NOTES to VOL. I

by Unknown · from The Arabian Nights, Volume I of IV

folk tale moral tale informative Ages all ages 1938 words 9 min read
Cover: NOTES to VOL. I

Adapted Version

CEFR A1 Age 5 435 words 2 min Canon 95/100

Hello, little story friend! Do you wonder about old stories from far lands? Let's learn some cool secrets with me!

Long ago, people made their hands pretty. They drew blue lines on their skin. It was like painting a picture. They thought it looked very nice!

In hot lands, the sun shines very bright. At times, people saw water far off. It looked like a big lake. But it was not real water. It was a trick of the light. This trick was called a mirage. It made people sad.

Long, long ago, a very big land existed. A strong king ruled this land. Many, many places were part of his kingdom. Other kings built new lands later. They were also very big.

At times, old words are hard to choose. A word can have two ways. People must pick the best way. This helps us know the story. We want the story to be clear. It is like finding the right puzzle piece.

The princess told many stories. In old books, she stopped each morning. She said 'The next day' many times. This made the story stop and start. We made the stories flow better. Like a smooth, flowing river. It is more fun to hear now. King Schahriar liked it too.

People in old stories traveled far. They went to many other lands. They saw places like a city. They visited another land too. These were real places. They had many adventures there.

Old stories have special names. Some talk about a tricky bad guy. His name was Degial. Other stories tell of good people. The Barmecides were a kind family. They helped many people. It is fun to learn names.

Some names in old stories mean things. Rihan means 'sweet flower'. Names had special secrets then.

Old stories had very long parts. They told about big parties. They described many dresses. We made these parts shorter. The story moves faster now. It is more exciting for you. We want you to keep listening!

People in old lands had other ways. They washed their hands often. This was before they ate food. It was a special custom.

Hot lands made drinks warm fast. People wanted cold water. They used clever tricks. They put snow in their drinks. Or they used special pots. These pots kept water cool. It was a smart idea!

Helpers in old times had names. At times, they were called Schaban. This was a special name. It helped people know them. It was a common name.

You know cool things about old stories now. Keep exploring and learning, little friend!

Original Story 1938 words · 9 min read

NOTES TO VOL. I.

[a] It is a custom with the Arabian women, in order to give the veins of their hands and arms a more brilliant appearance, to make slight punctures along them, and to rub into the incisions a blue powder, which they renew occasionally as it happens to wear out.

[b] The vapour here alluded to, called by the Arabians Serab, is not unlike in appearance (and probably proceeding from a similar cause) to those white mists which we often see hovering over the surface of a river in a summer’s evening, after a hot day. They are very frequent in the sultry plains of Arabia, and when seen at a distance, resemble an expanded lake, but upon a nearer approach, the thirsty traveller perceives his deception. Hence the Serab, in Arabian poetry, is a common emblem of disappointed expectation. This word occurs in Isaiah xxxv. 7, which is rendered by our translators, “and the parched ground shall become a pool.” But in a prophecy consisting of promises for the confirming of happiness and the fulfilling of hope, perhaps we may translate the word שרב with as much propriety, according to its Arabic acceptation. “And the sultry vapour shall become a real lake.”

[c] The great empires of the Mogul of Persia, of the Turks, of Morocco, besides many other powerful kingdoms, have been founded on the ruins of the wide-extended dominions of the Khalifs; which at one time comprehended Arabia, Chaldea, Assyria, Media, Persia, the Khorassan, Samarkand, Bokhara, Cabul, Chandahar, Zableston, &c. the greatest part of India, many districts along the Oxus or Ginon, and the Caspian Sea, Circassia, Georgia, Armenia, Mesopotamia, Syria, Palestine, Cyprus, part of Asia Minor, Egypt, the Mediterranean coasts of Africa, Morocco, Fez, Spain, Sicily, Naples, part of France, &c. &c. in all which countries, (if we except the European states) the Arabic is to this day cultivated with care, as being the language of their religion and their law.

[d] Vol. II. page 84.

[e] Marco Paulo resided seventeen years in the court of the Khan of Tartary, and was the first European, who gave any account of China to be depended upon. What he speaks from his own knowledge has been generally confirmed by subsequent voyagers. His fabulous narratives are of a similar kind to those mentioned by Mandeville, Vertomannus, and other ancient travellers into the East, Sindbad included, as a farther examination of his voyages will plainly shew.

[f] Lib. iii. ch. 40. Novus Orbis. See also Ramusio’s collection of voyages, printed at Venice, A. D. 1633, Tom. II. page 58.

[g] Ramusio, Tom. I. page 369.

