Comprehension
In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first
European translator of . . . Arabian Nights [which] started as a series of translations of an
incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were of
medieval origin, Aladdin may be a more recent invention. Scholars have not found a manuscript of the story that predates the version published in 1712 by Galland, who wrote in his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab . . .
Despite the fantastical elements of the story, scholars now think the main character may
actually be based on a real person’s real experiences. . . . Though Galland never credited Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the extravagance of Versailles. The descriptions he uses were very similar to the descriptions of the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo, marveling at the jewels and riches of Versailles.” . . .
For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been
inspired by the plots of French fairy tales that came out around the same time, or that the story was invented in that 18th century period as a byproduct of French Orientalism, a fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering te French, not vice-versa — flips the script. [According to Horta,] “Diyab was ideally placed to embody the overlapping world of East and West, blending the storytelling traditions of his homeland with his youthful observations of the wonder of 18th-century France.” . . .
To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep
finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle
East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world
today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots
due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive to those people in a way that Galland is not. When you read this diary, you see this solidarity
among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland thatwould suggest that he was capable of developing a character like Aladdin with sympathy, but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young protagonist, as well as recognizing the kinds of injustices and opportunities that can transform the path of any youthful adventurer.”
Question: 1

All of the following serve as evidence for the character of Aladdin being based on Hanna Diyab EXCEPT:

Updated On: Jul 28, 2025
  • Diyab’s cosmopolitanism and cross-cultural experience. 

  • Diyab’s humble origins and class struggles, as recounted in his travelogue. 

  • Diyab’s narration of the original story to Galland.
  • Diyab’s description of the wealth of Versailles in his travelogue.
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The Correct Option is C

Solution and Explanation

To determine which option does not serve as evidence that the character of Aladdin was based on Hanna Diyab, we need to analyze the evidence provided in the comprehension passage.
  • Option: Diyab’s cosmopolitanism and cross-cultural experience.
    This is supported by the passage stating that Diyab was uniquely positioned to blend Eastern and Western storytelling traditions, evidencing his cosmopolitan nature.
  • Option: Diyab’s humble origins and class struggles, as recounted in his travelogue.
    The passage explicitly mentions Diyab's experiences of hardship and his sensitive portrayal of societal struggles, aligning with the rags-to-riches narrative of Aladdin.
  • Option: Diyab’s narration of the original story to Galland.
    This does not serve as evidence for the character's basis; it indicates Diyab as the storyteller, not the inspiration for Aladdin's character.
  • Option: Diyab’s description of the wealth of Versailles in his travelogue.
    The passage correlates Diyab’s descriptions of Versailles’ opulence with similar imagery in Galland’s Aladdin story, suggesting a connection to Aladdin's marvel at riches.
Thus, the correct answer is "Diyab’s narration of the original story to Galland," which is not evidence of the character being based on Diyab, but rather indicates the source of the story itself.
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Question: 2

The author of the passage is most likely to agree with which of the following explanations for the origins of the story of Aladdin?

Updated On: Jul 28, 2025
  • Basing it on his own life experiences, Diyab transmitted the story of Aladdin to Galland who included it in Arabian Nights.
  • Galland received the story of Aladdin from Diyab who, in turn, found it in an incomplete medieval manuscript.
  • The story of Aladdin has its origins in an undiscovered, incomplete manuscript of a medieval Arabic collection of stories
  • Galland derived the story of Aladdin from Diyab’s travelogue in which he recounts his fascination with the wealth of Versailles.
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The Correct Option is A

Solution and Explanation

The comprehension explores the origins of the story of Aladdin and discusses different perspectives on how it came to be part of the Arabian Nights. The key points to consider are:
  • Antoine Galland, the first European to translate Arabian Nights, included the story of Aladdin even though it wasn't found in older manuscripts.
  • Galland mentioned in his diary that Hanna Diyab, a Syrian storyteller, narrated the tale to him.
  • Hanna Diyab's travelogue provides insights into his experiences and describes his observations of Versailles, which align with the lavish descriptions found in the story of Aladdin.
  • Scholars now believe that the story of Aladdin could be a reflection of Diyab's own life experiences rather than merely a product of French Orientalism.
  • This viewpoint suggests the story may be influenced by Diyab's Middle Eastern background and his encounters in France.
The author seems to support the perspective that the story is based on Diyab's personal experiences, as depicted in his travelogue. This aligns with the option:
Basing it on his own life experiences, Diyab transmitted the story of Aladdin to Galland who included it in Arabian Nights.
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Question: 3

Which of the following, if true, would invalidate the inversion that the phrase “flips the script” refers to?

