The Book of the Thousand Nights and a Night Volume XVI Part 23

But the critic has been grandly deceptive, either designedly or of ignorance prepense in his arithmetic. "There are over four hundred of these (anecdotes, fables, and stories) in the complete text, and Lane has not translated more than two hundred" (p. 172). * * * "Adding the omitted anecdotes to the omitted tales, it appears that Lane left out about a third of the wh.o.r.e 'Nights,' and of that third at least three-fourths was incompatible with a popular edition.

When Mr. Payne and Captain Burton boast of presenting the public 'with three times as much matter as any other version,' they perhaps mean a third as much again" (p. 173). * * * "Captain Burton records his opinion that Lane has 'omitted half and by far the more characteristic half of the Arabian Nights,'

but Captain Burton has a talent for exaggeration, and for 'characteristic' we should reed 'unclear.' It is natural that he should make the most of such omissions, since they form the raison d'etre of his own translation; but he has widely overshot the mark, and the public may rest a.s.sured that the tales omitted from the standard version (proh pudor!) are of very slight importance in comparison with the tales included in it" (p. 173).

What a ma.s.s of false statement!

Let us now exchange fiction for fact. Lane's three volumes contain a total, deducting 15 for index, of pp. 1995 (viz. 618 + 643 + 734); while each (full) page of text averages 38 lines and of notes (in smaller type) 48. The text with a number of ill.u.s.trations represents a total of pp. 1485 (viz. 441 + 449 + 595). Mr. Payne's nine volumes contain a sum of pp. 3057, mostly without breaks, to the 1485 of the "Standard edition." In my version the sum of pages, each numbering 41 lines, is 3156, or 1163 more than Lane's total and 2671 more than his text.

Again, in Lane's text the tales number 62 (viz. 35 + 14 + 13), and as has been stated, all the longest have been omitted, save only Sindbad the Seaman. The anecdotes in the notes amount to 44 1/2 (viz. 3 1/2 + 35 + 6): these are for the most pert the merest outlines and include the 3 1/2 of volume i. viz. the Tale of Ibrahim al-Mausili (pp. 223-24), the Tale of Caliph Mu'awiyah (i. pp.

521-22), the Tale of Mukharik the Musician (i. pp. 224- 26), and the half tale of Umm 'Amr (i. p. 522). They are quoted bodily from the "Halbat al- k.u.mayt"

and from the "Kitab al-Unwan fi Makaid al-Niswan," showing that at the early stage of his labours the translator, who published in parts, had not read the book on which he was working; or, at least, had not learned that all the three and a half had been borrowed from The Nights. Thus the grand total is represented by 106 1/2 tales, and the reader will note the difference between 106 1/2 and the diligent and accurate reviewer's "not much more than two hundred." In my version the primary tales amount to 171; the secondaries, &c., to 96 and the total to 267, while Mr. Payne has 266.[FN#449] And these the critic swells to "over four hundred!" Thus I have more than double the number of pages in Lane's text (allowing the difference between his 38 lines to an oft-broken page and my 41) and nearly two and a half tales to his one, and therefore I do not mean "a third as much again."

Thus, too, we can deal with the dishonest a.s.sertions concerning Lane's translation "not being absolutely complete" (p. 171) and that "n.o.body desired to see the objectionable pa.s.sages which const.i.tuted the bulk of Lane's omissions restored to their place in the text" (p. 175).

The critic now pa.s.ses to The Uncle's competence for the task, which he grossly exaggerates. Mr. Lane had no "intimate acquaintance with Mahommedan life" (p.

174). His "Manners and Customs of the Modern Egyptians" should have been ent.i.tled "Modern Cairenes;" he had seen nothing of Nile-land save what was shown to him by a trip to Philae in his first visit (1825-28) and another to Thebes during his second, he was profoundly ignorant of Egypt as a whole, and even in Cairo he knew nothing of woman-life and child-life--two thirds of humanity. I doubt if he could have understood the simplest expression in baby language; not to mention the many idioms peculiar to the Harem nursery. The characteristic of his work is geniality combined with a true affection for his subject, but no scholar can ignore its painful superficiality. His studies of legal theology gave him much weight with the Olema, although, at the time when he translated The Nights, his knowledge of Arabic was small. Hence the number of lapses which disfigures his pages. These would have been excusable in an Orientalist working out of Egypt, but Lane had a Shaykh ever at his elbow and he was always able to command the a.s.sistance of the University Mosque, Al-Azhar. I need not enter upon the invidious task of cataloguing these errors, especially as the most glaring have been cursorily noticed in my volumes. Mr. Lane after leaving Egypt became one of the best Arabic scholars of his day, but his fortune did not equal his deserts. The Lexicon is a fine work although sadly deficient in the critical sense, but after the labour of thirty-four years (it began printing in 1863) it reached only the 19th letter Ghayn (p. 2386). Then invidious Fate threw it into the hands of Mr. Stanley Lane-Poole. With characteristic audacity he disdained to seek the services of some German Professor, an order of men which, rarely dining out and caring little for "Society," can devote itself entirely to letters, perhaps he hearkened to the silly charge against the Teuton of minuteness and futility of research as opposed to "good old English breadth and suggestiveness of treatment." And the consequence has been a "continuation" which serves as a standard whereby to measure the excellence of the original work and the woful falling- off and deficiencies of the sequel-- the latter retaining of the former naught save the covers. [FN#450]

