What do you think?
Rate this book
Aladim
A história que inspirou o novo filme da Disney agora na coleção Clássicos Zahar
Aladim finalmente ganha uma merecida edição individual que oferece ao leitor toda a riqueza deste conto de As mil e uma noites, como narrado por Sherazade.
Habitualmente retratada como simples aventura infantil, a história do adolescente rebelde que luta pelo amor da princesa e pela lâmpada mágica mostra-se aqui muito mais rica e complexa.
Esta nova versão, organizada pelo estudioso Paulo Lemos Horta e traduzida para o português a partir da aclamada versão inglesa de Yasmine Seale, recupera detalhes, sutilezas e a força narrativa do original. Podemos ouvir a voz feminina e única de Sherazade hipnotizando o Sultão que ameaça matá-la quando a história acabar – mantendo-o assim à espera do episódio seguinte, tal como nós. A versão impressa apresenta ainda capa dura e acabamento de luxo.
Aladim finalmente ganha uma merecida edição individual que oferece ao leitor toda a riqueza deste conto de As mil e uma noites, como narrado por Sherazade.
Habitualmente retratada como simples aventura infantil, a história do adolescente rebelde que luta pelo amor da princesa e pela lâmpada mágica mostra-se aqui muito mais rica e complexa.
Esta nova versão, organizada pelo estudioso Paulo Lemos Horta e traduzida para o português a partir da aclamada versão inglesa de Yasmine Seale, recupera detalhes, sutilezas e a força narrativa do original. Podemos ouvir a voz feminina e única de Sherazade hipnotizando o Sultão que ameaça matá-la quando a história acabar – mantendo-o assim à espera do episódio seguinte, tal como nós. A versão impressa apresenta ainda capa dura e acabamento de luxo.
144 pages, Hardcover
First published January 1, 2018
19 people are currently reading
609 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 104 reviews
December 3, 2019
This taught me a lot of the original story that Disney chose not to include.
But it also made me dislike Aladdin as just some lazy brat than a hard done by boy living on the streets. I don’t like him in the original story presented here.
Also the Princess is a more naive in this than Yasmine as well, in this the Prince has to save her every time.
But it also made me dislike Aladdin as just some lazy brat than a hard done by boy living on the streets. I don’t like him in the original story presented here.
Also the Princess is a more naive in this than Yasmine as well, in this the Prince has to save her every time.
December 14, 2018
A very short and delightful new translation from the French, drawn from a French edition by Antoine Galland in the early 1700s. Aladdin has a curious publication history, highlighted in Horta’s introduction, in that it has not been found in extant Arabic manuscripts of the 1001 Nights, but was added by Galland after being told the story of Aladdin, and other, by a traveler from Aleppo, Hanna Diyab. If you’ve only been exposed to the Disney/Hollywood/children’s version of Aladdin this is fascinating reading.
Thanks to Liveright/Norton for the galley.
Thanks to Liveright/Norton for the galley.
May 31, 2019
The actual Aladdin story wasn’t that amazing, but the introduction about how this story came to be was really interesting. I also liked the French/Syrian translation and how that translation matched the background of the story. It was intriguing to think about how stories spread, change, and are influenced by culture. I’m glad I read this edition. Also, I had *no idea* that it took place in China.
January 16, 2025
Aladdin was perhaps one of the very first genuinely international cross-cultural fairytales, a collaboration between the Syrian Hanna Diyab and the Frenchman Antoine Galland, who tucked it as well as the similarly new stories of Ali Baba and Sinbad into his translation of the Thousand and One Nights, which introduced that famous collection of tales to the western world. There's some dispute over exactly how much each contributed to the final product, but it seems reasonable to infer that Diyab provided the basic narrative and Galland polished it up somewhat for his European readers. Until I read this new translation of the original French text, I'd only known Aladdin via the 1992 Disney children's movie, so the differences were eye-opening. I've been as critical as anyone of "Disneyification", a vague yet useful term that I think we all understand generally means a smoothing, sugaring, simplifying approach to the often-grim fairytales of the past, yet I have to say that, much as I hate to admit it, I honestly believe that Disney improved somewhat on the source material, though I immediately saw why it's endured for so long.
