Richard Burton - A plain and literal translation of the Arabian nights entertainments, now entituled The Book of the Thousand Nights and a Night, Volume 1 (of 17)

After nearly a century had elapsed, Dr. Jonathan Scott (LL.D. H.E.I.C.'s S., Persian Secretary to the G. G. Bengal; Oriental Professor, etc., etc.), printed his "Tales, Anecdotes, and Letters, translated from the Arabic and Persian," (Cadell and Davies, London, A.D. 1800); and followed in 1811 with an edition of "The Arabian Nights' Entertainments" from the MS. of Edward Wortley Montague (in 6 vols., small 8vo, London: Longmans, etc.). This work he (and he only) describes as "Carefully revised and occasionally corrected from the Arabic." The reading public did not wholly reject it, sundry texts were founded upon the Scott version and it has been imperfectly reprinted (4 vols., 8vo, Nimmo and Bain, London, 1883). But most men, little recking what a small portion of the original they were reading, satisfied themselves with the Anglo-French epitome and metaphrase. At length in 1838, Mr. Henry Torrens, B.A., Irishman, lawyer ("of the Inner Temple") and Bengal Civilian, took a step in the right direction; and began to translate, "The Book of the Thousand Nights and One Night," (1 vol., 8vo, Calcutta: W. Thacker and Co.) from the Arabic of the Ægyptian (!) MS. edited by Mr. (afterwards Sir) William H. Macnaghten. The attempt, or rather the intention, was highly creditable; the copy was carefully moulded upon the model and offered the best example of the verbatim et literatim style. But the plucky author knew little of Arabic, and least of what is most wanted, the dialect of Egypt and Syria. His prose is so conscientious as to offer up spirit at the shrine of letter; and his verse, always whimsical, has at times a manner of Hibernian whoop which is comical when it should be pathetic. Lastly he printed only one volume of a series which completed would have contained nine or ten.

That amiable and devoted Arabist, the late Edward William Lane does not score a success in his "New Translation of the Tales of a Thousand and One Nights" (London: Charles Knight and Co., MDCCCXXXIX.) of which there have been four English editions, besides American, two edited by E. S. Poole. He chose the abbreviating Bulak Edition; and, of its two hundred tales, he has omitted about half and by far the more characteristic half: the work was intended for "the drawing-room table;" and, consequently, the workman was compelled to avoid the "objectionable" and aught "approaching to licentiousness." He converts the Arabian Nights into the Arabian Chapters, arbitrarily changing the division and, worse still, he converts some chapters into notes. He renders poetry by prose and apologises for not omitting it altogether: he neglects assonance and he is at once too Oriental and not Oriental enough. He had small store of Arabic at the time – Lane of the Nights is not Lane of the Dictionary – and his pages are disfigured by many childish mistakes. Worst of all, the three handsome volumes are rendered unreadable as Sale's Koran by their anglicised Latin, their sesquipedalian un-English words, and the stiff and stilted style of half a century ago when our prose was, perhaps, the worst in Europe. Their cargo of Moslem learning was most valuable to the student, but utterly out of place for readers of "The Nights;" re-published, as these notes have been separately (London, Chatto, 1883), they are an ethnological text-book.

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

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

Briefly, the object of this version is to show what "The Thousand Nights and a Night" really is. Not, however, for reasons to be more fully stated in the terminal Essay, by straining verbum reddere verbo , but by writing as the Arab would have written in English. On this point I am all with Saint Jerome (Pref. in Jobum) "Vel verbum e verbo, vel sensum e sensu, vel ex utroque commixtum, et medie temperatum genus translationis." My work claims to be a faithful copy of the great Eastern Saga-book, by preserving intact, not only the spirit, but even the mécanique , the manner and the matter. Hence, however prosy and long-drawn out be the formula, it retains the scheme of the Nights because they are a prime feature in the original. The Ráwí or reciter, to whose wits the task of supplying details is left, well knows their value: the openings carefully repeat the names of the dramatis personæ and thus fix them in the hearer's memory. Without the Nights no Arabian Nights! Moreover it is necessary to retain the whole apparatus: nothing more ill-advised than Dr. Jonathan Scott's strange device of garnishing The Nights with fancy head-pieces and tail-pieces or the splitting-up of Galland's narrative by merely prefixing "Nuit," etc., ending moreover, with the ccxxxiv thNight: yet this has been done, apparently with the consent of the great Arabist Sylvestre de Sacy (Paris, Ernest Bourdin). Moreover, holding that the translator's glory is to add something to his native tongue, while avoiding the hideous hag-like nakedness of Torrens and the bald literalism of Lane, I have carefully Englished the picturesque turns and novel expressions of the original in all their outlandishness; for instance, when the dust-cloud raised by a tramping host is described as "walling the horizon." Hence peculiar attention has been paid to the tropes and figures which the Arabic language often packs into a single term; and I have never hesitated to coin a word when wanted, such as "she snorted and snarked," fully to represent the original. These, like many in Rabelais, are mere barbarisms unless generally adopted; in which case they become civilised and common currency.

Despite objections manifold and manifest, I have preserved the balance of sentences and the prose rhyme and rhythm which Easterns look upon as mere music. This "Saj'a," or cadence of the cooing dove, has in Arabic its special duties. It adds a sparkle to description and a point to proverb, epigram and dialogue; it corresponds with our "artful alliteration" (which in places I have substituted for it) and, generally, it defines the boundaries between the classical and the popular styles which jostle each other in The Nights. If at times it appear strained and forced, after the wont of rhymed prose, the scholar will observe that, despite the immense copiousness of assonants and consonants in Arabic, the strain is often put upon it intentionally, like the Rims cars of Dante and the Troubadours. This rhymed prose may be "un-English" and unpleasant, even irritating to the British ear; still I look upon it as a sine quâ non for a complete reproduction of the original. In the terminal Essay I shall revert to the subject.