The Book of the Thousand Nights and a Night, vol 16 by Sir Richard Francis Burton (bill gates books recommendations .TXT) 📕

and enriching the work with a multitude 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 illustrative 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-Ziy�di 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 classical series, an Arabian “Pilpay,”

entitled “King Jali’�d of Hind and his Wazir Shimas” (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 assistance 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 damned 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 assert 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 faceti�’” (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 platitudes. “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 amusement 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 passion 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 coarse 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 damned 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 surreptitious way” (p.

179). How “surreptitious” 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

advertisements 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 noble 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’�tablir un texte d’apr�s diff�rents manuscrits, il est certain qu’il faut prendre pour base une-seule redaction.

Mais il n’est pas de m�me d’une traduction. Il est conforme aux r�gles de la saine critique litt�raire, 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 passages 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 passages which are always the merest repetitions, damnable 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 homonym 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 “Akhl�k-�

wa S�rat�” (sing. of Siyar) by caract�re 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 R�w� or storyteller to lay stress and emphasis upon the word, as here I suppose him to have done. But what does the Edinburgh know of the R�w�? Again I render “Mal’�nah” (not the mangled Mal’ouna) lit. = accurst, as “damned whore,” which I