piece to the first or perfect (sahíhah) class of the Kámil. In
the Hashw of the opening line and in that of the whole second
Bayt this normal Mutafá’ilun has, by licence, become Mustaf’ilun,
and the same change has taken place in the ’Arúz of the second
couplet; for it is a peculiarity which this metre shares with a
few others, to allow certain alterations of the kind Zuháf in the
’Arúz and Zarb as well as in the Hashw. This class has three
subdivisions: the Zarb of the first is Mutafá’ilun, like the
’Arúz the Zarb of the second is Fa’alátun (U U - -), a
substitution for Mutafá’il which latter is obtained from
Mutafá’ilun by suppressing the final n and rendering the l
quiescent; the Zarb of the third is Fa’lun (- - -) for Mútfá,
derived from Mutafá’ilun by cutting off the Watad ’ilun and
dropping the medial a of the remaining Mutafá.
If we make the ’Ayn of the second Zarb Fa’alátun also quiescent
by the permitted Zuháf Izmár, it changes into Fa’látun, by
substitution Maf ’úlun (- - -) which terminates the rhyming lines
of the foregoing quotation. Consequently the two couplets taken
together, belong to the second Zarb of the first ’Aruz of the
Kámil, and the metre of the poem with its licences may be
represensed by the scheme:
- | - | - |
U U - U - | U U - U - | U U - U - |
- | - | - |
U U - U - | U U - U - | U U - - |
Taken isolated, on the other hand, the second Bayt might be of
the metre Rajaz, whose first ’Arúz Mustaf’ilun has two Azrub: one
equal to the Arúz, the other Maf’úlun as above, but here
substituted for Mustaf’il after applying the ’Illah Kat’ (see p
247) to Mustaf’ilun. If this were the metre of the poem
throughout the scheme with the licences peculiar to the Rajaz
would be:
U U | U U | U U |
- - U U | - - U - | - - U - |
U U | U U | U |
- - U - | - - U - | - - - |
The pith of Al-Hariri’s Assembly is that the knight errant not to
say the arrant wight of the Romance, Abú Sayd of Sarúj accuses
before the Walí of Baghdad his pretended pupil, in reality his
son, to have appropriated a poem of his by lopping off two feet
of every Bayt. If this is done in the quoted lines, they read:
- - U - | - - U - |
Yá khátiba ’l-dunyá ’l-dandy.
U U - U | U U - U - |
Yati innahá sharaku ’l-radá
- - U - | - - U - |
Dárun matà má azhakat,
- - U - | - - U - |
Fí yaumihá abkat ghadá,
with a different rhyme and of a different variation of metre. The
amputated piece belongs to the fourth Zarb of the third ’Aruz of
Kámil, and its second couplet tallies with the second subdivision
of the second class of Rajaz.
The Rajaz, an iambic metre pure and simple, is the most popular,
because the easiest, in which even the Prophet was caught napping
sometimes, at the dangerous risk of following the perilous
leadership of Imru ’l-Kays. It is the metre of improvisation, of
ditties, and of numerous didactic poems. In the latter case, when
the composition is called Urjúzah, the two lines of every Bayt
rhyme, and each Bayt has a rhyme of its own. This is the form in
which, for instance, Ibn Málik’s Alfíyah is written, as well as
the remarkable grammatical work of the modern native scholar,
Nasíf al-Yazijí, of which a notice will be found in Chenery’s
Introduction to his Translation of Al-Hariri.
While the Hazaj and Rajaz connect the third circle with the first
and second, the Ramal forms the link between the third and fourth
Dáirah. Its measure Fá’ilátun (- U - -) and the reversal of it,
Maf’úlátu (- - - U), affect the trochaic rhythm, as opposed to
the iambic of the two first-named metres. The iambic movement has
a ring of gladness about it, the trochaic a wail of sadness: the
former resembles a nimble pedestrian, striding apace with an
elastic step and a cheerful heart; the latter is like a man
toiling along on the desert path, where his foot is ever and anon
sliding back in the burning sand (Raml, whence probably the name
of the metre). Both combined in regular alternation, impart an
agitated character to the verse, admirably fit to express the
conflicting emotions of a passion stirred mind.
