A plain and literal translation of the Arabian nights entertainments, now entituled The Book of the Thousand Nights and a Night, Volume 1 (of 17). Richard Francis Burton
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accordance with my purpose of reproducing the Nights, not virginibus puerisque, but in as perfect a picture as my powers permit, I have carefully sought out the English equivalent of every Arabic word, however low it may be or "shocking" to ears polite; preserving, on the other hand, all possible delicacy where the indecency is not intentional; and, as a friend advises me to state, not exaggerating the vulgarities and the indecencies which, indeed, can hardly be exaggerated. For the coarseness and crassness are but the shades of a picture which would otherwise be all lights. The general tone of The Nights is exceptionally high and pure. The devotional fervour often rises to the boiling-point of fanaticism. The pathos is sweet, deep and genuine; tender, simple and true, utterly unlike much of our modern tinsel. Its life, strong, splendid and multitudinous, is everywhere flavoured with that unaffected pessimism and constitutional melancholy which strike deepest root under the brightest skies and which sigh in the face of heaven: —
Vita quid est hominis? Viridis floriscula mortis;
Sole Oriente oriens, sole cadente cadens.
Poetical justice is administered by the literary Kází with exemplary impartiality and severity; "denouncing evil doers and eulogising deeds admirably achieved." The morale is sound and healthy; and at times we descry, through the voluptuous and libertine picture, vistas of a transcendental morality, the morality of Socrates in Plato. Subtle corruption and covert licentiousness are utterly absent; we find more real "vice" in many a short French roman, say La Dame aux Camelias, and in not a few English novels of our day than in the thousands of pages of the Arab. Here we have nothing of that most immodest modern modesty which sees covert implication where nothing is implied, and "improper" allusion, when propriety is not outraged; nor do we meet with the Nineteenth Century refinement; innocence of the word not of the thought; morality of the tongue not of the heart, and the sincere homage paid to virtue in guise of perfect hypocrisy. It is, indeed, this unique contrast of a quaint element, childish crudities and nursery indecencies and "vain and amatorious" phrase jostling the finest and highest views of life and character, shown in the kaleidoscopic shiftings of the marvellous picture with many a "rich truth in a tale's pretence"; pointed by a rough dry humour which compares well with "wut;" the alternations of strength and weakness, of pathos and bathos, of the boldest poetry (the diction of Job) and the baldest prose (the Egyptian of to-day); the contact of religion and morality with the orgies of African Apuleius and Petronius Arbiter – at times taking away the reader's breath – and, finally, the whole dominated everywhere by that marvellous Oriental fancy, wherein the spiritual and the supernatural are as common as the material and the natural; it is this contrast, I say, which forms the chiefest charm of The Nights, which gives it the most striking originality and which makes it a perfect expositor of the medieval Moslem mind.
Explanatory notes did not enter into Mr. Payne's plan. They do with mine: I can hardly imagine The Nights being read to any profit by men of the West without commentary. My annotations avoid only one subject, parallels of European folk-lore and fabliaux which, however interesting, would overswell the bulk of a book whose speciality is anthropology. The accidents of my life, it may be said without undue presumption, my long dealings with Arabs and other Mahommedans, and my familiarity not only with their idiom but with their turn of thought, and with that racial individuality which baffles description, have given me certain advantages over the average student, however deeply he may have studied. These volumes, moreover, afford me a long-sought opportunity of noticing practices and customs which interest all mankind and which "Society" will not hear mentioned. Grote, the historian, and Thackeray, the novelist, both lamented that the bégueulerie of their countrymen condemned them to keep silence where publicity was required; and that they could not even claim the partial licence of a Fielding and a Smollett. Hence a score of years ago I lent my best help to the late Dr. James Hunt in founding the Anthropological Society, whose presidential chair I first occupied (pp. 2-4 Anthropologia; London, Balliere, vol. i., No. 1, 1873). My motive was to supply travellers with an organ which would rescue their observations from the outer darkness of manuscript, and print their curious information on social and sexual matters out of place in the popular book intended for the Nipptisch and indeed better kept from public view. But, hardly had we begun when "Respectability," that whited sepulchre full of all uncleanness, rose up against us. "Propriety" cried us down with her brazen blatant voice, and the weak-kneed brethren fell away. Yet the organ was much wanted and is wanted still. All now known barbarous tribes in Inner Africa, America and Australia, whose instincts have not been overlaid by reason, have a ceremony which they call "making men." As soon as the boy shows proofs of puberty, he and his coevals are taken in hand by the mediciner and the Fetisheer; and, under priestly tuition, they spend months in the "bush," enduring hardships and tortures which impress the memory till they have mastered the "theorick and practick" of social and sexual relations. Amongst the civilised this fruit of the knowledge-tree must be bought at the price of the bitterest experience, and the consequences of ignorance are peculiarly cruel. Here, then, I find at last an opportunity of noticing in explanatory notes many details of the text which would escape the reader's observation, and I am confident that they will form a repertory of Eastern knowledge in its esoteric phase. The student who adds the notes of Lane ("Arabian Society," etc., before quoted) to mine will know as much of the Moslem East and more than many Europeans who have spent half their lives in Orient lands. For facility of reference an index of anthropological notes is appended to each volume.
