The Nights was at once translated from the French[FN#207] though when, where and by whom no authority seems to know. In Lowndes' "Bibliographer's Manual" the English Editio Princeps is thus noticed, "Arabian Nights' Entertainments translated from the French, London, 1724, 12mo, 6 vols." and a footnote states that this translation, very inaccurate and vulgar in its diction, was often reprinted. In 1712 Addison introduced into the Spectator (No. 535, Nov. 13) the Story of Alnaschar ( = Al-Nashshar, the Sawyer) and says that his remarks on Hope "may serve as a moral to an Arabian tale which I find translated into French by Monsieur Galland." His version appears, from the tone and style, to have been made by himself, and yet in that year a second English edition had appeared. The nearest approach to the Edit. Princeps in the British Museum[FN#208] is a set of six volumes bound in three and corresponding with Galland's first half dozen. Tomes i. and ii. are from the fourth edition of 1713, Nos. iii. and iv. are from the second of 1712 and v. and vi. are from the third of 1715. It is conjectured that the two first volumes were reprinted several times apart from their subsequents, as was the fashion of the day; but all is mystery. We (my friends and I) have turned over scores of books in the British Museum, the University Library and the Advocates' Libraries of Edinburgh and Glasgow: I have been permitted to put the question in "Notes and Queries" and in the "Antiquary"; but all our researches hitherto have been in vain.

The popularity of The Nights in England must have rivalled their vogue in France, judging from the fact that in 1713, or nine years after Galland's Edit. Prin. appeared, they had already reached a fourth issue. Even the ignoble national jealousy which prompted Sir William Jones grossly to abuse that valiant scholar, Auquetil du Perron, could not mar their popularity. But as there are men who cannot read Pickwick, so they were not wanting who spoke of "Dreams of the distempered fancy of the East."[FN#209] "When the work was first published in England," says Henry Webber,[FN#210] "it seems to have made a considerable impression upon the public." Pope in 1720 sent two volumes (French? or English?) to Bishop Atterbury, without making any remark on the work; but, from his very silence, it may be presumed that he was not displeased with the perusal. The bishop, who does not appear to have joined a relish for the flights of imagination to his other estimable qualities, expressed his dislike of these tales pretty strongly and stated it to be his opinion, formed on the frequent descriptions of female dress, that they were the work of some Frenchman (Petis de la Croix, a mistake afterwards corrected by Warburton). The Arabian Nights, however, quickly made their way to public favour. "We have been informed of a singular instance of the effect they produced soon after their first appearance. Sir James Stewart, Lord Advocate for Scotland, having one Saturday evening found his daughters employed in reading these volumes, seized them with a rebuke for spending the evening before the 'Sawbbath' in such worldly amusement; but the grave advocate himself became a prey to the fascination of the tales, being found on the morning of the Sabbath itself employed in their perusal, from which he had not risen the whole night." As late as 1780 Dr. Beattie professed himself uncertain whether they were translated or fabricated by M. Galland; and, while Dr. Pusey wrote of them "Noctes Mille et Una dictae, quae in omnium firme populorum cultiorum linguas conversae, in deliciis omnium habentur, manibusque omnium terentur,"[FN#211] the amiable Carlyle, in the gospel according to Saint Froude, characteristically termed them "downright lies" and forbade the house to such "unwholesome literature." What a sketch of character in two words!

The only fault found in France with the Contes Arabes was that their style is peu correcte; in fact they want classicism. Yet all Gallic imitators, Trebutien included, have carefully copied their leader and Charles Nodier remarks:—"Il me semble que l'on n'a pas rendu assez de justice au style de Galland. Abondant sans etre prolixe, naturel et familier sans etre lache ni trivial, il ne manque jamais de cette elegance qui resulte de la facilite, et qui presente je ne sais quel melange de la naivete de Perrault et de la bonhomie de La Fontaine."

Our Professor, with a name now thoroughly established, returned in 1706 to Paris, where he was an assiduous and efficient member of the Societe Numismatique and corresponded largely with foreign Orientalists. Three years afterwards he was made Professor of Arabic at the College de France, succeeding Pierre Dippy; and, during the next half decade, he devoted himself to publishing his valuable studies. Then the end came. In his last illness, an attack of asthma complicated with pectoral mischief, he sent to Noyon for his nephew Julien Galland[FN#212] to assist him in ordering his MSS. and in making his will after the simplest military fashion: he bequeathed his writings to the Bibliotheque du Roi, his Numismatic Dictionary to the Academy and his Alcoran to the Abbe Bignon. He died, aged sixty-nine on February 17, 1715, leaving his second part of The Nights unpublished.[FN#213]

Professor Galland was a French litterateur of the good old school which is rapidly becoming extinct. Homme vrai dans les moindres choses (as his Eloge stated); simple in life and manners and single-hearted in his devotion to letters, he was almost childish in worldly matters, while notable for penetration and acumen in his studies. He would have been as happy, one of his biographers remarks, in teaching children the elements of education as he was in acquiring his immense erudition. Briefly, truth and honesty, exactitude and indefatigable industry characterised his most honourable career.

Galland informs us (Epist. Ded.) that his MS. consisted of four volumes, only three of which are extant,[FN#214] bringing the work down to Night cclxxxii., or about the beginning of "Camaralzaman." The missing portion, if it contained like the other volumes 140 pages, would end that tale together with the Stories of Ghanim and the Enchanted (Ebony) Horse; and such is the disposition in the Bresl. Edit. which mostly favours in its ordinance the text used by the first translator. But this would hardly have filled more than two-thirds of his volumes; for the other third he interpolated, or is supposed to have interpolated, the ten[FN#215] following tales.

1. Histoire du prince Zeyn Al-asnam et du Roi des Genies.[FN#216] 2. Histoire de Codadad et de ses freres. 3. Histoire de la Lampe merveilleuse (Aladdin). 4. Histoire de l'aveugle Baba Abdalla. 5. Histoire de Sidi Nouman. 6. Histoire de Cogia Hassan Alhabbal. 7. Histoire d'Ali Baba, et de Quarante Voleurs extermines par une Esclave. 8. Histoire d'Ali Cogia, marchand de Bagdad. 9. Histoire du prince Ahmed et de la fee Peri-Banou. 10. Histoire de deux Soeurs jalouses de leur Cadette.[FN#217]

Concerning these interpolations which contain two of the best and most widely known stories in the work, Aladdin and the Forty Thieves, conjectures have been manifold but they mostly run upon three lines. De Sacy held that they were found by Galland in the public libraries of Paris. Mr. Chenery, whose acquaintance with Arabic grammar was ample, suggested that the Professor had borrowed them from the recitations of the Rawis, rhapsodists or professional story-tellers in the bazars of Smyrna and other ports of the Levant. The late Mr. Henry Charles Coote (in the "Folk-Lore Record," vol. iii. Part ii. p. 178 et seq.), "On the source of some of M. Galland's Tales," quotes from popular Italian, Sicilian and Romaic stories incidents identical with those in Prince Ahmad, Aladdin, Ali Baba and the Envious Sisters, suggesting that the Frenchman had heard these paramythia in Levantine coffee-houses and had inserted them into his unequalled corpus fabularum. Mr. Payne (ix. 268) conjectures the probability "of their having been composed at a comparatively recent period by an inhabitant of Baghdad, in imitation of the legends of Haroun er Rashid and other well-known tales of the original work;" and adds, "It is possible that an exhaustive examination of the various MS. copies of the Thousand and One Nights known to exist in the public libraries of Europe might yet cast some light upon the question of the origin of the interpolated Tales." I quite agree with him, taking "The Sleeper and the Waker'' and "Zeyn Al-asnam" as cases in point; but I should expect, for reasons before given, to find the stories in a Persic rather than an Arabic MS. And I feel convinced that all will be recovered: Galland was not the man to commit a literary forgery.

