LVI NUIT
by Unknown · from Les mille et une nuits - Tome premier
Adapted Version
Once, a man felt very, very sad.
The Sad Man hurt The Young Man badly. The Young Man stopped breathing. The Sad Man felt very, very sad. He was scared. The Father would come soon.
The Sad Man closed the little house. It was under the ground. He put dirt on top. No one could see it now.
He looked at the sea. He saw a boat coming. It was The Father's boat. The Sad Man felt scared. He must hide now. He did not want to meet The Father.
He climbed up a tall, green tree. He hid in the leaves. No one could see him there. He was safe for now.
The boat came to the land. The Father came out. His helpers came too. They walked to the little house. They looked happy. They had hope.
They saw the new dirt. It was on the ground. Their faces changed. They looked very sad. They looked very worried. Hope was gone.
They moved the big stone. They went inside. They looked for The Young Man. He was on his bed. He was very still. He was very quiet.
The Father saw The Young Man. He was so, so sad. He fell down. His helpers carried him up. They put him near the tree. The Sad Man watched from the tree.
After a long time, The Father woke up. Helpers put nice clothes on The Young Man. They made a hole in the ground. They put him to rest there.
They took everything from the little house. They put it on the boat. All things went on the boat.
The Father was very, very sad. His helpers carried him. They put him on the boat. The boat sailed away. It went far, far away.
The Sad Man watched the boat go. He saw it get small. Then it was gone. He was alone on the island. He felt very, very sad.
The Sad Man stayed on the island. He was all alone. He felt very, very sad about it. He knew he would always remember. Our actions can make others very, very sad. It's important to be careful and kind.
Original Story
LVI NUIT.
Dinarzade, suivant sa coutume, éveilla la sultane le lendemain: Si vous ne dormez pas, ma soeur, lui dit-elle, je vous prie de nous raconter ce qui se passa après la mort du jeune homme. Scheherazade prit aussitôt la parole et parla de cette sorte:
«Madame, poursuivit le troisième calender en s'adressant à Zobéide, après le malheur qui venait de m'arriver, j'aurais reçu la mort sans frayeur si elle s'était présentée à moi. Mais le mal, ainsi que le bien, ne nous arrive pas toujours lorsque nous le souhaitons.
«Néanmoins, faisant réflexion que mes larmes et ma douleur ne feraient pas revivre le jeune homme, et que, les quarante jours finissant, je pourrais être surpris par son père, je sortis de cette demeure souterraine et montai au haut de l'escalier. J'abaissai la grosse pierre sur l'entrée et la couvris de terre.
«J'eus à peine achevé que, portant la vue sur la mer du côté de la terre ferme, j'aperçus le bâtiment qui venait reprendre le jeune homme. Alors, me consultant sur ce que j'avais à faire, je dis en moi-même: «Si je me fais voir, le vieillard ne manquera pas de me faire arrêter et massacrer peut-être par ses esclaves quand il aura vu son fils dans l'état où je l'ai mis. Tout ce que je pourrai alléguer pour me justifier ne le persuadera point de mon innocence. Il vaut mieux, puisque j'en ai le moyen, me soustraire à son ressentiment que de m'y exposer.»
«Il y avait près du lieu souterrain un gros arbre dont l'épais feuillage me parut propre à me cacher. J'y montai, et je ne me fus pas plus tôt placé de manière que je ne pouvais être aperçu, que je vis aborder le bâtiment au même endroit que la première fois.
«Le vieillard et les esclaves débarquèrent bientôt et s'avancèrent vers la demeure souterraine d'un air qui marquait qu'ils avaient quelque espérance; mais lorsqu'ils virent la terre nouvellement remuée, ils changèrent de visage, et particulièrement le vieillard. Ils levèrent la pierre et descendirent. Ils appellent le jeune homme par son nom, il ne répond point: leur crainte redouble; ils le cherchent et le retrouvent enfin étendu sur son lit, avec le couteau au milieu du coeur, car je n'avais pas eu le courage de l'ôter. À cette vue, ils poussèrent des cris de douleur qui renouvelèrent la mienne. Le vieillard en tomba évanoui; ses esclaves, pour lui donner de l'air, l'apportèrent en haut entre leurs bras et le posèrent au pied de l'arbre où j'étais. Mais, malgré tous leurs soins, ce malheureux père demeura longtemps en cet état, et leur fit plus d'une fois désespérer de sa vie.
«Il revint toutefois de ce long évanouissement. Alors les esclaves apportèrent le corps de son fils, revêtu de ses plus beaux habillements, et dès que la fosse qu'on lui faisait fut achevée, on l'y descendit. Le vieillard, soutenu par deux esclaves, et le visage baigné de larmes, lui jeta, le premier, un peu de terre, après quoi les esclaves en comblèrent la fosse.
