[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 some such addition as ud-Din ("of the Faith"), and the affix ul Asnam ( “[He] of the Images”) being a sobriquet arising from the circumstances of the hero’s after-life, unless its addition, as recommended by the astrologers, is meant as an indication of the latter’s fore-knowledge of what was to befall him thereafter.  This noted, I leave the name as I find it in the Arabic Ms.

[FN#28] Sheji nebih.  Burton, “Valiant and intelligent.”

[FN#29] Syn. “his describers” (wasifihi).

[FN#30] Wa huwa hema caiou fihi bads wasifihi shiran.  Burton (apparently from a different text), “and presently he became even as the poets sang of one of his fellows in semblance.”