As regards Aladdin, the most popular tale of the whole work, I am convinced that it is genuine, although my unfortunate friend, the late Professor Palmer, doubted its being an Eastern story. It is laid down upon all the lines of Oriental fiction. The mise-en-scene is China, "where they drink a certain warm liquor" (tea); the hero's father is a poor tailor; and, as in "Judar and his Brethren," the Maghribi Magician presently makes his appearance, introducing the Wonderful Lamp and the Magical Ring. Even the Sorcerer's cry, "New lamps for old lamps !"—a prime point—is paralleled in the Tale of the Fisherman's Son,[FN#218] where the Jew asks in exchange only old rings and the Princess, recollecting that her husband kept a shabby, well-worn ring in his writing-stand, and he being asleep, took it out and sent it to the man. In either tale the palace is transported to a distance and both end with the death of the wicked magician and the hero and heroine living happily together ever after.

All Arabists have remarked the sins of omission and commission, of abridgment, amplification and substitution, and the audacious distortion of fact and phrase in which Galland freely indulged, whilst his knowledge of Eastern languages proves that he knew better. But literary license was the order of his day and at that time French, always the most begueule of European languages, was bound by a rigorisme of the narrowest and the straightest of lines from which the least ecart condemned a man as a barbarian and a tudesque. If we consider Galland fairly we shall find that he errs mostly for a purpose, that of popularising his work; and his success indeed justified his means. He has been derided (by scholars) for "He Monsieur!" and "Ah Madame!"; but he could not write "O mon sieur" and "O ma dame;" although we can borrow from biblical and Shakespearean English, "O my lord!" and "O my lady!" "Bon Dieu! ma soeur" (which our translators English by "O heavens," Night xx.) is good French for Wa'llahi—by Allah; and "cinquante cavaliers bien faits" ("fifty handsome gentlemen on horseback") is a more familiar picture than fifty knights. "L'officieuse Dinarzade" (Night lxi.), and "Cette plaisante querelle des deux freres" (Night 1xxii.) become ridiculous only in translation—"the officious Dinarzade" and "this pleasant quarrel;" while "ce qu'il y de remarquable" (Night 1xxiii.) would relieve the Gallic mind from the mortification of "Destiny decreed." "Plusieurs sortes de fruits et de bouteilles de vin" (Night ccxxxi. etc.) Europeanises flasks and flaggons; and the violent convulsions in which the girl dies (Night cliv., her head having been cut off by her sister) is mere Gallic squeamishness: France laughs at "le shoking" in England but she has only to look at home especially during the reign of Galland's contemporary— Roi Soleil. The terrible "Old man" (Shaykh) "of the Sea" (- board) is badly described by "l'incommode vieillard" ("the ill- natured old fellow"): "Brave Maimune" and "Agreable Maimune" are hardly what a Jinni would say to a Jinniyah (ccxiii.); but they are good Gallic. The same may be noted of "Plier les voiles pour marque qu'il se rendait" (Night ccxxxv.), a European practice; and of the false note struck in two passages. "Je m'estimais heureuse d'avoir fait une si belle conquete" (Night 1xvii.) gives a Parisian turn; and, "Je ne puis voir sans horreur cet abominable barbier que voila: quoiqu'il soit ne dans un pays ou tout le monde est blanc, il ne laisse pas a resembler a un Ethiopien; mais il a l'ame encore plus noire et horrible que le visage" (Night clvii.), is a mere affectation of Orientalism. Lastly, "Une vieille dame de leur connaissance" (Night clviii.) puts French polish upon the matter of fact Arab's "an old woman."

The list of absolute mistakes, not including violent liberties, can hardly be held excessive. Professor Weil and Mr. Payne (ix. 271) justly charge Galland with making the Trader (Night i.) throw away the shells (ecorces) of the date which has only a pellicle, as Galland certainly knew; but dates were not seen every day in France, while almonds and walnuts were of the quatre mendiants. He preserves the ecorces, which later issues have changed to noyaux, probably in allusion to the jerking practice called Inwa. Again in the "First Shaykh's Story" (vol. i. 27) the "maillet" is mentioned as the means of slaughtering cattle, because familiar to European readers: at the end of the tale it becomes "le couteaufuneste." In Badral Din a "tarte a la creme," so well known to the West, displaces, naturally enough, the outlandish "mess of pomegranate-seeds." Though the text especially tells us the hero removed his bag-trousers (not only "son habit") and placed them under the pillow, a crucial fact in the history, our Professor sends him to bed fully dressed, apparently for the purpose of informing his readers in a foot- note that Easterns "se couchent en calecon" (Night lxxx.). It was mere ignorance to confound the arbalete or cross-bow with the stone-bow (Night xxxviii.), but this has universally been done, even by Lane who ought to have known better; and it was an unpardonable carelessness or something worse to turn Nar (fire) and Dun (in lieu of) into "le faux dieu Nardoun" (Night lxv.): as this has been untouched by De Sacy, I cannot but conclude that he never read the text with the translation. Nearly as bad also to make the Jewish physician remark, when the youth gave him the left wrist (Night cl.), "voila une grande ignorance de ne savoir pas que l'on presente la main droite a un medecin et non pas la gauche"—whose exclusive use all travellers in the East must know. I have noticed the incuriousness which translates "along the Nile-shore" by "up towards Ethiopia" (Night cli.), and the "Islands of the Children of Khaledan" (Night ccxi.) instead of the Khalidatani or Khalidat, the Fortunate Islands. It was by no means "des petite soufflets" ("some taps from time to time with her fingers") which the sprightly dame administered to the Barber's second brother (Night clxxi.), but sound and heavy "cuffs" on the nape; and the sixth brother (Night clxxx.) was not "aux levres fendues" ("he of the hair-lips"), for they had been cut off by the Badawi jealous of his fair wife. Abu al-Hasan would not greet his beloved by saluting "le tapis a ses pieds:" he would kiss her hands and feet. Haiatalnefous (Hayat al-Nufus, Night ccxxvi.) would not "throw cold water in the Princess's face:" she would sprinkle it with eau-de-rose. "Camaralzaman" I. addresses his two abominable wives in language purely European (ccxxx.), "et de la vie il ne s'approcha d'elles," missing one of the fine touches of the tale which shows its hero a weak and violent man, hasty and lacking the pundonor. "La belle Persienne," in the Tale of Nur al-Din, was no Persian; nor would her master address her, "Venez ca, impertinente!" ("come hither, impertinence"). In the story of Badr, one of the Comoro Islands becomes "L'ile de la Lune." "Dog" and "dog-son" are not "injures atroces et indignes d'un grand roi:" the greatest Eastern kings allow themselves far more energetic and significant language.

