The Thousand and One Nights, Vol. I.: Commonly Called the Arabian Nights' Entertainments

I have already mentioned that the literary history of "The Thousand and One Nights" is discussed in Mr. Lane's Review appended to this translation. In the course of my Arabic studies, and more especially since I have been occupied in editing the present work, I have endeavoured to form an unbiassed judgment on this difficult question; and all my researches have confirmed me in agreeing with the opinions there expressed. Von Hammer was inclined to lay too much stress on the supposed Persian or Indian origin of these Tales; while De Sacy, on the other hand, rejected the belief in any connection between the old work and the more modern; contending that the latter was an independent production. The discovery, however, of a passage in an Arabic author, by Von Hammer, since the publication of De Sacy's Essay and Mr. Lane's Preface, has placed the matter beyond a doubt; and scholars are now agreed, notwithstanding De Sacy's pleasant sarcasm, and the weight of his great name, that "The Thousand Nights" formed in some measure the prototype of "The Thousand and One Nights." On the other hand, De Sacy's keen appreciation of the modern (and chiefly Egyptian, or Arab,) character of the book, in its present form, must be fully recognised, and was indeed thus acknowledged by Von Hammer himself. The manners, dresses, and modes of thought, portrayed by it are Arab throughout, even in the stories which are probably retained from the Persian or Indian original, of which that of the Magic Horse is the best example in this translation. Besides those relating to the court and adventures of Hároon Er-Rasheed, which, as I have before remarked, are curiously Egyptian, many others appear to have been remodelled, if not actually composed, in Egypt. It is not less true that these tales are generally the best in the collection, if those of the Slave Káfoor, of 'Azeez and 'Azeezeh, and of Es-Sindibád, be excepted; for these certainly are inferior to none. The more colloquial and familiar stories point to the same origin; such as that of 'Alá-ed-Deen Abu-sh-Shámát (which is pervaded by Egyptian characteristics in phraseology and in other respects), that of Aboo-Ṣeer and Aboo-Ḳeer, and that of Maạroof. The stories founded mainly on Persian or Indian originals appear to be those in which supernatural beings play the most conspicuous parts; and, as Mr. Lane remarks, these are generally deficient in verses, although the converse does not hold good of the former class. The anecdotes are mostly historical: many of them are, in the Notes, identified with similar ones in other Arabic works; and almost all are of Arab origin.