Examples of these more or less plaintive and pathetic metres are
numerous in the Tale of Uns al-Wujúd and the Wazir’s Daughter,
which, being throughout a story of love, as has been noted, vol.
v. 33, abounds in verse, and, in particular, contains ten out of
the thirty two instances of Ramal occurring in The Nights. We
quote:
Ramal, first Zarb of the first ’Arúz (Mac. N. ii. 361):
- U - - | U U - - | - U - |
Inna li ’l-bulbuli sautan fí ’l-sahar
- U - - | U U - - | - U - |
Ashghala ’l-áshika ’an husni ’l-water
The Bulbul’s note, whenas dawn is nigh * Tells the lover from
strains of strings to fly (vol. v. 48).
Sarí’, second Zarb of the first ’Arúz (Mac. N. ii. 359):
U - U - | - - U - | - U - |
Wa fákhitin kad kála fí nauhihi
- - U - | - - U - | - U - |
Yá Dáiman shukran ’alà balwatí
I heard a ringdove chanting soft and plaintively, * “I thank
Thee, O Eternal for this misery” (vol. v. 47).
Khafíf, full or perfect form (sahíh), both in Zarb and ’Arúz
(Mac. N. ii. 356):
- U - - | U - U - | - U - - |
Yá li-man ashtakí ’l-gharáma ’llazí bi
U U - - | U - U - | - U - - |
Wa shujúní wa furkatí ’an habíbí
O to whom now of my desire complaining sore shall I * Bewail my
parting from my fere compellèd thus to fly (vol. v. 44).
Mujtass, the only ’Arúz (majzúah sahíhah, i.e. shortened by one
foot and perfect) with equal Zarb (Mac. N. ii. 367):
- - U - | U U - - |
Ruddú ’alayya habíbí
- - U - | - U - - |
Lá hajatan lí bi-málin
To me restore my dear * I want not wealth untold (vol. v. 55).
As an instance of the Munsarih, I give the second occurring in
The Nights, because it affords me an opportunity to show the
student how useful a knowledge of the laws of Prosody frequently
proves for ascertaining the correct reading of a text. Mac. N. i.
33 we find the line:
- U U - | - U U - | - U U - |
Arba’atun má ’jtama’at kattu izá.
This would be Rajaz with the licence Mufta’ilun for Mustaf’ilun.
But the following lines of the fragment evince, that the metre is
Munsarih; hence, a clerical error must lurk somewhere in the
second foot. In fact, on page 833 of the same volume, we find the
piece repeated, and here the first couplet reads
- U U - | - U - U | - U U - |
Arba’atun má ’jtama’na kattu siwà
U - U - | - U - U | - U U - |
Alà azá mujhatí wa safki damí
Four things which ne’er conjoin unless it be * To storm my vitals
and to shed my blood (vol. iii. 237).
The Mutákarib, the last of the metres employed in The Nights, has
gained a truly historical importance by the part which it plays
in Persian literature. In the form of trimetrical double-lines,
with a several rhyme for each couplet, it has become the
“Nibelungen”-stanza of the Persian epos:
Firdausí’s immortal “Book of Kings” and Nizámi’s Iskander-námah
are written in it, not to mention a host of Masnawis in which
Sufic mysticism combats Mohammedan orthodoxy. On account of its
warlike and heroical character, therefore, I choose for an
example the knightly Jamrakán’s challenge to the single fight in
which he conquers his scarcely less valiant adversary Kaurajan,
Mac. N. iii. 296:
U - - | U - U | U - - | U - - |
Aná ’l-Jamrakánu kawiyyn ’l-janáni
U - - | U - U | U - - | U - - |
Jamí’u ’l-fawárisi takhshà kitálí.