Fitnah[FN#219] is by no means "Force de coeurs." Lastly the denouement of The Nights is widely different in French and in Arabic; but that is probably not Galland's fault, as he never saw the original, and indeed he deserves high praise for having invented so pleasant and sympathetic a close, inferior only to the Oriental device.[FN#220]

Galland's fragment has a strange effect upon the Orientalist and those who take the scholastic view, be it wide or narrow. De Sacy does not hesitate to say that the work owes much to his fellow-countryman's hand; but I judge otherwise: it is necessary to dissociate the two works and to regard Galland's paraphrase, which contains only a quarter of The Thousand Nights and a Night, as a wholly different book. Its attempts to amplify beauties and to correct or conceal the defects and the grotesqueness of the original, absolutely suppress much of the local colour, clothing the bare body in the best of Parisian suits. It ignores the rhymed prose and excludes the verse, rarely and very rarely rendering a few lines in a balanced style. It generally rejects the proverbs, epigrams and moral reflections which form the pith and marrow of the book; and, worse still, it disdains those finer touches of character which are often Shakespearean in their depth and delicacy, and which, applied to a race of familiar ways and thoughts, manners and customs, would have been the wonder and delight of Europe. It shows only a single side of the gem that has so many facets. By deference to public taste it was compelled to expunge the often repulsive simplicity, the childish indecencies and the wild orgies of the original, contrasting with the gorgeous tints, the elevated morality and the religious tone of passages which crowd upon them. We miss the odeur du sang which taints the parfums du harem; also the humouristic tale and the Rabelaisian outbreak which relieve and throw out into strong relief the splendour of Empire and the havoc of Time. Considered in this light it is a caput mortuum, a magnificent texture seen on the wrong side; and it speaks volumes for the genius of the man who could recommend it in such blurred and caricatured condition to readers throughout the civilised world. But those who look only at Galland's picture, his effort to "transplant into European gardens the magic flowers of Eastern fancy," still compare his tales with the sudden prospect of magnificent mountains seen after a long desert-march: they arouse strange longings and indescribable desires; their marvellous imaginativeness produces an insensible brightening of mind and an increase of fancy-power, making one dream that behind them lies the new and unseen, the strange and unexpected—in fact, all the glamour of the unknown.

The Nights has been translated into every far-extending Eastern tongue, Persian, Turkish and Hindostani. The latter entitles them Hikayat al-Jalilah or Noble Tales, and the translation was made by Munshi Shams al-Din Ahmad for the use of the College of Fort George in A.H. 1252 = 1836.[FN#221] All these versions are direct from the Arabic: my search for a translation of Galland into any Eastern tongue has hitherto been fruitless.

I was assured by the late Bertholdy Seemann that the "language of Hoffmann and Heine" contained a literal and complete translation of The Nights; but personal enquiries at Leipzig and elsewhere convinced me that the work still remains to be done. The first attempt to improve upon Galland and to show the world what the work really is was made by Dr. Max Habicht and was printed at Breslau (1824-25), in fifteen small square volumes.[FN#222] Thus it appeared before the "Tunis Manuscript"[FN#223] of which it purports to be a translation. The German version is, if possible, more condemnable than the Arabic original. It lacks every charm of style; it conscientiously shirks every difficulty; it abounds in the most extraordinary blunders and it is utterly useless as a picture of manners or a book of reference. We can explain its laches only by the theory that the eminent Professor left the labour to his collaborateurs and did not take the trouble to revise their careless work.

The next German translation was by Aulic Councillor J. von Hammer-Purgstallt who, during his short stay at Cairo and Constantinople, turned into French the tales neglected by Galland. After some difference with M. Caussin (de Perceval) in 1810, the Styrian Orientalist entrusted his MS. to Herr Cotta the publisher of Tubingen. Thus a German version appeared, the translation of a translation, at the hand of Professor Zinserling,[FN#224] while the French version was unaccountably lost en route to London. Finally the "Contes inedits," etc., appeared in a French translation by G. S. Trebutien (Paris, mdcccxxviii.). Von Hammer took liberties with the text which can compare only with those of Lane: he abridged and retrenched till the likeness in places entirely disappeared; he shirked some difficult passages and he misexplained others. In fact the work did no honour to the amiable and laborious historian of the Turks.

The only good German translation of The Nights is due to Dr. Gustav Weil who, born on April 24, 1808, is still (1886) professing at Heidelburg.[FN#225] His originals (he tells us) were the Breslau Edition, the Bulak text of Abd al-Rahman al- Safati and a MS. in the library of Saxe Gotha. The venerable savant, who has rendered such service to Arabism, informs me that Aug. Lewald's "Vorhalle" (pp. i.-xv.)[FN#226] was written without his knowledge. Dr. Weil neglects the division of days which enables him to introduce any number of tales: for instance, Galland's eleven occupy a large part of vol. iii. The Vorwort wants development, the notes, confined to a few words, are inadequate and verse is everywhere rendered by prose, the Saj'a or assonance being wholly ignored. On the other hand the scholar shows himself by a correct translation, contrasting strongly with those which preceded him, and by a strictly literal version, save where the treatment required to be modified in a book intended for the public. Under such circumstances it cannot well be other than longsome and monotonous reading.

Although Spain and Italy have produced many and remarkable Orientalists, I cannot find that they have taken the trouble to translate The Nights for themselves: cheap and gaudy versions of Galland seem to have satisfied the public.[FN#227] Notes on the Romaic, Icelandic, Russian (?) and other versions, will be found in a future page.

Professor Galland has never been forgotten in France where, amongst a host of editions, four have claims to distinction;[FN#228] and his success did not fail to create a host of imitators and to attract what De Sacy justly terms "une prodigieuse importation de marchandise de contrabande." As early as 1823 Von Hammer numbered seven in France (Trebutien, Preface xviii.) and during later years they have grown prodigiously. Mr. William F. Kirby, who has made a special study of the subject, has favoured me with detailed bibliographical notes on Galland's imitators which are printed in Appendix No. II.



Section III. THE MATTER AND THE MANNER OF THE NIGHTS.



A.—The Matter.



