IV NUIT

by Unknown · from Les mille et une nuits - Tome premier

fairy tale transformation solemn Ages all ages 1146 words 5 min read
Cover: IV NUIT

Adapted Version

CEFR A1 Age 5 411 words 2 min Canon 65/100

A storyteller began a new tale. "Tell us more!" said Dina. So the storyteller began.

An old man came with a deer. He needed help. A traveler was in big trouble. "Listen to my story," the old man said. "It is special," he told the Big Listener. "Please help the traveler."

The Big Listener sat very still. "Fine," he said. "Tell me your story."

"This is my story," the old man said. He looked sad. "I had a wife. She was not kind. She was mean inside."

Old man and wife wanted a baby. But no baby came. Then a kind woman came to help. She had a little boy. The old man loved the boy. But his wife was very angry. She did not like the kind woman. She did not like the boy.

One day the old man went away. His mean wife learned magic. She turned the kind woman into a cow. She turned the little boy into a calf. She gave them to the farmer. "Take care of these animals," she said.

The old man came home. "Where is the kind woman?" he asked. "She is gone," said his mean wife. "And your son is gone too." The old man was very sad.

Then the old man wanted a cow for his farm. The farmer brought him a cow. It was the kind woman! But the old man did not know.

The cow looked at the old man. Big tears fell from her eyes. She cried and cried. The old man felt very sad. "I cannot keep this cow," he said. "She is too sad." But his mean wife said, "You must keep her!"

Then the farmer brought a little calf. It was the old man's son! But the old man did not know. The little calf saw the old man. He pulled and pulled his rope. Snap! The rope broke. The little calf ran to the old man. He put his head on the old man's feet. He looked up with big, sad eyes. The old man felt love in his heart.

"I will keep this calf," he said. "He is special." But his mean wife was very cross. "No! Send him away!" she said. The old man felt very sad. He did not know what to do.

And then — the storyteller stopped! "It is morning now," she said. "What happens next?" asked Dina. The King wanted to know too. "We will find out tomorrow!"

Original Story 1146 words · 5 min read

IV NUIT.

Vers la fin de la nuit suivante, Dinarzade, avec la permission du sultan, parla dans ces termes:

Sire, quand le vieillard qui conduisait la biche vit que le génie s'était saisi du marchand et l'allait tuer impitoyablement, il se jeta aux pieds de ce monstre, et les lui baisant: «Prince des génies, lui dit-il, je vous supplie très-humblement de suspendre votre colère, et de me faire la grâce de m'écouter. Je vais vous raconter mon histoire et celle de cette biche que vous voyez; mais si vous la trouvez plus merveilleuse et plus surprenante que l'aventure de ce marchand à qui vous voulez ôter la vie, puis-je espérer que vous voudrez bien remettre à ce pauvre malheureux le tiers de son crime?» Le génie fut quelque temps à se consulter là- dessus; mais enfin il répondit: «Hé bien! voyons, j'y consens.»

HISTOIRE DU PREMIER VIEILLARD ET DE LA BICHE. «Je vais donc, reprit le vieillard, commencer mon récit: écoutez- moi, je vous prie, avec attention. Cette biche que vous voyez est ma cousine, et de plus, ma femme. Elle n'avait que douze ans quand je l'épousai: ainsi je puis dire qu'elle ne devait pas moins me regarder comme son père, que comme son parent et son mari.

«Nous avons vécu ensemble trente années sans avoir eu d'enfants; mais sa stérilité ne m'a point empêché d'avoir pour elle beaucoup de complaisance et d'amitié. Le seul désir d'avoir des enfants me fit acheter une esclave, dont j'eus un fils[6] qui promettait infiniment. Ma femme en conçut de la jalousie, prit en aversion la mère et l'enfant, et cacha si bien ses sentiments, que je ne les connus que trop tard.

«Cependant mon fils croissait, et il avait déjà dix ans, lorsque je fus obligé de faire un voyage. Avant mon départ, je recommandai à ma femme, dont je ne me défiais point, l'esclave et son fils, et je la priai d'en avoir soin pendant mon absence, qui dura une année entière.

