The kází then gave orders to furnish an apartment sumptuously for the reception of his bride. The floor was spread with velvet carpets, the walls were hung with rich tapestry, and couches of gold and silver brocade were placed around the room. The bridal chamber was decked with caskets filled with the most exquisite perfumes. When everything was in readiness, the kází impatiently expected the arrival of his bride, and at last was about to despatch a messenger to the dyer’s when a porter entered, carrying a wooden chest covered with a piece of green taffeta. “What hast thou brought me there, friend?” asked the kází. “My lord,” replied the porter, setting the chest on the floor, “I bring your bride.” The kází opened the chest, and discovered a woman of three feet and a half, defective in every limb and feature. He was horrified at the sight of this object, and throwing the covering hastily over it, demanded of the porter, “What wouldst thou have me do with this frightful creature?” “My lord,” said the porter, “this is the daughter of Omar the dyer, who told me that you had espoused her out of pure inclination.” “O Allah!” exclaimed the kází, “is it possible to marry such a monster as this?” Just then, the dyer, well knowing that the kazi must be surprised, came in. “Thou wretch,” cried the kází, “how dost thou dare to trifle with me? In place of this hideous object, send hither your other daughter, whose beauty is beyond comparison; otherwise thou shalt soon know what it is to insult me.” Quoth the dyer, “My lord, I swear, by Him who out of darkness produced light, that I have no other daughter but this. I told you repeatedly that she was not for your purpose, but you would not believe my words. Who, then, is to blame?” Upon this the kází began to cool, and said to the dyer, “I must tell you, friend Omar, that this morning there came to me a most beautiful damsel, who pretended that you were her father, and that you represented her to everybody as a monster, on purpose to deter all suitors that came to ask her in marriage.” “My lord,” answered the dyer, “this beautiful damsel must be an impostor; some one, undoubtedly, owes you a grudge.” Then the kází, having reflected for a few minutes, said to the dyer, “Bid the porter carry thy daughter home again. Keep the thousand sequins of gold which I gave thee, but ask no more of me, if thou desirest that we should continue friends.” The dyer, knowing the implacable disposition of the kází, thought it advisable to content himself with what he had already gained, and the kází, having formally divorced his hideous bride, sent her away with her father. The affair soon got wind in the city and everybody was highly diverted with the trick practised on the kází.
It will be observed that in the Arabian story there are two clever devices: that of the lady who tricks the boastful merchant, whose motto was that men’s craft is superior to women’s craft, into marrying the ugly daughter of the kází; and that of the merchant to get rid of his bad bargain by disgusting the kází with the alliance. The scene at the house of the worthy judge—the crowd of low rascals piping, drumming, and capering, and felicitating themselves on their pretended kinsman the merchant’s marriage—is highly humorous. This does not occur in the Persian story, because it is the kází who has been duped into marrying the dyer’s deformed daughter, and she is therefore simply packed off again to her father’s house.
That the tales of the “Thousand and One Days” are not (as is supposed by the writer of an article on the several English versions of The Nights in the “Edinburgh Review” for July 1886, p. 167) mere imitations of Galland[[597]] is most certain, apart from the statement in the preface to Petis’ French translation, which there is no reason to doubt—see vol. x. of The Nights, p. 166, note 1. Sir William Ouseley, in his Travels, vol. ii., p. 21, note, states that he brought from Persia a manuscript which comprised, inter alia, a portion of the “Hazár ú Yek Rúz,” or the Thousand and One Days, which agreed with Petis’ translation of the same stories. In the Persian collection entitled “Shamsa ú Kuhkuha” occur several of the tales and incidents, for example, the Story of Nasiraddoli King of Mousel, the Merchant of Baghdád, and the Fair Zeinib, while the Story of the King of Thibet and the Princess of the Naimans has its parallel in the Turkish “Kirk Vazír,” or Forty Vazírs. Again, the Story of Couloufe and the Beautiful Dilara reminds us of that of Haji the Cross-grained in Malcolm’s “Sketches of Persia.” But of the French translation not a single good word can be said—the Oriental “costume” and phraseology have almost entirely disappeared, and between Petis de la Croix and the author of “Gil Blas”—who is said to have had a hand in the work—the tales have become ludicrously Frenchified. The English translation made from the French is, if possible, still worse. We there meet with “persons of quality,” “persons of fashion,” with “seigneurs,” and a thousand and one other inconsistencies and absurdities. A new translation is much to be desired. The copy of the Persian text made by Petis is probably in the Paris Library and Ouseley’s fragment is doubtless among his other Oriental MSS. in the Bodleian. But one should suppose that copies of the “Hazár ú Yek Rúz” may be readily procured at Ispahán or Tehrán, and at a very moderate cost, since the Persians now-a-days are so poor in general that they are eager to exchange any books they possess for the “circulating medium.”
NUR AL-DIN AND THE DAMSEL SITT AL-MILAH. Vol. II. p. 151.
This is an excellent tale; the incidents occur naturally and the reader’s interest in the fortunes of the hero and heroine never flags. The damsel’s sojourn with the old Muezzin—her dispatching him daily to the shroff—bears some analogy to part of the tale of Ghanim the Slave of Love (vol. ii. of The Nights), which, by the way, finds close parallels in the Turkish “Forty Vazírs” (the Lady’s 18th story in Mr. Gibb’s translation), the Persian “Thousand and One Days” (story of Aboulcasem of Basra,) and the “Bagh o Bahár” (story of the First Dervish). This tale is, in fact, a compound of incidents occurring in a number of different Arabian fictions.
TALE OF KING INS BIN KAYS AND HIS DAUGHTER. Vol. II. p. 191.
Here we have another instance of a youth falling in love with the portrait of a pretty girl (see ante, p. 328). The doughty deeds performed by the young prince against thousands of his foes throw into the shade the exploits of the Bedouin hero Antar, and those of our own famous champions Sir Guy of Warwick and Sir Bevis of Hampton.