«Cela étant fait, l'ameublement de la demeure souterraine fut enlevé, et embarqué avec le reste des provisions. Ensuite le vieillard, accablé de douleur, ne pouvant se soutenir, fut mis sur une espèce de brancard et transporté dans le vaisseau, qui remit à la voile. Il s'éloigna de l'île en peu de temps et je le perdis de vue.» Le jour, qui éclairait déjà l'appartement du sultan des Indes, obligea Scheherazade à s'arrêter en cet endroit. Schahriar se leva à son ordinaire, et par la même raison que le jour précédent, prolongea encore la vie de la sultane, qu'il laissa avec Dinarzade.
Story DNA
Plot Summary
Following an accidental killing, the Third Calender hides as the victim's father arrives by ship. He witnesses the father's profound grief upon discovering his son's body and the subsequent burial. The father, overcome with sorrow, departs on his ship, leaving the Calender alone on the island, having escaped immediate retribution but burdened by the tragic events he observed.
Themes
Emotional Arc
despair to deeper despair
Writing Style
Narrative Elements
Cultural Context
This is a segment from 'One Thousand and One Nights' (Arabian Nights), a collection of Middle Eastern and South Asian stories compiled during the Islamic Golden Age. The framing story of Scheherazade telling tales to Sultan Shahriar is central to its structure.
Plot Beats (13)
- Dinarzade asks Scheherazade to continue the Third Calender's story.
- The Third Calender, having accidentally killed the young man, is filled with despair but realizes he must act before the father returns.
- He seals the underground dwelling and covers the entrance with earth.
- He spots the young man's ship approaching and decides to hide rather than face the father's wrath.
- He climbs a large, leafy tree near the dwelling to conceal himself.
- The father and his slaves disembark and approach the dwelling with hope.
- They notice the freshly disturbed earth and their expressions change to dread.
- They open the dwelling, descend, and find the young man's body with the knife still in his heart.
- The father faints from grief and is brought to the surface, laid at the foot of the tree where the Calender is hidden.
- After a long period, the father revives, and the young man's body is dressed in fine clothes and buried.
- The dwelling's furnishings are removed and loaded onto the ship.
- The grief-stricken father is carried onto the ship, which then sails away.
- The Third Calender watches the ship disappear, left alone on the island.
Characters
Scheherazade ★ protagonist
Slender and graceful, with features considered beautiful in Arabian culture. Her movements are deliberate and elegant, reflecting her intelligence and composure.
Attire: Luxurious, flowing silk robes in rich jewel tones like sapphire, emerald, and ruby, often embroidered with gold thread. She wears delicate gold jewelry, including earrings and bracelets, consistent with a royal consort in an Arabian court.
Wants: To survive by entertaining the Sultan with stories, thereby saving her own life and potentially the lives of other women in the kingdom.
Flaw: Her life is constantly at risk, dependent on the Sultan's whim.
She is in the process of transforming the Sultan's heart and mind through her stories, gradually changing his perception of women and his cruel decree.
Intelligent, resourceful, courageous, eloquent, captivating.
Image Prompt & Upload
A young Arabian woman with an oval face, large dark almond-shaped eyes, and long dark hair styled in intricate braids. She has smooth olive skin. She wears a flowing sapphire silk robe embroidered with gold thread and delicate gold earrings. She sits with a poised and elegant posture, her hands gracefully clasped, a thoughtful and captivating expression on her face. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Dinarzade ◆ supporting
Likely shares similar features with her sister, Scheherazade, perhaps slightly younger and less imposing in stature. Graceful and gentle.
Attire: Elegant but less elaborate than Scheherazade's, perhaps simpler silk gowns in lighter, complementary colors, or fine cotton. Still indicative of her noble birth.
Wants: To support her sister and ensure her survival by prompting her to continue her stories each night.
Flaw: Her dependence on Scheherazade's survival.
Her role is primarily to facilitate Scheherazade's narrative, remaining a constant, supportive presence.
Supportive, loyal, curious, gentle, empathetic.
Image Prompt & Upload
A young Arabian woman with soft features, dark eyes, and dark hair. She has smooth olive skin. She wears a flowing light blue silk gown with subtle embroidery. She sits attentively, leaning slightly forward, with a gentle and curious expression. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Sultan Schahriar ⚔ antagonist
A powerful and imposing figure, likely with a strong build befitting a ruler. His presence commands authority.
Attire: Magnificent and regal, consisting of rich, heavy silk robes in deep colors, often adorned with gold embroidery and precious jewels. He wears a jeweled turban and a wide, ornate belt.
Wants: Initially driven by a desire for vengeance against perceived female infidelity, later by curiosity and a growing appreciation for Scheherazade's tales.
Flaw: His deep-seated mistrust and anger towards women, which led to his cruel decree.
