LXXIX NUIT
by Unknown · from Les mille et une nuits - Tome premier
Adapted Version
Long ago, a kind boy named Ben walked in a parade. He gave shiny gold coins. He gave them to the band. He gave them to dancers. They were very happy. Ben was kind. He was very nice.
All people looked at Ben. He was truly very nice. People liked to see him. They looked at his face.
The parade went to a big house. It was his uncle's house. Ben's uncle lived there. A big wedding was there.
Ben wanted to go inside. Guards stood at the door. The guards said, "No. You cannot go in."
The band helped Ben. They said, "He is kind. He wants to see it." So Ben went inside.
Ben went inside the big hall. He sat next to The Bride. He sat next to The Groom. The Groom looked not the same.
The Bride was very sad. She did not smile at all. Her face looked so sad. The Groom was not nice. He sat close to her.
Many ladies were there. They wore very pretty dresses. They looked nice and bright.
The ladies saw Ben. They looked at him well. They thought he was nice. They liked him a lot. They could not stop looking.
The ladies stood up. They walked to Ben. They wanted to see him. They felt happy near him.
The ladies started to whisper. They said, "Ben is so nice." They said, "The Groom is not." They talked softly.
The ladies spoke loudly. They said, "The Bride should marry Ben!" They said, "Not this Groom!" They felt this was right.
The ladies were so sad. They did not like this at all. They made a lot of noise. They were very sad.
The music stopped. All was quiet for a bit. Then the music played again. The Bride's friends went to her. She was still very sad.
The music played again. But everyone still thought about the handsome Ben and the sad bride. What would happen next?
Original Story
LXXIX NUIT.
Sire, dit-elle, le vizir Giafar continuant de parler au calife: «Bedreddin Hassan, poursuivit-il, se trouvant près des joueurs d'instruments, des danseurs et des danseuses, qui marchaient immédiatement devant le bossu, tirait de temps en temps de sa bourse des poignées de sequins qu'il leur distribuait. Comme il faisait ses largesses avec une grâce sans pareille et un air très- obligeant, tous ceux qui les recevaient jetaient les yeux sur lui, et dès qu'ils l'avaient envisagé, ils le trouvaient si bien fait et si beau qu'ils ne pouvaient plus en détourner leurs regards.
«On arriva enfin à la porte du vizir Schemseddin Mohammed, oncle de Bedreddin Hassan, qui était bien éloigné de s'imaginer que son neveu fût si près de lui. Des huissiers, pour empêcher la confusion, arrêtèrent tous les esclaves qui portaient des flambeaux, et ne voulurent pas les laisser entrer. Ils repoussèrent même Bedreddin Hassan; mais les joueurs d'instruments, pour qui la porte était ouverte, s'arrêtèrent en protestant qu'ils n'entreraient pas si on ne le laissait entrer avec eux. «Il n'est pas du nombre des esclaves, disaient-ils; il n'y a qu'à le regarder pour en être persuadé. C'est sans doute un jeune étranger qui veut voir, par curiosité, les cérémonies que l'on observe aux noces en cette ville.» En disant cela, ils le mirent au milieu d'eux, et le firent entrer malgré les huissiers. Ils lui ôtèrent son flambeau, qu'ils donnèrent au premier qui se présenta, et après l'avoir introduit dans la salle, ils le placèrent à la droite du bossu, qui s'assit sur un trône magnifiquement orné, près de la fille du vizir.
«On la voyait parée de tous ses atours; mais il paraissait sur son visage une langueur, ou plutôt une tristesse mortelle dont il n'était pas difficile de deviner la cause, en voyant à côté d'elle un mari si difforme et si peu digne de son amour. Le trône de ces époux si mal assortis était au milieu d'un sofa. Les femmes des émirs, des vizirs, des officiers de la chambre du sultan, et plusieurs autres dames de la cour et de la ville étaient assises de chaque côté, un peu plus bas, chacune selon son rang, et toutes habillées d'une manière si avantageuse et si riche que c'était un spectacle très-agréable à voir. Elles tenaient de grandes bougies allumées.
«Lorsqu'elles virent entrer Bedreddin Hassan, elles jetèrent les yeux sur lui, et admirant sa taille, son air et la beauté de son visage, elles ne pouvaient se lasser de le regarder. Quand il fut assis, il n'y en eut pas une qui ne quittât sa place pour s'approcher de lui et le considérer de plus près; et il n'y en eut guère qui, en se retirant pour aller reprendre leurs places, ne se sentissent agitées d'un tendre mouvement.
