The Book of the Thousand Nights and a Night, vol 10 - Sir Richard Francis Burton (ebook reader with built in dictionary txt) 📗

and kept it in the general wardrobe: hence “faire l’Imp�ratrice” meant to be used carnally. The site, a splendid hotel in the All�e des Veuves, was discovered by the Procureur-G�neral, who registered all the names; but, as these belonged to not a few senators and dignitaries, the Emperor wisely quashed proceedings. The club was broken up on July 16, ‘64. During the same year La Petite Revue, edited by M. Loredan Larchy, son of the General, printed an article, “Les �chapp�s de Sodome”: it discusses the letter of M.

Castagnary to the Progr�s de Lyons and declares that the Vice had been adopted by plusieurs corps de troupes. For its latest developments as regards the chantage of the tantes (pathics), the reader will consult the last issues of Dr. Tardieu’s wellknown �tudes.[FN#428] He declares that the servant-class is most infected; and that the Vice is commonest between the ages of fifteen and twenty five.

 

The pederasty of The Nights may briefly be distributed into three categories. The first is the funny form, as the unseemly practical joke of masterful Queen Bud�r (vol. iii. 300-306) and the not less hardi jest of the slave-princess Zumurrud (vol. iv.

226). The second is in the grimmest and most earnest phase of the perversion, for instance where Abu Nowas[FN#429] debauches the three youths (vol. v. 64 69); whilst in the third form it is wisely and learnedly discussed, to be severely blamed, by the Shaykhah or Reverend Woman (vol v. 154).

 

To conclude this part of my subject, the �claircissement des obsc�nit�s. Many readers will regret the absence from The Nights of that modesty which distinguishes “Amadis de Gaul,” whose author, when leaving a man and a maid together says, “And nothing shall be here related; for these and suchlike things which are conformable neither to good conscience nor nature, man ought in reason lightly to pass over, holding them in slight esteem as they deserve.” Nor have we less respect for Palmerin of England who after a risqu� scene declares, “Herein is no offence offered to the wise by wanton speeches, or encouragement to the loose by lascivious matter.” But these are not oriental ideas, and we must e’en take the Eastern as we find him. He still holds “Naturalla non sunt turpia,” together with “Mundis omnia munda”; and, as Bacon assures us the mixture of a lie cloth add to pleasure, so the Arab enjoys the startling and lively contrast of extreme virtue and horrible vice placed in juxtaposition.

 

Those who have read through these ten volumes will agree with me that the proportion of offensive matter bears a very small ratio to the mass of the work. In an age saturated with cant and hypocrisy, here and there a venal pen will mourn over the “Pornography” of The Nights, dwell upon the “Ethics of Dirt” and the “Garbage of the Brothel”; and will lament the “wanton dissemination (!) of ancient and filthy fiction.” This self-constituted Censor morum reads Aristophanes and Plato, Horace and Virgil, perhaps even Martial and Petronius, because “veiled in the decent obscurity of a learned language”; he allows men Latin�

loqui; but he is scandalised at stumbling-blocks much less important in plain English. To be consistent he must begin by bowdlerising not only the classics, with which boys’ and youths’

minds and memories are soaked and saturated at schools and colleges, but also Boccaccio and Chaucer, Shakespeare and Rabelais; Burton, Sterne, Swift, and a long list of works which are yearly reprinted and republished without a word of protest.

Lastly, why does not this inconsistent puritan purge the Old Testament of its allusions to human ordure and the pudenda; to carnal copulation and impudent whoredom, to adultery and fornication, to onanism, sodomy and bestiality? But this he will not do, the whited sepulchre! To the interested critic of the Edinburgh Review (No. 335 of July, 1886), I return my warmest thanks for his direct and deliberate falsehoods:—lies are one-legged and short-lived, and venom evaporates.[FN#430] It appears to me that when I show to such men, so “respectable” and so impure, a landscape of magnificent prospects whose vistas are adorned with every charm of nature and art, they point their unclean noses at a little heap of muck here and there lying in a field-corner.

 

� V

ON THE PROSE-RHYME AND THE POETRY OF THE NIGHTS

 

A.—The Saj’a.

 

According to promise in my Foreword (p. xiii.), I here proceed to offer a few observations concerning the Saj’a or rhymed prose and the Shi’r, or measured sentence, that is, the verse of The Nights. The former has in composition, metrical or unmetrical three distinct forms. Saj’a mut�wazi (parallel), the most common is when the ending words of sentences agree in measure, assonance and final letter, in fact our full rhyme; next is Saj’a mutarraf (the affluent), when the periods, hemistichs or couplets end in words whose terminal letters correspond, although differing in measure and number; and thirdly, Saj’a muw�zanah (equilibrium) is applied to the balance which affects words corresponding in measure but differing in final letters.[FN#431]

 

Al-Saj’a, the fine style or style fleuri, also termed Al-Bad�‘a, or euphuism, is the basis of all Arabic euphony. The whole of the Koran is written in it; and the same is the case with the Mak�m�t of Al-Hariri and the prime masterpieces of rhetorical composition: without it no translation of the Holy Book can be satisfactory or final, and where it is not the Assemblies become the prose of prose. Thus universally used the assonance has necessarily been abused, and its excess has given rise to the saying “Al-Saj’s faj’a”—prose rhyme’s a pest. English translators have, unwisely I think, agreed in rejecting it, while Germans have not. Mr Preston assures us that “rhyming prose is extremely ungraceful in English and introduces an air of flippancy”: this was certainly not the case with Friedrich R�ckert’s version of the great original and I see no reason why it should be so or become so in our tongue. Torrens (Pref. p.

