Infidels_ A History of the Conflict Between Christendom and Islam - Andrew Wheatcroft [241]
36. Ogier Ghislain de Busbecq, Travels into Turkey … Containing the Most Accurate Account of the Turks, and Neighbouring Nations, Translated from the Original Latin of the Learned A. G. Busbequius, London: J. Robinson and W. Payne, 1744. This was successful enough to reissue in 1774. The first edition of Busbecq in English had been edited by Nahum Tate and printed by J. Taylor and F. Wyat in London in 1694. It was published as “The four epistles of A. G. Busbequius concerning his embassy into Turkey; being remarks upon the religion, customs, riches, strength and government of that people. As also as a description of their chief cities and places of trade and commerce. To which is added his advice how to manage war against the Turks. Done into English Epistolae quatuor.” However, Latin editions of Busbecq were also still being published—for example an Oxford edition of 1771.
37. Cited and translated in Findley, “Ebu Bekir Ratib,” p. 48.
38. The page size of an elephant folio volume is twenty-three by fourteen inches.
39. My historical data on d’Ohsson is taken from the extended version of Findley’s paper “A Quixotic Author.” I am extremely grateful to Carter Findley for letting me use his impressive work, which deserves a much wider audience.
40. Çirakman, “From Tyranny to Despotism,” p. 58. Dominique Carnoy presents a rather different picture in her study of French images in Représentations.
41. Gladstone, Bulgarian Horrors, pp. 12–13. By his second pamphlet of the following year, Gladstone was less violent and more circumspect in his utterances. See Lessons in Massacre or, The Conduct of the Turkish Government in and About Bulgaria Since May 1876, London: John Murray, 1877.
42. And as Joseph Conrad observed at the beginning of his Eastern novel Under Western Eyes (1911), “This is not a story of the West of Europe.”
CHAPTER 13: THE BLACK ART
1. The history of print is in a state of rapid transformation. New theories and objectives have become dominant. In my view, apart from key texts such as those of Elizabeth Eisenstein, Lucien Febvre, and Henri-Jean Martin, Robert Darnton, Rudolf Hirsch, and most recently Adrian Johns, the most helpful restatement has come from Gérard Genette in his construct of the “paratexte.” This connects the physical forms of the text to its audiences, potential and actual. However, even Genette himself gracefully demurred from discussing the issue which concerns me here—the role and effect of images. “I have likewise left out three practices whose paratextual relevance seems to me undeniable, but investigating each one might demand as much work as was required here in treating this subject as a whole … [the third] constitutes an immense continent: that of illustration.” I can here only allude to the issues involved but I am taking the topic up in more detail in a forthcoming work. See Genette, Paratexts, pp. 405–6.
2. This appears in “The Marriage of Heaven and Hell”; see William Blake, Poetry and Prose of William Blake, ed. Geoffrey Keynes, London: The Nonesuch Library, 1961, p. 187.
3. See Çirakman, “From the ‘Terror of the World.’ ”
4. Volney, Travels, vol. 2, pp. 177–9. Volney is in error in one small particular: Arabic letters change in terms of where they come in the word rather than in the sentence.
5. He wrote On the Simplification of Oriental Languages in 1795, and The European Alphabet Applied to the Languages of Asia in 1819.
6. See C. F. de Volney, The Ruins, or, Meditations on the Revolutions of Empire and the Law of Nature, rep. New York: Twentieth Century Publishing Company, 1890, p. 81.
7. Ibid., p. 76.
8. I find the whole idea of counterfactual history, of which Simon Schama’s Dead Certainties (1991) was a pioneering approach (and unjustly criticized when it first appeared), an invaluable critical tool. The collection edited by Niall Ferguson, Virtual History (1997), makes the case for the approach, especially Ferguson’s long introduction, pp. 1–91.
9. Jonathan Bloom in his sparkling survey of paper in the