I had previously read the Maude translation of Hadji Murad. This is the Kyril Zinovieff and Jenny Hughes translation. Although this translation is acceptable and takes nothing away from the timeless quality of the story, the older Maude translation is superior. So here I’ll elaborate some details, thereby hoping to sketch a contrast between the two.
In embodying the utterly foreign spirit of the Caucasus through use of its wildly different vocabulary (djigit/dzigit, beshmet, aoul, saklya), this translation clears the Maude, if only for its use of papakha, which the latter instead uses “cap.” Of course, perhaps the most distinct feature of Caucasian culture is the papakha, thus even if referred to as a cap, one could easily glean an image of the tribesmen wearing the wool headpiece. But to me, owing to this same ubiquity, it is all the more important to preserve the Caucasian term. For lack of better comparisons, the usage of cap is akin to Western translators attempting to translate the ethnic Indian sari into shawl, or the Southeast Asian sarong into skirt. These carry wildly different meanings from their translations, and on that front, this translation of Hadji Murad edges the other.
On another front, editorial work in this translation is inferior to the Maude, to the point where it detracts from the climax of the story.

Admist all the heightened tension of Hadji Murad’s tragic last stand, a certain Kurban, singing and firing his rifle haphazardly, is suddenly inserted into the story.

This, of course, may simply reflect Tolstoy’s original manuscript, but when compared to the Maude treatment on the issue,

i.e. conflating Kurban into Khan Mahoma, thus building on his blithe and gay character,

it’s clear that a better choice could have been made.
When these two particular issues are compared, it’s evident that the former represents a minor technical fault, and the latter a narrative flaw. Because of this, I’m prepared to overall prefer, and recommend, the older Maude translation over this latest one.