vii.) declares that “the effect of the irregular sentence with the iteration of a jingling rhyme is not pleasant in our language:” he therefore systematically neglects it and gives his style the semblance of being “scamped” with the object of saving study and trouble. Mr. Payne (ix. 379) deems it an “excrescence born of the excessive facilities for rhyme afforded by the language,” and of Eastern delight in antithesis of all kinds whether of sound or of thought; and, aiming elaborately at grace of style, he omits it wholly, even in the proverbs.

 

The weight of authority was against me but my plan compelled me to disregard it. The dilemma was simply either to use the Saj’a or to follow Mr. Payne’s method and “arrange the disjecta membra of the original in their natural order”; that is, to remodel the text. Intending to produce a faithful copy of the Arabic, I was compelled to adopt the former, and still hold it to be the better alternative. Moreover I question Mr. Payne’s dictum (ix. 383) that “the Seja-form is utterly foreign to the genius of English prose and that its preservation would be fatal to all vigour and harmony of style.” The English translator of Palmerin of England, Anthony Munday, attempted it in places with great success as I have before noted (vol. viii. 60); and my late friend Edward Eastwick made artistic use of it in his Gulistan. Had I rejected the “Cadence of the cooing dove” because un-English, I should have adopted the balanced periods of the Anglican marriage service[FN#432] or the essentially English system of alliteration, requiring some such artful aid to distinguish from the vulgar recitative style the elevated and classical tirades in The Nights. My attempt has found with reviewers more favour than I expected; and a kindly critic writes of it, “These melodious fray meets, these little eddies of song set like gems in the prose, have a charming effect on the ear. They come as dulcet surprises and mostly recur in highly-wrought situations, or they are used to convey a vivid sense of something exquisite in nature or art. Their introduction seems due to whim or caprice, but really it arises from a profound study of the situation, as if the Tale-teller felt suddenly compelled to break into the rhythmic strain.”

 

B.—The Verse.

 

The Shi’r or metrical part of The Nights is considerable amounting to not less than ten thousand lines, and these I could not but render in rhyme or rather in monorhyme. This portion has been a bugbear to translators. De Sacy noticed the difficulty of the task (p. 283). Lane held the poetry untranslatable because abounding in the figure Tajn�s, our paronomasia or paragram, of which there are seven distinct varieties,[FN#433] not to speak of other rhetorical flourishes. He therefore omitted the greater part of the verse as tedious and, through the loss of measure and rhyme, “generally intolerable to the reader.” He proved his position by the bald literalism of the passages which he rendered in truly prosaic prose and succeeded in changing the facies and presentment of the work. For the Shi’r, like the Saj’a, is not introduced arbitrarily; and its unequal distribution throughout The Nights may be accounted for by rule of art. Some tales, like Omar bin al-Nu’man and Tawaddud, contain very little because the theme is historical or realistic; whilst in stories of love and courtship as that of Rose-in-hood, the proportion may rise to one-fifth of the whole. And this is true to nature. Love, as Addison said, makes even the mechanic (the British mechanic!) poetical, and Joe Hume of material memory once fought a duel about a fair object of dispute.

 

Before discussing the verse of The Nights it may be advisable to enlarge a little upon the prosody of the Arabs. We know nothing of the origin of their poetry, which is lost in the depths of antiquity, and the oldest bards of whom we have any remains belong to the famous epoch of the war Al-Bas�s, which would place them about A.D. 500. Moreover, when the Muse of Arabia first shows she is not only fully developed and mature, she has lost all her first youth, her beaut� du diable, and she is assuming the characteristics of an age beyond “middle age.” No one can study the earliest poetry without perceiving that it results from the cultivation of centuries and that it has already assumed that artificial type and conventional process of treatment which presages inevitable decay. Its noblest period is included in the century preceding the Apostolate of Mohammed, and the oldest of that epoch is the prince of Arab songsters, Imr al-Kays, “The Wandering King.” The Christian Fathers characteristically termed poetry Vinum D�monorum. The stricter Moslems called their bards “enemies of Allah”; and when the Prophet, who hated verse and could not even quote it correctly, was asked who was the best poet of the Peninsula he answered that the “Man of Al-Kays,” i.e.

the worshipper of the Priapus-idol, would usher them all into Hell. Here he only echoed the general verdict of his countrymen who loved poetry and, as a rule, despised poets. The earliest complete pieces of any volume and substance saved from the wreck of old Arabic literature and familiar in our day are the seven Kas�dahs (purpose-odes or tendence-elegies) which are popularly known as the Gilded or the Suspended Poems; and in all of these we find, with an elaboration of material and formal art which can go no further, a subject-matter of trite imagery and stock ideas which suggest a long ascending line of model ancestors and predecessors.

 

Scholars are agreed upon the fact that many of the earliest and best Arab poets were, as Mohammed boasted himself, unalphabetic[FN#434] or rather could neither read nor write. They addressed the ear and the mind, not the eye. They