[h] See the works of Sir W. Jones, Mr. Maurice, Mr. Wilkins, Mr. Kindersley, Mr. Beloe, Mr. Scott, Dr. Russell, &c.

[i] See Dell’ Origine, Progressi, e Stato attuale d’ogni Letteratura dell’ Abate D. Giovanni Andres, Tomo primo, capitolo xi. Dell’ influenza degli Arabi nella moderna coltura delle belle lettere.

Note 1. In the first page of a former translation, the French word “Sassaniens,” is rendered “Sussanians.” At the moment, the present translator was inclined to think it was an error of the press. He referred, however, to all the English editions he could meet with, and to two different translations; all of which differed from the French, and adhered to the word “Sussanians.” This concurrence of circumstances, added to the known inaccuracy of French writers respecting names, and their known pride in changing the names both of places and persons, and adapting them to a certain standard set up by themselves for their own peculiar language, rather startled him, as to the propriety of the French word “Sassaniens.”

He followed, however, the French edition; and he believes he was fortunately right, though he had many doubts on the subject, as Susa, sometimes called Susiana, whence Sussanians might, though incorrectly, be formed, was a principal city of Persia.

The Sassanians, however, or the family who bore that name, constituted the fourth dynasty of the Persian monarchs; the name of one of whom was not unlike that of Schahriar, the hero of the present tales; being Jezdegerd Ben Schecheriar, who reigned in the thirty-ninth year of the Hegira.

Note 2. In the original work, there are continual interruptions to the stories, by the supposed appearance of day-light, which obliged the sultan to rise, and attend to the affairs of the state. In the two first volumes, these interruptions would have recurred between two and three hundred times; and thus unpleasantly have broken in upon the unity and continued interest, so essential to tales of this nature.

The French, as well as the former English Translators, have been in their progress so aware of this, that they have all omitted it, as they proceeded with their works though they have all carried it on for some length of way. The French Translator omits a part of the interruption; namely, the repeated request of Dinarzadè to her sister every morning, at the end of the first volume, and the whole of it after the third. The former English editions stopped at different places, guided, as it should seem, merely by the caprice, or whim, of the Translator.

It was from this interruption, and this division, that the title of “Nights,” was given to the work; the whole being, as it is supposed, divided into one thousand and one.

Now although the present Translator did not think it right to drop the word “Nights” from his title-page, a word by which this work is so universally known, yet he thought it useless to continue the repetition, as the first was fully sufficient to shew the plan; besides which, this continual recurrence of the same speech, together with the division of matter, would have considerably lengthened the work; and, as the Translator is of opinion, for no good purpose.

In the present translation, therefore, this division into nights is entirely omitted, and the conversation, which is supposed to pass between Schahriar, Scheherazadè, and Dinarzadè, whenever day-light appears, is never inserted, except at the conclusion of a story, or when it takes a wider range than the common interruption.

Note 3. Balsora was a sea-port, situated on the Persian gulf; the same probably as is now called Bussorah, though the latter seems by the maps to be a few miles from the shore.

Note 4. The islands of Vakvak, so called by the Arabians, are situated beyond China, and seem to be what are now known by the islands of Japan. The former name was given them, as M. Galland supposes, from a tree, which grows there, and bears a fruit of that name.

Note 5. Among the Mahometans, Degial means the same as antichrist. According to them, he will make his appearance at the conclusion of all things, and conquer the whole world, except Mecca, Medina, Tarsus, and Jerusalem; which places will be preserved by angels, who will be seen surrounding them.

Note 6. The island of Serendib is the same as is now called Ceylon.

Note 7. The island, or rather peninsula, of Comori or Comari, is terminated at Cape Comorin.

Note 8. The Barmecides were an illustrious and noble race, who originally came from Persia; and it was from this family, that the grand vizier, Giafar, was descended.

Note 9. The word “Rihan,” in Arabic, means an odoriferous plant, something like sweet basil; and it was a custom among the Arabians to call their slaves by the name of some sweet smelling plant.

Note 10. By Noureddin, is meant, the “Light of Religion.”

Note 11. And by Bedreddin, “the Full Moon of Religion,” is understood.

Note 12. The interpretation of Schemseddin is the “Sun of Religion.”

Note 13. In the original Arabic there is, in this place, a very long description of the seven different dresses which the daughter of Schemseddin Mohammed put on; and in which she was presented to her intended husband, according to the usual custom of the Arabians. During the whole of this ceremony, there was also a concert on various instruments, accompanied by vocal music, and the recitation of verses. The whole of this description, together with the poetry, is omitted by M. Galland, who asserts, that the first would be very tedious, and the poetry lose all its beauty by the translation.