Of Mr. Lane's Notes I have ever spoken highly: they are excellent and marvellously misplaced--non erat his locus. The text of a story-book is too frail to bear so ponderous a burden of cla.s.sical Arabian lore, and the annotations injure the symmetry of the book as a work of art. They begin with excessive prolixity: in the Introduction these studies fill 27 closely printed pages to 14 of a text broken by cuts and vignettes. In chaps. i. the proportion is pp. 20, notes: 15 text, and in chaps. ii. it is pp. 20: 35. Then they become under the publisher's protest, beautifully less; and in vol. iii.

chaps. 30 (the last) they are pp. 5: 57. Long disquisitions, "On the initial Moslem formula," "On the Wickedness of Women," "On Fate and Destiny," "On Arabian Cosmogony," "On Slaves," "On Magic," "On the Two Grand Festivals," all these being appended to the Introduction and the first chapter, are mere hors d'oeuvres: such "copy" should have been reserved for another edition of "The Modern Egyptians." The subst.i.tution of chapters for Nights was perverse and ill-judged as it could be, but it appears venial compared with condensing the tales in a commentary, thus converting the Arabian Nights into Arabian Notes.

However, "Arabian Society in the Middle Ages," a legacy left by the "Uncle and Master", and like the tame and inadequate "Selections from the Koran,"

utilised by the grand-nephew, has been of service to the Edinburgh. Also, as it appears three several and distinct times in one article (pp. 166, 174, and 183), we cannot but surmise that a main object of the critique was to advertise the volume. Men are crafty in these days when practicing the "puff indirect."

But the just complaint against Lane's work is its sin of omission. The partial Reviewer declares (pp. 174 75) that the Arabist "retranslated The Nights in a practical spirit, omitting what was objectionable, together with a few tales(!) that were, on the whole, uninteresting or tautological, and enriching the work with a mult.i.tude of valuable notes. We had now a scholarly version of the greater part of The Nights imbued with the spirit of the East and rich in ill.u.s.trative comment; and for forty years no one thought of anything more, although Galland still kept his hold on the nursery." Despite this spurious apology, the critic is compelled cautiously to confess (p. 172), "We are not sure that some of these omissions were not mistaken;" and he instances "Abdallah the Son of Fazil" and "Abu'l-Hasan of Khorasan" (he means, I suppose, Abu Hasan al-Ziyadi and the Khorasani Man, iv. 285), whilst he suggests, "a careful abridgment of the tale of Omar the Son of No'man" (ii.

7,, etc.). Let me add that wittiest and most rollicking of Rabelaisian skits, "All the Persian and the Kurd Sharper" (iv. 149), struck-out in the very wantonness of "respectability;" and the cla.s.sical series, an Arabian "Pilpay,"

ent.i.tled "King Jali'ad of Hind and his Wazir s.h.i.+mas" (iv. 32). Nor must I omit to notice the failure most injurious to the work which destroyed in it half the "spirit of the East." Mr. Lane had no gift of verse or rhyme: he must have known that the ten thousand lines of the original Nights formed a striking and necessary contrast with the narrative part, acting as aria to recitativo. Yet he rendered them only in the baldest and most prosaic of English without even the balanced style of the French translations. He can be excused only for one consideration--bad prose is not so bad as bad verse.

The ill-judged over-appreciation and glorification of Mr. Lane is followed (p.

176) by the depreciation and bedevilment of Mr. John Payne, who first taught the world what The Nights really is. We are told that the author (like myself) "unfortunately did not know Arabic;" and we are not told that he is a sound Persian scholar: however, "he undoubtedly managed to pick up enough of the language(!) to understand The Arabian Nights with the a.s.sistance of the earlier translations of (by?) Torrens and Lane," the former having printed only one volume out of some fifteen. This critic thinks proper now to ignore the "old English wall-papers," of Mr. R. S. Poole, indeed he concedes to the translator of Villon, a "genius for language," a "singular robust and masculine prose, which for the present purpose he intentionally weighted with archaisms and obsolete words but without greatly injuring its force or brilliancy" (p. 177). With plausible candour he also owns that the version "is a fine piece of English, it is also, save where the exigencies of rhyme compelled a degree of looseness, remarkably literal" (p. 178). Thus the author is d.a.m.ned with faint praise by one who utterly fails to appreciate the portentous difference between linguistic genius and linguistic mediocrity, and the Reviewer proceeds, "a careful collation" (we have already heard what his "careful" means) "of the different versions with their originals leads us to the conclusion that Mr. Payne's version is little less faithful than Lane's in those parts which are common to both, and is practically as close a rendering as is desirable" (p. 178). Tell the truth, man, and shame the Devil! I a.s.sert and am ready to support that the "Villon version" is incomparably superior to Lane's not only in its simple, pure and forcible English, but also in its literal and absolute correctness, being almost wholly free from the blunders and inaccuracies which everywhere disfigure Torrens, and which are rarely absent from Lane. I also repeat that wherever the style and the subject are the most difficult to treat, Mr. Payne comes forth most successfully from the contest, thus giving the best proof of his genius and capacity for painstaking. Of the metrical part, which makes the Villon version as superior to Lane's as virgin gold to German silver, the critique offers only three inadequate specimens specially chosen and accompanied with a growl that "the verse is nothing remarkable" (p. 177) and that the author is sometimes "led into extreme liberties with the original" (ibid.). Not a word of praise for mastering the prodigious difficulties of the monorhyme!

