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A foreword traces the work’s origins in Nizami’s epic, including the commission by Shirvanshah and the fusion of older Arab lore with Persian literary imagery. The text also includes adapted lyrical material and early narrative setting, beginning with the inner sorrow and absence of an heir that drives the story forward.",{"@graph":69,"@context":113},[70,84,104],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/layla-and-majnun-prose-adaptation/635399/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":98,"encodingFormat":97,"isAccessibleForFree":99,"interactionStatistic":100},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/layla-and-majnun-prose-adaptation/635399.png","ImageObject",300,407,{"name":92,"@type":93},"Levi","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-22",true,{"@type":101,"interactionType":102,"userInteractionCount":4},"InteractionCounter",{"@type":103},"ViewAction",{"@type":105,"mainEntity":106},"FAQPage",[107],{"name":108,"@type":109,"acceptedAnswer":110},"How does the opening of Chapter 1 begin the narrative conflict?","Question",{"text":111,"@type":112},"Chapter 1 introduces a ruler’s perspective and sorrow, focusing on the pain of being without a son and questioning the meaning of wealth, power, and prestige without heirs.","Answer","https://schema.org",{"og:url":83,"og:type":115,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":117,"canonical":83},"index,follow",{"doc_id":119,"site_id":62},635399,1792675906,{"code":4,"msg":5,"data":122},{"doc_id":119,"user_id":123,"nickname":92,"user_avatar":124,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":125,"file_id":126,"file_url":127,"file_type":128,"file_size":129,"view_count":4,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":130,"language":131,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":132,"faqs":133,"seo_title":134,"seo_description":67,"update_tm":120,"read_time":135},7971461740909,"https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d","LAYLA AND MAJNUN  \nBY NIZAMI  \nPROSE ADAPTATION BY COLIN TURNER  \nTo Mahshid, with love  \nContents  \nTitle Page  \nDedication  \nLayla  \nForeword Chapter 1  \nChapter 2  \nChapter 3  \nChapter 4  \nChapter 5  \nChapter 6  \nChapter 7  \nChapter 8  \nChapter 9  \nChapter 10  \nChapter 11  \nChapter 12  \nChapter 13  \nChapter 14  \nChapter 15  \nChapter 16  \nChapter 17  \nChapter 18  \nChapter 19  \nChapter 20  \nChapter 21  \nChapter 22  \nChapter 23  \nChapter 24  \nChapter 25  \nChapter 26  \nChapter 27  \nChapter 28  \nChapter 29  \nChapter 30  \nChapter 31  \nChapter 32  \nChapter 33  \nChapter 34  \nChapter 35  \nChapter 36  \nChapter 37  \nChapter 38  \nChapter 39  \nChapter 40  \nChapter 41  \nChapter 42  \nChapter 43  \nChapter 44  \nChapter 45  \nChapter 46  \nChapter 47  \nChapter 48  \nChapter 49  \nChapter 50  \nChapter 51  \nChapter 52  \nChapter 53 Copyright  \nLayla  \nby Eric Clapton  \nWhat will you do when you get lonely No one waiting by your side?  \nYou’ve been running and hiding much too long; You know it’s just your foolish pride.  \nLayla, got me on my knees. Layla I’m begging, darling, please. Layla Darling, won’t you ease my worried mind?  \nTried to give you consolation;  \nYour old man had let you down.  \nLike a fool, I fell in love with you;  \nYou turned my whole world upside down. Layla…  \nMake the best of the situation Before I finally go insane.  \nPlease don’t say we’ll never find a way Tell me all my love’s in vain.  \nLayla…  \nForeword  \nM ore has been written about love than about any other area of human  \nexperience. Since we first began to commit our ideas and feelings to paper, writers the world over have waxed lyrical about the joys of love, and about the sorrows of love unrequited.  \nArguably the most popular story in the Islamic world is Layla and Majnun. For well over a thousand years, versions of this tragic tale have appeared in prose, poetry and song in almost every language in the Islamic Near East, yet it is Nizami’s epic poem which still serves as the basis for all others.  \nThe Persian poet Nizami was commissioned to write Layla and Majnun by the Caucasian ruler, Shirvanshah, in AD1188. In his original preface to the poem, Nizami explains that a messenger from Shirvanshah arrived and gave him a letter written in the King’s own hand. Extolling Nizami as ‘the universal magician of eloquence’, Shirvanshah asked the poet to write a romantic epic based on a simple Arab folk-tale: the age-old tale of Majnun, the ‘love-mad’ poet, and Layla, the celebrated desert beauty.  \nSince the dawn of Islam some five hundred years before, the legend of Layla and Majnun had been a popular theme of the love songs, sonnets andodes of the Bedouins in Arabia. Majnun was associated with a real-life character, Qays ibn al-Mulawwah, who probably lived in the second half of the seventh century AD in the desert of Najd in the Arabian peninsula. By Nizami’s time there were many variations on the Majnun theme circulating throughout the region, and no doubt Shirvanshah approached Nizami with a view to the creation of something ‘special’.  \nInitially, Nizami was loathe to accept the commission, as he felt the story offered ‘neither gardens nor royal pageants nor festivities, neither streams nor wines nor happiness’, all of which are staples of classical Persian poetry. But eventually, at his son’s insistence, he relented. Less than four months later, Nizami’s Layla and Majnun, which comprises in the original some 8,000 lines of verse, was completed.  \nIn writing Layla and Majnun, there is little doubt that Nizami uses all the material—both written and oral—that was available to him. He preserved the Bedouin atmosphere of the original tale while at the same time placing the story into the far more civilised Persian world of his time, embellishing the tale with the rich colours and imagery of his own native language and literary tradition.  \nNizami did indeed create something special for his patron, Shirvanshah. This striking originality lies in his masterful psychological","cbCaisFN65F0a9N2","https://ap.wps.com/l/cbCaisFN65F0a9N2","pdf",718874,152,"English","# Foreword\n## Chapter 1","[{\"question\":\"How does the opening of Chapter 1 begin the narrative conflict?\",\"answer\":\"Chapter 1 introduces a ruler’s perspective and sorrow, focusing on the pain of being without a son and questioning the meaning of wealth, power, and prestige without heirs.\"}]","Layla and Majnun - Prose Adaptation | PDF",234]