«La différence qu'il y avait entre Bedreddin Hassan et le palefrenier bossu dont la figure faisait horreur, excita des murmures dans l'assemblée. «C'est à ce beau jeune homme, s'écrièrent les dames, qu'il faut donner notre épousée, et non pas à ce vilain bossu.» Elles n'en demeurèrent pas là: elles osèrent faire des imprécations contre le sultan, qui, abusant de son pouvoir absolu, unissait la laideur avec la beauté. Elles chargèrent aussi d'injures le bossu et lui firent perdre contenance, au grand plaisir des spectateurs, dont les huées interrompirent pour quelque temps la symphonie qui se faisait entendre dans la salle. À la fin, les joueurs d'instruments recommencèrent leurs concerts, et les femmes qui avaient habillé la mariée s'approchèrent d'elle.»
En prononçant ces dernières paroles, Scheherazade remarqua qu'il était jour. Elle garda aussitôt le silence, et, la nuit suivante, elle reprit ainsi son discours:
Story DNA
Plot Summary
During a wedding procession for his uncle's daughter, the strikingly handsome Bedreddin Hassan generously distributes coins. Despite being initially barred, he enters the feast and is seated next to the visibly unhappy bride and her deformed groom. All the women guests are immediately captivated by Bedreddin Hassan's beauty, openly comparing him to the groom and expressing outrage at the mismatched union. Their protests escalate into curses against the Sultan and insults towards the hunchback, causing a temporary disruption before the music resumes.
Themes
Emotional Arc
discontent to hope
Writing Style
Narrative Elements
Cultural Context
This story is part of 'One Thousand and One Nights' (Arabian Nights), a collection of Middle Eastern folk tales compiled during the Islamic Golden Age. The framing device of Scheherazade telling stories to the Sultan is central to its structure.
Plot Beats (15)
- Vizier Giafar narrates to the Caliph about Bedreddin Hassan.
- Bedreddin Hassan, a handsome young man, generously distributes coins to musicians and dancers in a wedding procession.
- Everyone who sees Bedreddin Hassan is captivated by his beauty.
- The procession arrives at the home of Vizier Schemseddin Mohammed, Bedreddin Hassan's uncle.
- Bedreddin Hassan is initially prevented from entering the wedding by ushers.
- The musicians insist on Bedreddin Hassan's entry, vouching for him as a curious stranger.
- Bedreddin Hassan is brought into the hall and seated to the right of the hunchback groom and the vizier's daughter (the bride).
- The bride appears sad and languid, a stark contrast to her deformed groom.
- Other ladies of the court and city are present, elegantly dressed.
- Upon seeing Bedreddin Hassan, all the women are mesmerized by his appearance.
- The women leave their seats to get a closer look at Bedreddin Hassan, feeling stirred by his presence.
- Murmurs arise among the guests comparing Bedreddin Hassan's beauty to the hunchback's ugliness.
- The ladies openly exclaim that the bride should marry Bedreddin Hassan, not the hunchback.
- They curse the Sultan for forcing such a mismatched union and insult the hunchback, causing a commotion.
- The music is interrupted but eventually resumes, and the bride's attendants approach her.
Characters
Bedreddin Hassan
Tall and well-proportioned, with a graceful bearing. His overall physique is described as 'bien fait' (well-made) and 'beau' (beautiful), captivating all who see him.
Attire: Though not explicitly detailed, he is described as distributing sequins from a purse, suggesting he is dressed in fine, perhaps slightly understated, but clearly high-quality garments befitting a wealthy young man. Given the setting, he would likely wear a finely woven tunic or robe, possibly of silk or fine cotton, with a sash and perhaps a turban, though he is initially mistaken for an 'étranger' (foreigner) by the ushers, implying his attire might be less formal than the wedding guests, but still elegant.
Wants: Initially motivated by curiosity to observe the wedding ceremonies and perhaps a desire to be generous. Later, his motivation becomes to simply exist within the space, as he is drawn into the center of attention.
Flaw: His striking beauty makes him an object of intense scrutiny and desire, potentially putting him in awkward or dangerous situations, as seen by the ladies' outcry.
