While Sargent was influenced by the Arabian Nights’ colorful language, portraying this interpretatively with his vividly color paintings, others took a more literal approach and depicted scenes from the storybook. In fact, the Arabian Nights is one of the most illustrated works of all time, having been illustrated by hundreds of people (Hafernik and Renault). The style and interpretation of each artist varies: some have made etchings; others have made pen and ink drawings, and even others have used delicate watercolors to convey their take on the story. I have chosen to focus on the narrator of the Nights, Scheherazade, thereby allowing for comparisons in interpretation among the artists illustrations.
H. J. Ford (1969 publication of the Arabian Nights): Ford’s Scheherazade is full of strength and confidence that she will live for another day. She sits comfortably with her legs crossed, but her body is taut and pushed forward, to ensure the full attention of her audience. One is raised, while the other is rigidly at her rid, conveying her passion for her stories. She is on stage, and the Sultan, by contrast, is hidden behind her in the shadows. He sits quietly, while Scheherazade dominates the scene.
Earle Goodenow (1946 publication): Goodnenow provides a very different setting than either Ford or Dulac, by using warm tones to create the image of a loving family. Scheherazade sits demurely and calmly; her body is relaxed, her shoulders are slouched, and one of her hands lies peacefully by her side. By contrast, the Sultan sits royally and confidently. There is no tension, no anticipation, and Scheherazade has none of the fervor that one would expect from a woman whose life depended on the quality and allurement of her stories.
Vera Bock (1952 publication): Bock offers the opposite of Goodenow, depicting a scene in which the Sultan, dressed lavishly like a Sultan should, has a sneer on his face, looking down on Scheherazade, both figuratively and literally and he sits above Scheherazade in the scene. He points a finger to himself, as if to remind Scheherazade that he is the important one, he is that one that will decide whether or not she will live for this night, and she should most certainly make her stories worth his while. Scheherazade does not seem afraid of the challenge, as she raises her arms to emphasize the drama in her story.