THE ARABIAN NIGHTS VOLUME 2
THE ARABIAN NIGHTSTALES OF 1001 NIGHTSVOLUME 2MALCOLM C. LYONS,sometime Sir Thomas Adams Professor of Arabic atCambridge University and a life Fellow of Pembroke College, Cambridge,is a specialist in the field of classical Arabic Literature. His publishedworks include the biography Saladin: The Politics of the Holy War, TheArabian Epic: Heroic and Oral Storytelling, Identification and Identity inClassical Arabic Poetry and many articles on Arabic literature.URSULA LYONS,formerly an Affiliated Lecturer at the Faculty of OrientalStudies at Cambridge University and, since 1976, an Emeritus Fellow ofLucy Cavendish College, Cambridge, specializes in modern Arabicliterature.ROBERT IRWINis the author of For Lust of Knowing: The Orientalists andTheir Enemies, The Middle East in the Middle Ages, The Arabian Nights: ACompanion and numerous other specialized studies of Middle Easternpolitics, art and mysticism. His novels include The Limits of Vision, TheArabian Nightmare, The Mysteries of Algiers and Satan Wants Me.
Volume 2Nights 295 to 719Translated by MALCOLM C. LYONS,with URSULA LYONSIntroduced and Annotated by ROBERT IRWINPENGUIN BOOKS
PENGUIN CLASSICSPublished by the Penguin GroupPenguin Books Ltd, 80 Strand, London WC2R 0RL, EnglandPenguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, USAPenguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario, Canada M4P 2Y3(a division of Pearson Penguin Canada Inc.)Penguin Ireland, 25 St Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd)Penguin Group (Australia), 250 Camberwell Road, Camberwell, Victoria 3124, Australia(a division of Pearson Australia Group Pty Ltd)Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi – 110 017,IndiaPenguin Group (NZ), 67 Apollo Drive, Rosedale, North Shore 0632, New Zealand(a division of Pearson New Zealand Ltd)Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank,Johannesburg 2196, South AfricaPenguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, Englandwww.penguin.comTranslation of Nights 295 to 719 copyright Malcolm C. Lyons, 2008Translation of alternative version of ‘The seventh journey of Sindbad’copyright Ursula Lyons, 2008Introduction and Glossary copyright Robert Irwin, 2008All rights reservedThe moral right of the translators and editor has been assertedText illustrations design by Coralie Bickford-Smith; images: Gianni Dagli Orti/Turkish andIslamic Art Museum, Istanbul/The Art ArchiveExcept in the United States of America, this book is sold subject to the condition that it shall not,by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without thepublisher’s prior consent in any form of binding or cover other than that in which it is published
and without a similar condition including this condition being imposed on the subsequentpurchaserISBN: 978-0-14-194352-7
Editorial NoteIntroductionThe Arabian Nights: Nights 295 to 719GlossaryMapsThe ‘Abbasid Caliphate in the Ninth CenturyBaghdad in the Ninth CenturyCairo in the Fourteenth CenturyIndex of Nights and Stories
This new English version of The Arabian Nights (also known as TheThousand and One Nights) is the first complete translation of the Arabictext known as the Macnaghten edition or Calcutta II since RichardBurton’s famous translation of it in 1885–8. A great achievement in itstime, Burton’s translation nonetheless contained many errors, and evenin the 1880s his English read strangely.In this new edition, in addition to Malcolm Lyons’s translation of allthe stories found in the Arabic text of Calcutta II, Ursula Lyons hastranslated the tales of Aladdin and Ali Baba, as well as an alternativeending to ‘The seventh journey of Sindbad’, from Antoine Galland’seighteenth-century French. (For the Aladdin and Ali Baba stories nooriginal Arabic text has survived and consequently these are classed as‘orphan stories’.)The text appears in three volumes, each with an introduction, which,in Volume 1, discusses the strange nature of the Nights; in Volume 2,their history and provenance; and, in Volume 3, the influence the taleshave exerted on writers through the centuries. Volume 1 also includes anexplanatory note on the translation, a note on the text and anintroduction to the ‘orphan stories’ (‘Editing Galland’), in addition to a
chronology and suggestions for further reading. Footnotes, a glossaryand maps appear in all three volumes.As often happens in popular narrative, inconsistencies andcontradictions abound in the text of the Nights. It would be easy toemend these, and where names have been misplaced this has been doneto avoid confusion. Elsewhere, however, emendations for which there isno textual authority would run counter to the fluid and uncritical spiritof the Arabic narrative. In such circumstances no changes have beenmade.
