S.-state-specific practices

In some US states (such as Louisiana, Massachusetts and New York), although there are laws requiring all traffic on a public way to use the right-most lane unless overtaking, this rule is often ignored and seldom enforced on multi-lane roadways. Some states, such as Colorado, use a combination of laws and signs restricting speeds or vehicles on certain lanes to emphasize overtaking only on the left lane, and to avoid a psychological condition commonly called road rage.

In California, cars may use any lane on multi-lane roadways. Drivers moving slower than the general flow of traffic are required to stay in the right-most lanes (by California Vehicle Code (CVC) 21654) to keep the way clear for faster vehicles and thus speed up traffic. However, faster drivers may legally pass in the slower lanes if conditions allow (by CVC 21754). But the CVC also requires trucks to stay in the right lane, or in the right two lanes if the roadway has four or more lanes going in their direction. The oldest freeways in California, and some freeway interchanges, often have ramps on the left, making signs like "TRUCKS OK ON LEFT LANE" or "TRUCKS MAY USE ALL LANES" necessary to override the default rule. Lane splitting, or riding motorcycles in the space between cars in traffic, is permitted as long as it is done in a safe and prudent manner.

One-way roadways

In order to increase traffic capacity and safety, a route may have two or more separate roads for each direction of traffic. Alternatively, a given road might be declared one-way.

High-speed roads
In large cities, moving from one part of the city to another by means of ordinary streets and avenues can be time-consuming since traffic is often slowed by at-grade junctions, tight turns, narrow marked lanes and lack of a minimum speed limit. Therefore, it has become common practice for larger cities to build roads for faster through traffic. There are two different types of roads used to provide high-speed access across urban areas:
 * The controlled-access highway (freeway or motorway) is a divided multi-lane highway with fully controlled access and grade-separated intersections (no cross traffic). Some freeways are called expressways, super-highways, or turnpikes, depending on local usage. Access to freeways is fully controlled; entering and leaving the freeway is permitted only at grade-separated interchanges.
 * The limited-access road (often called expressway in areas where the name does not refer to a freeway or motorway) is a lower-grade type of road with some or many of the characteristics of a controlled-access highway: usually a broad multi-lane avenue, frequently divided, with some grade separation at intersections.

Motor vehicle drivers wishing to travel over great distances within the city will usually take the freeways or expressways in order to minimize travel time. When a crossing road is at the same grade as the freeway, a bridge (or, less often, an underpass) will be built for the crossing road. If the freeway is elevated, the crossing road will pass underneath it.

Minimum speed signs are sometimes posted (although increasingly rare) and usually indicate that any vehicle traveling slower than 40 mph should indicate a slower speed of travel to other motor vehicles by engaging the vehicle's four-way flashing lights. Alternative slower-than-posted speeds may be in effect, based on the posted speed limit of the highway/freeway.

Systems of freeways and expressways are also built to connect distant and regional cities, notable systems include the Interstate highways, the Autobahnen and the Expressway Network of the People's Republic of China.

One-way streets
In more sophisticated systems such as large cities, this concept is further extended: some streets are marked as being one-way, and on those streets all traffic must flow in only one direction. Pedestrians on the sidewalks are generally not limited to one-way movement. Drivers wishing to reach a destination they have already passed must return via other streets. One-way streets, despite the inconveniences to some individual drivers, can greatly improve traffic flow since they usually allow traffic to move faster and tend to simplify intersections.

Congested traffic

In some places traffic volume is consistently, extremely large, either during periods of time referred to as rush hour or perpetually. Exceptionally, traffic upstream of a vehicular collision or an obstruction, such as construction, may also be constrained, resulting in a traffic jam. Such dynamics in relation to traffic congestion is known as traffic flow. Traffic engineers sometimes gauge the quality of traffic flow in terms of level of service.

In measured traffic data, common spatiotemporal empirical features of traffic congestion have been found that are qualitatively the same for different highways in different countries. Some of these common features distinguish the wide moving jam and synchronized flow phases of congested traffic in Kerner's three-phase traffic theory.

Rush hour
During business days in most major cities, traffic congestion reaches great intensity at predictable times of the day due to the large number of vehicles using the road at the same time. This phenomenon is called rush hour or peak hour, although the period of high traffic intensity often exceeds one hour. Since the advent of car radios, radio programming during rush hour is likely to be called drive time.

