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el Khuzaï, Muslim ben el Welid el Ansari, En Nemri, El Hajiri, El Menazi, Ibn Ebbad, Aboulfiras el Hemdani, El Muhellebi, Ibn Jami, Et Tughrai, Ibn Abdoun el Andalousi and Ibn el Mutezz, and a more minute examination would no doubt largely add to the above list. As far as I can judge, from a cursory inspection, the Egyptian and Spanish Arabic poets are less fully represented in the collection than their brethren of Irak, Syria and Arabia, and it is, by the way, a notable fact, and one which tells strongly against Von Hammer’s theory of the Persian origin of the work, that no single extract or translation from Persian verse is, to the best of my belief, known to exist in it.
The verse in the Thousand and One Nights is of the most various quality, ranging from high beauty to the utmost baldness. It rarely answers to our idea of that usually inserted in narrative fiction and contains little that can be described as songs. Its quality is often rhetorical rather than lyrical, and it appears frequently to have been inserted somewhat in the same way as we should use engravings or woodcuts, to illustrate and explain the prose text, or as music is employed in melodrama. It is often made use of to express a sudden emotion or exaltation of sentiment on the part of the personages introduced, much as the prose in Shakespeare’s and other plays of the Elizabethan era rises occasionally into blank or rhymed verse, under stress of increased elevation or intensity of thought and feeling. As may be expected from a list of contributors which includes so many of the most renowned singers of Muslim civilisation,
