The Shi'r or metrical part of The Nights is considerable, amounting to not less than ten thousand lines, and these I could not but render in rhyme or rather in monorhyme. This portion has been a bugbear to translators. De Sacy noticed the difficulty of the task (p. 283). Lane held the poetry untranslatable because abounding in the figure Tajnis, our paronomasia or paragram, of which there are seven distinct varieties, not to speak of other rhetorical flourishes. He therefore omitted the greater part of the verse as tedious and, through the loss of measure and rhyme, "generally intolerable to the reader." He proved his position by the bald literalism of the passages which he rendered in truly prosaic prose and succeeded in changing the facies and presentment of the work. For the Shi'r, like the Saj'a, is not introduced arbitrarily; and its unequal distribution throughout The Nights may be accounted for by rule of art. Some tales, like Omar bin al-Nu'man and Tawaddud, contain very little because the theme is historical or realistic; whilst in stories of love and courtship, as that of Rose in hood, the proportion may rise to one fifth of the whole. And this is true to nature. Love, as Addison said, makes even the mechanic (the British mechanic!) poetical, and Joe Hume of material memory once fought a duel about a fair object of dispute. Before discussing the verse of The Nights it may be advisable to enlarge a little upon the prosody of the Arabs. We know nothing of the origin of their poetry, which is lost in the depths of antiquity, and the oldest bards of whom we have any remains belong to the famous epoch of the war Al-Basús, which would place them about A.D. 500. Moreover, when the Muse of Arabia first shows she is not only fully developed and mature, she has lost all her first youth, her beauté du diable, and she is assuming the characteristics of an age beyond "middle age." No one can study the earliest poetry without perceiving that it results from the cultivation of centuries and that it has already assumed that artificial type and conventional process of treatment which presages inevitable decay. Its noblest period is included in the century preceding the Apostolate of Mohammed, and the oldest of that epoch is the prince of Arab songsters, Imr al-Kays,

Terminal Essay 223

"The Wandering King." The Christian Fathers characteristically termed poetry Vinum Dæmonorum. The stricter Moslems called their bards "enemies of Allah", and when the Prophet who hated verse and could not even quote it correctly, was asked who was the best poet of the Peninsula he answered that the "Man of Al-Kays," i.e. the worshipper of the Priapus idol, would usher them all into Hell. Here he only echoed the general verdict of his countrymen who loved poetry and, as a rule, despised poets. The earliest complete pieces of any volume and substance saved from the wreck of old Arabic literature and familiar in our day are the seven Kasídahs (purpose odes or tendence elegies) which are popularly known as the Gilded or the Suspended Poems; and in all of these we find, with an elaboration of material and formal art which can go no further, a subject matter of trite imagery and stock ideas which suggest a long ascending line of model ancestors and predecessors. Scholars are agreed upon the fact that many of the earliest and best Arab poets were, as Mohammed boasted himself, unalphabetic or rather could neither read nor write. They addressed the ear and the mind, not the eye. They "spoke verse," learning it by rote and dictating it to the Ráwi, and this reciter again transmitted it to the musician whose pipe or zither accompanied the minstrel's song. In fact the general practice of writing began only at the end of the first century after The Flight. The rude and primitive measure of Arab song, upon which the most complicated system of metres subsequently arose, was called Al-Rajaz, literally "the trembling," because it reminded the highly imaginative hearer of a pregnant she camel's weak and tottering steps. This was the carol of the camel driver, the lover's lay and the warrior's chaunt of the heroic ages; and its simple, unconstrained flow adapted it well for extempore effusions. Its merits and demerits have been extensively discussed amongst Arab grammarians, and many, noticing that it was not originally divided into hemistichs, make an essential difference between the Shá'ir who speaks poetry and the Rájiz who speaks Rajaz. It consisted, to describe it technically, of iambic dipodia ( - -), the first three syllables being optionally long or short. It can generally be read like our iambs and, being familiar, is pleasant to the English ear. The dipodia are repeated either twice or thrice; in the former case Rajaz is held by some authorities, as Al-Akhfash (Sa'íd ibn Másadah), to be mere prose. Although Labíd and Antar composed in iambics, the first Kásídah or regular poem in Rajaz was by al-Aghlab al-Ajibi temp. Mohammed: the Alfíyah grammar of Ibn Málik is in Rajaz Muzdawij, the hemistichs rhyming and the assonance being confined to the couplet. al-Haríri also affects Rajaz in the third and fifth Assemblies.

So far Arabic metre is true to Nature: in impassioned speech the movement of language is iambic: we say "I will, I will," not "I will." For many generations the Sons of the Desert were satisfied with Nature's teaching; the fine perceptions and the nicely trained ear of the bard needing no aid from art. But in time came the inevitable prosodist under the formidable name of Abu Abd al-Rahmán al-Khalíl, i. Ahmad, i. Amrú, i. Tamím al-Faráhidi (of the Faráhid sept), al-Azdi (of the Azd clan), al-Yahmadi (of the Yahmad tribe), popularly known as al-Khalíl ibn Ahmad al-Basri, of Bassorah, where he died æt. 68, scanning verses they say, in A.H. 170 (= 786-87). Ibn Khallikán relates (i. 493) on the authority of Hamzah al-Isfáhani how this "father of Arabic grammar and discoverer of the rules of prosody" invented the science as he walked past a coppersmith's shop on hearing the strokes of a hammer upon a metal basin: "two objects devoid of any quality which could serve as a proof and an illustration of anything else than their own form and shape and incapable of leading to any other knowledge than that of their own nature."

Terminal Essay 225

According to others he was passing through the Fullers' Bazar at Basrah when his ear was struck by the Dak dak and the Dakak dakak of the workmen. In these two onomapoetics we trace the expression which characterises the Arab tongue: all syllables are composed of consonant and vowel the latter long or short as Bã and Bå; or of a vowelled consonant followed by a consonant as Bal, Bau. The grammarian, true to the traditions of his craft which looks for all poetry to the Badawi, adopted for metrical details the language of the Desert. The distich, which amongst Arabs is looked upon as one line, he named "Bayt," nighting place, tent or house; and the hemistich Misrá'ah, the one leaf of a folding door. To this "scenic" simile all the parts of the verse were more or less adapted. The metres, our feet, were called, "Arkán," the stakes and stays of the tent; the syllables were "Usúl" or roots divided into three kinds: the first or "Sabab" (the tent rope) is composed of two letters, a vowelled and a quiescent consonant as "Lam." The "Watad" or tent peg of three letters is of two varieties; the Majmú', or united, a foot in which the two first consonants are moved by vowels and the last is jazmated or made quiescent by apocope as "Lakad"; and the Mafrúk, or disunited, when the two moved consonants are separated by one jazmated, as "Kabla."

And lastly the "Fásilah" or intervening space, applied to the main pole of the tent, consists of four letters. The metres were called Buhúr or "seas" (plur. of Bahr), also meaning the space within the tent walls, the equivoque alluding to pearls and other treasures of the deep. Al-Khalil, the systematiser, found in general use only five Dáirah (circles, classes or groups of metre); and he characterised the harmonious and stately measures, all built upon the original Rajaz, as al-Tawíl (the long), al-Kámil (the complete), al-Wáfir (the copious), Al-Basít (the extended) and al-Khafíf (the light) These embrace all the Mu'allakát and the Hamásah, the great Anthology of Abú Tammám; but the crave for variety and the extension of foreign intercourse had multiplied wants and Al-Khalil deduced, from the original five Dáirah, fifteen, to which Al-Akhfash (ob. A.D. 830) added a sixteenth, Al-Khabab. The Persians extended the number to nineteen: the first four were peculiarly Arab; the fourteenth, the fifteenth and seventeenth peculiarly Persian and all the rest were Arab and Persian. Arabic metre so far resembles that of Greece and Rome that the value of syllables depends upon the "quantity" or position of their consonants, not upon accent as in English and the Neo Latin tongues. al-Khalíl was doubtless familiar with the classic prosody of Europe, but he rejected it as unsuited to the genius of Arabic and like a true Eastern Gelehrte he adopted a process devised by himself. Instead of scansion by pyrrhics and spondees, iambs and trochees, anapæsts and similar simplifications he invented a system of weights ("wuzun"). Of these there are nine memorial words used as quantitive signs, all built upon the root "fa'l" which has rendered such notable service to Arabic and Hebrew grammar and varying from the simple "fa'ál," in Persian "fa'úl" ( - -), to the complicated "Mutafá'ilun" - -), anapæst + iamb. Thus the prosodist would scan the Shahnámeh of Firdausi as

Fa'úlun, fa'úlun, fa'úlun, fa'úl.

• • • • • • -/ -

These weights also show another peculiarity of Arabic verse. In English we have few if any spondees: the Arabic contains about three longs to one short; hence its gravity, stateliness and dignity. But these longs again are peculiar,

Terminal Essay 227 and sometimes strike the European ear as shorts, thus adding a difficulty for those who would represent Oriental metres by western feet, ictus and accent. German Arabists can register an occasional success in such attempts: Englishmen none. My late friend Professor Palmer of Cambridge tried the tour de force of dancing on one leg instead of two and notably failed: Mr. Lyall also strove to imitate Arabic metre and produced only prose bewitched. Mr. Payne appears to me to have wasted trouble in "observing the exterior form of the stanza, the movement of the rhyme and (as far as possible) the identity in number of the syllables composing the beits." There is only one part of his admirable version concerning which I have heard competent readers complain; and that is the metrical, because here and there it sounds strange to their ears. I have already stated my conviction that there are two and only two ways of translating Arabic poetry into English. One is to represent it by good heroic or lyric verse as did Sir William Jones; the other is to render it after French fashion, by measured and balanced Prose, the little sister of Poetry. It is thus and thus only that we can preserve the peculiar cachet of the original. This old world Oriental song is spirit stirring as a "blast of that dread horn," albeit the words be thin. It is heady as the "Golden Wine" of Libanus, to the tongue water and brandy to the brain— the clean contrary of our nineteenth century effusions. Technically speaking, it can be vehicled only by the verse of the old English ballad or by the prose of the Book of Job. And Badawi poetry is a perfect expositor of Badawi life, especially in the good and gladsome old Pagan days before Al-Islam, like the creed which it abolished, overcast the minds of men with its dull grey pall of realistic superstition. They combined to form a marvellous picture—those contrasts of splendour and squalor amongst the sons of the sand. Under airs pure as æther, golden and ultra marine above and melting over the horizon into a diaphanous green which suggested a reflection of Kaf, that unseen mountain wall of emerald, the so called Desert, changed face twice a year; now brown and dry as summer dust; then green as Hope, beautified with infinite verdure and broad sheetings of rain water. The vernal and autumnal shiftings of camp, disruptions of homesteads and partings of kith and kin, friends and lovers, made the life many sided as it was vigorous and noble, the outcome of hardy frames, strong minds and spirits breathing the very essence of liberty and independence. The day began with the dawn drink, "generous wine bought with shining ore," poured into the crystal goblet from the leather bottle swinging before the cooling breeze. The rest was spent in the practice of weapons; in the favourite arrow game known as Al-Maysar, gambling which at least had the merit of feeding the poor; in racing for which the Badawin had a mania, and in the chase, the foray and the fray which formed the serious business of his life. And how picturesque the hunting scenes; the greyhound, like the mare, of purest blood; the falcon cast at francolin and coney; the gazelle standing at gaze; the desert ass scudding over the ground waves; the wild cows or bovine antelopes browsing with their calves and the ostrich chickens flocking round the parent bird! The Musámarah or night talk round the camp fire was enlivened by the lute girl and the glee man, whom the austere Prophet described as "roving distraught in every vale" and whose motto in Horatian vein was, "Today we shall drink, tomorrow be sober; wine this day, that day work."

Regularly once a year, during the three peaceful months when war and even blood revenge were held sacrilegious, the tribes met at Ukádh (Ocaz) and other fair steads, where they held high festival and the bards strave in song and prided themselves upon doing honour to women and to the successful warriors of their tribe. Brief, the object of Arab life was to be — to be free, to be brave, to be wise; while the endeavours of other peoples was and is to have — to have wealth, to have knowledge, to have a name; and while moderns make their "epitome of life" to be, to do and to suffer. Lastly the Arab's end was honourable as his life was stirring: few Badawin had the crowning misfortune of dying "the straw death." The poetical forms in The Nights are as follows:—The Misrá'ah or hemistich is half the "Bayt" which, for want of a better word, I have rendered couplet: this, however, though formally separated in MSS., is looked upon as one line, one verse; hence a word can be divided, the former part

Terminal Essay 229 pertaining to the first and the latter to the second moiety of the distich. As the Arabs ignore blank verse, when we come upon a rhymeless couplet we know that it is an extract from a longer composition in mono rhyme. The Kit'ah is a fragment, either an occasional piece or more frequently a portion of a Ghazal (ode) or Kasídah (elegy), other than the Matlá, the initial Bayt with rhyming distichs. The Ghazal and Kasídah differ mainly in length: the former is popularly limited to eighteen couplets: the latter begins at fifteen and is of indefinite number. Both are built upon monorhyme, which appears twice in the first couplet and ends all the others, e.g., aa + ba + ca, etc.; nor may the same assonance be repeated, unless at least seven couplets intervene. In the best poets, as in the old classic verse of France, the sense must be completed in one couplet and not run on to a second; and, as the parts cohere very loosely, separate quotation can generally be made without injuring their proper effect. A favourite form is the Rubá'í or quatrain, made familiar to English ears by Mr. Fitzgerald's masterly adaptation of Omar-i-Khayyám: the movement is generally aa + ba; but it also appears as ab + cb, in which case it is a Kit'ah or fragment.

The Murabbá, tetrastichs or four fold song, occurs once only in The Nights (vol. i. 98); it is a succession of double Bayts or of four lined stanzas rhyming aa + be + dc + ec: in strict form the first three hemistichs rhyme with one another only, independently of the rest of the poem, and the fourth with that of every other stanza, e.g., aa + ab + cb + db. The Mukhammas, cinquains or pentastichs (Night cmlxiv.), represents a stanza of two distichs and a hemistich in monorhyme, the fifth line being the "bob" or burden: each succeeding stanza affects a new rhyme, except in the fifth line, e.g., aaaab + ccccb + ddddb and so forth. The Muwwál is a simple popular song in four to six lines; specimens of it are given in the Egyptian grammar of my friend the late Dr. Wilhelm Spitta. The Muwashshah, or ornamented verse, has two main divisions: one applies to our acrostics in which the initials form a word or words; the other is a kind of Musaddas, or sextines, which occurs once only in The Nights (cmlxxxvii.).

It consists of three couplets or six line strophes: all the hemistichs of the first are in monorhyme; in the second and following stanzas the three first hemistichs take a new rhyme, but the fourth resumes the assonance of the first set and is followed by the third couplet of No. 1, serving as bob or refrain, e.g., aaaaaa + bbbaaa + cccaaa and so forth. It is the most complicated of all the measures and is held to be of Morisco or Hispano Moorish origin. Mr. Lane (Lex.) lays down, on the lines of Ibn Khallikan (i. 476, etc.) and other representative literati, as our sole authorities for pure Arabic, the precedence in following order. First of all ranks the Jáhili (Ignoramus) of The Ignorance, the : these pagans left hemistichs, couplets, pieces and elegies which once composed a large corpus and which is now mostly forgotten. Hammád al-Ráwiyah, the Reciter, a man of Persian descent (ob. A.H. 160 = 777) who first collected the Mu'allakát, once recited by rote in a seance before Caliph Al- Walid two thousand poems of pre Mohammedan bards. After the Jáhili stands the Mukhadram or Muhadrim, the "Spurious," because half Pagan half Moslem, who flourished either immediately before or soon after the preaching of Mohammed. The Islámi or full blooded Moslem at the end of the first century A.H. (= 720) began the process of corruption in language; and, lastly, he was followed by the Muwallad of the second century who fused Arabic with non Arabic and in whom purity of diction disappeared. I have noticed (1 para A.) that the versical portion of The Nights may be distributed into three categories. First are the olden poems which are held classical by all modern Arabs; then comes the medieval poetry, the effusions of that brilliant throng which adorned the splendid Court of Harun al-Rashid and which ended with Al-Haríri (ob. A.H. 516); and, lastly, are the various pieces de circonstance suggested to editors or scribes by the occasion. It is not my object to enter upon the historical part of the subject: a mere sketch would have neither value not interest whilst a finished picture would lead too far: I must be contented to notice a few of the most famous names.

Terminal Essay 231

Of the præ Islamites we have Adi bin Zayd al-Ibádi the "celebrated poet" of Ibn Khallikán (i. 188); Nábighat (the fullgrown) al-Zubyáni who flourished at the Court of Al-Nu'man in A.D. 580-602, and whose poem is compared with the "Suspendeds," and Al-Mutalammis the "pertinacious" satirist, friend and intimate with Tarafah of the "Prize Poem." About Mohammed's day we find Imr al-Kays "with whom poetry began," to end with Zú al-Rummah; Amrú bin Mádi Karab al-Zubaydi, Labíd; Ka'b ibn Zuhayr, the father one of the Mu'allakah-poets, and the son author of the Burdah or Mantle poem (see vol. iv. 115), and Abbás bin Mirdás who lampooned the Prophet and had "his tongue cut out" i.e. received a double share of booty from Ali. In the days of Caliph Omar we have Alkamah bin Olátha followed by Jamíl bin Ma'mar of the Banu Ozrah (ob. A.H. 82), who loved Azzá. Then came Al-Kuthayyir (the dwarf, ironice), the lover of Buthaynah, "who was so lean that birds might be cut to bits with her bones:" the latter was also a poetess (Ibn Khall. i. 87), like Hind bint al-Nu'man who made herself so disagreeable to Al-Hajjáj (ob. A.H. 95). Jarír al-Khatafah, the noblest of the Islami poets in the first century, is noticed at full length by Ibn Khallikan (i. 294) together with his rival in poetry and debauchery, Abú Firás Hammám or Homaym bin Ghalib al-Farazdak, the Tamími, the Ommiade poet "without whose verse half Arabic would be lost:" he exchanged satires with Jarir and died forty days before him (A.H. 110). Another contemporary, forming the poetical triumvirate of the period, was the debauched Christian poet Al-Akhtal al-Taghlibi. They were followed by Al-Ahwas al-Ansári whose witty lampoons banished him to Dahlak Island in the Red Sea (ob. A.H. 179 = 795); by Bashshár ibn Burd and by Yúnus ibn Habib (ob. A.H. 182). The well known names of the Harun cycle are Al-Asma'i, rhetorician and poet, whose epic with Antar for hero is not forgotten (ob. A.H. 216); Isaac of Mosul (Ishak bin Ibrahim of Persian origin); Al-'Utbi "the Poet" (ob. A.H. 228); Abu al-Abbás al-Rakáshi; Abu al-Atahiyah, the lover of Otbah; Muslim bin al-Walíd al-Ansari; Abú Tammám of Tay, compiler of the Hamásah (ob. A.H. 230),

"a Muwallad of the first class" (says Ibn Khallikan i. 392); the famous or infamous Abu Nowás; Abu Mus'ab (Ahmad ibn Ali) who died in A.H. 242; the satirist Dibil al-Khuzáí (ob. A.H. 246) and a host of others quos nunc perscribere longum est. They were followed by Al-Bohtori "the Poet" (ob. A.H. 286); the royal author Abdullah ibn al-Mu'tazz (ob. A.H. 315); Ibn Abbád the Sahib (ob. A.H. 334); Mansúr al-Halláj the martyred Sufi; the Sahib ibn Abbad; Abu Faras al-Hamdáni (ob. A.H. 357); Al-Námi (ob. A.H. 399) who had many encounters with that model Chauvinist Al-Mutanabbi, nicknamed Al-Mutanabbih (the "wide awake"), killed A.H. 354; Al-Manázi of Manazjird (ob. 427); Al-Tughrai author of the Lámiyat al-'Ajam (ob. A.H. 375); Al-Haríri the model rhetorician (ob. A.H. 516); Al-Hájiri al-Irbili, of Arbela (ob. A.H. 632); Bahá al-Din al-Sinjari (ob. A.H. 622); Al-Kátib or the Scribe (ob. A.H. 656); Abdun al-Andalúsi the Spaniard (our xiith century) and about the same time Al-Náwaji, author of the Halbat al-Kumayt or "Race course of the Bay horse"—poetical slang for wine. Of the third category, the pieces d'occasion, little need be said: I may refer readers to my notes on the doggrels in vol. ii. 34, 35, 56, 179, 182, 186 and 261; in vol. v. 55 and in vol. viii. 50. Having a mortal aversion to the details of Arabic prosody, I have persuaded my friend Dr. Steingass to undertake in the following pages the subject as far as concerns the poetry of The Nights. He has been kind enough to collaborate with me from the beginning, and to his minute lexicographical knowledge I am deeply indebted for discovering not a few blemishes which would have been "nuts to the critic."

Terminal Essay 233

The learned Arabist's notes will be highly interesting to students: mine (Para. V.) are intended to give a superficial and popular idea of the Arab's verse mechanism. "The principle of Arabic Prosody (called, 'Arúz, pattern standard, or 'Ilm al-'Arúz, science of the 'Arúz), in so far resembles that of classical poetry, as it chiefly rests on metrical weight, not on accent, or in other words a verse is measured by short and long quantities, while the accent only regulates its rhythm. In Greek and Latin, however, the quantity of the syllables depends on their vowels, which may be either naturally short or long, or become long by position, i.e. if followed by two or more consonants. We all remember from our school days what a fine string of rules had to be committed to and kept in memory, before we were able to scan a Latin or Greek verse without breaking its neck by tripping over false quantities. In Arabic, on the other hand, the answer to the question, what is metrically long or short, is exceedingly simple, and flows with stringent cogency from the nature of the Arabic Alphabet. This, strictly speaking, knows only consonants (Harf, pl. Hurúf). The vowels which are required, in order to articulate the consonants, were at first not represented in writing at all. They had to be supplied by the reader, and are not improperly called, "motions" (Harakát), because they move or lead on, as it were, one letter to another. They are three in number, a (Fathah), i (Kasrah), u (Zammah), originally sounded as the corresponding English vowels in bat, bit and butt respectively, but in certain cases modifying their pronunciation under the influence of a neighbouring consonant.

When the necessity made itself felt to represent them in writing, especially for the sake of fixing the correct reading of the Koran, they were rendered by additional signs, placed above or beneath the consonant, after which they are pronounced, in a similar way as it is done in some systems of English shorthand. A consonant followed by a short vowel is called a "moved letter" (Muharrakah); a consonant without such vowel is called, "resting" or "quiescent" (Sákinah), and can stand only at the end of a syllable or word. And now we are able to formulate the one simple rule, which determines the prosodical quantity in Arabic: any moved letter, as ta, li, mu, is counted short; any moved letter followed by a quiescent one, as taf, lun, mus, i.e. any closed syllable beginning and terminating with a consonant and having a short vowel between, forms a long quantity.

This is certainly a relief in comparison with the numerous rules of classical Prosody, proved by not a few exceptions, which for instance in Dr. Smith's elementary Latin Grammar fill eight closely printed pages. Before I proceed to show how from the prosodical unities, the moved and the quiescent letter, first the metrical elements, then the feet and lastly the metres are built up, it will be necessary to obviate a few misunderstandings, to which our mode of transliterating Arabic into the Roman character might give rise. The line:

"Love in my heart they lit and went their ways," (vol. i. 232)

runs in Arabic:

"Akámú al-wajda fí kalbí wa sárú" (Mac. Ed. i. 179).

Here, according to our ideas, the word akámú would begin with a short vowel a, and contain two long vowels á and ú; according to Arabic views neither is the case. The word begins with "Alif," and its second syllable ká closes in Alif after Fathah (a), in the same way, as the third syllable mú closes in the letter Wáw (w) after Zammah (u). The question, therefore, arises, what is "Alif." It is the first of the twenty eight Arabic letters, and has through the medium of the Greek Alpha nominally entered into our alphabet, where it now plays rather a misleading part. Curiously enough, however, Greek itself has preserved for us the key to the real nature of the letter. In ' the initial a is preceded by the so called spiritus lenis ('), a sign which must be placed in front or at the top of any vowel beginning a Greek word, and which represents that slight aspiration or soft breathing almost involuntarily uttered, when we try to pronounce a vowel by itself. We need not go far to find how deeply rooted this tendency is and to what exaggerations it will sometimes lead. Witness the gentleman who, after mentioning that he had been visiting his "favourite haunts" on the scenes of his early life, was sympathetically asked, how the dear old ladies were. This spiritus lenis is the silent h of the French "homme" and the English "honour," corresponding exactly to the Arabic Hamzah, whose mere prop the Alif is, when it stands at the beginning of a word: a native Arabic Dictionary does not begin with

Terminal Essay 235

Báb al-Alif (Gate or Chapter of the Alif), but with Báb al-Hamzah. What the Greeks call Alpha and have transmitted to us as a name for the vowel a, is in fact nothing else but the Arabic Hamzah-Alif, moved by Fathah, i.e. bearing the sign for a at the top just as it might have the sign Zammah superscribed to express u or the sign Kasrah subjoined to represent i. In each case the Hamzah-Alif, although scarcely audible to our ear, is the real letter and might fitly be rendered in transliteration by the above mentioned silent h, wherever we make an Arabic word begin with a vowel not preceded by any other sign. This latter restriction refers to the sign ', which in Sir Richard Burton's translation of The Nights, as frequently in books published in this country, is used to represent the Arabic letter e in whose very name 'Ayn it occurs. The 'Ayn is "described as produced by a smart compression of the upper part of the windpipe and forcible emission of breath," imparting a guttural tinge to a following or preceding vowel sound; but it is by no means a mere guttural vowel, as Professor Palmer styles it.

For Europeans, who do not belong to the Isrælitic dispensation, as well as for Turks and Persians, its exact pronunciation is most difficult, if not impossible to acquire. In reading Arabic from transliteration for the purpose of scanning poetry, we have therefore in the first instance to keep in mind that no Arabic word or syllable can begin with a vowel. Where our mode of rendering Arabic in the Roman character would make this appear to be the case, either Hamzah (silent h), or 'Ayn (represented by the sign ') is the real initial, and the only element to be taken in account as a letter. It follows as a self evident corollary that wherever a single consonant stands between two vowels, it never closes the previous syllable, but always opens the next one. Our word "Akámú," for instance, can only be divided into the syllables: A (properly Ha)-ká-mú, never into Ak-á-mú or Ak-ám-ú. It has been stated above that the syllable ká is closed by the letter Alif after Fathah, in the same way as the syllable mú is closed by the letter Wáw, and I may add now, as the word fí is closed by the letter Yá (y).

To make this perfectly clear, I must repeat that the Arabic Alphabet, as it was originally written, deals only with consonants. The signs for the short vowel sounds were added later for a special purpose, and are generally not represented even in printed books, e.g. in the various editions of The Nights, where only quotations from the Koran or poetical passages are provided with the vowel points. But among those consonants there are three, called weak letters (Hurúf al-'illah), which have a particular organic affinity to these vowel sounds: the guttural Hamzah, which is akin to a, the palatal Yá, which is related to i, and the labial Wáw, which is homogeneous with u. Where any of the weak letters follows a vowel of its own class, either at the end of a word or being itself followed by another consonant, it draws out or lengthens the preceding vowel and is in this sense called a letter of prolongation (Harf al-Madd). Thus, bearing in mind that the Hamzah is in reality a silent h, the syllable ká might be written kah, similarly to the German word "sah," where the h is not pronounced either, but imparts a lengthened sound to the a.

In like manner mú and fí are written in Arabic muw and fiy respectively, and form long quantities not because they contain a vowel long by nature, but because their initial "Muharrakah" is followed by a "Sákinah," exactly as in the previously mentioned syllables taf, lun, mus. In the Roman transliteration, Akámú forms a word of five letters, two of which are consonants, and three vowels; in Arabic it represents the combination H(a)k(a)hm(u)w, consisting also of five letters but all consonants, the intervening vowels being expressed in writing either merely by superadded external signs, or more frequently not at all. Metrically it represents one short and two long quantities ( - -), forming in Latin a trisyllabic foot, called Bacchíus, and in Arabic a quinqueliteral "Rukn" (pillar) or "Juz" (part, portion), the technical designation for which we shall introduce presently. There is one important remark more to be made with regard to the Hamzah: at the beginning of a word it is either conjunctive, Hamzat al-Wasl, or disjunctive, Hamzat al-Kat'. The difference is best illustrated by reference to the French so called aspirated h, as compared with the above mentioned silent h. If the latter, as initial of a noun, is preceded by the article, the article loses its vowel, and, ignoring the silent h altogether, is read with the following noun almost as one word: le homme becomes l'homme (pronounced lomme) as le ami becomes l'ami.

Terminal Essay 237

This resembles very closely the Arabic Hamzah Wasl. If, on the other hand, a French word begins with an aspirated h, as for instance hems, the article does not drop its vowel before the noun, nor is the h sounded as in the English word "hero," but the effect of the aspirate is simply to keep the two vowel sounds apart, so as to pronounce le éros with a slight hiatus between, and this is exactly what happens in the case of the Arabic Hamzah Kat'. With regard to the Wasl, however, Arabic goes a step further than French. In the French example, quoted above, we have seen it is the silent h and the preceding vowel which are eliminated; in Arabic both the Hamzah and its own Harakah, i.e. the short vowel following it, are supplanted by their antecedent. Another example will make this clear. The most common instance of the Hamzah Wasl is the article al (for h(a)l = the Hebrew hal), where it is moved by Fathah. But it has this sound only at the beginning of a sentence or speech, as in "Al-Hamdu" at the head of the Fatihah, or in "Alláhu" at the beginning of the third Surah.

If the two words stand in grammatical connection, as in the sentence "Praise be to God," we cannot say "Al-Hamdu li-Alláhi," but the junction (Wasl) between the dative particle li and the noun which it governs must take place. According to the French principle, this junction would be effected at the cost of the preceding element and li Alláhi would become l'Alláhí; in Arabic, on the contrary, the kasrated l of the particle takes the place of the following fathated Hamzah and we read li 'lláhi instead. Proceeding in the Fatihah we meet with the verse "Iyyáka na'budu wa iyyáka nasta'ínu," You do we worship and of You do we ask aid. Here the Hamzah of iyyáka (properly hiyyáka with silent h) is disjunctive, and therefore its pronunciation remains the same at the beginning and in the middle of the sentence, or, to put it differently, instead of coalescing with the preceding wa into wa'yyáka, the two words are kept separate by the Hamzah, reading wa iyyáka, just as it was the case with the French Le heros. If the conjunctive Hamzah is preceded by a quiescent letter, this takes generally Kasrah: "Tálat al-Laylah," the night was longsome, would become Tálati 'l-Laylah.

If, however, the quiescent letter is one of prolongation, it mostly drops out altogether, and the Harakah of the next preceding letter becomes the connecting vowel between the two words, which in our parlance would mean that the end vowel of the first word is shortened before the elided initial of the second. Thus "fí albayti," in the house, which in Arabic is written f(i)y h(a)lb(a)yt(i) and which we transliterate fí 'l-bayti, is in poetry read fil-bayti, where we must remember that the syllable fil, in spite of its short vowel, represents a long quantity, because it consists of a moved letter followed by a quiescent one. Fíl would be over long and could, according to Arabic prosody, stand only in certain cases at the end of a verse, i.e. in pause, where a natural tendency prevails to prolong a sound. The attentive reader will now be able to fix the prosodical value of the line quoted above with unerring security. For metrical purposes it syllabifies into: A-ká-mul-vaj-da fí kal-bí wa sá-rú, containing three short and eight long quantities. The initial unaccented a is short, for the same reason why the syllables da and wa are so, that is, because it corresponds to an Arabic letter, the Hamzah or silent h, moved by Fathah.

The syllables ká, fí, bí, sá, rú are long for the same reason why the syllables mul, waj, kal are so, that is, because the accent in the transliteration corresponds to a quiescent Arabic letter, following a moved one. The same simple criterion applies to the whole list, in which I give in alphabetical order the first lines and the metre of all the poetical pieces contained in the Mac. edition, and which will be found at the end of this volume. The prosodical unities, then, in Arabic are the moved and the quiescent letter, and we are now going to show how they combine into metrical elements, feet, and metres. i. The metrical elements (Usúl) are:

The Sabab, which consists of two letters and is either khafíf (light) or sakíl (heavy). A moved letter followed by a quiescent, i.e. a closed syllable, like the afore mentioned taf, lun, mus, to which we may now add fá = fah, 'í = 'iy, 'ú ='uw, form a Sabab khafíf, corresponding to the classical long quantity ( - ). Two moved letters in succession, like muta, 'ala, constitute a Sabab sakíl, for which the classical name would be Pyrrhic ( ). As in Latin and Greek, they are equal in weight and can frequently interchange, that is to say, the Sabab khafíf can be evolved into a sakíl by moving its second Harf, or the latter contracted into the former, by making its second letter quiescent.

Terminal Essay 239

The Watad, consisting of three letters, one of which is quiescent. If the quiescent follows the two moved ones, the Watad is called majmú' (collected or joined), as faú (= fa'uw), mafá (=mafah), 'ilun, and it corresponds to the classical Iambus ( - ). If, on the contrary, the quiescent intervenes or separates between the two moved letters, as in fá'i ( fah'i), látu (= lahtu), taf'i, the Watad is called mafrúk (separated), and has its classical equivalent in the Trochee ( - ).

The Fásilah, containing four letters, i.e. three moved ones followed by a quiescent, and which, in fact, is only a shorter name for a Sabab sakíl followed by a Sabab khafíf, as muta + fá, or 'ala + tun, both of the measure of the classical Anapæst ( - ).

ii. These three elements, the Sabab, Watad and Fásila, combine further into feet Arkán, pl. of Rukn, or Ajzá, pl. of Juz, two words explained supra p. 236. The technical terms by which the feet are named are derivatives of the root fa'l, to do, which, as the student will remember, serves in Arabic Grammar to form the Auzán or weights, in accordance with which words are derived from roots. It consists of the three letters Fá (f), 'Ayn ('), Lám (l), and, like any other Arabic root, cannot strictly speaking be pronounced, for the introduction of any vowel sound would make it cease to be a root and change it into an individual word. The above fa'l, for instance, where the initial Fa is moved by Fathah (a), is the Infinitive or verbal noun, "to do," "doing." If the 'Ayn also is moved by Fathah, we obtain fa'al, meaning in colloquial Arabic "he did" (the classical or literary form would be fa'ala). Pronouncing the first letter with Zammah (u), the second with Kasrah (i), i.e., fu'il, we say "it was done" (classically fu'ila). Many more forms are derived by prefixing, inserting or subjoining certain additional letters called Hurúf al-Ziyádah (letters of increase) to the original radicals: fá'il, for instance, with an Alif of prolongation in the first syllable, means "doer"; maf'úl (= maf'uwl), where the quiescent F. is preceded by a fathated Mím (m), and the zammated 'Ayn followed by a lengthening Waw, means "done"; Mufá'alah, where, in addition to a prefixed and inserted letter, the feminine termination ah is subjoined after the Lim, means "to do a thing reciprocally."

Since these and similar changes are with unvarying regularity applicable to all roots, the grammarians use the derivatives of Fa'l as model forms for the corresponding derivations of any other root, whose letters are in this case called its Fá, 'Ayn and Lám. From a root, e.g., which has Káf (k) for its first letter or Fá, Tá(t) for its second letter or 'Ayn, and Bá(b) for its third letter or Lám fa'l would be katb = to write, writing;

fa'al would be katab = he wrote;

fu'il would be kutib = it was written;

fá'il would be kátib = writer, scribe;

maf'úl would be maktúb = written, letter;

mufá'alah would be mukátabah = to write reciprocally, correspondence.

The advantage of this system is evident. It enables the student, who has once grasped the original meaning of a root, to form scores of words himself, and in his readings, to understand hundreds, nay thousands, of words, without recourse to the Dictionary, as soon as he has learned to distinguish their radical letters from the letters of increase, and recognises in them a familiar root. We cannot wonder, therefore, that the inventor of Arabic Prosody readily availed himself of the same plan for his own ends. The Taf'íl, as it is here called, that is, the representation of the metrical feet by current derivatives of fa'l, has in this case, of course, nothing to do with the etymological meaning of those typical forms. But it proves none the less useful in another direction: in simply naming a particular foot it shows at the same time its prosodical measure and character, as will now be explained in detail. We have seen supra p. 236 that the word Akámú consists of a short syllable followed by two long ones ( - - ), and consequently forms a foot, which the classics would call Bacchíus. In Latin there is no connection between this name and the metrical value of the foot: we must learn both by heart. But if we are told that its Taf'íl in Arabic is Fa'úlun, we understand at once that it is composed of the Watad majmú' fa'ú ( -) and the Sabab khafíf lun ( - ), and as the Watad contains three, the Sabab two letters, it forms a quinqueliteral foot or Juz khamásí. In combining into feet, the Watad has the precedence over the Sabab and the Fásilah, and again the Watad majmú' over the Watad mafrúk. Hence the Prosodists distinguish between Ajzá aslíyah or primary feet (from Asl, root), in which this precedence is observed, and Ajzá far'iyah or secondary feet (from Far' = branch), in which it is reversed.

Terminal Essay 241

The former are four in number:-

Fa'ú.lun, consisting, as we have just seen, of a Watad majmú' followed by a Sabab khafíf = the Latin Bacchíus ( - - ).

Mafá.'í.lun, i.e. Watad majmú' followed by two Sabab khafíf = the Latin Epitritus primus ( - - - ).

Mufá.'alatun, i.e. Watad majmú' followed by Fásilah = the Latin Iambus followed by Anapæst ( - -).

Fá'i.lá.tun, i.e. Watad mafrúk followed by two Sabab khafíf = the Latin Epitritus secundus ( - - -).

The number of the secondary feet increases to six, for as Nos. 2 and 4 contain two Sabab, they "branch out" into two derived feet each, according to both Sabab or only one changing place with regard to the Watad. They are:

Fá.'ilun, i.e. Sabab khafíf followed by Watad majmú' --the Latin Creticus ( - - ).

The primary Fa'ú.lun becomes by transposition Lun.fa'ú. To bring this into conformity with a current derivative of fa'l, the initial Sabáb must be made to contain the first letter of the root, and the Watad the two remaining ones in their proper order. Fá is therefore substituted for lun, and 'ilun for fall, forming together the above Fá.'ilun. By similar substitutions, which it would be tedious to specify in each separate case, Mafá.' í.lun becomes:

Mus.taf.'ilun, for 'Í.lun.mafá, i.e. two Sabab khafíf, followed by Watad majmú' = the Latin Epitritus tertius ( - - - ), or:

Fá.'ilá.tun, for Lun.mafá.'í,i.e. Watad majmú' between two Sabab khafíf = the Latin Epitritus secundus ( - - - ).

Mutafá.'ilun (for 'Alatun.mufá, the reversed Mufá.-'alatun), i.e. Fásilah followed by Watad majmú' = the Latin Anapæst succeeded by Iambus ( - -). The last two secondary feet are transpositions of No. 4, Fá'i.lá.tun, namely:

Maf.'ú.látu, for Lá.tun.fá'i, i.e. two Sabab khafíf, followed by Watad mafrúk = the Latin Epitritus quartus ( - - - ).

. Mus.taf'i.lun, for Tun.fá'i.lá, i.e. Watad mafrúk between two Sabab khafíf = the Latin Epitritus tertius ( - - - ).

The "branch"-foot Fá.'ilun (No. 5), like its "root" Fa'ú.lun (No. I), is quinqueliteral. All other feet, primary or secondary, consist necessarily of seven letters, as they contain a triliteral Watad (see supra i. 2) with either two biliteral Sabab khafíf (i. 1) or a quadriliteral Fásilah (i. 3). They are, therefore, called Sabá'í = seven lettered.

iii. The same principle of the Watad taking precedence over Sabab and Fásilah, rules the arrangement of the Arabic metres, which are divided into five circles (Dawáir, pl. of Dáirah), so called for reasons presently to be explained. The first is named:

A. Dáirat al-Mukhtalif, circle of "the varied" metre, because it is composed of feet of various length, the five lettered Fa'úlun (supra ii. 1) and the seven lettered Mafá'ílun (ii. 2) with their secondaries Fá'ilun, Mustaf.'ilun and Fá.'ilátun (ii. 5-7), and it comprises three Buhúr or metres (pl. of Bahr, sea), the Tawíl, Madid and Basít.

