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bation. Both in abridgment and amplification of the original, his sins of omission and commission are innumerable; and he permits himself not unfrequently the most inexplicable and apparently wilful perversions, as in the story of the Merchant and the Genie, where he makes the former throw away the shell, instead of the stone, of the date (which of course has no shell), and in that of Bedreddin Hassan, where he substitutes a cream-tart for the true corpus delicti, a mess of pomegranate-seed (a dish repeatedly mentioned in the Nights), and represents the hero as going to bed in his trousers, going out of his way solemnly to assure us, in a special footnote, that the Eastern nations invariably sleep in those garments, although it is distinctly stated in the text that Bedreddin, before getting into bed, took off his trousers, wrapped up in them the purse of a thousand dinars he had received of the Jew and placed them under the pillow of the couch, retaining only one garment, a shirt of fine silk. These are a fair specimen of the many inexcusable alterations he permits himself, and in addition to this he did not scruple to correct and adorn what doubtless seemed to him the frequently repulsive artlessness and crude simplicity of the original, expanding, abridging, amplifying and substituting in the most wholesale and uncompromising manner. To give only one example, where I might cite many, of the liberties he allowed himself in this kind, there is perhaps no passage in the old version more generally admired than the description of Egypt contained in the story of the Jewish Physician. I quote the passage as it stands in