Note 14. Among the Arabians, it is the constant custom to sleep in their drawers: and this allusion to them is illustrated as the story proceeds.

Note 15. Throughout Arabia, Turkey, and all Mahometan countries, bells are never made use of in their mosques. It is the office of men, called by the Turks Talismanni, to get up on the turrets or minarets, (and no mosque, according to Sandys, can have more than one turret, unless built by an emperor,) and call the people to prayers. His account is, “From the turrets of the mosques, the Talismanni, with elated voices (for they use no bells) do congregate the people, pronouncing the Arabic sentence, “LA ILLAH ILELLA MUHEMET RESUL ALLAH.” There is but one God and Mahomet is his prophet. Sandy’s Travels, p. 24, 1610.

Note 16. The town of Moussoul is situated in Mesopotamia, nearly opposite to the antient Nineveh.

Note 17. “Agib,” in Arabic, means marvellous, or wonderful.

Note 18. The mosque of Ommiades was built by one of the caliphs, who reigned immediately after the four first successors of Mahomet. The first of this race was Ommiah, whence the descendants were called Ommiades.

Note 19. Between noon and sunset was one of their stated times for prayers; and it was about two hours before the sun went down.

Note 20. As it was the custom with the Mahometans to wash their hands five times every day before they began their prayers, which were so often, they thought it unnecessary to wash immediately before eating, but they constantly performed that ceremony afterwards, as they eat with their fingers, without forks.

Note 21. It is the constant practice in all the countries bordering the Mediterranean, to cool their liquors by means of snow: in other eastern countries, and also sometimes in the former, porous earthern vessels are used, which produce the same effect by evaporation.

Note 22. Schaban is the usual name given by the Mahometans to all black eunuchs.

END OF VOL. I.

W. Lewis, Printer, St. John’s-square, London.

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Story DNA

Plot Summary

This document comprises a series of explanatory notes for a translated volume of 'The Arabian Nights.' It clarifies various Arabian customs, such as hand decoration and the mirage phenomenon, provides historical context for empires and dynasties, and explains geographical locations mentioned in the tales. The notes also detail the translator's decisions, like omitting repetitive narrative interruptions and justifying specific word choices, aiming to enhance the reader's understanding of the original cultural and literary nuances.

Themes

cultural understandingtranslation and adaptationhistorical contextliterary interpretation

Emotional Arc

curiosity to understanding

Writing Style

Voice: third person omniscient
Pacing: slow contemplative
Descriptive: moderate
Techniques: explanatory notes, references to historical texts

Narrative Elements

Conflict: person vs society
Ending: informative
Serab (disappointed expectation)Sassanians (historical dynasty)

Cultural Context

Origin: Arabian
Era: timeless fairy tale

The notes provide direct historical context for the vastness of the Khalifate, the Sassanian dynasty of Persia, and the geographical understanding of the world during the period when 'The Arabian Nights' were compiled or translated.

Plot Beats (13)

  1. The document begins with a note explaining the Arabian custom of puncturing hands and rubbing blue powder into veins for aesthetic purposes.
  2. It clarifies the 'Serab' (mirage) phenomenon in Arabian plains and its symbolic use in poetry.
  3. A detailed historical note describes the extensive dominions of the Khalifs and the subsequent empires built on their ruins.
  4. The translator addresses a specific linguistic challenge regarding the term 'Sassaniens' vs. 'Sussanians' and justifies their choice based on historical dynasty names.
  5. A significant note explains the decision to omit the frequent 'day-light' interruptions in the original 'Arabian Nights' to maintain narrative flow.
  6. Various geographical locations mentioned in the stories, such as Balsora, Vakvak (Japan), Serendib (Ceylon), and Comori, are identified and clarified.
  7. Cultural and religious terms like 'Degial' (Antichrist) and the Barmecides family are explained.
  8. The symbolic meanings of character names like Rihan, Noureddin, Bedreddin, and Schemseddin are provided.
  9. A note details the omission of a lengthy description of a wedding ceremony and accompanying poetry, deemed tedious by a previous translator.
  10. Arabian customs such as sleeping in drawers, the absence of bells in mosques, and handwashing rituals are elucidated.
  11. The note clarifies the practice of cooling liquids with snow or porous vessels in Eastern countries.
  12. The term 'Schaban' as a common name for black eunuchs is explained.
  13. The document concludes with publication information and Project Gutenberg licensing details.

Characters

👤

Schahriar

human adult male

A powerful Arabian sultan, likely of a robust build, with features consistent with a ruler of the Sassanian dynasty, suggesting a strong, authoritative presence. His skin tone would be olive or tanned from the Arabian sun.