He is undergoing a profound transformation, moving from a tyrannical and vengeful ruler to a more just and enlightened one, his heart softened by Scheherazade's narratives.
Initially cruel, vengeful, distrustful, but gradually becoming thoughtful, intrigued, and less severe due to Scheherazade's stories.
Image Prompt & Upload
A powerful Arabian man with a strong build, a strong jawline, dark eyes, and a well-groomed dark beard and mustache. He has olive skin. He wears a magnificent deep crimson silk robe adorned with gold embroidery and a jeweled turban. He sits on a throne with an authoritative posture, one hand resting on an ornate gold-hilted dagger, his expression initially stern but showing a hint of thoughtful intrigue. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Third Calender ◆ supporting
A man who has experienced hardship, possibly with a lean build from his travels and misfortunes. His face might show signs of weariness or past suffering.
Attire: Simple, worn traveler's clothes, likely a tunic and trousers in muted earth tones, perhaps a cloak. While he is a calender (a dervish or mendicant monk), his attire is more practical for travel than ceremonial. It would be culturally appropriate for a wandering holy man in the Arabian Nights setting.
Wants: To recount his tragic story, perhaps as a form of confession or to explain his current state.
Flaw: Overwhelmed by guilt and sorrow over the young man's death.
He is in the process of narrating his past, which serves as a form of catharsis, though his grief remains palpable.
Grief-stricken, remorseful, cautious, reflective, resigned.
Image Prompt & Upload
An Arabian man with a lean build, dark, expressive eyes, and a slightly unkempt dark beard. He has olive skin. He wears a simple, worn brown tunic and trousers, with a dark, practical cloak draped over his shoulders. He stands with a slightly hunched posture, his expression somber and reflective. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Old Man (Father of the Young Man) ○ minor
Frail and aged, his body showing the signs of advanced years. His movements are slow and deliberate, especially after his collapse.
Attire: Respectable but not overly opulent, perhaps a simple, well-made thobe or tunic in a muted color, suitable for a man of means but not necessarily royalty. After his son's death, his clothes might appear disheveled.
Wants: To retrieve his son from the island, then to mourn and bury him.
Flaw: His deep emotional attachment to his son, which leaves him utterly broken by his death.
He experiences profound grief and despair upon discovering his son's death, leaving the island a broken man.
Loving (towards his son), hopeful (initially), utterly devastated, despairing.
Image Prompt & Upload
An elderly Arabian man with a frail build, a deeply wrinkled face, a long white beard, and eyes filled with sorrow. He has olive skin. He wears a simple, well-made grey thobe. He is supported by two unseen figures, his body slightly slumped, his face wet with tears, an expression of profound despair. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Young Man ○ minor
Described as being in a state of death, with a knife in his heart. Implied to have been handsome and well-cared for in life.
Attire: Clothed in his 'most beautiful garments' for burial, suggesting fine, perhaps embroidered, robes.
Wants: N/A (deceased)
Flaw: Vulnerable to the accidental actions of others.
His death is the central tragic event of the Third Calender's story.
Not directly shown, but implied to be someone cared for by his father and the Third Calender.
Image Prompt & Upload
A deceased young Arabian man lying peacefully on a simple bed. He has pale olive skin, dark hair, and serene features. He is dressed in beautiful, finely embroidered white robes. A small, ornate dagger is visible in the center of his chest. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
Subterranean Dwelling
A hidden underground chamber, accessible by a staircase and sealed by a heavy stone. It contains a bed where the young man was found.
Mood: Initially a place of secret refuge and companionship, quickly turns into a scene of tragedy and despair.
The young man's death occurs here, and his body is later discovered by his father and slaves. All furnishings are subsequently removed.
Image Prompt & Upload
A dimly lit, ancient subterranean chamber carved from rough-hewn sandstone, with a narrow stone staircase leading up to a circular opening at the ceiling. A simple, low wooden bed frame is visible against one wall, covered with a plain cloth. The air is still and heavy, with faint dust motes dancing in the weak light filtering down from above. The ground is packed earth. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Secluded Island Shore
A remote coastline of an island, where a ship can easily approach and land. Near the subterranean dwelling, there is a large tree with thick foliage.
Mood: Initially tense and hidden, then shifts to sorrowful and mournful as the father grieves.
The narrator hides in the tree, observing the father and slaves disembark, discover the body, and later bury the young man on the shore before sailing away.
Image Prompt & Upload
A secluded, crescent-shaped sandy beach on a small, uninhabited island. The sand is light gold, meeting the gentle lapping waves of a turquoise sea under a clear morning sky. To one side, a massive, gnarled date palm tree with dense, dark green fronds provides deep shade, its roots partially exposed on the sand. Near the tree, a patch of earth appears freshly disturbed. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
