Chapter M: The Tale of Attaf (10)

The second article (March 27, '86), treating of vol. iii., opens with one of those plagiaristic common-places, so dear to the soul of The Saturday, in its staid and stale old age as in its sprightly youth. "There is particularly one commodity which all men, therein nobly disregarding their differences of creed and country, are of a mind that it is better to give than to receive. That commodity is good advice. We note further that the liberality with which this is everywhere offered is only to be equalled (he means 'to be equalled only') by the niggard reception at most times accorded to the munificent donation; in fact the very goodness of advice given apparently militates against its due appreciation in (by?) the recipient." The critic then proceeds to fit his ipse dixit upon my case. The sense of the sentiment is the reverse of new: we find in The Spectator (No. dxii.), "There is nothing we receive with so much reluctance as good advice," etc., but Mr. Spectator writes good English and his plagiarist does not. Nor is the dictum true. We authors who have studied a subject for years, are, I am convinced, ready enough to learn, but we justly object to sink our opinions and our judgment in those of a counsellor who has only "crammed" for his article. Moreover, we must be sure that he can fairly lay claim to the three requisites of an adviser--capacity to advise rightly, honesty to advise truly, and courtesy to advise decently. Now the Saturday Review has neither this, that, nor the other qualification. Indeed his words read like subtle and lurking irony by the light of those phenomenal and portentous vagaries which ever and anon illuminate his opaque pages. What correctness can we expect from a journal whose tomahawk-man, when scalping the corpse of Matthew Arnold, deliberately applies the term "sonnet" to some thirty lines in heroic couplets? His confusion of Dr. Jenner, Vaccinator, with Sir William Jenner, the President of the R. C. of Physicians, is one which passes all comprehension. And what shall we say of this title to pose as an Aristarchus (November 4th, '82)? "Then Jonathan Scott, LL.D. Oxon, assures the world that he intended to re-translate the Tales given by Galland(!) but he found Galland so adequate on the whole (!!) that he gave up the idea and now reprints Galland with etchings by M. Lalauze, giving a French view of Arab life. Why Jonathan Scott, LL.D., should have thought to better Galland while Mr. Lane's version is in existence, and has just been reprinted, it is impossible to say." In these wondrous words Jonathan Scott's editio princeps with engravings from pictures by Smirke and printed by Longmans in 1811 is confounded with the imperfect reprint by Messieurs Nimmo and Bain, in 1883; the illustrations being borrowed from M. Adolphe Lalauze, a French artist (nat. 1838), a master of eaux fortes, who had studied in Northern Africa and who maroccanized the mise-en-scène of "The Nights" with a marvellous contrast of white and negro nudities. And such is the Solomon who fantastically complains that I have disdained to be enlightened by his "modest suggestions." Au reste the article is not bad simply because it borrows--again Americanicè--all its matter from my book. At the tail-end, however comes the normal sting: I am guilty of not explaining "Wuzú" (lesser ablution), "Ghusl" (greater ablution), and "Zakát" (legal alms which constitute a poor-rate), proving that the writer never read vol. iii. He confidently suggests replacing "Cafilah," "by the better known word Caravan," as if it were my speciality (as it is his) to hunt-out commonplaces: he grumbles about "interrogation-points a l'Espagnole upside down"(?) which still satisfies me as an excellent substitute to distinguish the common Q(uestion) from A(nswer) and he seriously congratulates me upon my discovering a typographical error on the fly- leaf. No. iii. (August 14, '86, handling vols. vi., vii. and viii.) is free from the opening pretensions and absurdities of No. ii. and it is made tolerably safe by the familiar action of scissors and paste. But--desinit in piscem--it ends fishily; and we find, after saturnine fashion, in cauda venenum. It scolds me for telling the English public what it even now ignores, the properest way of cooking meat (à propos of kabábs) and it "trembles to receive vols. ix. and x. for truly (from a literary point of view, of course, we mean) there seems nothing of which the translator might not be capable"--capable de tout, as said Voltaire of Habbakuk and another agnostic Frenchman of the Prophet Zerubbabel. This was indeed high praise considering the Saturday's sympathy with and affection for the dead level, for the average man; but as an augury of ill it was a brutum fulmen. No. iv. (August 30, '87) was, strange to say, in tone almost civil and ended with a touch simulating approval:--

"The labours of a quarter of a century," writes the translator in L'Envoi, "are now brought to a close, and certainly no one could have been found better suited by education and taste to the task of translating the 'Nights' than is the accomplished author of the 'Pilgrimage to Mecca and Medina.' His summing up of the contents and character of 'The Thousand and One Nights' in the Terminal Essay is a masterpiece of careful analysis and we cannot do better than conclude our notice with a paragraph that resumes with wonderful effect the boundless imagination and variety of the picture that is conjured up before our eyes:--

"Viewed as a tout ensemble in full and complete form, they are a drama of Eastern life and a Dance of Death made sublime by faith and the highest emotions, by the certainty of expiation and the fulness of atoning equity, where virtue is victorious, vice is vanquished and the ways of Allah are justified to man. They are a panorama which remains kenspeckle upon the mental retina. They form a phantasmagoria in which archangels and angels, devils and goblins, men of air, of fire, of water, naturally mingle with men of earth, where flying horses and talking fishes are utterly realistic, where King and Prince must meet fishermen and pauper, lamia and cannibal, where citizen jostles Badawi, eunuch meets knight; the Kazi hob-nobs with the thief.... The work is a kaleidoscope where everything falls into picture, gorgeous palaces and pavilions; grisly underground caves and deadly words, gardens fairer than those of the Hesperid; seas dashing with clashing billows upon enchanted mountains, valleys of the Shadow of Death, air-voyages and promenades in the abysses of the ocean, the duello, the battle, and the siege, the wooing of maidens and the marriage rite. All the splendour and squalor, the beauty and baseness the glamour and grotesqueness, the magic and the mournfulness, the bravery and the baseness, of Oriental life are here."

