The Book of the Thousand Nights and a Night, vol 1 by Sir Richard Francis Burton (classic literature list TXT) 📕

>(afterwards Sir)William H. Macnaghten. The attempt, or rather the intention, was highly creditable; the copy was carefully moulded upon the model and offered the best example of the verbatim et literatim style. But the plucky author knew little of Arabic, and least of what is most wanted, the dialect of Egypt and Syria. His prose is so conscientious as to offer up spirit at the shrine of letter; and his verse, always whimsical, has at times a manner of Hibernian whoop which is comical when it should be pathetic.

Lastly he printed only one volume of a series which completed would have contained nine or ten.

 

That amiable and devoted Arabist, the late Edward William Lane does not score a success in his “New Translation of the Tales of a Thousand and One Nights” (London: Charles Knight and Co., MDCCCXXXIX.) of which there have been four English editions, besides American, two edited by E. S. Poole. He chose the abbreviating Bulak Edition; and, of its two hundred tales, he has omitted about half and by far the more characteristic half: the work was intended for “the drawing room table;” and, consequently, the workman was compelled to avoid the “objectionable” and aught “approaching to licentiousness.” He converts the Arabian Nights into the Arabian Chapters, arbitrarily changing the division and, worse still, he converts some chapters into notes. He renders poetry by prose and apologises for not omitting it altogether: he neglects assonance and he is at once too Oriental and not Oriental enough. He had small store of Arabic at the time—Lane of the Nights is not Lane of the Dictionary—and his pages are disfigured by many childish mistakes. Worst of all, the three handsome volumes are rendered unreadable as Sale’s Koran by their anglicised Latin, their sesquipedalian un English words, and the stiff and stilted style of half a century ago when our prose was, perhaps, the worst in Europe. Their cargo of Moslem learning was most valuable to the student, but utterly out of place for readers of “The Nights;”

re-published, as these notes have been separately (London, Chatto, I883), they are an ethnological text book.

 

Mr. John Payne has printed, for the Villon Society and for private circulation only, the first and sole complete translation of the great compendium, “comprising about four times as much matter as that of Galland, and three times as much as that of any other translator;” and I cannot but feel proud that he has honoured me with the dedication of “The Book of The Thousand Nights and One Night.” His version is most readable: his English, with a sub-flavour of the Mabinogionic archaicism, is admirable; and his style gives life and light to the nine volumes whose matter is frequently heavy enough. He succeeds admirably in the most difficult passages and he often hits upon choice and special terms and the exact vernacular equivalent of the foreign word, so happily and so picturesquely that all future translators must perforce use the same expression under pain of falling far short.

But the learned and versatile author bound himself to issue only five hundred copies, and “not to reproduce the work in its complete and uncastrated form.” Consequently his excellent version is caviaire to the general—practically unprocurable.

 

And here I hasten to confess that ample use has been made of the three versions above noted, the whole being blended by a callida junctura into a homogeneous mass. But in the presence of so many predecessors a writer is bound to show some raison d’etre for making a fresh attempt and this I proceed to do with due reserve.

 

Briefly, the object of this version is to show what “The Thousand Nights and a Night” really is. Not, however, for reasons to be more fully stated in the Terminal Essay, by straining verbum reddere verbo, but by writing as the Arab would have written in English. On this point I am all with Saint Jerome (Pref. in Jobum) “Vel verbum e verbo, vel sensum e sensu, vel ex utroque commixtum, et medic temperatum genus translationis.” My work claims to be a faithful copy of the great Eastern Saga book, by preserving intact, not only the spirit, but even the m�canique, the manner and the matter. Hence, however prosy and long drawn out be the formula, it retains the scheme of The Nights because they are a prime feature in the original. The R�w� or reciter, to whose wits the task of supplying details is left, well knows their value: the openings carefully repeat the names of the dramatic personae and thus fix them in the hearer’s memory.

Without the Nights no Arabian Nights! Moreover it is necessary to retain the whole apparatus: nothing more ill advised than Dr.