Rush hour policies
Some cities adopt policies to reduce rush-hour traffic and pollution and encourage the use of public transportation. For example, in São Paulo, Manila and in Mexico City, each vehicle has a specific day of the week in which it is forbidden from traveling the roads during rush hour. The day for each vehicle is taken from the license plate number, and this rule is enforced by traffic police and also by hundreds of strategically positioned traffic cameras backed by computerized image-recognition systems that issue tickets to offending drivers.

In the United States and Canada, several expressways have a special lane (called an "HOV Lane" – High Occupancy Vehicle Lane) that can only be used by cars carrying two (some locations-three) or more people. Also, many major cities have instituted strict parking prohibitions during rush hour on major arterial streets leading to and from the central business district. During designated weekday hours, vehicles parked on these primary routes are subject to prompt ticketing and towing at owner expense. The purpose of these restrictions is to make available an additional traffic lane in order to maximize available traffic capacity. Additionally, several cities offer a public telephone service where citizens can arrange rides with others depending on where they live and work. The purpose of these policies is to reduce the number of vehicles on the roads and thus reduce rush-hour traffic intensity.

Metered freeways are also a solution for controlling rush hour traffic. In Phoenix, Arizona and Seattle, Washington, among other places, metered on-ramps have been implemented. During rush hour, traffic signals are used with green lights to allow one car per blink of the light to proceed on to the freeway.

Rush hour is typically caused by multiple cars all going to once place at the same time. There is no way to fix the issue because the economy has set times for work, school, and running errands all during the same hours. There is no avoiding this problem because it exists in every major metropolitan area in the world.

Pre-emption
In some areas, emergency responders are provided with specialized equipment, such as a Mobile Infrared Transmitter, which allows emergency response vehicles, particularly fire-fighting apparatus, to have high-priority travel by having the lights along their route change to green. The technology behind these methods has evolved, from panels at the fire department (which could trigger and control green lights for certain major corridors) to optical systems (which the individual fire apparatus can be equipped with to communicate directly with receivers on the signal head). In certain jurisdictions, public transport buses and government-operated winter service vehicles are permitted to use this equipment to extend the length of a green light.

During emergencies where evacuation of a heavily populated area is required, local authorities may institute contraflow lane reversal, in which all lanes of a road lead away from a danger zone regardless of their original flow. Aside from emergencies, contraflow may also be used to ease traffic congestion during rush hour or at the end of a sports event (where a large number of cars are leaving the venue at the same time). For example, the six lanes of the Lincoln Tunnel can be changed from three inbound and three outbound to a two/four configuration depending on traffic volume. The Brazilian highways Rodovia dos Imigrantes and Rodovia Anchieta connect São Paulo to the Atlantic coast. Almost all lanes of both highways are usually reversed during weekends to allow for heavy seaside traffic. The reversibility of the highways requires many additional highway ramps and complicated interchanges.

Intelligent transportation systems
An intelligent transportation system (ITS) is a system of hardware, software, and operators-in-the-loop that allow better monitoring and control of traffic in order to optimize traffic flow. As the number of vehicle lane miles traveled per year continues to increase dramatically, and as the number of vehicle lane miles constructed per year has not been keeping pace, this has led to ever-increasing traffic congestion. As a cost-effective solution toward optimizing traffic, ITS presents a number of technologies to reduce congestion by monitoring traffic flows through the use of sensors and live cameras or analysing cellular phone data travelling in cars (floating car data) and in turn rerouting traffic as needed through the use of variable message boards (VMS), highway advisory radio, on board or off board navigation devices and other systems through integration of traffic data with navigation systems. Additionally, the roadway network has been increasingly fitted with additional communications and control infrastructure to allow traffic operations personnel to monitor weather conditions, for dispatching maintenance crews to perform snow or ice removal, as well as intelligent systems such as automated bridge de-icing systems which help to prevent accidents.

Aviation
In aviation, right-of-way rules are established over the principle that the least maneuverable aircraft takes priority. In the United States, the Code of Federal Regulations ranks air traffic in the following passage order: In addition, head-on approaching aircraft shall alter course to the right. An aircraft being overtaken has the right-of-way. A landing aircraft has the right-of-way over other surface-operating aircraft.
 * Any aircraft in distress
 * Air balloon
 * Glider
 * Airship
 * An aircraft towing or refueling other aircraft has the right-of-way over all other engine-driven aircraft
 * Powered parachute, weight-shift-control aircraft, airplane, and rotorcraft

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title: Traffic