The reader will kindly bear with the following technical details. Steinhaeuser and I began and ended our work with the first Bulak ("Bul.") Edition printed at the port of Cairo in A.H. 1251=A.D. 1835. But when preparing my MSS. for print I found the text incomplete, many of the stories being given in epitome and not a few ruthlessly mutilated with head or feet wanting. Like most Eastern scribes the Editor could not refrain from "improvements," which only debased the book; and his sole title to excuse is that the second Bulak Edition (4 vols. A.H. 1279=A.D. 1863), despite its being "revised and corrected by Sheik Mahommed Qotch Al-Adewi," is even worse; and the same may be said of the Cairo Edit. (4 vols. A.H. 1297=A.D. 1881). The Calcutta ("Calc.") Edition, with ten lines of Persian preface by the Editor, Ahmed al-Shirwani (A.D. 1814), was cut short at the end of the first two hundred Nights, and thus made room for Sir William Hay Macnaghten's Edition (4 vols, royal 4to) of 1839-42. This ("Mac."), as by far the least corrupt and the most complete, has been assumed for my basis with occasional reference to the Breslau Edition ("Bres.") wretchedly edited from a hideous Egyptian MS. by Dr. Maximilian Habicht (1825-43). The Bayrut Text "Alif-Leila we Leila" (4 vols. gt. 8vo, Beirut. 1881-83) is a melancholy specimen of The Nights taken entirely from the Bulak Edition by one Khalil Sarkis and converted to Christianity; beginning without Bismillah, continued with scrupulous castration and ending in ennui and disappointment. I have not used this missionary production.
As regards the transliteration of Arabic words I deliberately reject the artful and complicated system, ugly and clumsy withal, affected by scientific modern Orientalists. Nor is my sympathy with their prime object, namely to fit the Roman alphabet for supplanting all others. Those who learn languages, and many do so, by the eye as well as by the ear, well know the advantages of a special character to distinguish, for instance, Syriac from Arabic, Gujrati from Marathi. Again this Roman hand bewitched may have its use in purely scientific and literary works; but it would be wholly out of place in one whose purpose is that of the novel, to amuse rather than to instruct. Moreover the devices perplex the simple and teach nothing to the learned. Either the reader knows Arabic, in which case Greek letters, italics and "upper case," diacritical points and similar typographic oddities are, as a rule with some exceptions, unnecessary; or he does not know Arabic, when none of these expedients will be of the least use to him. Indeed it is a matter of secondary consideration what system we prefer, provided that we mostly adhere to one and the same, for the sake of a consistency which saves confusion to the reader. I have especially avoided that of Mr. Lane, adopted by Mr. Payne for special reasons against which it was vain to protest: it represents the debased brogue of Egypt or rather of Cairo; and such a word as Kemer (ez-Zeman) would be utterly unpronounceable to a Badawi. Nor have I followed the practice of my learned friend, Reverend G. P. Badger, in mixing bars and acute accents; the former unpleasantly remind man of those hateful dactyls and spondees, and the latter should, in my humble opinion, be applied to long vowels which in Arabic double, or should double, the length of the shorts. Dr. Badger uses the acute symbol to denote accent or stress of