Arabian Nights Series Part 2: Burton Vs Lyons Translation Throwdown

(Written by Timeless Tales Magazine Editor Tahlia Merrill Kirk)

This is Part 2 of a series about reading Tales of 1001 Nights. To start at the beginning of the series, click HERE.


Your Arabian Nights Quote of the Day:

I asked an old man walking with his beard down to his knees: “Why are you so bent?” He waved his hands at me. “My youth was lost on the ground,” he said, “And I am bending down to look for it.

- Malcolm C. Lyons. The Arabian Nights: Tales of 1,001 Nights: Volume 1. Penguin Books Ltd. Kindle Edition.

Lyons' 2008 Translation

Since the complete unabridged Arabian Nights is around 2,600 pages (the notoriously long War and Peace is only around 1,225 pages), the circle of people who have read the entire thing is relatively small. But there’s always one question that pops ups first when you meet the rare member of this club: What translation are you reading?


For a long time, there was only one option if you wanted a complete unabridged translation. There are dozens of partial or abridged compilations, many heavily edited to take out the sexual content and insert Christian morals. The first to successfully tackle the entire collection was Sir Richard Francis Burton. His 1885 edition stood alone in this category for over a hundred years until Malcolm C. and Ursula Lyons published their Penguin Classic edition in 2008. Considering how long it takes to simply read the full collection, can you imagine being the person who painstakingly converts each page from Arabic to English? The thought blows my mind.

Photograph by Rischgitz/Getty Images

Burton’s version is beloved for its grandiose language and extensive footnotes that provide insight into Middle Eastern culture. He deliberately crafted his writing style to evoke epic literature by Medieval and Elizabethan writers like Chaucer and Shakespeare. But perhaps what Burton fans admire most about his work is its authenticity. All those footnotes came about during his many years living in the Middle East, so much of his research stems from firsthand accounts.
It’s impossible not to indulge in a small detour about the colorful character of Burton himself. His thirst for adventure led him into plenty of dangerous situations. He infamously disguised himself as a Muslim to make a pilgrimage to Mecca, going so far as to become circumcised to avoid discovery. He was once on an expedition that got attacked by Somali warriors and survived being impaled by a javelin through both cheeks. He immersed himself in every culture he visited and mastered over 26 languages. This larger than life legacy undoubtedly contributes to the continuing popularity of his books. There’s something extra exciting about reading a version of Arabian Nights knowing that the author was a real life Indiana Jones.
And after all that buildup, I will now break the news that Ron did not read Burton’s translation. He read the newer Lyons’ version. Sure, Malcolm and Ursula don’t have any stories on their Wikipedia page about being chased out of town on horseback by 300 soldiers--wait, let's give them the benefit of the doubt--I'll fact check that before I make such a broad generalization…
Guys, neither Ursula nor Malcolm have a Wikipedia page. This is tragic! And makes for boring blogging! Their Goodreads pages lead me to believe that The Arabian Nights is probably their lives’ magnum opus. I'll just imagine some amazing romance that brought this couple together in their joint quest to rebirth this great epic book…


Okay, joking aside, the Lyons version of Arabian Nights actually has a lot going for it. Think of Burton’s version as the King James Version of the Bible and the Lyons’ translation as NIV. Lots of people love KJV for its beautiful evocative language that is steeped in tradition and history. But others prefer NIV for being straightforward and easier to understand. It’s the same with Arabian Nights. Burton has a tendency towards rambling and flowery language, using “thee”s and “thou”s to evoke an archaic tone. He deliberately chooses obscure words, using Latin whenever the chance arises. My incredibly well read friend Adam enthused about how many new words he learned from Burton’s text. Constantly googling words is fun for some, but cumbersome for others. The Lyons, on the other hand, take a more grounded approach. They aim for clarity and a smooth effortless reading experience. You’ll never lose the train of thought or get exhausted after reading one tale. Some might argue that the Lyons version lacks pizzazz, but others would say that they allow the words to speak for themselves. 

If you want a more detailed comparison The Guardian wrote this amazing post about the two editions. It even has two side-by-side examples of how drastically different they are. 