But--and there is a remarkable power in this particle--Mr. Payne's work is "restricted to the few wealthy collectors of proscribed books and what booksellers' catalogues describe as facetiae'" (p. 179); for "when an Arabic word is unknown to the literary language" (what utter imbecility!), "and belongs only to the low vocabulary of the gutter" (which the most "elegant"

writers most freely employ), "Mr. Payne laboriously searches out a corresponding term in English 'Billingsgate,' and prides himself upon an accurate reproduction of the tone of the original" (p. 178). This is a remarkable twisting of the truth. Mr. Payne persisted, despite my frequent protests, in rendering the "nursery words" and the "terms too plainly expressing natural situations" by old English such as "kaze" and "swive,"

equally ignored by the "gutter" and by "Billingsgate": he also omitted an offensive line whenever it did not occur in all the texts and could honestly be left untranslated. But the unfact is stated for a purpose: here the Reviewer mounts the high horse and poses as the Magister Morum per excellentiam. The Battle of the Books has often been fought, the crude text versus the bowdlerised and the expurgated; and our critic can contribute to the great fray only the merest plat.i.tudes. "There is an old and trusty saying that 'evil communications corrupt good manners,' end it is a well-known fact that the discussion(?) and reading of depraved literature leads (sic) infallibly to the depravation of the reader's mind" (p. 179). [FN#451] I should say that the childish indecencies and the unnatural vice of the original cannot deprave any mind save that which is perfectly prepared to be depraved; the former would provoke only curiosity and amus.e.m.e.nt to see bearded men such mere babes, and the latter would breed infinitely more disgust than desire. The man must be prurient and lecherous as a dog-faced baboon in rut to have aught of pa.s.sion excited by either. And most inept is the conclusion, "So long as Mr. Payne's translation remains defiled by words, sentences, and whole paragraphs descriptive of coa.r.s.e and often horribly depraved sensuality, it can never stand beside Lane's, which still remains the standard version of the Arabian Nights" (p. 179). Altro! No one knows better than the clique that Lane, after an artificially prolonged life of some half-century, has at last been weighed in the balance and been found wanting; that he is dying that second death which awaits the unsatisfactory worker and that his Arabian Nights are consigned by the present generation to the limbo of things obsolete and forgotten.

But if Mr. Payne is d.a.m.ned with poor praise and mock modesty, my version is condemned without redemption--beyond all hope of salvation: there is not a word in favour of a work which has been received by the reviewers with a chorus of kindly commendation. "The critical battery opens with a round-shot."

"Another complete translation is now appearing in a surrept.i.tious way" (p.

179). How "surrept.i.tious" I ask of this scribe, who ekes not the lack of reason by a superfluity of railing, when I sent out some 24,000--30,000 advertis.e.m.e.nts and published my project in the literary papers? "The amiability of the two translators (Payne and Burton) was testified by their each dedicating a volume to the other. So far as the authors are concerned nothing could be more harmonious and delightful; but the public naturally ask, What do we want with two forbidden versions?" And I again inquire, What can be done by me to satisfy this atrabilious and ill-conditioned Aristarchus? Had I not mentioned Mr. Payne, my silence would have been construed into envy, hatred and malice: if I am proud to acknowledge my friend's n.o.ble work the proceeding engenders a spiteful sneer. As regards the "want," public demand is easily proved. It is universally known (except to the Reviewer who will not know) that Mr. Payne, who printed only 500 copies, was compelled to refuse as many hundreds of would be subscribers; and, when my design was made public by the Press, these and others at once applied to me. "To issue a thousand still more objectionable copies by another and not a better hand" (notice the quip cursive!) may "seem preposterous" (p. 180), but only to a writer so "preposterous" as this.

"A careful (again!) examination of Captain Burton's translation shows that he has not, as he pretends(!), corrected it to agree with the Calcutta text, but has made a hotch-potch of various texts, choosing one or another--Cairo, Breslau, Macnaghten or first Calcutta--according as it presented most of the 'characteristic' detail (note the dig in the side vicious), in which Captain Burton's version is peculiarly strong" (p. 180). So in return for the severe labour of collating the four printed texts and of supplying the palpable omissions, which by turns disfigure each and every of the quartette, thus producing a complete copy of the Recueil, I gain nothing but blame. My French friend writes to me: Lorsqu'il s'agit d'etablir un texte d'apres differents ma.n.u.scrits, il est certain qu'il faut prendre pour base une-seule redaction.