Here the third syllable of the second foot in each line is
shortened by licence, and the final Kasrah of the first line,
standing in pause, is long, the metre being the full form of the
Mutakárib as exhibited p. 246, iii. E. 1. If we suppress the
Kasrah of al-Janáni, which is also allowable in pause, and make
the second line to rhyme with the first, saying, for instance:
U - - | U - U | U - - | U -
Aná ’l-Jamrakánu kawiyyu ’l-janán
U - - | U - - | U - - | U -
La-yakshà kitálí shijá’u ’l-zamán,
we obtain the powerful and melodious metre in which the Sháhnámah
sings of Rustam’s lofty deeds, of the tender love of Rúdabah and
the tragic downfall of Siyawush
Shall I confess that in writing the foregoing pages it has been
my ambition to become a conqueror, in a modest way, myself: to
conquer, I mean, the prejudice frequently entertained, and shared
even by my accomplished countryman, Rückert, that Arabic Prosody
is a clumsy and repulsive doctrine. I have tried to show that it
springs naturally from the character of the language, and,
intimately connected, as it is, with the grammatical system of
the Arabs, it appears to me quite worthy of the acumen of a
people, to whom, amongst other things, we owe the invention of
Algebra, the stepping-stone of our whole modern system of
Mathematics I cannot refrain, therefore, from concluding with a
little anecdote anent al-Khalíl, which Ibn Khallikán tells in the
following words. His son went one day into the room where his
father was, and on finding him scanning a piece of poetry by the
rules of Prosody he ran out and told the people that his father
had lost his wits. They went in immediately and related to
al-Khalíl what they had heard, on which he addressed his son in
these terms:
“Had you known what I was saying, you would have excused me, and
had you known what you said, I should have blamed you But you did
not understand me, so you blamed me, and I knew that you were
ignorant, so I pardoned you.”
L’Envoi.
Here end, to my sorrow, the labours of a quarter-century, and
here I must perforce say with the “poets’ Poet,”
“Behold! I see the haven nigh at hand,
To which I mean my wearie course to bend;
Vere the main shete, and bear up with the land
The which afore is fairly to be ken’d.”
Nothing of importance now indeed remains for me but briefly to
estimate the character of my work and to take cordial leave of my
readers, thanking them for the interest they have accorded to
these volumes and for enabling me thus successfully to complete
the decade.
Without pudor malus or over-diffidence I would claim to have
fulfilled the promise contained in my Foreword. The
anthropological notes and notelets, which not only illustrate and
read between the lines of the text, but assist the student of
Moslem life and of Arabo-Egyptian manners, customs and language
in a multitude of matters shunned by books, form a repertory of
Eastern knowledge in its esoteric phase, sexual as well as
social.
To assert that such lore is unnecessary is to state, as every
traveller knows, an “absurdum.” Few phenomena are more startling
than the vision of a venerable infant, who has lived half his
long life in the midst of the wildest anthropological vagaries
and monstrosities, and yet who absolutely ignores all that India
or Burmah enacts under his very eyes. This is crass ignorance,
not the naive innocence of Saint Francis who, seeing a man and a
maid in a dark corner, raised his hands to Heaven and thanked the
Lord that there was still in the world so much of Christian
Charity.
Against such lack of knowledge my notes are a protest; and I may
claim success despite the difficulty of the task. A traveller
familiar with Syria and Palestine, Herr Landberg, writes, “La
plume refuserait son service, la langue serait insuffisante, si
celui qui connait la vie de tous les jours des Orientaux, surtout
des classes élévees, voulait la devoiler. L’Europe est bien loin
d’en avoir la moindre idée.”
In this matter I have done my best, at a time too when the
hapless English traveller is expected to write like a young lady
for young ladies, and never to notice what underlies the most
superficial stratum. And I also maintain that the free treatment
of topics usually taboo’d and held to be “alekta”—unknown and
unfitted for publicity—will be a national benefit to an “Empire
of Opinion,” whose very basis and buttresses are a thorough
knowledge by the rulers of the ruled. Men have been crowned with
gold in the Capitol for lesser services rendered to the
Respublica.
That the work contains errors, shortcomings and many a lapsus, I
am the first and foremost to declare. Yet in justice to myself I
must also notice that the maculæ are few and far between; even
the most unfriendly and interested critics have failed to point
out an abnormal number of slips. And before pronouncing the “Vos
plaudite!” or, as Easterns more politely say, “I implore that my
poor name may be raised aloft on the tongue of praise,” let me
invoke the fair field and courteous favour which the Persian poet
expected from his readers.
