Page:A plain and literal translation of the Arabian nights entertainments, now entitled The book of the thousand nights and a night, volume 1.djvu/22

Rh and tail-pieces or the splitting-up of Galland's narrative by merely prefixing "Nuit," etc., ending moreover, with the ccxxxivth Night: yet this has been done, apparently with the consent of the great Arabist Sylvestre de Sacy (Paris, Ernest Bourdin). Moreover,holding that the translator's glory is to add something to his native tongue, while avoiding the hideous hag-like nakedness of Torrens and the bald literalism of Lane, I have carefully Englished the picturesque turns and novel expressions of the original in all their outlandishness; for instance, when the dust-cloud raised by a tramping host is described as "walling the horizon." Hence peculiar attention has been paid to the tropes and figures which the Arabic language often packs into a single term; and I have never hesitated to coin a word when wanted, such as "she snorted and snarked," fully to represent the original. These, like many in Rabelais, are mere barbarisms unless generally adopted; in which case they become civilised and common currency.

Despite objections manifold and manifest, I have preserved the balance of sentences and the prose rhyme and rhythm which Easterns look upon as mere music. This "Saj'a," or cadence of the cooing dove, has in Arabic its special duties. It adds a sparkle to description and a point to proverb, epigram and dialogue; it corresponds with our "artful alliteration" (which in places I have substituted for it) and, generally, it defines the boundaries between the classical and the popular styles which jostle each other in The Nights. If at times it appear strained and forced, after the wont of rhymed prose, the scholar will observe that, despite the immense copiousness of assonants and consonants in Arabic, the strain is often put upon it intentionally, like the Rims cars of Dante and the Troubadours. This rhymed prose may be "un-English" and unpleasant, even irritating to the British ear; still I look upon it as a sine qud non for a complete reproduction of the original. In the terminal Essay I shall revert to the subject.