And now, after the Saturday Review has condescended severely and sententiously to bepreach me, I must be permitted a trifling return in kind. As is declared by the French an objectionable people which prefers la gloire to "duty," and even places "honour" before "honesty," the calling of the Fourth Estate is un sacerdoce, an Apostolate: it is a high and holy mission whose ends are the diffusion of Truth and Knowledge and the suppression of Ignorance and Falsehood. "Sacrilege," with this profession, means the breaking of its two great commandments and all sins of commission and omission suggested and prompted by vain love of fame, by sordid self-esteem or by ignoble rancour. What then shall we say of a paper which, professedly established to "counteract the immorality of The Times," adds to normal journalistic follies, offences and mistakes an utter absence of literary honour, systematic misrepresentation, malignity and absolute ruffianism? Let those who hold such language exaggerated glance at my pièce justicative, the Saturday's article (June 28, '88) upon Mr. Hitchman's "Biography of Sir Richard Burton." No denizen of Grub Street in the coarse old day of British mob-savagery could have produced a more damning specimen of wilful falsehood, undignified scurrility and brutal malevolence, in order to gratify a well-known pique, private and personal. The "Saturday Reviler"--there is, I repeat, much virtue in a soubriquet--has grown only somewhat feebler, not kindlier, not more sympathetic since the clever author of "In Her Majesty's Keeping" styled this Magister Morum "the benignant and judicious foster-parent of literature"; and since Darwin wrote of it (ii. 260) "One cannot expect fairness in a reviewer;" nor has it even taken to heart what my friend Swinburne declared (anent its issue of December 15, '83) "clumsy and shallow snobbery can do no harm." Like other things waxing obsolete it has served, I hasten to confess, a special purpose in the world of letters. It has lived through a generation of thirty years in the glorification of the mediocrities and in pandering to the impish taint of poor human nature, the ungenerous passions of those who abhor the novel, the original, the surprising, the startling, and who are only too glad to witness and to assist in the Procrustes' process of trimming and lengthening out thoughts and ideas and diction that rise or strive to rise above the normal and vulgar plane. This virtual descendant of the ancestral Satirist, after long serving as a spawning-ground to envy, hatred and malice, now enters upon the decline of an unworthy old age. Since the death of its proprietor, Mr. Beresford-Hope, it has been steadily going down hill as is proved by its circulation, once 15,000, and now something nearer 5,000 than 10,000. It has become a poor shadow of its former self--preserving the passive ill- will but lacking the power of active malevolence--when journalists were often compelled to decline correspondence upon its misjudgments and to close to complainants their columns which otherwise would have been engrossed by just and reasonable protestations. The "young lions" of its prime (too often behanged with a calf-skin on their recreant limbs) are down among the dead and the jackal-pack which has now taken up the howling could no longer have caused Thackeray to fear or can excite the righteous disgust of that votary of "fair-play" --Mr. John Bright.

And now, before addressing myself to another Reviewer, I would be allowed a few words upon two purely personal subjects; the style chosen for my translation and my knowledge of the Arabian language and literature.

I need hardly waste time to point out what all men discern more or less distinctly, how important are diction and expression in all works of fancy and fiction and how both branches, poetic and prosaic, delight in beauty adorned and allow in such matters the extreme of liberty. A long study of Galland and Torrens, Lane and Payne, convinced me that none of these translators, albeit each could claim his special merit, has succeeded in preserving the local colouring of the original. The Frenchman had gallicised and popularised the general tone and tenor to such extent that even the vulgar English versions have ever failed to throw off the French flavour. Torrens attempted literalism laudably and courageously enough; but his execution was of the roughest, the nude verbatim; nor did his familiarity with Arabic, or rather with Egyptian, suffice him for the task. Lane, of whom I have already spoken, and of whom I shall presently be driven by his imprudent relatives and interested friends to say more, affected the latinised English of the period flat and dull, turgid and vapid as that of Sale's Koran; and his style proved the most insufficient and inadequate attire in which an Oriental romance of the Middle Ages could be arrayed. Payne was perfectly satisfactory to all cultivated tastes but he designedly converted a romantic into a classical work: none ignores its high merits regarded merely as strong and vital English, but it lacks one thing needful--the multiform variety of The Nights. The original Arabic text which in the first thirteen tales (Terminal Essay, p. 78) must date from before the xiiith century at the latest (since Galland's MS. in the Bibliothèque Nationale has been assigned to the early xivth) is highly composite: it does not disdain local terms, bye-words and allusions (some obsolete now and forgotten), and it borrows indiscriminately from Persian (e.g. Sháhbandar), from Turkish (as Khátún) and from Sanscrit (for instance Brahman). As its equivalent, in vocabulary I could devise only a somewhat archaical English whose old-fashioned and sub-antique flavour would contrast with our modern and everyday speech, admitting at times even Latin and French terms, such as res scibilis and citrouille. The mixture startled the critics and carpers to whom its object had not been explained; but my conviction still remains that it represents, with much truth to nature, the motley suit of the Arabo-Egyptian. And it certainly serves one purpose, too often neglected by writers and unnoticed by reviewers. The fluent and transparent styles of Buckle and Darwin (the modern Aristotle who has transformed the face of Biological Science) are instruments admirably fitted for their purpose: crystal-clear, they never divert even a bittock of the reader's brain from the all-important sense underlying the sound-symbols. But in works of imagination mar. wants a treatment totally different, a style which, by all or any means, little mattering what they be, can avoid the imminent deadly risk of languor and monotony and which adds to fluency the allurement of variety, of surprise and even of disappointment, when a musical discord is demanded.