(Veil it, an fault thou find, nor jibe nor jeer:—
None may be found of faults and failings clear!)
RICHARD F. BURTON.
Athenæum Club, September 30, 86.
Appendix
Memorandum
I make no apology for the number and extent of bibliographical
and other lists given in this Appendix: they may cumber the book
but they are necessary to complete my design. This has been to
supply throughout the ten volumes the young Arabist and student
of Orientalism and Anthropology with such assistance as I can
render him; and it is my conviction that if with the aid of this
version he will master the original text of the “Thousand Nights
and a Night,” he will find himself at home amongst educated men
in Egypt and Syria, Najd and Mesopotamia, and be able to converse
with them like a gentleman; not, as too often happens in Anglo-India,
like a “Ghoráwálá” (groom). With this object he will
learn by heart what instinct and inclination suggest of the
proverbs and instances, the verses, the jeux d’esprit and
especially the Koranic citations scattered about the text; and my
indices will enable him to hunt up the tale or the verses which
he may require for quotation wven when writing an ordinary letter
to a “native” correspondent. Thus he will be spared the wasted
labour of wading through volumes in order to pick up a line.
The following is the list of indices:—
Appendix I.
I. Index to the Tales in the ten Volumes.
II. Alphabetical Table of the Notes (Anthropological, etc.)
prepared by F. Steingass, Ph.D.
III. Alphabetical Table of First Lines (metrical portion) in
English and Arabic, prepared by Dr. Steingass.
IV. Tables of Contents of the various Arabic texts.
A. The Unfinished Calcutta Edition (1814–18).
B. The Breslau Text (1825–43) from Mr. Payne’s Version.
C. The MacNaghten or Turner-Macan Text (A.D. 1839–42) and
the Bulak Edition (A.H. 1251 = A.D. 1835–36), from Mr.
Payne’s Version.
D. The same with Mr. Lane’s and my Version.
Appendix II.
Contributions to the Bibliography of the Thousand and One Nights,
and their Imitations, with a Table shewing the contents of the
principal editions and translations of The Nights. By W. F.
Kirby, Author of “Ed-Dimiryaht, and Oriental Romance”; “The New
Arabian Nights,” &c.
Appendix I.
Index I
Index to the Tales and Proper Names.
N.B.—The Roman numerals denote the volume {page numbers have
been omitted}
Abdullah the Fisherman and Abdullah the Merman, ix.
Abdullah bin Fazl and his brothers, ix.
Abdullah bin Ma’amar with the Man of Bassorah and his slave-girl,
v.
Abd al-Rahman the Moor’s story of the Rukh, v.
Abu Hasan al-Ziyadi and the Khorasan Man, iv.
Abu Hasan, how he brake Wind, v.
Abu Isa and Kurrat al-Aye, The Loves of, v.
Abu Ja’afar the Leper, Abu al-Hasan al-Durraj and, v.
Abu Kir the Dyer and Abu Sir the Barber, ix.
Abu al-Aswad and his squinting slave-girl, v.
Abu al Husn and his slave-girl Tawaddud, v.
Abu al Hasan al-Durraj and Abu Ja’afar the Leper, v.
Abu al Hasan of Khorasan, ix.
Abu Mohammed highs Lazybones, iv.
Abu Nowas, Harun al-Rashid with the damsel and, iv.
Abu Nowas and the Three Boys, v.
Abu Sir the Barber, Abu Kir the Dyer and, ix.
Abu Suwayd and the handsome old woman, v.
Abu Yusuf with Harun al-Rashid and his Wazir Ja’afar, The Imam,
iv.
Abu Yusuf with Al-Rashid and Zubaydah, The Imam, iv.
Adam, The Birds and Beasts and the Son of, iii.
Adi bin Zayd and the Princess Hind, v.
Ajib, The History of Gharib and his brother, vi.
Ala al-Din Abu al-Shamat, iv.