If anyone knows how to get in touch with the Lyons, I would love to interview them about the translation process and what their goals were in creating this new edition. 


For those who are interested, here's a link to the Penguin Classics Volume 1-3 that Ron read: https://www.amazon.com/Arabian-Nights-Tales-Penguin-Classics/dp/0140449388


Next up in this blog series: Is Arabian Nights Super Sexist? Stay tuned!

First Impressions of 1001 Tales of Arabian Nights

(Written by Tahlia Merrill Kirk, editor of Timeless Tales Magazine)

A few years ago, my husband Ron delighted me with the news that he had started reading Tales of 1,001 Nights (aka Arabian Nights) on his Kindle.

“This is great!” I squeed. “I’ve never read it, so you can tell me all about it as you go!”

I suppose I should be at least a tad embarrassed that I have zero desire to read the entirety of Arabian Nights, but have you seen the SIZE of it?! There are three volumes. All combined, they add up to a staggering 2600 pages. There isn’t even a Sparknotes available for it, that’s how big it is. So I ignore the mournful wails of my English degree--secondhand reading is good enough for me on this one.


It took him almost 5 years to get through it all (taking breaks to read other books, of course), but this week, he finally finished. Since I immediately knew that I wanted to turn this experience into a blog post, I made sure that Ron filled me in about all the interesting parts of the stories. I even had him send me relevant/funny quotes as he went.


I started writing this as one post, but there is too much to say, so we’re going to make a whole series out of it! Here are a few topics I want to cover (Let me know if there's something you really want me to discuss):

1. Which Translation Did Ron Read? (I promise it won't be as boring as it sounds)

2. Is Arabian Nights Sexist? 

3. Is Arabian Nights Sexy? 

4. How Does Aladdin Fit Into Arabian Nights?

5. Djinn and Their Kind (or not-so-kind...hehe)

6. Religion in Arabian Nights

7. The Arabian Nights Board Game

8. Doughnuts (Nope, won’t explain. Saving the best for last)


In the meantime, here’s a funny mini-tale to give you a taste of how great these stories are:

My master the sultan, here is my most remarkable experience during my time in office. I had ten thieves hanged, each on a gibbet of his own, and I told the guards to watch to see that nobody removed any of the corpses. The next day, when I came to look at them, I found two corpses hanging from the same gibbet.

‘Who has done this,’ I asked the guards, ‘and where is the gibbet belonging to this second corpse?’

They disclaimed any knowledge of the affair, but when I was about to have them flogged, they said: ‘We fell asleep last night, emir, and when we woke up we found that one of the corpses, together with its gibbet, had been stolen. We were afraid, and when we saw a passing peasant coming up towards us with his donkey, we seized him, killed him and hanged him on this gibbet in place of the corpse that had been removed.’

I was taken by surprise and asked them what the peasant had had with him. They told me that he had had a saddlebag on his donkey, and when I asked what was in it they said that they didn’t know.

‘Bring it to me,’ I told them, and when they did, I ordered them to open it. There inside it was the body of a murdered man cut into pieces. I was astonished at this sight and said to myself: ‘Glory be to God. The reason that this peasant was hanged was that he was guilty of murder, and God does not treat His servants unjustly.’

Malcolm C. Lyons. The Arabian Nights: Tales of 1,001 Nights: Volume 2 (The Arabian Nights or Tales from 1001 Nights) (pp. 107-108). Penguin Books Ltd. Kindle Edition.

Caliph Stork by Wilhelm Hauff, Illustrated by Anton Lomaev

We discovered this gorgeous picture book just the other day and had to share the illustrations and this lesser-known fairy tale, The Story of Caliph Stork.

It may sound familiar as a version of the fairy tale was include in Andrew Lang's Green Fairy Book, but with such rich fodder for illustrators, and such a funny tale for storytellers to have fun with, it's surprising this isn't more well known.

The fairy tale actually has a distinct origin, written by German writer Wilhelm Hauff for his Märchen almanach auf das Jahr 1826 (Fairytale Almanac of 1826). (The Green Fairy Book retells story in chapters.)