Again, my estimate of a translator's office has never been of the low level generally assigned to it even in the days when Englishmen were in the habit of englishing every important or interesting work published on the continent of Europe. We cannot expect at this period of our literature overmuch from a man who, as Messieurs Vizetelly assure their clientèle, must produce a version for a poor £20. But at his best the traducteur, while perfectly reproducing the matter and the manner of his original, works upon two lines. His prime and primary object is an honest and faithful copy, adding naught to the sense nor abating aught of its peculiar cachet whilst he labours his best to please and edify his readers. He has, however, or should have, another aim wherein is displayed the acme of hermeneutic art. Every language can profitably lend something to and borrow somewhat from its neighbours, near or far, an epithet, a metaphor, a turn of phrase, a naive idiom and the translator of original mind will not neglect the frequent opportunities of enriching his mother tongue with alien and novel ornaments, which will justly be accounted barbarisms until formally adopted and naturalised. Such are the "peoples" of Kossuth and the useful "lengthy," an American revival of a good old English term. Nor will my modern versionist relegate to a foot-note, as is the malpractice of his banal brotherhood the interesting and often startling phases of his foreign author's phraseology and dull the text with its commonplace English equivalent--thus doing the clean reverse of what he should do. It is needless to quote instances concerning this phase of "Bathos:" they abound in every occidental translation of every Oriental work, especially the French, such as Baron de Slane's honest and conscientious "Ibn Khaldún." It was this grand ideal of a translator's duty that made Eustache Deschamps, a contemporary poet, write of his English brother bard.--

"Grand Translateur, Noble Geoffroy Chaucier."

Here,

"The firste finder of our faire language"

is styled a "Socrates in philosophy, a Seneca in morals, an Angel in conduct and a great Translator," which apparent anti-climax has scandalised not a little inditers of "Lives" and "Memoirs." The title is given simply because Chaucer translated (using the best and highest sense of the term) into his English tongue and its linguistic peculiarities, the thoughts and ideas of his foreign models--the very letter and spirit of Petrarch and Boccacao.

That my attempts to reproduce the form and features of the original and thee my manner of writing is well adapted to the matter appears from the consensus of the "Notices" presently to be quoted. Mr. J. Addington Symonds pronounces the version to be executed with "peculiar literary vigour." Mr. Swinburne is complimentary, and even the Saturday deigns to declare "Captain Burton is certainly felicitous in the manner in which he has englished the picturesque lines of the original." But le style est de l'homme; and this is a matter upon which any and every educated man who writes honestly will form and express and retain his own opinion: there are not a few who loathe "Pickwick," and who cannot relish Vanity Fair. So the Edinburgh Review No. 335 (pp. 174, 181), concerning which more anon, pronounces my work to be "a jumble of the vulgarest slang of all nations;" also "an unreadable compound of archæology and 'slang,' abounding in Americanisms, and full of an affected reaching after obsolete or foreign words and phrases;" and finally shows the assurance to assert "Captain Burton has produced a version which is neither Arabic nor English, but which has at least the merit of being beautifully unreadable" (p. 182).

It has been circulated widely enough by the Lane-Poole clique--poules mouillees they are called by an Arabist friend--that I do not know Arabic. Let me at once plead guilty to the charge, adding by way of circonstance atténuante that I know none who does know or who can thoroughly know a tongue of which we may say as did honest Izaak Walton of other two crafts, "angling be so like the mathematics that it can never be fully learned." Most of us can master one section of a language concerning which those who use it vernacularly declare "Only Allah wotteth its entirety", but we lack as yet the means to study it as a whole. Older by long ages than Babel's fabulous Tower, and covering a continuous area from Eastern Arabia to the Maghrab al-Aksa (western Mauritania), from Chaldaea in the North to southern Zanzibar, it numbers of potential vocabulary 1,200,000 words all of which may be, if they are not, used, and while they specify the finest shades of meaning, not a few of them, technically termed "Zidd," bear significations diametrically opposite, e.g., "Maulá" = lord, slave; and "'Ajúz" with 88 different meanings. Its literature, poetic, semi-poetic and prosaic, falls into three greater sections:--Ancient (The Suspendeds, the Kitáb al-Aghání and the Koran), Mediæval (Al-Mutanabbi, Al-Asm'ài, Abú Nowás and the poets of the Harunic cycle) and Moderns, of whom not the least important (e.g. Yúsuf al-Yazají) are those of our own day. Throughout its vast domain there are local differences of terminology which render every dialect a study; and of these many are intimately connected with older families, as the Egyptian with Coptic and the Moorish with Berber. The purest speakers are still the Badawin who are often not understood by the citizen-folk (e.g. of Cairo, Damascus and Baghdad) at whose gates they tent; and a few classes like the Banú Fahim of Al-Hijáz still converse sub-classically, ever and anon using the terminal vowels and the nunnation elsewhere obsolete. These wildlings, whose evening camp-fires are still their schools for eloquence and whose improvisations are still their unwritten laws, divide speech into three degrees, Al-'Áli the lofty addressed to the great, Al-Wasat used for daily converse and Al-Dún the lowly or broken "loghat" (jargon) belonging to most tribes save their own. In Egypt the purest speakers are those of the Sa'íd--the upper Nile-region--differing greatly from the two main dialects of the Delta; in Syria, where the older Aramean is still current amongst sundry of the villagers outlying Damascus, the best Arabists are the Druzes, a heterogeneous of Arabs and Curds who cultivate language with uncommon care. Of the dialectic families which subtend the Mediterranean's southern sea-board, the Maroccan and the Algerine are barbarised by Berber, by Spanish and by Italian words and are roughened by the inordinate use of the Sukún (quiescence or conjoining of consonants), while the Tunisian approaches nearer to the Syrian and the Maltese was originally Punic. The jargon of Meccah is confessedly of all the worst. But the wide field has been scratched not worked out, and the greater part of it, especially the Mesopotamian and the Himyaritic of Mahrahland, still remains fallow and the reverse of sterile.

