ARABIAN NIGHTS' ENTERTAINMENTS, a collection of Oriental tales, first made known to Europe by Antony Galland, a French orientalist, under the title of The Thou sand and One iVights, Arabian Stories, Translated into French. They were published at Paris, in 12 vols. 12ino, from 1704 till 1717, and were received by many as the produc tion of the genius of the translator hint,self, rather than the collection of an unknown Arabian author, as GaHand had stated in his dedication. Oriental scholars did not hesi tate at first to declare against their authenticity, and denounce them as forgeries. Having taken only an obscure place in the literature of the east, and their style unfit ting them from being classed among models of eloquence or taste—having no object of a religious, moral, or philosophical kind in view, while the manners and customs delin eated in them were different from all received ideas of those of the Moslem nations— their success took the critics by surprise. The work" became highly esteemed by the public; it filled Europe with its fame; it had abundance of readers, and no lack of editors. Few books have been translated into so many different languages, and given delight to so large a number of readers. It may be said that, in these Oriental tales, there has sprung up a new branch of literature, for their influence on the literature of the present day is easily discernible. Here are found, depicted with much simplicity and great effect, the scenes of the town-life of the Moslem. The prowess of the Arab knight, his passion for adventure, his dexterity, his love and his revenge, the craft of his wives, the hypocrisy of his priests, and the corruptibility of his judges, are all dramatically delineated—far more vividly represented, in fact, than is possible in a book of travels; while gilded palaces, charming women, lovely gardens, and exquisite repasts captivate the senses of the reader, and transport him to the land of wonder and enjoyment. Be sides entertaining the mind with the kaleidoscopic wonders of a teeming and luxurious fancy, which is their most obvious merit, they present a treasure of instruction upon life in general, and oriental life in particular. And this is undeniable, notwithstanding the
fact, that the aspects of society they depict are far from standing high in the social scale, either as to civilization or morality. In them no story is to be found that will rank in morality with the story of Joseph and his brethren, simply because the Moslem faith will not admit of that, any more than the decline of Arab civilization at the time the tales must have been originally promulgated. Indeed, the first translator, having a conviction of a demoralizing tendency of this kind, avoided giving several objectionable parts of some of the stories. The thread of the narrative in these entertainments is generally simple and clear, often leading into the departments of fable, and occasionally into the regions of the supernatural and the domains of popular superstition. The tales, even when long, are not tiresome; for they consist of shorter stories branching off from the main one, or rather incased within it, the smaller within the larger, and perhaps a smaller within that, like the little boxes used by conjurors.
For many years all doubts as to the authenticity of the Thousand and One Nights has been dispelled. Several MS. copies have been found, and no less than four editions of the Arabic text have been published. Amore thorough acquaintance with medieval and modern Arab life has proven the genuineness of the stories, and the truthfulness of their general representation of the mind of the Moslem. In them there are evident signs of a declension from a refined and superior civilization; the marvelous and supernatural is predominant; despotism in, all its forms is manifest; and a prevalent falsity and insin cerity of character visible, not only in the narrative, but in the tone of common conver sation, replete as it is with oaths and asseverations.