Galland was also eager to conform to the literary canons of the era. He cut many of the erotic passages as well as all of the poetry. This caused Sir Richard Burton to refer to "Galland's delightful abbreviation and adaptation" which "in no wise represent(s) the eastern original." His translation was greeted with immense enthusiasm and had soon been translated into many other European languages: English (a "Grub Street" version appeared in 1706), German (1712), Italian (1722), Dutch (1732), Russian (1763), and Polish (1768). They produced a wave of imitations and the widespread 18th century fashion for oriental tales. As Jorge Luis Borges wrote:Another fact is undeniable. The most famous and eloquent encomiums of "The Thousand and One Nights"—by Coleridge, Thomas de Quincey, Stendhal, Tennyson, Edgar Allan Poe, Newman—are from readers of Galland's translation. Two hundred years and ten better translations have passed, but the man in Europe or the Americas who thinks of the "Thousand and One Nights" thinks, invariably, of this first translation. The Spanish adjective "milyunanochesco" [thousand-and-one-nights-esque] ... has nothing to do with the erudite obscenities of Burton or Mardrus and everything to do with Antoine Galland's bijoux and sorceries.