Alexandria (The Sharper of) and the Master of Police, iv.
Ali bin Bakkar and Shams al-Nahar, iii.
Ali of Cairo, The Adventures of Mercury, vii.
Ali Nur al-Din and Miriam the Girdle-Girl, viii.
Ali the Persian and the Kurd Sharper, iv.
Ali Shar and Zumurrud, iv.
Ali bin Tahir and the girl Muunis, v.
Al Malik al-Nasir (Saladin) and the Three Chiefs of Police, iv.
Almsgiving, The Woman whose hands were cut off for, iv.
Amin (Al-) and his uncle Ibrahim bin al-Mahdi, v.
Anushirwan, Kisra, and the village damsel, v.
Anushirwan, The Righteousness of King, v.
Angel of Death and the King of the Children of Israel, The, v
Angel of Death with the Proud King and the Devout Man, The, v.
Angel of Death and the Rich King, The, v.
Anis al-Jalis, Nur al-Din Ali and the damsel, ii.
Ape, The King’s daughter and the, iv.
Apples, The Three, i.
Arab Girl, Harun al-Rashid and the, vii.
Arab Youth, The Caliph Hisham and the, iv.
Ardashir and Hayat al-Nufus, vii.
Asma’i (Al-) and the three girls of Bassorah, vii.
Ass, The Ox and the, i.
Ass, The Wild, The Fox and, ix.
Ayishah, Musab bin al-Zubayr and his wife, v.
Aziz and Azizah, Tale of, ii.
Azizah, Aziz and. ii.
Badawi, Ja’afar the Barmecide and the old, v.
Badawi, Omar bin al-Khattab and the young, v.
Badawi, and his Wife, The, vii.
Badi’a al-Jamal, Sayf al-Muluk and, vii.
Badr Basim of Persia, Julnar the Sea-born, and her Son King, vii.
Badr al-Din Hasan, Nur al-Din Ali of Cairo and his son, i.
Baghdad, The Haunted House in, v.
Baghdad, Khalifah the Fisherman of, viii.
Baghdad, The Porter and the Three Ladies of, i.
Baghdad, (The ruined man of) and his slave-girl, ix.
Baghdad, The Sweep and the noble Lady of, iv.
Bakun’s Story of the Hashish-Eater, ii.
Banu Tayy, The Lovers of the, v.
Banu Ozrah, The Lovers of the, v.
Barber’s Tale of himself, The, i.
Barber’s First Brother, Story of the, i.
Barber’s Second Brother, Story of the, i
Barber’s Third Brother, Story of the, i.
Barber’s Fourth Brother, Story of the, i.
Barber’s Fifth Brother, Story of the, i.
Barber’s Sixth Brother, Story of the, i.
Barber, Abu Kir the Dyer and Abu Sir the, ix.
Barber-Surgeon, Ibrahim bin al-Mahdi and the, iv.
Barmecide. Ja’afar the, and the old Badawi, v
Bassorah (the man of ) and his slave-girl, Abdullah bin Ma’amar
with, v.
Bassorah, Al-Asma’i and the three girls of, vii.
Bassorah, (Hasan of) and the King’s daughter of the Jinn, viii.
Bassorah, The Lovers of, vii.
Bath, Harun al-Rashid and Zubaydah in the, v.
Bathkeeper’s Wife, The Wazir’s Son and the, vi.
Beanselller, Ja’afar the Barmecide and the, iv.
Bear, Wardan the Butcher’s adventure with the Lady and the, iv.
Beasts and the Son of Adam, The Birds and, iii.
Behram, Prince of Persia, and the Princess Al-Datma, vi.
Belvedere, The House with the, vi.
Birds and Beasts and the Carpenter, The, iii.
Birds, The Falcon and the, iii.
Birds (the Speech of), The page who feigned to know, vi.
Black Slave, The pious, v.
Blacksmith who could handle fire without hurt, The, v.
Blind Man and the Cripple, The, ix.
Boys, Abu Nowas and the Three, v.
Boy and Girl at School, The Loves of the, v.
Boy and the Thieves, The, ix.
Boy (The woman who had to lover a) and the other who had to lover
a man, v.