Set in the nebulous 'Orient' (something the romantics were fascinated by, even though it was a fantasy) the plot could easily (today) be mistaken for something out of 1001 Nights. Source notes from one writer/storyteller, Aaron Shepard, who has won honors from the American Folklore Society, retold and published this tale (with very different, but also lovely illustrations by Alisher Dianov) tell us that despite it's German origin, that this tale is now told in the Middle East and has become part of their folklore!

Wow.

From Shepard's notes:

This tale—usually called “The Calif Stork” or “The Stork Calif”—is often classified as a folktale of Iraq; and folklorist Harold Courlander, who heard it twice from Muslim storytellers, believes it to be widely told in the Middle East. Yet its origin is The Caravan, a book of original fairy tales by nineteenth-century German writer Wilhelm Hauff. While folktales often make their way into written literature, in this case a written work has passed into folklore. My own retelling draws from both original and retold versions. 

The calif in this tale is patterned after Harun al-Rashid, made popular in the pages of The Thousand and One Nights.

The plot essentially goes :

The Caliph of Baghdad comes across a mysterious powder with an incantation on the bottle. It is said it can turn someone into any animal they wish. They must not, however, forget the incantation so they can turn back but above all, they must not laugh while as animals or they will be trapped in that form forever. Of course the Caliph (and his Vizier) become storks and get stuck. On a quest to find a cure, the encounter a large sad, owl, who tells them she is really the Princess of India, transformed by an evil imposter wizard, who now sits on the throne. They see an opportunity, via sneaky animal-eavesdropping and spy work, to become human again but there's a tricky clause in that one of them needs to promise his hand in marriage to the owl - without seeing what she looks like - otherwise the reversing will fail. All goes well and, of course, the princess is gorgeous, so the anxious Caliph is relieved.

If the illustration style of the images posted here, looks familiar it's because Anton Lomaev's illustrations for The Wild Swans have been circulating the internet constantly for about three years now, never failing to catch the eye (especially with all the golds and fire colors he includes in his images for that particular fairy tale. This one, however, is ultimately dominated by blues and mystery...

As an interesting tag to the tale, the sorcerer is sentenced to death while his son is given the choice of death or to smell the same black powder and become an animal forever. The son chooses the powder and becomes their pet, displayed in a cage in the garden for all to see. 

We love the last illustration in which the Caliph is making his children laugh by making fun of the Vizier when he was a stork. (And the Vizier is threatening to find that powder again as a result.)

And one day we will track down a physical copy of these lovely Lomaev illustrations (printed 2016) to put in the Fairy Tale Newsroom library!

UK Contest: Win 'The Curse Of Sleeping Beauty' on DVD (& a TV Series on the Way!)

This 2016 re-imagining of Sleeping Beauty is probably most comfortably categorized as horror, so while there are fantastical things to see in this film and more than your average dose of magic, just keep in mind that it's considered "good viewing for Halloween".

We admit we haven't seen this yet and our impression is that it was darker and scarier than Vampire Diaries or Twilight but perhaps this parallel is why this film has had so much publicity.

Over the next 13 days Horror Talk are holding a contest to give away a copy of the upcoming DVD, being released October 24th:

With a bright young cast (including Gregory Peck’s grandson, Ethan), gorgeously sinister design and more than a touch of gothic terror, The Curse of Sleeping Beauty is for anyone who enjoyed Maleficent, The Vampire Diaries or The Twilight Saga. 

Thomas Kaiser (Peck) inherits an ancestral mansion that has been in his family for generations - only to learn that he has also inherited an ancient curse stemming back to the Crusades. Forced into his new role as “protector” - the guardian appointed to keep the evil demons in the house at bay - Thomas must unravel the mystery of the house, while struggling to awaken the beautiful Briar Rose, held captive in a terrifying netherworld seen previously in his dreams.

YOU CAN ENTER THE CONTEST HERE.

While this movie clearly falls under the category of 'off-beat films', it's received a lot of attention this past year, enough to make people realize this take on Sleeping Beauty can't be as easily dismissed as you might think for a genre film.

