At Caen Galland issued in 1704,[[204]] the first part of his Mille et une Nuits, Contes Arabes traduits en François which at once became famous as “The Arabian Nights’ Entertainments.” Mutilated, fragmentary and paraphrastic though the tales were, the glamour of imagination, the marvel of the miracles and the gorgeousness and magnificence of the scenery at once secured an exceptional success: it was a revelation in romance, and the public recognised that it stood in presence of a monumental literary work. France was a-fire with delight at a something so new, so unconventional, so entirely without purpose, religious, moral or philosophical: the Oriental wanderer in his stately robes was a startling surprise to the easy-going and utterly corrupt Europe of the ancien régime with its indecently tight garments and perfectly loose morals. “Ils produisirent,” said Charles Nodier, a genius in his way, “dès le moment de leur publication, cet effet qui assure aux productions de l’esprit une vogue populaire, quoiqu’ils appartinssent à une littérature peu connue en France; et que ce genre de composition admît ou plutôt exigeât des détails de moeurs, de caractère, de costume et de localités absolument étrangers à toutes les idées établies dans nos contes et nos romans. On fut étonné du charme qui résultait de leur lecture. C’est que la vérité des sentimens, la nouveauté des tableaux, une imagination féconde en prodiges, un coloris plein de chaleur, l’attrait d’une sensibilité sans prétention, et le sel d’un comique sans caricature, c’est que l’esprit et le naturel enfin plaisent partout, et plaisent à tout le monde.”[[205]]
The Contes Arabes at once made Galland’s name and a popular tale is told of them and him known to all reviewers who, however, mostly mangle it. In the Biographie Universelle of Michaud[[206]] we find:—Dans les deux premiers volumes de ces contes l’exorde était toujours, “Ma chère sœur, si vous ne dormez pas, faites-nous un de ces contes que vous savez.” Quelques jeunes gens, ennuyés de cette plate uniformité, allèrent une nuit qu’il faisait très-grand froid, frapper à la porte de l’auteur, qui courut en chemise à sa fenêtre. Après l’avoir fait morfondre quelque temps par diverses questions insignifiantes, ils terminèrent en lui disant, “Ah, Monsieur Galland, si vous ne dormez pas, faites-nous un de ces beaux contes que vous savez si bien.” Galland profita de la leçon, et supprima dans les volumes suivants le préambule qui lui avait attiré la plaisanterie. This legend has the merit of explaining why the Professor so soon gave up the Arab framework which he had deliberately adopted.
The Nights was at once translated from the French[[207]] though when, where and by whom no authority seems to know. In Lowndes’ “Bibliographer’s Manual” the English Editio Princeps is thus noticed, “Arabian Nights’ Entertainments translated from the French, London, 1724, 12mo, 6 vols.” and a footnote states that this translation, very inaccurate and vulgar in its diction, was often reprinted. In 1712 Addison introduced into the Spectator (No. 535, Nov. 13) the Story of Alnaschar (= Al-Nashshár, the Sawyer) and says that his remarks on Hope “may serve as a moral to an Arabian tale which I find translated into French by Monsieur Galland.” His version appears, from the tone and style, to have been made by himself, and yet in that year a second English edition had appeared. The nearest approach to the Edit. Princeps in the British Museum[[208]] is a set of six volumes bound in three and corresponding with Galland’s first half dozen. Tomes i. and ii. are from the fourth edition of 1713, Nos. iii. and iv. are from the second of 1712 and v. and vi. are from the third of 1715. It is conjectured that the two first volumes were reprinted several times apart from their subsequents, as was the fashion of the day; but all is mystery. We (my friends and I) have turned over scores of books in the British Museum, the University Library and the Advocates’ Libraries of Edinburgh and Glasgow: I have been permitted to put the question in “Notes and Queries” and in the “Antiquary”; but all our researches hitherto have been in vain.
The popularity of The Nights in England must have rivalled their vogue in France, judging from the fact that in 1713, or nine years after Galland’s Edit. Prin. appeared they had already reached a fourth issue. Even the ignoble national jealousy which prompted Sir William Jones grossly to abuse that valiant scholar, Auquetil du Perron, could not mar their popularity. But as there are men who cannot read Pickwick, so they were not wanting who spoke of “Dreams of the distempered fancy of the East.”[[209]] “When the work was first published in England,” says Henry Webber,[[210]] “it seems to have made a considerable impression upon the public.” Pope in 1720 sent two volumes (French? or English?) to Bishop Atterbury, without making any remark on the work; but, from his very silence, it may be presumed that he was not displeased with the perusal. The bishop, who does not appear to have joined a relish for the flights of imagination to his other estimable qualities, expressed his dislike of these tales pretty strongly and stated it to be his opinion, formed on the frequent descriptions of female dress, that they were the work of some Frenchman (Petis de la Croix, a mistake afterwards corrected by Warburton). The Arabian Nights, however, quickly made their way to public favour. “We have been informed of a singular instance of the effect they produced soon after their first appearance. Sir James Stewart, Lord Advocate for Scotland, having one Saturday evening found his daughters employed in reading these volumes, seized them with a rebuke for spending the evening before the ‘Sawbbath’ in such worldly amusement; but the grave advocate himself became a prey to the fascination of the tales, being found on the morning of the Sabbath itself employed in their perusal, from which he had not risen the whole night.” As late as 1780 Dr. Beattie professed himself uncertain whether they were translated or fabricated by M. Galland; and, while Dr. Pusey wrote of them “Noctes Mille et Una dictæ, quæ in omnium firmè populorum cultiorum linguas conversæ, in deliciis omnium habentur, manibusque omnium terentur,”[[211]] the amiable Carlyle, in the gospel according to Saint Froude, characteristically termed them “downright lies” and forbade the house to such “unwholesome literature.” What a sketch of character in two words!