Mais il n'est pas de meme d'une traduction. Il est conforme aux regles de la saine critique litteraire, de suivre tous les textes. Lane, I repeat, contented himself with the imperfect Bulak text while Payne and I preferred the Macnaghten Edition which, says the Reviewer, with a futile falsehood all his own, is "really only a revised form of the Cairo text" [FN#452] (ibid.).

He concludes, making me his rival in ignorance, that I am unacquainted with the history of the MS. from which the four- volume Calcutta Edition was printed (ibid.). I should indeed be thankful to him if he could inform me of its ultimate fate: it has been traced by me to the Messieurs Allen and I have vainly consulted Mr. Johnston who carries on the business under the name of that now defunct house. The MS. has clean disappeared.

"On the other hand he (Captain Burton) sometimes omits pa.s.sages which he considers(!) tautological and thereby deprives his version of the merit of completeness (e.g. vol. v. p. 327). It is needless to remark that this uncertainty about the text destroys the scholarly value of the translation"

(p. 180). The scribe characteristically forgets to add that I have invariably noted these excised pa.s.sages which are always the merest repet.i.tions, d.a.m.nable iterations of a twice-, and sometimes a thrice-told tale, and that I so act upon the great principle--in translating a work of imagination and "inducing"

an Oriental tale, the writer's first duty to his readers is making his pages readable.

"Captain Burton's version is sometimes rather loose" (p.180), says the critic who quotes five specimens out of five volumes and who might have quoted five hundred. This is another favourite "dodge" with the rogue-reviewer, who delights to cite words and phrases and texts detached from their contexts. A translator is often compelled, by way of avoiding recurrences which no English public could endure, to render a word, whose literal and satisfactory meaning he has already given, by a synonym or a h.o.m.onym in no way so sufficient or so satisfactory. He charges me with rendering "Siyar, which means 'doings,' by 'works and words"'; little knowing that the veteran Orientalist, M. Joseph Derenbourgh (p. 98, Johannes de Capua, Directorium, etc.), renders "Akhlak-i wa Sirati" (sing. of Siyar) by caractere et conducte, the latter consisting of deeds and speech. He objects to "Kabir" (lit.=old) being turned into very old; yet this would be its true sense were the Rawi or story-teller to lay stress and emphasis upon the word, as here I suppose him to have done. But what does the Edinburgh know of the Rawi? Again I render "Mal'unah" (not the mangled Mal'ouna) lit. = accurst, as "d.a.m.ned wh.o.r.e," which I am justified in doing when the version is of the category Call-a-spade-a-spade.

"Captain Burton's Arabian Nights, however, has another defect besides this textual inaccuracy" (p. 180); and this leads to a whole page of abusive rhetoric anent my vocabulary: the Reviewer has collected some thirty specimens--he might have collected three hundred from the five volumes--and he concludes that the list places Captain Burton's version "quite out of the category of English books" (p. 181) and "extremely annoying to any reader with a feeling for style." Much he must know of modern literary taste which encourages the translator of an ancient work such as Mr. Gibb's Auca.s.sin and Nicolette (I quote but one in a dozen) to borrow the charm of antiquity by imitating the nervous and expressive language of the pre-Elizabethans and Shakespeareans. Let him compare any single page of Mr. Payne with Messieurs Torrens and Lane and he will find that the difference saute aux yeux. But a purist who objects so forcibly to archaism and archaicism should avoid such terms as "whilom Persian Secretary" (p. 170); as anthophobia, which he is compelled to explain by "dread of selecting only what is best" (p. 175), as anthophobist (p. 176); as "fatuous e.j.a.c.u.l.a.t.i.o.ns" (p. 183), as a "raconteur"

(p. 186), and as "intermedium" (p. 194) terms which are certainly not understood by the general. And here we have a list of six in thirty-three pages:--evidently this Reviewer did not expect to be reviewed.

"Here is a specimen of his (Captain Burton's) verse, in which, by the way, there is seen another example of the careless manner in which the proofs have been corrected" (p. 181). Generous and just to a work printed from abroad and when absence prevented the author's revision: false as unfair to boot! And what does the critic himself but show two several misprints in his 33 pages; "Mr. Payne, vol. ix. p. 274" (p. 168, for vol. i. 260), and "Jamshah" (p. 172, for Janshah). These faults may not excuse my default: however, I can summon to my defence the Sat.u.r.day Review, that past-master in the art and mystery of carping criticism, which, noticing my first two volumes (Jan. 2, 1886), declares them "laudably free from misprints."