1. Al-Tawíl, consisting of twice

Fa'ú.lun Mafá.'ílun Fa'ú.Iun Mafá.'ílun, the classical scheme for which would be

• -| - - -| - -| - - -|

If we transfer the Watad Fa'ú from the beginning of the line to the end, it would read:

Lun.mafá'í Lun.fa'ú Lun.mafá'í Lun.fa'ú which, after the substitutions indicated above (ii. 7 and 5), becomes:

2. Al-Madíd, consisting of twice

Fá.'ilátun Fá.'ilun Fá.'ilátun Fá.'ilun, which may be represented by the classical scheme

• • • | - -| - - - | - -|

Terminal Essay 243

If again, returning to the Tawil, we make the break after the Watad of the second foot we obtain the line: 'Ílun.fa'ú. Lun.mafá 'Ílun.fa'u Lun.mafá, and as metrically 'Ílun.fa'ú (two Sabab followed by Watad) and Lun.mafá (one Sabab followed by Watad) are ='Ílun.mafá and Lun.fa'ú respectively, their Taf'il is effected by the same substitutions as in ii. 5 and 6, and they become:

3. Basít, consisting of twice

Mustaf.'ilun Fá.'ilun Mustaf.'ilun Fá.'ilun, in conformity with the classical scheme:

• • -| - - | - - -| - - |

Thus one metre evolves from another by a kind of rotation, which suggested to the Prosodists an ingenious device of representing them by circles (hence the name Dáirah), round the circumference of which on the outside the complete Taf'il of the original metre is written, while each moved letter is faced by a small loop, each quiescent by a small vertical stroke inside the circle. Then, in the case of this present Dáirat al-Mukhtalif for instance, the loop corresponding to the initial f of the first Fa'úlun is marked as the beginning of the Tawíl, that corresponding to its l (of the Sabab lun) as the beginning of the Madid, and that corresponding to the 'Ayn of the next Mafá'ílun as the beginning of the Basít. The same process applies to all the following circles, but our limited space compels us simply to enumerate them, together with their Buhúr, without further reference to the mode of their evolution.

B. Dáirat al-Mútalif, circle of "the agreeing" metre, so called because all its feet agree in length, consisting of seven letters each. It contains:

1. Al-W áfir, composed of twice

Mufá.'alatun Mufá.'alatun Mufá.'alatun (ii. 3)

= - - | - - | - - where the Iambus in each foot precedes the Anapæst, and its reversal:

2. Al-Kámil, consisting of twice

Mutafá.'ilun Mutafá.'ilun Mutafá.'ilun (ii. 8)

= - -| - -| - -| where the Anapæst takes the first place in every foot.

C. Dáirat al-Mujtalab, circle of "the brought on" metre, so called because its seven lettered feet are brought on from the first, circle:. '

1. Al-Hazaj, 'consisting of twice

Mafá.'ilun Mafá.'ílnun Mafá.'ílnun (ii. 2)

= - - - | - - - | - - - | - - - |

2. Al-Rajaz, consisting of twice

Mustaf.'ilun Mustaf.'ilun Mustaf.'ilun,

Arid in this full form, almost identical with the Iambic Trimeter f the Greek Drama:-

• • | - - | - - |

3 Al-Ramal, consisting of twice

Fá.'ilátun Fá.'ilátun Fá.'ilátun, the trochaic counterpart of the preceding metre

= - - -| - - -| - - -|

Terminal Essay 245

D. Dáirat al-Mushtabih, circle of "the intricate" metre, so called from its intricate nature, primary mingling with secondary feet, and one foot of the same verse containing a Watad majmú', another a Watad mafrúk, i.e. the iambic rhythm alternating with the trochaic and vice versa. Its Buhúr are:

1. Al-Sarí', twice

Mustaf.'ilun Mustaf.'ilun Maf'ú.látu (ii. 6 and 9)

= - - -| - - -| - - -|

2. Al-Munsarih, twice

Mustaf.'ilun Mafú.látu Mustaf.'ilun (ii. 6. 9. 6)

= - - -| - - - | - - -|

3. Al-Khafíf, twice

Fá.'ílátun Mustaf i.lun Fá.'ílátun (ii. 7. 10. 7)

= - - -| - - -| - - -|

4. Al-Muzári', twice

Mafá.'ilun Fá'i.látun Mafá.'ílun (ii. 2.4.2)

= - - -| - - -| - - -|

5. Al-Muktazib, twice

Maf'ú.látu Mustaf.'ilun Maf ú.látu (ii. 9. 6. 9)

= - - - | - - -| - - - |

6. Al-Mujtass, twice

Mustaf'i.lun Fá.'ilátun Mustaf'i.lun (ii. 10. 7. 10)

= - - -| - - -| - - -|

E. Dáirat al-Muttafik, circle of "the concordant" metre, so called for the same reason why circle B is called, "the agreeing," i.e. because the feet all harmonise in length, being here, however, quinqueliteral, not seven lettered as in the Mútalif. Al-Khalil, the inventor of the 'Ilm al-'Arúz, assigns to it only one metre:

ALF LAYLAH WA LAYLAH.

1. Al-Mutakárib, twice

Fa'úlun Fa'úlun Fa'úlun Fa'úlun (ii. 1)

= - - | - - | - - | - - |

Later Prosodists added:

2. Al-Mutadárak, twice

Fá'ilun Fá'ilun Fá'ilun Fá'ilun (ii. 5)

= - - | - - | - - | - - |

The feet and metres as given above are, however, to a certain extent merely theoretical; in practice the former admit of numerous licenses and the latter of variations brought about by modification or partial suppression of the feet final in a verse. An Arabic poem (Kasídah, or if numbering less than ten couplets, Kat'ah) consists of Bayts or couplets, bound together by a continuous rhyme, which connects the first two lines and is repeated at the end of every second line throughout the poem. The last foot of every odd line is called, 'Arúz (fem. in contra distinction of Arúz in the sense of Prosody which is masc.), pl. A'áiriz, that of every even line is called Zarb, pl. Azrub, and the remaining feet may be termed Hashw (stuffing), although in stricter parlance a further distinction is made between the first foot of every odd and even line as well. Now with regard to the Hashw on the one hand, and the 'Arúz and Zarb on the other, the changes which the normal feet undergo are of two kinds: Zuháf (deviation) and 'Illah (defect). Zuháf applies, as a rule, occasionally and optionally to the second letter of a Sabab in those feet which compose the Hashw or body part of a verse, making a long syllable short by suppressing its quiescent final, or contracting two short quantities in a long one, by rendering quiescent a moved letter which stands second in a Sabab sakíl. In Mustaf'ilun (ii. 6. = - - - ), for instance, the s of the first syllable, or the f of the second, or both may be dropped and it will become accordingly Mutaf'ilun, by substitution Mafá'ilun ( - -), or Musta'ilun, by substitution, Mufta-'ilun ( - -), or Muta'ilun, by substitution Fa'ilatun ( - ). This means that wherever the foot Mustaf.'ilun occurs in the Hashw of a poem, we can represent it by the scheme - i.e. the Epitritus tertius

Terminal Essay 247 can, by poetical licence, change into Diiambus, Choriambus or Pæon quartus. In Mufá'alatun (ii. 3. = - -) and Mutafá'ilun (ii. 8. = - - ), again, the Sabab 'ala and muta may become khafíf by suppression of their final Harakah and thus turn into Mufá'altun, by substitution Mafá-'ílun (ii. 2. = - - - ), and Mutfá'ilun, by substitution Mustaf'ilun (ii 6. = - - - as above). In other words the two feet correspond to the schemes - - and   -  - where a Spondee can take the place of the Anapæst after or before the Iambus respectively. 'Illah, the second way of modifying the primitive or normal feet, applies to both Sabab and Watad, but only in the 'Arúz and Zarb of a couplet, being at the same time constant and obligatory. Besides the changes already mentioned, it consists in adding one or two letters to a Sabab or Watad, or curtailing them more or less, even to cutting them off altogether. We cannot here exhaust this matter any more than those touched upon until now, but must be satisfied with an example or two, to show the proceeding in general and indicate its object. We have seen that the metre Basít consists of the two lines:

Mustaf.'ilun Fá.'ilun Mustaf'ilun Fá'ilun

Mustaf'ilun Fá'ilun Mustaf'ilun Fá'ilun.

This complete form, however, is not in use amongst Arab poets. If by the Zuháf Khabn, here acting as 'Illah, the Alif in the final Fá'ilun is suppressed, changing it into Fa'ilun ( -), it becomes the first 'Arúz, called makhbúnah, of the Basít, the first Zarb of which is obtained by submitting the final Fá'ilun of the second line to the same process. A second Zarb results, if in Fá'ilun the final n of the Watad 'ilun is cut off and the preceding l made quiescent by the 'Illah Kat' thus giving Fá'il and by substitution Fa'lun ( - - ). Thus the formula becomes:

Mustaf'ilun Fá'ilun Mustaf'ilun Fa'ilun

Mustaf'ilun Fá'ilun Mustaf'ilun (Fa'lun/Fa'ilun)

As in the Hashw, i.e. the first three feet of each line, the Khabn can likewise be applied to the medial Fá'ilun, and for Mustaf'ilun the poetical licences, explained above, may be introduced, this first 'Arúz or Class of the Basít with its two Zarb or subdivisions will be represented by the scheme

| | | |

• • -| - -| - - -| -|

| | | |

• • -| - -| - - -{ -

| - - that is to say in the first subdivision of this form of the Basít both lines of each couplet end with an Anapæst and every second line of the other subdivision terminates in a Spondee. The Basít has four more A'áriz, three called majzúah, because each line is shortened by a Juz or foot, one called mashtúrah (halved), because the number of feet is reduced from four to two, and we may here notice that the former kind of lessening the number of feet is frequent with the hexametrical circles (B. C. D.), while the latter kind can naturally only occur in those circles whose couplet forms an octameter (A. E.). Besides being majzúah, the second 'Arúz is sahíhah (perfect) consisting of the normal foot Mustaf'ilun. It has three Azrub:

1. Mustaf'ilán ( - - " =, with an overlong final syllable, see supra p. 238), produced by the 'Illah Tazyíl, i.e. addition of a quiescent letter at the end (Mustaf'ilunn, by substitution Mustaf'ilán);

2. Mustaf'ilun, like the 'Arúz;

3. Maf'úlun ( - - - ), produced by the 'Illah Kat' (see the preceding page; Mustaf'ilun, by dropping the final n and making the l quiescent becomes Mustaf'il and by substitution Maf'úlun). Hence the formula is:

Mustaf ilun Fá'ilun Mustaf ilun

|Mustaf ilán

Mustaf ilun Fá'ilun {Mustaf ilun

|Maf úlun), which, with its allowable licenses, may be represented by the scheme:

| |

• • -| - -| - - -

|

| - - -

| | | - - -

• • -| - -| - - -{

| - - -

Terminal Essay 249

The above will suffice to illustrate the general method of the Prosodists, and we must refer the reader for the remaining classes and subdivisions of the Basít as well as the other metres to more special treatises on the subject, to which this Essay is intended merely as an introduction, with a view to facilitate the first steps of the student in an important, but I fear something neglected, field of Arabic learning. If we now turn to the poetical pieces contained in The Nights, we find that out of the fifteen metres, known to al-Khalil, or the sixteen of later Prosodists, instances of thirteen occur in the Mac. N. edition, but in vastly different proportions. The total number amounts to 1,385 pieces (some, however, repeated several times), out of which 1,128 belong to the first two circles, leaving only 257 for the remaining three. The same disproportionality obtains with regard to the metres of each circle. The Mukhtalif is represented by 331 instances of Tawíl and 330 of Basít against 3 of Madíd; the Mutalif by 321 instances of Kámil against 143 of Wáfir; the Mujtalab by 32 instances of Ramal and 30 of Rajaz against 1 of Hazaj; the Mushtabih by 72 instances of Khafíf and 52 of Sari' against 18 of Munsarih and 15 of Mujtass; and lastly the Muttafik by 37 instances of Mutakárib.

Neither the Mutadárak (E. 2), nor the Muzári' and Muktazib (D. 4. 5) are met with. Finally it remains for me to quote a couplet of each metre, showing how to scan them, and what relation they bear to the theoretical formulas exhibited on p. 242 to p. 247. It is characteristic for the preponderance of the Tawíl over all the other metres, that the first four lines, with which my alphabetical list begins, are written in it. One of these belongs to a poem which has for its author Bahá al-Din Zuhayr (born A.D. 1186 at Mekkah or in its vicinity, ob. 1249 at Cairo), and is to be found in full in Professor Palmer's edition of his works, p. 164. Sir Richard Burton translates the first Bayt (vol. i. 290):

If I quit Cairo and her pleasances Where can I hope to find so gladsome ways?

Professor Palmer renders it:

Must I leave Egypt where such joys abound? What place can ever charm me so again?

In Arabic it scans: - | - - -| - | - -|

A-arhalu'an Misrin wa tibi na'ímihi

• | - - -| - | - -|

Fa-ayyu makánin ba'dahá li-ya sháiku.

In referring to iii. A. 1. p. 242, it will be seen that in the Hashw Fa'úlun ( - -) has become Fa'úlu ( - ) by a Zuháf called Kabz (suppression of the fifth letter of a foot if it is quiescent), and that in the 'Arúz and Zarb Mafá'ilun ( - - -) has changed into Mafá'ilun ( - -) by the same Zuháf acting as 'Illah. The latter alteration shows the couplet to be of the second Zarb of the first 'Arúz of the Tawíl. If the second line did terminate in Mafá'ilun, as in the original scheme, it would be the first Zarb of the same 'Arúz; if it did end in Fa'úlun ( - -) or Mafá'íl ( - -) it would represent the third or fourth subdivision of this first class respectively. The Tawil has one other 'Arúz, Fa'úlun, with a twofold Zarb, either Fa'úlun also, or Mafá'ilun. The first instance of the Basít occurring in The Nights are the lines translated vol. i. p. 25:

Contains Time a twain of days, this of blessing, that of bane And holds Life a twain of halves, this of pleasure, that of pain.

In Arabic (Mac. N. i. II):

• • | - -| - - -| -|

Al-Dahru yaumáni zá amnun wa zá hazaru

• • | - -| - - -| -|

Wa'l-'Ayshu shatráni zá safwun wa zá kadaru.

Turning back to p. 243, where the A'áríz and Azrub of the Basít are shown, the student will have no difficulty to recognise the Bayt as one belonging to the first Zarb of the first 'Arúz. As an example of the Mad Id we quote the original of the lines (vol. v. 131):

Terminal Essay 251

I had a heart, and with it lived my life 'Twas seared with fire and burnt with loving lowe.

They read in Arabic:

• • • -| - -| -|

Kána lí kalbun a'íshu bihi

• • -| - -| -|

Fa'ktawá bi'l-nári wa'htarak.

If we compare this with the formula (iii. A. 2. p. 242), we find that either line of the couplet is shortened by a foot; it is,. therefore, majzú. The first 'Arúz of this abbreviated metre is Fá'ilátun ( -  - - ), and is called sahíhah (perfect) because it consists of the normal third foot. In the second 'Arúz, Fá'ilátun loses its end syllable tun by the 'Illah Hafz (suppression of a final Sabab khafíf), and becomes Fá'ilá ( - - ), for which Fá'ilun is substituted. Shortening the first syllable of Fá'ilun, i.e. eliminating the Alif by Khabn, we obtain the third 'Arúz Fa'ilun ( - ) as that of the present lines, which has two Azrub: Fa'ilun, like the 'Arúz, and Fa'lun ( - - ), here, again by Khabn, further reduced to Fa'al ( - ). Ishak of Mosul, who improvises the piece, calls it "so difficult and so rare, that it went near to deaden the quick and to quicken the dead"; indeed, the native poets consider the metre Madíd as the most difficult of all, and it is scarcely ever attempted by later writers. This accounts for its rare occurrence in The Nights, where only two more instances are to be found, Mac. N. ii. 244 and iii. 404. The second and third circle will best be spoken of together, as the Waft and Kámil have a natural affinity to the Hazaj and Rajaz. Let us revert to the line:

• • -| - - -| - -|

Akámú 'l-wajda fí kalbí wa sárú.

Translated, as it were, into the language of the Prosodists it will be:

Mafá' ílun'Mafá' ílun Fa'úlun, prima facie be taken for a line of the Hazaj (iii. C. 1), with the third Mafá'ílun shortened by Hafz (see above) into Mafá'í for which Fa'úlun would be substituted. We have seen (p. 247) that and how the foot Mufá-'alatun can change into Mafá'ílun, and if in any poem which otherwise would belong to the metre Hazaj, the former measure appears even in one foot only along with the latter, it is considered to be the original measure, and the poem counts no longer as Hazaj but as Wáfir. In the piece now under consideration, it is the second Bayt where the characteristic foot of the Wáfir first appears:

• • -| - -| - -|

Naat 'anní'l-rubú'u wa sákiníhá

• -| - -| - -|

Wa kad ba'uda 'l-mazáru fa-lá mazáru.

Anglice (vol. iii. 296):

Far lies the camp and those who camp within it; Far is her tent shrine where I never shall tent.

It must, however, be remarked that the Hazaj is not in use as a hexameter, but only with an 'Arúz majzúah or shortened by one foot. Hence it is only in the second 'Arúz of the Wáfir, which is likewise majzúah, that the ambiguity as to the real nature of the metre can arise; and the isolated couplet

• • -| - - -| - -|

Yárídu 'l-mar-u an yu'tá munáhu

• • -| - - -| - -|

Wa yabá'lláhu illá má yurídu

Man wills his wish to him accorded be, But Allah nothing accords save what he wills (vol. iv. 157),

being hexametrical, forms undoubtedly part of a poem in Wáfir although it does not contain the foot Mufá'alatun at all.

Terminal Essay 253

Thus the solitary instance of Hazaj in The Nights is Abú Nuwás' abomination, beginning with:-

• • -| - - -|

Fa-lá tas'au ilá ghayrí

• • -| - - -|

Fa-'indí ma'dinu 'l-khayri (Mac. N. ii. 377).

Steer you your steps to none but me Who have a my of luxury (vol. v. 65).

If in the second 'Arúz of the Wáfir, Maf'áílun ( - - - ) is further shortened to Mafá'ilun ( - - ), the metre resembles the second 'Arúz of Rajaz, where, as we have seen, the latter foot can, by licence, take the place of the normal Mustaf'ilun ( - - - ) The Kámil bears a similar relation to the Rajaz, as the Wáfir bears to the Hazaj. By way of illustration we quote from Mac. N. ii. 5 the first two Bayts of a little poem taken from the 23rd Assembly of Al-Haríri:

• • -| - - -| - -|

Yá khátiba 'l-dunyá 'l-daniyyati innahá

• -| - -| - - -|

Sharaku 'l-radá wa karáratu 'l-akdári

• • -| - - -| - - -|

Dárun matá má azhakat fí yaumihá

• • -| - - -| - - -|

Abkat ghadan bu'dan lahá min dári.

In Sir Richard Burton's translation (vol. iii. 319):

O you who woo'st a World unworthy, learn 'Tis house of evils, 'tis Perdition's net: A house where whoever laughs this day shall weep The next; then perish house of fume and fret.

The 'Arúz of the first couplet is Mutafá'ilun, assigning the piece to the first or perfect (sahíhah) class of the Kámil. In the Hashw of the opening line and in that of the whole second Bayt this normal Mutafá'ilun has, by licence, become Mustaf'ilun, and the same change has taken place in the 'Arúz of the second couplet; for it is a peculiarity which this metre shares with a few others, to allow certain alterations of the kind Zuháf in the 'Arúz and Zarb as well as in the Hashw. This class has three subdivisions: the Zarb of the first is Mutafá'ilun, like the 'Arúz; the Zarb of the second is Fa'alátun ( - - )a substitution for Mutafá'il which latter is obtained from Mutafá'ilun by suppressing the final n and rendering the l quiescent; the Zarb of the third is Fa'lun ( - -) for Mútfá, derived from Mutafá'ilun by cutting off the Watad 'ilun and dropping the medial a of the remaining Mutafá. If we make the 'Ayn of the second Zarb Fa'alátun also quiescent by the permitted Zuháf Izmár, it changes into Fa'látun, by substitution Maf'úlun ( - - -) which terminates the rhyming lines of the foregoing quotation. Consequently the two couplets, taken together, belong to the second Zarb of the first 'Arúz of the Kámil, and the metre of the poem with its licences may be represented by the scheme:

• | - | - |

• | - | - |

• | - | - |

• | - | - |

Taken isolated, on the other hand, the second Bayt might be of the metre Rajaz, whose first 'Arúz Mustaf'ilun has two Azrub: one equal to the Arúz, the other Maf'úlun as above, but here substituted for Mustaf'il after applying the 'Illah Kat' (see p. 247) to Mustaf'ilun. If this were the metre of the poem throughout, the scheme with the licences peculiar to the Rajaz would be:

| | |

• • • | - - - | - - - |

| | |

• • • | - - - | - - - |

The pith of Al-Haríri's Assembly is that the knight errant, not to say the arrant people of the Romance, Abú Sayd of Sarúj, accuses before the Wáli of Baghdad his pretended pupil, in reality his son, to have appropriated a poem of his by lopping off two feet of every Bayt. If this is done in the quoted lines, they read:

Terminal Essay 255

• • -| - - |

Yá khátiba 'l-dunyá 'l-daniy.

• -| - -|

Yati innahá sharaku 'l-radá

• • -| - - -|

Dárun matá má azhakat.

• • -| - - -|

Fí yaumihá abkat ghadá, with a different rhyme and of a different variation of metre. The amputated piece belongs to the fourth Zarb of the third 'Arun of Kámil, and its second couplet tallies with the second sub division of the second class of Rajaz. The Rajaz, an iambic metre pure and simple, is the most popular, because the easiest, in which even the Prophet was caught napping sometimes, at the dangerous risk of following the perilous leadership of Imru 'l-Kays. It is the metre of improvisation, of ditties, and of numerous didactic poems. In the latter case, when the composition is called Urjúzah, the two lines of every Bayt rhyme, and each Bayt has a rhyme of its own. This is the form in which, for instance, Ibn Málik's Alfíyah is written, as well as the remarkable grammatical work of the modern native scholar, Nasif al-Yazijí, of which a notice will be found in Chenery's Introduction to his Translation of Al-Haríri. While the Hazaj and Rajaz connect the third circle with the first and second, the Ramal forms the link between the third and fourth Dáirah. Its measure Fá'ilátun ( - - -) and the reversal of it, Maf'úlátu ( - - - ), affect the trochaic rhythm, as opposed to the iambic of the two first named metres.

The iambic movement has a ring of gladness about it, the trochaic a wail of sadness: the former resembles a nimble pedestrian, striding apace with an elastic step and a cheerful heart; the latter is like a man toiling along on the desert path, where his foot is ever and soon sliding back in the burning sand (Raml, from where probably the name of the metre). Both combined in regular alternation, impart an agitated character to the verse, admirably fit to express the conflicting emotions of a passion stirred mind. Examples of these more or less plaintive and pathetic metres are numerous in the Tale of Uns al-Wujúd and the Wazir's Daughter, which, being throughout a story of love, as has been noted, vol. v. 33, abounds in verse, and, in particular, contains ten out of the thirty two instances of Ramal occurring in The Nights. We quote: Ramal, first Zarb of the first 'Arúz (Mac. N. ii. 361):

• • -| - -| - -|

Inna li 'l-bulbuli sautan fí 'l-sahar

• • -| - -| - -|

Ashghala 'l 'áshika 'an husni 'l-watar

The Bulbul's note, whenas dawn is near Tells the lover from strains of strings to fly (vol. v. 48).

Sari', second Zarb of the first 'Arúz (Mac. N. ii. 359):

• -| - - -| - -|

Wa fákhitin kad kála fí nauhihi

• • -| - - -| - -|

Yá Dáiman shukran 'an balwatí

I heard a ringdove chanting soft and plaintively, "I thank You, O Eternal, for this misery" (vol. v. 47).

Khafíf, full or perfect form (sahih), both in Zarb and 'Arúz (Mac. N. ii. 356):

• • -| - -| - - -|

Yá li-man ashtakí 'l-gharáma 'llazí bi

• -| - -| - - -|

Wa shujúní wa furkati 'an habíbí

O to whom now of my desire complaining sore shall I Bewail my parting from my fere compèlled thus to fly (vol. v. 44).

Mujtass, the only 'Arúz (majzúah sahíhah, i.e. shortened by one foot and perfect) with equal Zarb (Mac. N. ii. 367):

• • -| - -|

Ruddú 'alayya habíbí

• • -| - - -|

Lá hajatan lí bi-málin

To me restore my dear I want not wealth untold (vol. v. 55)

Terminal Essay 257

As an instance of the Munsarih, I give the second occurring in The Nights, because it affords me an opportunity to show the student how useful a knowledge of the laws of Prosody frequently proves for ascertaining the correct reading of a text. Mac. N. i. 33 we find the line:

• -| - -| - -|

Arba'atun má 'jtama'at kattu izá.

This would be Rajaz with the licence Mufta'ilun for Mustaf'ilun. But the following lines of the fragment evince, that the metre is Munsarih; hence, a clerical error must lurk somewhere in the second foot. In fact, on page 833 of the same volume, we find the piece repeated, and here the first couplet reads

• -| - - | - -|

Arba'atun má'jtama'na kattu siwa -

• -| - - | - -|

Ala azá mujhati wa safki dami

Four things which never conjoin unless it be To storm my vitals and to shed my blood (vol. iii. 237).

The Mutakárib, the last of the metres employed in The Nights, has gained a truly historical importance by the part which it plays in Persian literature. In the form of trimetrical double lines, with a several rhyme for each couplet, it has become the "Nibelungen "stanza of the Persian epos: Firdausi's immortal "Book of Kings" and Nizámi's Iskander námah are written in it, not to mention a host of Masnawis in which Sufic mysticism combats Mohammedan orthodoxy. On account of its warlike and heroical character, therefore, I choose for an example the knightly Jamrakán's challenge to the single fight in which he conquers his scarcely less valiant adversary Kaurajan, Mac. N. iii. 296:

• -| - | - - | - - |

Aná 'l-Jamrakánu kawiyyn 'l-janáni

• -| - | - - | - - |

Jamí'u 'l-fawárisi takhshá kitálí.

Here the third syllable of the second foot in each line is shortened by licence, and the final Kasrah of the first line, standing in pause, is long, the metre being the full form of the Mutakárib as exhibited p. 246, iii. E. 1.

If we suppress the Kasrah of al-Janáni, which is also allowable in pause, and make the second line to rhyme with the first, saying, for instance:

• -| - | - - | - |

Aná 'l-Jamrakánu kawiyyu 'l-janán

• -| - - | - - | - |

La-yakshá kitálí shijá'u 'l-zamán, we obtain the powerful and melodious metre in which the Sháhnámah sings of Rustam's lofty deeds, of the tender love of Rúdabah and the tragic downfall of Siyawush. Shall I confess that in writing the foregoing pages it has been my ambition to become a conqueror, in a modest way, myself: to conquer, I mean, the prejudice frequently entertained, and shared even by my accomplished countryman, Ruckert, that Arabic Prosody is a clumsy and repulsive doctrine. I have tried to show that it springs naturally from the character of the language, and, intimately connected, as it is, with the grammatical system of the Arabs, it appears to me quite worthy of the acumen of a people, to whom, amongst other things, we owe the invention of Algebra, the stepping stone of our whole modern system of Mathematics. I cannot refrain, therefore, from concluding with a little anecdote anent al-Khalil, which Ibn Khallikán tells in the following words. His son went one day into the room where his father was, and on finding him scanning a piece of poetry by the rules of Prosody, he ran out and told the people that his father had lost his wits. They went in immediately and related to al-Khalil what they had heard, on which he addressed his son in these terms: "Had you known what I was saying, you would have excused me, and had you known what you said, I should have blamed you. But you did not understand me, so you blamed me, and I knew that you were ignorant, so I pardoned you."

Terminal Essay 259

L'Envoi.

HERE end, to my sorrow, the labours of a quarter century, and here I must Of necessity say with the "poets' Poet,"

"Behold! I see the haven near at hand, To which I mean my wearie course to bend; Vere the main shete, and bear up with the land The which afore is fairly to be ken'd."

Nothing of importance now indeed remains for me but briefly to estimate the character of my work and to take cordial leave of my readers, thanking them for the interest they have accorded to these volumes and for enabling me thus successfully to complete the decade. Without pudor malus or over diffidence I would claim to have fulfilled the promise contained in my Foreword. The anthropological notes and notelets, which not only illustrate and read between the lines of the text, but assist the student of Moslem life and of Arabo Egyptian manners, customs and language in a multitude of matters shunned by books, form a repertory of Eastern knowledge in its esoteric phase, sexual as well as social. To assert that such lore is unnecessary is to state, as every traveller knows, an "absurdum." Few phenomena are more startling than the vision of a venerable infant, who has lived half his long life in the midst of the wildest anthropological vagaries and monstrosities, and yet who absolutely ignores all that India or Burmah enacts under his very eyes. This is crass ignorance, not the naive innocence of Saint Francis who, seeing a man and a maid in a dark corner, raised his hands to Heaven and thanked the Lord that there was still in the world so much of Christian Charity. Against such lack of knowledge my notes are a protest; and I may claim success despite the difficulty of the task. A traveller familiar with Syria and Palestine, Herr Landberg, writes, "La plume refuserait son service, la langue serait insuffisante, si celui qui connaît la vie de tous les jours des Orientaux, surtout des classes élevées, voulait la devoiler. L'Europe est bien loin d'en avoir la moindre idée."

In this matter I have done my best, at a time too when the hapless English traveller is expected to write like a young lady for young ladies, and never to notice what underlies the most superficial stratum. And I also maintain that the free treatment of topics usually taboo'd and held to be "alekta"—unknown and unfitted for publicity—will be a national benefit to an "Empire of Opinion," whose very basis and buttresses are a thorough knowledge by the rulers of the ruled.

Men have been crowned with gold in the Capitol for lesser services rendered to the Respublica. That the work contains errors, shortcomings and many a lapsus, I am the first and foremost to declare. Yet in justice to myself I must also notice that the maculæ are few and far between; even the most unfriendly and interested critics have failed to point out an abnormal number of slips. And before pronouncing the "Vos plaudite!" Or, as Easterns more politely say, "I implore that my poor name may be raised aloft on the tongue of praise," let me invoke the fair field and courteous favour which the Persian poet expected from his readers.

(Veil it, an fault you find, nor jibe nor jeer:— None may be found of faults and failings clear!)

RICHARD F. BURTON.

Athenæum Club, September 30, '86.

VOLUME INDEX 261

Appendix I

MEMORANDUM.

I MAKE no apology for the number and extent of bibliographical and other lists given in this Appendix: they may cumber the book but they are necessary to complete my design. This has been to supply throughout the ten volumes the young Arabist and student of Orientalism and Anthropology with such assistance as I can render him; and it is my conviction that if with the aid of this version he will master the original text of the "Thousand Nights and a Night," he will find himself at home amongst educated men in Egypt and Syria, Najd and Mesopotamia, and be able to converse with them like a gentleman; not, as too often happens in Anglo-India, like a "Ghoráwálá" (groom). With this object he will learn by heart what instinct and inclination suggest of the proverbs and instances, the verses, the jeux d'esprit and especially the Koranic citations scattered about the text; and my indices will enable him to hunt up the tale or the verses which he may require for quotation even when writing an ordinary letter to a "native" correspondent. Thus he will be spared the wasted labour of wading through volumes in order to pick up a line. The following is the list of indices: APPENDIX I.

Index to the Tales in the ten Volumes.

Alphabetical Table of the Notes (Anthropological, etc.) prepared by F. Steingass, Ph.D.

Alphabetical Table of First Lines (metrical portion) in English and Arabic, pre-pared by Dr. Steingass.

. Tables of Contents of the various Arabic texts.

A.The Unfinished Calcutta Edition (1814-18). B. The Breslau Text (1825—43) from Mr. Payne's Version. C The MacNaghten or Turner-Macan Text (A.D. 1839-42), and the Bulak Edition (A.H. 1251 = A.D. 1835-36), from Mr. Payne's Version. D. The same with Mr. Lane's and my Version.

APPENDIX II

Contribution to the Bibliography of the Thousand and One Nights and their limitations, with a table shewing the contents of the principal editions and translations of The Nights.By W. F. Kirby, Author of "Ed-Dimiryaht, an Oriental Romance"; "The New Arabian Nights," etc.

Appendix I

INDEX I.

INDEX TO THE TALES AND PROPER NAMES.

N. B.--The Roman numerals denote the volume, the Arabic the page.

Abdullah the Fisherman and Abdullah the Merman, ix. 165.

Do. bin Fazl and his brothers, ix. 304.

Do. bin Ma'amar with the Man of Bassorah and his slave-girl, v. 69.

Abd al-Rahman the Moor's story of the Rukh, v. 122.

Abu Hasan al-Ziyadi and the Khorasan Man, iv. 285.

Abu Hasan, how he broke wind, v. 135.

Abu Isa and Kurrat al-Ayn, The Loves of, v. 145.

Abu Ja'afar the Leper, Abu al-Hasan al-Durraj and, v. 294.

Abu Kir the Dyer and Abu Sir the Barber, ix. 134.

Abu al-Aswad and his squinting slave-girl, v. 80.

Abu al-Husn and his slave-girl Tawaddud, v. 189.

Abu al Hasan al-Durraj and Abu Ja'afar the Leper, v. 294.

Abu al-Hasan of Khorasan, ix. 229.

Abu Mohammed called Lazybones, iv. 162.

Abu Nowas, Harun al-Rashid with the damsel and, iv. 261.

Abu Nowas and the Three Boys, v. 64.

Abu Sir the Barber, Abu Kir the Dyer and, ix. 134.

Abu Suwayd and the handsome old woman, v. 163.

Abu Yusuf with Harun al-Rashid and his Wazir Ja'afar, The Imam, iv. 1.

Abu Yusuf with Al-Rashid and Zubaydah, The Imam, iv. 153.

Adam, The Birds and Beasts and the Son of, iii. 114.

Adi bin Zayd and the Princess Hind, v. 124.

Ajib, The History of Gharib and his brother, vi. 257.

Ala al-Din Abu al-Shamat, iv. 29.

Alexandria (The Sharper of) and the Master of Police, iv. 269.

Ali bin Bakkar and Shams al-Nahar, iii. 162.

Ali of Cairo, The Adventures of Mercury, vii. 172.

Ali Nur al-Din and Miriam the Girdle-Girl, viii. 264.

Ali the Persian and the Kurd Sharper, iv. 149.

Ali Shar and Zumurrud, iv. 187.

Ali bin Tahir and the girl Muunis, v. 164.

Al-Malik al-Nasir (Saladin) and the Three Chiefs of Police iv. 271.

Almsgiving, The Woman whose hands were cut off for, iv. i81.

Amin (Al-) and his uncle Ibrahim bin al-Mahdi, v. 152.

Anushirwan, Kisra, and the village damsel, v. 87.

Anushirwan, The Righteousness of King, v. 254.

Angel of Death and the King of the Children of Israel, The, v. 250.

Do. with the Proud King and the Devout Man, The, v. 246.

Do. and the Rich King, The, v. 248.

Anis al-Jalis, Nur al-Din Ali and the damsel, ii. 1.

Ape, The King's daughter and the, iv. 297.

Apples, The Three, i. 186.

Arab Girl, Harun al-Rashid and the, vii. 108.

Arab Youth, The Caliph Hisham and the, iv. 101.

Ardashir and Hayat al-Nufus, vii. 209.

Asma'i (Al-) and the three girls of Bassorah, vii. 110.

Ass The Ox and the, i. 16.

Ass The Wild, The Fox and, ix. 48.

Ayishah, Musab bin al-Zubayr and his wife, v. 79.

Aziz and Azizah, Tale of, ii. 298.

Azizah, Aziz and, ii. 298.

Badawi, Ja'afar the Barmecide and the old, v. 98.

Do. Omar bin al-Khattab and the young, v. 99.

Do. and his Wife, The, vii. 124.

Badi'a al-Jamal, Sayf al-Muluk and, vii. 314.

Badr Basim of Persia, Julnar the Sea-born, and her Son King, vii. 264.

Badr al-Din Hasan, Nur al-Din Ali of Cairo and his son, i. 195.

Baghdad, The Haunted House in, v. 166.

Do. Khalifah the Fisherman of, viii. 145.

Do. The Porter and the Three Ladies of, i. 82.

Do. , (The ruined man of) and his slave-girl, ix. 24.

Do. , The Sweep and the noble Lady of, iv. 125.

Bakun's Story of the Hashish-Eater, iii. 91.

Banu Tayy, The Lovers of the, v. 137.

Banu Ozrah The Lovers of the, v. 70.

Barber's Tale of himself, The, i. 317.

Barber's First Brother, Story of the, i. 319.

Barber's Second Brother, Story of the, i. 324.

Barber's Third Brother, Story of the, i. 328.

Barber's Fourth Brother, Story of the, i. 331.

Barber's Fifth Brother, Story of the, i. 335.

Barber's Sixth Brother, Story of the, i. 343.

Barber, Abu Kir the Dyer and Abu Sir the, ix. 134.

Barber-Surgeon, Ibrahim bin al-Mahdi and the, iv. 103.

Barmecide, Ja'afar the, and the old Badawi, v. 98.

Bassorah (the man of ) and his slave-girl, Abdullah bin Ma'amar with, v. 69.

Do. Al-Asma'i and the three girls of, vii. 110.

Do. (Hasan of) and the King's daughter of the Jinn, viii. 7.

Do. , The Lovers of, vii. 130.

Bath, Harun al-Rashid and Zubaydah in the, v. 75.

Bathkeeper's Wife, The Wazir's Son and the, vi. 150.

Bean seller, Ja'afar the Barmecide and the, iv. 159.

Bear, Wardan the Butcher's adventure with the Lady and the, iv. 293.

Beasts and the Son of Adam, The Birds and, iii. 16.

Behram, Prince of Persia, and the Princess Al-Datma, vi. 184.

Belvedere, The House with the, vi. 188.

Birds and Beasts and the Carpenter, The, iii. 114.

Birds, The Falcon and the, iii. 154.

Birds (the Speech of), The page who feigned to know, vi. 169.

Black Slave, The pious, v. 261.

Blacksmith who could handle fire without hurt, The, v. 271.

Blind Man and the Cripple, The, ix. 67.

Boys, Abu Nowas and the Three, v. 64.

Boy and Girl at School, The Loves of the, v. 73.

Boy and the Thieves, The, ix. 95.

Boy (The woman who had to lover a) and the other who had to lover a man, v. 165.

Brass, The City of, vi. 83.

Broker's Story, The Christian, i. 262.

Budur and Jubayr bin Unmayr, The Loves of, iv. 228.

Budur, Kamar al-Zaman and, iii. 212.

Bukhayt, Story of the Eunuch, ii. 49.

Bulak Police, Story of the Chief of the, iv. 273.

Bull and the Ass (Story of), i. 16.

Bulukiya, Adventures of, v. 304.

Butcher's adventure with the Lady and the Bear, Wardan the, iv. 293.

Butter, The Fakir and his pot of, ix. 40.

Cairo (New) Police, Story of the Chief of the, iv. 271.

Do. (Old) Police, Story of the Chief of the, iv. 274.

Do., The Adventures of Mercury Ali of, vii. 172.

Caliph Al-Maamun and the Strange Doctor, iv. 185.

Caliph, The mock, iv. 130.

Cashmere Singing-girl, The Goldsmith and the, vi. 156.

Cat and the Crow, The, iii. 149.

1)o. and the Mouse, The, ix. 35.

Champion (The Moslem) and the Christian Lady, v. 277.

Chaste Wife, The Rake's Trick against the, vi. 135.

Christian Broker's Story, The, i. 262.

City of Labtayt, The, vi. 83.

Cloud (The saint to whom Allah gave a) to serve him, v. 274.

Cobbler (Ma'aruf the) and his wife Fatimah, x. 1.

Confectioner, his wife and the Parrot, The, vi. 132.

Crab, The Fishes and the, ix. 34.

Craft and Malice of Women, The, vi. 122.

Cripple, The Blind Man and the, ix. 67.

Crow, The Fox and the, iii. 150.

Do. and the Serpent, The, ix. 46.

Crow, The Cat and the, iii. 149.

Crows and the Hawk, The, ix. 53.

Dalilah the Crafty and her daughter Zaynab the Coney-catcher, The Rogueries of, vii. 144.

Datma (The Princess Al-), Prince Behram of Persia and, vi. 184.

Death (The Angel of) and the King of the Children of Israel, v. 250.

Do. do. with the Proud King and the Devout Man, v. 246.

Do. do. and the Rich King, v. 248.

Debauchee and the Three-year-old Child, The, vi. 208.

