I cannot take up the Nights in their present condition, without feeling that the work has been written down from the Ráwi or Nakkál,[FN#300] the conteur or professional story-teller, also called Kassás and Maddáh, corresponding with the Hindu Bhat or Bard. To these men my learned friend Baron A. von Kremer would attribute the Mu’allakat vulgarly called the Suspended Poems, as being “indited from the relation of the Ráwi.” Hence in our text the frequent interruption of the formula Kal’ al-Rawi = quotes the reciter; dice Turpino. Moreover, The Nights read in many places like a hand-book or guide for the professional, who would learn them by heart; here and there introducing his “gag” and “patter”. To this “business” possibly we may attribute much of the ribaldry which starts up in unexpected places: it was meant simply to provoke a laugh. How old the custom is and how unchangeable is Eastern life is shown, a correspondent suggests, by the Book of Esther which might form part of The Alf Laylah. “On that night (we read in Chap. vi. 1) could not the King sleep, and he commanded to bring the book of records of the chronicles; and they were read before the King.” The Ráwi would declaim the recitative somewhat in conversational style; he would intone the Saj’a or prose-rhyme and he would chant to the twanging of the Rabáb, a one-stringed viol, the poetical parts. Dr. Scott[FN#301] borrows from the historian of Aleppo a life-like picture of the Story-teller. “He recites walking to and fro in the middle of the coffee-room, stopping only now and then, when the expression requires some emphatical attitude. He is commonly heard with great attention; and not unfrequently in the midst of some interesting adventure, when the expectation of his audience is raised to the highest pitch, he breaks off abruptly and makes his escape, leaving both his hero or heroine and his audience in the utmost embarrassment. Those who happen to be near the door endeavour to detain him, insisting upon the story being finished before he departs; but he always makes his retreat good[FN#302]; and the auditors suspending their curiosity are induced to return at the same time next day to hear the sequel. He has no sooner made his exit than the company in separate parties fall to disputing about the characters of the drama or the event of an unfinished adventure. The controversy by degrees becomes serious and opposite opinions are maintained with no less warmth than if the fall of the city depended upon the decision.”
At Tangier, where a murder in a “coffee-house” had closed these hovels, pending a sufficient payment to the Pasha; and where, during the hard winter of 1885-86, the poorer classes were compelled to puff their Kayf (Bhang, cannabis indica) and sip their black coffee in the muddy streets under a rainy sky, I found the Ráwi active on Sundays and Thursdays, the market days. The favourite place was the “Soko de barra,” or large bazar, outside the town whose condition is that of Suez and Bayrut half a century ago. It is a foul slope; now slippery with viscous mud, then powdery with fetid dust, dotted with graves and decaying tombs, unclean booths, gargottes and tattered tents, and frequented by women, mere bundles of unclean rags, and by men wearing the haik or burnús, a Franciscan frock, tending their squatting camels and chaffering over cattle for Gibraltar beef- eaters. Here the market-people form a ring about the reciter, a stalwart man affecting little raiment besides a broad waist-belt into which his lower chiffons are tucked, and noticeable only for his shock hair, wild eyes, broad grin and generally disreputable aspect. He usually handles a short stick; and, when drummer and piper are absent, he carries a tiny tom-tom shaped like an hour- glass, upon which he taps the periods. This Scealuidhe, as the Irish call him, opens the drama with extempore prayer, proving that he and the audience are good Moslems: he speaks slowly and with emphasis, varying the diction with breaks of animation, abundant action and the most comical grimace: he advances, retires and wheels about, illustrating every point with pantomime; and his features, voice and gestures are so expressive that even Europeans who cannot understand a word of Arabic divine the meaning of his tale. The audience stands breathless and motionless surprising strangers[FN#303] by the ingenuousness and freshness of feeling hidden under their hard and savage exterior. The performance usually ends with the embryo actor going round for alms and flourishing in air every silver bit, the usual honorarium being a few “f’lús,” that marvellous money of Barbary, big coppers worth one-twelfth of a penny. All the tales I heard were purely local, but Fakhri Bey, a young Osmanli domiciled for some time in Fez and Mequinez, assured me that The Nights are still recited there.