Materials for the study of Arabic in general and of its dialects in particular are still deficient, and the dictionaries mostly content themselves with pouring old stuff from flask to flask, instead of collecting fresh and unknown material. Such are recueils of prayers and proverbs, folk-songs and stories, riddles and satires, not forgetting those polyglot vocabularies so common in many parts of the Eastern world, notably in Sind and Afghánistán; and the departmental glossaries such as the many dealing with "Tasawwuf"--the Moslem form of Gnosticism. The excellent lexicon of the late Professor Dozy, Supplément aux Dictionnaires Arabes, par R. Dozy, Leyde: E. J. Brill, 1881, was a step in advance, but we still lack additions like Baron Adolph Von Kremer's Beitrage zur Arabischen Lexicographie (In commission bei Carl Gerold's Sohn, Wien, 1884). The French, as might be expected, began early, e.g. M. Ruphy's Dictionnaire abrege francais-arabe, Paris, Imprimerie de la Republique, 1810; they have done good work in Algiers and are now carrying it on in Tunis. Of these we have Marcel, Vocabulaire, etc. (Paris, 1837), Bled de Braine (Paris, 1846), who to his Cours Synthetique adds a study of Maroccan and Egyptian, Professor Cherbonneau (Paris, 1854), Précis Historique, and Dialogues, etc. (Alger, 1858); M. Gasselin (Paris, 1866), Dictionnaire francais-arabe, M. Brassier (Algiers, 1871), Dictionnaire pratique, also containing Algerine and Tunisian terms; General Parmentier (Vocabulaire arabe-francais des Principaux Termes de Geographie, etc.: Paris, rue Antoine-Dubois, 1882); and, to mention no others, the Grammaire Arabe Vulgaire (Paris, 1824) of M. Caussin de Perceval (fils) has extended far and wide. Berggren (Upsal, 1844) published his Guide Francais-Arabe des Voyageurs en Syrie et en Egypte. Rowland de Bussy printed (Algiers, 1877) his Dialogues Francais-Arabes in the Algerian dialect. Fr. José de Lerchundi, a respected Missioner to Tangier, has imitated and even improved upon this in his Rudimentos del Arabe Vulgar (Madrid, Rivadeneyra, 1872); and his studies of the Maghrabi dialect are most valuable. Dr. A. Socin produced his Arabische Sprichwörter, etc. (Tubingen, 1878), and the late Wilhelm Spitta-Bey, whose early death was so deeply lamented left a grammar of Egyptian which would have been a model had the author brought to his task more knowledge of Coptic in his Grammatik des Arabischen vulgär Dialektes von Ægypten, (Leipsig, 1870). Dr. Landberg published with Brill of Leyden and Maisonneuve of Paris, 1883, a volume of Syrian Proverbs and promises some five others--No. 2, Damascus and the Haurán; No. 3, Kasrawán and the Nusayriyah; No. 4, Homs, Hamah and Halab (Aleppo), and No. 5, the Badawin of Syria. It is evident that the process might be prolonged ad infinitum by a writer of whom I shall have something to say presently. M. Clément Huart (Jour. Asiat., Jan. '83) has printed notes on the dialect of Damascus: Dr. C. Snouck Hurgronje published a collection of 77 proverbs and idioms with lengthy notes in his Mehkanische Sprichwörter, etc. (Haag, Martinus Nijhoff, 1886), after being expelled from Meccah by the Turkish authorities who had discovered him only through a Parisian journal Le Temps (see his Het Mekkanshe Feest, Leyden, 1880). For the lower Najd and upper Hijaz we have the glossary of Arabic words ably edited by Prof. M. J. de Goeje in Mr. Charles M. Doughty's valuable and fantastic "Arabia Deserta" (ii. 542-690: see The Academy, July 28th, '88). Thus the local vocabularies are growing, but it will be long before the ground is covered.

Again the East, and notably the Moslem East since the Massacre of Damascus in 1860, although still moving slowly, shows a distinct advance. The once secluded and self- contained communities are now shaken by the repeated and continuous shocks of progress around them; and new wants and strange objects compel them nilly-willy to provide vernacular equivalents for the nomenclature of modern arts and sciences. Thus the Orientalist, who would produce a contemporary lexicon of Persian, must not only read up all the diaries and journals of Teheran and the vocabularies of Yezd and Herat, he must go further a-field. He should make himself familiar with the speech of the Iliyát or wandering pastoral tribes and master a host of cognate tongues whose chiefs are Armenian (Old and New), Caucasian, a modern Babel, Kurdish, Lúri (Bakhtiyári), Balochki and Pukhtú or Afghan, besides the direct descendants of the Zend, the Pehlevi, Dari and so forth. Even in the most barbarous jargons he will find terms which throw light upon the literary Iranian of the lexicons: for instance "Mádiyán" = a mare presupposes the existence of "Narayán" = a stallion, and the latter is preserved by the rude patois of the Baloch mountaineers. This process of general collection would in our day best be effected after the fashion of Professor James A. H. Murray's "New English Dictionary on Historical Principles." It would be compiled by a committee of readers resident in different parts of Persia, communicating with the Royal Asiatic Society (whose moribund remains they might perhaps quicken) and acting in co-operation with Russia, whom unfriends have converted from a friend to an angry and jealous rival and who is ever so forward in the linguistic field.