Returning to my threefold distribution of this Prose Poem (Section Section I) into Fable, Fairy Tale and historical Anecdote[FN#229], let me proceed to consider these sections more carefully.

The Apologue or Beast-fable, which apparently antedates all other subjects in The Nights, has been called "One of the earliest creations of the awakening consciousness of mankind." I should regard it, despite a monumental antiquity, as the offspring of a comparatively civilised age, when a jealous despotism or a powerful oligarchy threw difficulties and dangers in the way of speaking "plain truths." A hint can be given and a friend or foe can be lauded or abused as Belins the sheep or Isengrim the wolf when the Author is debarred the higher enjoyment of praising them or dispraising them by name. And, as the purposes of fables are twofold—

Duplex libelli dos est: quod risum movet, Et quod prudenti vitam consilio monet—

The speaking of brute beasts would give a piquancy and a pleasantry to moral design as well as to social and political satire.

The literary origin of the fable is not Buddhistic: we must especially shun that "Indo-Germanic" school which goes to India for its origins, when Pythagoras, Solon, Herodotus, Plato, Aristotle and possibly Homer sat for instruction at the feet of the Hir-seshtha, the learned grammarians of the pharaohnic court. Nor was it AEsopic, evidently AEsop inherited the hoarded wealth of ages. As Professor Lepsius taught us, "In the olden times within the memory of man, we know only of one advanced culture; of only one mode of writing, and of only one literary development, viz. those of Egypt." The invention of an alphabet, as opposed to a syllabary, unknown to Babylonia, to Assyria and to that extreme bourne of their civilising influence, China, would for ever fix their literature—poetry, history and criticism,[FN#230] the apologue and the anecdote. To mention no others The Lion and the Mouse appears in a Leyden papyrus dating from B.C 1200-1166 the days of Rameses III. (Rhampsinitus) or Hak On, not as a rude and early attempt, but in a finished form, postulating an ancient origin and illustrious ancestry. The dialogue also is brought to perfection in the discourse between the Jackal Koufi and the Ethiopian Cat (Revue Egyptologique ivme. annee Part i.). Africa therefore was the home of the Beast-fable not as Professor Mahaffy thinks, because it was the chosen land of animal worship, where

Oppida tote canem venerantur nemo Dianam;[FN#231]

but simply because the Nile-land originated every form of literature between Fabliau and Epos.

From Kemi the Black-land it was but a step to Phoenicia, Judaea,[FN#232] Phrygia and Asia Minor, whence a ferry led over to Greece. Here the Apologue found its populariser in {Greek}, AEsop, whose name, involved in myth, possibly connects with :— "AEsopus et Aithiops idem sonant" says the sage. This would show that the Hellenes preserved a legend of the land whence the Beast-fable arose, and we may accept the fabulist's aera as contemporary with Croesus and Solon (B.C. 570,) about a century after Psammeticus (Psamethik 1st) threw Egypt open to the restless Greek.[FN#233] From Africa too the Fable would in early ages migrate eastwards and make for itself a new home in the second great focus of civilisation formed by the Tigris-Euphrates Valley. The late Mr. George Smith found amongst the cuneiforms fragmentary Beast-fables, such as dialogues between the Ox and the Horse, the Eagle and the Sun. In after centuries, when the conquests of Macedonian Alexander completed what Sesostris and Semiramis had begun, and mingled the manifold families of mankind by joining the eastern to the western world, the Orient became formally hellenised. Under the Seleucidae and during the life of the independent Bactrian Kingdom (B.C. 255-125), Grecian art and science, literature and even language overran the old Iranic reign and extended eastwards throughout northern India. Porus sent two embassies to Augustus in B.C. 19 and in one of them the herald Zarmanochagas (Shramanacharya) of Bargosa, the modern Baroch in Guzerat, bore an epistle upon vellum written in Greek (Strabo xv. I section 78). "Videtis gentes populosque mutasse sedes" says Seneca (De Cons. ad Helv. c. vi.). Quid sibi volunt in mediis barbarorum regionibus Graecae artes? Quid inter Indos Persasque Macedonicus sermo? Atheniensis in Asia turba est." Upper India, in the Macedonian days would have been mainly Buddhistic, possessing a rude alphabet borrowed from Egypt through Arabia and Phoenicia, but still in a low and barbarous condition: her buildings were wooden and she lacked, as far as we know, stone-architecture—the main test of social development. But the Bactrian Kingdom gave an impulse to her civilisation and the result was classical opposed to vedic Sanskrit. From Persia Greek letters, extending southwards to Arabia, would find indigenous imitators and there AEsop would be represented by the sundry sages who share the name Lokman.[FN#234] One of these was of servile condition, tailor, carpenter or shepherd; and a "Habashi" (AEthiopian) meaning a negro slave with blubber lips and splay feet, so far showing a superficial likeness to the AEsop of history.

The AEsopic fable, carried by the Hellenes to India, might have fallen in with some rude and fantastic barbarian of Buddhistic "persuasion" and indigenous origin: so Reynard the Fox has its analogue amongst the Kafirs and the Vai tribe of Mandengan negroes in Liberia[FN#235] amongst whom one Doalu invented or rather borrowed a syllabarium. The modern Gypsies are said also to have beast-fables which have never been traced to a foreign source (Leland). But I cannot accept the refinement of difference which Professor Benfey, followed by Mr. Keith- Falconer, discovers between the AEsopic and the Hindu apologue:— "In the former animals are allowed to act as animals: the latter makes them act as men in the form of animals." The essence of the beast-fable is a reminiscence of Homo primigenius with erected ears and hairy hide, and its expression is to make the brother brute behave, think and talk like him with the superadded experience of ages. To early man the "lower animals," which are born, live and die like himself, showing all the same affects and disaffects, loves and hates, passions, prepossessions and prejudices, must have seemed quite human enough and on an equal level to become his substitutes. The savage, when he began to reflect, would regard the carnivor and the serpent with awe, wonder and dread; and would soon suspect the same mysterious potency in the brute as in himself: so the Malays still look upon the Uran-utan, or Wood-man, as the possessor of superhuman wisdom. The hunter and the herdsman, who had few other companions, would presently explain the peculiar relations of animals to themselves by material metamorphosis, the bodily transformation of man to brute giving increased powers of working him weal and woe. A more advanced stage would find the step easy to metempsychosis, the beast containing the Ego (alias soul) of the human: such instinctive belief explains much in Hindu literature, but it was not wanted at first by the Apologue.

