Alaeddin and the Enchanted Lamp by N/A

Author:N/A [N/A]
Language: eng
Format: epub, mobi
Publisher: Public Domain Books
Published: 2004-02-01T10:00:00+00:00

[FN#10] i.e. he who most stands in need of God's mercy.

[FN#11] Kebikej is the name of the genie set over the insect kingdom. Scribes occasionally invoke him to preserve their manuscripts from worms.-Note by M. Zotenberg.

[FN#12] Galland calls him "Hanna, c'est ... dire Jean Baptiste," the Arabic Christian equivalent of which is Youhenna and the Muslim Yehya, "surnomme Diab." Diary, October 25, 1709.

[FN#13] At this date Galland had already published the first six (of twelve) volumes of his translation (1704-5) and as far as I can ascertain, in the absence of a reference copy (the British Museum possessing no copy of the original edition), the 7th and 8th volumes were either published or in the press. Vol. viii. was certainly published before the end of the year 1709, by which time the whole of vol. ix. was ready for printing.

[FN#14] i.e. Aladdin.

[FN#15] Galland died in 1715, leaving the last two volumes of his translation (which appear by the Diary to have been ready for the prep on the 8th June, 1713) to be published in 1717.

[FN#16] Aleppo.

[FN#17] i.e. Yonhenna Diab.

[FN#18] For "Persian." Galland evidently supposed, in error, that Petis de la Croix's forthcoming work was a continuation of his "Contes Turcs" published in 1707, a partial translation (never completed) of the Turkish version of "The Forty Viziers," otherwise "The Malice of Women," for which see Le Cabinet des Fees, vol. xvi. where the work is, curiously enough, attributed (by the Table of Contents) to Galland himself.

[FN#19] See my terminal essay. My conclusions there stated as to the probable date of the original work have since been completely confirmed by the fact that experts assign Galland's original (imperfect) copy of the Arabic text to the latter part of the fourteenth century, on the evidence of the handwriting, etc.

[FN#20] In M. Zotenberg's notes to Aladdin.

[FN#21] Night CCCCXCVII.

[FN#22] Khelifeh.

[FN#23] Or 'favourites" (auliya), i.e. holy men, devotees, saints.

[FN#24] i.e. the geomancers. For a detailed description of this magical process, (which is known as "sand-tracing," Kharu 'r reml,) see posl, p. 199, note 2.{see FN#548}

[FN#25] i.e. "What it will do in the course of its life"

[FN#26] Or "ascendants" (tewali).

[FN#27] i.e. "Adornment of the Images." This is an evident mistake (due to some ignorant copyist or reciter of the story) of the same kind as that to be found at the commencement of the story of Ghanim ben Eyoub, (see my Book of the Thousand Nights and One Night, Vol I. p. 363 et seq.), where the hero is absurdly stated to have been surnamed at birth the "Slave of Love," a sobriquet which could only have attached itself to him in after-life and as a consequence of his passion for Fitoeh. Sir R.

F. Burton suggests, with great probability, that the name, as it stands in the text, is a contraction, by a common elliptical process, of the more acceptable, form Zein-ud-din ul Asnam, i.e.

Zein-ud-din (Adornment of the Faith) [he] of the Images, Zein (adornment) not being a name used by the Arabic-speaking races, unless with

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