But if the model Persian dictionary have its difficulties, far harder will be the task with Arabic, which covers incomparably more ground. Here we must begin with Spain and Portugal, Sardinia and the Balearics, Southern Italy and Sicily; and thence pass over to Northern Africa and the two "Soudans," the Eastern extending far South of the Equator and the Western nearly to the Line. In Asia, besides the vast Arabian Peninsula, numbering one million of square miles, we find a host of linguistic outliers, such as Upper Hindostan, the Concan, Malacca, Java and even remote Yun-nan, where al-Islam is the dominant religion, and where Arabic is the language of Holy Writ.

My initiation into the mysteries of Arabic began at Oxford under my tutor Dr. W. A. Greenhill, who published a "Treatise on Small-pox and Measles," translated from Rhazes --Abú Bakr al-Rází (London, 1847), and where the famous Arabist, Don Pascual de Gayangos, kindly taught me to write Arabic leftwards. During eight years of service in Western India and in Moslem Sind, while studying Persian and a variety of vernaculars it was necessary to keep up and extend a practical acquaintance with the language which supplies all the religious and most of the metaphysical phraseology; and during my last year at Sindian Karáchí (1849), I imported a Shaykh from Maskat. Then work began in downright earnest. Besides Erpenius' (D'Erp) "Grammatica Arabica," Richardson, De Sacy and Forbes, I read at least a dozen Perso-Arabic works (mostly of pamphlet form) on "Serf Wa Nahw"--Accidence and Syntax--and learned by heart one-fourth of the Koran. A succession of journeys and long visits at various times to Egypt, a Pilgrimage to the Moslem Holy Land and an exploration of the Arabic-speaking Somáli-shores and Harar-Gay in the Galla country of Southern Abyssinia, added largely to my practice. At Aden, where I passed the official examination, Captain (now Sir. R. Lambert) Playfair and the late Rev. G. Percy Badger, to whom my papers were submitted, were pleased to report favourably of my proficiency. During some years of service and discovery in Western Africa and the Brazil my studies were necessarily confined to the "Thousand Nights and a Night"; and when a language is not wanted for use my habit is to forget as much of it as possible, thus clearing the brain for assimilating fresh matter. At the Consulate of Damascus, however, in West Arabian Midian and in Maroccan Tangier the loss was readily recovered. In fact, of this and sundry other subjects it may be said without immodesty that I have forgotten as much as many Arabists have learned. But I repeat my confession that I do not know Arabic and I have still to meet the man who does know Arabic.

Orientalists, however, are like poets and musicians, a rageous race. A passing allusion to a Swedish student styled by others (Mekkanische Sprichwörter, etc., p.1) "Dr. Landberg," and by himself "Doctor Count Carlo Landberg" procured me the surprise of the following communication. I quote it in full because it is the only uncourteous attempt at correspondence upon the subject of The Nights which has hitherto been forced upon me.

In his introduction (p. xx.) to the Syrian Proverbes et Dictons Doctor Count Landberg was pleased to criticise, with less than his usual knowledge, my study entitled "Proverbia Communia Syriaca" (Unexplored Syria, i. 264-269). These 187 "dictes" were taken mainly from a MS. collection by one Hanná Misk, ex-dragoman of the British Consulate (Damascus), a little recueil for private use such as would be made by a Syro Christian bourgeois. Hereupon the critic absurdly asserted that the translator a voulu s'occuper de la langue classique au lieu de se faire * * * l'interprète fidèle de celle du peuple. My reply was (The Nights, vol. viii. 148) that, as I was treating of proverbs familiar to the better educated order of citizens, his critique was not to the point; and this brought down upon me the following letter under the ægis of a portentous coronet and initials blazing with or, yules and azure.

Paris, le 24 Févr., 1888.

Monsieur,

J'ai l'honneur de vous adresser 2 fascicules de mes Critica Arabica. Dans le vol. viii. p. 48 de votre traduction de 1001 Nuits vous avez une note qui me regard (sic). Vous y cites que je ne suds pas "Arabist." Ce n'est pas votre jugement qui m'impressionne, car vous n'êtes nullement à même de me juger. Votre article contient, comme tout ce que vous avez écrit dans le domaine de la langue arabe, des bévues. C'est vous qui n'êtes pas arabisant: cela est bien connu et reconnu, et nous ne nous donnons pas même la peine de relever toutes les innombrables erreurs don't vos publications fourmillent. Quant à "Sahífah" vous êtes encore en erreur. Mon étymologie est acceptée par tout le monde et je vous renvoie à Fleischer, Kleinre Schriften, p. 468, Leipzig, 1885, où vous trouverez ['instruction nécessaire. Le dilettantism qui se trahit dans tout ce que vous écrivez vous fait faire de telles erreurs. Nous autres arabisants et professo (?) nous ne vous avons jamais et nous ne vous pouvons jamais considérer comme arabisant. Voila ma réponse à votre note.

Agréez, Monsieur,

l'expression de mes sentiments distingués,

Comte Lasdberg,

Dr.-ès-lettres.

After these preliminaries I proceed to notice the article (No. 335, of July '86) in

The "Edinburgh Review"

and to explain its private history with the motives which begat it.