Brass, The City of, vi.
Broker’s Story, The Christian, i.
Budur and Jubayr bin Umayr, The Loves of, iv.
Budur, Kamar al-Zaman and, iii.
Bukhayt, Story of the Eunuch, ii.
Bulak Police, Story of the Chief of the, iv.
Bull and the Ass (Story of), i.
Bulukiya, Adventures of, v.
Butcher’s adventure with the Lady and the Bear, Wardan the, iv.
Butter, The Fakir and his pot of, ix.
Cairo (New) Police, Story of the Chief of the, iv.
Cairo (Old) Police, Story of the Chief of the, iv.
Cairo, The Adventures of Mercury Ali of, vii.
Caliph Al-Maamun and the Strange Doctor, iv.
Caliph, The mock, iv.
Cashmere Singing-girl, The Goldsmith and the, vi.
Cat and the Crow, The, iii.
Cat and the Mouse, The, ix.
Champion (The Moslem) and the Christian Lady, v.
Chaste Wife, The Rake’s Trick against the, vi.
Christian Broker’s Story, The, i.
City of Labtayt, The, vi.
Cloud (The saint to whom Allah gave a) to serve him, v.
Cobbler (Ma’aruf the) and his wife Fatimah, x.
Confectioner, his Wife and the Parrot, The, vi.
Crab, The Fishes and the, ix.
Craft and Malice of Women, The, vi.
Cripple, The Blind Man and the, ix.
Crow, The Fox and the, iii.
Crow and the Serpent, The, ix.
Crow, The Cat and the, iii.
Crows and the Hawk, The, ix.
Dalilah the Crafty and her daughter Zaynab the Coney-catcher, The
Rogueries of, vii.
Datma (The Princess Al-), Prince Behram of Persia and, vi.
Death (The Angel of) and the King of the Children of Israel, v.
Death (The Angel of) with the Proud King and the Devout Man, v.
Death (The Angel of) and the Rich King, v.
Debauchee and the Three-year-old Child, The, vi.
Desert (The old woman who dwelt in the) and the pilgrim, v.
Device (The Wife’s) to cheat her husband, vi.
Devil, Ibrahim of Mosul and the, vii.
Devil, Isaac of Mosul and his mistress and the, vii.
Devout Israelite, The, iv.
Devout Tray-maker and his wife, The, v.
Devout Prince, The, v.
Devout woman and the two wicked elders, The, v.
Dibil al-Khazai and Muslim bin al-Walid, v.
Dish of Gold, The man who stole the Dog’s, iv.
Doctor (The strange) and the Caliph Al-Maamun, iv
Dog’s Dish of Gold, The man who stole the, iv.
Dream, The ruined man who became rich through a, iv.
Drop of Honey, The, vi.
Duban, The Physician, i.
Dunya, Taj al-Muluk and the Princess, ii.
Durraj (Abu al-Hasan al-) and Abu Ja’afar the Leper, v.
Dust, The woman who made her husband sift, vi.
Dyer, Abu Sir the Barber and Abu Kir the, ix
Eagle, The Sparrow and the, iii.
Ebony Horse, The, v.
Egypt (The man of Upper) and his Frankish wife, ix.
Elders, The Devout woman and the two wicked, v.
Eldest Lady’s Story, The, i.
Enchanted Spring, The, vi.
Enchanted Youth, The, i.
Envied, The Envier and the, i.
Envier and the Envied, The, i.
Eunuch Bukhayt, Tale of the, ii.
Eunuch Kafur, Tale of the, ii.
Fakir and his jar of butter, The, ix.
Falcon and the Partridge, The, iii.
Falcon, King Sindibad and his, i.
Fatimah, Ma’aruf the Cobbler and his wife, x.
Fath bin Khakan (Al-) and Al-Mutawakkil, v.
Ferryman of the Nile and the Hermit, The, v.
First Old Man’s Story, i.
Fisherman, Abdullah the Merman and Abdullah the, ix.
Fisherman of Baghdad, Khalifah the, viii.
Fisherman, The Foolish, ix.