"Captain Burton's delight in straining the language beyond its capabilities(?) finds a wide field when he comes to those pa.s.sages in the original which are written in rhyming prose" (p. 181). "Captain Burton of course could not neglect such an opportunity for display of linguistic flexibility on the model of 'Peter Parley picked a peck of pickled peppers"' (p. 182, where the Saj'a or prose rhyme is most ignorantly confounded with our peculiarly English alliteration). But this is wilfully to misstate the matter. Let me repeat my conviction (Terminal Essay, 144-145) that The Nights, in its present condition, was intended as a text or handbook for the Rawi or professional story-teller, who would declaim the recitative in quasi-conversational tones, would intone the Saj'a and would chant the metrical portions to the tw.a.n.ging of the Rababah or one-stringed viol. The Reviewer declares that the original has many such pa.s.sages; but why does he not tell the reader that almost the whole Koran, and indeed all cla.s.sical Arab prose, is composed in such "jingle"? "Doubtfully pleasing in the Arabic," it may "sound the reverse of melodious in our own tongue" (p. 282); yet no one finds fault with it in the older English authors (Terminal Essay, p. 220), and all praised the free use of it in Eastwick's "Gulistan." Torrens, Lane and Payne deliberately rejected it, each for his own and several reason; Torrens because he never dreamt of the application, Lane, because his scanty knowledge of English stood in his way; and Payne because he aimed at a severely cla.s.sical style, which could only lose grace, vigour and harmony by such exotic decoration. In these matters every writer has an undoubted right to carry out his own view, remembering the while that it is impossible to please all tastes. I imitated the Saj'a, because I held it to be an essential part of the work and of my fifty reviewers none save the Edinburgh considered the reproduction of the original manner aught save a success. I care only to satisfy those whose judgment is satisfactory: "the abuse and contempt of ignorant writers hurts me very little," as Darwin says (iii. 88), and we all hold with Don Quixote that, es mejor ser loado de los pocos sabios, que burlado de los muchos necios.

"This amus.e.m.e.nt (of reproducing the Saj'a) may be carried to any length (how?), and we do not see why Captain Burton neglects the metre of the poetry, or divides his translation into sentences by stops, or permits any break in the continuity of the narrative, since none such exists in the Arabic" (p.

182). My reply is that I neglect the original metres first and chiefly because I do not care to "caper in fetters," as said Drummond of Hawthornden; and, secondly, because many of them are unfamiliar and consequently unpleasant to English ears. The exceptions are mostly two, the Rajaz (Anapaests and Iambs, Terminal Essay, x. 253), and the Tawil or long measure (ibid. pp. 242, 255), which Mr. Lyall (Translations of Ancient Arab. Poetry, p. xix.) compares with "Abt Vogler,"

And there! ye have heard and seen: consider and bow the head.

This metre greatly outnumbers all others in The Nights; but its lilting measure by no means suits every theme, and in English it is apt to wax monotonous.

"The following example of a literal rendering which Mr. Payne adduces (vol.

ix. 381: camp. my vol. v. 66) in order to show the difficulty of turning the phraseology of the original into good English, should have served Captain Burton as a model, and we are surprised he has not adopted so charmingly c.u.mbrous a style" (p. 102). I shall quote the whole pa.s.sage in question and shall show that by the most unimportant changes, omissions and transpositions, without losing a word, the whole becomes excellent English, and falls far behind the Reviewer's style in the contention for "c.u.mbrousness":--

"When morrowed the morning he bedabbled his feet with the water they twain had expressed from the herb and, going-down to the sea, went thereupon, walking days and nights, he wondering the while at the horrors of the ocean and the marvels and rarities thereof. And he ceased not faring over the face of the waters till he arrived at an island as indeed it were Paradise. So Bulukiya went up thereto and fell to wondering thereanent and at the beauties thereof; and he found it a great island whose dust was saffron and its gravel were carnelian and precious stones: its edges were gelsomine and the growth was the goodliest of the trees and the brightest of the scented herbs and the sweetest of them. Its rivulets were a-flowing; its brushwood was of the Comorin aloe and the Sumatran lign- aloes; its reeds were sugar-canes and round about it bloomed rose and narcissus and amaranth and gilliflower and chamomile and lily and violet, all therein being of several kinds and different tints. The birds warbled upon those trees and the whole island was fair of attributes and s.p.a.cious of sides and abundant of good things, comprising in fine all of beauty and loveliness," etc. (Payne, vol. ix. p. 381).

The Reviewer cites in his list, but evidently has not read, the "Tales from the Arabic," etc., printed as a sequel to The Nights, or he would have known that Mr. Payne, for the second part of his work, deliberately adopted a style literal as that above-quoted because it was the liveliest copy of the original.

We now come to the crucial matter of my version, the annotative concerning which this "decent gentleman," as we suppose this critic would ent.i.tle himself (p. 185), finds a fair channel of discharge for vituperative rhetoric. But before entering upon this subject I must be allowed to repeat a twice-told tale and once more to give the raison d'etre of my long labour. When a friend asked me point-blank why I was bringing out my translation so soon after another and a most scholarly version, my reply was as follows:--"Sundry students of Orientalism a.s.sure me that they are anxious to have the work in its crudest and most realistic form. I have received letters saying, Let us know (you who can) what the Arab of The Nights was: if good and high-minded let us see him: if witty and humorous let us hear him: if coa.r.s.e and uncultivated, rude, childish and indecent, still let us have him to the very letter. We want for once the genuine man. We would have a mediaeval Arab telling the tales and traditions with the lays and legends of his own land in his own way, and showing the world what he has remained and how he has survived to this day, while we Westerns have progressed in culture and refinement. Above all things give us the naive and plain-spoken language of the original--such a contrast with the English of our times--and show us, by the side of these enfantillages, the acc.u.mulated wit and wisdom, life-knowledge and experience of an old-world race. We want also the technique of the Recueil, its division into nights, its monorhyme, in fact everything that gives it cachet and character." Now I could satisfy the longing, which is legitimate enough, only by annotation, by a running commentary, as it were, enabling the student to read between the lines and to understand hints and innuendoes that would otherwise have pa.s.sed by wholly unheeded. I determined that subscribers should find in my book what does not occur in any other, making it a repertory of Eastern knowledge in its esoteric phase, by no means intended for the many-headed but solely for the few who are not too wise to learn or so ignorant as to ignore their own ignorance. I regretted to display the gross and b.e.s.t.i.a.l vices of the original, in the rare places where obscenity becomes rampant, but not the less I held it my duty to translate the text word for word, instead of garbling it and mangling it by perversion and castration. My rendering (I promised) would be something novel, wholly different from all other versions, and it would leave very little for any future interpreter.[FN#453]