"This is the Augustan age of English criticism," say the reviewers, who are fond of remarking that the period is one of literary appreciation rather than of original production that is, contemporary reviewers, critics and monograph-writers are more important than "makers" in verse or in prose. In fact it is their aurea ætas. I reply "Virgin ore, no!" on the whole mixed metal, some noble, much ignoble; a little gold, more silver and an abundance of brass, lead and dross. There is the criticism of Sainte Beuve, of the late Matthew Arnold and of Swinburne, there is also the criticism of the Saturday Reviler and of the Edinburgh criticaster. The golden is truth and honour incarnate: it possesses outsight and insight: it either teaches and inspires or it comforts and consoles, save when a strict sense of duty compels it to severity: briefly, it is keen and guiding and creative. Let the young beginner learn by rote what one master says of another:--"He was never provoked into coarseness: his thrusts were made with the rapier according to the received rules of fence, he firmly upheld the honour of his calling, and in the exercise of it was uniformly fearless, independent and incorrupt." The Brazen is partial, one-sided, tricksy, misleading, immoral; serving personal and interested purposes and contemptuously forgetful of every obligation which an honest and honourable pen owes to the public and to itself. Such critiques bring no profit to the reviewed. He feels that he has been written up or written down by a literary hireling who has possibly been paid to praise or abuse him secondarily, and primarily to exalt or debase his publisher or his printer.

My own literary career has supplied me with many a curious study. Writing upon subjects, say The Lake Regions of Central Africa which were then a type of the Unknown I could readily trace in the journalistic notices all the tricks and dodges of the trade. The rare honest would confess that they could say nothing upon the subject, they came to me therefore for information and professed themselves duly thankful. The many dishonest had recourse to a variety of devices. The hard worker would read-up voyages and travels treating of the neighboring countries, Abyssinia, the Cape and the African Coasts Eastern and Western; thus he would write in a kind of reflected light without acknowledging his obligation to my volumes. Another would review my book after the easy American fashion of hashing up the author's production, taking all its facts from me with out disclosing that one fact to the reader and then proceed to "butter" or "slash." The worst, "fulfyld with malace of froward entente," would choose for theme not the work but the worker, upon the good old principle "Abuse the plaintiff's attorney." These arts fully account for the downfall of criticism in our day and the deafness of the public to such literary verdicts. But a few years ago a favourable review in a first-rate paper was "fifty pounds in the author's pocket": now it is not worth as many pence unless signed by some well-known scribbling statesman or bustling reverend who caters for the public taste. The decline and fall is well expressed in the old lines:--

"Non est sanctior quod laudaris:
Non est vilior si vituperaris."

"No one, now-a-days, cares for reviews," wrote Darwin as far back as 1849; and it is easy to see the whys and the wherefores. I have already touched upon the duty of reviewing the reviewer when the latter's work calls for the process, despite the pretensions of modern criticism that it must not be criticised. Although to buffet an anonym is to beat the air, still the very effort does good. A well-known and popular novelist of the present day was a favourite butt for certain journalists who, with the normal half-knowledge of men--

"That read too little, and that write too much"--

persistently fell foul of the points in which the author was almost always right and the reviewer was wrong. "An eagle hawketh not at flies;" the object of ill-natured satire despised--

"The creatures of the stall and stye,"

and persisted in contemptuous reticence, giving consent by silence to what was easily refuted, and suffering a fond and foolish sentence to misguide the public which it pretends to direct. "Take each man's censure but reserve thy judgment," is a wise saying when silently practiced; it leads, however, to suffering in public esteem. The case in question was wholly changed when, at my suggestion, the writer was persuaded to catch a few of the culprits and to administer the dressing and redressing they so richly deserved.

And now to my tale.

Mr. Henry Reeve, Editor of the Edinburgh Review, wrote to me shortly before my first volume was issued to subscribers (September,'85) asking for advance sheets, as his magazine proposed to produce a general notice of The Arabian Nights Entertainments. But I suspected the man whose indiscretion and recklessness had been so unpleasantly paraded in the shape of the Greville (Mr. Worldly Wiseman's) Memoirs, and I had not forgotten the untruthful and malignant articles of perfervid brutality which during the hot youth and calm middle age of the Edinburgh had disgraced the profession of letters. My answer, which was temporising and diplomatic, induced only a second and a more urgent application. Bearing in mind that professional etiquette hardly justifies publicly reviewing a book intended only for private reading and vividly remembering the evil of the periodical, I replied that the sheets should be forwarded but on one condition, namely, that the reviewer would not dwell too lovingly and longingly upon the "archaics," which had so excited the Tartuffean temperament of the chaste Pall Mall Gazette. Mr. Henry Reeves replied (surlily) that he was not in the habit of dictating to his staff and I rejoined by refusing to grant his request. So he waited until five, that is one half of my volumes had been distributed to subscribers, and revenged himself by placing them for review in the hands of the "Lane-Poole" clique which, as the sequel proved could be noisy and combative as setting hens disturbed when their nest-egg was threatened by an intruding hand.