In this excerpt, he moves from an observer to the unwitting center of attention, disrupting the wedding proceedings simply by his presence. He becomes a symbol of ideal beauty contrasted with the 'hunchback'.
Generous, graceful, charming, captivating, and somewhat naive or curious (as he is described as wanting to see the ceremonies).
The Hunchback
Described as 'difforme' (deformed) and 'vilain' (ugly), with a figure that inspires horror. His most prominent feature is his hunchback, which makes him physically repulsive to the onlookers.
Attire: As the groom, he is seated on a magnificently adorned throne, implying he is dressed in rich, ceremonial attire befitting a wedding. This would likely include a luxurious robe of silk or brocade, possibly in deep colors, with a turban, but these fine clothes cannot mask his physical deformities.
Wants: To marry the Vizier's daughter and assert his position, likely driven by power or status.
Flaw: His physical deformity and the revulsion it inspires in others. He is easily rattled by public scorn.
He begins as the triumphant groom but is publicly humiliated and loses face due to the crowd's reaction to his appearance compared to Bedreddin Hassan.
Implied to be somewhat arrogant or oblivious to his own repulsiveness, as he proceeds with the wedding despite the bride's obvious distress. He loses his composure when insulted, suggesting a lack of inner strength or dignity.
The Vizier's Daughter
Described as 'parée de tous ses atours' (adorned in all her finery), implying she is beautiful and elegant, though her specific features are not detailed. Her beauty is contrasted with her groom's ugliness.
Attire: Dressed in magnificent wedding attire, likely a luxurious bridal kaftan or gown made of fine silk or brocade, richly embroidered with gold thread and possibly adorned with pearls and precious stones. She would also wear elaborate jewelry, including necklaces, bracelets, and earrings, and a delicate veil.
Wants: To escape her forced marriage, or at least to endure it with dignity, though her sadness is evident.
Flaw: Her lack of agency in her own marriage, making her a victim of circumstance and the Sultan's decree.
She remains a static character in this excerpt, a symbol of beauty tragically paired with ugliness, eliciting sympathy from the onlookers.
Melancholy, sorrowful, resigned, and likely sensitive, given her visible distress at her unfortunate marriage.
Vizier Schemseddin Mohammed
Not described physically, but as a Vizier, he would likely be a man of imposing presence and authority, possibly middle-aged or elderly.
Attire: As a Vizier, he would wear the finest court attire, likely a richly embroidered silk or brocade robe, a large turban, and possibly a jeweled dagger at his waist. His clothing would signify his high status and wealth.
Wants: To maintain his position and obey the Sultan's decree, even at personal cost.
Flaw: His subservience to the Sultan's absolute power.
He remains off-stage in this excerpt, unaware of his nephew's presence at his daughter's wedding.
Implied to be powerful and influential, as he is a Vizier. His role in arranging the marriage suggests he is obedient to the Sultan's will, even if it means his daughter's unhappiness.
Locations
Procession Route to the Vizier's Palace
A bustling street or thoroughfare leading to the vizier's residence, filled with musicians, dancers, and torch-bearing slaves. The atmosphere is lively and celebratory, yet also somewhat chaotic with the movement of a large crowd.
Mood: Festive, lively, bustling, with an undercurrent of curiosity and admiration for Bedreddin Hassan.
Bedreddin Hassan joins the wedding procession, captivating onlookers with his generosity and beauty.
Entrance Gate of Vizier Schemseddin Mohammed's Palace
A grand, imposing entrance gate to a vizier's palace, guarded by huissiers (ushers or guards). The gate is wide enough for a procession but has strict entry protocols, leading into a more private courtyard or antechamber.
Mood: Controlled, formal, initially restrictive, then yielding to persuasion.
Bedreddin Hassan is initially denied entry but is brought in by the musicians, marking his official arrival at the wedding.
Grand Hall of the Vizier's Palace
A magnificent, richly adorned hall within the vizier's palace, serving as the wedding reception area. It features a central sofa with a lavishly decorated throne, surrounded by seated noblewomen holding large lit candles. The architecture suggests Abbasid-era Arabian luxury with intricate details.
Mood: Opulent, formal, initially somber due to the bride's sadness, then shifting to murmuring and agitation.
Bedreddin Hassan is seated, and the guests react strongly to the contrast between his beauty and the groom's deformity, leading to protests against the marriage.