And I resolved that, in case of the spiteful philanthropy and the rabid p.o.r.nophobic suggestion of certain ornaments of the Home-Press being acted upon, to appear in Court with my version of The Nights in one hand and bearing in the other the Bible (especially the Old Testament, a free translation from an ancient Oriental work) and Shakespeare, with Petronius Arbiter and Rabelais by way of support and reserve. The two former are printed by millions; they find their way into the hands of children, and they are the twin columns which support the scanty edifice of our universal home-reading. The Arbiter is sotadical as Abu Nowas and the Cure of Meudon is surpa.s.sing in what appears uncleanness to the eye of outsight not of insight. Yet both have been translated textually and literally by eminent Englishmen and gentlemen, and have been printed and published as an "extra series" by Mr. Bohn's most respectable firm and solo by Messieurs Bell and Daldy. And if The Nights are to be bowdlerised for students, why not, I again ask, mutilate Plato and Juvenal, the Romances of the Middle Ages, Boccaccio and Petrarch and the Elizabethan dramatists one and all? What hypocrisy to blaterate about The Nights in presence of such triumphs of the Natural! How absurd to swallow such camels and to strain at my midge!

But I had another object while making the notes a Repertory of Eastern knowledge in its esoteric form (Foreword, p. xvii.). Having failed to free the Anthropological Society from the fetters of mauvaise honte and the mock-modesty which compels travellers and ethnological students to keep silence concerning one side of human nature (and that side the most interesting to mankind), I proposed to supply the want in these pages. The England of our day would fain bring up both s.e.xes and keep all ages in profound ignorance of s.e.xual and inters.e.xual relations; and the consequences of that imbecility are peculiarly cruel and afflicting. How often do we hear women in Society lamenting that they have absolutely no knowledge of their own physiology; and at what heavy price must this fruit of the knowledge-tree be bought by the young first entering life. Shall we ever understand that ignorance is not innocence? What an absurdum is a veteran officer who has spent a quarter-century in the East without learning that all Moslem women are circ.u.mcised, and without a notion of how female circ.u.mcision is effected; without an idea of the difference between the Jewish and the Moslem rite as regards males; without an inkling of the Armenian process whereby the cutting is concealed, and without the slightest theoretical knowledge concerning the mental and spiritual effect of the operation. Where then is the shame of teaching what it is shameful not to have learnt? But the ultra-delicacy, the squeamishness of an age which is by no means purer or more virtuous than its ruder predecessors, has ended in trenching upon the ridiculous. Let us see what the modern English woman and her Anglo-American sister have become under the working of a mock-modesty which too often acts cloak to real devergondage; and how Respectability unmakes what Nature made. She has feet but no "toes"; ankles but no "calves"; knees but no "thighs"; a stomach but no "belly" nor "bowels"; a heart but no "bladder" nor "groin"; a liver end no "kidneys"; hips and no "haunches"; a bust and no "backside" nor "b.u.t.tocks": in fact, she is a monstrum, a figure fit only to frighten the crows.

But the Edinburgh knows nothing of these things, and the "decent gentleman,"

like the lady who doth protest overmuch, persistently fixes his eye upon a single side of the s.h.i.+eld." Probably no European has ever gathered such an appalling collection of degrading customs and statistics of vice as is contained in Captain Burton's translation of the 'Arabian Nights' (p. 185). He finds in the case of Mr. Payne, like myself, "no adequate justification for flooding the world (!) with an ocean of filth" (ibid.) showing that he also can be (as said the past-master of catch-words, the primus verborum artifex) "an interested rhetorician inebriated with the exuberance of his own verbosity." But audi alteram partem--my view of the question. I have no apology to make for the details offered to the students of Moslem usages and customs, who will find in them much to learn and more to suggest the necessity of learning. On no wise ashamed am I of lecturing upon these esoteric matters, the most important to humanity, at a time when their absence from the novel of modern society veils with a double gloom the night-side of human nature. Nay, I take pride to myself for so doing in the face of silly prejudice and miserable hypocrisy, and I venture to hold myself in the light of a public benefactor. In fact, I consider my labours as a legacy bequeathed to my countrymen at a most critical time when England the puissantest of Moslem powers is called upon, without adequate knowledge of the Moslem's inner life, to administer Egypt as well as to rule India. And while Pharisee and Philister may be or may pretend to be "shocked" and "horrified" by my pages, the sound common sense of a public, which is slowly but surely emanc.i.p.ating itself from the prudish and prurient reticences and the immodest and immoral modesties of the early xixth century, will in good time do me, I am convinced, full and ample justice.

