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plying the general body of cultivated readers with a fairly representative and characteristic version of the most famous work of narrative fiction in existence, I have deemed it advisable to depart, in several particulars, from the various systems of transliteration of Oriental proper names followed by modern scholars, as, although doubtless admirably adapted to works having a scientific or non-literary object, they rest mainly upon devices (such as the use of apostrophes, accents, diacritical points and the employment of both vowels and consonants in unusual groups and senses) foreign to the genius of the English language and calculated only to annoy the reader of a work of imagination. Of these points of departure from established usage I need only particularize some of the more important; the others will, in general, be found to speak for themselves. One of the most salient is the case of the short vowel fet-heh, which is usually written ă, but which I have thought it better to render, as a rule, by ĕ, as in “bed” (a sound practically equivalent to that of a, as in “beggar,” adopted by the late Mr. Lane to represent this vowel), reserving the English a, as in “father,” to represent the alif of prolongation or long Arabic a, since I should else have no means of differentiating the latter from the former, save by the use of accents or other clumsy expedients, at once, to my mind, foreign to the purpose and vexatious to the reader of a work of pure literature. In like
