The Book Of The Thousand Nights And A Night, Vol 1 Page-375

The Book Of The Thousand Nights And A Night, Vol 1

A plain and literal translation of the arabian nights entertainments

it. Other hands are: the Ta’al�k; hanging or oblique, used for finer MSS. and having, according to Richardson, “the same analogy to the Naskhi as our Italic has to the Roman.” The Nasta’ l�k (not Naskh-Ta’alik) much used in India, is, as the name suggests, a mixture of the Naskhi (writing of transactions) and the Ta’alik. The Shikastah (broken hand) everywhere represents our running hand and becomes a hard task to the reader. The Kirm� is another cursive character, mostly confined to the receipts and disbursements of the Turkish treasury. The Div�ni, or Court (of Justice) is the official hand, bold and round. a business character, the lines often rising with a sweep or curve towards the (left) end. The J�li or polished has a variety, the Jali-Ta’alik: the Sulsi (known in many books) is adopted for titles of volumes, royal edicts, diplomas and so forth; “answering much the same purpose as capitals with us, or the flourished letters in illuminated manuscripts” (Richardson) The Tughr�i is that of the Tughr�, the Prince’s cypher or flourishing signature in ceremonial writings, and containing some such sentence as: Let this be executed. There are others e. g. Y�kuti and Sirenkil known only by name. Finally the Maghribi (Moorish) hand differs in form and diacritical points from the characters used further east almost as much as German running hand does from English. It is curious that Richardson omits the Jali (intricate and convoluted) and the divisions of the Sulus�, Sulsi or Sulus (Thuluth) character, the Sulus al-Khaf�f, etc. [FN#236] Arab. “Baghlah”; the male (Bagful) is used only for loads. This is everywhere the rule: nothing is more unmanageable than a restive