The medieval Arabic story collection of Alf Layla wa-Layla, or theThousand and One Nights, is best known in English as The Arabian Nights.It is reasonable to ask how old this classic work of Oriental fiction is,who wrote or compiled it and how many stories it contains. But suchquestions are almost impossible to answer. The collection was puttogether in a haphazard, unpoliced fashion over many centuries.In the opening story which frames all the other stories in the Nights,the monarch Shahriyar, who has been sexually betrayed by his wife, cutsoff her head and, thereafter, he takes a different virgin to bed everynight and has her killed in the morning. In order to break the bloodycycle, Shahrazad, daughter of the king’s vizier, volunteers to give herselfto Shahriyar, but, in order to avert her execution, she starts to tell astory to her sister, Dunyazad, whom she has brought with her intoShahriyar’s bedroom. Shahrazad leaves her story unfinished at the breakof dawn, and Shahriyar spares her life in order to hear the rest. And sothings proceed, with Shahrazad finishing one tale only to start a newone. This goes on night after night until, after a thousand and onenights, Shahriyar repents of his decision to have her killed.This frame story of a clever bride telling stories to a jealous king inorder to prolong her life goes back to a lost Sanskrit original dating from
no later than the eighth century. At some point, stories from this Indianstory collection were translated into Pahlavi Persian. The tenth-centuryArab polymath al-Mas‘udi refers to the Persian version, which was calledHezar Afsaneh, ‘A Thousand Stories’. We do not know what was in thisstory collection. Although the Sasanian Persians seem to have had anextensive literature of entertainment, no examples have survived in theiroriginal Persian form. However, it seems likely that the stories of theHezar Afsaneh were mostly didactic fables, often adapted from Indianoriginals (as was the case with the famous collection of animal storiesknown as the Fables of Bidpai). Such stories of the mirrors-for-princeskind gave guidance on good government and right conduct. The earlyPersian prototype of The Arabian Nights was probably a bit boring, andthe wilder tales of marvels, monsters and mutilations were likely to havebeen the later inventions of Arab storytellers.The Persian stories of Hezar Afsaneh, probably quite small in number,were in turn translated and adapted for an Arab audience. A ninthcentury paper fragment of the opening page of the Nights survives (itstitle is Kitab Hadith Alf Layla, or ‘The Book of the Tale of One ThousandNights’) but, though it features an early version of Shahrazad tellingstories to her sister, the plot device of telling stories to prolong a lifedoes not appear. However, Ibn Nadim’s tenth-century discursivecatalogue of books, the Fihrist (or ‘Index’), mentions the story collectionwhich he says derived from a Persian original, and he does give theframe story of Shahrazad telling stories for her life. Although he claimsto have seen complete manuscripts of The Thousand and One Nights, hesays that these comprised less than two hundred stories.The oldest substantial surviving Arabic version of the Nights is a
three-volume manuscript that today is in the Bibliothèque Nationale inParis. It seems to have been put together in Syria in the late fifteenthcentury. It was this manuscript which formed the basis of the epochmaking translation into French by Antoine Galland (1646–1715), anantiquarian who had spent years in Istanbul studying the variouspositions on the Eucharist taken by the Eastern Christian churches. Healso collected old coins and other antiquities for the Royal Library (laterto become the Bibliothèque Nationale) and the Cabinet des Médailles (acollection of coins, medals and antiquities that belonged to the Frenchking). In the course of Galland’s sojourns in the Middle East in the years1670–75, 1675–6 and 1679–88, he had become fluent in Arabic, Persianand Turkish.Back in France, Galland settled in Caen and published a number ofscholarly works. He also assisted the Orientalist Barthélemy d’Herbelotin compiling the Bibliothèque orientale, a monumental work of referencemostly devoted to Islamic culture that was finally published in 1697.Around 1698, Galland translated the stories of ‘Sindbad of the sea’. Thensomeone told him that the Sindbad stories were part of a much largercollection. This, he eventually decided, must be a longer version of theArabic story collection known as Alf Layla wa-Layla, or, as he translatedit, Les Mille et une nuits. (In fact, no early Arabic manuscripts of theNights contain the Sindbad stories. They are found only in latermanuscripts that were influenced by Galland’s choices.) He used a Syrianmanuscript of the Nights, though there are occasional instances ofEgyptian vocabulary and turns of phrase in the text. This manuscript,which Galland bought from a friend in Paris and which ended up in theRoyal Library, is, as already noted, the oldest substantial, surviving