Desert (The old woman who dwelt in the) and the pilgrim, v. 186.

Device (The Wife's) to cheat her husband, vi. 152.

Devil, Ibrahim of Mosul and the, vii. 113.

Do., Isaac " and his mistress and the, vii. 136.

Devout Israelite, The, iv. 283.

Devout Tray-maker and his wife, The, v. 264.

Do. Prince, The, v. 111.

Do. woman and the two wicked elders, The, v. 97.

Dibil al-Khuzai and Muslim bin al-Walid, v. 127.

Dish of Gold, The man who stole the Dog's, iv. 265.

Doctor (The strange) and the Caliph Al-Maamun, iv. 185.

Dog's Dish of Gold, The man who stole the, iv. 265.

Dream, The ruined man who became rich through a, iv. 289.

Drop of Honey, The, vi. 142.

Duban, The Physician, i. 45.

Dunya, Taj al-Muluk and the Princess, ii. 283.

Durraj (Abu al-Hasan al-) and Abu Ja'afar the Leper, v. 294.

Dust, The woman who made her husband sift, vi. 143.

Dyer, Abu Sir the Barber and Abu Kir the, ix. 134.

Eagle, The Sparrow and the, iii. 155.

Ebony Horse, The, v. 1.

Egypt (The man of Upper) and his Frankish wife, ix. 19.

Elders, The Devout woman and the two wicked, v. 97.

Eldest Lady's Story, The, i. 162.

Enchanted Spring, The, vi. 145.

Do. Youth, The, i. 69.

Envied, The Envier and the, i. 123.

Eunuch Bukhayt, Tale of the, ii. 49.

Do. Kafur, Tale of the, ii. 51.

Fakir and his jar of butter, The, ix. 40.

Falcon and the Partridge, The, iii. 138.

Falcon, King Sindbad and his, i. 50.

Fatimah, Ma'aruf the Cobbler and his wife, x. 1.

Fath bin Khakan (Al-) and Al-Mutawakkil, v. 153.

Ferryman of the Nile and the Hermit, The, v. 288.

First Old Man's Story, i. 27.

Fisherman, Abdullah the Merman and Abdullah the, ix. 165.

Do. of Baghdad, Khalifah the, viii. 145.

Do. , The Foolish, ix. 93.

Do. and the Jinni, The, i. 38.

Do. , Khusrau and Shirin and the, v. 91.

Fishes and the Crab, The, ix. 43.

Five Suitors, The Lady and her, vi. 172.

Flea and the Mouse, The, iii. 151.

Folk, The Fox and the, vi. 211.

Forger, Yahya bin Khalid and the, iv. 181.

Fox and the Crow, The, iii. 150.

Fox and the Folk, The, vi. 211.

Fox, The Wolf and the, iii. 132.

Francolin and the Tortoises, The, ix. 113.

Frank King's Daughter, Ali Nur al-Din and the, viii. 264.

Frank wife, The man of Upper Egypt and his, ix. 19.

Fuller and his son, The, vi. 134.

Generous friend, The poor man and his, iv. 288.

Ghanim bin Ayyub the Thrall o' Love, ii. 45.

Gharib and his brother Ajib, The History of, vi. 257.

Girl, Harun al-Rashid and the Arab, vii. 108.

Girl at School, The Loves of the Boy and, v. 73.

Girls of Bassorah, Al-Asma'i and the three, vii. 1 10.

Girls, Harun al-Rashid and the three, v. 81.

Do. do. , and the two, v. 81.

Goldsmith and the Cashmere Singing-Girl, The, vi. 156.

Goldsmith's wife, The water-carrier and the, v. 89.

Hajjaj (Al-) Hind daughter of Al-Nu'uman and, vii. 96.

Do. and the pious man, v. 269.

Hakim (The Caliph Al-) and the Merchant, v. 86.

Hammad the Badawi, Tale of, ii. 104.

Hariri (Al-) Abu Zayd's lament for his impotency. Final Note to vol. viii.

Harun al-Rashid and the Arab girl, vii. 108.

Do. and the Slave-Girl and the Imam Abu Yusuf, iv. 153.

Do. with the Damsel and Abu Nowas, iv. 261.

Do. and Abu Hasan the Merchant of Oman, ix. 188.

Do. and the three girls, v. 81.

Do. and the two girls, v. 81.

Do. and the three poets, v. 77.

Do. and Zubaydah in the Bath, v. 75.

Hashish-Eater, Bakun's tale of the, ii. 91.

Hasan of Bassorah and the King's daughter of the Jinn, viii. 7.

Hasan, King Mohammed bin Sabaik and the Merchant, vii. 308.

Hatim al-Tayyi: his generosity after death, iv. 94.

Haunted House in Baghdad, The, v. 166.

Hawk, The Crows and the, ix. 53.

Hayat al-Nufus, Ardashir and, vii. 209.

Hedgehog and the wood Pigeons, The, iii. 156.

Hermit, The Ferryman of the Nile and the, v. 288.

Hermits, The, iii. 125.

Hind, Adi bin Zayd:and the Princess, v. 124.

Hind daughter of Al-Nu'uman and Al-Hajjaj, vii. 96.

Hind (King Jali'ad of ) and his Wazir Shimas, ix. 32.

Hisham and the Arab Youth, The Caliph, iv. 101.

Honey, The Drop of, vi. 142.

Horse, The Ebony, v. 1.

House with the Belvedere, The, vi. 188.

Hunchback's Tale, The, i. 255.

Husband and the Parrot, The, i. 52.

Ibn al-Karibi, Masrur and, v. 109.

Ibrahim al-Khawwas and the Christian King's Daughter, v. 283.

Do. bin al-Khasib and Jamilah, ix. 207.

Do. of Mosul and the Devil, vii. 113.

Do. bin al-Mahdi and Al-Amin, v. 152.

Do. bin al-Mahdi and the Barber Surgeon, iv. 103.

Do. Do. and the Merchant's Sister, iv. 278.

Ifrit-s mistress and the King's Son, The, vi. 199.

Ignorant man who set up for a Schoolmaster, The, v. 119.

Ikrimah al-Fayyaz, Khuzaymah bin Bishr and, vii. 99.

Imam Abu Yusuf with Al-Rashid and Zubaydah, The, iv. 153.

Introduction. Story of King Shahryar and his brother, i. 1.

Iram, The City of, iv. 113.

Isaac of Mosul's Story of Khadijah and the Caliph Maamun, iv. 119.

Isaac of Mosul and the Merchant, v. 129.

Isaac of Mosul and his Mistress and the Devil, vii. 113.

Island, The King of the, v. 290.

Iskandar Zu Al-Karnayn and a certain Tribe of poor folk, v. 252.

Israelite, The Devout, iv. 283.

Jackals and the Wolf, The, ix. 103.

Ja'afar the Barmecide and the Bean seller, iv. 159.

Do. Do. and the old Badawi, v. 98.

Ja'afar bin al-Hadi, Mohammed al-Amin, and, v. 93.

Jamilah, Ibrahim bin al-Khasib, and, ix. 207.

Janshah, The Story of, v. 329.

Jali'ad of Hind and his Wazir Shimas, King, ix. 32.

Jeweller's Wife, Kamar al-Zaman and the, ix. 246.

Jewish Kazi and his pious Wife, The, v. 256.

Jewish Doctor's Tale, The, i. 288.

Jinni, The Fisherman and the, i. 38.

Jinni, The Trader and the, i. 24.

Jubayr bin Umayr and Budur, The Loves of, iv. 228.

Judar and his brethren, vi. 213.

Julnar the Sea-born and her son King Badr Basim of Persia, vii. 26

Justice of Providence, The, v. 286.

Kafur, Story of the Eunuch, ii. 51.

Kalandar's Tale, The first, i. 104.

Do. 'The second, i. 113.

Do. The third, i. 130.

Kamar al-Zaman and Budur, iii. 211.

Do. and the Jeweller's Wife, ix. 246.

Kazi, the Jewish, and his pious wife, v. 256.

Khadijah and the Caliph Maamun, Isaac of Mosul's Story of, vi 119.

Khalif the Fisherman of Baghdad (note from Bresl. Edit.), viii. 184.

Khalifah the Fisherman of Baghdad, viii. 145.

Khawwas (Ibrahim al-) and the Christian King's daughter, r. 283.

Khorasan, Abu Hasan al-Ziyadi and the man from, iv. 285.

Do. Abu al-Hasan of, ix. 229.

Khusrau and Shirin and the Fisherman, v. 91.

Khuzaymah bin Bishr and Ikrimah al-Fayyaz, vii. 99.

King Jali-ad, Shimas his Wazir and his son Wird Khan, ix. 32.

King of the Island, The, v. 290.

Do. and the Pilgrim Prince, The Unjust, ix. 50.

Do. and the virtuous wife, The, v. 121.

Do. and his Wazir's wife, The, vi. 129.

King's Daughter and the Ape, The, iv. 297.

Do. son and the Ifrit's Mistress, The, vi. 199.

Do. Do. and the Merchant's Wife, The, vi. 167.

Do. Do. and the Ghulah, The, vi. 139.

Kings, The Two, ix. 65.

Kisra Anushirwan and the Village Damsel, v. 87.

Kurd Sharper, Ali the Persian and the, iv. 149.

Kurrat al-Ayn and Abu Isa, v. 145.

Kus Police and the Sharper, Chief of the, iv. 276.

Labtayt, The City of, iv. 99.

Lady of Baghdad, The Sweep and the noble, iv. 125.

Lady's Story, The Eldest, i. 162.

Lady and her five suitors, The, vi. 172.

Do. and her two Lovers, The, vi. 138.

Ladies of Baghdad, The Porter and the Three, i. 82.

Laughed again, The man who never, vi. 160.

Lazybones, Abu,Mohammed called, iv. 162.

Leper, Abu al-Hasan al-Durraj and Abu Ja'afar the, v 294.

Lover, The mad, v. 138.

Lover who feigned himself a thief (to save his mistress' honour), The, iv. 155.

Lover's trick against the chaste Wife, The, vi. 135.

Lovers of Bassorah, The, vii. 130.

Do. .of the Banu 'Tayy, The, v. 137.

Do. of the Banu Ozrah, 'I he, v. 70.

Do. The Lady and her two, vi. 138.

Do. of Al-Medinah, The, vii. 139.

Do. The Three unfortunate, v. 133.

Loves of the boy and Girl at School, The, v 73.

Loves of Abu Isa and Kurrat al-Ayn, The, v. 145.

Maamun, Isaac of Mosul's Story of Khadijah and the Caliph, iv. 119.

Do. (Al-) and the Pyramids of Egypt, v. 105.

Do. and the strange Scholar, The Caliph, iv. 185.

Ma'an bin Zaidah and the Badawi, iv. 97.

Ma'an the son of Zaidah and the Three Girls, iv. 96.

Mad Lover, The, vii. 139.

Magic Horse, The, v. 1.

Mahbubah, Al-Mutawakkil and his favourite, iv. 291.

Malik al-Nasir (Al-) and the three Masters of Police, iv. 271.

Do. and his Wazir, vii. 142.

Man and his Wife, The, ix. 98.

Man who never laughed during the rest of his days, The, vi. 160.

Man (The Woman who had to lover a ) and the other who had to lover a boy, v. 165.

Man of Upper Egypt and his Frankish Wife, ix. 19.

Man of Al-Yaman and his six Slave-girls, iv. 245.

Man who stole the dog's dish of gold, iv. 268.

Man who saw the Night of Power (Three Wishes), vi. 180.

Man's dispute with the learned Woman about boys and girls, v. 154.

Ma'aruf the Cobbler and his wife Fatimah, x. 1.

Mansur, Yahya bin Khalid and, iv. 179.

Masrur and Ibn al-Karibi, v. 109.

Masrur and Zayn al-Mawasif, viii. 205.

Medinah (Al-), The Lovers of, vii. 139.

Merchant of Oman, The, ix. 188.

Do. and the Robbers, The, ix. 100.

Do. and the two Sharpers, The, iii. 158.

Merchant's Sister, Ibrahim bin al-Mandi and the, iv. 278.

Do. Wife, The Kin's son and the, vi. 167.

Do. Wife and the Parrot, The, i. 52.

Mercury Ali of Cairo, The Adventures of, vii. 172.

Merman, and Abdullah the Fisherman, Abdullah the, ix. 165.

Miller and his wife, The, v. 82.

Miriam, Ali Nur al-Din and, viii. 264.

Miser and Loaves of Bread, The, vi. 137.

Mock Caliph, The, iv. 130.

Mohammed al-Amin and Ja'afar bin al-Hadi, v. 93.

Mohammed bin Sabaik and the Merchant Hasan, King, vii. 308.

Money changer, The Thief and the, iv. 275.

Monkey, The Thief and his, iii. 159.

Moslem Champion and the Christian Lady, The, v. 277.

Mouse, The, and the Cat, ix. 35.

Mouse and the Flea, The, iii. 151.

Mouse and the Ichneumon, The, iii. 147.

Muunis, Ali bin Tahir and the girl, v. 164.

Musab bin al-Zubayr and Ayishah his wife, v. 79.

Muslim bin al-Walid and Dibil al-Khuzai, v. 127.

Mutawakkil (Al-) and Al-Fath bin Khakan, v. 153.

Do. and his favourite Mahbubah, iv. 291.

Mutalammis (Al-) and his wife Umaymah, v. 74.

Naomi, Ni'amah bin al-Rabi'a and his Slave-girl, iv. 1.

Nazarene Broker's Story, The, i. 262.

Necklace, The Stolen, vi. 182.

Niggard and the Loaves of Bread, The, vi. 137.

Night of Power, The man who saw the, vi. 180.

Nile (The Ferryman of the ) and the Hermit, v. 288.

Ni'amah bin al-Rabi'a and Naomi his Slave-girl, iv. 1.

Nur al-Din Ali and the damsel Anis al-Jalis, ii. 1.

Nur al-Din of Cairo and his son Badr al-Din Hasan, i. 195.

Ogress, The King's Son and the, vi. 139.

Old Man's Story, The First, 1. 27.

Do. Do. The Second, i. 32.

Do. Do. The Third, i. 36.

Old Woman, Abu Suwayd and the handsome, v. 163.

Omar bin al-Nu'uman and his sons Sharrkan and Zau al-Makan, The Tale of King, ii. 77.

Omar bin al-Khattab and the young Badawi, v. 99.

Oman, The Merchant of, ix. 188.

Otbah and Rayya, vii. 91.

Page who feigned to know the speech of birds, The, vi. 169.

Paradise, The Apples of, v. 141.

Parrot, The Merchant's wife and the, i. 52.

Partridge, The Hawk and the, iii. 138.

Peacock, The Sparrow and the, iii. 161.

Persian and the Kurd Sharper, Ali the, iv. 149.

Physician Duban, The, i. 45.

Physician's Story, The Jewish, i. 288.

Pilgrim and the old woman who dwelt in the desert, The, v. 186.

Pilgrim Prince, The Unjust King and the, ix. 50.

Pious black slave, The, v. 261.

Pigeons, The Hedgehog and the, iii. 156.

Pigeons, The Two, vi. 183.

Platter-maker and his wife, The devout, v. 264.

Poets, Harun al-Rashid and the three, v. 77.

Police of Bulak, Story of the Chief of the, iv. 273.

Do. of Kus and the Sharper, the Chief of the, iv. 276.

Do. of New Cairo, Story of the Chief of the, iv. 271.

Do. of Old Cairo, Story of the Chief of the, iv. 274.

Do. (The Three Masters of ), Al-Malik, al-Nasir and, iv. 271.

Poor man and his friend in need, The, iv. 288.

Porter and the Three Ladies of Baghdad, The, i. 82.

Portress, The Tale of the, i. 173.

Prince Behram and the Princess al-Datma, vi. 184.

Do. the Ensorcelled, i. 69.

Do. and the Ghulah, The, i. 54.

Prince, The Devout, v. 111.

Do. (the Pilgrim), The Unjust King and, ix. 50

Prior who became a Moslem, The, v. 141.

Providence, The justice of, v. 286.

Purse, The Stolen, vi. 209.

Pyramids of Egypt, Al-Maamun and the, v. 105.

Queen of the Serpents, The, v. 298.

Rake's trick against the chaste Wife, The, vi. 135

Rayya, Otbah and, vii. 91.

Reeve's Tale, The, i. 278.

Rogueries of Dalilah the Crafty and her daughter Zaynab the Coney-catcher, the vii. 144.

Rose-in-Hood, Uns al-Wujud and the Wazir's Daughter, v. 12

Ruined Man of Baghdad and his Slave-girl, The, ix. 24.

Do. who became rich again through a dream, The, iv. 189

Rukh, Abd al-Rahman the Moor's Story of the, v. 122.

Sa'id bin Salim and the Barmecides, v. 94.

Saint to whom Allah gave a cloud to serve him, The, v. 274

Saker and the Birds, The, iii. 154.

Sandalwood Merchant and the Sharpers, The, vi. 202

Sayf al-Muluk and Badi'a al-Jamal, vii. 314.

School, The Loves of the Boy and the Girl at, v. 73.

Schoolmaster who fell in love by report, The, v. 117.

Do. The Foolish, v. 118.

Do. The ignorant man who set up for a, v. 119.

Serpent, The Crow and the, ix. 46.

Serpent-charmer and his Wife, ix. 56.

Serpents, The Queen of the, v. 298.

Sexes, Relative excellence of the, v. 154.

Shahryar and his brother, King (Introduction), i. 1.

Shahryar (King) and his brother, i. 2.

Shams al-Nahar, Ali bin Bakkar and, iii. 162.

Sharper of Alexandria and the Chief of Police, The, iv. 269.

Sharper, Ali the Persian and the Kurd, iv. 149.

Do. The Chief of the Kus Police and the, iv. 276.

Do. The Simpleton and the, v. 83.

Sharpers, The Merchant and the Two, iii. 158.

Do. The Sandalwood Merchant and the, vi. 202.

Sharrkan and Zau al-Makan, The History of King Omar bin Al Nu'uman and his sons, ii. 227.

Shaykh's Story (The First), i. 27.

Do. (The Second), i. 32.

Do. (The Third), i. 36.

Shepherd and the Thief, The, ix. 106.

Shimas, King Jali'ad of Hind and his Wazir, ix. 32.

Shipwrecked Woman and her child, The, v. 259.

Shirin and the Fisherman, Khusrau and, v. 91.

Simpleton and the Sharper, The, v. 83.

Sindbad and his Falcon, King, i. 50.

Sindbad the Seaman and Sindbad the Porter, vi. 1.

Do. First Voyage of, vi. 4.

Do. Second Voyage of, vi. 14.

Do. Third Voyage of, vi. 22.

Do. Fourth Voyage of, vi. 34.

Sindbad the Seaman, Fifth Voyage of, vi. 48. Do. .Sixth Voyage of, vi. 58.

Do. Seventh Voyage of, vi. 68.

Do. (note from Cal. Edit.) vi. 78.

Singing-girl, The Goldsmith and the Cashmere, vi. 156.

Six Slave-girls, The Man of Al-Yaman and his, iv. 245.

Slave, The pious black, v. 261.

Slave-girl, The ruined man of Baghdad and his, ix. 24.

Slave-girls, The Man of Al-Yaman and his six, iv. 245.

Sparrow and the Eagle, The, iii. 155.

Do. and the Peacock, The, iii. 161.

Spider and the Wind, The, ix. 59.

Spring, The Enchanted, vi. 145.

Squinting slave-girl, Abu al-Aswad and his, v. 80.

Stolen Necklace, The, vi. 182.

Do. Purse, The, vi. 209.

Suitors, The Lady and her five, vi. 172.

Sweep and Noble Lady of Baghdad, The, iv. 125.

Tailor's Tale, The, i. 300.

Taj al-Muluk and the Princess Dunya, The Tale of, ii. 263.

Tawaddud, Abu al-Hasan and his slave-girl, v. 189.

Thief, The Lover who feigned himself a, iv. 155.

Do. and the Shroff, The, iv. 275.

Do. and his Monkey, The, iii. 159.

Do. The Shepherd and the, ix. 106.

Do. turned Merchant and the other Thief, The, v. 107.

Thieves, The Boy and the, ix. 95.

Do. The Merchant and the, ix. 100.

Do. The Two, v. 107.

Three year old-child, The Debauchee and the, vi. 208.

Three Apples, The, i. 186.

Three unfortunate Lovers, v. 133.

Three Wishes, or the Man who longed to see the Night of Power, The, vi. 180.

Tortoise, The Waterfowl and the, iii. 129.

Tortoises, The Heathcock and the, ix. 113.

Trader (The) and the Jinni, i. 24.

Trick (The Lover's ) against the chaste wife, vi. 135.

Do. (The Wife's ) against her husband, vi. 152.

Two Kings, The, ix. 56.

Two Pigeons, The, vi. 183.

Umaymah, Al-Mutalammis and his wife, v. 74.

Unfortunate Lovers, The Three, v. 133.

Unjust King and the Pilgrim Prince, The, ix. 50.

Uns al-Wujud and the Wazir's Daughter Rose in Hood, v. 32.

Upper Egypt (The man of) and his Frank wife, ix. 19.

Walid bin Said, Yunus the Scribe and the Caliph, vii. 104.

Wardan, the Butcher, Adventure with the Lady and the Bear, iv. 293.

Water carrier and the Goldsmith's Wife, The, v. 89.

Waterfowl and the Tortoise, The, iii. 129.

Wazir and the Sage Duban, The, i. 45.

Wazir, Al-Malik al-Nasir and his, vii. 142.

Do. of al-Yaman and his young brother, The, v. 71.

Wazir's Son and the Hammam Keeper's Wife, The, vi. 152.

Do. Wife, The King and his, vi. 129.

Weasel, The Mouse and the, iii. 147.

Weaver, The Foolish, iii. 159.

Wife, The Badawi and his, vii. 124.

Do. (the Chaste) The Lover's Trick against, vi. 135.

Do. The King and his Wazir's, vi. 129.

Do. The Man and his Wilful, ix. 98.

Do. (The Merchant's) and the Parrot, i. 52.

Do. (The Virtuous) and the King, v. 121.

Wife's device to cheat her husband, The, vi. 152.

Do. trick against her husband, The, v. 96.

Wild Ass, The Jackal and the, ix. 48.

Wilful Wife, The Man and his, ix. 98.

Wind, The Spider and the, ix. 59.

Wird Khan (King) and his Women and Wazirs, ix. 90.

Wolf and the Fox, The, iii. 132.

Wolf, The Foxes and the, ix. 103.

Won an (The shipwrecked) and her child, v. 259.

Woman's trick against her husband, v. 96.

Woman who made her husband sift dust, The, iv. 281.

Woman whose hands were cut off for Almsgiving, The, iv. 281.

Women, The Malice of, vi. 122.

Do. The Two, v. 165.

Yahya bin Khalid and the Forger, iv. 181.

Do. and Mansur, iv. 179.

Do. and the Poor Man v. 92.

Yaman (The Man of Al-) and his six slave-girls, iv. 245.

Do. (The Wazir of Al-) and his young brother, v. 71.

Yunus the Scribe and the Caliph Walid bin Sahl, vii. 104.

Zau al-Makan, The History of King Omar bin al Nu'uman and his sons Sharrkan and, ii. 77.

Zayn al-Mawasif, Masrur and, viii. 205.

Zaynab the Coney-catcher, The Rogueries of Dalilah the Wily, and her Daughter, vii.144.

Zubaydah in the Bath, Harun al-Rashid and, v. 75.

Zumurrud, Ali Shar and iv, 187

INDEX II

ALPHABETICAL TABLE OF NOTES

ANTHROPOLOGICAL ETC:

The original prepared by Dr. F. Steingass, Ph.D. is replaced by a version prepared by datamatic amalgamation of the actual volume indexes corrected as need arose.

Terms are followed by volume number, in roman numerals, and then by reference page number(s) preceeded by » character. Page numbers omitted.

INDEX III A

ALPHABETICAL TABLE OF FIRST LINES

(METRICAL PORTION) IN ENGLISH

Prepared by Dr Steingass (Original page numbering resumed.)

A BELOVED familiar over reigns my heart, viii. 70.

A boy of twice ten is fit for a king! Iii. 303.

A breeze of love on my soul did blow, viii. 222.

A damsel 'twas the tirer's art had decked with snares and sleight, i. 219- x. 59.

A dancer whose figure is like a willow- branch, ix. 222.

A dancer whose form is like branch of Bán! Ix. 221.

A dog, dog-fathered, by dog-grandsire bred, viii. 15.

A fan whose breath is fraught with fragrant scent, viii. 273.

A fair one, to idolaters if she her face should show, ix. 197.

A friend in need is he who, ever true, iii. 149.

A guest has stolen on my head and honour may he lack, viii. 295.

A hag to whom th' unlawful lawfullest i. 174.

A heart bore you off in chase of the fair, ix. 282.

A heart, by Ailah! Never soft to lover- people, vii. 222.

A Houri, by whose charms my heart is moved to sore distress, vii. 105.

A house where flowers from stones of granite grow, iii. 19.

A Jinniyah this, with her Jinn, to show, v. 149.

A King who when hosts of the foe invade, ii. 1.

A lutanist to us inclined, viii. 283.

A maiden 'twas, the dresser's art had decked with cunning sleight, viii. 32.

A merchant I spied whose lovers, viii. 264.

A messenger from you came bringing union-hope, iii. 188.

A moon she rises, willow-wand she waves iii. 237; viii. 303.

A moon, when he bends him those eyes lay bare, viii. 284.

A moon which blights you if you dare behold, ii. 4.

A night whose stars refused to run their course, iii. 299.

A palace on which be blessings and praise, iv. 134.

A place secure from every thought of fear, i. 114.

A sage, I feel a fool before your charms, iii. 272.

A slave of slaves there stands at your door, i. 89.

A sun on wand in knoll of sand she showed, i. 217; x. 58.

A thin-waist maid who shames the willow-wand, ii. 285.

A term decreed my lot I 'spy, viii. 83.

A trifle this an his eyes be sore, v. 127.

A tree whilere was I the Bulbul's home viii. 281.

A wand uprising from a sandy knoll, ix. 250.

A warrior showing such open hand, iv. 97.

A wasted body, heart empierced to core, ii. 314.

A youth slim waisted from whose locks and brow, i. 68.

A zephyr blows from the lover's site, viii. 90.

Above the rose of cheek is thorn of lance, iii. 331.

Act on sure grounds, nor hurry fast, iv. 189.

Add other wit to your wit, counsel craving, iv. 189.

Affright me funerals at every time, v. 111.

After your faring never chanced I 'spy, viii. 142.

Ah, fare you not; for I've no force your faring to endure, viii. 63.

Ah! for lowe of love and longing suffer you as suffer we? viii. 68.

Ah Khalid! This one is a slave of love distraught, iv. 158.

Ah, often have I sought the fair! How often gladly and glad, vii. 138.

Alack and alas! Patience takes flight, viii. 263.

Alas, alack and wellaway for blamer's calumny! Viii. 285.

Albe by me I had through day and night, iii. 267.

Albe to lover adverse be his love, iii. 266.

Albeit my vitals quiver,neath this ban, iii. 62.

Alexandria's a frontier, viii. 289.

All crafts are like necklaces strung on 3 string, i. 308.

All drinks in which is blood the Law unclean Does hold, i. 89.

All sons of woman albe long preserved, iv. 63.

"Allah assain those eyne! What streams of blood they shed!" Ii. 100.

Allah be good to him that gives glad tidings of your steps, i. 239.

Allah holds Kingship! Whoever seeks with out Him victory, iii. 86.

Allah, my patience fails: I have no word, iii. 344.

Allah save the rose which yellows amorn, viii. 276.

Allah, where'er you be, His aid impart, ii. 148.

A!Lah's peace on you, House of Vacancy! Viii. 237.

Although the Merciful be doubtless with me, ix. 278.

Al-Yaman's leven-gleam I see, ii. 179.

An but the house could know who comes 'twould rejoice, i. 176.

An, by your life, pass you my funeral train, v. 70.

An fail I of my thanks to you, i. 56.

An Fate afflict you, with grief manifest, viii. 146.

An Fate some person 'stablish over your head, iii. 89.

An faulty of one fault the beauty prove, ii. 96.

If I be healed of disease in frame, viii. 70.

If I quit Cairo and her pleasaunces, i. 290.

If we behold a lover love foredone, v. 73.

An my palm be full of wealth and my wealth I never bestow, ii. 11.

An say 1:--Patient I can bear his faring, iii. 187.

An tears of blood for me, friend, you have shed, i. 89.

An there be one who shares with me her love, i. 180.

If you but deign consent, A wish to heart affied, iv. 247.

If you of pious works a store neglect, ii. 202.

If you would know my name, whose day is done, vi. 94.

An through the whole of life, iv. 190.

An Time my lover restore me 1,11 blame him glad, ix. 192.

An were it asked me when by hell-fire burnt, iii. 279.

An what you claim were the real truth, v. 151.

An would be life-long safe, vaunt not delight, viii. 94.

And Almond apricot suggesting swain, viii. 268.

And dweller in the tomb whose food is at his head, v. 238.

And eater lacking mouth and even maw, v. 240.

And fairest Fawn, we said to him Portray, viii. 272.

And perhaps whenas strait descends on lot of generous youth, iii. 131.

And in brunettes is mystery, could you but read it right, iv. 258.

And in my liver higher flames the fire, vii. 366.

And loveling wears on his cheek a mole, v. 65.

And pity one who erst in honour throve, ii. 149.

And shaddock mid the garden paths, OD bough, viii. 272.

And Solomon, when Allah to him said, vi. 86.

And the lips of girls, that are perfume sweet, v. 79.

And the old man crept over the worldly ways, iv. 41.

And trees of orange fruiting ferly fair, viii. 271.

And wand-like Houri who can passion heal, v. 149.

And 'ware her scorpions when pressing them, viii. 209.

And when birdies over-warble its lakelet, it gars, ix. 6.

And, when she announces the will to sing, viii. 166.

Albeit this your case lack all resource, v. 69.

Allah watered a land, and upsprang a tree, v. 244.

Answer, By God! Sepulchre, are all his beauties gone? i. 239.

Appeared not my excuse till hair had clothed his cheek, iii. 57.

Apple which joins hues twain and brings to mind, viii. 268.

Apple whose hue combines in union mellow, i. 158.

As a crescent-moon in the garth her form, vii. 207.

As for me, of him I feel nothing affright, vi. 98.

As long as palms shall shift the flower, v. 136.

As love waxt longer less met we tway, v. 78.

As one of you who mounted mule, viii. 297.

As she willed she was made, and in such a way that when, iv. 191.

As the Sage watched the stars, the semblance clear, i. 206.

As though ptisane of wine on her lips honey dew, iii. 57.

Ask (if needs you ask) the compassionate, ix. 29.

Ask of my writ, what wrote my pen in dole, iii. 274.

Ass and Umm Amr' went their way, v. 118.

Bare hills and camp-ground desolate, v. 130.

Baulks me my Fate as tho' she were my foe, viii 130.

Be as you will, for Allah is bountiful, viii. 277.

Be as you will, for Allah still is bounteous Lord, ii. 202.

Be mild to brother mingling, iv. 110.

Be mild what time you'rt ta'en with anger and despite, iv. 221.

Be mild when rage shall come to afflict your soul, iv. 54.

Be praises mine to all-praiseworthy You, ii. 261.

Be proud; I'll crouch! Bully; I'll bear! Despise; I'll pray! Iii. 188.

Be sure all are villains and so bide safe, iii. 142.

Bear our salams, O Dove, from this our stead, viii. 236.

Bears for love a burden sore this soul of me, viii. 66.

Beauty they brought with him to make compare, i. 144.

Beguiled as Fortune who her guile displays, iv. 22.

Behind the veil a damsel sits with gracious beauty dressed, viii. 210.

Behold a house that's like the Dwelling of Delight, viii. 183.

Behold this lovely garden! 'tis as though,. 240.

perhaps my Fortune may her bridle turn, i. 152.

perhaps Who Yúsuf to his kin restored, iv. 103.

Beloved, why this strangeness, why this hate? iv. 234.

Bethink you not of worldly state, iii. 328.

Bid you your phantom distance keep, vii. 108.

Better you 'bide and I take my leave, i. 154.

Beware her glance I counsel you 'tis like wizard people, ii. 295.

Beware of losing hearts of men by yours injurious deed, x. 50.

Beware that eye-glance which has magic might, iii. 252.

Black girls in acts are white, and 'tis as though, iv. 251.

Black girls not white are they, iv. 251.

Blame not! I said to all who blamed me, viii. 95.

Blest be his beauty; blest the Lord's decree, i. 177.

Blighted by her yet am I not to blame, viii. 255.

Blows from my lover's land a zephyr coolly sweet, ii. 311.

Boon fortune sought him in humblest way, viii. 301.

Boy-like of back side, in the deed of kind, v. 157.

Breeze of East who bring me gentle air, vii. 122.

Brighter than moon at full with kohl'd eyes she came, viii. 279.

Bring gold and gear an a lover you, viii. 214.

By God, by th' Almighty, by his right, vii. 366.

By God, could you but feel my pain, v. 77.

By God, glance of mine, you have opprest, vii. 140.

By God, heal, O my lords, the unwhole, viii. 144.

By God, O you house, if my beloved amorn go by, v. 38.

By God, O tomb, have her beauties ceased, viii. 168.

By God, set your foot upon my soul, i. 222.

By God, this is th' only alchemy, x. 40.

By God! While the days endure never shall forget her I, iv. 146.

By God wine shall not disturb me, while this soul of mine, iv. 190.

By craft and sleight I snared him when he came, ii. 44.

By his cheeks' unfading damask and his smiling teeth I swear, viii. 282.

By his eyelash' tendril curled, by his slender waist I swear, iii. 217.

By his eyelids shedding perfume and his fine slim waist I swear, i. 168.

By His life who holds my guiding rein, I swear, iv. 2.

By Love's right! Nothing of farness your slave can estrange, viii. 76.

By means of toil man shall scale the height, vi. 5.

By rights of you, this heart of mine could never aby, viii. 110.

By stress of parting, O beloved one, iii. 166.

By th' Abyssinian Pond, O day divine! I. 291.

By the Compassionate, I'm dazed about my case, for lo! vii. 337.

By the Five Shayks, O Lord, I pray deliver me, iii. 30.

By the life o, your face, 0 you life o' my sprite! Viii. 284.

By what yours eyelids show of kohl and coquetry! Ii. 296.

Came a merchant to pay us a visit, viii. 265.

Came Rayyá's phantom to grieve your sight, vii. 91.

Came the writ whose contents a new joy revealed, viii. 222.

Came to match him in beauty and loveliness rare, viii. 298.

Came to me care when came the love of you, vii. 366.

Came your writ to me in the dead of the night, ix. 2.

Captured me six all bright with youthful blee, iv. 260.

Carry the trust of him whom death awaits, v. 114.

Cease then to blame me, for your blame does anger bring, x. 39.

Cease you this farness; 'bate this pride of you, iv. 136.

Chide not the mourner for bemourning woe, iii. 291.

Choice rose that gladdens heart to see her sight, viii. 275.

Clear's the wine, the cup's fine, i. 349.

Cleave fast to her you love and let the envious rail amain, iv. 198.

Close prest appear to him who views th' inside, viii. 267.

Clove through the shades and came to me in night so dark and sore, vii. 138.

Come back and so will I, i. 63.

Come with us, friend, and enter you, viii. 267.

Confide your case to Him, the Lord who made mankind, i. 68.

Consider but your Lord, His work shall bring, viii. 20.

Consider you, O man, what these places to you showed, vi. 112.

Console your lover, fear no consequence, v. 74.

Consort not with the Cyclops even a day, iv. 194.

Contains time a twain of days, i. 25.

Converse with men has scanty weal except, iv. 188.

Count not that I your promises forgot, iii. 238.

Cut short this strangeness, leave unruth of you, v. 245.

Culvers of Liwa! To your nexts return, vii. 115.

Dark falls the night: my tears unaided rail, iii. 11.

Dark falls the night and passion comes sore pains to gar me dree, ii. 140.

Daughter of nobles, who yours aim will gain, v. 54.

Dawn heralds daylight: so wine pass round viii. 276.

Dear friend! Ah leave your loud reproach and blame, iii. 110.

Dear friend, ask not what burns in my breast, i. 265.

Dear friend, my tears aye flow these cheeks adown, iii. 14.

Deep in my eyeballs ever dwells the phantom form of you, viii. 61.

Deign grant your favours; since 'tis time I were engraced, v. 148.

Describe me! A fair one said, viii. 265.

Did Azzah deal behest to sun o' noon, ii. 102.

Did not in love-plight joys and sorrows meet, iii. 182.

Dip you with spoons in saucers four and gladden heart and eye, viii. 223.

Displaying that fair face, iv. 195.

Divinely were inspired his words who brought me news of you, iv. 207.

Do you threaten me wi' death for my loving you so well? vii. 221.

Drain not the bowl, save from dear hand like yours, i. 88.

Drain not the bowl but with lovely wisht, viii. 209.

Drain not the bowl save with a trusty friend, i. 88.

Drawn in your shoulders are and spine thrust out, viii. 297.

Drink not pure wine except from hand of slender youth, ix. 198.

Drink not strong wine save at the slender dearling's hand, v. 66.

Drink not upon your food in haste but wait awhile, v. 222.

Drink the clear draught, drink free and glad, i. 88.

Drive off the ghost that ever shows, vii. 109.

Dumb is my tongue and scant my speech for you, viii. 258.

EACH portion of her charms we see, vii. 131.

Each thing of things has his appointed tide, v. 294.

Easy, O Fate! How long this wrong, this injury, iii. 329.

Eight glories meet, all, all conjoined in you, iii. 271.

Enough for lovers in this world their ban and bane, iv. 205.

Enough of tears has shed the lover- people, iii. 206.

Enrobes with honour sands of camp her foot-step wandering lone, iv. 204.

Escape with your life if oppression happen you, i. 209.

Even not beardless one with girl, nor heed, iii. 303.

Ever your pomp and pride, O House! Display, viii. 207.

Face that with Sol in Heaven lamping vies, iii. 167.

glad had I hid your handwork, but it showed, iii. 280.

glad leaving life that fleets you have th' eternal won ii. 281.

Fair youth shall die by stumbling of the tongue, iii. 221.

Familiar with my heart are woes and with them 1, vii. 340.

Far is the fane and patience fails me, v. 41.

Fare safely, Masrur! An her sanctuary, viii. 237.

Farewell your love, for see, the Cafilah-s on the move, iv. 254.

Farewelling you indeed is like to bidding life farewell, viii. 62.

Fate the wolf's soul snatched up from wordly stead, iii. 146.

Fate frights us when the thins is past and gone, iii. 318.

Fate has commanded I become your fere, iii. 312.

Fie on this wretched world an so it be, i. 40.

Fight for my mother (If I live) I'll take, ii. 239.

Fire is cooler than fires in my breast, iv. 245.

Fly, fly with life whenas evils threat, vi. 62.

Fly fly with your life if by ill overtaken, ii. 19.

Folk have made moan of passion before. me, of past years, viii. 65.

For cup friends cup succeeding cup assign, v. 66.

For eaters a table they brought and set viii. 208.

For her sins is a pleader that brow, ii. 97.

For joys that are no more I want to weep, iii. 185.

For Layla's favour do you greed? iii. 135.

For loss of lover my and stress of love I dree, viii. 75.

For not a deed the hand can try v. 188.

For others these hardships and labours I bear, i. 17.

For your love my patience fails, i. 74.

Forbear, O troubles of the world, i. 39.

Forgive me, you-ward sinned I, but the wise, ii. 9.

Forgive the sin 'neath which my limbs are trembling, iii. 249.

Fortune had mercy on the soul of me, iii. 135.

Fortune had ruth upon my plight, viii. 50.

Four things that meet not, save they here unite, i. 116.

Four things that never conjoin, unless it be, iii. 237.

Freest am I of all mankind fro' meddling people, ii. 200.

Fro' them inhale I scent of Attar of Ban viii. 242.

From her hair is night, from her forehead noon, viii. 303.

From Love-stupor awake, O Masrur, 'twere best, viii. 214.

From that liberal hand on his foes he rains, iv. 97.

From the plain of his face springs a minaret, viii. 296.

From wine I turn and whoever wine-cups swill, i. 208.

Full many a reverend Shaykh feels sting of flesh, v. 64.

Full many laugh at tears they see me shed, iii. 193.

Full moon if unfreckled would favour you, iv. 19.

Full moon with sun in single mansion, i. 264.

Gainsay women; he obeys Allah best who says them nay, ix. 282.

Garb of Fakir, renouncement, lowliness v. 297.