Updated On: Jul 28, 2025
  • Galland acknowledged in the published translations of Arabian Nights that he heard the story of Aladdin from Diyab.
  • Diyab’s travelogue described the affluence of the French city of Bordeaux, instead of Versailles. 

  • The French fairy tales of the eighteenth century did not have rags-to-riches plot lines like that of the tale of Aladdin.
  • The description of opulence in Hanna Diyab’s and Antoine Galland’s narratives bore no resemblance to each other.
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The Correct Option is D

Solution and Explanation

The phrase "flips the script" refers to the inversion of the traditional narrative that the story of Aladdin was primarily a product of 18th-century French Orientalism. Instead, it suggests that the story might be based on Hanna Diyab's personal experiences, blending Middle Eastern storytelling with his observations of French opulence. This argues that the story's origins are more authentic and personal, rather than solely influenced by French fairy tales or Orientalism. 

To invalidate this inversion, one would need evidence showing a fundamental disconnect between Diyab's and Galland's accounts, specifically regarding the descriptions of opulence that underpin the authenticity claim. The option that states "The description of opulence in Hanna Diyab’s and Antoine Galland’s narratives bore no resemblance to each other" directly contradicts this. If their descriptions of opulence were dissimilar, it would undermine the claim that Diyab's personal experiences significantly shaped the narrative Galland published, thus invalidating the inversion of the script.

Therefore, the correct choice is the statement about the lack of resemblance in their narratives on opulence, as it challenges the notion that Diyab's firsthand experiences influenced Galland's story of Aladdin.

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Question: 4

Which of the following is the primary reason for why storytellers are still fascinated by the story of Aladdin?

Updated On: Jul 28, 2025
  • The story of Aladdin is evidence of the eighteenth century French Orientalist attitude.
  • The traveller's experience that inspired the tale of Aladdin resonates even today.
  • The tale of Aladdin documents the history of Europe and Middle East.
  • The archetype of the rags-to-riches story of Aladdin makes it popular even today.
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The Correct Option is B

Solution and Explanation

The primary fascination with the story of Aladdin today stems from the resonant experience of the traveller that inspired the tale. The story of Aladdin, as narrated by the Syrian storyteller Hanna Diyab to Antoine Galland, seems to be rooted in Diyab's own encounters and observations during his travels. Diyab's travelogue reflects his awe at the lavishness of Versailles, which parallels the luxurious palace described in the Aladdin story. This suggests a personal connection to a real individual's experiences rather than a fictionalized oriental fantasy. Scholars now view Diyab's narrative as embodying a fusion of Eastern and Western cultural elements, linking the Middle Eastern perspective with the observations of 18th-century France. Such an amalgamation of authentic traveler experiences makes the tale of Aladdin relatable even today, resonating with modern audiences who find personal journeys and cultural intersections captivating. This aligns with the correct answer: "The traveller's experience that inspired the tale of Aladdin resonates even today."
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Question: 5

Which of the following does not contribute to the passage’s claim about the authorship of Aladdin?

Updated On: Jul 28, 2025
  • The depiction of the affluence of Versailles in Diyab’s travelogue.
  • The narrative sensibility of Diyab’s travelogue.
  • The story-line of many French fairy tales of the 18th century.
  • Galland’s acknowledgment of Diyab in his diary.
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The Correct Option is C

Solution and Explanation

The passage discusses the disputed authorship of the story of Aladdin, evaluating the potential contributions of Hanna Diyab and Antoine Galland. It presents various elements that may or may not substantiate the claim that Diyab, rather than the 18th-century French fairy tale tradition, influenced Aladdin's character and story. To determine which option does not contribute to the passage’s claim about authorship, consider the following details:
  • Diyab’s travelogue: His descriptions of Versailles mirror those in Aladdin's tale, supporting the notion that Diyab’s experiences influenced the story.
  • Narrative sensibility: Diyab's capability to depict a young protagonist's psychology suggests he could create a character like Aladdin.
  • Galland’s acknowledgment: In his diary, Galland credits Diyab as the source of the story, linking Diyab to Aladdin.
  • 18th-century French fairy tales: This element reflects external theories about Aladdin’s origins based on similarities rather than Diyab’s personal influence.
Thus, the storyline of many French fairy tales of the 18th century is not cited in the passage as a factor that contributes to the claim about Diyab being the potential author of the Aladdin story.
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