Mardrus' translation, titled Le livre des mille nuits et une nuit, appeared. In 1926–1932 a lavishly decorated 12-volume edition of J. Designed to appeal, it omitted sophisticated or dark elements while enhancing exotic and magical elements and became the basis of most children's versions of One Thousand and One Nights. Galland's translation altered the style, tone and content of the Arabic text. Galland based his translation on what is now known as the Galland Manuscript, a three-volume (or perhaps once four-volume) manuscript from the fourteenth or fifteenth century now kept in the National Library of France. Some translations starting from Galland were censored due to lewd content. The original scattered Arabic texts were collected in four corpuses: the so-called Calcutta I or the Shirwanee Edition (1814–18, 2 volumes), Bulaq or the Cairo Edition (1835, 2 volumes), Breslau Edition (1825–38, 8 volumes) and Calcutta II or the W.H. In the 1880s an unexpurgated and complete English translation, The Book of the Thousand Nights and a Night, was made by Richard Francis Burton. Galland-based English translations were superseded by that made by Edward William Lane in 1839–41.
As early as the end of the 18th century the English translation based on Galland was brought to Halifax, Montreal, Philadelphia, New York and Sydney. Since then several English reissues appeared simultaneously in 1708. It exists in two known copies kept in the Bodleian Library and in the Princeton University Library. The first English translation appeared in 1706 and was made from Galland's version being anonymous, it is known as the Grub Street edition. Galland's translation was essentially based on a medieval Arabic manuscript of Syrian origins, supplemented by oral tales recorded by him in Paris from a Maronite Arab from Aleppo named Hanna Diyab. They began with the French translation by Antoine Galland (titled Les mille et une nuits, finished in 1717). The shows are at 3pm and 7.30pm.The translations of One Thousand and One Nights have been made into virtually every major language of the world. Entry to the play is open to anyone above the age of 16. “The tales weaving into one another, with sub-plots and sub-sub-plots leading from the original frame story, are wondrous with magical and mythical elements popping up at every turn,” she says Vinodhini calls the experiment an exploration of the “what was, what if and what might be possibilities of our worlds, internal and external”. “While reading the stories, one is immediately struck by the dynamics of gender and power politics, notions of punishment, racial stereotyping, codes of morality, cultural mores that they contain/convey, that may be alien and surprising, yet all-too familiar to most of us living in these times,” says the playwright and director Vinodhini Vaidynathan. To be staged at Museum Theatre in Chennai on May 18, the two-hour play, set in Baghdad, will follow the tales of Shahrazad, the quintessential peddler of stories who narrated one each night for 1001 nights to escape death at the hands of the villainous King Shahriyar. The Tamil play " Aayirathoru Iravugal", a re-telling of the popular “1001 Arabian Nights” promises all that. CHENNAI: Imagine five actors playing 90 different roles, besides puppets, music, dance and comedy.
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