Fisherman and the Jinni, The, i.
Fisherman, Khusrau and Shirin and the, v.
Fishes and the Crab, The, ix.
Five Suitors, The Lady and her, vi.
Flea and the Mouse, The, iii.
Folk, The Fox and the, vi.
Forger, Yahya bin Khalid and the, iv.
Fox and the Crow, The, iii.
Fox and the Folk, The, vi.
Fox, The Wolf and the, iii.
Francolin and the Tortoises, The, ix.
Frank King’s Daughter, Ali Nur al-Din and the, viii.
Frank wife, The man of Upper Egypt and his, ix.
Fuller and his son, The, vi.
Generous friend, The poor man and his, iv.
Ghanim bin Ayyub the Thrall o’ Love, ii.
Gharib and his brother Ajib, The History of, vi.
Girl, Harun al-Rashid and the Arab, vii.
Girl at School, The Loves of the Boy and, v.
Girls of Bassorah, Al-Asma’i and the three, vii.
Girls, Harun al-Rashid and the three, v.
Girls, Harun al-Rashid, and the two, v.
Goldsmith and the Cashmere Singing Girl, The, vi.
Goldsmith’s wife, The water-carrier and the, v.
Hajjaj (Al-) Hind daughter of Al Nu’uman and, vii.
Hajjaj (Al-) and the pious man, v.
Hakim (The Caliph Al-) and the Merchant, v.
Hammad the Badawi, Tale of, ii.
Hariri (Al ) Abu Zayd’s lament for his impotency. Final Note to
vol. viii
Harun al-Rashid and the Arab girl, vii.
Harun al-Rashid and the Slave-Girl and the Imam Abu Yusuf, iv.
Harun al-Rashid with the Damsel and Abu Nowas, iv.
Harun al-Rashid and Abu Hasan the Merchant of Oman, ix.
Harun al-Rashid and the three girls, v.
Harun al-Rashid and the two girls, v.
Harun al-Rashid and the three poets, v.
Harun al-Rashid and Zubaydah in the Bath, v.
Hashish-Eater, Bakun’s tale of the, ii.
Hasan of Bassorah and the King’s daughter of the Jinn, vii.
Hasan, King Mohammed bin Sabaik and the Merchant, vii.
Hatim al-Tayyi: his generosity after death, iv.
Haunted House in Baghdad, The, v.
Hawk, The Crows and the, ix.
Hayat al-Nufus, Ardashir and, vii.
Hedgehog and the wood Pigeons, The, iii.
Hermit, The Ferryman of the Nile and the, v.
Hermits, The, iii.
Hind, Adi bin Zayd and the Princess, v.
Hind daughter of Al-Nu’uman and Al-Hajjaj, vii.
Hind (King Jali’ad of ) and his Wazir Shimas, ix.
Hisham and the Arab Youth, The Caliph, iv.
Honey, The Drop of, vi.
Horse, The Ebony, v.
House with the Belvedere, The, vi.
Hunchback’s Tale, The, i.
Husband and the Parrot, The, i.
Ibn al-Karibi, Masrur and, v.
Ibrahim al-Khawwas and the Christian King’s Daughter, v.
Ibrahim.bin al-Khasib and Jamilah, ix.
Ibrahim.of Mosul and the Devil, vii.
Ibrahim.bin al-Mahdi and Al-Amin, v.
Ibrahim.bin al-Mahdi and the Barber Surgeon, iv.
Ibrahim.bin al-Mahdi and the Merchant’s Sister, iv.
Ifrit’s mistress and the King’s Son, The, vi.
Ignorant man who set up for a Schoolmaster, The, v.
Ikrimah al-Fayyaz, Khuzaymah bin Bishr and, vii.
Imam Abu Yusuf with Al-Rashid and Zubaydah, The, iv.
Introduction. Story of King Shahryar and his brother, i.
Iram, The City of, iv.
Isaac of Mosul’s Story of Khadijah and the Caliph Maamun, iv.
Isaac of Mosul and the Merchant, v.
Isaac of Mosul and his Mistress and the Devil, vii.
Island, The King of the, v.