In p. 184 the Reviewer sneers at me for writing "Roum" in lieu of Rum or Rum; but what would the latter have suggested to the home-reader save a reference to the Jamaican drink? He also corrects me (vol. v. 248) in the matter of the late Mr. Emanuel Deutsch (p. 184), who excised "our Saviour" from the article on the Talmud reprinted amongst his literary remains. The Reviewer, or inspirer of the Review, let me own, knew more of Mr. Deutsch than I, a simple acquaintance, could know; but perhaps he does not know all, and if he did he probably would not publish his knowledge. The truth is that Mr. Deutsch was, during his younger years, a liberal, nay, a lat.i.tudinarian in religion, differing little from the so-styled "Christian Unitarian." But when failing health drove him to Egypt and his hour drew nigh he became (and all honour to him!) the scrupulous and even fanatical Hebrew of the Hebrews; he consorted mainly with the followers and divines of his own faith, and it is said that he ordered himself when dying to be taken out of bed and placed upon the bare floor. The "Saviour" of the article was perhaps written in his earlier phase of religious thought, and it was excised as the end drew in sight.

"Captain Burton's experience in the East seems to have obliterated any (all?) sentiments of chivalry, for he is never weary of recording disparaging estimates of women, and apparently delights in discovering evidence of 'feminine devilry"' (p. 184). This argumentum ad feminam is sharpish practice, much after the manner of the Christian "Fathers of the Church" who, themselves vehemently doubting the existence of souls non- masculine, falsely and foolishly ascribed the theory and its consequences to Mohammed and the Moslems. And here the Persian proverb holds good "Harf-i-kufr kufr nist"--to speak of blasphemy is not blasphemous. Curious readers will consult the article "Woman" in my Terminal Essay (x. 167), which alone refutes this silly scandal. I never pretended to understand woman, and, as Balzac says, no wonder man fails when He who created her was by no means successful. But in The Nights we meet princ.i.p.ally Egyptian maids, matrons and widows, of whose "devilry" I cannot speak too highly, and in this matter even the pudibund Lane is as free-spoken as myself. Like the natives of warm, damp and malarious lowlands and river-valleys adjacent to rugged and healthy uplands, such as Mazanderan, Sind, Malabar and California, the pa.s.sions and the s.e.xual powers of the females greatly exceed those of their males, and hence a notable development of the crude form of polyandry popularly termed wh.o.r.edom. Nor have the women of the Nile valley improved under our rule. The last time I visited Cairo a Fellah wench, big, burly and boisterous, threatened one morning, in a fine new French avenue off the Ezbekiyah Gardens, to expose her person unless bought off with a piastre. And generally the condition of womenkind throughout the Nile-valley reminded me of that frantic outbreak of debauchery which characterised Afghanistan during its ill-judged occupation by Lord Auckland, and Sind after the conquest by Sir Charles Napier.

"Captain Burton actually depends upon the respectable and antiquated D'Herbelot for his information" (p. 184). This silly skit at the two great French Orientalists, D'Herbelot and Galland, is indeed worthy of a clique which, puff and struggle however much it will, can never do a t.i.the of the good work found in the Bibliotheque Orientale. The book was issued in an unfinished state; in many points it has been superseded, during its life of a century and a half, by modern studies, but it is still a mine of facts, and a revised edition would be a boon to students. Again, I have consulted Prof.

Palmer's work, and the publications of the Palaeographical Society (p. 184); but I nowhere find the proofs that the Naskhi character (vol. i. 128) so long preceded the Cufic which, amongst vulgar Moslems, is looked upon like black letter in Europe. But Semitic epigraphy is only now entering upon its second stage of study, the first being mere tentative ignorance: about 80 years ago the ill.u.s.trious De Sacy proved, in a learned memoir, the non-existence of letters in Arabia before the days of Mohammed. But Palmer[FN#454], Halevy, Robertson Smith, Doughty and Euting have changed all that, and Herr Eduard Glaser of Prague is now bringing back from Sana'a some 390 Sabaean epigraphs--a ma.s.s of new-old literature.