The main adventure narrative of the original is still flawless and vivid, but enough of the details are off to make the original fall a bit flat to the modern reader:
- It claims to be set in China although there is absolutely nothing Chinese about the setting, it's clearly an Arabic Middle Eastern milieu
- There's both the familiar magic lamp and a magic ring, which feels narratively redundant, magic item-wise
- The genie can grant unlimited wishes, which lacks the creative tension of the "3 wishes" constraint
- The princess Badroulbadour is generally a more boring and limited character than Jasmine is, as was the fashion at the time, although she does eventually poison the evil magician to death, which is cool
- The main character is kind of an unlikable dolt, whose only redeeming quality is that he gives away a ton of money once he finds the lamp, although there's predictably no exploration of if he considered actually permanently curing poverty, or if unlimited magic money would eventually turn the kingdom into a proto-petrostate via the Dutch disease
- The grand vizier is a much more sympathetic character, as he's understandably upset at how Aladdin has destroyed his son's seemingly perfectly happy betrothal to the princess out of nowhere
- The magician (who is combined in Disney's version with the grand vizier to form the Jafar character) has a brother for some reason, who attempts to take his revenge after the princess' murder via the classic ruse of cross-dressing as an old woman, a plot device I truly hope never vanishes from literature
I also unexpectedly found myself missing the perhaps naive but generally palatable Disney morals, because as written, the story is like an inferior Charles Dickens or Horatio Alger novel: after having spent his youth failing to learn a useful trade or developing any admirable character traits at all, Aladdin uses his newfound magic to frighten off the grand vizier's seemingly normal son, and the narrative assumes that this shortcut is fine and that the princess will be happy with him instead when he simply buys his way into her heart with copious amounts of genie-delivered treasures. How romantic! It's thus a bit harder to empathize with him or the princess than, say, with Odysseus, who at least has some entertaining personal qualities to go along with his roguishness. Aladdin is of course much shorter than the Odyssey and therefore more limited in how sympathetic its characters can become over just a few brief chapters, but as weird as it might seem, it's possible that modern fairytales might actually have improved somewhat on their predecessors, at least in terms of delivering morals more complex than "don't trust mysterious strangers bearing bargains that seem too good to be true" or other Brothers Grimm-type warnings. Disney does generally know what they're doing.
That being said, if we take it for granted that this is before anti-heroes gained real popularity, and that we are therefore supposed to closely relate to an oafish peasant enjoying a windfall he doesn't deserve, Aladdin's lack of a distinct personality might thus make him easier for 18th century European readers to project themselves onto him, and therefore enjoy his rags to riches victory. It's entirely possible that the Disney version would have been received very poorly back then; perhaps contemporary audiences would have revolted at an unrealistically liberated Jasmine, or been baffled by an Aladdin who voluntarily embraced his street rat upbringing rather than transform into a zillionaire prince as quickly as humanly possible (and to be fair, many modern readers might have this attitude as well). Seale's decision to stick closely to a distinctive "fairytale-ish" tone throughout is therefore quite useful in providing some distance to the story, and serves as a good reminder that truly great stories often find themselves adapting in the telling to their time and place, revealing different facets according to the needs of the audience. I still read the whole thing in one sitting.
The main adventure narrative of the original is still flawless and vivid, but enough of the details are off to make the original fall a bit flat to the modern reader:
- It claims to be set in China although there is absolutely nothing Chinese about the setting, it's clearly an Arabic Middle Eastern milieu
- There's both the familiar magic lamp and a magic ring, which feels narratively redundant, magic item-wise
- The genie can grant unlimited wishes, which lacks the creative tension of the "3 wishes" constraint
- The princess Badroulbadour is generally a more boring and limited character than Jasmine is, as was the fashion at the time, although she does eventually poison the evil magician to death, which is cool
- The main character is kind of an unlikable dolt, whose only redeeming quality is that he gives away a ton of money once he finds the lamp, although there's predictably no exploration of if he considered actually permanently curing poverty, or if unlimited magic money would eventually turn the kingdom into a proto-petrostate via the Dutch disease
- The grand vizier is a much more sympathetic character, as he's understandably upset at how Aladdin has destroyed his son's seemingly perfectly happy betrothal to the princess out of nowhere
- The magician (who is combined in Disney's version with the grand vizier to form the Jafar character) has a brother for some reason, who attempts to take his revenge after the princess' murder via the classic ruse of cross-dressing as an old woman, a plot device I truly hope never vanishes from literature
I also unexpectedly found myself missing the perhaps naive but generally palatable Disney morals, because as written, the story is like an inferior Charles Dickens or Horatio Alger novel: after having spent his youth failing to learn a useful trade or developing any admirable character traits at all, Aladdin uses his newfound magic to frighten off the grand vizier's seemingly normal son, and the narrative assumes that this shortcut is fine and that the princess will be happy with him instead when he simply buys his way into her heart with copious amounts of genie-delivered treasures. How romantic! It's thus a bit harder to empathize with him or the princess than, say, with Odysseus, who at least has some entertaining personal qualities to go along with his roguishness. Aladdin is of course much shorter than the Odyssey and therefore more limited in how sympathetic its characters can become over just a few brief chapters, but as weird as it might seem, it's possible that modern fairytales might actually have improved somewhat on their predecessors, at least in terms of delivering morals more complex than "don't trust mysterious strangers bearing bargains that seem too good to be true" or other Brothers Grimm-type warnings. Disney does generally know what they're doing.
That being said, if we take it for granted that this is before anti-heroes gained real popularity, and that we are therefore supposed to closely relate to an oafish peasant enjoying a windfall he doesn't deserve, Aladdin's lack of a distinct personality might thus make him easier for 18th century European readers to project themselves onto him, and therefore enjoy his rags to riches victory. It's entirely possible that the Disney version would have been received very poorly back then; perhaps contemporary audiences would have revolted at an unrealistically liberated Jasmine, or been baffled by an Aladdin who voluntarily embraced his street rat upbringing rather than transform into a zillionaire prince as quickly as humanly possible (and to be fair, many modern readers might have this attitude as well). Seale's decision to stick closely to a distinctive "fairytale-ish" tone throughout is therefore quite useful in providing some distance to the story, and serves as a good reminder that truly great stories often find themselves adapting in the telling to their time and place, revealing different facets according to the needs of the audience. I still read the whole thing in one sitting.