Garth Heaven-watered in which clusters waved, viii. 266.

Get you provisions in this world before you go upon your way, ii. 139.

Give back my eyes their sleep long ravished, i. 99.

Give me brunettes, so limber, lissom lithe of sway, iv. 258.

Give me brunettes; the Syrian spears so limber and so straight, viii. 158.

Give me the Fig sweet-flavoured, beauty clad, viii. 269.

Give you my message twice, iii. 166.

Gladsome and gay forget yours every grief, i. 57.

Glory to Him who guides the skies, vii. 78.

Gnostic's heart-homed in the heavenly Garth, v. 264.

Go, gossip! Re wed you, for Prime draws near, v. 135.

Go, visit her you love, and regard not iii. 235; viii. 305.

God make your glory last in joy of life, viii. 99.

Gone is my strength, told is my tale of days, iii. 55.

Goodly of gifts is she, and charm those perfect eyes, iii. 57.

Granados of finest skin, like the breasts viii. 267.

Grant me the kiss of that left hand ten times, iv. 129.

Grape bunches like as they sway, viii. 266.

Grapes tasting with the taste of wine viii. 266.

Grief, cark and care in my heart reside, iv. 19.

Grow your weal and your welfare day by day, i. 204.

Had I known of love in what fashion he, vii. 330.

Had I wept before she did in my passion for Su'ada, vii. 275.

Had she shown her shape to idolator's sight, viii. 279.

Had we known of your coming we glad had dispread, i. 117.

Had we wist of your coming, your way had been strown, i. 271.

perhaps and happily may Fortune bend her rein, viii. 67.

perhaps shall Allah deign us twain unite, viii. 141.

perhaps shall Fortune draw her rein, iii. 251.

Happy is Eloquence when you are named, i. 47.

Have quit the love of Moons or do persist? iv. 240.

Have seen a Citron-copse so weighed a- down, viii. 272.

Haste to do kindness you do intend, iv. 181.

Haste to do kindness while you have the power, iii. 136.

Have the doves that moan in the lotus- tree, vii. 91.

He blames me for casting on him my sight, viii. 283.

He came and cried they, Now be Allah blest! Iii. 215.

He came in sable hued sacque, iv. 263.

He came to see me, hiding 'neath the shirt of night, iv. 252.

He comes; and fawn and branch and moon delight these eyne, iv. 142.

He comes robed and bending gracefully, ii. 287.

He heads his arrows with piles of gold, iv. 97.

He is Caliph of Beauty in Yusuf's lieu, ii. 292.

He is gone who when to this gate you go'st, ii. 14.

He is to you that daily bread you can nor loose nor bind, i. 39.

He'll offer sweetmeats with his edged tongue, iii. 115.

He made me drain his wine of honeyed lips, v. 72.

He missed not who dubbed you, "World's delight," v. 33.

He pluckt fruits of her necklace in rivalry, ii. 103.

He prays and he fasts for an end he does espy, ii. 264.

He seized my heart and freed my tears to flow, viii. 259.

He showed in garb anemone-red, iv. 263.

He you trustedst most is your worst unfriend, iii. 143.

He whom the randy motts entrap, iii. 216.

Hearkening, obeying, with my dying mouth, ii. 321.

Heavy and swollen like an urine-bladder blown, iv. 236.

Her fair shape ravishes, if face to face she did appear, v. 192.

Her fore-arms, dressed with their bangles, show, v. 89.

Her golden yellow is the sheeny sun's, iv. 257.

Her lip-dews rival honey-sweets, that sweet virginity, viii. 33.

Her smiles twin rows of pearls display, i. 86.

Here! Here! By God, here! Cups of the sweet, the dear! I. 89.

Here the heart reads a chapter of devotion pure, iii. 18.

Hind is an Arab filly purest bred, vii. 97.

His cheek-down writes (O fair fall the goodly scribe!) ii. 301.

His cheek down writes on his cheek with ambergris on pearl, ii. 301.

His eyelids sore and bleared, viii. 297.

His face as the face of the young moon shines, i. 177.

His honeydew of lips is wine; his breath, iv. 195.

His looks have made me drunken, not his wine, iii. 166.

His lovers said, Unless he deign to give u9 all a drink, viii. 285.

His lovers' souls have drawn upon his cheek, iii. 58.

His mole upon plain of cheek is like, viii. 265.

His scent was musk and his cheek was rose, i. 203.

Ho, lovers all! By God say me fair and truth, ii. 309.

Ho, lovers all! By God say me truth, ii. 320.

Ho say to men of wisdom, wit and lere, v. 239.

Ho you, Abrizah, mercy! Leave me not for 1, ii. 127.

Ho, those heedless of Time and his sore despight! Vii. 221.

Ho you hound who art rotten with foulness in grain, iii. 108.

Ho you lion who brought yourself to woe, vii. 123.

Ho you my letter! When my friend shall see you, iv. 57.

Ho you o' the tabret, my heart takes flight, viii. 166.

Ho you the House! Grief never home in you, viii. 206.

Ho you, the house, whose birds were singing gay, v. 57.

Ho you who grovellest low before the great, ii. 235.

Ho you, who past and bygone risks re gardest with uncare! Iii. 28.

Ho you whose heart is melted down by force of Amor's fire, v. 132.

Ho you my eyes let prodigal tears go free, iv. 248.

Ho you my friends draw near, for I directly, viii. 258.

Hola, you mansion! Woe never enter you, iv. 140.

Hold fast your secret and to none unfold, i. 87.

Hold to nobles, sons of nobles, ii. 2.

Honour and glory wait on you each morn, iv. 60.

Hope not of our favours to make your prey, viii. 208.

Houris and high-born Dames who feel no fear of men, v. 148.

How bitter to friends is a parting, iv. 222.

How comes it that I fulfilled my vow the while that vow brake you? iv. 241.

How dear is our day and how lucky our lot, i. 293.

How fair is ruth the strong man deigns not smother, i. 103.

How good is Almond green I view, viii. 270.

How is this? Why should the blamer abuse you in his pride, iii. 232.

How joyously sweet are the nights that unite, v. 61.

How long, rare beauty! Will do wrong to me, ii. 63.

How long shall I your coyness and your great aversion see, iv. 242.

How long shall last, how long this rigour rife of woe, i. 101.

How long this harshness, this unlove shall bide? i. 78.

How manifold nights have I passed with my wife, x. 1.

How many a blooming bough in glee- girl's hand is glad, viii. 166.

How many a joy By God's will has fled, i. 150.

How many a lover with his eyebrows speaks, i. 122.

How many a night have I spent in woes, ix. 316.

How many a night I've passed with the beloved of me, iv. 252.

How many boons conceals the Deity, v. 261.

How many by my labours, that evermore endure, vi. 2.

How oft bewailing the place shall be this coming and going, viii. 242.

How oft have I fought and how many have slain! Vi. 91.

How oft in the mellay I've cleft the array, ii. 109.

How patient bide, with love in sprite of me, iv. 136.

How shall he taste of sleep who lacks repose, viii. 49.

How shall youth cure the care his life undo'th, ii. 320.

Hunger is sated with a bone-dry scone iv. 201.

Hurry not, Prince of Faithful Men! With best of grace your vow, vii. 128.

I Am he who is known on the day of fight, vi. 262.

I am distraught, yet truly, i. 138.

I am going, O mammy, to fill up my pot, i. 311.

I am not lost to prudence, but indeed, ii. 98.

I am taken: my heart burns with living flame, viii. 225.

I am the wone where mirth shall ever smile, i. 175.

I am when friend would raise a rage that mote, iv. 109.

I and my love in union were unite, viii. 247.

I ask of you from every rising sun, i. 238.

I asked of Bounty, "Are you free?" v. 93.

I asked the author of my ills, ii. 60.

I bade adieu, my right hand wiped my tears away, ii. 113.

I attained by my wits, x. 44.

I bear a hurt heart, who will sell me for this, vii. I 1 5.

I call to mind the parting day that rent our loves in twain, viii. 125.

I can't forget him, since he rose and showed with fair design, ix. 253.

I did not stop to kiss that cheek with budding roses dressed, viii. 329.

I clipt his form and wax'd drunk with his scent, ii. 292.

I came to my dear friend's door, of my hopes the goal, v. 58.

I craved of her a kiss one day, but soon as she beheld, iv. 192.

I cried, as the camels went off with them, viii. 63.

I'd win good will of everyone, but whoever envies me, ix. 342.

I deemed my brethren mail of strongest steel, i. 108.

I deemed you coat-o' mail that should withstand, i. 108.

I die my death, but He alone is great who dies not, ii. 9.

I drank the sin till my reason fled, v. 224.

I drink, but the draught of his glance, not wine, i. 100.

I drooped my glance when seen you on the way, iii. 331.

I dyed what years have dyed, but this my staining, v. 164.

I embrace him, yet after him yearns my soul, ix. 242.

I ever ask for news of you from whatever breezes pass, viii. 53.

I feed eyes on their stead by the valley's side, iii. 234.

I fix my glance on her, whene'er she wends, viii. 158.

I fly the carper's injury, ii. 183.

I gave her brave old wine that like her cheeks blushed red, i. 89.

I had a heart and with it lived my life, v. 131.

I have a friend with a beard, viii. 298 I have a friend who has a beard, iv. 194.

I have a friend, whose form is fixed within my eyes, iv. 246.

I have a froward yard of temper ill, viii. 293.

I have a lover.and when drawing him, iv. 247.

I have a sorrel steed, whose pride is glad to bear the rein, ii. 225.

I have borne for your love what never bore, iii 183.

I have fared content in my solitude, iii. 152.

I have no words though folk would have me talk, ix. 276.

I have won my wish and my need have scored, vii. 59.

I have wronged mankind, and have ranged like wind, iii. 74.

I have a yard that sleeps in base and shameful way, viii. 293.

I have sorrowed on account of our disunion, viii. 128.

I heard a ring-dove chanting plaintively, v. 47.

I hid what I endured of him and yet it came to light, i. 67.

I hope for union with my love which I may never obtain, viii. 347.

I kissed him: darker grew those pupils, which, iii. 224.

I lay in her arms all night, leaving him, v. 128.

I'll ransom that beauty-spot with my soul, v. 65.

I long once more the love that was between us to regain, viii. 181.

I longed for him I love; but, when we met, viii. 347.

I longed for my beloved, but when I saw his face, i. 240.

I look to my money and keep it with care, ii. 11.

I looked at her one look and that dazed me, ix. 197.

I looked on her with longing eyne, v. 76.

I love a fawn with gentle white-black eyes, iv. 50.

I love a moon of comely shapely form, viii. 259.

I love her madly for she is perfect fair, vii. 265.

I love not black girls but because they show, iv. 251.

I love not white girls blown with fat who puff and pant, iv. 252.

I love Su'ad and unto all but her my love is dead, vii. 129.

I love the nights of parting though I joy not in the same, ix. 198.

I loved him, soon as his praise I heard, vii. 280.

I'm Al-Kurajan, and my name is known, vii. 20.

I'm estranged fro' my folk and estrangement s long, iii. 71.

I'm Kurajan, of this age the Knight, vii. 23.

I'm the noted Knight in the field of fight, vii. 18.

I made my wrist her pillow and I lay with her in litter, vii. 243.

I marvel at its pressers, how they died, x. 39.

I marvel hearing people questioning, ii. 293.

I marvel in Iblis such pride to see, vii. 139.

I marvel seeing that mole, ii. 292.

I mind our union days when y e were near, vi. 278.

I number nights; indeed I count night after night, ii. 308.

I offered this weak hand as last farewell, iii. 173.

I passed a beardless pair without compare, v. 64.

I past by a broken tomb amid a garth right sheen, ii. 325.

I plunge with my braves in the seething sea, vii. 18.

I pray in Allah's name, O Princess mine, be light on me, iv. 241.

I pray some day that we reunion gain, iii. 124.

I roam, and roaming hope 1 to return, iii. 64.

I saw him strike the gong and asked of him At once, viii. 329.

I saw you weep before the gates and 'plain, v. 283.

I saw two charmers treading humble earth, iii. 18.

I say to him, that while he slings his sword, ii. 230.

I see all power of sleep from eyes of me has flown, ii. 151.

I see not happiness lies in gathering gold, ii. 166.

I see the woes of the world abound, i. 298.

I see you and close not my eyes for fear, ix. 221.

I see you full of song and plaint and love's own ecstasy, iii. 263.

I see their traces and with pain I melt, i. 230.

I see you with my heart from far countrie, vii. 93.

I sent to him a scroll that bore my plaint of love, ii. 300.

I show my heart and thoughts to You, and You, v. 266.

I sight their track and pine for longing love, viii. 103.

I soothe my heart and my love repel, v. 35.

I sought of a fair maid to kiss her lips, viii. 294.

I speak and longing love upties me:and unties me, ii. 104.

I still had hoped to see you and enjoy your sight, i. 242.

I stood and bewailed who their loads had bound, ix. 27.

I swear By God's name, fair Sir! No thief was I, i. 274.

I swear by swayings of that form so fair, iv. 143.

I swear by that fair face's life I'll love but you, iv. 246.

I thought of estrangement in her embrace ix. 198.

I've been shot by Fortune, and shaft of eye, iii. 175.

I've lost patience by despite of you, i. 280.

I've sent the ring from off your finger ta'en, iii. 274.

I've sinned enormous sin, iv. 109.

I view their traces:and with pain I pine, viii. 320.

I visit them and night black lends aid to me, iv. 252.

I vow to Allah if at home I sight, ii. 186.

I walk for fear of interview the weakling's walk, v. 147.

I wander 'mid these walls, my Layla's walls, i. 238.

I wander through the palace but I sight there not a soul, iv. 291.

I was in bestest luck, but now my love goes contrary, v. 75.

I was kind and 'scaped not, they were cruel and escaped, i. 58.

I waved to and fro and he leaned to and fro, v. 239.

I weep for one to whom a lonely death befell, v. 115.

I weep for longing love's own ardency, vii. 369.

I weet not, whenas to:3 land I fare, ix. 328.

I went to my patron some blood to let him, i. 306.

I went to the house of the keeper-man, iii. 20.

I will bear in patience estrangement of friend, viii. 345.

I know not, whenas to a land I fare, x. 53.

I write you, love, the while my tears pour down, iii. 24.

I write to you, O fondest hope, a writ, iii. 24.

I write with heart devoted to your thought, iii. 273.

Ibn Síná in his canon does opine, iii. 34.

If a fool oppress you bear patiently, vi. 214.

If a man from destruction can save his head, ix. 314.

If a man's breast with bane he hides be straitened, ix. 292.

If a sharp witted people mankind ever tried, iv. 188.

If another share in the thing I love, iv. 234.

If any sin I sinned, or did I anything, iii. 132.

If anything I've sinned in sinful way, viii. 119.

If generous youth be blessed with luck and wealth, ix. 291.

If he of patience fail the truth to hide, ii. 320.

If I liken your shape to the bough when green, i. 92.

If I to anything save you, O lords of me, incline, vii. 369.

If ill happen you through your slave, i. 194.

If Kings would see their high emprize preserved, v. 106.

If Naomi bless me with a single glance, iv. 12.

If not master of manners or anything but discreet, i. 235.

If by that man can save his head from death, iv. 46.

If you crave our love, know that love's a loan, v. 127.

If you should please a friend who pleases you, v. 150.

If time unite us after absent while, i. 157.

If your promise of personal call prove untrue, iii. 252.

If we 'plain of absence what shall we say? i. 100.

If we saw a lover who pains as he ought, v. 164.

Ill omened hag! Unshriven be her sins nor mercy visit her on dying bed, i. 174.

In dream I saw a bird o'erspeed (meseem'd), viii. 218.

In her cheek cornered nine calamities, viii. 86.

In his face-sky shins the fullest moon i. 205.

In love they bore me further than my force would go, ii. 137.

In patience, O my God, I endure my lot and fate, i. 77.

In patience, O my God, Your doom forecast, viii. 17.

In ruth and mildness surety lies, ii. 160.

In sleep came Su'adá's shade and wakened me, iv. 267.

In truth the Nights and Days are charactered, iii. 319.

In spite of enviers, jealousy, at end, v. 62.

In the morn I am richest of men, x. 40.

In the towering forts Allah throned him King, ii. 291.

In this world there is none you may count upon, i. 207.

In thought I see your form when farthest far or nearest near, ii. 42.

In your whole world there is not one iv. 187.

In vest of saffron pale and safflower red, i. 219.

Incline not to parting, I pray, viii. 314.

Indeed afflicted sore are we and all distraught, viii. 48.

Indeed I am consoled now and sleep without a tear, iv. 242.

Indeed I deem your favours might be bought, iii. 34.

Indeed I hourly need your choicest aid, v. 281.

Indeed I'll bear my love for you with firmest soul, iv. 241.

Indeed I longed to share unweal with you, iii. 323.

Indeed I'm heart-broken to see you start, viii. 63.

Indeed I'm strong to bear whatever befall, iii. 46.

Indeed my heart loves all the lovely boys, ix. 253.

Indeed, ran my tears on the severance day, vii. 64.

Indeed, to watch the darkness-moon he blighted me, iii. 277.

Irks me my fate and clean unknows that 1, viii. 130.

"Is Abu's-Sakr of Shaybán" they asked, v. 100.

Is it not strange one house us two contain, iv. 279.

Is not her love a pledge by all mankind confest? ii. 186.

It behoves folk who rule in our time, viii. 294.

It happed one day a hawk pounced on a bird, iv. 103.

It runs through every joint of them as runs, x. 39.

It seems as though of Lot's tribe were our days, iii. 301.

It was as though the sable dye upon her palms, iii. 105.

Jamil, in Holy War go fight! To me they say, ii. 102.

Jahannam, next Laza, and third Hatim, v. 240.

Jamrkan am I! And a man of might, vii. 23.

Joy from stroke of string does to me incline, viii. 227.

Joy is near, O Masrur, so rejoice in true counsel, viii. 221.

"Joy needs shall come," a prattler 'gan to prattle, iii. 7.

Joy of boughs, bright branch of Myrobalan, viii. 213.

Joy so o'ercoms me, for stress of joy, v. 355.

Joyance is come, dispelling cark and care, v.61.

Kingdom with none endures; if you deny this truth, where be the Kings of earlier earth, i. 129.

Kinsmen of mine were those three men who came to you, iv. 289.

Kisras and Cæsars in a bygone day, ii. 41.

Kiss then his fingers which no fingers are, iv. 147.

Lack of good is exile to man at home, ix. 199.

Lack-gold abases man and does his worth away, ix. 290.

Lady of beauty, say, who taught you hard and harsh design, iii. 5.

Laud not long hair, except it be dispread, ii. 230.

Laud to my Lord who gave you all of loveliness, iv. 143.

Leave this blame, I will list to no enemy's blame, iii. 61.

Leave this your design and depart, O man! Viii. 212.

Leave you the days to breed their ban and bate, ii. 41.

Leave your home for abroad an would rise on high, ix. 138.

Let days their folds and plies deploy, ii. 309.

Let destiny with slackened rein its course appointed fare, viii. 70.

Let Fate with slackened bridle fare her pace, iv. 173.

Let Fortune have her wanton way, i. 107.

Let your thought be ill and none else but ill, iii. 142.

Leyla's phantom came by night, viii. 14.

Life has no sweet for me since forth you fared, iii. 177.

Like are the orange hills when zephyr breathes, viii. 272.

Like a tree is he who in wealth does wone, ii. 14.

Like fullest moon she shines on happiest night, v. 347.

Like moon she shines amid the starry sky, v. 32.

Like peach in vergier growing, viii. 270.

Like the full moon she shins in garments all of green, viii. 327.

Lion of the wold will you murder me, v. 40.

Long as earth is earth, long as sky is sky, ix. 317.

Long have I chid you, but my chiding hinders you not, vii. 225.

Long have I wept over severance ban and bane, i. 249.

Long I lamented that we fell apart, ii. 187.

Long, long have I bewailed the sev'rance of our loves, iii. 275.

Long was my night for sleepless misery, iv. 263.

Longsome is absence; Care and Fear are sore, ii. 295.

Longsome is absence, restlessness increases, vii. 212.

Look at the Lote-tree, note on boughs arrayed, viii. 271.

Look at the apricot whose bloom contains, viii. 268.

Look on the Pyramids and hear the twain, v. 106.

Love, at first sight, is a spurt of spray, vii. 280.

Love, at the first, is a spurt of spray, vii. 360

Love for my fair they chide in angry way, iii. 233.

Love in my breast they lit an fared away, iii. 296.

Love in my heart they lit and went their ways, i. 232.

Love-longing urged me not except to trip in speech over tree, ix. 322.

Love smote my frame so sore on parting day, ii. 152.

Love's tongue within my heart speaks plain to you, iv. 135.

Love's votaries I did not stop to oppose, iii. 290.

Lover with his beloved loses will and aim, v. 289.

Lover, when parted from the thing he loves, viii. 36.

Luck to the Rubber whose deft hand o'erplies, iii. 17.

Make me not (Allah save the Caliph!) one of the betrayed, vii. 129.

Make your game by guile for you'rt born in a time, iii. 141.

Man is known among men as his deeds attest, ix. 164.

Man wills his wish to him accorded be, iv. 157.

Many whose ankle rings are dumb have tinkling belts, iii. 302.

Masrur joys life made fair by all delight of days, viii. 234.

May Allah never make you parting dree, v. 74.

May coins you make joy in heart instil, ix. 69.

May God deny me boon of troth if I, viii. 34.

May that Monarch's life span a mighty span, ii. 75.

Mazed with your love no more I can feign patience, viii. 321.

Melted pure gold in silvern bowl to drain, v. 66.

Men and dogs together are all gone by, iv. 268.

Men are a hidden malady, iv. 188.

Men craving pardon will uplift their hands, iii. 304.

Men have 'plained of pining before my time, iii. 183.

Men in their purposes.are much alike, vii. 169.

Men's turning unto bums of boys is bumptious, v. 162.

Methought she was the forenoon sun until she donned the veil, viii. 284.

My ear forewent my eye in loving him, ix. 222.

My eyes I admire that can feed their fill viii. 224.

My eyes never looked on: anything the Almond like, viii. 270.

My eyes were dragomans for my tongue betied, i. 121.

My is a Chief who reached most haught estate, i. 253.

'Minish this blame I ever bear from you, iii. 60.

Morn says to Night, "withdraw and let me shine," i. 132.

Most beautiful is earth in budding bloom, ii. 86.

Mu'áwiyah, you gen'rous lord, and best of men that be, vii. 125.

My best salam to what that robe enrobes of symmetry, ix. 321.

My blamers instant chid that I for her become consoled, viii. 171.

My blamers say of me, He is consoled And lie, v. 158.

My body bides the sad abode of grief and malady, iv. 230.

My censors say, What means this pine for him, v. 158.

My charmer who spellest my piety, ix. 243.

My coolth of eyes, the darling child of me, v. 260.

My day of bliss is that when you appearest, iii. 291.

My fondness, O my moon, for you my foeman is, iii. 256.

My friend I please tell me, 'neath the sky, v. 107.

My friend who went has returned once more, vi. 196.

My friends, despite this distance an(Z this cruelty, viii. 115.

My friends, I yearn in heart distraught for him, vii. 212.

My friends! If you are banisht from my eyes, iii. 340.

My friends, Rayyá has mounted soon as morning shone, vii. 93.

My heart disheartened is, my breast is strait, ii. 238.

My heart is a thrall: my tears never abate, viii. 346.

My life for the scavenger! Right well I love him, i. 312.

My life is gone but love-longings remain, viii. 345.

My longing bred of love with my unease for ever grows, vii. 211.

My Lord has servants glad of piety, v. 277.

My lord, this be the Sun, the Moon you had before, vii. 143.

My lord, this full moon takes in Heaven of you new birth, vii. 143.

My love a meeting promised me and kept it faithfully, iii. 195.

My loved one's name in cheerless solitude aye cheers me, v. 59.

My lover came in at the close of night, iv. 124.

My lover came to me one night, iv. 252.

My mind's withdrawn from Zaynab and Nawar, iii. 239.

My patience failed me when my lover went, viii. 259.

My patience fails me and grows anxiety, viii. 14.

My prickle is big and the little one said, iii. 302.

My Salim to the Fawn in the garments concealed, iv. 50.

My sin to you is great, iv. 109.

My sister said, as saw she how I stood, iii. 109.

My sleeplessness would show I love to bide on wake, iii. 195.

My soul and my folk I engage for the youth, vii. 111.

My soul for loss of lover sped I sight, viii. 67.

My soul be sacrifice for one, whose going, iii. 292.

My soul your sacrifice! I chose you out, iii. 303.

My soul to him who smiled back my salute, iii. 168.

My tale, indeed, is tale unlief, iv. 265.

My tears thus flowing rival with my wine, iii. 169.

My tribe have slain that brother mine, Umaym, iv. 110.

My wish, my illness, my unease! By God, own, viii. 68.

My wrongs hide I, withall they show to sight, viii. 260.

My yearning for you though long is fresh, iv. 211.

nothing came to salute me in sleep save his shade, vii. 111.

nothing garred me weep save where and when of severance spoke he, viii. 63.

Nears my parting fro' my love, nigher draws the severance day, viii. 308.

Need drives a man into devious roads, ii. 14.

Needs must I bear the term by Fate decreed, ii. 41.

never cease your gate be Ka'abah to mankind, iv. 148.

never dawn the severance-day on any wise, viii. 49.

never incline you to part, ii. 105.

never was a man with beard grown over- long, viii. 298.

News my wife wots is not locked in a box! I. 311.

News of my love fill all the land, I swear, iii. 287.

No breeze of Union to the lover blows, viii. 239.

No! I declare by Him to whom all bow, v. 152.

No longer beguile me, iii. 137.

"No ring-dove moans from home on branch in morning light, ii. 152.

None but the good a secret keep, And good men keep it unrevealed, i. 87.

None but the men of worth a secret keep, iii. 289.

None keeps a secret hut a faithful person, iv. 233.

None other charms but yours shall greet my eyes, i. 156.

None knows best; joyance but generous youth, v. 67.

Not with his must I'm drunk, but truly, v. 158.

Now an, By God, unto man were.fully known, iii. 128.

Now, an of woman ask you, I reply, iii. 214.

Now blame him not; for blame brings only vice and pain, ii. 297.

Now, by my life, brown hue has point of comeliness, iv. 258.

Now, by your life, and were you just my life you had not ta'en, i. 182.

Now, by your love! Your love I'll never forget, viii. 315.

Now I indeed will hide desire and all ' repine, v. 267.

Now is my dread to incur reproaches which, iii. 59.

Now love have banished all that bred delight, iii. 259.

Now with their says and said no more vex me the chiding race, iv. 207.

O Adornment of beauties to you write I, vii. 176.

O beauty's Union! Love for you's my creed, iii. 303.

O best of race to whom gave Hawwa boon of birth, v. 139.

O bibber of liquor, are not ashamed, v. 224.

O breeze that blowest from the land Irak, viii. 103.

O child of Adam let not hope make mock and flyte at you, vi. 116.

O culver of the copse, with salams I greet, v. 49.

O day of joys to either lover glad! V. 63.

O dwelling of my friends, say is there no return, viii. 319.

O fair ones forth you cast my faithful love, ix. 300.

O fertile root and noble growth of trunk, ii. 43.

O fisherman no care have you to fear, v. 51.

O flier from your home when foes affright! V. 290.

O friends of me one favour more I pray, v. 125.

O glad news bearer well come! Ii. 326.

O hail to him whose locks his cheeks over- shade, x. 58.

O Hayat al-Nufus be gen'rous and incline, vii. 217.

O heart, an lover false you, shun the parting bane, viii. 94.

O heart! Be not your love confined to one, iii. 232.

O hope of me! Pursue me not with rigour and disclaim, iii. 28.

O joy of Hell and Heaven! Whose tormentry, iii. 19.

O Keener, O sweetheart, you fallest not short, i. 311.

O Kings of beauty, grace to prisoner ta'en, viii. 96.

O Lord, by the Five Shaykhs, I pray deliver me, vii. 226.

O Lord, how many a grief from me have driven, v. 270.

O Lord, my foes are glad to slay me in despight, viii. 117.

O Lords of me, who fared but whom my heart ever follows, iv. 239.

O Love, you'rt instant in your cruellest guise, iv. 204.

O lover you bring to thought a tide, v. 50.

O Maryam of beauty return for these eyne, viii. 321.

O Miriam your chiding I pray, forego, ix. 8.

O moon for ever set this earth below, iii. 323.

O Moslem! You whose guide is Alcoran, iv. 173.

O most noble of men in this time and stound, iv. 20.

O my censor who wakest amorn to see, viii. 343.

O my friend, If I rendered my life, my sprite, ix. 214.

O my friend! Reft of rest no repose I command, ii. 35.

O my friends, have you seen or have you heard, vi. 174.

O my heart's desire, grows my misery, vii. 248.

O my Lord, well I weet your powerful hand, vi. 97.

O Night of Union, Time's virginal prize, viii. 328.

O my lords, shall he to your minds occur, ix. 299.

O Night here I stay! I want no morning light, iv. 144.

O passing Fair I have none else but you, vii. 365.

O pearl-set mouth of friend, iv. 231.

O pearly mouth of friend, who set those pretty pearls in line, iv. 231.

O Rose, you rare of charms that do contain, viii. 275.

O sire, be not deceived by worldly joys, v. 114.

O son of my uncle! Same sorrow I bear, iii. 61.

O spare me, you Ghazban, indeed enow for me, ii. 126.

O Spring-camp have ruth on my overthrowing, viii. 240.

O you Badi'a 'l Jamál, show you some clemency, vii. 368.

O you of generous seed and true nobility, vi. 252.

O you sheeniest Sun who in night do shine, viii. 215.

O You, the One, whose grace does all the world embrace, v. 272.

O you tomb! O you tomb! Be his horrors set in blight? i. 76.

O you to whom sad trembling people in fear complain! Iii. 317.

O you who barest leg-calf better to suggest, ii. 327.

O you who claim to be prey of love and ecstasy, vii. 220.

O you who deignest come at sorest syne, iii. 78.

O you who do comprise all Beauty's boons! Vii. 107.

O you who dyest hoariness with black, viii. 295.

O you who fear Fate, i. 56.

O you who for your wakeful nights would claim my love to boon, iii. 26.

O you who give to royal state sweet savour, ii. 3.

O you who gladdenest man by speech and rarest quality, ix. 322.

O you who seek innocence to 'guile, iii. 137.

O you who seek parting, safely fare! Ii 319.

O you who seek separation, act leisurely, iv. 200.

O you who seek severance, i. 118.

O you who shame sun in morning sheen, viii. 35.

O you who shunnest him your love misled! Viii. 259.

O you who wooest Severance, easy fare! Iii. 278.

O you who woo'st a world unworthy learn, iii. 319.

O you whose boons to me are more than one, iii. 317.

O you whose favours have been out of compt, iii. 137.

O you whose forehead, like the radiant East, i. 210.

O to whom I gave soul which you torturest, iv. 19.

O to whom now of my desire complaining sore shall 1, v. 44.

O toiler through the glooms of night in peril and in pain, i. 38.

O turtle dove, like me are you distraught? v. 47.

O waftings of musk from the Babel-land! Ix. 195.

O who did win my love in other date, v. 63.

O who have quitted these abodes and faredst gladly and light, viii. 59.

O who pass this doorway, By God, see, viii. 236.

O who praise Time with the fairest appraise, ix. 296.

O who shame the Moon and the sunny glow, vii. 248.

O who suest Union, never hope such delight, viii. 257.

O whose heart by our beauty is captive ta'en, v. 36.

O Wish of wistful men, for You I yearn, v. 269.

O you that can aid me, a wretched lover, ii. 30.

O you who fled and left my heart in pain low li'en, iii. 285.

O you who with my vitals fled, have ruth, viii. 258.

O you whose mole on cheek enthroned recalls, i. 251.

O Zephyr of Morn, If you pass where the dear ones dwell, viii. 120.

O Zephyr of Najd, when from Najd you blow, vii. 115.

Of dust was I created, and man did I become, v. 237.

Of evil thing the folk suspect us twain, iii. 305.

Of my sight I am jealous for you, of me, ix. 248.

Of Time and what befell me I complain, viii. 219.

Of wit and wisdom is Maymúnah bare, i. 257.

Oft has a tender bough made lute for maid, v. 244.

Oft hunchback added to his bunchy back, viii. 297.

Oft times mischance shall straiten noble breast, viii. 117.

Oft when your case shows knotty and tangled skein, vi. 71.

Oh a valiant race are the sons of Nu'uman, iii. 80.

Oh soul of me, If you accept my advice, ii. 210.

Oh you gone from the gaze of these lidded eyne, ii. 139.

Old hag of high degree in filthy life, v. 96.

On earth's surface we lived in rare ease and joy, vii. 123.

On her fair bosom caskets twain I scanned, i. 156.

On me and with me bides your volunty, viii. 129.

On Sun and Moon of palace cast your sight, i. 85.

On the brow of the World is a writ, an thereon you look, ix. 297.

On the fifth day at even-tide they went away from me, ii. 10.

On the fifth day I quitted all my friends for evermore, ii. 10.

On the glancing racer outracing glance, ii. 273.

On the shaded woody island His showers Allah deign, x. 40.

On these which once were chicks, iv. 235.

One, I wish him in belt a thousand horns, v. 129.

One craved my love and I gave all he craved of me, iii. 210.

One wrote upon her cheek with musk, his name was Ja'afar called, iv. 292.

Open the door! The leach now draws near, v. 284.

Oppression ambushes in sprite of man, ix. 343.

Our aim is only converse to enjoy, iv. 54.

Our Fort is Tor, and flames the fire of fight, ii. 242.

Our life to you, O cup-boy Beauty-dressed! Iii. 169.

Our trysting-time is all too short, iii. 167.

Pardon my fault, for 'tis the wise man's wont, i. 126.

Pardon the sinful ways I did pursue, ii. 38.

Part not from one whose wont is not to part from you, iii. 295.

Parting ran up to part from lover twain, iii. 209.

Pass round the cup to the old man and the young man, too, viii. 278.

Pass over my fault, for 'tis the wise man's wont, viii. 327.

Patience has fled, but passion fars not, v. 358.

Patience with sweet and with bitter Fate! Viii. 146.

Patient I seemed, yet Patience shown by me, vii. 96.

Patient, O Allah! To Your destiny I bow, iii. 328.

Pause you and see his sorry state since when you glad withdrew, viii. 66.

Peace be to her who visits me in sleeping phantasy, viii. 241.

Peace be to you from lover's wasted love, vii. 368.

Peace be with you, sans you nothing compensats me, viii. 320.

Perfect were lover's qualities in him was brought amorn, viii. 255.

Pink cheeks and eyes enpupil'd black have dealt me sore despight, viii. 69.

Pleases me more the fig than every fruit, viii. 269.

Pleases me that Hazár of mocking strain, v. 48.

Pleasure and health, good cheer, good appetite, ii. 102.

Ply me and also my mate be plied, viii. 203.

Poverty dims the sheen of man whate'er his wealth has been, i. 272.

Pray'ee grant me some words from your lips, perhaps, iii. 274.

Pray, tell me what has Fate to do betwixt us twain? v. 128.

Preserve your hoary hairs from soil and stain, iv. 43.

Prove how love can degrade, v. 134.

Quince every taste conjoins- in her are found, i. 158.

I said to a comrade one day viii. 289.

our Imam Abu said Nowas who was, v. 157.

she said,(for I to lie with her forbare), iii. 303.

she said, "I see you dye your hoariness," iv. 194.

she to said me--and sore enraged, viii. 293.

she to me--I see you dye your said hoariness viii. 295.

they and I had trained my taste said thereto viii. 269.

said they Black letters on his cheek are writ! Iv. 196.

said they Maybe that Patience lend you ease! Iii. 178.

said they You rav'st on him you lov'st, iii. 258.

they said, "I'hou'rt surely raving m;-d for her you lov'st, viii..326.

Racked;is my heart by parting fro' my friends, i. 150.

Rain showers of torrent tears, O Eyne, and see, viii. 250.

Rebel against women and so will you serve Allah the more, iii. 214.

Red fruits that f 11 the hand, and shine with sheen, viii. 271.

Rely not on women: 'trust not to their hearts, i. 13.

Reserve is a jewel, Silence safety is, i. 208.

Restore my heart as 'twas within my breast, viii. 37.

Right near at hand, Umaymah mine! V. 75.

Robe you, o House, in richest raiment Time, viii. 206.

Roll up your days and they shall easy roll, iv. 220.

Rosy red Wady hot with summer-glow, ix. 6.

Round with big and little, the bowl:and cup, ii. 29.

I said to slim waist who the wine engraced, viii. 307.

Salam from graces treasured by my Lord, iii. 273.

Salams fro' me to friends in every stead, iii. 256.

Say, can not come to us one momentling, iv. 43.

Say, does heart of my fair incline to him, v. 127.

Say him who careless sleeps what while the shaft of Fortune flies, i. 68.

Say me, on Allah's path has death not dealt to me, iv. 247.

Say me, will Union after parting ever return to be, viii. 320.

Say then to skin "Be soft" to face "Be fair," i. 252.

Say you to the she-gazelle, who's no gazelle, v. 130.

Say to angry lover who turns away, v. 131.

Say to the charmer in the dove-hued veil, i. 280.

Say to the fair in the wroughten veil, viii. 291.

Say to the pretty one in veil of blue, iv. 264.

Say what shall solace one who has nor home nor stable stead, ii. 124.

Say, will to me and you the Ruthful union show, viii. 323.

Scented with sandal and musk, right proudly does she go, v. 192.

Seeing your looks wots she what you desir'st, v. 226.

See not how the hosts of the Rose display, viii. 276.

See not that Almond plucked by hand, viii. 270.

See not that musk, the nut-brown musk ever claims the highest price, iv. 253.

See not that pearls are prized for milky hue, iv. 250.

See not that rosery where Rose a flowering displays, viii. 275.

See not the bazar with its fruit in rows, iii. 302.

See not the Lemon when it takes form, viii. 272.

See not we want for joy four things all told, i. 86.

Semblance of full-moon Heaven bore, v. 192.

Severance grief nighmost, Union done to death, iv. 223.

Shall I be consoled when Love has mastered the secret of me, viii. 261.

Shall man experience-lectured ever care, vii. 144.

Shall the beautiful hue of the Basil fail, i. 19.

Shall the world oppress me when you are in't, ii. 18.

Shall we ever be united after severance- tide, viii. 322.

Shamed is the bough of Bán by pace of her, viii. 223.

She bade me farewell on our parting day, ii. 35.

She beamed on my sight with a wondrous glance, ii. 87.

She came apparelled in an azure vest, i. 218.

She carne apparelled in a vest of blue, viii. 280.

She came out to gaze on the bridal at ease, v. 149.

She came thick veile'd, and cried I, O display, viii. 280.

She comes apparelled in an azure vest, x. 58.

She comes like fullest moon on happy night, i. 218; x. 59.

She cried while played in her side Desire, ix. 197.

She dispread the locks from her head one night, iii. 226.

She drew near whenas death was departing us, v. 71.

She gives her woman's hand a force that fails the hand of me, iii. 176.

She has eyes whose babes wi' their fingers sign, viii. 166.

She has those hips conjoined by thread of waist, iii. 226.

She has wrists which, did her bangles not contain, iii. 226.

She is a sun which towers high asky, iii. 163.

She joins charms were never seen conjoined in mortal dress, vii. 104.

She lords it over our hearts in grass-green gown, ii. 318.

She prays; the Lord of grace her prayer obeyed, v. 273.

She proffered me a tender coynte, iii. 304.

She rose like the morn as she shone through the night, i. 11.

She says sore hurt in sense the most acute, iii. 303.

She shins forth a moon, and bends a willow-wand, iv. 50.

She shone out in the garden in garments all of green, v. 346.

She shot my heart with shaft, then turned on heel, vii. 141.

She sits it in lap like a mother fond, ix. 191.

She 'spied the moon of Heaven reminding me, iv. 51.

She split my casque of courage with eye- swords that sorely smite, iii. 179.

She spread three tresses of unplaited hair, iv. 51.

She wears a pair of ringlets long let down, v. 240.

She who my all of love by love of her has won, viii. 254.

Shoulder your tray and go straight to your goal, i. 278.

Showed me Sir Such-an-one a sight, and what a sight! Iv. 193.

Silent I woned and never owned my love, v. 151.

Silky her skin and silk that zoned waist, iii. 163.

Since my toper-friend in my hand has given, iv. 20.

Since none will lend my love a helping hand, vii. 225.

Since our Imam came forth from medicine, v. 154.