Many travellers, including Dr. Russell, have complained that they failed to find a complete MS. copy of The Nights. Evidently they never heard of the popular superstition which declares that no one can read through them without dying—it is only fair that my patrons should know this. Yacoub Artín Pasha declares that the superstition dates from the fourteenth and fifteenth centuries and he explains it in two ways. Firstly, it is a facetious exaggeration, meaning that no one has leisure or patience to wade through the long repertory. Secondly, the work is condemned as futile. When Egypt produced savants and legists like Ibn al- Hajar, Al-’Ayni, and Al-Kastalláni, to mention no others, the taste of the country inclined to dry factual studies and positive science; nor, indeed, has this taste wholly died out: there are not a few who, like Khayri Pasha, contend that the mathematic is more useful even for legal studies than history and geography, and at Cairo the chief of the Educational Department has always been an engineer, i. e., a mathematician. The Olema declared war against all “futilities,” in which they included not only stories but also what is politely entitled Authentic History. From this to the fatal effect of such lecture is only a step. Society, however, cannot rest without light literature; so the novel- reading class was thrown back upon writings which had all the indelicacy and few of the merits of The Nights.
Turkey is the only Moslem country which has dared to produce a regular drama[FN#304] and to arouse the energies of such brilliant writers as Muníf Pasha, statesman and scholar; Ekrem Bey, literato and professor; Kemál Bey, held by some to be the greatest writer in modern Osmanli-land and Abd al-Hakk Hamíd Bey, first Secretary of the London Embassy. The theatre began in its ruder form by taking subjects bodily from The Nights; then it annexed its plays as we do—the Novel having ousted the Drama— from the French; and lastly it took courage to be original. Many years ago I saw Harun al-Rashid and the Three Kalandars, with deer-skins and all their properties de rigueur in the court-yard of Government House, Damascus, declaiming to the extreme astonishment and delight of the audience. It requires only to glance at The Nights for seeing how much histrionic matter they contain.
In considering the style of The Nights we must bear in mind that the work has never been edited according to our ideas of the process. Consequently there is no just reason for translating the whole verbatim et literatim, as has been done by Torrens, Lane and Payne in his “Tales from the Arabic.”[FN#305] This conscientious treatment is required for versions of an author like Camns, whose works were carefully corrected and arranged by a competent littérateur, but it is not merited by The Nights as they now are. The Macnaghten, the Bulak and the Bayrut texts, though printed from MSS. identical in order, often differ in minor matters. Many friends have asked me to undertake the work: but, even if lightened by the aid of Shaykhs, Munshis and copyists, the labour would be severe, tedious and thankless: better leave the holes open than patch them with fancy work or with heterogeneous matter. The learned, indeed, as Lane tells us (i. 74; iii. 740), being thoroughly dissatisfied with the plain and popular, the ordinary and “vulgar” note of the language, have attempted to refine and improve it and have more than once threatened to remodel it, that is, to make it odious. This would be to dress up Robert Burns in plumes borrowed from Dryden and Pope.
The first defect of the texts is in the distribution and arrangement of the matter, as I have noticed in the case of Sindbad the Seaman (vol. vi. 77). Moreover, many of the earlier Nights are overlong and not a few of the others are overshort: this, however, has the prime recommendation of variety. Even the vagaries of editor and scribe will not account for all the incoherences, disorder and inconsequence, and for the vain iterations which suggest that the author has forgotten what he said. In places there are dead allusions to persons and tales which are left dark, e. g. vol. i. pp. 43, 57, 61, etc. The digressions are abrupt and useless, leading nowhere, while sundry pages are wearisome for excess of prolixity or hardly intelligible for extreme conciseness. The perpetual recurrence of mean colloquialisms and of words and idioms peculiar to Egypt and Syria[FN#306] also takes from the pleasure of the perusal. Yet we cannot deny that it has its use: this unadorned language of familiar conversation, in its day adapted for the understanding of the people, is best fitted for the Rawi’s craft in the camp and caravan, the Harem, the bazar and the coffee- house. Moreover, as has been well said, The Nights is the only written half-way house between the literary and colloquial Arabic which is accessible to all, and thus it becomes necessary to the students who would qualify themselves for service in Moslem lands from Mauritania to Mesopotamia. It freely uses Turkish words like “Khátún” and Persian terms as “Sháhbandar,” thus requiring for translation not only a somewhat archaic touch, but also a vocabulary borrowed from various sources: otherwise the effect would not be reproduced. In places, however, the style rises to the highly ornate approaching the pompous; e. g. the Wazirial addresses in the tale of King Jali’ad. The battle-scenes, mostly admirable (vol. v. 365), are told with the conciseness of a despatch and the vividness of an artist; the two combining to form perfect “word-pictures.” Of the Badí’a or euphuistic style, “Parleying euphuism,” and of AI Saj’a, the prose rhyme, I shall speak in a future page.
