the end of the year 1709, by which time the whole of
vol. ix. was ready for printing.]

[Footnote 14: i.e. Aladdin.]

[Footnote 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.]

[Footnote 16: Aleppo.]

[Footnote 17: i.e. Yonhenna Diab.]

[Footnote 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.]

[Footnote 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.]

[Footnote 20: In M. Zotenberg's notes to Aladdin.]

[Footnote 21: Night CCCCXCVII.]

[Footnote 22: Khelifeh.]

[Footnote 23: Or "favourites" (auliya), i.e. holy men, devotees,
saints.]

[Footnote 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}]

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

[Footnote 26: Or "ascendants" (tewali).]

[Footnote 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 add