The only fault found in France with the Contes Arabes was that their style is peu correcte; in fact they want classicism. Yet all Gallic imitators, Trébutien included, have carefully copied their leader and Charles Nodier remarks:—“Il me semble que l’on n’a pas rendu assez de justice au style de Galland. Abondant sans être prolixe, naturel et familier sans être lâche ni trivial, il ne manque jamais de cette élégance qui résulte de la facilité, et qui présente je ne sais quel mélange de la naïveté de Perrault et de la bonhomie de La Fontaine.”
Our Professor, with a name now thoroughly established, returned in 1706 to Paris, where he was an assiduous and efficient member of the Société Numismatique and corresponded largely with foreign Orientalists. Three years afterwards he was made Professor of Arabic at the Collége de France, succeeding Pierre Dippy; and, during the next half decade, he devoted himself to publishing his valuable studies. Then the end came. In his last illness, an attack of asthma complicated with pectoral mischief, he sent to Noyon for his nephew Julien Galland[[212]] to assist him in ordering his MSS. and in making his will after the simplest military fashion: he bequeathed his writings to the Bibliothèque du Roi, his Numismatic Dictionary to the Academy and his Alcoran to the Abbé Bignon. He died, aged sixty-nine on February 17, 1715, leaving his second Part of The Nights unpublished.[[213]]
Professor Galland was a French littérateur of the good old school which is rapidly becoming extinct. Homme vrai dans les moindres choses (as his Éloge stated); simple in life and manners and single-hearted in his devotion to letters, he was almost childish in worldly matters, while notable for penetration and acumen in his studies. He would have been as happy, one of his biographers remarks, in teaching children the elements of education as he was in acquiring his immense erudition. Briefly, truth and honesty, exactitude and indefatigable industry characterised his most honourable career.
Galland informs us (Epist. Ded.) that his MS. consisted of four volumes, only three of which are extant,[[214]] bringing the work down to Night cclxxxii., or about the beginning of “Camaralzaman.” The missing portion, if it contained like the other volumes 140 pages, would end that tale together with the Stories of Ghánim and the Enchanted (Ebony) Horse; and such is the disposition in the Bresl. Edit. which mostly favours in its ordinance the text used by the first translator. But this would hardly have filled more than two-thirds of his volumes; for the other third he interpolated, or is supposed to have interpolated, the ten[[215]] following tales.
1. Histoire du prince Zeyn Al-asnam et du Roi des Génies.[[216]] 2. Histoire de Codadad et de ses frères. 3. Histoire de la Lampe merveilleuse (Aladdin). 4. Histoire de l’aveugle Baba Abdalla. 5. Histoire de Sidi Nouman. 6. Histoire de Cogia Hassan Alhabbal. 7. Histoire d’Ali Baba, et de Quarante Voleurs exterminés par une Esclave. 8. Histoire d’Ali Cogia, marchand de Bagdad. 9. Histoire du prince Ahmed et de la fée Peri-Banou. 10. Histoire de deux Sœurs jalouses de leur Cadette.[[217]]
Concerning these interpolations which contain two of the best and most widely known stories in the work, Aladdin and the Forty Thieves, conjectures have been manifold but they mostly run upon three lines. De Sacy held that they were found by Galland in the public libraries of Paris. Mr. Chenery, whose acquaintance with Arabic grammar was ample, suggested that the Professor had borrowed them from the recitations of the Rawis, rhapsodists or professional story-tellers in the bazars of Smyrna and other ports of the Levant. The late Mr. Henry Charles Coote (in the “Folk-Lore Record,” vol. iii. Part ii. p. 178 et seq.), “On the source of some of M. Galland’s Tales,” quotes from popular Italian, Sicilian and Romaic stories incidents identical with those in Prince Ahmad, Aladdin, Ali Baba and the Envious Sisters, suggesting that the Frenchman had heard these paramythia in Levantine coffee-houses and had inserted them into his unequalled corpus fabularum. Mr. Payne (ix. 268) conjectures the probability “of their having been composed at a comparatively recent period by an inhabitant of Baghdad, in imitation of the legends of Haroun er Rashid and other well-known tales of the original work;” and adds, “It is possible that an exhaustive examination of the various MS. copies of the Thousand and One Nights known to exist in the public libraries of Europe might yet cast some light upon the question of the origin of the interpolated Tales.” I quite agree with him, taking “The Sleeper and the Waker” and “Zeyn Al-asnam” as cases in point; but I should expect, for reasons before given, to find the stories in a Persic rather than an Arabic MS. And I feel convinced that all will be recovered: Galland was not the man to commit a literary forgery.