manuscript of the Nights. (The manuscript Galland worked from wasprobably in four volumes, but the fourth volume has since been lost.)There is no such thing as a canonical text of the Nights with a fixednumber of stories in a fixed order.The surviving three volumes of the manuscript translated by Gallandcontained only thirty-five and a half stories and the number of breakswithin the stories into nights was well short of a thousand and one.Though he was convinced that there must be a longer manuscript of theNights, Galland was unable to lay his hands on one. Therefore, in orderto satisfy public demand, he added stories which had been told to himby a Syrian informant. These stories, the so-called ‘orphan stories’,include ‘Ali Baba’ and ‘Aladdin’. There are no Arabic originals for them(though Arabic versions purporting to be the originals were produced byforgers in the nineteenth century). Galland also added the previouslypublished Sindbad stories. In addition, in order to plump out hiscollection, he seems to have drawn on one or more Egyptian manuscriptsof the Nights.Galland probably intended that his translation Les Mille et une nuits(1704–17) should serve as a sort of sequel to d’Herbelot’s Bibliothèqueorientale. The stories offered fantasy and diversion, but edification also:‘They should also please by what they reveal of the manners andcustoms of Orientals, of their religious ceremonies, both pagan andMohammedan; and these subjects are better brought out than in theauthors who have written about them or in travellers’ narratives.’ ThusGalland claimed that he had tried to preserve the authentic way theOrientals spoke and felt – at least in so far as was compatible withbienséance (decorum). In fact, Galland’s translation was elegant and
courtly, as the conventions of eighteenth-century literature demanded. Itwas also heavily glossed; Galland, instead of using footnotes, sometimesexplained Oriental practices within the text of his translation. Also, incases where it seemed appropriate to him, he exaggerated themagnificence of palaces, royal robes and jewellery.Muhsin Mahdi, the Harvard professor who in the 1980s edited theGalland manuscript of the Nights in the Bibliothèque Nationale, isparticularly critical of the liberties that the Frenchman took with histranslation:Abandoning the generally lean structure and fast movement of the original in order tocreate a more prudish, sentimental, moralistic, romantic, or glamorous atmosphere, hewas apparently willing to pay a heavy price to make his Nuits popular. All this, alongwith his frequently imperfect understanding or misunderstanding of the Arabic originaland inexplicable significant omissions, reflects poorly on his knowledge of the languagehe was trying to translate, acquaintance with the habits and the customs of the Orientalshe was trying to explain and art as a storyteller.Be that as it may, precisely that quality of Galland’s stories – ‘prudish,sentimental, moralistic, romantic, or glamorous’ – made them a great hitwith the French reading public. More specifically, they appealed in thefirst instance to the ladies of the court and the salons. Galland haddedicated both the translations of the Sindbad stories and Les Mille et unenuits to the Marquise d’O, a lady in the service of the Duchess ofBurgundy, and both these women took an interest in promoting histranslations. Galland’s earliest readers were mostly adult, highly culturedand female. This was an age when women presided over literary salons(an age which the cultural historian Jean Starobinski has characterizedas that of ‘the fictitious ascendancy of women’). Before Galland, Charles
Perrault had won acclaim with the same audience when he published hisContes (1691–5), a collection of folk tales, including such famous storiesas ‘Sleeping Beauty’, ‘Bluebeard’ and ‘Cinderella’, which were rewrittenby him in an elegantly mock-simple style.Earlier, Perrault had launched the fiercely debated ‘Quarrel of theAncients and Moderns’, by claiming that seventeenth-century France hadreached a higher level of civilization than that of ancient Greece andRome. He attacked the ancients and, most specifically, Homer forbarbarousness. Perrault’s fairy stories had been collected and stylishlyrewritten as a demonstration that there could be a distinctively modernFrench literary culture that owed little or nothing to classical precepts.Moreover, the fairy stories with his added glosses were, he claimed,more moral than most of the stories found in ancient Greek and Latinliterature. Galland’s collection of stories was similarly admired for thefresh repertoire of plots, settings and characters that it provided. ‘ReadSinbad and you will be sick of Aeneas,’ the Gothic novelist HoraceWalpole urged. Galland, like Perrault, wished to moralize and, in aprefatory note to his translation, he expressed the hope that those whoread his stories would be ready to profit from the examples of the virtuesand vices found in them.Galland’s French volumes were rapidly translated into English. Thefirst English translation of the early volumes of Les Mille et une nuitsseems to have been published London in 1708 in chapbook form. (Achapbook is a book or pamphlet of popular stories of the kind originallysold by pedlars.) For a long time, English readers were content with thistranslation of a translation. Only in the years 1838–41 did a threevolume translation appear, taken directly from the Arabic by Edward