June 26, 2019
Com o lançamento da live-action de Aladdin, algumas editoras aproveitaram para lançar suas edições do conto milenar que serviu de inspiração para o filme da Disney. Lembrei, então, que eu tinha o livro d’As mil e uma noites, do qual Aladim faz parte, e comecei a leitura. ⠀
⠀
O início do conto é bem interessante e a história tem aquele tom que dá a sensação de estarmos ouvindo alguém narrando em voz alta enquanto lemos (Senti algo parecido com a leitura do Decamerão, de Boccaccio). Do meio pro final, no entanto, ela perde um pouco o ritmo, se torna um tanto repetitiva.⠀
⠀
Como já era de se esperar, as diferenças entre o conto e a versão da Disney são muitas. A Disney sempre dá um jeito de transformar essas histórias em românticos contos de fada [além de adaptá-las para crianças].⠀
⠀
Aqui não temos tapete mágico, nem a promessa de um mundo ideal, Aladim tem mãe, Jasmine se chama a princesa de Badrulbudur, não temos Abu, o gênio não tem graça alguma 🤷🏻♀️ e os desejos não são limitados a três, mas (tediosamente) infinitos.⠀
⠀
Sim, a história da Disney é mais envolvente e, eu diria, rica - e ainda tem a trilha sonora maravilhosa, mas vale, sim, a pena conhecer o conto original.
⠀
O início do conto é bem interessante e a história tem aquele tom que dá a sensação de estarmos ouvindo alguém narrando em voz alta enquanto lemos (Senti algo parecido com a leitura do Decamerão, de Boccaccio). Do meio pro final, no entanto, ela perde um pouco o ritmo, se torna um tanto repetitiva.⠀
⠀
Como já era de se esperar, as diferenças entre o conto e a versão da Disney são muitas. A Disney sempre dá um jeito de transformar essas histórias em românticos contos de fada [além de adaptá-las para crianças].⠀
⠀
Aqui não temos tapete mágico, nem a promessa de um mundo ideal, Aladim tem mãe, Jasmine se chama a princesa de Badrulbudur, não temos Abu, o gênio não tem graça alguma 🤷🏻♀️ e os desejos não são limitados a três, mas (tediosamente) infinitos.⠀
⠀
Sim, a história da Disney é mais envolvente e, eu diria, rica - e ainda tem a trilha sonora maravilhosa, mas vale, sim, a pena conhecer o conto original.
September 13, 2019
If you're fond of the 1,001 Nights, then you've probably read the story of Aladdin in more than one form or translation. The story is at once seemingly the most typical of the Nights and at the same time somehow different. For Disney, it's the essence of the Arabian Nights, and many artists have commented on it, made it part of their own stories, or treated it in some way as one of the great human stories. The feckless youth who takes advantage of all that luck and a mysterious magician can throw his way to become a rich lord -- only to lose it all -- and get it back again. The lamp that captures our imagination as we play the endless game of wondering what we would wish for if we could have magical wishes that instantly became true. The terrifying yet accommodating jinni who helps Aladdin and turn on him without compunction -- only to help him restore his unearned riches as the story turns the tables again.
The tale sticks in our minds partly because there's something a little odd about it in relation to the other Nights. The puzzle of Aladdin begins with its origin -- it's probably not part of the original collection of tales. It seems to be a late addition by the French translator, Galland, who ran short of stories in his classic translation from the original Arabic, and so added Aladdin and a few other stories to make up his collection. Galland claimed that Aladdin had been told to him by a mysterious traveler from Aleppo, a Maronite Christian named Diyab. Everyone since has assumed that Galland made Diyab -- and the added stories -- up himself, but recent research suggests that Diyab was real. So the story is an addition to the Arab collection, but it has a satisfyingly mysterious origin in its own right. And it is not quite like the other Arab tales -- it has more magic and less morality than many of the others. Aladdin's luck is unearned, and he's not a hero in any other sense. He's an Everyman, if Everyman is lazy, fails at his studies, and can't figure out what to do with his life. Maybe that's why the story beguiles us so much: we see our own failings and ordinariness reflected in Aladdin, and that allows us to hope that we'll be blessed with undeserved magic like he is.
This new translation is brisk, adept, and knowing, and provides some details and clarity that is often lost in other earlier translations. The motivation of the evil magician is clear, and we understand his relationship to Aladdin better than we have before thanks to the straightforwardness of Seale's prose. For all that, it's a recognizable Aladdin, and the bones of the story remain the same. There's a bit of Aladdin in all of us who have wondered what to do with our lives and wished that we had recourse to a lamp and a jinni to bring us riches beyond imagination and to make the rest of our lives a smooth, wide path of ease and delight.