Attire: Rich, flowing silk thobes or kaftans in deep jewel tones like sapphire, emerald, or ruby, embroidered with gold thread. He would wear a jeweled turban, possibly adorned with a large central gem, and a wide, ornate sash. His attire would reflect his status as a powerful Sassanian monarch.

Wants: To find a woman who will not betray him, or at least to delay his own pain and anger through distraction. Ultimately, he seeks peace of mind and perhaps redemption.

Flaw: His deep-seated mistrust of women, stemming from past betrayal, which leads him to extreme and violent actions. He is also susceptible to boredom and easily entertained by compelling narratives.

Begins as a vengeful and cynical ruler, but through Scheherazade's stories, he gradually softens, learns to trust again, and ultimately abandons his cruel practice, becoming a more just and enlightened king.

His stern, dark eyes fixed intently on Scheherazade, framed by a jeweled turban.

Initially cruel and distrustful due to betrayal, but capable of being captivated and swayed by compelling storytelling. He is a man of power, but also of deep emotional scars.

👤

Scheherazade

human young adult female

A young Arabian woman of exquisite beauty and grace, with a slender yet resilient build. Her skin would be fair to olive, with a healthy glow, reflecting her intelligence and vitality.

Attire: Elegant and modest Arabian attire, such as a finely woven silk abaya or a richly embroidered caftan in soft, flowing fabrics like silk or fine linen. The colors would be refined, perhaps ivory, pale gold, or soft rose, with subtle patterns or embroidery. She might wear delicate gold jewelry.

Wants: To save her own life, to end the sultan's cruel decree, and ultimately to heal his broken spirit and restore justice to the kingdom.

Flaw: The constant threat of death hanging over her, and the immense pressure to continually invent captivating stories, which could lead to exhaustion or a lapse in creativity.

Begins as a courageous woman risking her life, and through her nightly tales, she transforms the sultan's heart, becoming a symbol of hope and wisdom, and ultimately saving countless lives.

Her expressive dark eyes, wide with the magic of a story, as she captivates the sultan.

Intelligent, courageous, resourceful, eloquent, and deeply empathetic. She is a master storyteller and a strategic thinker.

👤

Dinarzade

human young adult female

A young Arabian woman, likely of similar build and beauty to her sister, though perhaps with a slightly softer or more innocent demeanor. Her skin would be fair to olive.

Attire: Modest but finely made Arabian dress, such as a simple linen or cotton tunic and trousers, or a less ornate caftan than her sister's, in soft, muted colors like cream, pale green, or light blue. Her clothing would be comfortable for sleeping and waking.

Wants: To help her sister survive and succeed in her mission to save the kingdom.

Flaw: Her youth and relative powerlessness compared to the sultan, making her reliant on her sister's wit.

Remains a steadfast and supportive figure throughout the narrative, her role being to facilitate her sister's transformation of the sultan.

Her attentive, slightly sleepy expression as she asks her sister for a story at dawn.

Loyal, supportive, obedient, and a crucial accomplice in Scheherazade's plan. She is a good listener and provides the necessary cue for her sister to begin her tales.

Locations

Sultry Plains of Arabia

outdoor day sultry, hot, arid

Vast, hot, and arid expanses of land in Arabia, often appearing to shimmer with a mirage (Serab) that resembles an expanded lake from a distance.

Mood: deceptive, desolate, vast, challenging

Described as the setting where the Serab (mirage) is frequently observed, symbolizing disappointed expectation for thirsty travelers.

sandy ground distant shimmering mirage (Serab) clear, hot sky sparse, heat-resistant vegetation (implied)

Balsora (Bussorah) Seaport

outdoor warm, coastal

A bustling seaport town situated on the Persian Gulf, likely with traditional Arabian architecture and a connection to maritime trade.

Mood: lively, mercantile, connected to the wider world

Identified as a significant port city, implying a hub for trade and travel in the Arabian world.

Persian Gulf waters docks or jetties merchant ships (dhows) traditional Arabian buildings (implied) marketplaces (implied)

Mosque Minaret (Turkey/Mahometan Countries)

transitional five times daily (dawn, noon, afternoon, sunset, night)

A tall, slender tower (minaret) attached to a mosque, from which the Talismanni call the people to prayer with their voices, as bells are not used.

Mood: reverent, spiritual, communal

The location from which the Talismanni announce the call to prayer, a constant feature of daily life in Mahometan countries.

slender stone minaret small balcony or platform near the top arched openings ornate Islamic architectural details (implied) view of surrounding town/city (implied)