“One Thousand and One Nights”, has continued to grow until the end of the twelfth Hijri. There are therefore several historical layers in this stories, including the historic layer of Baghdād which represents the history of the Abbasid caliphs and the court that accompanies it. Satan’s companionship history with Abū Isḥāq Ibrāhīm al-Mawṣilī and the history of Ishāq al-Mawsili with Satan – two expert minstrels of their time, fit into this same layer. Although these two stories were made and discussed in Baghdad, the themes used in their infrastructure are not anchored in Baghdad in Abbāssid dynasty but rather in pre-Islamic Saudi Arabia because they are based on two ancient Arab myths. The first is the long-standing link between jinn and music, and the other is the recognition of jinn as an inspirer who emerges in the belief of "obedience to Cohen" and "the devil -the poet". An upcoming exploration of ancient Arab sources shows how the storyteller, influenced by these myths, describes Iblis as a masterful minstrel who teaches musician Abū Isḥāq Ibrāhīm al-Mawṣilī.
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