It also turns out, there's a TV series coming, though it's not clear how much of it will explore metaphors via fairy tales like the movie. The director does have a soft spot for fairy tales it seem, though, so for those who love shows like Penny Dreadful and American Gothic, this one might be one to watch for.

Here are some excerpts from an interview with the director, Pearry Teo, by Fangoria, telling us more about the movie, his fairy tale explorations and the upcoming TV series:

Filmmaker Pearry Teo, whose credits include DRACULA: THE DARK PRINCE and THE EVIL WITHIN, has created a visually stunning reimagining of the Brothers Grimm fairy tale with THE CURSE OF SLEEPING BEAUTY. 

...Scripted by Teo and Josh Nadler from the comic book by Everette Hartsoe, it’s set in a sinister world where neither the conscious nor the unconscious can be trusted, blending Gothic and cultural legends to depict the ancient struggle between good and evil. 

FANG: THE CURSE OF SLEEPING BEAUTY constantly toys with reality and the subconscious dream realm. In creating this world, did any scenes stem from your own dreams or nightmares?
TEO: It would be very selfish to say that, because it really came from the dreams of everybody who worked with me. From my director of photography Christopher C, Pearson to my production designer Alessandro Marvelli, we all put a little bit of our dreams and nightmares into it. There were definitely elements I’ve experienced myself that I worked with my team to bring to life, like sleep paralysis and things like that, but the dreamscapes in this movie were definitely a collaborative effort. 

FANG: Is there a sequel or further continuation of the story in the works?
TEO: XLrator has been very supportive of this film, and about wanting to see the audience’s reaction before we consider a follow-up. It was a very risky film, because it’s not so much of an in-your-face horror movie; we were trying out new things, blending genres that most people wouldn’t think go together. To do something horrific with a story that was popularized by Disney was a very chancy move for us, but I can definitely tell you there will be a TV series. We already have an idea of what those details will be. 

FANG: Can you tell us anything about that?
TEO: Yes. The idea is that in a TV series, I can explore the fact that sleep is such an intriguing subject—it’s borderline spiritual. It’s where people experience their own subconscious, so we want to explore more of the cerebral realm and how it manifests the darker subconscious. If we were to do a series, without giving anything away, each episode would explore different dream worlds and tap into different dream cultures. Watching SLEEPING BEAUTY, you can see that we tapped into the Arabic realm with the djinn and all that stuff, so what’s going to happen when we start expanding further? Every culture has their own nightmares, so it’ll be very interesting to try and blend them all. We all have different stories to tell about dreams, and I don’t think that has been explored very much. 

FANG: Would you consider reimagining other classic fairy tales and giving them a genre makeover?
TEO: Yes, I actually have a book that is being republished called BEDLAM STORIES, written by Christine Converse from a story I created. It’s set in an asylum in the 1920s, and it’s about two little girls who have wild fantasies and delusions—it’s Alice and Dorothy. Putting those characters in that setting was really fun. SLEEPING BEAUTY is more like PAN’S LABYRINTH and SILENT HILL, but this one is more HELLRAISER. It’s definitely Clive Barker kind of stuff.

You can read the rest of the interview, with more behind-the-scenes information (and possibly some scare-spoilers) HERE.

And in case you haven't yet seen the trailer, here it is:

Good luck to our readers!

"Frozen" Writer Robert Lopez Reimagines 1001 Nights for Kids Off-Broadway

1001 nights: A Love Story About Loving Stories is a new family musical adaptation of Arabian Nights and it looks like a LOT of fun. The Atlantic for Kids Season 2016-2017 opened on September 17 Off Broadway to rave reviews and features music and lyrics by Oscar, Grammy, Emmy and Tony Award winner Robert Lopez (who co-wrote the music for Disney's Frozen). Lopez also co-wrote the book with Adam Koplan and Koplan directs.

Here's the description:

In this celebration of brainy imagination over brawn, a princess uses her wits to save a kingdom from an evil decree as she spins tale after tale for a narrow-minded king. Featuring genies, jesters, 40 thieves and other captivating characters, the princess’s cliffhanger stories keep the king - and audiences - on the edge of their seats. This playful adaptation of the Arabian Nights fairy tales is recommended for ages six and up. 