«Elle profita de ce temps-là pour contenter sa haine. Elle s'attacha à la magie, et quand elle sut assez de cet art diabolique pour exécuter l'horrible dessein qu'elle méditait, la scélérate mena mon fils dans un lieu écarté. Là, par ses enchantements, elle le changea en veau, et le donna à mon fermier, avec ordre de le nourrir, comme un veau, disait-elle, qu'elle avait acheté. Elle ne borna point sa fureur à cette action abominable: elle changea l'esclave en vache, et la donna aussi à mon fermier.

«À mon retour, je lui demandai des nouvelles de la mère et de l'enfant: «Votre esclave est morte, me dit-elle; et pour votre fils, il y a deux mois que je ne l'ai vu, et que je ne sais ce qu'il est devenu.» Je fus touché de la mort de l'esclave; mais comme mon fils n'avait fait que disparaître, je me flattai que je pourrais le revoir bientôt. Néanmoins huit mois se passèrent sans qu'il revînt, et je n'en avais aucune nouvelle, lorsque la fête du grand Baïram[7] arriva. Pour la célébrer, je mandai à mon fermier de m'amener une vache des plus grasses pour en faire un sacrifice. Il n'y manqua pas. La vache qu'il m'amena était l'esclave elle- même, la malheureuse mère de mon fils. Je la liai; mais dans le moment que je me préparais à la sacrifier, elle se mit à faire des beuglements pitoyables, et je m'aperçus qu'il coulait de ses yeux des ruisseaux de larmes. Cela me parut assez extraordinaire; et me sentant, malgré moi, saisi d'un mouvement de pitié, je ne pus me résoudre à la frapper. J'ordonnai à mon fermier de m'en aller prendre une autre.

Ma femme, qui était présente, frémit de ma compassion; et s'opposant à un ordre qui rendait sa malice inutile: «Que faites- vous, mon ami? s'écria-t-elle. Immolez cette vache. Votre fermier n'en a pas de plus belle, ni qui soit plus propre à l'usage que nous en voulons faire.» Par complaisance pour ma femme, je m'approchai de la vache; et combattant la pitié qui en suspendait le sacrifice, j'allais porter le coup mortel, quand la victime, redoublant ses pleurs et ses beuglements, me désarma une seconde fois. Alors je mis le maillet entre les mains du fermier, en lui disant: «Prenez, et sacrifiez-la vous-même; ses beuglements et ses larmes me fendent le coeur.»

«Le fermier, moins pitoyable que moi, la sacrifia. Mais en l'écorchant, il se trouva qu'elle n'avait que les os, quoiqu'elle nous eût paru très-grasse. J'en eus un véritable chagrin: «Prenez- la pour vous, dis-je au fermier, je vous l'abandonne; faites-en des régals et des aumônes à qui vous voudrez; et si vous avez un veau bien gras, amenez-le moi à sa place.» Je ne m'informai pas de ce qu'il fit de la vache; mais peu de temps après qu'il l'eut fait enlever de devant mes yeux, je le vis arriver avec un veau fort gras. Quoique j'ignorasse que ce veau fût mon fils, je ne laissai pas de sentir émouvoir mes entrailles à sa vue. De son côté, dès qu'il m'aperçut, il fit un si grand effort pour venir à moi, qu'il en rompit sa corde. Il se jeta à mes pieds, la tête contre la terre, comme s'il eût voulu exciter ma compassion et me conjurer de n'avoir pas la cruauté de lui ôter la vie, en m'avertissant, autant qu'il lui était possible, qu'il était mon fils.

«Je fus encore plus surpris et plus touché de cette action, que je ne l'avais été des pleurs de la vache. Je sentis une tendre pitié qui m'intéressa pour lui; ou, pour mieux dire, le sang fit en moi son devoir.» Allez, dis-je au fermier, ramenez ce veau chez vous. Ayez-en un grand soin; et à sa place, amenez-en un autre incessamment.»