The tale sticks in our minds partly because there's something a little odd about it in relation to the other Nights. The puzzle of Aladdin begins with its origin -- it's probably not part of the original collection of tales. It seems to be a late addition by the French translator, Galland, who ran short of stories in his classic translation from the original Arabic, and so added Aladdin and a few other stories to make up his collection. Galland claimed that Aladdin had been told to him by a mysterious traveler from Aleppo, a Maronite Christian named Diyab. Everyone since has assumed that Galland made Diyab -- and the added stories -- up himself, but recent research suggests that Diyab was real. So the story is an addition to the Arab collection, but it has a satisfyingly mysterious origin in its own right. And it is not quite like the other Arab tales -- it has more magic and less morality than many of the others. Aladdin's luck is unearned, and he's not a hero in any other sense. He's an Everyman, if Everyman is lazy, fails at his studies, and can't figure out what to do with his life. Maybe that's why the story beguiles us so much: we see our own failings and ordinariness reflected in Aladdin, and that allows us to hope that we'll be blessed with undeserved magic like he is.
This new translation is brisk, adept, and knowing, and provides some details and clarity that is often lost in other earlier translations. The motivation of the evil magician is clear, and we understand his relationship to Aladdin better than we have before thanks to the straightforwardness of Seale's prose. For all that, it's a recognizable Aladdin, and the bones of the story remain the same. There's a bit of Aladdin in all of us who have wondered what to do with our lives and wished that we had recourse to a lamp and a jinni to bring us riches beyond imagination and to make the rest of our lives a smooth, wide path of ease and delight.
June 2, 2020
Just read this. No Disney nonsense here. This is probably the closest you can come to a translation from the Arabic. I've read the Arabic. This is - almost better ;)
April 2, 2025
There is no flying carpet in the original story...
May 24, 2022
My understanding of the story of Aladdin has completely changed after reading this more accurate translation! Almost all of the details of this story are very different from the Disney version that I know well. I enjoyed the Prologue which explains how the story of Aladdin originated and evolved over time. Did you know the story actually takes place in a kingdom of China and not Agrabah (a made-up name of a Middle Eastern city)? A very short and intriguing read, I recommend this to anyone who enjoys fairy tales and is interested in learning about the original story of Aladdin.
April 14, 2019
I only knew the Disney version of this story (and it’d been so long since I saw that that I only remember it vaguely), so I was very interested to read the original story and boy what a ride it was! Involved a lot more murder and abductions than the story I remember, but it was also pretty amusing and I enjoyed it a lot.
September 19, 2024
It's only been a few years since I read Haddawy's translation of Aladdin (and Sindbad), so it felt a bit ridiculous to pick up a new one, but I heard such good things about Seale's translation, which with the hook of a newly confirmed origin for the story, was enough to push me into spending an hour or two with this. It is indeed a much more lively, readable story under Seale's pen. The content feels the same, but the writing style more confident and modern. Aladdin manages somehow to be likeable, despite not really having anything going from him except a kind of laziness which could be seen as temperance if squinted at sideways. Everything Aladdin asks for from the Djinn is either to live modestly without having to work, or to win the hand of woman he is infatuated with (which does, conveniently, also deliver him into a lavish lifestyle full of servants). His lack of greed for riches or power comes across more an languor than modesty, an absence of curiosity which his cleverness and powers of observation subtly contradict. Perhaps this is the hero the Anthropocene needs right now - one whose virtues in are in doing and wanting love and quiet.
The main issue here, however, is not an indolent hero but the fact that for much of the second half, the Djinn operates as a Dues ex Machina - Aladdin has a need, he asks the Djinn, he gets it. It is, frighteningly for such a fantasy, rather boring, even in a lively translation. The magician, even the somewhat clueless princess (not the smartest of heroines), deliver more energy, making it a better read when they are on the page. I'm not sure Aladdin will ever be my favourite of these stories - I would love to see what Seale can do with the bonkers fun adventures of Sindbad.
The main issue here, however, is not an indolent hero but the fact that for much of the second half, the Djinn operates as a Dues ex Machina - Aladdin has a need, he asks the Djinn, he gets it. It is, frighteningly for such a fantasy, rather boring, even in a lively translation. The magician, even the somewhat clueless princess (not the smartest of heroines), deliver more energy, making it a better read when they are on the page. I'm not sure Aladdin will ever be my favourite of these stories - I would love to see what Seale can do with the bonkers fun adventures of Sindbad.
January 7, 2023
Então, a mãe, por amor ao filho e por receio de que ele tomasse alguma atitude extrema, deixou de lado a resistência e cedeu.
Eu escolhi essa quote porque acredito que não há uma frase que resuma melhor toda a história envolvendo Aladim. Não há personagem que se humilhe e sofra mais do que a mãe para cumprir todos os caprichos desse moleque.
E é engraçado pensar que dentre todas as transformações que acontecem na adaptação da Disney (impossível não comparar), a mãe, personagem central aqui, tenha sido retirada completamente da história. Mas enfim, é interessante conhecer o conto original por essas facetas dos personagens, que em certos momentos até causam raiva, mas deixam eles mais próximos de seres humanos comuns.
Senti falta da personalidade do Gênio, e de vários outros personagens, mas o foco do conto é realmente o Aladim, então, vou reclamar apenas do final do livro, que apresenta uma nova aventura e resolve ela em menos de 6 páginas, parecendo que foi enfiada ali no final de ultima hora.