The characteristics of the whole are naïveté and simplicity, clearness and a singular concision. The gorgeousness is in the imagery not in the language; the words are weak while the sense, as in the classical Scandinavian books, is strong; and here the Arabic differs diametrically from the florid exuberance and turgid amplifications of the Persian story-teller, which sound so hollow and unreal by the side of a chaster model. It abounds in formulæ such as repetitions of religious phrases which are unchangeable. There are certain stock comparisons, as Lokman’s wisdom, Joseph’s beauty, Jacob’s grief, Job’s patience, David’s music, and Maryam the Virgin’s chastity. The eyebrow is a Nún; the eye a Sád, the mouth a Mím. A hero is more prudent than the crow, a better guide than the Katá grouse, more generous than the cock, warier than the crane, braver than the lion, more aggressive than the panther, finer-sighted than the horse, craftier than the fox, greedier than the gazelle, more vigilant than the dog, and thriftier than the ant. The cup-boy is a sun rising from the dark underworld symbolised by his collar; his cheek-mole is a crumb of ambergris, his nose is a scymitar grided at the curve; his lower lip is a jujube; his teeth are the Pleiades or hailstones; his browlocks are scorpions; his young hair on the upper lip is an emerald; his side beard is a swarm of ants or a Lám ( -letter) enclosing the roses or anemones of his cheek. The cup-girl is a moon who rivals the sheen of the sun; her forehead is a pearl set off by the jet of her “idiot-fringe;” her eyelashes scorn the sharp sword; and her glances are arrows shot from the bow of the eyebrows. A mistress necessarily belongs, though living in the next street, to the Wady Liwá and to a hostile clan of Badawin whose blades are ever thirsting for the lover’s blood and whose malignant tongues aim only at the “defilement of separation.” Youth is upright as an Alif, or slender and bending as a branch of the Bán-tree which we should call a willow-wand,[FN#307] while Age, crabbed and crooked, bends groundwards vainly seeking in the dust his lost juvenility. As Baron de Slane says of these stock comparisons (Ibn Khall. i. xxxvi.), “The figurative language of Moslem poets is often difficult to be understood. The narcissus is the eye; the feeble stem of that plant bends languidly under its dower, and thus recalls to mind the languor of the eyes. Pearls signify both tears and teeth; the latter are sometimes called hailstones, from their whiteness and moisture; the lips are cornelians or rubies; the gums, a pomegranate flower; the dark foliage of the myrtle is synonymous with the black hair of the beloved, or with the first down on the cheeks of puberty. The down itself is called the izâr, or head-stall of the bridle, and the curve of the izar is compared to the letters lâm ( ) and nûn ( ).[FN#308] Ringlets trace on the cheek or neck the letter Waw ( ); they are called Scorpions (as the Greek ), either from their dark colour or their agitated movements; the eye is a sword; the eyelids scabbards; the whiteness of the complexion, camphor; and a mole or beauty-spot, musk, which term denotes also dark hair. A mole is sometimes compared also to an ant creeping on the cheek towards the honey of the mouth; a handsome face is both a full moon and day; black hair is night; the waist is a willow-branch or a lance; the water of the face is self-respect: a poet sells the water of his face[FN#309] when he bestows mercenary praises on a rich patron.”
This does not sound promising: yet, as has been said of Arab music, the persistent repetition of the same notes in the minor key is by no means monotonous and ends with haunting the ear, occupying the thought and touching the soul. Like the distant frog-concert and chirp of the cicada, the creak of the water- wheel and the stroke of hammers upon the anvil from afar, the murmur of the fountain, the sough of the wind and the plash of the wavelet, they occupy the sensorium with a soothing effect, forming a barbaric music full of sweetness and peaceful pleasure.
§ IV. SOCIAL CONDITION.
I here propose to treat of the Social Condition which The Nights discloses, of Al-Islam at the earlier period of its development, concerning the position of women and about the pornology of the great Saga-book.