«Dès que ma femme m'entendit parler ainsi, elle ne manqua pas de s'écrier encore: «Que faites-vous, mon mari? Croyez-moi, ne sacrifiez pas un autre veau que celui-là. - Ma femme, lui répondis-je, je n'immolerai pas celui-ci. Je veux lui faire grâce; je vous prie de ne vous y point opposer.» Elle n'eut garde, la méchante femme, de se rendre à ma prière; elle haïssait trop mon fils, pour consentir que je le sauvasse. Elle m'en demanda le sacrifice avec tant d'opiniâtreté, que je fus obligé de le lui accorder. Je liai le veau, et prenant le couteau funeste…» Scheherazade s'arrêta en cet endroit, parce qu'elle aperçut le jour: «Ma soeur, dit alors Dinarzade, je suis enchantée de ce conte, qui soutient si agréablement mon attention. - Si le sultan me laisse encore vivre aujourd'hui, repartit Scheherazade, vous verrez que ce que je vous raconterai demain vous divertira beaucoup davantage.» Schahriar, curieux de savoir ce que deviendrait le fils du vieillard qui conduisait la biche, dit à la sultane, qu'il serait bien aise d'entendre la nuit prochaine la fin de ce conte.


Story DNA

Moral

Jealousy can lead to cruel and destructive acts, but true bonds of love and family can sometimes overcome even the darkest magic.

Plot Summary

An old man, seeking to save a merchant from a genie, begins to tell his own wondrous story. He recounts how his jealous wife, barren for thirty years, used dark magic to transform his son (born to an enslaved woman) into a calf and the enslaved woman into a cow during his absence. Upon his return, he is repeatedly moved by the transformed animals' pleas, unable to sacrifice them, despite his wife's cruel insistence. The story ends on a cliffhanger as the old man, pressured by his wife, is about to sacrifice his own son, disguised as a calf.

Themes

jealousybetrayalpaternal lovemagic and deception

Emotional Arc

betrayal to suspense

Writing Style

Voice: third person omniscient
Pacing: moderate
Descriptive: moderate
Techniques: nested stories, cliffhanger

Narrative Elements

Conflict: person vs person
Ending: cliffhanger
Magic: genies, transformation magic (human to animal), sorcery
the biche (transformed wife)the cow (transformed enslaved woman)the calf (transformed son)

Cultural Context

Origin: Arabian
Era: timeless fairy tale

The story is part of the One Thousand and One Nights, a collection of Middle Eastern and South Asian stories compiled during the Islamic Golden Age. The mention of Baïram grounds it in Islamic culture, where animal sacrifice is a significant ritual.

Plot Beats (14)

  1. Dinarzade prompts Scheherazade to continue the story.
  2. The old man with the biche pleads with the genie to spare the merchant, offering to tell a more wondrous story in exchange for a third of the merchant's 'crime'.
  3. The genie agrees to listen.
  4. The old man begins his tale, introducing the biche as his cousin and wife, whom he married when she was twelve.
  5. After thirty childless years, the old man buys an enslaved woman, with whom he has a son, sparking intense jealousy in his wife.
  6. During the old man's year-long journey, his wife learns magic and transforms the enslaved woman into a cow and their son into a calf, giving them to the farmer.
  7. Upon his return, the old man is told the enslaved woman died and the son disappeared.
  8. For the Baïram festival, the old man requests a fat cow for sacrifice; the farmer brings the transformed enslaved woman.
  9. The cow weeps and moans, moving the old man to pity, and he cannot bring himself to sacrifice her, despite his wife's insistence.
  10. The farmer sacrifices the cow, which is found to be only bones, despite appearing fat.
  11. The old man requests a fat calf, and the farmer brings his transformed son.
  12. The calf breaks its rope and rushes to the old man, bowing its head, which deeply moves the old man, who again cannot sacrifice it.
  13. His wife vehemently insists on sacrificing that specific calf, and the old man, pressured, prepares to strike the fatal blow.
  14. Scheherazade stops the story as day breaks, leaving the sultan and Dinarzade in suspense.

Characters

👤

Dinarzade

human young adult female

Slender build, likely of average height for a woman of her region. Her features are delicate, and she possesses a graceful demeanor.