1001 Nights was first conceived in 1998 by Emmy, Grammy, Academy, and Tony Award winner Robert Lopez (Avenue Q, The Book of Mormon, Frozen) and Adam Koplan, artistic director of Flying Carpet Theatre Company. This newly reimagined production features early songs by Lopez and is directed by Koplan with puppet direction by Jon Ludwig, artistic director of the Center for Puppetry Arts. All the puppets were designed by the Center’s resident puppet builder Jason von Hinezmeyer and built by the talented crew in the Center’s puppet building shop.

Robert Lopez originally wrote the music for 1001 Nights at age 23, for his first show out of college, staged by The Flying Carpet Theater Company. For this new production, Lopez wrote an additional new song to expand the show.

A very complimentary and fun review in the New York Times gives you an idea of the stories covered and the approach to, what are initially very scary ideas (ie a man in power killing his new wives every night):

Mr. Koplan has nimbly directed the 70-minute production, which frames the grim premise in a nonscary way: Sherry, a contemporary girl played by the spirited Caitlin Donohue, transforms herself into Scheherazade as she realtes the adventure to her stuffed animals. The toys also morph - into big fuzzy puppets that jmight have sneaked out of "Avenue Q". (They're just as smart-alecky, but G-rated.) The show also uses clever hand puppets - Matt Acheson is credited for puppet direction - to ecplain the king's vow to wed every day and put each bride to death within 24 hours: His first wife betrayed him. 

Portrayed by PJ Adzima, who may remind you of a younger Neil Patrick Harris, this monarch is fundamentally a big baby. (Aren't all tyrants?) He holds his red blankie as Scheherazade beguiles him with "The Fisherman and the Genie," "Ali Baba and the 40 Thieves" and the lesser-known romance of Prince Budur and Princess Qamar. The king and Scheherazade enact tales, along with the puppets and the Atlantic's terrific young ensemble. I's hard to say what's funnier: the many rhyming jokes or the stage business, which includes an "Open Sesame," "Shut Sesame" routine that's like "Who's On First" in ancient Arabia.

You can read the rest of the review HERE.

Here's a sneak peek of the current show, from behind the scenes with the writers of the show explaining different aspects... to the puppet performers:

We like the part about the power of stories, what they mean to us and how they change us, along with the idea of empowerment through words. It's such great material to introduce kids to, we wonder why we're not swimming in productions of Arabian Nights for kids. (There are a couple that come into circulation every few years, often puppets but also live stage shows to live-puppet hybrids, but they tend to be smaller companies and fairly local, which is a shame as the artistry in design, acting, music and puppeteering seems, across the board, to be enchanting. You can get a glimpse at a lovely one HERE.)

Here's the original trailer which shows more of the actual show and gives you an idea of the writing and a little of the music as well:

If this show travels, by flying carpet or not, there's a few children we'd be very happy to take to see this!

1001 Nights: A Love Story About Loving Stories, plays through October 16, 2016 at the Linda Gross Theater in Chelsea, NY.

Note: Some of these images were from earlier productions of Lopez's 1001 Nights but we thought they represented the show well at a glance, so included them.

ABCs "Once Upon A Time" Returns September 25th (Cue Flying Carpets & Lots of Evil Queen)

With yet another version of a "re-set" in which Regina splits herself into her good and bad halves, ABCs Once Upon A Time is set to begin season 6 with the Evil Queen in full force and on the loose, with a mish-mash of "various story worlds" making appearances and a side trip or three into Arabian Nights territory with Aladdin, Jasmine, Jafar, Sinbad and Scheherazade.

While we would love to see some real story spinning, Scheherazade style, we have decided we will settle for her at least being a strong and smart character, who uses her words wisely and well.

Here's a long trailer, shown at Comic Con in July, showcasing the Evil Queen arc (shown for the first few minutes) and a preview of the introduction to Aladdin.

We're very curious to see if this season is as popular with fairy tale fans and to see if it will continue on to season 7.