September 29, 2025
WOWOOWWOOOWWOWO! First of all the plot is so much more enticing and multidimensional than the Disney reenactment. Second of all, Aladdin <<<. All the characters are so flawed and realsitic; but the story is classic and timeless at the same time. It is brilliant how I can read a tale centuries later and still enjoy it and relate it to modern-day. Loved the writing style and rly rly need to read the entire 3 vols of 1001 nights :))
October 26, 2018
An excellent focus piece for those looking to expand on the Disney version of their Aladdin knowledge. The translation is highly readable and maintains a sense of dignity and solemnity appropriate for the larger context of the frame tale in 1001 Nights. At the same time, there is no loss of magic and wonder with scenes of great riches, great danger, and at least the hope of a happily ever after. Appropriate for both scholars of world literature and everyday readers of fantasy/folklore, Aladdin: A New Translation will be a worthwhile addition to any collection.
September 6, 2021
Conto encantador! Depois dessa leitura, fiquei com ainda mais vontade de ler as demais histórias de As mil e uma noites. O conto em si é narrado de forma bem fluida, terminei muito rápido e fiquei presa na história do início ao fim. Um ponto extra à essa edição da coleção Clássicos da Zahar que, além de ter uma capa linda, tem textos extras para quem se interessar em se aprofundar mais nesse conto maravilhoso. Recomendo muito para quem procura uma leitura rápida.
February 21, 2019
I've never actually read the story before. Even the versions of the 1,001 Nights that I've read didn't include it to my memory. Or maybe I skipped it?
Nevertheless, a reminder that Disney remaking a movie isn't ruining anything that wasn't already changed many times before.
The history of the story and its addition to the 1,001 Nights was also fun to learn about.
Nevertheless, a reminder that Disney remaking a movie isn't ruining anything that wasn't already changed many times before.
The history of the story and its addition to the 1,001 Nights was also fun to learn about.
April 29, 2020
#ReadHarder2020: Read a retelling of a classic of the cannon, fairy tale, or myth by an author of color
#NerdReading2020 & #TheNerdDaily: 31. A Retelling
This new translation of the classic fairytale Aladdin, translated by the Yasmine Seale and edited by Paulo Lemos Horta, gave me the details that Disney left out.
Going back to its Arabian Nights roots, the story is told by Princess Shahrazad, who is awaiting her execution. Princess Shahrazad beings her tale in China, following Aladdin, a poor, son of a tailor, who has no ambition. Much like the Disney version, Aladdin is coerced by an evil magician, claiming to be his uncle, to search for a lamp. The magician gives Aladdin a magical ring, containing a jinni, to aid in his search. After finding the lamp, Aladdin is left alone to die in the cave; however, with the help of the two jinn is take back to his home and given an unlimited number of wishes. Aladdin uses theses wishes to give he and his mother wealth and prosperity. However, unlike the beloved Disney version, this French translated version goes back to the roots of the story detailing murder and betrayal.
Seeing how Disney Americanized this classic French tale by changing the names to fit American ideals (Princess Jasmine is actually Princess Badr al-Budur for example) and leaving out key religious aspects of the text (ex. traditional Muslim dress, wedding traditions, and the virtue of the Muslim people, etc) is eye-opening. This book was not what I had expected; however, I enjoyed it.
#NerdReading2020 & #TheNerdDaily: 31. A Retelling
This new translation of the classic fairytale Aladdin, translated by the Yasmine Seale and edited by Paulo Lemos Horta, gave me the details that Disney left out.
Going back to its Arabian Nights roots, the story is told by Princess Shahrazad, who is awaiting her execution. Princess Shahrazad beings her tale in China, following Aladdin, a poor, son of a tailor, who has no ambition. Much like the Disney version, Aladdin is coerced by an evil magician, claiming to be his uncle, to search for a lamp. The magician gives Aladdin a magical ring, containing a jinni, to aid in his search. After finding the lamp, Aladdin is left alone to die in the cave; however, with the help of the two jinn is take back to his home and given an unlimited number of wishes. Aladdin uses theses wishes to give he and his mother wealth and prosperity. However, unlike the beloved Disney version, this French translated version goes back to the roots of the story detailing murder and betrayal.
Seeing how Disney Americanized this classic French tale by changing the names to fit American ideals (Princess Jasmine is actually Princess Badr al-Budur for example) and leaving out key religious aspects of the text (ex. traditional Muslim dress, wedding traditions, and the virtue of the Muslim people, etc) is eye-opening. This book was not what I had expected; however, I enjoyed it.
July 11, 2024
Seale's translation unveils the complexities that lie beneath the surface of the well-known narrative. Gone are the simplistic portrayals we might expect. Aladdin emerges as a resourceful but rebellious young man, navigating a world that is both wondrous and perilous. The book doesn't shy away from the original's more suspenseful, even ruthless elements. This might surprise readers anticipating a lighthearted adventure, but it adds a layer of intrigue that will appeal to adults and mature young readers alike.
Seale's prose is both clear and elegant, keeping the reader engaged without sacrificing a timeless quality. The story unfolds with a vibrancy that captures the essence of classic storytelling. Further enriching the experience is an introduction by Horta that provides historical context. This reminds readers that "Aladdin" is just one thread in the rich tapestry of "The Arabian Nights," offering a deeper appreciation for the story's origins.