For the clique had appropriated all right and claim to a monopoly of The Arabian Nights Entertainments which they held in hand as a rotten borough. The "Uncle and Master," Mr. Edward William Lane, eponymous hero of the house, had retranslated certain choice specimens of the Recueil and the "nephews of their uncle" resolved to make a private gold-mine thereof. The book came out in monthly parts at half-a-crown (1839-41) and when offered for sale in 3 vols. royal 8 vo, the edition of 5,000 hung fire at first until the high price (3 pounds 3s.) was reduced to 27 shillings for the trade. The sale then went off briskly and amply repaid the author and the publishers--Charles Knight and Co. And although here and there some "old Tory" grumbled that new-fangled words (as Wezeer, Kádee and Jinnee) had taken the places of his childhood's pets, the Vizier, the Cadi, and the Genie, none complained of the workmanship for the all-sufficient reason that naught better was then known or could be wanted. Its succes de salon was greatly indebted to the "many hundred engravings on wood, from original designs by William Harvey", with a host of quaint and curious Arabesques, Cufic inscriptions, vignettes, head pieces and culs- de-lampes. These, with the exception of sundry minor accessories, [FN#447] were excellent and showed for the first time the realistic East and not the absurdities drawn from the depths of artistical ignorance and self-consciousness--those of Smirke, Deveria, Chasselot and Co., not to speak of the horrors of the De Sacy edition, whose plates have apparently been used by Prof. Weil and by the Italian versions. And so the three bulky and handsome volumes found a ready way into many a drawing room during the Forties, when the public was uncritical enough to hail the appearance of these scattered chapters and to hold that at last they had the real thing, pure and unadulterated. No less than three reprints of the "Standard Edition," 1859 (the last being in '83), succeeded one another and the issue was finally stopped, not by the author's death (ætat 75; London, August 10, 1876: net. Hereford, September 17, 1801), nor by the plates, which are now the property of Messieurs Chatto and Windus, becoming too worn for use, but simply by deficient demand. And the clique, represented by the late Edward Lane-Poole in 1879, who edited the last edition (1883) with a Preface by Mr. Stanley Lane-Poole, during a long run of forty-three years never paid the public the compliment of correcting the multitudinous errors and short comings of the translation. Even the lengthy and longsome notes, into which The Nights have too often been merged, were left untrimmed. Valuable in themselves and full of information, while wholly misplaced in a recueil of folk-lore, where they stand like pegs behung with the contents of the translator's adversaria, the monographs on details of Arab life have also been exploited and reprinted under the "fatuous" title, "Arabian (for Egyptian) Society in the Middle Ages: Studies on The Thousand and One Nights." They were edited by Mr. Stanley Lane-Poole (Chatto and Windus) in 1883.

At length the three volumes fell out of date, and the work was formally pronounced unreadable. Goëthe followed from afar by Emerson, had foreseen the "inevitable increase of Oriental influence upon the Occident," and the eagerness with which the men of the West would apply themselves to the languages and literature of the East. Such garbled and mutilated, unsexed and unsoured versions and perversions like Lane's were felt to be survivals of the unfittest. Mr. John Payne (for whom see my Foreword, vol. i. pp. xi.-xii.) resolved to give the world the first honest and complete version of the Thousand Nights and a Night. He put forth samples of his work in the New Quarterly Magazine (January- April, 1879), whereupon he was incontinently assaulted by Mr. Reginald Stuart Poole, the then front of the monopolists, who after drawing up a list of fifteen errata (which were not errata) in two Nights, declared that "they must be multiplied five hundred-fold to give the sum we may expect." (The Academy, April 26, 1879; November 29, 1881; and December 7, 1881.) The critic had the courage, or rather impudence, to fall foul of Mr. Payne's mode and mannerism, which had long become deservedly famous, and concludes: --"The question of English style may for the present be dropped, as, if a translator cannot translate, it little matters in what form his results appear. But it may lie questioned whether an Arab edifice should be decorated with old English wall-papers."

Evidently I had scant reason to expect mercy from the clique: I wanted none and I received none.

My reply to the arch-impostor, who

Spreads the light wings of saffron and of blue,

will perforce be somewhat detailed: it is necessary to answer paragraph by paragraph, and the greater part of the thirty-three pages refers more or less directly to myself. To begin with the beginning, it caused me and many others some surprise to see the "Thousand Nights and a Night" expelled the initial list of thirteen items, as if it were held unfit for mention. Cet article est principalement une diatribe contre l'ouorage de Sir Richard Burton et dans le libre cet ouvrage n'est même pas mentionné', writes my French friend. This proceeding was a fair specimen of "that impartiality which every reviewer is supposed to possess." But the ignoble "little dodge" presently suggested itself. The preliminary excursus (p.168) concerning the "Mille et Une Nuits (read Nuit) an audacious fraud, though not the less the best story book in the world," affords us a useful measure of the writer's competence in the matter of audacity and ill-judgment. The honest and single-minded Galland is here (let us believe through that pure ignorance which haply may hope for "fool's pardon") grossly and unjustly vilified; and, by way of making bad worse, we are assured (p. 167) that the Frenchman "brought the Arabic manuscript from Syria"--an infact which is surprising to the most superficial student. "Galland was a born story teller, in the good and the bad sense" (p. 167), is a silly sneer of the true Lane-Poolean type. The critic then compares most unadvisedly (p. 168) a passage in Galland (De Sacy edit. vol. i. 414) with the same in Mr. Payne's (i. 260) by way of proving the "extraordinary liberties which the worthy Frenchman permitted himself to take with the Arabic": had he troubled himself to collate my version (i. 290-291), which is made fuller by the Breslau Edit. (ii. 190), he would have found that the Frenchman, as was his wont, abridged rather than amplified;[FN#448] although, when the original permitted exact translation, he could be literal enough. And what doubt, may I enquire, can we have concerning "The Sleeper Awakened" (Lane, ii. 351-376), or, as I call it, "The Sleeper and the waker" (Suppl. vol.i.1-29), when it occurs in a host of MSS., not to mention the collection of tales which Prof. Habicht converted into the Arabian Nights by breaking the text into a thousand and one sections (Bresl. Edit. iv. 134-189, Nights cclxxii. ccxci.). The reckless assertions that "the whole" of the last fourteen (Gallandian) tales have nothing whatever to do with "The Nights" (p. 168); and that of the histories of Zayn al-Asnám and Aladdin, "it is abundantly certain that they belong to no manuscript of the Thousand and One Nights" (p. 169), have been notably stultified by M. Hermann Zotenberg's purchase of two volumes containing both these bones of long and vain contention. See Foreword to my Suppl. vol. iii. pp. viii.-xi., and Mr. W. F. Kirby's interesting notice of M. Zotenberg's epoch-making booklet (vol. vi. p. 287).