Attire: Wears a flowing, modest dress made of fine silk or cotton, perhaps in a soft, muted color like cream or pale blue. It would be adorned with subtle embroidery, possibly a simple gold trim, reflecting her position as a sultan's sister or attendant.

Wants: To provide comfort and companionship to her sister, and to encourage the continuation of the stories.

Flaw: Her role is largely passive; she relies on Scheherazade for entertainment and her own survival is tied to her sister's fate.

Her arc is tied to Scheherazade's; she remains a constant, supportive presence.

Her attentive, eager expression as she listens to the stories.

Curious, attentive, appreciative, and supportive of her sister Scheherazade.

👤

Sultan Schahriar

human adult male

A man of imposing presence, likely broad-shouldered and of a commanding height. His physique suggests a life of power and perhaps past military engagement, though now softened by court life. His skin tone would be olive, typical of a ruler in a Middle Eastern setting.

Attire: Wears luxurious, flowing robes of rich silk or brocade, in deep jewel tones like emerald green or sapphire blue, adorned with intricate gold embroidery. A jeweled turban would sit upon his head, and a wide, ornate sash would cinch his waist.

Wants: To satisfy his curiosity and be entertained, which distracts him from his initial murderous intent.

Flaw: His susceptibility to captivating stories, which Scheherazade exploits.

Begins as a tyrannical ruler driven by vengeance, but gradually softens and becomes more merciful due to Scheherazade's stories, eventually abandoning his cruel decree.

His stern, dark eyes, softened by a flicker of curiosity as he listens intently.

Initially cruel and vengeful, but also curious, easily entertained, and ultimately swayed by compelling narratives.

👤

The First Old Man

human elderly male

A man of advanced age, likely with a lean build from a life of travel and hardship. His height is average, but he might appear slightly stooped with age. His skin is weathered and tanned from exposure.

Attire: Wears simple, practical robes of coarse wool or linen, likely in earthy tones like brown or grey, showing signs of wear from his travels. He might have a simple head covering, like a turban or a wrapped cloth, to protect from the sun.

Wants: To save the merchant's life by telling a compelling story, and to protect his transformed family members.

Flaw: His deep emotional attachment and compassion, which his wife exploits.

He begins as a man unknowingly suffering from his wife's malice, and through the story, he reveals his journey of grief and his attempts to protect his transformed family.

His long white beard and kind, sorrowful eyes, as he leads the biche.

Compassionate, persistent, sorrowful, and devoted to his family despite their flaws.

✦

The Biche (First Old Man's Wife)

human (transformed into a deer) adult (appears as a deer) female

As a deer (biche), she is a graceful, slender female deer, with soft brown fur, delicate legs, and large, dark, expressive eyes. Her size is typical for a European deer species, perhaps a roe deer or a smaller red deer.

Attire: None, as she is a deer.

Wants: Driven by intense jealousy over her husband's enslaved woman and son, she seeks to eliminate them.

Flaw: Her overwhelming jealousy and hatred, which consume her.

She is presented as a static antagonist, her transformation into a deer is a consequence of her actions, but her internal malice remains unchanged within the narrative presented.

A beautiful, graceful female deer with unusually intelligent and watchful dark eyes, led by an old man.

Jealous, vengeful, cruel, and skilled in dark magic. She is cunning and manipulative.

✦

The Genie

magical creature (Genie) ageless non-human

A colossal, fearsome figure, likely with a powerful, muscular build. His skin could be a deep, unnatural color like smoky grey, fiery red, or dark blue, shimmering with an otherworldly glow. He might have sharp claws and glowing eyes.

Attire: Minimal, perhaps just a loincloth or a simple, dark, flowing garment that emphasizes his immense power and form, made of an ethereal, non-earthly fabric.

Wants: To exact revenge for the death of his son, and to uphold his own sense of justice.

Flaw: His adherence to agreements and his curiosity for captivating tales, which can be used to delay or alter his judgment.

He is a static character in this segment, serving as the arbiter of fate for the merchant, but his judgment is swayed by the stories he hears.