"Aladdin: A New Translation" is a rewarding read for those seeking a return to the original story's richness and complexity. While fans of the Disney movie might not find a perfect match here, this translation offers a chance to delve into the captivating world that first sparked our imaginations. It's a journey recommended for those who enjoy classic tales with a bit more bite, characters with depth, and situations that challenge easy moral categorization.
Seale's prose is both clear and elegant, keeping the reader engaged without sacrificing a timeless quality. The story unfolds with a vibrancy that captures the essence of classic storytelling. Further enriching the experience is an introduction by Horta that provides historical context. This reminds readers that "Aladdin" is just one thread in the rich tapestry of "The Arabian Nights," offering a deeper appreciation for the story's origins.
"Aladdin: A New Translation" is a rewarding read for those seeking a return to the original story's richness and complexity. While fans of the Disney movie might not find a perfect match here, this translation offers a chance to delve into the captivating world that first sparked our imaginations. It's a journey recommended for those who enjoy classic tales with a bit more bite, characters with depth, and situations that challenge easy moral categorization.
May 10, 2019
I enjoyed this; the translation was flawless and it was very easy to read, no unnecessary embellishments. I liked the introduction by Paulo Lemos Horta, which delved into the origins of the tale, more than I ended up liking the actual story.
It was still entertaining, but I didn't feel a connection to any of the characters. Aladdin didn't have any qualities that made him great or worthy of the lamp (or the ring). Instead, the lamp is what actually made him great. It seems like he received all this knowledge and grace from using the lamp, though it's only mentioned by other characters, never shown. And Princess Badr al-Budur is only Aladdin's motivation rather than a character in her own right. It seems that the only reason the Princess agrees to marry Aladdin is because of all the riches he has to offer. The love story is pretty much non existent.
I did like how many tiny adventures and challenges Aladdin had to face before getting to the end of the story, even though the connections these events were thin, because it shows Shahrazad's struggle to keep the story going until morning. I would have liked it to end with new characters being introduced and the beginning of another tale for another night.
It was still entertaining, but I didn't feel a connection to any of the characters. Aladdin didn't have any qualities that made him great or worthy of the lamp (or the ring). Instead, the lamp is what actually made him great. It seems like he received all this knowledge and grace from using the lamp, though it's only mentioned by other characters, never shown. And Princess Badr al-Budur is only Aladdin's motivation rather than a character in her own right. It seems that the only reason the Princess agrees to marry Aladdin is because of all the riches he has to offer. The love story is pretty much non existent.
I did like how many tiny adventures and challenges Aladdin had to face before getting to the end of the story, even though the connections these events were thin, because it shows Shahrazad's struggle to keep the story going until morning. I would have liked it to end with new characters being introduced and the beginning of another tale for another night.
November 6, 2021
This story, or collection of stories depending on how you view the book, is perfect to read whether you are interested in the classics or not. Aladdin forms part of the beloved A Thousand and One Nights classic which is a collection of stories within stories and this particular version was translated by Yasmine Seale and edited by Paulo Lemos Horta.
As a relatively short story blended into the larger story of A Thousand and One Nights, this particular version focuses on Aladdin and his misadventures growing up, not in the Middle East, but in China interestingly enough. ‘Aladdin’ is a series of stories told by the princess Sharazad to stop the sultan from killing her, so each night she tells him a new story, a new chapter, which also has morality question or a solution tied into it. This keeps the story growing as Aladdin himself grows up and uses several clever narrative techniques which storytellers and readers alike will be able to identify. Since this is a story within a story within a story, it is important to keep track of where the narrator stands in relation to the events of said story.
Finish reading my review on my blog here:
https://kaitlynchatwoodbooks.wordpres...
As a relatively short story blended into the larger story of A Thousand and One Nights, this particular version focuses on Aladdin and his misadventures growing up, not in the Middle East, but in China interestingly enough. ‘Aladdin’ is a series of stories told by the princess Sharazad to stop the sultan from killing her, so each night she tells him a new story, a new chapter, which also has morality question or a solution tied into it. This keeps the story growing as Aladdin himself grows up and uses several clever narrative techniques which storytellers and readers alike will be able to identify. Since this is a story within a story within a story, it is important to keep track of where the narrator stands in relation to the events of said story.
Finish reading my review on my blog here:
https://kaitlynchatwoodbooks.wordpres...
February 12, 2019
I had never read any version of Aladdin or the One Thousand and One Nights Tales, so I didn't have any preconceived notions about what it would be like, but of course I'm familiar with the tale through popular culture. That being said, I really liked this version. It flowed well and was enjoyable to read. The language was appropriately flowery when needed, but not dense or hard to follow. The tone actually reminded me of L. Frank Baum. Seale, the translator, does a good job of bringing forward the voice of Shahrazad, reminding you that this is a tale being told by someone, not just a book you are reading. I highly recommend reading the introduction if you are the kind that usually skip it. It gives a good history of the story of Aladdin, including the fact that it was not apart of the original tales, and the influence the tale has had on society. After reading this version, I hope that Yasmine Seale goes on to translate the other One Thousand and One Tales, I think this story shows that she would do a fine job and make them a very enjoyable read for a modern audience.