This blending of blood, this racial baptism would produce a fine robust progeny; and, after our second century, AEgypto-Graeco-Indian stories overran the civilised globe between Rome and China. Tales have wings and fly farther than the jade hatchets of proto-historic days. And the result was a book which has had more readers than any other except the Bible. Its original is unknown.[FN#236] The volume, which in Pehlevi became the Javidan Khirad ("Wisdom of Ages") or the Testament of Hoshang, that ancient guebre King, and in Sanskrit the Panchatantra ("Five Chapters"), is a recueil of apologues and anecdotes related by the learned Brahman, Vishnu Sharma for the benefit of his pupils the sons of an Indian Rajah. The Hindu original has been adapted and translated into a number of languages; Arabic, Hebrew and Syriac, Greek and Latin, Persian and Turkish, under a host of names.[FN#237] Voltaire[FN#238] wisely remarks of this venerable production:—Quand on fait reflexion que presque toute la terre a ete enfatuee de pareils contes, et qu'ils ont fait l'education du genre humain, on trouve les fables de Pilpay, de Lokman,[FN#239] d'Esope, bien raisonables. But methinks the sage of Ferney might have said far more. These fables speak with the large utterance of early man; they have also their own especial beauty—the charms of well- preserved and time-honoured old age. There is in their wisdom a perfume of the past, homely and ancient-fashioned like a whiff of pot pourri, wondrous soothing withal to olfactories agitated by the patchoulis and jockey clubs of modern pretenders and petit- maitres, with their grey young heads and pert intelligence, the motto of whose ignorance is "Connu!" Were a dose of its antique, mature experience adhibited to the Western before he visits the East, those few who could digest it might escape the normal lot of being twisted round the fingers of every rogue they meet from Dragoman to Rajah. And a quotation from them tells at once: it shows the quoter to be man of education, not a "Jangali," a sylvan or savage, as the Anglo-Indian official is habitually termed by his more civilised "fellow-subject."

The main difference between the classical apologue and the fable in The Nights is that while AEsop and Gabrias write laconic tales with a single event and a simple moral, the Arabian fables are often "long-continued novelle involving a variety of events, each characterised by some social or political aspect, forming a narrative highly interesting in itself, often exhibiting the most exquisite moral, and yet preserving, with rare ingenuity, the peculiar characteristics of the actors."[FN#240] And the distinction between the ancient and the mediaeval apologue, including the modern which, since "Reineke Fuchs," is mainly German, appears equally pronounced. The latter is humorous enough and rich in the wit which results from superficial incongruity: but it ignores the deep underlying bond which connects man with beast. Again, the main secret of its success is the strain of pungent satire, especially in the Renardine Cycle, which the people could apply to all unpopular "lordes and prelates, gostly and worldly."

Our Recueil contains two distinct sets of apologues. [FN#241] The first (vol. iii.) consists of eleven, alternating with five anecdotes (Nights cxlvi.—cliii.), following the lengthy and knightly romance of King Omar bin al Nu'man and followed by the melancholy love tale of Ali bin Bakkar. The second series in vol. ix., consisting of eight fables, not including ten anecdotes (Nights cmi.—cmxxiv.), is injected into the romance of King Jali'ad and Shimas mentioned by Al-Mas'udi as independent of The Nights. In both places the Beast-fables are introduced with some art and add variety to the subject-matter, obviating monotony— the deadly sin of such works—and giving repose to the hearer or reader after a climax of excitement such as the murder of the Wazirs. And even these are not allowed to pall upon the mental palate, being mingled with anecdotes and short tales, such as the Hermits (iii. 125), with biographical or literary episodes, acroamata, table-talk and analects where humorous Rabelaisian anecdote finds a place; in fact the fabliau or novella. This style of composition may be as ancient as the apologues. We know that it dates as far back as Rameses III., from the history of the Two Brothers in the Orbigny papyrus,[FN#242] the prototype of Yusuf and Zulaykha, the Koranic Joseph and Potiphar's wife. It is told with a charming naivete and such sharp touches of local colour as, "Come, let us make merry an hour and lie together! Let down thy hair!"

Some of the apologues in The Nights are pointless enough, rien moins qu'amusants; but in the best specimens, such as the Wolf and the Fox[FN#243] (the wicked man and the wily man), both characters are carefully kept distinct and neither action nor dialogue ever flags. Again The Flea and the Mouse (iii. 151), of a type familiar to students of the Pilpay cycle, must strike the home-reader as peculiarly quaint.

Next in date to the Apologue comes the Fairy Tale proper, where the natural universe is supplemented by one of purely imaginative existence. "As the active world is inferior to the rational soul," says Bacon with his normal sound sense, "so Fiction gives to Mankind what History denies and in some measure satisfies the Mind with Shadows when it cannot enjoy the Substance. And as real History gives us not the success of things according to the deserts of vice and virtue, Fiction corrects it and presents us with the fates and fortunes of persons rewarded and punished according to merit." But I would say still more. History paints or attempts to paint life as it is, a mighty maze with or without a plan: Fiction shows or would show us life as it should be, wisely ordered and laid down on fixed lines. Thus Fiction is not the mere handmaid of History: she has a household of her own and she claims to be the triumph of Art which, as Goeethe remarked, is "Art because it is not Nature." Fancy, la folle du logis, is "that kind and gentle portress who holds the gate of Hope wide open, in opposition to Reason, the surly and scrupulous guard."[FN#244] As Palmerin of England says and says well, "For that the report of noble deeds doth urge the courageous mind to equal those who bear most commendation of their approved valiancy; this is the fair fruit of Imagination and of ancient histories." And, last but not least, the faculty of Fancy takes count of the cravings of man's nature for the marvellous, the impossible, and of his higher aspirations for the Ideal, the Perfect: she realises the wild dreams and visions of his generous youth and portrays for him a portion of that "other and better world," with whose expectation he would console his age.

The imaginative varnish of The Nights serves admirably as a foil to the absolute realism of the picture in general. We enjoy being carried away from trivial and commonplace characters, scenes and incidents; from the matter of fact surroundings of a work-a-day world, a life of eating and drinking, sleeping and waking, fighting and loving, into a society and a mise-en-scene which we suspect can exist and which we know does not. Every man at some turn or term of his life has longed for supernatural powers and a glimpse of Wonderland. Here he is in the midst of it. Here he sees mighty spirits summoned to work the human mite's will, however whimsical, who can transport him in an eye- twinkling whithersoever he wishes; who can ruin cities and build palaces of gold and silver, gems and jacinths; who can serve up delicate viands and delicious drinks in priceless chargers and impossible cups and bring the choicest fruits from farthest Orient: here he finds magas and magicians who can make kings of his friends, slay armies of his foes and bring any number of beloveds to his arms. And from this outraging probability and out-stripping possibility arises not a little of that strange fascination exercised for nearly two centuries upon the life and literature of Europe by The Nights, even in their mutilated and garbled form. The reader surrenders himself to the spell, feeling almost inclined to enquire "And why may it not be true?''[FN#245] His brain is dazed and dazzled by the splendours which flash before it, by the sudden procession of Jinns and Jinniyahs, demons and fairies, some hideous, others preternaturally beautiful; by good wizards and evil sorcerers, whose powers are unlimited for weal and for woe; by mermen and mermaids, flying horses, talking animals, and reasoning elephants; by magic rings and their slaves and by talismanic couches which rival the carpet of Solomon. Hence, as one remarks, these Fairy Tales have pleased and still continue to please almost all ages, all ranks and all different capacities.