Sleep fled me, by my side wake ever shows, viii. 68.

Slept in my arms full moon of brightest blee, x. 39.

Slim-waist and boyish wits delight, v. 161.

Slim-waist craved wine from her companeer, viii. 307.

Slim-waisted loveling, from his hair and brow, viii. 299.

Slim-waisted loveling, jetty hair encrowned, i. 116.

Slim waisted one whose looks with down of cheek, v. 158.

Slim waisted one, whose taste is sweetest sweet, v. 241.

Sojourn of stranger, in whatever land, vii. 175.

Sought me this heart's dear love at gloom of night, vii. 253.

Source of my evils, truly, she alone's, iii. 165.

Sow kindness-seed in the unfittest stead, iii. 136.

Stand by and see the derring-do which I today will show, iii. 107.

Stand by the ruined home and ask of us, iii. 328.

Stand you and hear what fell to me, viii. 228.

Stand you by the homes and hail the lords of the ruined stead, ii. 181.

Stay! Grant one parting look before we part, ii. 15.

Steer you your steps to none but me, v. 65.

Still cleaves to this homestead my ecstasy, viii. 243.

Stint you this blame, viii. 254.

Straitened bosom; reveries dispread, iii. 182.

Strange is my story, passing prodigy, iv. 139.

Strange is the charm which dights her brows like Luna's disk that shine, ii. 3.

Strive he to cure his case, to hide the truth, ii. 320.

Such is the world, so bear a patient heart, i. 183.

Suffer my eye-babes weep lost of love and tears express, viii. 112.

Suffice you death such marvels can enhance, iii. 56.

Sun rises sheen from her brilliant brow, vii. 246.

Sweetest of nights the world can show to me, ii. 318.

Sweetheart! How long must I await by so long suffering tried? ii. 178.

Sweetly discourses she on Persian string viii. 166.

Take all things easy; for all worldly things, iv. 220.

Take your life and fly whenas evils threaten the ruined house tell its owner's fate, i. 109.

Take, O my lord to you the Rose, viii. 275.

Take patience which breeds good if patience you can learn, iv. 221.

Take warning, O proud, iv. 118.

Tear-drops have chafed my eyelids and rail down in wondrous wise, v. 53.

Tell her who turns from our love to work it injury sore, i. 181.

Tell whoever has sorrow grief never shall last, i. 15.

That cheek-mole's spot they evened with a grain, i. 251.

That jetty hair, that glossy brow, i. 203.

That night th' astrologer a scheme of planets drew, i. 167.

That pair in image quits me not one single hour, ii. 173.

That rarest beauty ever bides my foe, vii. 366.

That sprouting hair upon his face took wreak, v. 161.

The birds took flight at eve and winged their way, viii. 34.

The blear-eyed scapes the pits, i. 265.

The boy like his father shall surely show, i. 310.

The breeze o' morn blows uswards from her trace, viii. 206.

The bushes of golden hued rose excite, viii. 276.

The Bulbul's note, whenas dawn is near, v. 48.

The caravan-chief calls loud o' night, viii. 239.

The chambers were like a bee-hive well stocked, ix. 292.

The coming unto you is blest, viii. 167.

The company left with my love by night, ix. 27.

The Compassionate show no ruth to the tomb where his bones shall lie, x. 47.

The courser charges on battling foe, iii. 83.

The day of my delight is the day when you draw near, i. 75.

The day of parting cut my heart in twain, iii. 124.

The fawn-like one a meeting promised me, iv. 195.

The fawn of a maid seized her lute in hand, ii. 34.

The feet of sturdy miscreants went trampling heavy tread, x. 38.

The first in rank to kiss the ground shall deign, i. 250.

The fragrance of musk from the of the fair, viii. 209.

The full moon grows perfect once a month, vii. 271.

The glasses are heavy when brought, x. 40.

The hapless lover's heart is of his wooing weary grown, iv. 144.

The hearts of lovers have eyes I ken, iv. 238.

The hue of dusty motes is hers, iv. 257.

The house, sweetheart, is now no home to me, v. 381.

The jujube tree each day, vii. 271.

The Kings who fared before, iii. 318.

The land of lamping moon is bare and drear, viii. 126.

The least of him is the being free, v. 156.

The life of the bath is the joy of man's life, iii. 19.

The like of whatever feel you we feel, vii. 141.

The longing of a Bedouin maid, whose folks are far away, iii. 172.

The longing of an Arab lass forlorn of kith and kin, ii. 306.

The Lord, empty House! To you peace decree, viii. 238.

The loved ones left you in middle night, v. 150.

The lover is drunken with love of friend, v.39.

The lover's heart for his beloved must meet, ii. 62.

The lover's heart ii like to break in twain, ii. 63.

The mead is bright with what is on't, ii. 86.

The messenger who kept our commerce hid, iii. 189.

The Moon o' the 'Time shows unveiled light, ix. 287.

The Nadd is my wine scented powder, my bread, viii. 209.

The name of what drave me distraught, viii. 93.

The Nile-flood this day is the gain you own, i. 290.

The penis smooth and round was made with anus best to match it, iii. 303.

The phantom of Soada came by night to wake me, viii. 337.

The poor man fares by every thing opposed, ix. 291.

The Prophet saw whatever eyes could see, v. 287.

The return of the friend is the best of all boons, ix. 287.

The Rose in highest stead I rate, viii. 274.

The signs that here their mighty works portray, vi. 90.

The slanderers said There is hair upon his cheeks, v. 15.

The slippers that carry these fair young feet, viii. 320.

The smack of parting 's myrrh to me, ii. 101.

The solace of lovers is nothing but far, viii. 143.

The spring of the down on cheeks right clearly shows, v. 190.

The stream 's a cheek by sunlight rosy dyed, ii. 240.

The streamlet swings by branchy wood and aye, viii. 267.

The sun of beauty she to all:appears, x. 59.

The sun of beauty she to sight.appears, i. 218.

The sun yellowed not in the murk gloom lien, viii. 285.

The sword, the sworder and the bloodskin waiting me I sight, ii. 42.

The tears of these eyes find easy release, v. 127.

The tears run down his cheeks in double row, iii. 169.

"The time of parting" they said, "draws near," v. 280.

The tongue of love from heart bespeaks my sprite, iv. 261.

The tongue of Love within my vitals speaks, viii. 319.

The toothstick love I not; for when I say, iii. 275.

The road is longsome; grow my grief and need, iii. 13.

The weaver-people wrote with gold-ore bright, viii. 210.

The whiskers write upon his cheek with ambergris on pearl, vii. 277.

The wide plain is narrowed before these eyes, viii. 28.

The wise have said that the white of hair, viii. 294.

The world has shot me with its sorrow till, vii. 340.

The world sware that for ever 'twould gar me grieve, viii. 243.

The world tears man to shreds, so be you not, ix. 295.

The world tricks I admire betwixt me and her, ix. 242.

The world's best joys long be your lot, my lord, i. 203.

The zephyr breaths over its branches, like, viii. 267.

Their image bides with me, never quits me, never shall fly, viii. 66.

Their tracts I see, and pine with pain and pang, i. 151.

There be no writer who from death shall fleet, i. 128.

There be rulers who have ruled with a foul tyrannic sway, i. 60.

There remains not anything save a fluttering breath, viii. 124.

There remains to him nothing save flitting breath, vii. 119.

They blamed me for causing my tears to well, ix. 29.

They bore him bierd' and all who followed wept, ii. 281.

They find me fault with her where I default never find, v. 80.

They have cruelly ta'en me from him my beloved, v. 51.

They're gone who when you stood at their door, iv. 200.

They ruled awhile and theirs was harsh tyrannic rule, iv. 220.

They said, You ravest upon the person you love, iv. 205.

They say me, "You shinest a light to mankind," i. 187.

They shine fullest moons, unveil crescent bright, viii. 304.

They talked of three beauties whose converse was quite, vii. 112.

Yours image ever companies my sprite, iii. 259.

Yours image in these eyne, a-lip your name, iii. 179.

Think not from her, of whom you are enamoured, viii. 216.

Thinkest you yourself all prosperous, in days which prosp'rous be, viii. 309.

This be his recompense who will, ix. 17.

This day oppressor:and oppressèd meet, v. 258.

This garden and this lake in truth, viii. 207.

This house, my lady, since you left is now a home no more, i. 211.

This messenger shall give my news to you, iii. 181.

This is a thing in which destruction lies, i. 118.

This is she I will never forget till I die, viii. 304.

This is your friend perplexed for pain and pine, iv. 279.

This (me, whom hunger plagues, and rags enfold, vii. 129.

Tho' 'tis your wont to hide your love Of necessity, iii. 65.

You are the cause that castest men in ban:and bane, viii. 149.

You came and green grew the hills anew, iii. 18.

You deemedst well of Time when days went well, ii. 12; iii. 253.

You have a reed of counsel to every land, i. 128.

You have failed who would sink me in ruin sea, iii. 108.

You have granted more favours than ever I crave, ii. 32.

You have restored my wealth, sans greed and before, iv. 111.

You have some art the hearts of men to clip, i. 241.

You have won my heart by cheek and eye of you, viii. 256.

You lie, O foulest of Satans, you are, iii. 108.

You lie when speaking of "benefits," while, iii. 108.

You made Beauty to spoil man's sprite, ix. 249.

You made fair your thought of Fate, viii. 130.

You pacest the palace a marvel sight, i. 176.

You present, in the Heaven of Heavens I dwell, iii. 268.

You seek my death; nothing else your will can satisfy? ii. 103.

You were all taken up with love of other man, not me, i. 182.

You were create of dust and cam'st to life, iv. 190.

You were invested (woe to you!) with rule for you unfit, vii. 127.

Though amorn I may awake with all happiness in hand, i. 75.

Though now you jeer, O Hind, how many a night, vii. 98.

Three coats that freshest form endue, viii. 270.

Three lovely girls hold my bridle-rein, ix. 243.

Three matters hinder her from visiting us in fear, iii. 231.

Three things for ever hinder her to visit us, viii. 279.

Throne you on highmost stead, heart ears and sight, viii. 258.

Your breast you baredst sending back the gift, v. 153.

Your case commit to a Heavenly Lord and you will safety see, viii. 151.

Your folly drives you on though long I chid, iii. 29.

Your note came: long lost fingers wrote that note, iv. 14.

Your phantom bid you fleet and fly, vii. 108.

Your presence brings us a grace, i. 175.

Your shape with willow branch I dare compare, iv. 255.

Your shape's temptation, eyes as Houri's glad, viii. 47.

Your sight has never seen a fairer sight, ii. 292.

Your writ, O Masrur, stirred my sprite to pine, viii. 245.

Time falsed our union and divided who were one in tway, x. 26.

Time gives me tremble, Ah, how sore the baulk, i. 144.

Time has recorded gifts she gave the great, i. 128.

Time has for his wont to upraise and debase, ii. 143.

Time has shattered all my frame, ii. 4.

Time sware my life should fare in woeful waste, ii. 186.

'Tis as if wine and he who bears the bowl, x. 38.

'Tis as the Figs with clear white skins out- thrown, viii. 268.

'Tis dark: my transport and unease now gather might and main, v. 45.

'Tis I am the stranger, visited by none, v. 116.

'Tis nothing but this! When a-sudden I see her, ix. 235.

'Tis not at every time and tide unstable, iv. 188.

'Tis you have trodden coyness-path not 1, iii. 332.

To all who unknow my love for the May, viii. 332.

To Allah will I make my moan of travail and of woe, iii. 106.

To Allah's charge I leave that moon-like beauty in your tents, iv. 145.

To even her with greeny bough were vain, i. 156.

To grief leave a heart that to love never ceased, viii. 215.

To him I spoke of coupling but he said to me, iii. 301.

To him when the wine cup is near I declare, ix. 189.

To Karím, the cream of men you gave me, ii. 35.

To kith and kin bear you sad tidings of our plight, iii. 111.

To me restore my dear, v. 55.

To our beloveds we moaned our length of night, iv. 106.

To Rose said l What gars your thorns to be put forth, viii. 276.

To severance you doom my love and all unmoved remain, i. 181.

To slay my foes is chiefest bliss I wist, ii. 239.

To th' All-wise Subtle One trust worldly things, i. 56.

To You be praise, O You who showest unremitting grace, viii. 183.

To you come I forth with my heart aflame, iii. 108.

To win our favours still your hopes are bent, vii. 224.

Told us, ascribing to his Shaykhs, our Shaykh, iv. 47.

Travel! And you will find new friends for old ones left behind, i. 197.

Troubles familiar with my heart are grown and I with them, viii. 117.

Trust not to man when you have raised his spleen, iii. 145.

Truth best befits you albeit truth, i. 298.

Turn you from grief nor care a jot! I. 56.

'Twas as I feared the coming ills discerning, ii. 189.

'Twas by will of her she was create, viii. 291.

'Twas not of love that fared my feet to them, iv. 180.

'Twas not satiety bade me leave the dearling of my soul, i. 181.

'Twixt the close-tied and open-wide no medium Fortune knows, ii. 105.

'Twixt me and riding many a noble dame, v. 266.

Two contraries and both concur in opposite charms, iv. 20.

Two hosts fare fighting you the livelong day, i. 132.

Two lovers barred from every joy and bliss, v. 240.

Two things there are, for which if eyes wept tear on tear, viii. 263.

Two things there be, an blood-tears thereover, viii. 106.

Two nests in one; blood flowing easiest wise, v. 239.

Tyrannise not, if you have the power to do so, iv. 189.

Umm Amr', your boons Allah repay! V. 118.

Under my raiment a waste body lies, v. 151.

Under these domes how many a company, vi. 91.

Union, this severance ended, shall I see some day? iii. 12.

Unjust it were to bid the world be just, i. 237.

Uns al-Wujud do deem me fancy free, v. 43.

Unto you, As'ad! I of passion pangs complain, iii. 312.

Unto your phantom deal behest, vii. 109.

Upsprings from table of his lovely cheek, vii. 277.

Veiling her cheeks with hair a-morn she comes, i. 218.

truly women are devils created for us, iii. 322.

Vied the full moon for folly with her face, viii. 291.

Virtue in hand of you has built a house, iv. 138.

Visit your lover, spurn what envy told, i. 223.

Void are the private rooms of treasury iv. 267.

Wail for the little partridges on porringer and plate, i. 131.

Wands of green chrysolite bare issue which, viii. 275.

'Ware how you hurtest man with hurt of hearts, ii. 197.

'Ware that truth you speak, albe truth when said, x. 23.

Was't archer shot me, or was't yours eyes, v. 33.

Watch some tall ship she'll joy the sight of you, ii. 20.

Watered steel-blade, the world perfection calls, vii. 173.

Waters of beauty ever his cheeks flow bright, viii. 299.

We joy in full Moon who the wine bears round, viii. 227.

We did not leave taking leave of you (when bound to other goal), viii. 63.

We lived on earth a life of fair content, v. 71.

We lived till saw we all the marvels Love can bear, v. 54.

We'll drink and Allah pardon sinners all, viii. 277.

We never heard of people nor yet espied, viii. 296.

We reck not, an our life escape from bane, vii. 99.

We tread the path where Fate has led, i. 107.

We trod the steps appointed for us, x. 53.

We trod the steps that for us were writ, ix. 226.

We were and were the days enthralled to all our wills, ii. 182.

We were like willow-boughs in garden shining, vii. 132.

We wrought them weal, they met our weal with ill, i. 43.

Welcome the Fig! To us it comes, viii. 269.

Well Allah weets that since our severance day, iii. 8.

Well Allah wots that since my severance from you, iii. 292.

Well Allah knows I am sorely plagued, v. 139.

Well learnt we, since you left, our grief and sorrow to sustain, iii. 63.

go to that pious prayerful Emir, v. 274.

Were I to dwell on heart-consuming heat, iii. 310.

Were it said to me while the flame is burning within me, vii. 282.

Were not the Murk of gender male, x. 60.

What ails the Beauty, she returns not? v. 137.

What ails the Raven that he croaks my lover's house close by, viii. 242.

What can the slave do when pursued by Fate, iii. 341.

What fair excuse is this my pining plight, v. 52.

What I left, I left it not for nobility of soul, vi. 92.

What pathway find I my desire to obtain, v. 42.

What say of one by a sickness caught, v. 164.

What say you of him by sickness waste, v. 73.

What secret kept I these my tears have told, iii. 285.

What's life to me, unless I see the pearly sheen, iii. 65.

What's this? I pass by tombs, and fondly greet, iii. 46.

What time Fate's tyranny shall oppress you, i. 119.

Whate'er they say of grief to lovers came, iii. 33.

Whatever needful thing you undertake, i. 307.

whatever is not to be no sleight shall bring to pass, ii. 279.

whatever is not to be shall never become, iii. 162.

When a nickname or little name men design, i. 350.

When Allah wills anything befall a man, i. 275.

When comes she slays she; and when back she turns, iv. 232.

When drew she near to bid adieu with heart unstrung, i. 158.

Whene'er the Lord 'gainst any man, viii. 314.

When fails my wealth no friend will deign befriend, i. 208; iv. 189.

W hen fortune weighs heavy on some of us, iii. 141.

When forwards Allah's aid a man's intent, x. 53.

When God upon a man possessed of reasoning, viii. 71.

When he who is asked a favour says "Tomorrow," i. 196.

When his softly bending shape bid him close to my embrace, iii. 306.

When I drew up her shift from the roof of her coynte, ii. 331.

When I far parted patience call and tears, vi. 279.

When I nighted:and dayed in Damascus town, i. 233.

When I think of my love and our parting smart, i. 250.

When I took up her shift and discovered the terrace-roof of her kaze, viii. 32.

When in your mother's womb you were, viii. 119.

When its birds in the lake make melody, vi. 277.

When Khalid menaced off to strike my hand, iv. 156.

When love and longing and regret;Ire mine, ii. 34.

When marl keeps honour bright without a stain, iv. 106.

When my blamer saw me beside my love, ix. 1.

When oped the inkhorn of your wealth and fame, i. 129.

When saw I Pleiad stars his glance escape, iii. 721.

When shall be healed of you this heart that ever bides in woe? ii. 296.

When shall disunion and estrangement end? iv. 137.

When shall the disappointed heart be healed of severance, iii. 58.

When shall the severance-fire be quenched by union, love, with you, viii. 62.

When she's incensed you see folk lie slain, viii. 165.

When straitened is my breast I will of my Creator pray, viii. 149.

When the Kings' King gives, in reverence pause, x. 35.

When the slanderers only to part us cared, iv. 19.

When the tyrant enters the subjects land, iii. 120.

When the World heaps favours on you, pass on, ii. 13.

When they made their camels yellow- white kneel down at dawning grey, v. 140.

When they to me had brought the leach and surely showed, v. 286.

When you.art seized of Evil Fate assume, i. 38.

When you.see parting be patient still, viii. 63.

When to sore parting Fate our love shall doom, to distant life by Destiny decreed, i. 129.

When we drank the wine, and it crept its way, x. 37.

When we met we complained, i. 249.

When will time grant we meet, when shall we be, viii. 86.

When will you be wise and love-heat allay, v. 78.

Whenas my eves behold her loveliness, vii. 244.

Whenas on any land the oppressor does alight, iii. 130.

Where are the Kings earth-peopling, where are they, vi. 103.

Where be the Earth kings who from where they 'bode, vi. 105.

Where be the Kings who ruled the Franks of old, vi. 106.

Where be the men who built and fortified, vi. 104.

Where gone is Bounty since your hand is turned to clay? ii. 282.

Where is the man who built the Pyramids? v. 107.

Where is the man who did those labours ply, vi. 105.

Where is the way to Consolation's door, viii. 240.

Where is the people who peopled in the past, vi. 104.

While girl.with softly rounded polished cheeks, iv. 249.

While slanderers slumber, longsome is my night, iii. 271.

While that fair-faced boy abode in the place, ix. 250.

While you'rt my lord whose bounty's my estate, iv. 2.

Who does kindness to men shall be paid again, v. 104.

Who loves not swan-neck and gazelle like eyes, iii. 34.

Who made all graces all collected He, iv. 111.

Who says that love.at first of free will came, ii. 307.

Who seeks for pearl in the Deep dives deep, ii. 208.

Who shall save me from love of a lovely gazelle, vii. 287.

Who shall support me in calamities, ii. 40.

Who trusts secret to another's hand, i. 87.

Whom I irk let him fly fro' me fast and faster, viii. 315.

whoever never tasted of Love's sweets and bitter-draught, iv. 237.

whoever shall see the death-day of his foe, ii. 41.

whoever two dirhams has, his lips have learnt, iv. 171.

Why do you weep when I depart and you did parting claim, v. 295.

Why not incline me to that show of silky down, iv. 258.

Why then waste I my time in grief, until, i. 256.

Will Fate with joy of union ever bless our sight, v. 128.

Will you be just to others in your love, and do, iv. 264.

Will turn your face from heart that's all yours own, v. 278.

Will tyrant play with truest friend who thinks of you each hour, iii. 269.

Wine cup and ruby wine high worship claim, x. 41.

With all my soul I'll ransom him who came to me in gloom, vii. 253.

With Allah take I refuge from whatever drivs me, iv. 254.

With fire they boiled me to loose my tongue, i. 132.

With heavy back parts, high breasts delicate, ii. 98.

With you that pear agree, whose hue amorn, viii. 270.

With you is my heart-cure a heart that goes, viii. 78.

Wither your right, O smith, which made her bear, viii. 246.

Within my heart is fire, vii. 127.

Witnesses unto love of you I've four, viii. 106.

Woe's me! Why should the blamer gar you blaming trow? ii. 305.

Women are Satans made for woe o' man, iii. 318.

Women for all the chastity they claim, iii. 216.

Women Satans are, made for woe of man, ix. 282.

Would he come to my bed during sleep 'twere delight, vii. 111.

Would Heaven I knew (but many are the shifts of joy and woe), v. 75.

Would Heaven I saw at this hour, iii. 134.

Would Heaven I know, will ever Time bring our beloveds back again? viii. 320.

Would Heaven the phantom spared the friend at night, v. 348.

Would I know for what crime shot and pierced are we, viii. 238.

Would they the lover seek without ado, viii. 281.

Wrong not your neighbour even if you have power, iii. 136.

You are the wish, the aim of me, i. 98.

You promised us and will you not keep plight? iii. 282.

Yea, Allah has joined the parted twain, ix. 205.

Yea, I will laud you while the ringdove moans, viii. 100.

Yellowness, tincturing her tho' nowise sick or sorry, iv. 259.

Yestre'en my love with slaughter menaced me, iii. 27.

You are my wish, of creatures brightest light, viii. 76.

You have honoured us visiting this our land, ii. 34.

You've roused my desire and remain at rest, viii. 101.

You're far, yet to my heart you're nearest near, viii. 111.

Your faring on the parting day drew many a tear fro' me, viii. 61.

Appendix 375

INDEX III B

ALPHABETICAL TABLE OF FIRST LINES

(METRICAL PORTION) IN ARABIC

Prepared by Dr Steingass

The Editor could not perceive that the general utility of this section stood in reasonable proportion to the effort required to edit it for non Arab speaking editors, nor of the likelihood of errors being introduced in the result.

Accordingly this section is not included in this edition. Images can be seen on internet on the many sites that reproduce this work graphically.

For guidance here is given an alphabetic index to the first lines of the pages

Index IV A, B & C combined into one table

INDEX IV A B C

COMBINED INTO ONE TABLE

Calc for the Unfinished Calcutta (1814-18) edition (First two hundred nights only) of the Arab text of the book of the thousand nights and one night.

Bresl for the contents of the Breslau (Tunis) edition of the Arabic text of the book of the thousand nights and one night, from Mr. Payne’s version.

MacNa for the contents of the MacNaghten’s or Turner Macanetext (1839-42) and Bulak edition (Ah1251 = AD 1835/6 ) of the Arabic text of the book of the thousand nights and one night, as translated by Mr. John Payne.

All tales which there is good reason to believe do not belong to the genuine Nights are marked wth an asterisk (*)

• All tales which there is good reason to believe do not belong to the genuine Nights are marked wth an asterisk

Appendix II

CONTRIBUTIONS TO THE BIBLIOGRAPHY OF THE THOUSAND AND ONE NIGHTS, AND THEIR IMITATIONS, WITH A TABLE SHOWING THE CONTENTS OF THE PRINCIPAL EDITIONS AND TRANSLATIONS OF THE NIGHTS.

By W. F. KIRBY

Author of "Ed-Dimiryaht: an Oriental Romance," "The New Arabian Nights," &c.

THE European editions of the Thousand and One Nights, even excluding the hundreds of popular editions which have nothing specially noticeable about them, are very numerous; and the following Notes must, I am fully aware, be incomplete, though they will, perhaps, be found useful to persons interested in the subject. Although I believe that editions of most of the English, French, and German versions of any importance have passed through my hands, I have not had an opportunity of comparing many in other languages, some of which at least may be independent editions, not derived from Galland. The imitations and adaptations of The Nights are, perhaps, more numerous than the editions of The Nights themselves, if we exclude mere reprints of Galland; and many of them are even more difficult of access.

In the following Notes, I have sometimes referred to tales by their numbers in the Table.

GALLAND’S MS. AND Translation.

The first MS. of The Nights known in Europe was brought to Paris by Galland at the close of the 17th century; and his translation was published in Paris, in twelve small volumes, under the title of "Les Mille et une Nuit: Contes Arabes, traduits en Francois par M. Galland." These volumes appeared at intervals between 1704 and 1717. Galland himself died in 1715, and it is uncertain how far he was responsible for the latter part of the work. Only the first six of the twelve vols. are divided into Nights, vol. 6 completing the story of Camaralzaman, and ending with Night 234. The Voyages of Sindbad are not found in Galland's MS., though he has intercalated them as Nights 69-90 between Nos. 3 and 4. It should be mentioned, however, that in some texts (Bresl., for instance) No. 133 is placed much earlier in the series than in others. .

The stories in Galland's last six vols. may be divided into two classes, viz., those known to occur in genuine texts of The Nights, and those which do not. To the first category belong Nos. 7, 8, 59, 153 and 170; and some even of these are not found in Galland's own MS., but were derived by him from other sources. The remaining tales (Nos. 191-198) do not really belong to The Nights; and, strange to say, although they are certainly genuine

Appendix II 415

Oriental tales, the actual originals have never been found. I am inclined to think that Galland may, perhaps, have written and adapted them from his recollection of stories which he himself heard related during his own residence in the East, especially as most of these tales appear to be derived rather from Persian or Turkish than from Arabian sources.

The following Preface appeared in vol. 9 which I translate from Talander's German edition, as the original is not before me:

"The two stories with which the eighth volume concludes do not properly belong to the Thousand and One Nights. They were added and printed without the previous knowledge of the translator, who had not the slightest idea of the trick that had been played upon him until the eighth volume was actually on sale. The reader must not, therefore, be surprised that the story of the Sleeper Awakened, which commences vol. 9, is written as if Scheherazade had related it immediately after the story of Ganem, which forms the greater part of vol. 8. Care will be taken to omit these two stories in a new edition, as not belonging to the work."

It is, perhaps, not to be wondered at that when the new edition was actually published,subsequently to Galland's death, the condemned stories were retained, and the preface withdrawn; though No. 170 still reads as if it followed No. 8.

The information 1 have been able to collect respecting the disputed tales is very slight. I once saw a MS. advertised in an auction catalogue (I think that of the library of the late Prof. H. H. Wilson) as containing two of Galland's doubtful tales, but which they were was not stated. The fourth and last volume of the MS. used by Galland is lost; but it is almost certain that it did not contain any of these tales (compare Payne, ix. 265 note).

The story of Zeyn Alasnam (No. 191) is derived from the same source as that of the Fourth Durwesh, in the well-known Hindustani reading-book, the Bagh o Bahar. If it is based upon this, Galland has greatly altered and improved it, and has given it the whole colouring of a European moral fairy tale.

The story of Ali Baba (No. 195) is, I have been told, a Chinese tale. It occurs under the title of the Two Brothers and the Forty-nine Dragons in Geldart's Modern Greek Tales. It has also been stated that the late Prof. Palmer met with a very similar story among the Arabs of Sinai (Payne, ix. 266).

The story of Sidi Nouman (No 194b) may have been based partly upon the Third Shaykh's Story (No. lc), which Galland omits. The feast of the Ghools is, I believe, Greek or Turkish, rather than Arabic, in character, as vampires, personified plague, and similar horrors are much commoner in the folk-lore of the former peoples.

Many incidents of the doubtful, as well as of the genuine tales, are common in European folk-lore (versions of Nos. 2 and 198, for instance, occur in Grimm's Kinder und Hausmarchen), and some of the doubtful tales have their analogues in Scott's MS, as will be noticed in due course.

I have not seen Galland's original edition in 12 vols.; but the Stadt-Bibliothek of Frankfort-on-Main contains a copy, published at La Haye, in 12 vols. (with frontispieces), made up of two or more editions, as follows:

Vol. i. (ed. 6) 1729; vols. ii. iii. iv. (ed. 5) 1729; vols. v. vi. viii. (ed. 5) 1728; vol. vii. (ed. 6) 1731; vols. ix. to xi. (ed. not noted) 1730; and vol. xii. (ed. not noted) 1731.

The discrepancies in the dates of the various volumes look (as Mr. Clouston has suggested) as if separate volumes were reprinted as required, independently of the others. This might account for vols. v. vi. and viii. of the fifth edition having been apparently reprinted before vols. ii. iii. and iv.

The oldest French version in the British Museum consists of the first eight vols., published at La Haye, and likewise made up of different editions, as follows: i. (ed. 5) 1714; ii. iii. iv. (ed. 4) 1714; v. vi. (ed. 5) 1728; vii. (ed. 5) 1719; viii. ("suivant la copie imprimée A Paris") 1714.

Most French editions (old and new) contain Galland's Dedication, "A Madame la Marquise d'O., Dame du Palais de Madame la Duchesse de Bourgogne," followed by an "Avertissement." In addition to these the La Haye copies have Fontenelle’s

Approbation prefixed to several volumes, but in slightly different words, and bearing different dates. December 27th, 1703 (vol, i.); April 14th, 1704 (vol. vi.); and October 4th, 1705 (vol. vii.). This is according to the British Museum copy; I did not examine the Frankfort copy with reference to the Approbation. The Approbation is translated in full in the old English version as follows: "I have read, by Order of my Lord Chancellor, this Manuscript, in which I find nothing that ought to hinder its being Printed. And I am of opinion that the Publick will be very well pleased with the Perusal of these Oriental Stories. Paris, 27th December, 1705 [apparently a misprint for 1703] (Signed)

FONTENELLE."

In the Paris edition of 1726 (vide infrà), Galland says in his Dedication, "Il a falla le faire venir de Syrie, et mettre en François, le premier volume que void, de quatre seulement qui m'ont été envoyez." So, also, in a Paris edition (in eight vols. 12mo) of 1832; but in the La Haye issue of 1714, we read not "quatre" but "six" volumes. The old German edition of Talander (vide infrà) does not contain Galland's Dedication (Epitre) or Avertissement.

The earliest French editions were generally in 12 vols., or six; I possess a copy of a six volume edition, published at Paris in 1726. It may be the second, as the title-page designates it as "nouvelle edition, corrigée."

Galland's work was speedily translated into various European languages, and even now forms the original of all the numerous popular editions. The earliest English editions were in six volumes, corresponding to the first six of Galland, and ending with the story of Camaralzaman; nor was it till nearly the end of the 18th century that the remaining half of the work was translated into English. The date of appearance of the first edition is unknown to bibliographers; Lowndes quotes an edition of 1724 as the oldest; but the British Museum contains a set of six vols., made up of portions of the second, third and fourth editions, as follows:

Vols. i. ii. (ed. 4) 1713; vols. iii. iv. (ed. 2) 1712; and vols. v. vi. (ed. 3) 1715.

Here likewise the separate volumes seem to have been reprinted independently of each other; and it is not unlikely that the English translation may have closely followed the French publication, being issued volume by volume, as the French appeared, as far as vol- vi. The title-page of this old edition is very quaint:

"Arabian Nights Entertainments, consisting of One thousand and one Stories, told by the Sultaness of the Indies to divert the Sultan from the Execution of a Bloody Vow he had made, to marry a Lady every day, and have her head cut off next Morning, to avenge himself for the Disloyalty of the first Sultaness, also containing a better account of the Customs, Manners and Religion of the Eastern Nations, viz., Tartars, Persians and Indians, than is to be met with in any Author hitherto published. Translated into French from the Arabian MSS. by Mr. Galland of the Royal Academy, and now done into English. Printed for Andrew Bell at the Cross Keys and Bible, in Cornhill."

The British Museum has an edition in 4to published in 1772, in farthing numbers, every Monday, Wednesday and Friday. It extends to 79 numbers, forming five volumes.

The various editions of the Old English version appear to be rare, and the set in the British Museum is very poor. The oldest edition which I have seen containing the latter half of Galland's version is called the 14th edition, and was published in London in four volumes, in 1778. Curiously enough, the "13th edition," also containing the conclusion, was published at Edinburgh in three volumes in 1780. perhaps it is a reprint of a London edition published before that of 1778. The Scotch appear to have been fond of The Nights, as there are many Scotch editions both of The Nights and the imitations.

Revised or annotated editions by Piguenit (4 vols., London, 1792) and Gough (4 vols., Edinburgh, 1798) may deserve a passing notice.

A new translation of Galland, by Rev. E. Forster, in five vols. 4to, with engravings from pictures by Robert Smirke, R.A., appeared in 1802, and now commands a higher price than any other edition of Galland. A new edition in 8vo appeared in 1810. Most of the recent popular English versions are based either upon Forster's or Scott's.

Appendix II 417

Another translation from Galland, by G. S. Beaumont (four vols. 8vo), appeared in 1811. (Lowndes writes Wiliam Beaumont.)

Among the various popular editions of later date we may mention an edition in two, vols., 8vo, published at Liverpool (1813), and containing Cazotte's Continuation; an edition published by Griffin and Co., in 1866, to which Beckford's "Vathek" is appended; an edition "arranged for the perusal of youthful readers," by the Hon. Mrs. Sugden (Whittaker & Co., 1863); and "Five Favourite Tales from The Arabian Nights in words of one syllable, by A. & E. Warner" (Lewis, 1871).

Some of the English editions of Galland aim at originality by arranging the tales in a different order. The cheap edition published by Dicks in 1868 is one instance.

An English version of Galland was published at Lucknow, in four vols., 8vo, in 1880.

I should, perhaps, mention that I have not noticed De Sacy's "Mille et une Nuit," because it is simply a new edition of Galland; and I have not seen either Destain's French edition (mentioned by Sir R. F. Burton), nor Cardonne's Continuation (mentioned in Cabinet des Fées, xxxvii. p. 83). As Cardonne died in 1784, his Continuation, if genuine, would be the earliest of all.

The oldest German version, by Talander, seems to have appeared in volumes, as the French was issued; and these volumes were certainly reprinted when required, without indication of separate editions, but in slightly varied style, and with alteration of date. The old German version is said to be rarer than the French. It is in twelve parts---some, however, being double. The set before me is clearly made up of different reprints, and the first title page is as follows: "Die Tausend und eine Nacht, worinnen seltzame Arabische Historien und wunderbare Begebenheiten, benebst artigen Liebes-Intriguen, auch Sitten und Gewohnheiten der Motgenlander, auf sehr anmuthige Weise erzehlet werden; Erstlich vom Hru. Galland, der Konigl. Academie Mitgliede aus der Arabischen Sprache in die Franzosische und aus selbiger anitzo ins Deutsche ubersetzt: Erster und Anderer Theil. Mit der Vorrede Herru Talanders. Leipzig Verlegts Moritz Georg Weidmann Sr. Konigl. Maj. in Hohlen und Churfurstl. Durchl. zu Sachsen Buchhandler, Anno 1730." Talander's Preface relates chiefly to the importance of the work as illustrative of Arabian manners and customs, &c. It is dated from "Liegnitz, den 7 Sept., Anno 1710," which fixes the approximate date of publication of the first part of this translation. Vols. i. and ii. of my set (double vol. with frontispiece) are dated 1730, and have Talander's preface; vols. iii. and iv. (divided, but consecutively paged, and with only one title-page and frontispiece and reprint of Talander's preface) are dated 1719; vols. v. and vi. (same remarks, except that Talander's preface is here dated 1717) are dated 1737; vol. vii. (no frontispiece; preface dated 1710) is dated 1721; vol. viii (no frontispiece nor preface, nor does Talander's name appear on the title-page) is dated 1729; vols. ix. and x. (divided, but consecutively paged, and with only one title-page and frontispiece; Talander's name and preface do not appear, but Galland's preface to vol. ix., already mentioned, is prefixed) are dated 1731; and vols. xi. and xii. (same remarks, but no preface) are dated 1732.

Galland's notes are translated, but not his preface and dedication.

There is a later German translation (6 vols. 8vo, Bremen, 1781-1785) by J. H. Voss, the author of the standard German translation of Homer.

The British Museum has just acquired a Portuguese translation of Galland, in 4 volumes: "As Mil e uma Noites, Contos Arabes," published by Ernesto Chardron, Editor, Porto e Braga, 1881.

There are two editions of a modern Greek work in the British Museum (1792 and 1804), published at Venice in three small volumes. The first volume contains Galland (Nos. 1-6 of the table) and vols. ii. and iii. chiefly contain the Thousand and One Days. It is, apparently, translated from some Italian work.

Several editions in Italian (Mille ed una Notte) have appeared at Naples and Milan; they are said by Sir R. F. Burton to be mere reprints of Galland.

There are, also, several in Dutch, one of which, by C. Van der Post, in 3 vols. 8vo, published at Utrecht in 1848, purports, I believe, to be a translation from the Arabic, and has been reprinted several times. The Dutch editions are usually entitled, "Arabische Vextellinge." A Danish edition appeared at Copenhagen in 1818, under the title of "Prindsesses Schehezerade. Fortallinger eller de saakatle Tusende og een Nat. Udgivna paa Dansk vid Heelegaan." Another, by Rasmassen, was commenced in 1824; and a third Danish work,.probably founded on the Thousand and One Nights, and published in 1816, bears the title, ”Digt og Eventyr fra Osterland, af arabiska og persischen utrykta kilder."

I have seen none of these Italian, Dutch or Danish editions; but there is little doubt that most, if not all, are derived from Galland's work.

The following is the title of a Javanese version, derived from one of the Dutch editions, and published at Leyden in 1865, "Eenige Vertellingen uit de Arabisch duizend en een Nacht. Naar de Nederduitsche vertaling in het Javaansch vertaald, door Winter-Roorda."

Mr. A. G. Ellis has shown me an edition of Galland's Aladdin (No. 193) in Malay, by M. Van der Lawan (?) printed in Batavia, A.D. 1869.

CAZOTTE'S CONTINUATION, AND THE COMPOSITE EDI TIONS OF THE ARABIAN NIGHTS.

We shall speak elsewhere of the Cabinet des Fées; but the last four volumes of this great collection (38 to 41), published at Geneva from 1788 to 1793, contain a work entitled, "Les Veillées du Sultan Schahriar avec la Sultane Scheherazade; histoires incroyables, amusantes et morales, traduites de 1'arabe par M. Cazotte et D. Chavis. Faisant suite aux Mille et une Nuits." Some copies bear the abridged title of "La suite des Mille et une Nuits. Contes Arabes, traduits par Dom Chavis et M. Cazotte."

This collection of tales was pronounced to be spurious by many critics, and even has been styled "a bare-faced forgery" by a writer in the Edinburgh Review of July, 1886. It is, however, certain that the greater part, if not all, of these tales are founded on genuine Eastern sources, though very few have any real claim to be regarded as actually part of the Thousand and One Nights.

Translations of the originals of most of these tales have been published by Caussin de Perceval and Gauttier; and a comparison clearly shows the great extent to which Chavis and Cazotte have altered, amplified and (in a literary sense) improved their materials.

It is rather surprising that no recent edition of this work seems to have been issued, perhaps owing to the persistent doubts cast upon its authenticity, only a few of the tales, and those not the best, having appeared in different collections. My friend, Mr. A. G. Ellis, himself an Oriental scholar, has remarked to me that he considers these tales as good as the old "Arabian Nights"; and I quite agree with him that Chavis and Cazotte's Continuation is well worthy of re-publication in its entirety.

The following are the principal tales comprised in this collection, those included in our Table from later authors being indicated.

1. The Robber Caliph, or the Adventures of Haroun Alraschid with the Princess of Persia, and the beautiful Zutulbe. (No. 246.)

2. The Power of Destiny, being the History of the Journey of Giafar to Damas, containing the Adventures of Chelih and his Family. (No. 280.)