October 23, 2019
With all the Disney-fied versions of Aladdin out there, it’s refreshing to get back to the original tale. Written by Antoine Galland in the early 18th century to embellish his translation of the ancient Arabic 1001 Nights collection of tales, it’s pure fantasy. There’s no moral pretense or tidying up of the Aladdin character. It’s not an Aesop fable with a message or moral, nor does it pretend to be.
The themes are more like good and bad things happen to everyone, all problems have solutions, and one needn’t be any particular type of person to deserve a windfall. Aladdin doesn’t have to do anything special to prove himself. The story is an elegant fantasy that stretches the reader to imagine incredible wealth and beauty, and something for nothing, created out of nothing.
If you enjoyed the original Aladdin tale as a child, this excellent translation brings the archaic wording in previous translations up to date. If you’ve only seen the animated movie, you might be interested in the classic tale that inspired Disney studios to adapt Aladdin to the screen.
The themes are more like good and bad things happen to everyone, all problems have solutions, and one needn’t be any particular type of person to deserve a windfall. Aladdin doesn’t have to do anything special to prove himself. The story is an elegant fantasy that stretches the reader to imagine incredible wealth and beauty, and something for nothing, created out of nothing.
If you enjoyed the original Aladdin tale as a child, this excellent translation brings the archaic wording in previous translations up to date. If you’ve only seen the animated movie, you might be interested in the classic tale that inspired Disney studios to adapt Aladdin to the screen.
December 9, 2021
The history of the story of Aladdin, given in some detail in the introduction, is interesting. In the story itself, I was hoping for something really different from Disney's Aladdin, and I was somewhat disappointed there. There are differences, but they're not so huge.
The front flap of the cover promises "a newfound appreciation for the ingenuity of the heroine, Princess Badr al-Budur, who outwits an evil magician to ultimately save Aladdin's life." I was looking forward to that, but Aladdin makes the plan to have the princess poison the magician. The princess does successfully poison the magician's drink (exactly as Aladdin directed her) but I was hoping for a little more agency for the princess.
The translator and editor point out that the story has a feel consistent with being told by someone telling stories for their life, and I think that's true: pushing the action foward, and-then'ing the next chapter and the next, with no time to go back and edit. It's probably a good thing that most stories aren't produced that way.
The front flap of the cover promises "a newfound appreciation for the ingenuity of the heroine, Princess Badr al-Budur, who outwits an evil magician to ultimately save Aladdin's life." I was looking forward to that, but Aladdin makes the plan to have the princess poison the magician. The princess does successfully poison the magician's drink (exactly as Aladdin directed her) but I was hoping for a little more agency for the princess.
The translator and editor point out that the story has a feel consistent with being told by someone telling stories for their life, and I think that's true: pushing the action foward, and-then'ing the next chapter and the next, with no time to go back and edit. It's probably a good thing that most stories aren't produced that way.
February 4, 2022
This was a fun story of the origin of the famous Aladdin story. It was very interesting to see how the Disney producers took the tale and tweaked it for a more comprehensive story. Very cool.
There were a lot of references to racist or colorist perceptions, whether common at the time or incorporated because of biased views of the original French translators, that made me uncomfortable.
Rate Procedure:
⭐️⭐️⭐️⭐️⭐️ - I loved the book so much I would reread it again and would recommended to a friend.
⭐️⭐️⭐️⭐️ - Thoroughly enjoyed the book, could not do put it add down, would recommending to a friend, but do not need to read again.
⭐️⭐️⭐️ - Probably a good book that I enjoyed but there was something about it I did not love (e.g. The writing style, the POV, etc.). I would only recommend to a friend if it was their "type" of book.
⭐️⭐️ - A book I have below average feelings for and it would not come with a recommendation from me but I would mention it in conversation if related to the book topic at issue.
⭐️ - I finished the book but I hated every second of it.
There were a lot of references to racist or colorist perceptions, whether common at the time or incorporated because of biased views of the original French translators, that made me uncomfortable.
Rate Procedure:
⭐️⭐️⭐️⭐️⭐️ - I loved the book so much I would reread it again and would recommended to a friend.
⭐️⭐️⭐️⭐️ - Thoroughly enjoyed the book, could not do put it add down, would recommending to a friend, but do not need to read again.
⭐️⭐️⭐️ - Probably a good book that I enjoyed but there was something about it I did not love (e.g. The writing style, the POV, etc.). I would only recommend to a friend if it was their "type" of book.
⭐️⭐️ - A book I have below average feelings for and it would not come with a recommendation from me but I would mention it in conversation if related to the book topic at issue.
⭐️ - I finished the book but I hated every second of it.
December 6, 2024
Seale’s translation of Aladdin is fluid and straddles the line between the older style of the writing and modern language well. If you’re anticipating a Disney-esque telling of the Aladdin story or even a complicated retelling in Renée Ahdieh’s style, you should recalibrate your expectations. Aladdin is, by most modern standards, undeserving — his character growth is a consequence of his luck in having access to the lamp and little more. The princess is very much a damsel in occasional distress. The rich people are the prettiest, richest people because they’re rich and pretty, and so on.