Dr. Hawkesworth[FN#246] observes that these Fairy Tales find favour "because even their machinery, wild and wonderful as it is, has its laws; and the magicians and enchanters perform nothing but what was naturally to be expected from such beings, after we had once granted them existence." Mr. Heron "rather supposes the very contrary is the truth of the fact. It is surely the strangeness, the unknown nature, the anomalous character of the supernatural agents here employed, that makes them to operate so powerfully on our hopes, fears, curiosities, sympathies, and, in short, on all the feelings of our hearts. We see men and women, who possess qualities to recommend them to our favour, subjected to the influence of beings, whose good or ill will, power or weakness, attention or neglect, are regulated by motives and circumstances which we cannot comprehend: and hence, we naturally tremble for their fate, with the same anxious concern, as we should for a friend wandering, in a dark night, amidst torrents and precipices; or preparing to land on a strange island, while he knew not whether he should be received, on the shore, by cannibals waiting to tear him piecemeal, and devour him, or by gentle beings, disposed to cherish him with fond hospitality." Both writers have expressed themselves well, but meseems each has secured, as often happens, a fragment of the truth and holds it to be the whole Truth. Granted that such spiritual creatures as Jinns walk the earth, we are pleased to find them so very human, as wise and as foolish in word and deed as ourselves: similarly we admire in a landscape natural forms like those of Staffa or the Palisades which favour the works of architecture. Again, supposing such preternaturalisms to be around and amongst us, the wilder and more capricious they prove, the more our attention is excited and our forecasts are baffled to be set right in the end. But this is not all. The grand source of pleasure in Fairy Tales is the natural desire to learn more of the Wonderland which is known to many as a word and nothing more, like Central Africa before the last half century: thus the interest is that of the "Personal Narrative" of a grand exploration to one who delights in travels. The pleasure must be greatest where faith is strongest; for instance amongst imaginative races like the Kelts and especially Orientals, who imbibe supernaturalism with their mother's milk. "I am persuaded," writes Mr. Bayle St. John,[FN#247] "that the great scheme of preternatural energy, so fully developed in The Thousand and One Nights, is believed in by the majority of the inhabitants of all the religious professions both in Syria and Egypt." He might have added "by every reasoning being from prince to peasant, from Mullah to Badawi, between Marocco and Outer Ind."

The Fairy Tale in The Nights is wholly and purely Persian. The gifted Iranian race, physically the noblest and the most beautiful of all known to me, has exercised upon the world- history an amount of influence which has not yet been fully recognised. It repeated for Babylonian art and literature what Greece had done for Egyptian, whose dominant idea was that of working for eternity a . Hellas and Iran instinctively chose as their characteristic the idea of Beauty, rejecting all that was exaggerated and grotesque; and they made the sphere of Art and Fancy as real as the world of Nature and Fact. The innovation was hailed by the Hebrews. The so-called Books of Moses deliberately and ostentatiously ignored the future state of rewards and punishments, the other world which ruled the life of the Egyptian in this world: the lawgiver, whoever he may have been, Osarsiph or Moshe, apparently held the tenet unworthy of a race whose career he was directing to conquest and isolation in dominion. But the Jews, removed to Mesopotamia, the second cradle of the creeds, presently caught the infection of their Asiatic media; superadded Babylonian legend to Egyptian myth; stultified The Law by supplementing it with the "absurdities of foreign fable" and ended, as the Talmud proves, with becoming the most wildly superstitious and "other worldly'' of mankind.

The same change befel Al-Islam. The whole of its supernaturalism is borrowed bodily from Persia, which had "imparadised Earth by making it the abode of angels." Mohammed, a great and commanding genius, blighted and narrowed by surroundings and circumstances to something little higher than a Covenanter or a Puritan, declared to his followers,

"I am sent to 'stablish the manners and customs;"

and his deficiency of imagination made him dislike everything but "women, perfumes, and prayers," with an especial aversion to music and poetry, plastic art and fiction. Yet his system, unlike that of Moses, demanded thaumaturgy and metaphysical entities, and these he perforce borrowed from the Jews who had borrowed them from the Babylonians: his soul and spirit, his angels and devils, his cosmogony, his heavens and hells, even the Bridge over the Great Depth are all either Talmudic or Iranian. But there he stopped and would have stopped others. His enemies among the Koraysh were in the habit of reciting certain Persian fabliaux and of extolling them as superior to the silly and equally fictitious stories of the "Glorious Koran." The leader of these scoffers was one Nazr ibn Haris who, taken prisoner after the Battle of Bedr, was incontinently decapitated, by apostolic command, for what appears to be a natural and sensible preference. It was the same furious fanaticism and one-idea'd intolerance which made Caliph Omar destroy all he could find of the Alexandrian Library and prescribe burning for the Holy Books of the Persian Guebres. And the taint still lingers in Al-Islam: it will be said of a pious man, "He always studies the Koran, the Traditions and other books of Law and Religion; and he never reads poems nor listens to music or to stories."

Mohammed left a dispensation or rather a reformation so arid, jejune and material that it promised little more than the "Law of Moses," before this was vivified and racially baptised by Mesopotamian and Persic influences. But human nature was stronger than the Prophet and, thus outraged, took speedy and absolute revenge. Before the first century had elapsed, orthodox Al-Islam was startled by the rise of Tasawwuf or Sufyism[FN#248] a revival of classic Platonism and Christian Gnosticism, with a mingling of modern Hylozoism; which, quickened by the glowing imagination of the East, speedily formed itself into a creed the most poetical and impractical, the most spiritual and the most transcendental ever invented; satisfying all man's hunger for "belief" which, if placed upon a solid basis of fact and proof, would forthright cease to be belief.