And now, having pa.s.sed in review, and having been much scandalised by the "extravagant claims of the complete translations over the Standard Version"--a term which properly applies only to the Editio princeps, 3 vols. 8vo--the Edinburgh delivers a parting and insolent sting. "The different versions, however, have each its proper destination--Galland for the nursery, Lane for the library, Payne for the study, and Burton for the sewers" (p. 184). I need hardly attempt to precise the ultimate and well merited office of his article: the gall in that ink may enable it hygienically to excel for certain purposes the best of "curl-papers." Then our critic pa.s.ses to the history of the work concerning which nothing need be said: it is bodily borrowed from Lane's Preface (pp. ix. xv.), and his Terminal Review (iii. 735-47) with a few unimportant and uninteresting details taken from Al-Makrizi, and probably from the studies of the late Rogers Bey (pp. 191-92). Here the cult of the Uncle and Master emerges most extravagantly. "It was Lane who first brought out the importance of the 'Arabian Nights' as const.i.tuting a picture of Moslem life and manners" (p. 192); thus wholly ignoring the claims of Galland, to whom and whom alone the honour is due. But almost every statement concerning the French Professor involves more or less of lapse. "It was in 1704 that Antoine Galland, sometime of the French emba.s.sy at Constantinople, but then professor at the College de France, presented the world with the contents of an Arab Ma.n.u.script which he had brought from Syria and which bore the t.i.tle of 'The Thousand Nights and One Night'" (p. 167), thus ignoring the famous Il a fallu le faire venir de Syrie. At that time (1704) Galland was still at Caen in the employ of "L'intendant Fouquet"; and he brought with him no MS., as he himself expressly a.s.sures us in Preface to his first volume. Here are two telling mistakes in one page, and in the next (p. 168) we find "As a professed translation Galland's 'Mille et une Nuits' (N.B. the Frenchman always wrote Mille et une Nuit)[FN#455] is an audacious fraud. "It requires something more than" audacity "to offer such misstatement even in the pages of the Edinburgh, and can anything be falser than to declare "the whole of the last fourteen tales have nothing whatever to do with the 'Nights'"?

These bevues, which give us the fairest measure for the Reviewer's competence to review, are followed (p. 189) by a series of obsolete a.s.sertions. "The highest authority on this point (the date) is the late Mr. Lane, who states his unqualified conviction that the tales represent the social life of mediaerval Egypt, and he selects a period approaching the close of the fifteenth century as the probable date of collection, though some of the tales are, he believes, rather later" (p. 189). Mr. Lane's studies upon the subject were painfully perfunctory. He distinctly states (Preface, p. xii.) that "the work was commenced and completed by one man," or at least that "one man completed what another commenced." With a marvellous want of critical ac.u.men he could not distinguish the vast difference of style and diction, treatment and sentiments, which at once strikes every intelligent reader, and which proves incontestably that many hands took part in the Great Saga-book. He speaks of "Galland's very imperfect MS.," but he never took the trouble to inspect the three volumes in question which are still in the Bibliotheque Nationale. And when he opines that "it (the work) was most probably not commenced earlier than the fifteenth century of our era" (Pref. p. xiii.) M.

Hermann Zotenberg, judging from the style of writing, would attribute the MS.

to the beginning[FN#456] of the xivth century. The French Savant has printed a specimen page in his Histoire d'Ala al-Din (p. 6; see my Suppl. vol. iii., Foreword p. ix.); and now, at the request of sundry experts, he is preparing for publication other proofs which confirm his opinion. We must correct Lane's fifteenth century to thirteenth century --a difference of only 200 years.[FN#457]

After this unhappy excursus the Reviewer proceeds to offer a most unintelligent estimate of the Great Recueil. "Enchantment" may be "a constant motive," but it is wholly secondary and subservient: "the true and universal theme is love;" "'all are but the ministers of love' absolutely subordinate to the great theme" (p. 193). This is the usual half-truth and whole unfact. Love and war, or rather war and love, form the bases of all romantic fiction even as they are the motor power of the myriad forms and fas.h.i.+ons of dancing. This may not appear from Lane's mangled and mutilated version which carefully omits all the tales of chivalry and conquest as the History of Gharib and his brother 'Ajib (vol. vi. 257) and that of Omar ibn Al-Nu'uman, "which is, as a whole so very unreadable" (p. 172) though by no means more so than our European romances. But the reverse is the case with the original composition.

Again, "These romantic lovers who will go through fire to meet each other, are not in themselves interesting characters: it may be questioned whether they have any character at all" (p. 195). "The story and not the delineation of character is the essence of the 'Arabian Nights'" (p. 196). I can only marvel at the utter want of comprehension and appreciation with which this critic read what he wrote about: one hemisphere of his brain must have been otherwise occupied and his mental cecity makes him a phenomenon even amongst reviewers.

He thus ignores all the lofty morale of the work, its marvellous pathos and humour, its tender sentiment and fine touches of portraiture, the personal individuality and the nice discrimination between the manifold heroes and heroines which combine to make it a book for all time.

The critic ends his article with doing what critics should carefully avoid to do. After shrewdly displaying his powers of invective and depreciation he has submitted to his readers a sample of his own workmans.h.i.+p. He persists in writing "Zobeyda," "Khalifa," "Aziza" (p. 194) and "Kahramana" (p. 199) without the terminal aspirate which, in Arabic if not in Turkish, is a sine qua non (see my Suppl. vol. v. 302). He preserves the pretentious blunder "The Khalif" (p. 193), a word which does not exist in Arabic. He translates (p.

181), although I have taught him to do better, "Hadimu 'I-Lizzati wa Mufarriku 'l-Jama'at," by "Terminator of Delights and Separator of Companies" instead of Destroyer of delights and Severer of societies. And lastly he pads the end of his article (pp. 196-199) with five dreary extracts from Lane (i. 372-73) who can be dull even when translating the Immortal Barber.