This story is, in short, a product of a time its and the translation is faithful to those attitudes.
The introduction is a particularly good one, and well worth the extra time to read, connecting the narrative development of Aladdin to other modern stories and diving into the ways the Aladdin story has made its way around the world.
This story is, in short, a product of a time its and the translation is faithful to those attitudes.
The introduction is a particularly good one, and well worth the extra time to read, connecting the narrative development of Aladdin to other modern stories and diving into the ways the Aladdin story has made its way around the world.
June 19, 2019
The short, classic tale of Aladdin, re-translated and with a relatively lengthy foreword.
The translation left no deep impression on me; the tale is simple and the broad outlines are well known, the translation perfectly suitable and unremarkable to a lay reader.
This, particularly the unremarkable nature of the translation, came as some surprise to me. The lengthy introduction, which provided an engaging overview of the confused origin of the story and various past translations, translators, and compilations, made a great point about the new translator and translation, especially that she was French-Syrian and a woman. Frankly, I'm dubious that nationality or gender played any meaningful role in the translation. Instead, it boils down to that she
had the necessary language skills and did a perfectly fine job translating a simpler story.
The translation left no deep impression on me; the tale is simple and the broad outlines are well known, the translation perfectly suitable and unremarkable to a lay reader.
This, particularly the unremarkable nature of the translation, came as some surprise to me. The lengthy introduction, which provided an engaging overview of the confused origin of the story and various past translations, translators, and compilations, made a great point about the new translator and translation, especially that she was French-Syrian and a woman. Frankly, I'm dubious that nationality or gender played any meaningful role in the translation. Instead, it boils down to that she
had the necessary language skills and did a perfectly fine job translating a simpler story.
November 29, 2021
Only just marginally interesting, and that only for the Introduction, which talks about the historical origins of the story. Outside of scholars of Middle Eastern literature and/or folk tales, I just don't find the story all in any way compelling, intriguing, or unique. One could argue Disney ruined any enjoyment or appreciation of Aladdin, but that would assume one has seen the Disney version (versions? no idea...), which I have not. One could also suppose Disney has drawn unearned attention and praise to a rather pedestrian folk tale. Of that I would be in agreement. Disney's influence notwithstanding, I was hard pressed to find anything that stands out, be it the themes, writing style, or atmosphere. Having read no other translations, and not currently making any plans to do so, I cannot say how this version compares/contrasts with them.
May 20, 2019
This was a refreshing version of a classic so many of us are familiar with. Yasmine Seale, translator of this edition, does a wonderful job of keeping the essence of the original alive but modernizing appropriately enough to make it a lively and well-paced read. I actually found the introduction by the book's editor, Paulo Lemos Horta, to be the most interesting part of the book in that I learned much of the history of the story of Aladdin I didn't know - for example that the individual they believe curated the story originally was befriended by a con artist who sent him into a tomb to retrieve a ring and a lamp. For those interested in versions of the 1,001 Arabian Nights tales and classic literature in general, I'd recommend this version!
July 15, 2019
If you love fairytales as a child, do you still love them as an adult? I did and still do. This is a very old, recently found version of a much beloved story that has been knocking about for hundreds of years, with many iterations througout many cultures.
It is a quick and quite entertaining read. I love it. I have but one problem...
For me, at the end of every fairytale, there is a small voice that says "and the moral of the story is..."
Well, in this version, the moral is a bit missing. Opulence and riches rule. Yes, there is generosity, a bit of kindness and such, but they seem to have only supporting roles while the power of riches is the main character without question.
That is a big pebble in the shoe of this one.
It is a quick and quite entertaining read. I love it. I have but one problem...
For me, at the end of every fairytale, there is a small voice that says "and the moral of the story is..."
Well, in this version, the moral is a bit missing. Opulence and riches rule. Yes, there is generosity, a bit of kindness and such, but they seem to have only supporting roles while the power of riches is the main character without question.
That is a big pebble in the shoe of this one.
April 4, 2024
Eu pensava que conhecia a história do Aladim, até ler este livro. Um garoto que encontra uma lâmpada mágica e se apaixona por uma princesa. Ok, isso realmente acontece, mas a história do “garoto escolhido”, e da própria criação do livro, é muito mais complexa do que poderia imaginar.
Essa lenda não fala apenas sobre tapetes mágicos e grandes tesouros. Fala sobre amor, desigualdade social, solidão, ambição. Tudo envolto de muita aventura e magia, de um jeito que nenhuma adaptação conseguiu transmitir até hoje.
Este é apenas um conto entre vários do livro “As mil e uma noites”, e eu realmente recomendo para quem tem interesse em conhecer um pouco mais sobre outras culturas e, spoiler, não estou falando da cultura árabe.
Essa lenda não fala apenas sobre tapetes mágicos e grandes tesouros. Fala sobre amor, desigualdade social, solidão, ambição. Tudo envolto de muita aventura e magia, de um jeito que nenhuma adaptação conseguiu transmitir até hoje.
Este é apenas um conto entre vários do livro “As mil e uma noites”, e eu realmente recomendo para quem tem interesse em conhecer um pouco mais sobre outras culturas e, spoiler, não estou falando da cultura árabe.
Displaying 1 - 30 of 104 reviews