3. History of Halechalbe and the Unknown Lady. (No. 204c.)

4. Story of Xailoun the Idiot.

5. The Adventures of Simoustapha and the Princess Ilsetilsone. (No. 247.)

6. History of Alibengiad, Sultan of Herak, and of the False Birds of Paradise.

7. History of Sinkarib and his Two Viziers. (No. 249.)

8. History of the Family of the Schebandad of Surat.

9. Story of Bohetzad and his Ten Viziers. (No. 174.)

10. Story of Habib and Dorathil-Goase. (No. 251.)

11. History of the Maugraby, or the Magician.

Appendix II 419

Of these, Nos. 4, 6, 8 and 11 only are not positively known in the original. No. 11 is interesting, as it is the seed from which Southey's "Thalaba the Destroyer" was derived.

On the word Maugraby, which means simply Moor, Cazotte has the following curious note: "Ce mot signifie barbare, barbaresque plus proprement. On jure encore par lui en Provence, en Languedoc, et en Gascogne Maugraby; ou ailleurs en France Meugrebleu."

The Domdaniel, where Zatanai held his court with Maugraby and his pupil-magicians, is described as being under the sea near Tunis. In Weil's story of Joodar and Mahmood (No. 201) the Magician Mahmood is always called the Moor of Tunis.

No. 3(= our No. 204c) contains the additional incident of the door opened only once a year which occurs in our No. 9a, aa.

Moore probably took the name Namouna from Cazotte's No. 5, in which it occurs. In the same story we find a curious name of a Jinniyah, Setelpedour. Can it be a' corruption of Sitt El Budoor?

For further remarks on Cazotte's Continuation, compare Russell's History of Aleppo, i. p. 385; and Russell and Scott, Ouseley's Oriental Collections, i. pp. 246, 247; ii. p. 25; and the "Gentleman's Magazine" for February, 1779.

An English version under the title "Arabian Tales, or a Continuation of the Arabian Nights' Entertainments," translated by Robert Heron, was published in Edinburgh in 1792 in 4 vols., and in London in 1794 in 3 vols. It was reprinted in Weber's "Tales of the East" (Edinburgh, 1812); and, as already mentioned, is included in an edition of the Arabian Nights published in Liverpool in 1813.

A German translation forms vols. 5 to 8 of the "Blaue Bibliothek," published in Gotha in 1790 and 1791; and the British Museum possesses vols. 3 and 4 of a Russian edition, published at Moscow in 1794 and 1795, which is erroneously entered in the catalogue as the Arabian Nights in Russian.

Respecting the work of Chavis and Cazotte, Sir R. F. Burton remarks, "Dom Dennis Chavis was a Syrian priest of the order of Saint Bazil, who was invited to Paris by the learned minister, Baron Arteuil, and he was assisted by M. Cazotte, a French author, then well known, but wholly ignorant of Arabic. These tales are evidently derived from native sources; the story of Bohetzad (King Bakhtiyar) and his Ten Wazirs is taken bodily from the Bres. Edit. [not so; but the original Arabic had long been known in the French libraries]. As regards the style and treatment, it is sufficient to say that the authors out Gallanded Galland, while Heron exaggerates every fault of his original."

The first enlarged edition of Galland in French was published by Caussin de Perceval, at Paris, in 9 vols., 8vo (1806). In addition to Galland's version, he added four tales (Nos. 21 a, 22, 32 and 37), with which he had been furnished by Von Hammer. He also added a series of tales, derived from MSS. in the Parisian libraries, most of which correspond to those of Cazotte.

The most important of the later French editions was published by E. Gauttier in 7 vols. in 1822; it contains much new matter. At the end, the editor gives a list of all the tales which he includes, with arguments. He has rather oddly distributed his material so as to make only 568 nights. The full contents are given in our Table; the following points require more special notice. Vol. i. Gauttier omits the Third Shaykh's story (No. 1c) on account of its indecency, although it is really no worse than any other story in The Nights. In the story of the Fisherman, he has fallen into a very curious series of errors. He has misunderstood King Yunan's reference to King Sindbad (Burton i. p. 50) to refer to the Book of Sindbad (No. 135); and has confounded it with the story of the Forty Vazirs, which he says exists in Arabic as well as in Turkish. Of this latter, therefore, he gives an imperfect version, embedded in the story of King Yunan (No. 2a). Here it may be observed that another imperfect French version of the Forty Vazirs had previously been published by Petis de la Croix under the title of Turkish Tales. A complete German version by Dr. Walter F. A. Behrnauer was published at Leipzig in 1851, and an English version by Mr. E. J. W. Gibb has appeared while these sheets are passing through the press.

Vol. ii. After No. 6 Gauttier places versions of Nos. 32 and 184 by Langles. The Mock Caliph is here called Aly-Chah. The other three tales given by Caussin de Perceval from Von Hammer's MSS. are omitted by Gauttier. Vol. v. (after No. 198) concludes with two additional tales (Nos. 207h and 218) from Scott's version. But the titles are changed, No. 207h being called the Story of the Young Prince and the Green Bird, and No. 218 the Story of Mahmood, although there is another story of Mahmood in vol. i. (= No. 135m) included as part of the Forty Vazirs.

Vol. vi. includes the Ten Vazirs (No. 174), derived, however, not from the Arabic, but from the Persian Bakhtyar Nameh. Three of the subordinate tales in the Arabic version are wanting in Gauttier's, and another is transferred to his vol. vii., but he includes one, the King and Queen of Abyssinia (No. 252), which appears to be wanting in the Arabic. The remainder of the volume contains tales from Scott's version, the title of Mazin of Khorassaun (No. 215) being altered to the Story of Azem and the Queen of the Genii.

Vol. vii. contains a series of tales of which different versions of six only (Nos. 30, 174, 246, 248, 249 and 250) were previously published. Though these have no claim to be considered part of The Nights, they are of sufficient interest to receive a passing mention, especially as Gauttier's edition seems not to have been consulted by any later writer on The Nights, except Habicht, who based his own edition mainly upon it. Those peculiar to Gauttier's edition are therefore briefly noticed.

Princess Ameny (No. 253)-A princess who leaves home disguised as a man, and delivers another princess from a black slave. The episode (253b) is a story of enchantment similar to Nos. 1a-c.

Aly Djohary (No. 254)-Story of a young man's expedition in search of a magical remedy.

The Princes of Cochin China (No. 255)-The princes travel in search of their sister who is married to a Jinni, who is under the curse of Solomon. The second succeeds in breaking the spell, and thus rescues both his brother, his sister, and the Jinni by killing a bird to which the destiny of the last is attached. (This incident is common in fiction; we find it in the genuine Nights in Nos. 154a and 201.)

The Wife with Two Husbands (No. 256)-A well-known Eastern story; it may be found in Wells' "Mehemet the Kurd," pp. 121-127, taken from the Forty Vazirs. Compare Gibbs, the 24th Vazir's Story, pp. 257-266.

The Favourite (No. 257)-One of the ordinary tales of a man smuggled into a royal harem in a chest (compare Nos. 6b and 166).

Zoussouf and the Indian Merchant (No. 258)-Story of a ruined man travelling to regain his fortune.

Prince Benazir (No. 258)-Story of a Prince promised at his birth, and afterwards given up by his parents to an evil Jinni, whom he ultimately destroys. (Such promises, especially, as here, in cases of difficult labour, are extremely common in folk-tales; the idea probably originated in the dedication of a child to the Gods.) Gauttier thinks that this story may have suggested that of Maugraby to Cazotte; but it appears to me rather doubtful whether it is quite elaborate enough for Cazotte to have used it in this manner.

Selim, Sultan of Egypt (No. 261)-This and its subordinate tales chiefly relate to unfaithful wives; that of Adileh (No. 261b) is curious; she is restored to life by Jesus (whom Gauttier, from motives of religious delicacy, turns into a Jinni!) to console her disconsolate husband, and immediately betrays the latter. These tales are apparently from the Forty Vazirs; cf. Gibbs, the 10th Vazir's Story, pp. 122-129 (= our No. 261) and the Sixth Vazir's Story, pp. 32-84 (= No. 261b.)

The bulk of the tales in Gauttier's vol. vii. are derived from posthumous MSS. of M. Langlès, and several have never been published in English. Gauttier's version of Heycar (No. 248) was contributed by M. Agoub.

The best-known modern German version (Tausend und Eine Nacht, Arabische Erzahlungen, Deutsch von Max. Habicht, Fr. H. von der Hagen und Carl Schall. Breslau, 15 vols. 12mo) is mainly based upon Gauttier's edition, but with extensive additions, chiefly

Appendix II 421 derived from the Breslau text. An important feature of this version is that it includes translations of the prefaces of the various editions used by the editors, and therefore supplies a good deal of information not always easily accessible elsewhere. There are often brief notes at the end of the volumes.

The fifth edition of Habicht's version is before me, dated 1840; but the preface to vol. i. is dated 1824, which may be taken to represent the approximate date of its first publication. The following points in the various vols. may be specially noticed:

Vol. i. commences with the preface of the German editor, setting forth the object and scope of his edition; and the prefaces of Gauttier and Galland follow. No. 1c, omitted by Gauttier, is inserted in its place. Vols. ii. and iii. (No. 133), notes, chiefly from Langlès, are appended to the Voyages of Sindbad; and the destinations of the first six are given as follows:

I. Voyage to Sumatra. IV. Voyage to the Sunda Islands.

II. Voyage to Ceylon. V. Voyage to the Sunda Islands.

III. Voyage to Selahath. VI. Voyage to Zeilan.

Vol. v. contains an unimportant notice from Galland, with additional remarks by the German editors, respecting the division of the work into Nights.

Vol. vi. contains another unimportant preface respecting Nos. 191 and 192.

Vol. x. Here the preface is of more importance, relating to the contents of the volume, and especially to the Ten Vazirs (No. 174).

Vol. xi. contains tales from Scott. The preface contains a full account of his MSS., and the tales published in his vol. vi. This preface is taken partly from Ouseley's Oriental Collections, and partly from Scott's own preface.

Vol. xii. contains tales from Gauttier, vol. vii. The preface gives the full contents of Clarke's and Von Hammer's MSS.

Vol. xiii. includes Caussin de Perceval's Preface, the remaining tales from Gauttier's vol. vii. (ending with Night 568), and four tales from Caussin which Gauttier omits (Nos. 21a, 22, 37 and 202).

Vols. xiv. and xv. (extending from Night 884 to Night 1001) consist of tales from the Breslau edition, to which a short preface, signed by Dr. Max. Habicht, is prefixed. The first of these tales is a fragment of the important Romance of Seyf Zul Yesn (so often referred to by Lane), which seems to have been mixed with Habicht's MS. of The Nights by mistake. (Compare Payne, Tales, iii. 243.)

In this fragment we have several incidents resembling The Nights; there is a statue which sounds an alarm when an enemy enters a city (cf. Nos. 59 and 137); Seyf himself is converted to the faith of Abraham, and enters a city where a book written by Japhet is preserved. The text of this story has lately been published; and Sir R. F. Burton informs me that he thinks he has seen a complete version in some European language; but I have not succeeded in obtaining any particulars concerning it.

On account of the interest and importance of the work, I append to this section an English version of the fragment translated into German by Habicht. (From the extreme simplicity of the style, which I have preserved, I suspect that the translation is considerably abridged.)

There is an Icelandic version of The Nights (púsund og ein Nott. Arabiskar Sogur. Kaupmannahofn, 1857, 4 vols. roy. 8vo), which contains Galland's tales, and a selection of others, distributed into 1001 Nights, and apparently taken chiefly from Gauttier, but with the addition of two or three which seem to be borrowed from Lane (Nos. 9a, 163, 165, &c.). It is possibly derived immediately from some Danish edition.

There is one popular English version which may fairly be called a composite edition; but it is not based upon Gauttier. This is the "Select Library Edition. Arabian Nights' Entertainments, selected and revised for general use. To which are added other specimens of Eastern Romance. London: James Burns, 1847. 2 vols."

It contains the following tales from The Nights: Nos. 134, 3, 133, 162, 1, 2, 155, 191, 193, 192, 194, 194a, 194c, 21, 198, 170, 6.

.

No. 134 is called the City of Silence, instead of the City of Brass, and is certainly based partly upon Lane. In No. 155, Manar Al Sana is called Nur Al Nissa. One story, "The Wicked Dervise," is taken from Dow's "Persian Tales of Inatulla;" another "The Enchanters, or the Story of Misnar," is taken from the "Tales of the Genii." Four other tales, "Jalaladdeen of Bagdad," "The two Talismans," "The Story of Haschem," and "Jussof, the Merchant of Balsora," clearly German imitations, are said to be translated from the German of Grimm, and there are two others, "Abdullah and Balsora," and "The King and his Servant," the origin of which I do not recognise, although I think I have read the last before.

Grimm's story of Haschem concludes with the hero's promotion to the post of Grand Vizier to HarounAl-Rashid,in consequence of the desire of the aged "Giafar" to end his days in peaceful retirement! The principal incident in Jalaladdeen, is that of the Old Woman in the Chest, borrowed from the well-known story of the Merchant Abudah in the "Tales of the Genii," and it is thus an imitation of an imitation.

THE COMMENCEMENT OF THE STORY OF SAIF ZUL YEZN (ZU'L YAZAN) ACCORDING TO HABICHT'S GERMAN VERSION.

IN very ancient times, long before the age of Mohammed, there lived a King of Yemen, named Zul Yezn. He was a Himyarite of the race of Fubbaa (Tabbá') and had large armies and a great capital. His Minister was named Yottreb (Yathrab = Medinat), and was well skilled in the knowledge of the ancients. He once had a vision in which the name of the Prophet was revealed to him, with the announcement of his mission in later times; and he was also informed that he would be the last of the Prophets. In consequence of this vision he believed in the Prophet before his advent; but he concealed his faith. One day the King held a review of his troops, and was delighted with their number and handsome appearance. He said to the Wazir, "Is there any person on earth whose power can compare with mine?" "O yes," answered the Wazir, "there is King Baal-Beg, whose troops fill the deserts and the cultivated lands, the plains and the valleys." "I must make war upon him, then," exclaimed the King, "and destroy his power." He immediately ordered the army to prepare to march, and after a few days the drums and trumpets were heard.

The King and his Wazir set forth in magnificent array, and after a rapid march, they arrived before the holy city Medina, which may God keep in high renown! The Wazir then said to the King, "Here is the holy house of God, and the place of great ceremonies. No one should enter here who is not perfectly pure, and with head and feet bare. Pass around it with your companions, according to the custom of the Arabs." The King was so pleased with the place that he determined to destroy it, to carry the stones to his own country, and to rebuild it there, that the Arabs might come to him on pilgrimage, and that he might thus exalt himself above all Kings. He pondered over this plan all night, but next morning he found his body fearfully swollen. He immediately sent for his Wazir, and lamented over his misfortune. "This is a judgment sent upon you," replied the Wazir, "by the Lord of this house. If you alter your intention of destroying the temple, you will be healed at once." The King gave up his project, and soon found himself cured. Soon afterwards he said to himself, "This misfortune happened to me at night, and left me next day of its own accord; but I will certainly destroy the house."

But next morning his face was so covered with open ulcers that he could no longer be recognised. The Wazir then approached him and said, "O King, renounce your intention, for it would be rebellion against the Lord of Heaven and Earth, who can destroy every one who opposes him." When the King heard this, he reflected awhile and said, "What would you wish me to do?" The Wazir replied, "Cover the house with carpets from Yemen." The King resolved to do this, and when night came he retired to rest. He then saw an apparition which ordered him not to march further into the country of King Baal-Beg, but to turn towards Abyssinia and Nigritia,

Appendix II 423 adding, "Remain there, and choose it as your residence, and assuredly one of your race will arise through whom the threat of Noah shall be fulfilled." When the King awoke next morning he related this to the Wazir, who advised him to use his own judgment about it., The King immediately gave orders to march. The army set forth, and after ten days they arrived at a country the soil of which seemed to consist of chalk, for it appeared quite ' white. The Wazir Yottreb then went to the King and requested his permission to found a city here for his people. "Why so?" asked the King. "Because," replied, 'Tie Wazir, "this will one day be the place of Refuge of the Prophet Mohammed, who will be sent at the end of time." The King then gave his consent, and Yottreb immediately summoned architects and surveyors, who dug out the ground, and reared the walls, and erected beautiful palaces. They did not desist from the work until the Wazir ordered a number of his people to remove to this city with their families. This was done, and their posterity inhabit the city to this day. He then gave them a scroll, and said, "He who comes to you as a fugitive to this house will be the ruler of this city."

He then called the city Yottreb after his own name, and the scroll descended from father to son till the Apostle of God arrived as a fugitive from Mecca, when the inhabitants went out to meet him, and presented him with it. They afterwards became his auxiliaries and were known as the Ansar. But we must now return to King Zul Yezn. He marched several days toward Abyssinia, and at last arrived in a beautiful and fertile country where he informed his Wazir that he would like to build a city for his subjects. He gave the necessary orders, which were diligently executed; canals were dug and the surrounding country cultivated; and the city was named Medinat El-Hamra, the Red. At last the news reached the King of Abyssinia, whose name was Saif Ar-Raad (Thunder-sword), and whose capital was called Medinat ad-Durr (the Rich in Houses). Part of this city was built on solid land and the other was built in the sea. This prince could bring an army of 600,000 men into the field, and his authority extended to the extremity of the then known world. When he was informed of the invasion of Zul Yezn, he summoned his two Wazirs, who were named Sikra Divas and Ar-Ryf. The latter was well versed in ancient books, in which he had discovered that God would one day send a Prophet who would be the last of the series. He believed this himself, but concealed it from the Abyssinians, who were still worshippers of Saturn.

When the Wazirs came before the King, he said to them, "See how the Arabs are advancing against us; I must fight them." Sikra Divas opposed this design, fearing lest the threat of Noah should be fulfilled. "I would rather advise you," he said, "to make the King a present and to send with it the most beautiful maiden in your palace. But give her poison secretly, and instruct her to poison the King when she is alone with him. If he is once dead, his army will retire without a battle." The King adopted this advice, and prepared rich presents, and summoned a beautiful girl, whose artfulness and malice were well known. Her name was Kamrya (Moonlight). The King said to her, "I have resolved to send you as a present, for a secret object. I will give you poison, and when you are alone with the Prince to whom I will send you, drop it into his cup, and let him take it. As soon as he is dead, his army will leave us in peace." "Very well, my master," replied the girl, "I will accomplish your wish." He then sent her with the other presents and a letter to the city of Zul Yezn.

But the Wazir Ar-Ryf had scarcely left the King's presence when he wrote a letter, and commanded a slave to carry it to Zul Yezn. "If you can give it to him before the arrival of the slave-girl," added he, "I will give you your freedom." The slave made all possible haste to the Arab King, but yet the presents arrived before him. A chamberlain went to the King and informed him that a messenger had arrived at the gate with presents from the King of Abyssinia, and requested permission to enter. Zul Yezn immediately ordered that he should be admitted, and the presents and the maiden were at once delivered to him. When he saw her, he was astonished at her beauty, and was greatly delighted. He immediately ordered her to be conveyed to his palace, and was very soon overcome with love for her. He was just about to dissolve the assembly to visit Kamrya, when the Wazir Yottreb detained him, saying, "Delay a while, O King, for I fear there is some treachery hidden behind this present. The Abyssinians hate the Arabs exceedingly, but are unwilling to make war with them, lest the threat of Noah should be fulfilled. It happened one day that Noah was sleeping when intoxicated with wine, and the wind uncovered him. His son Ham laughed, and did not cover him; but his other son Seth (sic) came forward, and covered him up.

When Noah awoke, he exclaimed to Ham, 'May God blacken your face!' But to Seth he said, `May God make the posterity of your brother the servants of yours until the day of Resurrection!' This is the threat which they dread as the posterity of Ham." While the King was still conversing with his Wazir, the Chamberlain announced the arrival of a messenger with a letter. He was immediately admitted, and delivered the letter, which was read by the Wazir Yottreb. Ar-Ryf had written, "Be on your guard against Kamrya, O King, for she has poison with her, and is ordered to kill you when she is alone with you." The King now began loudly to praise the acuteness of his Wazir, and went immediately to Kamrya with his drawn sword. When he entered, she rose and kissed the ground, but he exclaimed, "You have come here to poison me! " She was confounded, and took out the poison, and handed it to the King, full of artifice, and thinking, "If I tell him the truth, he will have a better opinion of me, and if he confides in me, I can kill him in some other manner than with this poison."

It fell out as she expected, for the King loved her, gave her authority over his palace and his female slaves, and found himself very happy in her possession. But she herself found her life so pleasant that, although King Ar-Raad frequently sent to ask her why she had not fulfilled her commission, she always answered, "Wait a little; I am seeking an opportunity, for the King is very suspicious." Some time passed over, and at length she became pregnant. Six months afterwards Zul Yezn fell ill; and as his sickness increased, he assembled the chief men of his Court, informed them of the condition of Kamrya, and after commending her to their protection, he ordered that if she bore a son, he should succeed him. They promised to fulfil his commands, and a few days afterwards Zul Yezn died. Kamrya now governed the country, till she brought forth a son. He was a child of uncommon beauty, and had a small mole on his cheek. When she saw the child she envied him, and said to herself, "What, shall he take away the kingdom from me? No, it shall never be;" and from this time forward she determined to put him to death.

After forty days, the people requested to see their King. She showed him to them, and seated him on the throne of the kingdom, whereupon they did homage to him, and then dispersed. His mother took him back into the Palace, but her envy increased so much that she had already grasped a sword to kill him, when her nurse entered and asked what she was going to do. "I am about to kill him," she answered. "Have you not reflected," said the nurse, "that if you kill him the people will revolt, and may kill you also?" "Let me kill him," persisted she, "for even should they kill me, too, I should at least be released from my envy." "Do not act thus," warned the nurse, "or you may repent it, when repentance cannot help you." "It must be done," said Kamrya. "Nay, then," said the nurse, "if it cannot be avoided, let him at least be cast into the desert, and if he lives, so much the better for him; but if he dies, you are rid of him for ever." She followed this advice and set out on the way at night time with the child, and halted at a distance of four days' journey, when she sat down under a tree in the desert. She took him on her lap, and suckled him once more, and then laid him on a bed, putting a purse under his head, containing a thousand gold pieces and many jewels. "Whoever finds him," she said, "may use the money to bring him up;" and thus she left him.

It happened by the gracious decree of God, that hunters who were chasing gazelles surprised a female with a fawn; the former took to flight, and the hunters carried off the little one. When the mother returned from the pasture, and found her fawn gone, she traversed the desert in all directions in search of it, and at length the crying of the deserted child attracted her. She lay down by the child, and the child sucked her. The gazelle left him again to go to graze, but always returned to the little one when she was satisfied. This went on till it pleased God that she should fall into the net of a hunter. But she became enraged, tore the net, and fled. The hunter pursued her, and overtook her when she reached the child, and was about to give him suck. But the arrival of the hunter compelled the gazelle to take to flight, and the child began to cry, because he was not yet

Appendix II 425 satisfied. The hunter was astonished at the sight, and when he lifted the child up, he saw the purse under his head, and a string of jewels round his neck. He immediately took the child with him, and went to a town belonging to an Abyssinian king named Afrakh, who was a dependent of King Saif Ar-Raad. He handed over the child to him, saying that he had found it in the lair of a gazelle. When the King took the child into his care, it smiled at him, and God awakened a feeling of love towards him in the King's heart; and he then noticed the mole on his cheek. But when his Wazir Sikar Diun, the brother of Sikar Divas, who was Wazir to King Saif Ar-Raad, entered and saw the child, God filled his heart with hate towards him. "Do not believe what this man told you," he said, when the King told him the wonderful story of the discovery, "it can only be the child of a mother who has come by it wrongly, and has abandoned it in the desert, and it would be better to kill it." "I cannot easily consent to this," said the King.

But he had hardly spoken, when. the palace was filled with sounds of rejoicing, and he was informed that his wife had just been safely delivered of a child. On this news he took the boy on his arm, and went to his wife, and found that the new-born child was a girl, and that she had a red mole on her cheek. He wondered when he saw this, and said to Sikar Diun, "See how beautiful they are!" But when the Wazir saw it, he slapped his face, and cast his cap on the ground, exclaiming, "Should these two moles unite, I prophesy the downfall of Abyssinia, for they presage a great calamity. It would be better to kill either the boy or your daughter." "I will kill neither of them," replied the King, "for the} have been guilty of no crime." He immediately provided nurses for the two children, naming his daughter Shama (Mole) and the boy Wakhs El Fellat (Lonely one, or Desert); and he reared them in separate apartments, that they might not see each other. When they were ten years old, Wakhs El Fellat grew very strong, and soon became a practised horseman, and surpassed all his companions in this accomplishment, and in feats of arms.

But when he was fifteen, he was so superior to all others, that Sikar Diun threatened the King that he would warn King Saif Ar-Raad that he was nurturing his enemy in his house, if he did not immediately banish him from the country; and this threat caused King Afrakh great alarm. It happened that he had a general, who was called Gharag El Shaker (Tree-splitter), because he was accustomed to hurl his javelin at trees, and thus to cleave them asunder. He had a fortress three days' journey from the town; and the King said to him, "Take Wakhs El Fellat to your castle, and never let him return to this neighbourhood." He added privately, "Look well after him and preserve him from all injury, and have him instructed in all accomplishments." The general withdrew, and took the boy with him to his castle, and instructed him thoroughly in all accomplishments and sciences. One day he said to him, "One warlike exercise is still unknown to you." "What is that?" said Wakhs El Fellat. "Come and see for yourself," he replied. The general then took him to a place where several trees were growing, which were so thick that a man could not embrace the trunk. He then took his javelin, hurled it at one of them, and split the trunk. Wakhs El Fellat then asked for the javelin, and performed the same feat, to the astonishment of his instructor. "Woe to you!" exclaimed he, "for I perceive that you are the man through whom the threat of Noah will be fulfilled against us. Fly, and never let yourself be seen again in our country, or I will kill you."

Wakhs El Fellat then left the town, not knowing where to go. He subsisted for three days on the plants of the earth, and at last he arrived at a town encircled by high walls, the gates of which were closed. The inhabitants were clothed in black, and uttered cries of lamentation. In the foreground he saw a bridal tent, and a tent of mourning. This was the city of King Afrakh who had reared him, and the cause of the mourning of the inhabitants was as follows. Sikar Diun was very angry that the King had refused to follow his advice, and put the boy to death, and had left the town to visit one of his friends, who was a magician, to whom he related the whole story. "What do you propose to do now?" asked the magician. "I will attempt to bring about a separation between him and his daughter," said the Wazir. "I will assist you," was the answer of the magician. He immediately made the necessary preparations, and summoned an evil Jinni named Mukhtatif (Ravisher) who inquired, "What do you require of me?" "Go quickly to the city of King Afrakh, and contrive that the inhabitants shall leave it."

In that age men had intercourse with the more powerful Jinn, and each attained their ends by means of the other. The Jinn did Sit withdraw themselves till after the advent of the Prophet. The magician continued, "When the inhabitants have left the city, they will ask you what you want. Then say, `Bring me out Shama, the daughter of your King, adorned with all her jewels, and I will come tomorrow and carry her away. But if you refuse, I will destroy your city, and destroy you all together."' When Mukhtatif 'heard the words of this priest of magic, he did as he was commanded, and rushed to the city. When Sikar Diun saw this, he returned to King Afrakh to see what would happen; but he had scarcely arrived when the voice of Mukhtatif resounded above the city. The inhabitants went to the King, and said, "You have heard what is commanded, and if you do not yield willingly, you will be obliged to do so by force." The King then went weeping to the mother of the Princess, and informed her of the calamity. She could scarcely contain herself for despair, and all in the palace wept at parting from the Princess. Meantime Shama was richly attired, torn from her parents, and hurried to the bridal tent before the town, to be carried away by the evil Jinni. The inhabitants were all assembled on the walls of the city, weeping. It was just at this moment that Wakhs El Fellat arrived from the desert, and entered the tent to see what was going on.

When King Afrakh, who was also on the wall, saw him, he cried out to him, but he did not listen, and dismounted, fastened his horse to a tent-stake, and entered. Here he beheld a maiden of extraordinary beauty and perfection, but she was weeping. While he was completely bewildered by her beauty, she was no less struck by his appearance. "Who are you?" said the maiden to him. "Tell me rather who are you?" returned he. "I am Shama, the daughter of King Afrakh." "You are Shama?" he exclaimed, "and I am Wakhs El Fellat, who was reared by your father." When they were thus acquainted, they sat down together to talk over their affairs, and she took this opportunity of telling him what had passed with the Jinni, and how he was coming to carry her away. "O, you shall see how I will deal with him," answered he, but at this moment the evil Jinni approached, and his wings darkened the sun. The inhabitants uttered a terrible cry, and the Jinni darted upon the tent, and was about to raise it when he saw a man there, talking to the daughter of the King. "Woe to you, O son of earth," he exclaimed, "what authority have you to sit by my betrothed?"

When Wakhs El Fellat saw the terrible form of the Jinni, a shudder came over him, and he cried to God for aid. He immediately drew his sword, and struck at the Jinni, who had just extended his right hand to seize him, and the blow was so violent that it struck off the hand. "What, you would kill me?" exclaimed Mukhtatif, and he took up his hand, put it under his arm, and flew away. Upon this there was a loud cry of joy from the walls of the city. The gates were thrown open, and King Afrakh approached, companied by a crowd of people with musical instruments, playing joyful music; and Wakhs El Fellat was invested with robes of honour; but when Sikar Diun saw it was gall to him. The King prepared an apartment expressly for Wakhs El Fellat, and while Shama returned to her palace, he gave a great feast in honour of her deliverance from the fiend. After seven days had passed, Shama went to Wakhs El Fellat, and said to him, "Ask me of my father tomorrow, for you have rescued me, and he will not be able to refuse you." He consented very willingly, and went to the King early next morning.

The King gave him a very favourable reception, and seated him with him on the throne; but Wakhs El Fellat had not courage to prefer his suit, and left him after a short interview. He had not long returned to his own room, when Shama entered, saluted him, and asked, "Why did you not demand me?" "I was too bashful," he replied. "Lay this feeling aside," returned she, "and demand me." "Well, I will certainly do so tomorrow," answered he. Thereupon she left him, and returned to her own apartment. Early next morning Wakhs El Fellat went again to the King, who gave him a friendly reception, and made him sit with him. But he was still unable to prefer his suit, and returned to his own room. Soon

Appendix II 427 after Shama came to him and said, "How long is this bashfulness to last? Take courage, and if not, request some one else to speak for you." She then left him, and next morning he repeated his visit to the King. "What is your request?" asked the latter. "I am come as a suitor," said Wakhs El Fellat, "and ask the hand of your noble daughter Shama." When Sikar Diun heard this, he slapped his face. "What is the matter with you?" asked the King. "This is what I have foreseen," answered he, "for if these two moles unite, the destruction of Abyssinia is accomplished." "How can I refuse him?" replied the King, "when he has just delivered her from the fiend." "Tell him," answered Sikar Diun, "that you must consult with your Wazir." The King then turned to Wakhs El Fellat, and said, "My son, your request is granted as far as I am concerned, but I leave my Wazir to arrange it with you, so you must consult him about it." Wakhs El Fellat immediately turned to the Wazir, and repeated his request to him. Sikar Diun answered him in a friendly manner. "The affair is as good as arranged, no one else is suited for the King's daughter, but you know that the daughters of the Kings require a dowry." "Ask what you please," returned Wakhs El Fellat. "We do not ask you for money or money's worth," said the Wazir, "but for the head of a man named Sudun, the Ethiopian." "Where can I find him?" said the prince. The Wazir replied, "He is said to dwell in the fortress of Reg, three days' journey from here." "But what if I fail to bring the head of Sudun?" he asked. "But you will have it," returned the Wazir; and after this understanding the audience ceased, and each returned to his dwelling.

Now this Sudun had built his fortress on the summit of a high hill. It was very secure, and he defended it with the edge of the sword. It was his usual resort, from where he sallied forth on plundering expeditions, and rendered the roads unsafe. At length the news of him reached King Saif Ar-Raad, who sent against him three thousand men, but he routed and destroyed them all. Upon this, the King sent a larger number against him, who experienced the same fate. He then despatched a third army, upon which Sudun fortified himself afresh, and reared the walls of his fortress so high that an eagle could scarcely pass them. We will now return to Shama, who went to Wakhs El Fellat, and reproached him with the conditions he had agreed to, and added, "It would be better for you to leave this place, and take me with you, and we will put ourselves under the protection of some powerful king." "God forbid," he replied, "that I should take you with me in so dishonourable a manner." As he still positively refused to consent, she grew angry, and left him. Wakhs El Fellat lay down to rest, but he could not sleep.

So he rose up, mounted his horse, and rode away at midnight; and in the morning he met a horseman who stationed himself in his path, but who was so completely armed that his face was concealed. When Wakhs El Fellat saw him, he cried to him, "Who are you, and where are you going?" But instead of replying, he pressed upon him, and aimed a blow which Wakhs El Fellat successfully parried. A fight then commenced between them, which lasted till nearly evening. At last the difference in their strength became perceptible, and Wakhs El Fellat struck his adversary so violent a blow with his javelin that his horse fell to the ground. He then dismounted, and was about to slay him, when the horseman cried to him, "Do not kill me, 0 brave warrior, or you will repent when repentance will no more avail you." "Tell me who you are?" returned Wakhs El Fellat. "I am Shama, the daughter of King Afrakh," replied the horseman. "Why have you acted thus?" he asked. "I wished to try whether you would be able to hold your own against Sudun's people," she replied. "I have tried you now, and found you so valiant that I fear no longer on your account. Take me with you, O hero." "God forbid that I should do so," he returned; "what would Sikar Diun and the others say? They would say that if Shama had not been with him, he would never have been able to prevail against Sudun."

She then raised her eyes to heaven, and said, "O God, permit him to fall into some danger from which I alone may deliver him!" Upon this Wakhs El Fellat pursued his journey, without giving any attention to her words. On the third day he arrived at the valley where the fortress of Sudun was situated, when he began to work his way along behind the trees; and towards evening he arrived at the fortress itself, which he found to be surrounded with a moat; and the gates were closed. He was still undecided what course to take, when he heard the sound of an approaching caravan; and he hid himself in the fosse of the fortress to watch it. He then saw that it was driven forward by a large body of men, and that the merchants were bound on their mules. When they arrived at the castle, they knocked at the gate; and when the troop entered, Wakhs El Fellat entered with them; and they unloaded the goods and bound the prisoners without noticing him. When the armed men had finished their work, they ascended to the castle, but he remained below. After a time, he wished to follow them, but when he trod on the first step, it gave way under him, and a dagger flew out, which struck him in the groin. Upon this his eyes filled with tears, and he already looked upon his destruction as certain, when a form came towards him from the entrance of the castle, to deliver him; and as it drew nearer, he perceived that it was Shama. He was filled with astonishment, and cried out, "God has heard your prayer! How did you come here?" "I followed your traces," she replied, "till you entered the castle, when I imitated your example, and mingled with the troops. I have now saved your life, although you have refused to take me with you; but if you wish to advance further, do not neglect to try whether each step is fixed, with the point of your sword."

He now again began to ascend, feeling the way before him, and Shama followed, till they arrived at the last stair, when they saw that the staircase ended in a revolving wheel. "Spring higher," advised Shama, "for I see a javelin which magic art has placed here." They sprang over it, and pursued their way till they reached a large anteroom, lighted by a high cupola. They stopped here awhile, and examined everything carefully. At last they approached the door of a room, and on looking through the crevices, they saw about a hundred armed negroes, among whom was a black slave who looked as savage as a lion. The room was lighted by grew candles, placed on gold and silver candlesticks. At this moment, the black said, "Slaves, what have you done with the prisoners belonging to the caravan?" "We have chained them in the prison below, and left them in the safest place," was the reply. But he continued, "If one of them was carelessly bound, he might be able to release himself and the others, and to gain possession of the stairs. Let one of you therefore go down, examine them carefully, and tighten their bonds." One of them therefore came out, and the two strangers hid themselves in the anteroom.

When he had passed them, Wakhs El Fellat stepped forward and pierced him through with his sword; Shama dragged his body aside, and they both remained quiet for a time. But as the slave remained away from his companions too long, Sudun exclaimed, "Go and see why he does not return, for I have been in great alarm ever since we entered the castle today." A second then rose and took his sword, and as he came into the anteroom, Wakhs El Fellat clove him in twain at one blow and Shama dragged his body also on one side. They again waited quietly for a time, when Sudun said, "It seems as if hunters are watching our slaves, and are killing them one after another." A third then hastened out, and Wakhs El Fellat struck him such a blow that he fell dead to the ground, and Shama dragged him also away. But as he likewise remained absent so long, Sudun himself stood up and all the others with him, and he said, "Did I not warn and caution you? There is a singing in my ears, and my heart trembles, for there must be people here who are watching our men."

He himself now came out, and the others followed him with lights and holding their hands on their swords, when one of the foremost suddenly stopped. "Why do you not advance!" cried the others. "How shall I go forward," he said, "when he who has slain our friends stands before us." This answer was repeated to Sudun when he called on them in a voice of thunder to advance. When he heard this, he forced his way through them till he perceived Wakhs El Fellat. "Who are you, Satan?" he cried, "and who brought you here?" "I came here," he replied, "to cut off your head, and destroy your memory." "Have you any blood-feud against me?" asked Sudun, "or any offence to revenge upon me?" "I have no enmity against you in my heart," said Wakhs El Fellat, "and you have never injured me; but I have asked Shama in marriage of her father, and he has demanded of me your head as a condition. Be on your guard, that you may not say I acted foully towards you." "Madman," cried Sudun, "I challenge you to a duel. Will you fight inside or outside the fortress?" "I leave that to

Appendix II 429 you," returned Wakhs El Fellat. "Well, then, await me here," was the reply. Sudun then went in, clothed himself in gilded armour, girt on a saw-like sword, and came out holding a shining club in his hand. He was so enraged that he knew not what to say, and at once attacked Wakhs El Fellat, who threw himself on his adversary like a raging lion, and they fought together like hungry wolves; but both despaired of victory. The swords spoke a hard language on the shields, and each of the combatants wished that he had never been born. When this desperate fight had lasted a long time, Shama was greatly troubled lest Sudun should prove victorious. So she seized a dagger and struck at Sudun, wounding the nerves of his hand, so that he dropped his sword, while she exclaimed to Wakhs El Fellat, "Make an end of him." "No," replied Wakhs El Fellat, "I will make him my prisoner, for he is a brave and valiant man." "With whom are you speaking?" asked Sudun. "With Shama," answered he. "What," said Sudun, "did she come with you?" "Yes," he replied. "Then let her come before me." She came forward, and Sudun said, "Is the world too narrow for your father that he could demand nothing as your dowry but my head?" "This was his desire," she answered. Wakhs El Fellat then said, "Take your sword and defend yourself, for I will not fight with you, now that it has fallen out of your hand."

But Sudun replied, "I will not fight with you, for I am wounded, so take my head, and go in peace with your bride." He then sat down and bowed his head. "If you speak truly," said Wakhs El Fellat, "separate yourself from your people." "Why so?" "Because I fear lest they may surround me, and compel me to fight with them, and there is no need for me to shed their blood." Sudun then left the castle, bowed his head, and said, "Finish your work." But Wakhs El Fellat said, "If you speak truth, come with me across the fosse of the castle into the open ground." He did so, carefully barring the castle behind him, and said, "Now take my head."

When the slaves saw this, they mounted the walls, and wept and lamented. But Shama cried out, "Take his head, and let us hasten our return before morning dawns." "What," said Wakhs El Fellat, "should I kill so brave a man in so treacherous a manner, when he is so noble and magnanimous?" He then went up to Sudun, kissed his head, and said, "Rise up, O warrior of the age, for you and your companions are safe from me." They now all embraced each other, and made an offensive and defensive compact. "Take me with you alive, O brave man," said Sudun, "and hand me over to the King as his daughter's dowry. If he consents, well; but if not, take my head, and woo your wife." "God forbid," said Wakhs El Fellat, "that I should act thus after your magnanimity. Rather return to the castle, and assure your companions of your safety." All this passed under the eyes of the other armed men. They rejoiced at the knightly conduct of both, and now came down, fell at the feet of Sudun and embraced him. They then did the same to Wakhs El Fellat, whose hands they kissed and loaded him with praises.