Jonathan Scott’s strange device of garnishing The Nights with fancy head pieces and tail pieces or the splitting up of Galland’s narrative by merely prefixing “Nuit,” etc., ending moreover, with the ccxxxivth Night: yet this has been done, apparently with the consent of the great Arabist Sylvestre de Sacy (Paris, Ernest Bourdin). Moreover, holding that the translator’s glory is to add something to his native tongue, while avoiding the hideous hag like nakedness of Torrens and the bald literalism of Lane, I have carefully Englished the picturesque turns and novel expressions of the original in all their outlandishness; for instance, when the dust cloud raised by a tramping host is described as “walling the horizon.” Hence peculiar attention has been paid to the tropes and figures which the Arabic language often packs into a single term; and I have never hesitated to coin a word when wanted, such as “she snorted and sparked,” fully to represent the original. These, like many in Rabelais, are mere barbarisms unless generally adopted; in which case they become civilised and common currency.

 

Despite objections manifold and manifest, I have preserved the balance of sentences and the prose rhyme and rhythm which Easterns look upon as mere music. This “Saj’a,” or cadence of the cooing dove, has in Arabic its special duties. It adds a sparkle to description and a point to proverb, epigram and dialogue; it corresponds with our “artful alliteration” (which in places I have substituted for it) and, generally, it defines the boundaries between the classical and the popular styles which jostle each other in The Nights. If at times it appear strained and forced, after the wont of rhymed prose, the scholar will observe that, despite the immense copiousness of assonants and consonants in Arabic, the strain is often put upon it intentionally, like the Rims cars of Dante and the Troubadours.

This rhymed prose may be “un English” and unpleasant, even irritating to the British ear; still I look upon it as a sine qu�

non for a complete reproduction of the original. In the Terminal Essay I shall revert to the subject.

 

On the other hand when treating the versical portion, which may represent a total of ten thousand lines, I have not always bound myself by the metrical bonds of the Arabic, which are artificial in the extreme, and which in English can be made bearable only by a tour de force. I allude especially to the monorhyme, Rim continuat or tirade monorime, whose monotonous simplicity was preferred by the Troubadours for threnodies. It may serve well for three or four couplets but, when it extends, as in the Ghazal-cannon, to eighteen, and in the Kasidah, elegy or ode, to more, it must either satisfy itself with banal rhyme words, when the assonants should as a rule be expressive and emphatic; or, it must display an ingenuity, a smell of the oil, which assuredly does not add to the reader’s pleasure. It can perhaps be done and it should be done; but for me the task has no attractions: I can fence better in shoes than in sabots. Finally I print the couplets in Arab form separating the hemistichs by asterisks.

 

And now to consider one matter of special importance in the book-

-its turpiloquium. This stumbling-block is of two kinds, completely distinct. One is the simple, na�ve and child like indecency which, from Tangiers to Japan, occurs throughout general conversation of high and low in the present day. It uses, like the holy books of the Hebrews, expressions “plainly descriptive of natural situations;” and it treats in an unconventionally free and naked manner of subjects and matters which are usually, by common consent, left undescribed. As Sir William Jones observed long ago, “that anything natural can be offensively obscene never seems to have occurred to the Indians or to their legislators; a singularity (?) pervading their writings and conversation, but no proof of moral depravity.”

Another justly observes, Les peuples primitifs n’y entendent pas malice: ils appellent les choses par leurs noms et ne trouvent pas condamnable ce qui est naturel. And they are prying as children. For instance the European novelist marries off his hero and heroine and leaves them to consummate marriage in privacy; even Tom Jones has the decency to bolt the door. But the Eastern story teller, especially this unknown “prose Shakespeare,” must usher you, with a flourish, into the bridal chamber and narrate to you, with infinite gusto, everything he sees and hears. Again we must remember that grossness and indecency, in fact les turpitudes, are matters of time and place; what is offensive in England is not so in Egypt; what scandalises us now would have been a tame joke tempore Elis�. Withal The Nights will not be found in this matter coarser than many passages of Shakespeare, Sterne, and Swift, and their uncleanness rarely attains the perfection of Alcofribas Naiser, “divin maitre et atroce cochon.”

The other element is absolute obscenity, sometimes, but not always, tempered by wit, humour and drollery; here we have an exaggeration of Petronius Arbiter, the handiwork of writers whose ancestry, the most religious and the most debauched of mankind, practised every abomination before the shrine of the Canopic Gods.

 

In 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 K�z� 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 Cam�lias, 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