John Martin уже был
Jan. 20th, 2017 02:53 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
basis211Sadak in Search of the Waters of Oblivion, 1812
Sadak is a fictional character in a story in James Ridley's Tales of the Genii (two volumes, 1764); it is a faux-Oriental tale allegedly from a Persian manuscript, but actually the work of Ridley himself.[5] In Ridley's story, the hero Sadak is sent by his Sultan, Amurath, to find the memory-destroying "waters of oblivion." The Sultan maliciously intends to use the waters on Sadak's wife Kalasrade in a seduction attempt. Sadak endures a range of trials — a tempest at sea, a plague, evil genii, a subterranean whirlpool — before he attains his goal. In the end, the Sultan himself falls victim to the water's effect. Amurath dies; Sadak becomes Sultan. Martin's picture portrays Sadak at the climax of his struggle, just before he reaches the waters of oblivion.
(Ridley's tale was popular in its era, and was adapted into a play by Thomas John Dibdin, titled Sadak and Kalasrade, which was staged in 1797.[6] Henry Bishop mounted an operatic version in 1814.)
Sadak is a fictional character in a story in James Ridley's Tales of the Genii (two volumes, 1764); it is a faux-Oriental tale allegedly from a Persian manuscript, but actually the work of Ridley himself.[5] In Ridley's story, the hero Sadak is sent by his Sultan, Amurath, to find the memory-destroying "waters of oblivion." The Sultan maliciously intends to use the waters on Sadak's wife Kalasrade in a seduction attempt. Sadak endures a range of trials — a tempest at sea, a plague, evil genii, a subterranean whirlpool — before he attains his goal. In the end, the Sultan himself falls victim to the water's effect. Amurath dies; Sadak becomes Sultan. Martin's picture portrays Sadak at the climax of his struggle, just before he reaches the waters of oblivion.
(Ridley's tale was popular in its era, and was adapted into a play by Thomas John Dibdin, titled Sadak and Kalasrade, which was staged in 1797.[6] Henry Bishop mounted an operatic version in 1814.)