William Lane (1801–76). Lane, a distinguished Arabist, had spent manyyears in Cairo. On his return to England in 1836, he published hisfamous quasi-encyclopedic survey Manners and Customs of the ModernEgyptians. Lane seems to have intended his subsequent translation of theNights to serve as a kind of supplement to this book. His translation wasbrought out by the same publisher, the Society for the Propagation ofUseful Knowledge, and it was therefore aimed at a wide market. In histranslation, the text of the Nights served as a pretext for lengthy andnumerous footnotes explaining yet more aspects of the manners andcustoms of the Egyptians and Muslims more generally. The speciallycommissioned illustrations, executed by William Harvey, a well-knownengraver who had been the favourite pupil of Thomas Bewick, andclosely supervised by Lane, were almost as important to the essentiallyeducational enterprise as were the footnotes.Lane translated the Arabic into an antiquated, mock-biblical prose.Since he was even more prudish than Galland, his translation washeavily bowdlerized and some stories were omitted altogether on thegrounds of indecency. Yet other stories were omitted because Laneclaimed to find them too fantastical, vulgar or silly. But the truth seemsto have been that the heavily illustrated text, which appeared in weeklyinstalments before being issued in three bound volumes, was losingmoney, and Lane was coming under pressure from his publisher to bringthe unprofitable enterprise to a speedy end.Lane translated from the Bulaq text, whereas this new Penguintranslation by Malcolm Lyons has been made from Calcutta II. What doBulaq and Calcutta II refer to? By the time Lane had begun histranslation, several Arabic printed texts of the Nights were available. Of
these the most important were first, a two-volume translation publishedin Calcutta by the College of Fort William for Oriental Languages in1814 and 1818 (known to scholars as Calcutta I), and secondly the Bulaqedition (so called after the port suburb of Cairo), published in twovolumes in 1835. Lane chose to work from the more recently publishedBulaq text, which seems to have been based primarily on an eighteenthcentury Egyptian manuscript.Calcutta I had been commissioned by the College of Fort William inCalcutta as a textbook for teaching Arabic to East India Companyofficers. (Fort William had been established in 1800 to teach Orientallanguages to company officials and civil servants in the colonialadministration of India.) The larger, four-volume edition, known as theMacnaghten edition or Calcutta II and published in 1839–42, had asimilar educational purpose. The text was based in large part on amanuscript brought to India by Major Turner Macan, a scholarly officerwho, in 1829, had published an edited text of the great Persian epic theShahnama. Macan had acquired the Nights manuscript from the estate ofHenry Salt (1780–1827), British Consul in Egypt and a famous collectorof its antiquities. Lane had met Salt on his first visit to Egypt in 1825and it may have been Salt who inspired Lane’s interest in the Nights. Itseems most probable that the compilation of this manuscript wascommissioned by Salt during his last years in Egypt, that is around1824–5. The scribe or scribes made use of a late Egyptian manuscript(probably of the eighteenth century), but they supplemented it bydrawing on the printed text of Calcutta I. They also seem to have drawnupon the first two volumes of an edition of the Nights which a Germanscholar, Maximilian Habicht, had started to publish in Breslau in 1824.
The Salt/ Macan manuscript is now lost. Very likely it was destroyed bythe printers once it had served their use.In India, Macan’s manuscript had been acquired by CharlesBrownlow, who offered it for scrutiny and evaluation to a panel ofexperts belonging to the Asiatic Society of Bengal. The results of theirdeliberations were published in 1837 in the Journal of the Asiatic Societyof Bengal:The style of the language was declared to be singularly pure, the narrative spirited andgraphic, and the collection of stories enriched with many tales either perfectly new toEuropean readers or else given a form very different from that which they have beenhitherto known, garbled and abridged by the carelessness of translators or by theimperfections of the MSS whence they were translated.Sir William Hay Macnaghten, the leading Arabist, having looked atvolumes three and four of the manuscript, declared that it was
This new English version of The Arabian Nights (also known as The Thousand and One Nights) is the first complete translation of the Arabic text known as the Macnaghten edition or Calcutta II since Richard Burton’s famous translation of it in 1885–8. A great achievement in its time, Burton’s translation nonetheless contained many errors .
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PENGUIN CLASSICS THE ARABIAN NIGHTS TALES OF 1001 NIGHTS VOLUME 1 MALCOLM C. LYONS, sometime Sir Thomas Adams Professor of Arabic at Cambridge University and a life Fellow of Pembroke College, Cambridge, is a specialist in the field of classical Arabic Literature. His published
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