After this, they all returned to the castle, and agreed to set out presently. They took with them whatever treasures there were, and Wakhs El Fellat commanded them to release the prisoners and restore them their goods. They now all mounted their horses and journeyed to the country of King Afrakb, greatly rejoiced at the mutual love of the warriors. When they approached the town, Shama parted from them, that nothing should be known of her absence in the company. During this time, King Afrakh and Sikar Diun had amused themselves with hunting, jesting, and sporting, and sent out scouts daily to look for Wakhs El Fellat. "What can have become of him?" said the King once to Sikar Diun. "Sudun has certainly killed him," replied the latter, "and you will never see him again." While they were thus talking, they observed a great cloud of dust, and as it drew nearer, they could see the armed men more distinctly. The company was led by a black knight, by whose side rode a younger white horseman. When the King saw this, he exclaimed, "Wakhs El Fellat has returned, in company with Sudun and his host." "Wait a little," replied Sikar Diun, "till we are certain of it."

But when they drew nearer, and they could doubt no longer, Sikar Diun mounted his horse and fled, accompanied by the King and his followers, till they reached the town, and barred the gates. They then watched from the walls, to see what would happen. When they saw that the strangers dismounted and pitched tents, the King thought it was a good sign. He therefore ordered the town to be decorated, and the gates to be opened, and rode out, attended by a considerable escort, and approached the tents. The other party now mounted their horses to go to meet them. When they approached each other, King Afrakh was about to dismount, but Wakhs El Fellat would not allow it, and the King embraced him, and congratulated him on his safety. He then saluted Sudun also, but the latter did not return his salutation. He invited him to enter the town, but he declined, as did Wakhs El Fellat likewise, who did not wish to part from his companions. The King returned accompanied only by his own people, and prepared the best reception for the new-comers.. On the following morning the King held a general council, at which Sikar Diun appeared greatly depressed. "Did I not warn you beforehand," he said to the King, "what you now see for yourself of this evil-doer? Did we not send him to bring the head of Sudun, and he returns with him safe and sound, and on the best of terms, while our hearts are oppressed with anxiety?" "You may be right," replied the King, "but what are we to do now?"

This conversation was interrupted by a tumult caused by the arrival of Wakhs El Fellat and Sudun, who came to pay their respects to the King. The King invited them to sit down, but Sudun remained standing, and when he asked him again, he replied, "You craven, was the world too narrow for you that you desired my head as your daughter's. dowry?" "Sit down," said the King, "for I know that you are angry." "How can I sit down," returned Sudun, "when you have ordered my death?" "God forbid that I should act so unjustly," said the King; "it was Sikar Diun." "What," he said, "do you accuse me of such an action in my presence?" "Did you not make this condition with Wakhs El Fellat," said the King, "and send him on his errand?" Sikar Diun then turned to Sudun, and said, "Sit down, brave warrior, for we only did so from love to you, that we might be able to make a treaty with you, and that you might join our company." After this answer, Sudun concealed his anger, and sat down. Refreshments were now brought in, and after partaking of them, Wakhs El Fellat and Sudun returned to their tents. Several days passed in this manner, and at length Sudun said to Wakhs El Fellat, "O my master, it is time for you to demand Shama in marriage, now you have won her with the edge of the sword. You have fulfilled their conditions long since by bringing them my head, but you have made no further progress at present. Ask for her once more, and if they will not give her up, I will fall upon them with the sword, and we will carry Shama off, and then lay waste the city." "I will demand her as my wife again tomorrow," replied the other.

When he went to the palace next day, he found the King and all the court, assembled. When they saw him, they all rose from their seats, and when they sat down again, he alone remained standing. "Why do you not sit down," said the King, "for all your wishes are now fulfilled?" "I have still to ask for Shama," he replied. "You know," returned the King, "that ever since her birth I have allowed Sikar Diun to make all arrangements for her." He now turned to Sikar Diun, who replied in a friendly tone, "She is yours, for you have fulfilled the conditions, and you have only now to give her ornaments." "What kind of ornaments?" he asked. "Instead of ornaments," replied the traitor, "we desire to receive a book containing the history of the Nile. If you bring it us, she is wholly yours, but if not, there is no marriage to be thought of." "Where is it to be found?" "I cannot tell you myself." "Well, then," returned Wakhs El Fellat, "if I do not bring you the book, Shama is lost to me; all present are witnesses to this." He went out with these words, pushing his way through the crowded assembly, and Sudun behind him, till they reached their tents. "Why did you promise that," said Sudun, "let us rather overcome them with the sword, and take Shama from them." "Not so," replied Wakhs El Fellat, "I will only possess her honourably." "And yet you do not even know how to find the book," said Sudun; "rather listen to my advice, retire to my fortress, and leave me in their power." "I would never act thus," said Wakhs El Fellat, "though I should suffer death." After these and similar speeches, supper was brought in, and each retired to his sleeping apartment. But Wakhs El Fellat had scarcely entered his room when Shama came in. "What have you done," she said, "and what engagement have you undertaken? How can you fulfil this condition? Do you not see that their only object is to destroy you, or at least to.

Appendix II 431 get rid of you? I have come to warn you again, and I say to you once more, take me with you to Sudun's castle, where we can live at peace, and do not act as they tell you." "I will carry out my engagement," he replied; "I will not possess you like a coward, even though I should be cut to pieces with swords." Upon this, Shama was angry and left him, while he lay down to rest, but could not sleep. He therefore rose up, saddled and mounted his horse and rode away, without knowing where, abandoning himself wholly to the will of God. He wandered about thus for several days, until he reached a lonely tower. He knocked at the door, and a voice answered, "Welcome, O you who have separated yourself from your companions; enter without fear, O brave Saif, son of Zul Yezn." When he pushed the door it opened, and his eyes beheld a noble and venerable old man, from whose appearance it was at once obvious that he busied himself with the strictest life and fear of God. "Welcome," he cried again; "if you had travelled from east to west you would have found no one who could show you how to obtain the book you seek as well as I can, for I have dwelt here awaiting your arrival for sixty years." "But that was before I was born," said Wakhs El Fellat to himself. He then asked aloud, "By what name did you address me just now?" "O Saif," answered the old man, "that is your true name, for you are a sword (Saif) to the Abyssinians; but whom do you worship?" "O my master," was the reply, "the Abyssinians worship Saturn (Sukhal) but I am in perplexity, and know not whom to worship." "My son," replied the old man, "worship Him who has reared the heavens over us without pillars, and who has rested the earth on water; the only and eternal God, the Lord who is only and alone to be reverenced. I worship Him and none other beside him, for I follow the religion of Abraham." "What is your name?" asked Wakhs El Fellat. "I am called Shaikh Gyat." "What declaration must I make," he asked the old man, "to embrace your religion?" "Say `There is no God but God, and Abraham is the Friend of God.'

If you make this profession, you will be numbered among the believers." He at once repeated the formula, and Shaikh Gyat was much pleased, and devoted the night to teaching him the history of Abraham and his religion, and the forms of worship. Towards morning he said, "O my son, whenever you advance to battle, say, `God is great, grant me victory, O God, and destroy the infidels,' and help will be near you. Now pursue your journey, but leave your horse here until your return. Enter the valley before you, under the protection of God, and after three days you will meet some one who will aid you." Wakhs El Fellat set out on that road, and after three days he met a horseman who saluted him, and exclaimed, "Welcome, Saif Zul Yezn, for you bring happiness to this neighbourhood." Saif returned his salutation, and asked, "How do you know me, and how do you know my name?" "I am not a brave or renowned warrior," was the answer, "but one of the maidens of this country and my mother taught me your name." "What is your name and that of your mother?" "My mother's name is Alka," she answered, "and I am called Taka."

When he heard this he was greatly rejoiced, for he remembered that Shaikh Gyat had said to him, "O you, whose destiny will be decided by Alka and Taka." "O noble virgin," he said, "where is your mother, Alka?" "Look round," she replied; and he saw a very large and lofty city at some distance. "Know," she said, "that 360 experienced philosophers dwell in that city. My mother Alka is their superior, and directs all their affairs and actions. She knew that you would come to this neighbourhood in search of a book concerning the Nile, which was written by Japhet, the son of Noah, and she wishes you to attain your end by her means. She also informed me of your coming, and promised me to you, saying, You shall have no other husband but him.' We expected you today, and she sent me to meet you, adding, Warn him not to enter the town by daylight, or it will be his destruction.' Wait here, therefore, till nightfall, and only approach the city after dark. Turn to the right along the wall, and stand still when you reach the third tower, where we will await you. As soon as we see you we will throw you a rope; bind it round your waist, and we will draw you up. The rest will be easy." "But why need you give yourselves all this trouble?" said Saif Zul Yezn. "Know," she replied, "that the inhabitants of this city have been informed of your approaching arrival by their books, and are aware that you are about to carry away their book, which they hold in superstitious reverence. On the first day of each month they repair to the building where it is preserved; and they adore it and seek counsel from it respecting their affairs. They have also a king whose name is Kamrun.

When they knew that you were coming for the book they constructed a talisman against you. They have made a copper statue, and fixed a brazen horn in its hand, and have stationed it at the gate of the city. If you enter, the statue will sound the horn and it will only do so upon, your arrival. They would then seize you and put you to death. On this account we desire to baffle their wisdom by drawing you up to the walls of the city at another place." "May God reward you a thousand fold," he replied; "but go now, and announce my arrival to your mother." She went away, and he approached the city in the darkness of night, and turned towards the third tower on the right, where he found Alka and Taka. When they recognised him, they immediately threw him the rope, which he fastened about him. When he was drawn up, they descended from the wall, and were about to proceed to Alka's house, when the talisman suddenly acted, and the statue blew the horn loudly. "Hasten to our house," cried Alka; and they succeeded in reaching it safely and barred the doors, when the noise increased. The whole population of the city rose up, and the streets were filled. "What is this disturbance about?" asked Saif. "This is all due," replied Alka, "to the alarm sounded by the statue, because you have entered the town. There will be a great meeting held tomorrow, where all the wise men will assemble, to attempt to discover the whereabouts of the intruder; but by God's help, I will guide them wrong, and confuse their counsels. Go to our neighbour the fisherman," added she to her daughter, "and see what he has caught."

She went, and brought news that he had taken a large fish, of the size of a man. "Take this piece of gold," he said mother, "and bring us the fish;" and when she did so, she told her to clean it, which was done. Food was then brought in, and they ate and talked. The night passed quietly, but on the following morning Alka ordered Saif Zul Yezn to undress, and to hide in the skin of the fish. She put her mouth to the mouth of the fish, and took a long rope, which she fastened under Saif's armpits. She then let him down into a deep well, and fastened him there, saying, "Remain here, till I come back." She then left him, and went to the great hall of the King, where the divan was already assembled, and the King had taken his seat on the throne. All rose up when she entered, and when she had seated herself, the King said to her, "O mother, did you not hear the blast of the horn yesterday, and why did you not come out with us?" "I did hear it," she replied, "but I did not heed it." "But you know," he said, "that the sound can only be heard upon the arrival of the stranger who desires to take the book." "I know it, O King; but permit me to choose forty men from among those assembled here."

She did so, and selected ten from among the forty again. She then said to them, "Take a Trakhtramml (sandboard on which the Arabs practise geomancy and notation) and look and search." They did so, but had scarcely finished when they looked at each other in amazement. They destroyed their calculation, and began a second, and confused this too, and began a third, upon which they became quite confounded. "What are you doing there?" asked the King at last. "You go on working and obliterating your work; what have you discovered?" "O King," replied they, "we find that the stranger has entered the town, but not by any gate. He appears to have passed in between Heaven and earth, like a bird. After this, a fish swallowed him, and carried him down into some dark water." "Are you fools?" asked the King angrily; and turning to Alka, continued, "Have you ever seen a man flying between Heaven and earth, and afterwards swallowed by a fish, which descends with him into dark water?" "0 King," she replied, "I always forbid the wise men to eat heavy food, for it disturbs their understanding and weakens their penetration; but they will not heed me."

At this the King was angry, and immediately drove them from the hall. But Alka said, "It will be plain tomorrow what has happened." She left the hall, and when she reached home, she drew Saif Zul Yezn out of the well, and he dressed himself again. They sat down, and Alka said, "I have succeeded in confounding their deliberations today! And there will be a great assembly tomorrow, when I must hide you in a still more out-of-the-way place." After this they supped, and went to rest. Next morning Alka called her daughter, and said, "Bring me the gazelle." When it was

Appendix II 433 brought her, she said, "Bring me the wings of an eagle." Taka gave them to her, and she bound them on the back of the gazelle. She then took a pair of compasses, which she fixed in the ceiling of the room. She next took two other pairs of compasses, and tied one between the fore feet, and the other between the hind feet of the gazelle. She then tied a rope to the compasses in the roof, and the two ends to the other pairs. But she made Saif Zul Yezn lie down in such a position that his head was between the feet of the gazelle. She then said to him, "Remain here till I come back"; and went to the King, with whom she found a very numerous assemblage of the wise men. As soon as she entered, the King made her sit beside him on the throne. "O my mother Alka," he said, "I could not close an eye last night from anxiety concerning yesterday's events." "Have you no wise men," returned she, "who eat the bread of the divan?" She then turned to them, saying, "Select the wisest among you!" And they chose the wisest among them. She ordered them to take the sandboard again, but they became so confused that they were obliged to begin again three times from the beginning. "What do you discover?" said the King angrily. "O our master," replied they, "he whom we seek has been carried away by a beast of the desert, which is flying with him between Heaven and earth." "How is this?" said the King to Alka; "have you ever seen anything like it?"

He seized his sword in a rage, and three fled, and he killed four of the others. When Alka went home, she released Saif, and told him what had happened. Next morning Alka took the gazelle, and slaughtered it in a copper kettle. She then took a golden mortar, and reversed it over it, and said to Saif Zul Yezn, "Sit on this mortar till I come back. “She then went to the divan, and chose out six wise men, who again took the sandboard, and began again three times over in confusion. "Alas," said the King, in anger, "What misfortune do you perceive?" "O our master," they exclaimed in consternation, "our understanding is confused, for we see him sitting on a golden mountain, which is in the midst of a sea of blood, surrounded by a copper wall." The King was enraged, and broke up the assembly, saying, "O Alka, I will now depend on you alone." "tomorrow I will attempt to show you the stranger," she replied. When she came home, she related to Saif what had happened, and said, "I shall know by tomorrow what to tell the King to engage his attention, and prevent him from pursuing you."

Next morning she found Taka speaking to Saif Zul Yezn alone; and she he asked, "What does he wish?" "Mother," replied Taka, "he wishes to go to the King's palace, to see him and the divan." "What you wish shall be done," she said to Saif, "but you must not speak." He assented to the condition, and she dressed him as her attendant, gave him a sandboard, and went with him to the King, who said to her, "I could not sleep at all last night, for thinking of the stranger for whom we are seeking." "Now that the affair is in my hands," returned she, "you will find me a sufficient protection against him." She immediately ordered Saif to give her the sandboard. She took it, and when she had made her calculations, she said joyfully to the King, "O my lord, I can give you the welcome news of the flight of the stranger, owing to his dread of you and your revenge." When the King heard this, he rent his clothes, slapped his face, and said, "He would not have departed, without having taken the book." "I cannot see if he has taken anything," she replied. "This is the first of the month," said the King, "come and let us see if it is missing."

He then went with a large company to the building where the book was kept. Alka turned away from the King for a moment to say to Saif, "Do not enter with us, for if you enter, the case will open of itself, and the book will fall into your hands. This would at once betray you, and you would be seized and put to death, and all my labour would have been in vain." She then left him, and rejoined the King. When they reached the building, the doors were opened, and when the King entered, they found the book. They immediately paid it the customary honours, and protracted this species of worship, while Saif stood at the door, debating with himself whether to enter or not. At last his impatience overcame him, and he entered, and at the same instant the casket was broken to pieces, and the book fell out. The King then ordered all to stand up, and the book rolled to Saif Zul Yezn. Upon this all drew their swords, and rushed upon him. Saif drew his sword also, and cried, "God is great!" As Shaikh Gyat had taught him. He continued to fight and defend himself, and struggled to reach the door. The entire town arose in tumult to pursue him, when he stumbled over a dead body, and was seized. "Let me not see his face," cried the King, "but throw him into the mine."

This mine was eighty yards deep, and had not been opened for sixty years. It was closed by a heavy leaden cover, which they replaced, after they had loaded him with chains, and thrown him in. Saif sat within it the darkness, greatly troubled, and lamenting his condition to Him who never sleeps. Suddenly, a side wall of the my opened, and a figure came forth which approached and called him by his name. "Who are you?" asked Saif. "I am a woman named Akissa, and inhabit the mountain where the Nile rises. We are a nation who hold the faith of Abraham. A very pious man lives below us in a beautiful palace. But an evil Jinni named Mukhtatif lived near us also, who loved me, and demanded me in marriage of my father. He consented from fear, but I was unwilling to marry an evil being who was a worshipper of fire. 'How can you promise me in marriage to an infidel?' I said to my father. I shall by that escape his malice myself,' he replied. I went out and wept, and complained to the pious man about the affair. Do you know who will kill him?' he said to me, and I answered, No.' I will direct you to him who has cut off his hand,' he said. 'His name is Saif Zul Yezn, and he is now in the city of King Kamrun, in the mine.'

Thereupon he brought me to you, and I come as you see me, to guide you to my country, that you may kill Mukhtatif, and free the earth from his wickedness." She then moved him, and shook him, and all his chains fell off. She lifted him on her shoulders, and carried him to the palace of the Shaikh, who was named Abbas Salam. Here he heard a voice crying, "Enter, Saif Zul Yezn." He did so, and found a grave and venerable old man, who gave him a very friendly reception, saying, "Wait till tomorrow, when Akissa will come to guide you to the castle of Mukhtatif." He remained with him for the night, and when Akissa arrived next morning, the old man told her to hasten, that the world might be soon rid of the monster. They then left this venerable man, and when they had walked awhile, Akissa said to Saif, "Look before you." He did so, and perceived a black mass at some distance. "This is the castle of the evil-doer," she said, "but I cannot advance a step further than this." Saif therefore pursued his way alone, and when he came near the castle, he walked round it to look for the entrance. As he was noticing the extraordinary height of the castle, which was founded on the earth, but appeared to overtop the clouds, he saw a window open, and several people looked out, who pointed at him with their fingers, exclaiming, “That is he, that is he!" They threw him a rope, which they directed him to bind round him. They drew him up by it, when he found himself in the presence of three hundred and sixty damsels, who saluted him by his name.

---

(Here Habicht's fragment ends.)

SCOTT'S MSS. AND TRANSLATIONS.

In 1800, Jonathan Scott, LL.D., published a volume of "Tales, Anecdotes, and Letters, translated from the Arabic and Persian," based upon a fragmentary MS., procured by J. Anderson in Bengal, which included the commencement of the work (Nos. 1-3) in 29 Nights; two tales not divided into Nights (Nos. 264 and 135) and No. 21.

Scott's work includes these two new tales (since republished by Kirby and Clouston), with the addition of various anecedotes, &c., derived from other sources. The "Story of the Labourer and the Chair" has points of resemblance to that of "Malek and the Princess Chirine" (Shirin?) in the Thousand and One Days; and also to that of "Tuhfet El Culoub" (No. 183a) in the Breslau Edition. The additional tales in this MS. and vol. of translations are marked "A" under Scott in our Tables. Scott published the following specimens (text and translation) in Ouseley's Oriental Collections (1797 and following years) No. 135m (i. pp. 245-257) and Introduction (ii. pp. 160-172; 228-257). The contents are fully given in Ouseley, vol. ii. pp. 34, 35.

Appendix II 435

Scott afterwards acquired an approximately complete MS. in 7 vols., written in 1764, which was brought from Turkey by E. Wortley Montague. Scott published a table of contents (Ouseley, ii. pp. 25-34), in which, however, the titles of some few of the shorter tales, which he afterwards translated from it, are omitted, while the titles of others are differently translated. Thus "Greece" of the Table becomes "Yemen" in the translation; and "labourer" becomes "sharper." As a specimen, he subsequently printed the text and translation of No. 145 (Ouseley, ii. pp. 349-367).

This MS., which differs very much from all others known, is now in the Bodleian Library at Oxford.

In 1811, Scott published an edition of the Arabian Nights' Entertainments, in 6 vols., vol. 1 containing a long introduction, and vol. 6, including a series of new tales from the Oxford MS. (There is a small paper edition; and also a large paper edition, the latter with frontispieces, and an Appendix including a table of the tales contained in the MS.) It had originally been Scott's intention to retranslate the MS.; but he appears to have found it beyond his powers. He therefore contented himself with re-editing Galland, altering little except the spelling of the names, and saying that Galland's version is in the main so correct that it would be useless repetition to go over the work afresh. Although he says that he found many of the tales both immoral and puerile, he translated most of those near the beginning, and omitted much more (including several harmless and interesting tales, such as No. 152) towards the end of his MS. than near the beginning. The greater part of Scott's additional tales, published in vol. 6, are included in the composite French and German editions of Gauttier and Habicht; but, except Nos. 208, 209, and 215, republished in my "New Arabian Nights," they have not been reprinted in England, being omitted in all the many popular versions which are professedly based upon Scott, even in the edition in 4 vols., published in 1882, which reprints Scott's Preface.

The edition of 1882 was published about the same time as one of the latest re-issues of Lane's Thousand and One Nights; and the Saturday Review of Nov. 4, 1882 (p. 609), published an article on the Arabian Nights, containing the following amusing passage: "Then Jonathan Scott, LL.D. Oxon, assures the world that he intended to retranslate 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."

The most interesting of Scott's additional tales, with reference to ordinary editions of The Nights, are as follows:

No. 204b is a variant of No. 37.

No. 204c is a variant of 3e, in which the wife, instead of the husband, acts the part of a jealous tyrant. (Compare Cazotte's story of Halechalbe.)

No. 204e. Here we have a reference to the Nesnas, which only appears once in the ordinary versions of The Nights (No. 132b; Burton, v., p. 333).

No. 206b. is a variant of No. 156.

No. 207c. This relates to a bird similar to that in the jealous Sisters (No. 198), and includes a variant of 36a.

No. 207h. Another story of enchanted birds. The prince who seeks them encounters an "Oone" under similar circumstances to those under which Princess Parizade (No. 198) encounters the old durwesh. The description is hardly that of a Marid, with which I imagine the Ons are wrongly identified.

No. 208 contains the nucleus of the famous story of Aladdin (No. 193).

No. 209 is similar to No. 162; but we have again the well incident of No. 3ba, and the exposure of the children as in No. 198.

No. 215. Very similar to Hasan of Bassorah (No. 155). As Sir R. F. Burton (vol. viii., p. 60, note) has called in question my identification of the Islands of Wak-Wak with the Au Islands near New Guinea, I will quote here the passages from Mr. A. R. Wallace's Malay Archipelago (chap. 31) on which I based it:-"The trees frequented by the birds are very lofty.... One day I got under a tree where a number of the Great Paradise birds were assembled, but they were high up in the thickest of the foliage, and flying and jumping about so continually that I could get no good view of them.... Their voice is most extraordinary. At early morn, before the sun has risen, we hear a loud cry of `Wawk-wawk-wawk, wok-wok-wok,' which resounds through the forest, changing its direction continually. This is the Great Bird of Paradise going to seek his breakfast. The birds had now commenced what the people here call 'sacaleli,' or dancing-parties, in certain trees in the forest, which are not fruit-trees as I at first imagined, bit which have an immense head of spreading branches and large but scattered leaves, giving a clear space for the birds to play and exhibit their plumes. On one of these trees a dozen or twenty full-plumaged male birds assemble together, raise up their wings, stretch out their necks, and elevate their exquisite plumes, keeping them in a continual vibration. Between whiles they fly across from branch to branch in great excitement, so that the whole tree is filled with waving plumes in every variety of attitude and motion."

No. 216bc appears to be nearly the same as No. 42.

No. 225 is a variant of No. 135q.

WEIL'S TRANSLATION.

The only approximately complete original German translation is "Tausend und eine Nacht. Arabische Erzahlungen. Zum Erstenmale aus dem Urtexte vollstandig und treu abersetzt von Dr. Gustav Weil," four vols., Stuttgart. The first edition was in roy. 8vo, and was published at Stuttgart and Pforzheim in 1839-1842; the last volume I have not seen; it is wanting in the copy in the British Museum. This edition is divided into Nights, and includes No. 25b. In the later editions, which are in small square 8vo, but profusely illustrated, like the larger one, this story is omitted (except No. 135m, which the French editors include with it), though Galland's doubtful stories are retained; and there is no division into Nights. The work has been reprinted several times, and the edition quoted in our Table is described as "Zweiter Abdruck der dritten vollstandig umgearbeiteten, mit Anmerkungen und mit einer Einleitung versehenen Auflage" (1872).

Weil has not stated from what sources he drew his work, except that No. 201 is taken from a MS. in the Ducal Library at Gotha. This is unfortunate, as his version of the great transformation scene in No. 36 (Burton, vol. i., pp. 134, 135), agrees more closely with Galland than with any other original version. In other passages, as when speaking of the punishment of Aziz (No. 9a, aa), Weil seems to have borrowed an expression from Lane, who writes "a cruel wound;" Weil saying "a severe (schwere) wound."

Whereas Weil gives the only German version known to me of No. 9 (though considerably abridged) he omits many tales contained in Zinserling and Habicht, but whether because his own work was already too bulky, or because his original MSS. did not contain them, I do not know; probably the first supposition is correct, for in any case it was open to him to have translated them from the printed texts, to which he refers in his Preface.

Two important stories (Nos. 200 and 201) are not found in any other version; but as they are translated in my "New Arabian Nights," I need not discuss them here. I will, however, quote a passage from the story of Judar and Mahmood, which I omitted because it is not required by the context, and because I thought it a little out of place in a book published in a juvenile series. It is interesting from its analogy to the story of Semele.

When King Kashuk (a Jinni) is about to marry the daughter of King Shamkoor, we read (New Arabian Nights, p. 182), "Shamkoor immediately summoned my father, and said, `Take my daughter, for you have won her heart.' He immediately provided an outfit for his daughter, and when it was completed, my father and his bride rode away on horseback, while the trousseau of the Princess followed on three hundred camels." The passage proceeds (the narrator being Daruma, the offspring of the marriage), "When my father had returned home, and was desirous of celebrating his marriage Kandarin (his Wazir)

Appendix II 437 said to him, 'Your wife will be destroyed if you touch her, for you are created of fire, and ' she is created of earth, which the fire devours. You will then bewail her death when it is too late. tomorrow,' he continued, `I will bring you an ointment with which you must rub both her and yourself; and you may then live long and happily together.' On the following day he brought him a white ointment, and my father anointed himself and his bride with it, and consummated his marriage without danger."

I may add that this is the only omission of the smallest consequence in my rendering of either story.

I have heard from more than one source that a complete German translation of The Nights was published, and suppressed; but I have not been able to discover the name of the author, the date, or any other particulars relating to the subject.

VON HAMMER’S MS., AND THE TRANSLATIONS DERIVED FROM IT.

Several complete copies of The Nights were obtained by Europeans about the close of the last or the beginning of the present century; and one of these (in 4 vols.) fell into the hands of the great German Orientalist, Joseph von Hammer. This MS. agrees closely with the printed Bul. and Mac. texts, as well as with Dr. Clarke's MS., though the names of the tales sometimes vary a little. One story, "The two Wazirs," given in Von Hammer's list as inedited, no doubt by an oversight, is evidently No. 7, which bears a similar title in Torrens. One title, "Al Kavi," a story which Von Hammer says was published in "Mag. Encycl.," and in English (probably by Scott in Ouseley's Oriental Collections, vide anteil p. 491) puzzled me for some time; but from its position, and the title I think I have identified it as No. 145, and have entered it as such. No. 9a in this as well as in several other MSS., bears the title of the Two Lovers, or of the Lover and the Beloved.

Von Hammer made a French translation of the unpublished tales, which he lent to Caussin de Perceval, who extracted from it four tales only (Nos. 21a, 22, 32 and 37), and only acknowledged his obligations in a general way to a distinguished Orientalist, whose name he pointedly suppressed. Von Hammer, naturally indignant, reclaimed his MS., and had it translated into German by Zinserling. He then sent the French MS. to De Sacy, in whose hands it remained for some time, although he does not appear to have made any use of it, when it was despatched to England for publication; but the courier lost it on the journey, and it was never recovered.

Zinserling's translation was published under the title, "Der Tausend und einen Nacht noch nicht ubersetzte Mahrchen, Erzahlungen und Anekdoten, zum erstenmale aus dem Arabischen in's Franzosische ubersetzt von Joseph von Hammer, und aus dem Franzosischen in's Deutsche von Aug. E. Zinserling, Professor." (3 vols., Stuttgart and Tubingen, 1823.) The introductory matter is of considerable importance, and includes notices of 12 different MSS., and a list of contents of Von Hammer's MS. The tales begin with No. 23,

Nos. 9-19 being omitted, because Von Hammer was informed that they were about to be published in France. (This possibly refers to Asselan Riche's "Scharkan," published in 1829.) The tales and anecdotes in this edition follow the order of The Nights. No. 163 is incomplete, Zinserling giving only the commencement; and two other tales (Nos. 132b and 168) are related in such a confused manner as to be unintelligible, the former from transposition (perhaps in the sheets of the original MS.) and the latter from errors and omissions. On the other hand, some of the tales (No. 137 for instance) are comparatively full and accurate.

A selection from the longer tales was published in English in 3 vols. in 1826, under the title of "New Arabian Nights Entertainments, selected from the original Oriental MS. by Jos. von Hammer, and now first translated into English by the Rev. George Lamb." I have only to remark that No. 132b is here detached from its connection with No. 132, and is given an independent existence.

A complete French re-translation of Zinserling's work, also in 3 vols., by G. S. Trébutien (Contes inédits des Mille et une Nuits), was published in Paris in 1828; but in this edition the long tales are placed first, and all the anecdotes are placed together last. The various MSS. mentioned by Von Hammer are as follows;

I. Galland's MS, in Paris.

II. Another Paris MS., containing 870 Nights. (No. 9 is specially noticed as occurring in it.) This seems to be the same as a MS. subsequently mentioned by Von Hammer as consulted by Habicht.

III. Scott's MS. (Wortley Montague).

IV. Scott's MS. (Anderson).

V. Dr. Russell's MS. from Aleppo (224 Nights).

VI. Sir W. Jones' MS., from which Richardson extracted No. 6ee for his grammar. VII. A. MS. at Vienna (200 Nights).

VIII. MS. in Italinski's collection.

IX. Clarke's MS.

X. An Egyptian MS. at Marseilles.

XI. Von Hammer's MS.

XII. Habicht's MS. (= Bres. text).

XIII. Caussin's MS.

XIV. De Sacy's MS.

XV. One or more MSS. in the Vatican.

TRANSLATIONS OF THE PRINTED TEXTS.

These are noticed by Sir R. F. Burton in his "Foreword" (vol. L, pp. x-xii.) and consequently can be passed over with a brief mention here.

Torrens' edition (vol. 1) extends to the end of Night 50 (Burton, ii., p. 118).

Lane's translation originally appeared in monthly half-crown parts, from 1839 to 1841. It is obvious that he felt himself terribly restricted in space; for the third volume, although much thicker than the others, is not only almost destitute of notes towards the end, but the author is compelled to grasp at every excuse to omit tales, even excluding No. 168, which he himself considered "one of the most entertaining tales in the work" (chap. xxix., note 12), on account of its resemblance to Nos. 16 and 3d. Part of the matter in Lane's own earlier notes is apparently derived from No. 132a, which he probably did not at first intend to omit. Sir R. F. Burton has taken 5 vols. to cover the same ground which Lane has squeezed into his vol. 3. But it is only fair to Lane to remark that in such cases the publisher is usually far more to blame than the author.

In 1847 appeared a popular edition of Lane, entitled, "The Thousand and One Nights, or the Arabian Nights Entertainments, translated and arranged for family reading, with explanatory notes. Second edition." Here Galland's old spelling is restored, and the "explanatory notes," ostentatiously mentioned on the title page, are entirely omitted. This edition was in 3 vols. I have seen a copy dated 1850; and think I have heard of an issue in i vol.; and there is an American reprint in 2 vols. The English issue was ultimately withdrawn from circulation in consequence of Lane's protests. (Mr. S. L. Poole's Life of E. W. Lane, p. 95.) It contains the woodcut of the Flying Couch, which is wanting in the later editions of the genuine work; but not Galland's doubtful tales, as Poole asserts.

Several editions of the original work, edited by Messrs. E. S. and S. L. Poole, have appeared at intervals from 1859 to 1882. They differ little from the original edition except in their slightly smaller size.

The short tales included in Lane's notes were published separately as one of Knight's Weekly Volumes, in 1845, under the title of "Arabian Tales and Anecdotes, being a selection from the notes to the new translation of the Thousand and One Nights, by E. W. Lane, Esq."

Appendix II 439

Finally, in 1883, Mr. Stanley Lane Poole published a classified and arranged edition of Lane's notes under the title of "Arabian Society in the Middle Ages."

Mr. John Payne's version of the Mac. edition was issued in 9 vols. by the Villon Society to subscribers only. It appeared from 1882 to 1884, and only 500 copies were printed. Judging from the original prospectus, it seems to have been the author's intention to have completed the work in 8 vols., and to have devoted vol. 9 to Galland's doubtful tales; but as they are omitted, he must have found that the work ran to a greater length than he had anticipated, and that space failed him. He published some preliminary papers on the Nights in the New Quarterly Magazine for January and April, 1879.

Mr. Payne subsequently issued "Tales from the Arabic of the Breslau and Calcutta (1814-18) editions of the Thousand Nights and One Night, not occurring in the other printed texts of the work." (Three vols., London, 1884.) Of this work, issued, like the other, by the Villon Society, to subscribers only, 750 copies were printed, besides 50 on large paper. The third volume includes indices of all the tales in the four principal printed texts.

Finally we have Sir R. F. Burton's translation now in its entirety before his subscribers. It is restricted to 1,000 copies. (Why not 1,001?) The five supplementary vols. are to include tales wanting in the Mac. edition, but found in other texts (printed and MS.), while Lady Burton's popular edition will allow of the free circulation of Sir R. F. Burton's work among all classes of the reading public.

COLLECTIONS OF SELECTED TALES.

There are many volumes of selections derived from Galland, but these hardly require mention; the following may be noticed as derived from other sources:

1. Caliphs and Sultans, being tales omitted in the usual editions of the Arabian Nights' Entertainments. Re-written and re-arranged by Sylvanus Hanley, F. L. S., etc., London, 1868; 2nd edition 1870.

Consists of portions of tales chiefly selected from Scott, Lamb, Chavis and Cazotte, Trébutien and Lane; much abridged, and frequently strung together, as follows:

Nos. 246, 41, 32 (including Nos. 111, 21a, and 89); 9a (including 9aa [which Hanley seems, by the way, to have borrowed from some version which I do not recognise], 22 and 248);155,156,136,162; Xailoun the Silly (from Cazotte); 132 and 132a; and 169 (including 134 and 135x).

2. Ilâm-en-Nâs. “Historical tales and anecdotes of the time of the early Kalifahs. Translated from the Arabic and annotated by Mrs. Godfrey Clerk, author of "The Antipodes, and Round the World." London, 1873.

Many of these anecdotes, as is candidly admitted by the authoress in her Preface, are found with variations in the Nights, though not translated by her from this source.

3. The New Arabian Nights. Select tales not included by Galland or Lane. By W. F.

Kirby, London, 1882.

Includes the following tales, slightly abridged, from Weil and Scott: Nos. 200, 201, 264, 215, 209, and 208.

Two editions have appeared in England, besides reprints in America and Australia.

SEPARATE EDITIONS OF SINGLE OR COMPOSITE TALES. 6e (ee).-THE BARBER'S FIFTH BROTHER.

Mr. W. A. Clouston (in litt.) calls attention to the version of this story by Addison in the "Spectator," No. 535, Nov. 13, 1712, after Galland. There is good reason to suppose that this is subsequent to the first English edition, which, however, Addison does not mention. There' is also an English version in Faris' little Arabic Grammar (London, 1856), and likewise in Richardson's Arabic Grammar. The latter author extracted it from a MS. belonging to Sir W. Jones.

5: NUR AL-DIN AND BADR AL-DIN HASAN.

There are two Paris editions of the "Histoire de Chems-Eddine et de Nour-Eddine," edited by Prof. Cherbonneau. The first (1852) contains text and notes, and the second (1869) includes text, vocabulary and translations.

7.-NUR AL-DIN AND ANIS AL-JALIS.

An edition by Kasimiraki of "Enis' el-Djelis, ou histoire de la belle Persane," appeared in Paris in 1867. It includes text, translation and notes.

9.-KING OMAR BIN AL-NU'AMAN.

There is a French abridgment of this story entitled, "Scharkan, Conte Arabe, suivi de quelques anecdotes orientales; traduit par M. Asselan Riche, Membre de la Societé Asiatique de Paris" (Paris and Marseilles, 12mo, 1829, pp. 240). The seven anecdotes appended are as follows: (1) the well-known story of Omar's prisoner and the glass of water; (2) Elhedjadj and a young Arab; (3) = our No.140; (4) Anecdote of Elhedjadj and a story-teller; (5) = our No. 86; (6) King Bahman and the Moubed's parable of the Owls; (7) = our No. 145.

133.-SINDBAD THE SEAMAN.

This is the proper place to call attention to a work specially relating to this story, "Remarks on the Arabian Nights Entertainments; in which the origin of Sindbad's Voyages and other Oriental Fictions is particularly described. By Richard Hole, LL.D." (London, 1797, pp. iv. 259.)

It is an old book, but may still be consulted with advantage.

There are two important critical editions of No. 133, one in French and one in German. 1. Us Voyages de Sind-bad le marin et la ruse des Femmes. Contes arabes. Traduction littérale, accompagnée du Texte et des Notes. Par L. Langlés (Paris, 1814). The second story is our No. 184.

2. Die beiden Sindbad oder Reiseabenteuer Sindbads des Seefabrers. Nach einer zum ersten Male in Europa bedruckten Ægyptischen Handschrift unmittelbar und wortlich treu aus den Arabischen ubersetzt und mit erklarenden Anmerkungen, nebst zwei sprachlichen Beilagen zum Gebrauch fur abgehende Orientalisten herausgegeben von J. G. H. Reinsch (Breslau, 1826).

135.-THE CRAFT AND MALICE OF WOMEN.

The literature of this cluster of tales would require a volume in itself, and I cannot do better than refer to Mr. W. A. Clouston's "Book of Sindbad" (8vo, Glasgow, 1884) for further information. This book, though privately printed and limited to 300 copies, is not uncommon.

136.-JUDAR AND HIS BRETHREN.

An edition of this story, entitled "Histoire de Djouder le Pécheur," edited by Prof. Houdas, was published in the Biblioth6que Alg6rienne, at Algiers, in 1865. It includes text and vocabulary.

Appendix II 441

174-THE TEN WAZIRS.

This collection of tales has also been frequently reprinted separately. It is the Arabic version of the Persian Bakhtyar Nameh, of which Mr. Clouston issued a privately-printed edition in 1883.

The following versions have come under my notice:

1. Nouveaux Contes Arabes, ou Supplement aux Mille et une Nuits suivies de Mélanges de Litterature orientale et de lettres, par 1'Abbe * * * (Paris, 1788, pp. 425).

This work consists chiefly of a series of tales selected and adapted from the Ten Vazirs. "Written in Europe by a European, and its interest is found in the Terminal Essay, on the Mythologia Æsopica" (Burton in litt.).

2. Historien om de ti Vezirer og hoorledes det gik dem med Kong Azad Bachts Son, oversat af Arabisk ved R. Rask (8vo, Kobenhavn, 1829).

3. Habicht, x. p. vi., refers to the following:-Historia decem Vezirorum et filii regis Azad-Bacht insertis XIII. aliis narrationibus, in usum tironum Cahirensem, edid. G. Knos, Gottingen, 1807, 8vo.

He also states that Knos published the commencement in 1805, in his "Disquisitio de fide Herodoti, quo perhibet Phoenices Africam navibus circumvectos esse cum recentiorum super hac re sententiis excussis.-Adnexum est specimen sermonis Arabici vulgaris s. initium historiæ filii regis Azad-Bacht e Codice inedito."

4. Contes Arabes. Histoire des dix Vizirs (Bakhtyar Nameh) Traduite et annotee par Rene Basset, Professeur a 1'ecole superieure des lettres d'Algerie. Paris, 1883.

Chavis and Cazotte (antea pp. 471, 472) included a version of the Ten Vazirs in their work; and others are referred to in our Table of Tales.

248.-THE WISE HEYCAR.