His colossal size and glowing, intense eyes, radiating immense power.

Fearsome, powerful, vengeful, but also bound by certain rules and susceptible to persuasion through compelling stories.

👤

The Merchant

human adult male

A man of average build and height, likely well-dressed but now disheveled from his ordeal. His skin tone would be olive, typical of a merchant in a Middle Eastern setting.

Attire: Wears fine, but now dusty and torn, merchant's attire: a tunic of good quality linen or cotton, loose trousers, and perhaps a vest, in colors like deep red or indigo. He might have a simple, practical turban.

Wants: To save his own life from the Genie's wrath.

Flaw: His vulnerability to fate and his accidental killing of the Genie's son.

He begins as a man condemned to death and becomes the subject of the old man's plea, his fate hanging in the balance.

His terrified, pleading expression as he faces the Genie.

Unlucky, fearful, desperate, and remorseful for his accidental crime.

✦

The Veau (First Old Man's Son)

human (transformed into a calf) child (appears as a calf) male

As a calf, he is a young, robust, and well-fed male calf, with soft brown or black fur, large innocent eyes, and a gentle demeanor. His size is typical for a calf of about ten months.

Attire: None, as he is a calf.

Wants: To survive and to make his father recognize him.

Flaw: His inability to speak or fully communicate his human identity while transformed.

He is a victim of his stepmother's magic, his arc is one of survival and silent plea for recognition.

A robust calf with large, dark, pleading eyes, breaking its rope to nuzzle an old man's feet.

Innocent, loving, and desperate to communicate his true identity to his father.

✦

The Vache (Enslaved Woman)

human (transformed into a cow) adult (appears as a cow) female

As a cow, she is a large, gentle female cow, appearing initially plump but revealed to be bony after sacrifice. Her fur is soft, likely brown or black, and her eyes are large and mournful.

Attire: None, as she is a cow.

Wants: To survive and to make her master recognize her and her son.

Flaw: Her inability to speak or fully communicate her human identity while transformed.

She is a victim of the Biche's magic, her arc is one of suffering and a tragic, silent plea for recognition before her eventual sacrifice.

A large, gentle cow with streams of tears flowing from her mournful dark eyes.

Mournful, suffering, and desperate to communicate her plight, but ultimately helpless.

Locations

Merchant's Encounter Site

outdoor night Implied warm, dry climate; clear night sky for storytelling.

A desolate, open area where the merchant, the genie, and later the old man with the biche converge. The ground is likely sandy or rocky, typical of a desert or arid region, with sparse vegetation.

Mood: Tense, foreboding, with a glimmer of hope as the old man intervenes.

The old man begins his tale to persuade the genie to spare the merchant.

genie (implied large, imposing figure) merchant (distressed) old man biche (doe) sandy ground sparse desert flora

Old Man's Estate Courtyard

outdoor morning Warm, clear day, typical of the Arabian climate.

A traditional Arabian estate courtyard, likely paved with geometric tile mosaics or smooth stone, featuring a central fountain (riad style) and surrounded by the walls of the dwelling. This is where the sacrificial rituals take place.

Mood: Initially festive for Baïram, then shifts to somber and distressing due to the sacrifices.

The old man attempts to sacrifice the transformed slave (cow) and later his transformed son (calf), but is overcome by pity.

courtyard pavement (geometric tiles or stone) fountain (riad style, possibly dry or with minimal water) sacrificial altar/spot ropes for tying animals mallet and knife for sacrifice cow (the transformed slave) calf (the transformed son) old man wife farmer

Secluded Spot (Transformation Site)

outdoor day Unspecified, but likely warm and dry, fitting the region.

A remote, isolated area, likely a patch of scrubland or a rocky outcrop away from the main estate, where the wife performs her dark magic. It would feel desolate and perhaps slightly overgrown.

Mood: Eerie, sinister, a place of dark magic and betrayal.

The wicked wife transforms the son into a calf and the slave into a cow.

sparse, dry vegetation rocky ground implied magical implements (not explicitly stated but implied by 'enchantments') son (as a boy) wife (performing magic)