to a seller of refreshments, and one third to the
keeper of the bath where the messenger found him. After the
poet's death the insult was retrieved by proper payment.
This was refused by his one daughter, but accepted by the
other and used to erect a public dike the poet had always
desired to build to protect his native town from the river.
The fine character of the tales of the _King-Book_ is shown
in the tale of _Roostem and Soohrab_, taken from this book,
which Keightley has translated in _Tales and Popular
Fictions_. Keightley considered it superior to any Greek or
Latin tale. Modern literature knows this tale through
Matthew Arnold's poem.

1548 (not later than). _The Thousand and One Nights_,
Arabian. 12 volumes. Galland's French translation appeared
in 1704. This was supplemented by Chavis and Cazotte, and by
Caussin de Percival. Monsieur Galland was Professor of
Arabic in the Royal College of Paris. He was a master of
French and a fairly good scholar of Arabic. He brought his
manuscript, dated 1548, to Paris from Constantinople. He
severely abbreviated the original, cutting out poetical
extracts and improving the somewhat slovenly style. In his
translation he gave to English the new words, _genie, ogre_,
and _vizier_. His work was very popular.

Boulak and Calcutta texts are better than the Galland. They
contain about two hundred and fifty stories. The Cairo
edition has been admirably translated by Edward W. Lane, in
3 volumes (1839-41) published in London. This is probably
the best edition. It also omits many poetical quotations. A
recent edition using Lane's translation is by Frances
Olcott, published by Holt in 1913. Editions which attempt to
be complete versions are by John Payne (13 volumes,
1882-84), and by Sir Richard Burton (16 volumes, 1885-88).
Lane and Burton give copious notes of value. The recent
edition by Wiggin and Smith used the editions of Scott and
Lane.

The stories in _Arabian Nights_ are Indian, Egyptian,
Arabian, and Persian. Scenes are laid principally in Bagdad
and Cairo. Lane considered that the one hundred and fifteen
stories, which are common to all manuscripts, are based on
the Pehlevi original. The idea of the frame of the story
came from India. This was the birth of the serial st