"The first English edition was published (pace Lowndes) within eight years of Galland's" (p. 170) states a mere error. The second part of Galland (6 vols. 12 mo) was not issued till 1717, or two years after the translator's death. Of the English editio princeps the critic tells nothing, nor indeed has anyone as yet been able to tell us aught. Of the dishonouring assertion (again let us hope made in simple ignorance) concerning "Cazotte's barefaced forgery" (p. 170), thus slandering the memory of Jacques Cazotte, one of the most upright and virtuous of men who ever graced the ranks of literature, I have disposed in the Foreword to my Supplemental vol. vi. "This edition (Scott's) was tastefully reprinted by Messrs. Nimmo and Bain in four volumes in 1883" (p. 170). But why is the reader not warned that the eaux fortes are by Lalauze (see suprà, p. 326), 19 in number, and taken from the 21 illustrations in MM. Jouaust's edit. of Galland with preface by J. Janin? Why also did the critic not inform us that Scott's sixth volume, the only original part of the work, was wilfully omitted? This paragraph ends with mentioning the labours of Baron von Hammer-Purgstall, concerning whom we are afterwards told (p. 186) for the first time that he "was brilliant and laborious." Hard-working, yes! brilliant, by no means!

We now come to the glorification of the "Uncle and Master," concerning whom I can only say that Lane's bitterest enemy (if the amiable Orientalist ever had any unfriend) could not have done him more discredit than this foolish friend. "His classical(!) translation was at once recognised as an altogether new departure" (p. 171), and "it was written in such a manner that the Oriental tone of The Nights should be reflected in the English" (ibid.). "It aims at reproducing in some degree the literary flavour of the original" (p 173). "The style of Lane's translation is an old-fashioned somewhat Biblical language" (p. 173) and "it is precisely this antiquated ring" (of the imperfect and mutilated "Boulak edition," unwisely preferred by the translator) "that Lane has succeeded in preserving" "The measured and finished language Lane chose for his version is eminently fitted to represent the rhythmical tongue of the Arab" (Memoir, p. xxvii.). "The translation itself is distinguished by its singular accuracy and by the marvellous way in which the Oriental tone and colour are retained " (ibid.). The writer has taken scant trouble to read me when he asserts that the Bulak edit was my text, and I may refer him, for his own advantage, to my Foreword (vol. i. p. xvii.), which he has wilfully ignored by stating unfact. I hasten to plead guilty before the charge of "really misunderstanding the design of Lane's style" (p. 173). Much must be pardoned to the panegyrist, the encomiast; but the idea of mentioning in the same sentence with Biblical English, the noblest and most perfect specimen of our prose, the stiff and bald, the vapid and turgid manner of the Orientalist who "commences" and "concludes"--never begins and ends, who never uses a short word if he can find a long word, who systematically rejects terse and idiomatic Anglo-Saxon when a Latinism is to be employed and whose pompous stilted periods are the very triumph of the "Deadly-lively"! By arts precisely similar the learned George Sale made the Koran, that pure and unstudied inspiration of Arabian eloquence, dull as a law document, and left the field clear for the Rev. Mr. Rodwell. I attempted to excuse the style-laches of Lane by noticing the lack of study in English linguistic which distinguished the latter part of the xviiith and the first half of the xixth centuries, when men disdaining the grammar of their own tongue, learned it from Latin and Greek; when not a few styled Shakespeare "silly-billy," and when Lamb the essayist, wrote, "I can read, and I say it seriously, the homely old version of the Psalms for an hour or two together sometimes, without sense of weariness." But the reviewer will have none of my palliative process, he is surprised at my "posing as a judge of prose style," being "acquainted with my quaint perversions of the English language" (p. 173) and, when combating my sweeping assertion that "our prose" (especially the prose of schoolmasters and professors, of savans and Orientalists) "was perhaps the worst in Europe," he triumphantly quotes half a dozen great exceptions whose eminence goes far to prove the rule.

As regards Lane's unjustifiable excisions the candid writer tells us everything but the truth. As I have before noted (vol. ix. 304), the main reason was simply that the publisher, who was by no means a business man, found the work outgrowing his limits and insisted upon its coming to an untimely and, alas! a tailless end. This is perhaps the principal cause for ignoring the longer histories, like King Omar bin al-Nu'umán (occupying 371 pages in my vols. ii. and iii.); Abú Hasan and his slave-girl Tawaddud (pp. 56, vol. v. 189-245), the Queen of the Serpents with the episodes of Bulukiyá and of Jánshah (pp.98, vol. v. 298-396); The Rogueries of Dalilah the Crafty and the Adventures of Mercury Ali (pp. 55, vol. vii. 144-209). The Tale of Harun al-Rashid and Abu Hasan of Oman (pp. 19, vol. ix. 188-207) is certainly not omitted by dictations of delicacy, nor is it true of the parts omitted in general that "none could be purified without being destroyed." As my French friend remarks, "Few parts are so plain-spoken as the introduction, le cadre de l'ouvrage, yet M. Lane was not deterred by such situation." And lastly we have, amongst the uncalledfor excisions, King Jali'ad of Hind, etc. (pp. 102, vol. ix. 32-134). The sum represents a grand total of 701 pages, while not a few of the notes are filled with unimportant fabliaux and apologues.

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 whore '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'être of his own translation; but he has widely overshot the mark, and the public may rest assured 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 mass 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 illustrations 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.