I will take from The Nights, as a specimen of the true Persian romance, "The Queen of the Serpents" (vol. v. 298), the subject of Lane's Carlylean denunciation. The first gorgeous picture is the Session of the Snakes which, like their Indian congeners the Naga kings and queens, have human heads and reptile bodies, an Egyptian myth that engendered the "old serpent" of Genesis. The Sultanah welcomes Hasib Karim al-Din, the hapless lad who had been left in a cavern to die by the greedy woodcutters; and, in order to tell him her tale, introduces the "Adventures of Bulukiya": the latter is an Israelite converted by editor and scribe to Mohammedanism; but we can detect under his assumed faith the older creed. Solomon is not buried by authentic history "beyond the Seven (mystic) Seas," but at Jerusalem or Tiberias; and his seal-ring suggests the Jam-i-Jam, the crystal cup of the great King Jamshid. The descent of the Archangel Gabriel, so familiar to Al-Islam, is the manifestation of Bahman, the First Intelligence, the mightiest of the Angels who enabled Zarathustra-Zoroaster to walk like Bulukiya over the Dalati or Caspian Sea. [FN#249] Amongst the sights shown to Bulukiya, as he traverses the Seven Oceans, is a battle royal between the believing and the unbelieving Jinns, true Magian dualism, the eternal duello of the Two Roots or antagonistic Principles, Good and Evil, Hormuzd and Ahriman, which Milton has debased into a common-place modern combat fought also with cannon. Sakhr the Jinni is Eshem chief of the Divs, and Kaf, the encircling mountain, is a later edition of Persian Alborz. So in the Mantak al-Tayr (Colloquy of the Flyers) the Birds, emblems of souls, seeking the presence of the gigantic feathered biped Simurgh, their god, traverse seven Seas (according to others seven Wadys) of Search, of Love, of Knowledge, of Competence, of Unity, of Stupefaction, and of Altruism (i.e. annihilation of self), the several stages of contemplative life. At last, standing upon the mysterious island of the Simurgh and "casting a clandestine glance at him they saw thirty birds[FN#250] in him; and when they turned their eyes to themselves the thirty birds seemed one Simurgh: they saw in themselves the entire Simurgh; they saw in the Simurgh the thirty birds entirely." Therefore they arrived at the solution of the problem "We and Thou;" that is, the identity of God and Man; they were for ever annihilated in the Simurgh and the shade vanished in the sun (Ibid. iii. 250). The wild ideas concerning Khalit and Malit (vol. v. 319) are again Guebre. "From the seed of Kayomars (the androgyne, like pre- Adamite man) sprang a tree shaped like two human beings and thence proceeded Meshia and Meshianah, first man and woman, progenitors of mankind;" who, though created for "Shidistan, Light-land," were seduced by Ahriman. This "two-man-tree" is evidently the duality of Physis and Anti-physis, Nature and her counterpart, the battle between Mihr, Izad or Mithra with his Surush and Feristeh (Seraphs and Angels) against the Divs who are the children of Time led by the arch demon-Eshem. Thus when Hormuzd created the planets, the dog, and all useful animals and plants, Ahriman produced the comets, the wolf, noxious beasts and poisonous growths. The Hindus represent the same metaphysical idea by Bramha the Creator and Visva- karma, the Anti- creator,[FN#251] miscalled by Europeans Vulcan: the former fashions a horse and a bull and the latter caricatures them with an ass and a buffalo,—evolution turned topsy turvy. After seeing nine angels and obtaining an explanation of the Seven Stages of Earth which is supported by the Gav-i-Zamin, the energy, symbolised by a bull, implanted by the Creator in the mundane sphere, Bulukiya meets the four Archangels, to wit Gabriel who is the Persian Rawanbakhsh or Life-giver; Michael or Beshter, Raphael or Israfil alias Ardibihisht, and Azazel or Azrail who is Duma or Mordad, the Death-giver; and the four are about to attack the Dragon, that is, the demons hostile to mankind who were driven behind Alborz-Kaf by Tahmuras the ancient Persian king. Bulukiya then recites an episode within an episode, the "Story of Janshah," itself a Persian name and accompanied by two others (vol. v. 329), the mise-en-scene being Kabul and the King of Khorasan appearing in the proem. Janshah, the young Prince, no sooner comes to man's estate than he loses himself out hunting and falls in with cannibals whose bodies divide longitudinally, each moiety going its own way: these are the Shikk (split ones) which the Arabs borrowed from the Persian Nim- chihrah or Half-faces. They escape to the Ape-island whose denizens are human in intelligence and speak articulately, as the universal East believes they can: these Simiads are at chronic war with the Ants, alluding to some obscure myth which gave rise to the gold-diggers of Herodotus and other classics, "emmets in size somewhat less than dogs but bigger than foxes."[FN#252] The episode then falls into the banalities of Oriental folk-lore. Janshah, passing the Sabbation river and reaching the Jews' city, is persuaded to be sewn up in a skin and is carried in the normal way to the top of the Mountain of Gems where he makes acquaintance with Shaykh Nasr, Lord of the Birds: he enters the usual forbidden room; falls in love with the pattern Swan-maiden; wins her by the popular process; loses her and recovers her through the Monk Yaghmus, whose name, like that of King Teghmus, is a burlesque of the Greek; and, finally, when she is killed by a shark, determines to mourn her loss till the end of his days. Having heard this story Bulukiya quits him; and, resolving to regain his natal land, falls in with Khizr; and the Green Prophet, who was Wazir to Kay Kobad (vith century B. C.) and was connected with Macedonian Alexander (!) enables him to win his wish. The rest of the tale calls for no comment.

Thirdly and lastly we have the histories, historical stories and the "Ana" of great men in which Easterns as well as Westerns delight: the gravest writers do not disdain to relieve the dullness of chronicles and annals by means of such discussions, humorous or pathetic, moral or grossly indecent. The dates must greatly vary: some of the anecdotes relating to the early Caliphs appear almost contemporary; others, like Ali of Cairo and Abu al- Shamat, may be as late as the Ottoman Conquest of Egypt (sixteenth century). All are distinctly Sunnite and show fierce animus against the Shi'ah heretics, suggesting that they were written after the destruction of the Fatimite dynasty (twelfth century) by Salah al-Din (Saladin the Kurd) one of the latest historical personages and the last king named in The Nights. [FN#253] These anecdotes are so often connected with what a learned Frenchman terms the "regne feerique de Haroun er- Reschid,"[FN#254] that the Great Caliph becomes the hero of this portion of The Nights. Aaron the Orthodox was the central figure of the most splendid empire the world had seen, the Viceregent of Allah combining the powers of Caesar and Pope, and wielding them right worthily according to the general voice of historians. To quote a few: Ali bin Talib al-Khorasani described him, in A.D. 934, a century and-a-half after his death when flattery would be tongue-tied, as, "one devoted to war and pilgrimage, whose bounty embraced the folk at large." Sa'adi (ob. A.D. 1291) tells a tale highly favourable to him in the "Gulistan" (lib. i. 36). Fakhr al-Din[FN#255] (xivth century) lauds his merits, eloquence, science and generosity; and Al-Siyuti (nat. A.D. 1445) asserts "He was one of the most distinguished of Caliphs and the most illustrious of the Princes of the Earth" (p. 290). The Shaykh al-Nafzawi[FN#256] (sixteenth century) in his Rauz al-Atir fi Nazah al-Khatir = Scented Garden-site for Heart-delight, calls Harun (chapt. vii.) the "Master of munificence and bounty, the best of the generous." And even the latest writers have not ceased to praise him. Says Ali Aziz Efendi the Cretan, in the Story of Jewad[FN#257] (p. 81), "Harun was the most bounteous, illustrious and upright of the Abbaside Caliphs."

