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xxiv styles him “the celebrated Dervish Moclès, chief of the Soufis of Ispahan”) during his sojourn in the Persian capital. The preface goes on to state that Mukhlis had, in his youth, translated into Persian certain Indian plays, which had been translated into all the Oriental languages and of which a Turkish version existed in the Bibliothèque Royale, under the title of Alfaraga Badal-Schidda (i.e. El Ferej bad esh Shiddeh), which signified “Joy after Affliction”; but that, wishing to give his work an original air, he converted the aforesaid plays into tales. Cazotte’s story of the Indian plays savours somewhat of the cock and the bull and it is probable that the Hezar o Yek Roz (which is not, to my knowledge, extant) was not derived from so recondite a source, but was itself either the original of the well-known Turkish collection or (perhaps) a translation of the latter. At all events, Zeyn Alasnam, Codadad and the Princess of Deryabar occur in a copy (cited by M. Zotenberg), belonging to the Bibliothèque Nationale, of El Ferej bad esh Shiddeh (of which they form the eighth, ninth and sixth stories respectively) and in a practically identical form, except that in Galland’s vol. viii. the two latter stories are fused into one. Sir William Ouseley is said to have brought from Persia a MS. copy of a portion of the Hezar o Yek Roz, which he