"The One Hundred Nights of Hero" - A New Graphic Novel in the Tradition of Arabian Nights

In the tradition of The Arabian Nights, a beautifully illustrated tapestry of folk tales and myths about the secret legacy of female storytellers in an imagined medieval world.

What are the Thing trees, indeed. Are you intrigued? I am!

This new graphic novel by Isabel Greenberg, was released in the UK on September 1st (you can find it HERE) and will be released in the US on December 6th (pre-orders available through Amazon).

Here's the rest of the blurb:

In the Empire of Migdal Bavel, Cherry is married to Jerome, a wicked man who makes a diabolical wager with his friend Manfred: if Manfred can seduce Cherry in one hundred nights, he can have his castle--and Cherry. 

But what Jerome doesn't know is that Cherry is in love with her maid Hero. The two women hatch a plan: Hero, a member of the League of Secret Story Tellers, will distract Manfred by regaling him with a mesmerizing tale each night for 100 nights, keeping him at bay. Those tales are beautifully depicted here, touching on themes of love and betrayal and loyalty and madness. 

As intricate and richly imagined as the works of Chris Ware, and leavened with a dry wit that rivals Kate Beaton's in Hark! A Vagrant, Isabel Greenberg's One Hundred Nights of Hero will capture readers' hearts and minds, taking them through a magical medieval world.

I don't know a lot about it, except to say that I'm definitely curious, and this writer and illustrator has a habit of wowing critics so this one's on my "to watch for" list. It helps that The Guardian has a brief but lovely write up too. Here's an excerpt from the review:

Hero tells stories to distract (Manfred, her husband's friend), taking in dark swamps, floating greenhouses, cursed daughters and a harp that sings of murder. Danger lurks within these tales and after each dangling cliffhanger, but Hero weaves a web that has soon snared the suitor, the sentries and most of the townsfolk. Greenberg’s artwork is whimsical, and her plots reference countless fables. 

Greenberg has generously previewed quite a few pages  and scenes, on both her Twitter feed, Tumblr and Instagram (often using them as commentary on her excitement and nervousness about the upcoming release, which work so very well) so I've assembled, what appears to be the beginning (or very near the beginning) of the story. Take a look.

 

Page45 (yes, that's the name of the comic book news site) has a more extensive review, which I'm including an excerpt of, since it mentions all those things that we love: plot twists, folk and fairy tales and the power of story:

Will handmaiden Hero similarly succeed in saving the virtue of her beloved mistress Cherry from the predatory advances of her husband’s lascivious and quite ridiculous best mate? Whom her husband’s encouraged for the sake of a bet and proving a point! Hero’s certainly won over the guards with her carefully chosen and craftily spun yarns, but where has the one hundred and first night gone?
The answers will prove elevating. I even anticipate an air punch or two.
This is a book about stories and storytelling; of sisterhood and story spreading...
...What Greenberg has done here with the Scheherazade scenario – which elements she has incorporated and how she’s repositioned them – is ever so clever and makes for much mockery of man-pride.

Yes. We definitely want to read this.

To give you more of an idea of Greenberg's style in comics and storytelling you can read her graphic short story The River of Lost Souls, for free, online HERE. It will especially appeal if you also enjoy myth and begins with a forgotten coin on the banks of the river Styx...

Fairy tale bonus of the day:

I admit I was torn as to whether to make this one it's own post as I'm just as thrilled about this illustrated story as a new Scheherazade-based graphic novel! 

Isabel Greenberg and award winning author Zoe Gilbert, (whose short stories are often inspired by folk tales and folklore), were asked by Microsoft (stay with me) to "project test" the new suite of tools in Office 2016, designed to make online collaboration easier. They had just two weeks to create, from scratch, a completely new illustrated story and the result is The Mud-witch. (Yes those are webbed hands you see there!)

I initially forgot to embed the video, (sorry!) showing the collaboration and creation of words and images. It's fascinating, just from a story-creation point of view, plus, you know, folklore!

(Did your ears perk up? Mine did and it was worth the dive into the PDF available online HERE - if you can't see it embedded below - to read and view it.)