Subsequently to the publication of Gauttier's edition of The Nights, Agoub republished his translation under the title of "Le sage Heycar, conte Arabe" (Paris, 1824).

A few tales published by Scott in Ouseley's Oriental Collections have already been noticed (antea, pp. 434, 435).

TRANSLATIONS OF COGNATE ORIENTAL ROMANCES ILLUSTRATIVE OF THE NIGHTS.

1. LES MILLE ET UN JOURS. CONTES PERSANES.

"In imitation of the Arabian Nights, was composed a Persian collection entitled `Hazár Yek Rúz or the Thousand and One Days,' of which Petis de la Croix published a French rendering [in 1710], which was done into English [by Dr. King, and published in 2 vols. (with the Turkish Tales = Forty Vezirs) as early as 1714; and subsequently] by Ambrose Phillips" (in 1738) (Clouston, in litt). Here, and occasionally elsewhere, I have quoted from some MSS. notes on The Nights by Mr. W. A. Clouston, which Sir R. F. Burton kindly permitted me to inspect. Mr. Clouston then quotes Cazotte's Preface (not in my edition of the Thousand and One Days), according to which the book was written by the celebrated Dervis Mocles (Mukhlis), chief of the Sofis (Sufis?) of Ispahan, founded upon certain Indian comedies. Petis de la Croix was on friendly terms with Mukhlis, who allowed him to take a copy of his work in 1675, during his residence in Ispahan. (I find these statements confirmed in the Cabinet des Res, xxxvii. pp. 266, 274, 278, and in Weber's "Tales of the East," i. pp. xxxvi., xxxxii.)

The framework of the story is the same as Nos. 9a and 152: a Princess, who conceives an aversion to men from dreaming of the self-devotion of a doe, and the indifference and selfishness of a stag. Mr. Clouston refers to Nakhshabi's Tuti Nama (No. 33 of Kaderi's abridgment, and 39 of India Office MS. 2,573 from where he thinks it probable that Mukhlis may have taken the tale.)

But the tale itself is repeated over and over again in many Arabic, Persian, and Turkish collections; in fact, there are few of commoner occurrence.

The tales are told by the nurse in order to overcome the aversion of the Princess to men. 'They are as follows:

Introduction and Conclusion: Story of the Princess of Cashmir.

1. Story of Aboulcassem Bafry.

2. Story of King Ruzvanchad and the Princess Cheheristani.

a. Story of the young King of Thibet and the Princess of the Naimans.

b. Story of the Vazir Cavercha.

3. Story of Couloufe and the Beautiful Dilara.

4. Story of Prince Calaf and the Princess of China.

a. Story of Prince Fadlallah, son of Ben-Ortoc, King of Moussel = Nos. 184 and 251.

5. Story of King Bedreddin-Lolo, and his Vazir Atalmulk, surnamed the Sad Vazir. a. Story of Atalmulk and the Princess Zelica Beghume.

b. Story of Prince Seyf-el-Molouk.

c. Story of Malek and the Princess Chirine.

d. Story of King Hormuz, surnamed the King without trouble. da. Story of Avicenna.

e. Story of the fair Arouya. Cf. Nos. 135q and 225.

f. Singular Adventures of Aboulfawaris, surnamed the Great Traveller (2 Voyages).

6. Story of the Two Brother Genii, Adis and Dahy.

7. Story of Nasiraddolé, King of Mousse], of Abderrahman, Merchant of Bagdad, and the Beautiful Zeineb.

8. Story of Repsima = No. 181r. This work has many times been reprinted in France, where it holds a place only second to The Nights.

Sir R. F. Burton remarks, concerning the Persian and Turkish Tales of Petis de la Crois (the latter of which form part of the Forty Vazirs, No. 251), "Both are weak and servile imitations of Galland by an Orientalist who knew nothing of the East. In one passage in the story of Fadlallah, we read of 'Le Sacrifice du Mont Arafate,' which seems to have become a fixture in the European brain. I found the work easy writing and exceedingly hard reading."

The following tales require a passing notice:

1. Story of Aboulcassem Bafry.-A story of concealed treasure; it has also some resemblance to No. 31.

2. Ruwanchad and Cheheristani.-Cheheristani is a jinniyah, who is pursued by the King, under the form of a white doe; marries him, and becomes the mother of Balkis, the Queen of Sheba. She exacts a promise from him never to rebuke her for any of her actions: he breaks it, and she leaves him for a time.

2a. The Young King of Thibet.-Two imposters obtain magic rings by which they can assume the shapes of other persons.

2a, b. The Yazir Cavercha.-This is one of Scott's stories (No. 223 of our Table). It goes back at least as far as the Ring of Polycrates. It is the 8th Vezir's Story in Mr. Gibbs' Forty Vezirs (pp. 200-205).

4. Prince Calaf.-This story is well known, and is sometimes played as a comedy. The Princess Turandot puts riddles to her suitors, and beheads them if they fail to answer.

5b. Story of Prince Seyj-el-Molouk.- This story is perhaps an older version than that which appears in The Nights (No. 154a). It is placed long after the time of Solomon; Saad is devoured by ants (Weber (ii. p. 426) has substituted wild beasts!); and when Seyf enters the palace of Malika ( = Daulet Khatoon), the jinni surprises them, and is overpowered by Seyf's ring. He then informs him of the death of Saad; and that Bedy al-Jemal was one of the mistresses of Solomon; and has also long been dead.

Appendix II 443

5b. Malek and Chirine.-Resembles No. 264; Malek passes himself off as the Prophet Mohammed; burns his box (not chair) with fireworks on his wedding-day, and is thus prevented from ever returning to the Princess.

5f. Adventures of Aboulfawaris.-Romantic travels, resembling Nos. 132a and 133.

2..Antar.-This is the most famous of the Badawi romances. It resembles No. 137 in several particulars, but is destitute of supernaturalism. An English abridgment in 4 vols. was published in 1820; and the substance of vol. 1 had appeared, as a fragment, in the previous year, under the title of "Antar, a Bedoueen Romance translated from the Arabic by Terrick Hamilton, Esq., Oriental Secretary to the British Embassy at Constantinople." I have also seen vol. 1 of a French translation, published about 1862, and extending to the death of Shas.

Lane (Modern Egyptians, ch. 21-23) describes several other Arab romances, which have not yet been translated; viz. Aboo-Zeyd; Ez-Zahir, and Delhemeh.

3. Glaive-Des-Couronnes (Seif el-Tidjan) Roman traduit de 1'Arabe. Par M. le Dr. Perron (Paris, 1862).

A romantic story of Arab chivalry, less overloaded with supernaturalism than No. 137; but more supernatural than Antar. The hero marries (among other wives) two jinniyahs of the posterity of Iblis. In ch. 21 we have an account of a magical city much resembling the City of Brass (No. 134) and defended by similar talismans.

4. Mehemet The Kurd, and other tales, from Eastern sources, by Charles Wells, Turkish Prizeman of King's College, London, and Member of the Royal Asiatic Society,(London, 1865).

The first story, taken from an Arabic MS., is a narrative of a handsome simple-minded man, with whom Princesses fall in love, and who is raised to a mighty throne by their enchantments. Some of the early incidents are not unlike those in the well-known German story of Lucky Hans (Hans im Gluck). In one place there is an enchanted garden, where Princesses disport themselves in feather-dresses (as in No. 155, &c.), and where magic apples grow. (Note that apples are always held in extraordinary estimation in The Nights, cf. Nos. 4 and 264.) Among the shorter stories we find No. 251h; a version of Nos. 9a and 152 (probably that referred to by Mr. Clouston as in the Tuti Nama); a story "The Prince 'Tailor," resembling No. 251; No. 256, and one or two other tales not connected with The Nights. (Most of Wells' shorter tales are evidently taken from the Forty Vezirs.)

5. Recuil Des Contes populaires de la Kabylie du Djardjara, recueillis et traduits par J. Rivière (Paris, 1882). I have not seen this book; but it can hardly fail to illustrate The Nights.

6. The Story Of Jewad, Romance by 'All 'Aziz Efendi the Cretan. Translated from the Turkish by E. J. W. Gibb, M.R.A.S., &c. (Glasgow, 1884).

A modern Turkish work, written in A. H. 1211 (1796-97). It contains the following tales:

THE STORY OF JEWAD.

1. The Story of Ebu 'Ali-Sina.

2. The Story of Monia Emin.

3. The Story of Ferah-Naz, the daughter of the King of China.

a. The Story of Khoja 'Abdu-llah.

4. The Story told by Jewad to Iklilu'l Mulk.

a. The Story of Shabur and Huma.

c. The Story of Ghazanfer and Rahila.

5. The Story of Qara Khan.

The following deserve notice from our present point of view:

The Story of.Jewad.-Here we have magical illusions, as in Nos. 247 and 251a. Such narratives are common in the East; Lane (Nights, ch. i., note 15) is inclined to attribute such illusions to the influence of drugs; but the narratives seem rather to point to so-called electro-biology, or the Scotch Glamour (such influences, as is notorious, acting far more strongly upon Orientals than upon Europeans).

2. The Story of Monia Emin corresponds to the Story of Naerdan and Guzulbec, in Caylus' Oriental Tales. A story of magical illusions.

3. The Story of Ferah Naz.-Here again we have a variant of Nos. 9a and 152.

3a. Khoja 'Abdu-Itab.-This is a version of the Story of Aboulcassem in the Thousand and One Days.

4a. Shabur and Huma.-The commencement of this story might have suggested to Southey the adventures of Thalaba and Oneida in the Gardens of Aloadin; the remainder appears to be taken from the Story of the young King of Thibet, in the Thousand and One Days.

5. Zara Khan.-The principal part of this story is borrowed from the First Voyage of Aboulfawaris in the Thousand and One Days; it has some resemblance to the story of the Mountain of Loadstone in No. 3c.

6. Fruchte Des Asiatischen Geist, von A. T. Hartmann. 2 vols., 12m0 (Miinster) 1803. A collection of anecdotes, &c., from various Eastern sources, Arabic, Indian, &c. I think it not impossible that this may be the work referred to by Von Hammer in the preface to Zinserling's "1001 Nacht" (p. xxvii. note) as "Asiatische Perleuschnur von Hartmann." At least I have not yet met with any work to which the scanty indication would apply better.

7. Tuti-Nama. I could hardly pass over the famous Persian and Turkish "ParrotBook" quite without notice; but its tales have rarely any direct connection with those in The Nights, and I have not attempted to go into its very extensive bibliography.

DR. CLARKE’S M.S.

Dr. Edward Daniel Clarke has given an account of an important MS. nearly agreeing with Bul. and Mac., which he purchased in Egypt, in his "Travels in various countries of Europe, Asia and Africa." Part ii. Greece, Egypt, and the Holy Land. Section i. (1812) App. iii., pp. 701-704. Unfortunately, this MS. was afterwards so damaged by water during a shipwreck that it was rendered totally illegible. The list of tales (as will be seen by the numbers in brackets, which correspond to our Table, as far as the identifications are safe) will show the approximate contents of the MS., but the list (which is translated into German by Habicht in the preface to his vol. 12) was evidently compiled carelessly by a person nearly ignorant of Arabic, perhaps with the aid of an interpreter, Maltese, or other, and seems to abound with the most absurd mistakes. The full text of Clarke's App. iii. is as follows: "List of One Hundred and Seventy-two Tales, contained in a manuscript copy of the 'Alif Lila va Lilin,' or 'Arabian Nights,' as it was procured by the Author in Egypt."

N.B.-The Arabic words mentioned in this list are given as they appeared to be pronounced in English characters, and of course, therefore, adapted to English pronunciation.

The number of tales amounts to 172, but one tale is supposed to occupy many nights in the recital, so that the whole number is divided into "One Thousand and One Nights." It rarely happens that any two copies of the Alif Lila va Lilin resemble each other. This title is bestowed upon any collection of Eastern tales divided into the same number of parts. The compilation depends upon the taste, the caprice, and the opportunities of the scribe, or the commands of his employer. Certain popular stories are common to almost all copies of the Arabian Nights, but almost every collection contains some tales which are not found in every other. Much depends upon the locality of the scribe. The popular stories of Egypt will be found to differ materially from those of Constantinople. A nephew of the late Wortley Montague, living in Rosetta, had a copy of the Arabian Nights, and upon comparing the two manuscripts it appeared that out of the 172 tales here enumerated '

Appendix II 445 only 37 were found in his manuscript. In order to mark, therefore, the stories which were common to the two manuscripts, an asterisk has been prefixed to the thirty-seven tales which appeared in both copies.

1. The Bull and the Ass (a).

2. The Merchant and the Hobgoblin (1; Habicht translates Kobold!).

3. The Man and the Antelope (la).

4. The Merchant and Two Dogs (lb).

5. The Old Man and the Mule (lc).

*6. The History of the Hunters (2).

7&8. The History of King Unam and the Philosopher Reinan (2a).

*9. History of King Sinbad and Elbase (2a, ab).

*10. History of the Porter (3).

*11. History of Karanduli.

12. Story of the Mirror.

13. Story of the Three Apples (4).

*14. Of Shensheddin Mohammed, and his Brother Noureddin (5).

*15. Of the Taylor, Little Hunchback, the Jew and the Christian (6).

16. The History of Noureddin Ali (7).

17. Ditto of Gaumayub, &c. (8).

*18. The History of King Omar and Oman and his Children. (This tale is extremely

long, and occupies much of the manuscript) (9).

*19. Of the Lover and the Beloved (9a).

20. Story of the Peacock, the Goose, the Ass, the Horse, &c. (10).

21. Of the Pious Man (11).

22. Of the Pious Shepherd.

23. Of the Bird and the Turtle (12).

24. Of the Fox, the Hawk, &c. (13).

25. Of the Lord of the Beasts.

*26. Of the Mouse and the Partridge (14).

27. Of the Raven and the Cat (15).

28. Of the Raven, the Fox, the Mouse, the Flea, &c., &c. (16).

29. Story of the Thief (18).

*30. Of Aul Hassan and the Slave Shemsney Har (20).

*31. Of Kamrasaman, &c. (21).

32. Of Naam and Nameto la (21a).

*33. Of Aladin Abuskelmat (22).

*34. Of Hallina Die (23).

35. Story of Maan Jaamnazida (24).

36. History of the Town Litta (26).

37. Story of Hassan Abdulmelac (27).

38. Of Ibrahim Elmachde, Brother of Haroun al Raschid (28).

*39. History of the Famous Garden Ezem (Paradise) (29).

40. Of Isaac of Mossul (30).

41. Of Hash Hash.

42. Of Mohammed Eli Ali (32).

43. Of Ali the Persian (33).

44. History of the Raschid and his judge (34).

45. Of Haled Immi Abdullah.

46. Of Jafaard the Bamasside (36).

47. Of Abokohammed Kurlan (37).

48. Of Haroun al-Raschid and Sala.

49. History of Mamoan (40).

50. Of Shar and the Slave Zemroud (41).

51. Of the Lady Bedoor (literally Mrs. Moon-face) and Mr. Victorious (42).

52. Of Mammon and Mohammed of Bassorah.

53. Of Haroun al-Raschid and his Slave (44).

54. Of the Merchant in Debt (45).

55. Of Hassoun Medin, the Governor (46).

56. Of King Nassir and his Three Children-the Governor of Cairo, the Governor of Bulac, and the Governor of Old Cairo (47).

57. History of the Banker and the Thief (48).

58. Of Aladin, Governor of Constantinople.

59. Of Mamoon and Ibrahim (50).

60. Of a certain King (51).

61. Of a Pious Man (52).

62. Of Abul Hassan Ezeada (53).

63. Of a Merchant (54).

64. Of a Man of Bagdad (55).

65. Of Modavikil (56).

*66. Of Virdan in the time of Hakim Veemrelack (N. B.-He built the Mosque

in going from Cairo to Heliopolis) (57).

67. Of a Slave and an Ape (58).

*68. Story of the Horse of Ebony (59).

*69. Of Insilvujud (60).

70. Of Eban Vas (61).

71. Of an Inhabitant of Bassora (62).

72. History of a Man of the tribe of Arabs of Beucadda (63).

73. History of Benriddin, Vizir of Yemen (64).

74. Of a Boy and a Girl (65).

75. Of Mutelmis (66).

76. Of Haroun al Rashid and the Lady Zebeda (67).

77. Of Mussa ab imni Zibir (69).

78. Of the Black Father.

79. Of Haroun al Raschid.

80. Story of an Ass Keeper (74?).

81. Of Haroun al Rashid and Eboo Yussuf (75).

82. Of Hakim, Builder of the Mosque (76).

83. Of Melikel Horrais.

84. Of a Gilder and his Wife (78).

85. Of Hashron, &c. (79).

86. Of Yackyar, &c., the Barmadride (80).

87. Of Mussa, &c.

88. Of Said, &c.

89. Of the Whore and the Good Woman.

90. Of Raschid and Jacob his Favourite.

91. Of Sherif Hussein.

92. Of Mamoon, son of Haroun al-Raschid (87).

93. Of the repenting Thief (88).

94. Of Haroun al-Raschid (89).

95. Of a Divine, &c. (90).

96. Another story of a Divine.

97. The Story of the Neighbours.

98. Of Kings (94).

99. Of Abdo Rackman (95).

100. Of Hind, daughter of Nackinan (96).

101. Of Tabal (97).

102. Of Isaac son of Abraham (98).

103. Of a Boy and a Girl.

Appendix II 447

104. Story of Chassim Imni Addi.

105. Of Abu] Abass.

106. Of Ebubecker Ben Mohammed.

107. Of Ebi Evar.

108. Of Emmin, brother of Mamon (105).

109. Of six Scheiks of Bagdad. ®

110. Of an Old Woman.

111. Of a Wild Girl.

112. Of Hasan Elgevire of Bagdad.

113. Of certain Kings.

114. Of a king of Israel (116).

115. Of Alexander (117).

116. Of King Nusharvian (118).

117. Of a judge and his Wife (119).

118. Of an Emir.

119. Of Malek Imnidinar.

120. Of a devout man of the children of Israel (122).

121. Of Hedjage Himni Yussuf (123).

122. Of a Blacksmith (124).

123. Of a devout man (125).

124. Of Omar Imnilchatab.

125. Of Ibrahim Elchaber.

126. Of a Prophet (128).

127. Of a Pious Man (129).

128. Of a Man of the Children of Israel (130).

129. Of Abut Hassan Duradge (131).

130. Of Sultana Hayaat.

131. Of the Philosopher Daniel (132).

*132. Of Belukia (132A).

*133. The Travels of Sinbad-certain seven voyages, &c. (133).

134. Of the Town of Copper (134).

135. Of the Seven Virgins and the Slave (135).

*136. Story of Judais (136).

137. The Wonderful History.

138. Of Abdullah Imni Mohammi.

139. Of Hind Imni Haman (139).

140. Of Chazmimé Imni Bashés (140).

141. Of Jonas the Secretary (141).

142. Of Haroun al-Rashid (142).

143. Of ditto.

144. Of Ebon Isaac Ibrahim (144).

145. Of Haroun al-Raschid, Misroor and the Poet.

146. Of the Caliph Moavia.

147. Of Haroun al-Raschid.

148. Of Isaac Imni Ibrahim (148).

149. Of Ebwi Amer.

*150. Of Achmet Ezenth and the old Female Pimp.

151. Of the three Brothers.

152. Of Erdeshir and Hiaker, of Julmar El Bacharia (152).

153. Of Mahomet, &c.

154. Ditto (154?).

*155. Story of Safil Moluki (154w).

*156. Of Hassan, &c. (155).

*157. Of Caliph the Hunter (156).

*158. Of Mersir and his Mistress (157).

159. Of Noureddin and Mary (158).

160. Of a Bedouin and a Frank (159).

161. Of a Man of Baghdad and his Female Slave (160).

162. Of a King, his Son, and the Vizir Shemar (161).

*163 Of a Merchant and the Thieves.

*164. Of Abousir and Aboukir (162).

165. Abdulak El Beri and Abdulak El Backari (163).

*166. Of Haroun al-Raschid.

167. Of the Merchant Abut Hassan al-Omani (164).

168. Of Imnil Echarib (168).

169. Of Moted Bila.

*170. Of Kamasi Zemuan (167).

*171. Of Abdulah Imni Fasil (168).

*172. The Story of Maroof (169).

IMITATIONS AND MISCELLANEOUS WORKS HAVING MORE OR LESS CONNECTION WITH THE NIGHTS.

The success of Galland's work led to the appearance of numerous works more or less resembling it, chiefly in England and France. Similar imitations, though now less numerous, have continued to appear down to the present day.

The most important of the older works of this class were published in French in the "Cabinet des Fées" (Amsterdam and Geneva, 1785-1793; 41 vols.); in English in 'Tales of the East: comprising the most popular Romances of Oriental origin, and the best imitations by European authors, with new translations and additional tales never before published, to which is prefixed an introductory dissertation, containing an account of each work and of its author or translator. By Henry Weber, Esq." (Edinburgh, 1812, 3 vols.); and in German in "Tausand und ein Tag. Morgenlandische Erzahlungen aus dem Persisch, Turkisch und Arabisch, nach Petis de la Croix, Galland, Cardonne, Chavis und Cazotte, dem Grafen Caylus, und Anderer. Übersetzt von F. H. von der Hagen" (Prenzlau, 1827-1837, 11 vols.). In the "Cabinet des Fées" I find a reference to an older collection of tales (partly Oriental) called the "Bibliothèque des Fées et des Génies," by the Abbe de la Porte, which I have not seen, but which is, in part, incorporated in the "Cabinet." It formed only 2 vols. 12mo, and was published in 1765. •

The examination of these tales is difficult, for they comprise several classes, not always clearly defined:

1. Satires on The Nights themselves (e. g. the Tales of the Count of Hamilton).

2. Satires in an Oriental garb (e. g. Beckford's Vathek).

3. Moral tales in an Oriental garb (e. g. Mrs. Sheridan's Nourjahad).

4. Fantastic tales with nothing Oriental about them but the name (e. g. Stevenson's New Arabian Nights).

5. Imitations pure and simple (e. g. G. Meredith's Shaving of Shagpat).

6. Imitations more or less founded on genuine Oriental sources (e. g. the Tales of the Comte de Caylus).

7. Genuine Oriental Tales (e. g. Mille et une Jours, translated by-Petis de la Croix).

Most of the tales belonging to Class 7 and some of those belonging to Class 6 have been treated of in previous sections. The remaining tales and imitations will generally need only a very brief notice; sometimes only the title and the indication of the class to which they belong. We will begin with an enumeration of the Oriental contents of the Cabinet des Fées, adding W. i., ii. and iii. to show which are included in Weber's "Tales of the East":-

Appendix II 449

7-11. 1001 Nuits (W. 1).

12, 13. Us Aventures d'Abdalla (W. iii).

14, 15. 1001 Jours (Persian tales, W. ii.).

16. Histoire de la Sultane de Perse et des Visirs. Contes Turcs (Turkish tales, W. 3= our 251).

17. Les Voyages de Zulma dans le pays des Fées.

17, 18. Contes de Bidpai.

19. Contes Chinois, ou les Aventures merveilleuses du Mandarin Fum-Hoam (W. iii.).

21, 22. Les Mille et un Quart d'Heures. Contes Tartares (W. iii.):

22, 23. Les Sultanes de Guzerath, ou les Songes des hommes eveillés. Contes Moguls

(W. iii.).

25. Nouveaux Contes Orientaux, par le Comte de Caylus (W. ii.).

29, 30. Les Contes des Genies (W. iii.).

30. Les Aventures de Zelouide et d'Amanzarifdine.

31. Contes Indiens par M. de Moncrif.

32. Nourjahad (W. ii.).

33. Contes de M. Pajon.

38-41. Les Veillées du Sultan Schahriar, &c. (Chavis and Cazotte; cf. antel p. 419; W. i. ii.).

Weber also includes, in his vol. ii. Nos. 21a, 22, 32 and 37, after Caussin de Perceval.) 12, 13. The Adventures of Abdallah, the Son of Hanif (Class 5 or 6).

Originally published in 1713; attributed to M. de Bignon, a young Abbé. A series of romantic travels, in which Eastern and Western fiction is mixed; for instance, we have the story of the Nose-tree, which so far as I know has nothing Oriental about it.

16. The Voyages of Zulma in Fairy Land (Class 4).

European fairy tales, with nothing Oriental about them but the names of persons and places. The work is unfinished.

17, 18. The Tales of Bidpai (translated by Galland) are Indian, and therefore need no further notice here.

19-23. Chinese, Tartarian and Mogul Tales (Class 6).

Published in 1723, and later by Thomas Simon Gueulette.

Concerning these tales, Mr. Clouston remarks (in litt.): "Much of the groundwork of these clever imitations of the Arabian Nights has been, directly or indirectly, derived from Eastern sources; for instance, in the so-called Tartar tales, the adventures of the Young Calender find parallels, (1) in the well-known Bidpai tale of the Brihman, the Sharpers and the Goat (Kalila and Dimna, Panchatantra, Hitopadesa, &c.) and (2) in the worldwide story of the Farmer who outwitted the Six Men (Indian Antiquary, vol. 3) of which there are many versions current in Europe, such as the Norse tale of Big Peter and Little Peter, the Danish tale of Great Claus and Little Claus; the German tale (Grimm) of the Little Farmer; the Irish tale of Little Fairly (Samuel Lover's collection of Irish Fairy Legends and Stories); four Gaelic versions in Campbell's Popular Tales of the West Highlands; a Kaba'il version in Riviere's French collection (Contes populaires Kabylies); Uncle Capriano in Crane's recently published Italian Popular Tales; and a Latin mediaval version (written probably in the 11th century) in which the hero is called, 'Unibos,' because he had only one cow."

25. Oriental Tales (Class 6).

Mr. Clouston observes, "Appeared in 1749, and on the title page are said to have been translated from MSS. in the Royal French Library. The stories are, however, largely the composition of De Caylus himself, and those elements of them which are traceable to Asiatic sources have been considerably Frenchified."

Nevertheless they are not without interest, and are nearly all of obviously Oriental origin. One of the stories is a fantastic account of the Birth of Mahomet, including romantic travels largely borrowed from No. 132a. Another story is a version of that of the Seven Sleepers. Other noteworthy tales are the story of the Dervish Abounader, which resembles Nos. 193 and 216d; and the story of Naerdan and Guzulbec, which is a tale of magical illusions similar to that of Monia Emin, in the Turkish story of Jewad.

The Count de Caylus was the author of various European as well as Oriental fairy tales. Of his Oriental collection, Sir R. F. Burton remarks:-"The stories are not Eastern but Western fairy tales proper, with kings and queens, giants and dwarfs, and fairies, good and bad. 'Barbets' act as body guard and army. Written in good old style, and free language, such as, for instance, son pétenlaire, with here and there a touch of salt humour, as in Rosanie 'Charmante reine (car on n 'a jamais parlé autrement à une reine, quel que laide qu'elle ait été).' "

29, 30. Tales of the Genii (Class 3).

Written in the middle of the last century by Rev. James Ridley, but purporting to be translated from the Persian of Horam, the son of Asmar, by Sir Charles Morell.

These tales have been reprinted many times; but it is very doubtful if they are based on any genuine Oriental sources. The amount of Oriental colouring may be guessed from the story of Urad, who having consented to become the bride of a Sultan on condition that he should dismiss all his concubines, and make her his sole queen (like Harald Harfagr on his marriage with Ragnhilda), is presented to his loving subjects as their Sultana! 32. Adventures of Zeloide and Amanzarifdine. Indian Tales, by M. de Moncrif (Class 4). Ordinary European Fairy Tales, with the scene laid in the East. 33. Nourjahad, by Mrs. Sheridan (Class 3).

An unworthy favourite is reformed by a course of practical moral lessons conveyed by the Sultan through supposed supernatural agencies. Mr. Clouston regards it as "one of the very best of the imitations of Eastern fiction. The plot is ingeniously conceived and well wrought out, and the interest never flags throughout."

34. Pajon's Oriental Tales (Class 5). These demand no special notice.

In addition to the above, the following Oriental works are mentioned in the Cabinet des Fées, but not reprinted:

1. Apologues orientaux, par 1'abbé Blanchet.

2. Mélanges de littérature orientale, par Cardonne. (Paris, 2 vols. 1770.)

3. Nerair et Meloe, roman oriental, par H. B. Deblanes (1759).

4. Contes orientaux, par M. de la Dixmerie.

5. Les Cinq Cent Matinées et une demie, contes Syriens, par le chevalier de Duclos. 6. Abassai, conte oriental, par Mademoiselle Fault (ou Fauques) 1752.

6. Les Contes du Serail, par Mdlle. Fault (1753.)

7. Kara Mustapha, conte oriental, par Fromaget (1745).

8. Zilia et Cénie, par Francoise d'Isembourg d'Hippincourt de Graffigny.

9. Salned et Garalde, conte oriental, par A. H. De la Motte.

10. Anecdotes orientales, par G. Mailhol (2 vols. 1752).

11. Alzahel, traduit d'un manuscrit arabe, par Mdlle. Raigné de Malfontaine (Mer cure, 1773).

12. Mahmoud le Gasnevide, conte oriental, par J. F. Melon.

13. Contes Orientaux,ou les recits du Sage Caleb, voyageur persan,par Mme.Mouet. 15. Nadir, par A. G. de Montdorge.

14. Lettres Persanes, de Montesquieu.

15. Les Amusements de Jour, ou recueil de petits contes, par Mme. de Mortemar.

16. Mirloh, conte oriental, par Martine de Morville (1769).

17. Ladila, anecdote turque (par la même) 1769.

18. Daira, histoire orientate, par A. J. J. de la Riche de la Poupelinière (1761).

19. Cara Mustapha, par de Preschat.

20. Des trois Nations, conte oriental, par Marianne Robert (1760).

21. Contes Orientaux, tirés des manuscrits de la Bibliothèque du Roi, 2 vols. 12mo (1749).

Appendix II 451

This is the same as the Count de Caylus' Oriental Tales. Sir R. F. Burton has received

. the following memorandum, respecting a copy of an earlier edition of the same work “Contes Orientaux, tirés des manuscrits de la Bibliotheque du Roy de France. ornés de figures en taille douce. A la Haye, 1743, 2 vols. 12mo, polished calf gilt, gilt edges, arms in gilt on the sides.

"The Preface says, `M. Petit et M. Galland n'ont en aucune connaissance des manuscrits dont cet ouvrage est tiré.'

"The Tales are from the MSS. and translations sent by those despatched by the French Ministers to Constantinople to learn Arabic, &c., and so become fit to act as Dragomans and Interpreters to the French Embassy."

There is a copy of this work in the British Museum; it proves, as I expected, to be the series of tales subsequently attributed to the Count de Caylus.

In addition to the above, the following, of which I can only give the names, are mentioned in the Cabinet des Fées, but not reprinted.

1. Alma-Moulin, Conte oriental, 1779.

2. Gengiskan, histoire orientale, par M. de St. M.

From “les mercures”

3. Almanzor et Zelira, conte arabe, par M. Bret. (1772).

4. Almerine et Zelima, ou les Dangers de la Beauté, conte orientale,1773. 5. Les Ames, Conte arabe, par M. B-.

5. Balky, Conte oriental, 1768.

6. Mirza, ou la necessité d'etre utile (1774).

7. Zaman, histoire orientale, par M. B.

8. Anecdotes Orientales, par Mayo1, 1752.12mo.

9. Contes très moguls.

10. Foka ou les Metamorphoses, Conte chinois. Derobé 3 M. de V. 1777. 12mo. 12. Mahulem, histoire orientale. 12mo,1776.

11. Mille et une heure, contes Peruviens. 4 vols. 12mo,1733.

12. Histoire de Khedy, Hermite de Mont Ararat. Conte orientale, traduit de l'Anglais, 12mo, 1777.

13. Zambeddin, histoire orientale. 12mo,1768.

14. Zclmoille et Zulmis et Turlableu. Par M. 1'Abbé de Voisem, 12mo, 1747.

15. Roman Oriental, Paris, 1753.

The remaining imitations, &c., known to me I shall place roughly in chronological order, premising that I fear the list must be very incomplete, and that I have met with very few except in English and French.

A.-FRENCH.,..

1. Zadig, ou la Destinée, par Voltaire probably partakes of classes 2 and 6; said to be partly based on Gueulette's "Soirées Bretonnes," published in 1712. The latter is included in Cabinet des Fées, Vol. 32.

2. Yathek, an.Arabian Tale, by William Beckford. I include this book here because it was written and first published in French. Its popularity was once very great, and it contains some effective passages, though it belongs to Class 2, and is rather a parody than an imitation of Oriental fiction. The Caliph Vathek, after committing many crimes at the instance of his mother, the witch Carathis, in order to propitiate Eblis, finally starts on an expedition to Istakar. On the way, he seduces Nouronihar, the beautiful daughter of the Emir Fakreddin, and carries her with him to the Palace of Eblis, where they are condemned to wander eternally, with their hearts surrounded with flames.

This idea (which is certainly not Oriental, so far as I know) took the fancy of Byron, who was a great admirer of Vathek, and he has mixed it with genuine Oriental features in a powerful passage in the Giaour, beginning:

"But you, false infidel! Will writhe Beneath avenging Monkir's scythe; And from its torment 'scape alone To wander round lost Eblis' throne; And fire unquenched, unquenchable, Around, within your heart shall dwell; Nor ear can hear, nor tongue can tell The tortures of that inward hell!" &c.

How errors relative to Eastern matters perpetuated is illustrated by the fact that I have seen these lines quoted in some modern philosophical work as descriptive of the hell in which the Mohammedans believe!

Southey, in Thalaba, b. 1., speaks of the Sarsar, "the Icy Wind of Death," an expression which he probably borrowed from Vathek.

3. The Count of Hamilton's Fairy Tales. Written shortly after the first publication of Galland's work. There is an English Translation among Bohn's Extra Volumes.

4. Les Mille et un Fadaues, par Cazotte. Class 1. I have not seen them.

5. La Mille et deuxième Nuit, par Theophilus Gautier (Paris, 1880). Probably Class i or 2; I have not seen it.

B.-ENGLISH.

1. The Vision of Mirza (Addison in the "Spectator"). Class 3.

2. The Story of Amurath. Class 3. 1 do not know the author. 'I, read it in a juvenile book published about the end of last century, entitled the Pleasing Instructor.

3. The Persian Tales of Inatulla of Delhi. Published in 1768, by Colonel Alexander Dow at Edinburgh. A French translation appeared at Amsterdam in -two vols. and in Paris in one vol. (1769). Class 6. Chiefly founded on a well-known Persian work, of which a more correct, though still incomplete, version was published in 3 vols. by Jonathan Scott in 1799, under the title of Bahar Danush, or Garden of Knowledge.

4. Rasselas, by Samuel Johnson. Class 3. Too well known to need comment.

5. Almoran and Hamet, by Dr. Hawksworth. Class 3. Very popular at the beginning of the present century, but now forgotten.

6. Oriental Fairy Tales (London, 1853). Class 4. A series of very pretty fairy tales, by an anonymous author, in which the scene is laid in the East (especially Egypt).

7. The Shaving of Shagpat, by George Meredith (London, 1855). Class 5. I prefer this to most other imitations of an Oriental tale.

8. The Thousand and One Humbugs. Classes 1 and 2. Published in “HouseholdWords," vol. xi. (1855) pp. 265-267, 289-292, 313-316. Parodies on Nos. 1, 195, 6d, and 6e, f.

9. Eastern Tales, by many story-tellers. Compiled and edited from ancient and modern authors by Mrs. Valentine, author of "Sea Fights and Land Battles," &c. (Chandos 'Classics.)

In her preface, the authoress states that the tales "are gathered from both ancient and modern French, Italian and English sources."

Contains 14 tales, some genuine, others imitations. One, "Alischar and Smaragdine," is a genuine story of The Nights (No. 41 of our Table), and is probably taken from Trébutien. Three tales, "Jalaladeen," "Haschem," and "Jussuf," are Grimm's imitations, taken probably from the composite English edition of 1847, and with the same illustrations. "The Seven Sleepers" and the "Four Talismans" are from the Count de Caylus' tales; "Haleschalbe" and "Bohetzad" (our No. 174) are from Chavis and Cazotte; "The Enchanters" and "Urad" are from the "Tales of the Genii"; and "The Pantofles" is the well-

Appendix II 453 known story of the miser Casem and his slippers, but I know not where it first appeared. The remaining three tales are unknown to me, and as I have seen no volume of Italian Oriental tales, some, no doubt, are derived from the Italian sources of which the authoress spoke. They are the following: "The Prince and the Lions," "The City of the Demons" (a Jewish story purporting to have been written in England) and "Sadik Beg."

11. New Arabian Nights, by R. L. Stevenson (London, 1882).

12. More New Arabian Nights. The Dynamiter. By R. L. Stevenson and Vander Grift (London, 1882). Class 4.

Of these tales, Sir R. F. Burton observes, "The only visible connection with the old Nights is in the habit of seeking adventures under a disguise. The method is to make the main idea possible and the details extravagant. In another 'New Arabian Nights,' the joint production of MM. Brookfield, Besant and Pollock, the reverse treatment is affected, the leading idea being grotesque and impossible, and the details accurate and lifelike."

C: GERMAN.

It is quite possible that there are many imitations in German, but I have not met with them. I can only mention one or two tales by Hauff (the Caliph turned Stork, and the Adventures of Said); a story called, "Ali and Gulhindi," by what author I do not now remember; and some imitations said to be by Grimm, already mentioned in reference to the English composite edition of 1847. They are all European fairy tales, in an Eastern dress.

CONCLUSION.

Among books specially interesting to the student of The Nights, I may mention Weil's "Biblische Legenden der Muselmanner, aus arabischen Quellen zusammengetragen, und mit judischen Sagen verglichen" (Frankfort-on-Main, 1845). An anonymous English translation appeared in 1846 under the title of "The Bible, the Koran, and the Talmud," and it also formed one of the sources from which the Rev. S. Baring-Gould compiled his "Legends of Old Testament Characters" (2 vols., 1871). The late Prof. Palmer's "Life of Haroun Al-Raschid" (London, 1881), is not much more than a brief popular sketch.

The references to The Nights in English and other European literatures are innumerable; but I cannot refrain from quoting Mark Twain's identification of Henry the Eighth with Shahryar (Huckleberry Finn, chap. xxiii).

"My, you ought to have seen old Henry the Eighth when he was in bloom. He was a blossom. He used to marry a new wife every day, and chop off her head next morning. And he would do it just as indifferent as if he was ordering up eggs. "Fetch up Nell Gwynn," he says. They fetch her up. Next morning, "Chop off her head." And they chop it off. "Fetch up Jane Shore," he says; and up she comes. Next morning, "Chop off her head." And they chop it off. "Ring up Fair Rosamun." Fair Rosamun answers the bell. Next morning, "Chop off her head." And he made every one of them tell him a tale every night, and he kept that up till he had hogged a thousand and one tales that way, and then he put them all in a book, and called it Domesday Book-which was a good name, and stated the case. You don't know kings, Jim, but I know them, and this old rip of ourn is one of the cleanest I've struck in history. Well, Henry, he takes a notion he wants to getup some trouble with this country. How does he do it-give notice?- give the country a show? No. All of a sudden he heaves all the tea in Boston Harbour overboard, and whacks out a declaration of independence, and dares them to come on. That was his style he never give anybody a chance. He had suspicions of his father, the Duke of Wellington. Well, what did he do?-ask him to show up? No-drownded him in a butt of mamsey, like a cat. Spose people left money laying around where he was-what did he do? He collared it. Spose he contracted to do a thing, and you paid him, and didnt set down there and see that he done it-what did he do? He always done the other thing. Spose he opened his mouth-what then? If he didnt shut it up powerful quick, he'd lose a lie, every time. That's the kind of a bug Henry was."

COMPARATIVE TABLE OF THE TALES IN THE PRINCIPAL EDITIONS OF THE THOUSAND AND ONE NIGHTS

Galland

Caussin de Perceval

Gauttier

Scotts MS. (Wortley Montague)

Ditto. (Anderson)

Scott’s Arabian Nights

Scott’s Tales and Anecdotes.

Von Hammer’s MS

Zinzerling

Lamb

Trébutien

Bul. text

Lane

Bres. text

Habicht

Weil

Mac. text

Payne

Payne’s Tales from Arabic

Calc.

Burton

At the time of this edition some 150 years after its compilation this table may reasonably be considered to be superseeded. Accordingly the table is not included but may be found as images on Internet pages.

Appendix II 473

And here I end this long volume with repeating in other words and other tongues what was said in “L’Envoi”:—

Hide you whatever is found of fault;

And laud The Faultless and His might exalt!

After which I have only to make my bow and to say

“Salam.”