This is often considered a great irony since none of these three were originally part of the Arabic, Of course, from its ancient roots to its codification in medieval Arabic, the. Once again, both literature and folklore can unravel the myths of cultural purity we tend to hold so dear. “In his memoir, details of Diyab’s fictional stories fuse with those of his account of the wonders of France.”, Either way, interest in Diyab is growing.

This article was written by a guest contributor and solely reflects the views of the author. Marzolph, Ulrich, Richard van Leeuwen, and Hassan Wassouf.

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Marzolph, Ulrich.”Les contes de Hanna.” In: Les mille et une nuits. ISBN-10: 1912841673 More surprisingly, while it was usually assumed that Diyab narrated his stories in Arabic which Galland then translated, according to evidence uncovered by Ruth Bottigheimer, Galland’s notetaking suggests that Diyab dictated them directly in (accented) French. Our oldest documentation of it is an Arabic papyrus from Egypt, reused as scrap with inscriptions dated 879 CE. As a child, the Lebanese novelist Hanan al-Shaykh would sit “glued to the radio” waiting to hear the captivating Zouzou Nabil, who voiced Shahrazad.

The story wasn’t part of the anonymous 1001 Nights manuscripts, either, which circulated in Arab libraries starting in the 14th or 15th century.Aladdin … . Translated by Paule Fahmé-Thiéry, Bernard Heyberger and Jérôme Lentin. A fascinating read! 2 vols. Anṭūn Yūsuf Ḥannā Diyāb was born in Aleppo to a Maronite Christian family. Like Chavis and Sabbagh a century later, Diyab was connected to a longstanding community of Syrian Christians residing in Rome and Paris since at least the sixteenth century. It’s Diyab who told Galland the story that became “Aladdin,” as well as several others. Translated by Paule Fahmé-Thiéry, Bernard Heyberger and Jérôme Lentin.

Given that the original story has Shahriyar as “sultan des Indes” (in Galland’s phrasing), the early English title also highlighted Shahrazad’s role as narrator by adding: “Stories told by the Sultaness of the Indies.”.

One figure in particular played a crucial role but has been largely overlooked: a little-known man from Aleppo named Ḥannā Diyāb who gave the modern world some of its most influential and popular stories ever.

He writes in his memoirs: There was an old man who often visited us. Galland writes in his memoirs that a Syrian traveler named Hanna Diyab arrived in Paris in the spring of 1709.

The Thousand and One Nights. Known as the “Calcutta I” edition of 1814–18, it was prepared by Shaykh Aḥmad al-Shīrwānī, a teacher of Arabic at the Fort William College in Bengal, where East India Company officials were trained in South Asian languages, especially Persian. But as we now know, both manuscripts were elaborate hoaxes claiming to “complete” the Nights based on alleged but non-existent sources. The incredible irony, however, is that Burton’s own translation was not directly from Arabic, but instead a plagiarized reworking of other English translations that he deliberately foreignized with his famously archaic language.

Cambridge, MA: Harvard University Press, 2017. Aventures de Hanna Diyab avec Paul Lucas et Antoine Galland (1707-1710). Galland wrote in his journal that he received “the Story of the Lamp” from Hanna Diyab on May 5, 1709. Even more eccentric, he wrote that for the orphan tales: “My first thought…was to render the French text into Arabic, and then to retranslate it into English.” But a friend sent him from Bombay a “quaint” Urdu translation of Galland, which seemed “sufficiently orientalised and divested of their inordinate Gallicism.”, After nearly a century of speculation, in 1887 the Prussian scholar Hermann Zotenberg who worked as a manuscript curator at the French national library, came across Galland’s archived diaries. In 1993, a previously unknown autobiography/travelogue by Hanna Diyab was discovered at the Vatican Library.

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