The fifth Abbaside was fair and handsome, of noble and majestic presence, a sportsman and an athlete who delighted in polo and archery. He showed sound sense and true wisdom in his speech to the grammarian-poet Al-Asma'i, who had undertaken to teach him:— "Ne m'enseignez jamais en public, et ne vous empressez pas trop de me donner des avis en particulier. Attendez ordinairement que je vous interroge, et contentez vous de me donner une response precise a ce que je vous demanderai, sans y rien ajouter de superflu. Gardez vous surtout de vouloir me preoccuper pour vous attirer ma creance, et pour vous donner de l'autorite. Ne vous etendez jamais trop en long sur les histoires et les traditions que vous me raconterez, si je ne vous en donne la permission. Lorsque vous verrai que je m'eloignerai de l'equite dans mes jugements, ramenez-moi avec douceur, sans user de paroles facheuses ni de reprimandes. Enseignez-moi principalement les choses qui sont les plus necessaires pour les dis cours que je dois faire en public, dans les mosquees et ailleurs; et ne parlez point en termes obscurs, ou mysterieux, ni avec des paroles trop recherchees.''[FN#258]

He became well read in science and letters, especially history and tradition, for "his understanding was as the understanding of the learned;" and, like all educated Arabs of his day, he was a connoisseur of poetry which at times he improvised with success. [FN#259] He made the pilgrimage every alternate year and sometimes on foot, while "his military expeditions almost equalled his pilgrimages." Day after day during his Caliphate he prayed a hundred "bows," never neglecting them, save for some especial reason, till his death; and he used to give from his privy purse alms to the extent of a hundred dirhams per diem. He delighted in panegyry and liberally rewarded its experts, one of whom, Abd al-Sammak the Preacher, fairly said of him, "Thy humility in thy greatness is nobler than thy greatness.""No Caliph," says Al-Niftawayh, "had been so profusely liberal to poets, lawyers and divines, although as the years advanced he wept over his extravagance amongst other sins." There was vigorous manliness in his answer to the Grecian Emperor who had sent him an insulting missive:—"In the name of Allah! From the Commander of the Faithful Harun al-Rashid, to Nicephorus the Roman dog. I have read thy writ, O son of a miscreant mother! Thou shalt not hear, thou shalt see my reply." Nor did he cease to make the Byzantine feel the weight of his arm till he "nakh'd"[FN#260] his camel in the imperial Court-yard; and this was only one instance of his indomitable energy and hatred of the Infidel. Yet, if the West is to be believed, he forgot his fanaticism in his diplomatic dealings and courteous intercourse with Carolus Magnus.[FN#261] Finally, his civilised and well regulated rule contrasted as strongly with the barbarity and turbulence of occidental Christendom, as the splendid Court and the luxurious life of Baghdad and its carpets and hangings devanced the quasi-savagery of London and Paris whose palatial halls were spread with rushes.

The great Caliph ruled twenty-three years and a few months (A.H. 170-193 = A.D. 786-808); and, as his youth was chequered and his reign was glorious, so was his end obscure.[FN#262] After a vision foreshadowing his death,[FN#263] which happened, as becomes a good Moslem, during a military expedition to Khorasan, he ordered his grave to be dug and himself to be carried to it in a covered litter: when sighting the fosse he exclaimed, "O son of man thou art come to this!" Then he commanded himself to be set down and a perfection of the Koran to be made over him in the litter on the edge of the grave. He was buried (aet. forty-five) at Sanabad, a village near Tus.

Aaron the Orthodox appears in The Nights as a headstrong and violent autocrat, a right royal figure according to the Moslem ideas of his day. But his career shows that he was not more tyrannical or more sanguinary than the normal despot of the East, or the contemporary Kings of the West: in most points, indeed, he was far superior to the historic misrulers who have afflicted the world from Spain to furthest China. But a single great crime, a tragedy whose details are almost incredibly horrible, marks his reign with the stain of infamy, with a blot of blood never to be washed away. This tale, "full of the waters of the eye," as Firdausi sings, is the massacre of the Barmecides; a story which has often been told and which cannot here be passed over in silence. The ancient and noble Iranian house, belonging to the "Ebna" or Arabised Persians, had long served the Ommiades till, early in our eighth century, Khalid bin Bermek,[FN#264] the chief, entered the service of the first Abbaside and became Wazir and Intendant of Finance to Al-Saffah. The most remarkable and distinguished of the family, he was in office when Al-Mansur transferred the capital from Damascus, the headquarters of the hated Ommiades, to Baghdad, built ad hoc. After securing the highest character in history by his personal gifts and public services, he was succeeded by his son and heir Yahya (John), a statesman famed from early youth for prudence and profound intelligence, liberality and nobility of soul.[FN#265] He was charged by the Caliph Al-Mahdi with the education of his son Harun, hence the latter was accustomed to call him father; and, until the assassination of the fantastic tyrant Al-Hadi, who proposed to make his own child Caliph, he had no little difficulty in preserving the youth from death in prison. The Orthodox, once seated firmly on the throne, appointed Yahya his Grand Wazir. This great administrator had four sons, Al-Fazl, Ja'afar, Mohammed, and Musa,[FN#266] in whose time the house of Bermek rose to that height from which decline and fall are, in the East, well nigh certain and immediate. Al-Fazl was a foster- brother of Harun, an exchange of suckling infants having taken place between the two mothers for the usual object, a tightening of the ties of intimacy: he was a man of exceptional mind, but he lacked the charm of temper and manner which characterised Ja'afar.

The poets and rhetoricians have been profuse in their praises of the cadet who appears in The Nights as an adviser of calm sound sense, an intercessor and a peace-maker, and even more remarkable than the rest of his family for an almost incredible magnanimity and generosity—une generosite effrayante. Mohammed was famed for exalted views and nobility of sentiment and Musa for bravery and energy: of both it was justly said, "They did good and harmed not."[FN#267]

For ten years (not including an interval of seven) from the time of Al-Rashid's accession (A.D. 786) to the date of their fall, (A.D. 803), Yahya and his sons, Al-Fazl and Ja'afar, were virtually rulers of the great heterogeneous empire, which extended from Mauritania to Tartary, and they did notable service in arresting its disruption. Their downfall came sudden and terrible like "a thunderbolt from the blue." As the Caliph and Ja'afar were halting in Al-'Umr (the convent) near Anbar-town on the Euphrates, after a convivial evening spent in different pavilions, Harun during the dead of the night called up his page Yasir al-Rikhlah[FN#268] and bade him bring Ja'afar's head. The messenger found Ja'afar still carousing with the blind poet Abu Zakkar and the Christian physician Gabriel ibn Bakhtiashu, and was persuaded to return to the Caliph and report his death; the Wazir adding, "An he express regret I shall owe thee my life; and, if not, whatso Allah will be done." Ja'afar followed to listen and heard only the Caliph exclaim "O sucker of thy mother's clitoris, if thou answer me another word, I will send thee before him!" whereupon he at once bandaged his own eyes and received the fatal blow. Al-Asma'i, who was summoned to the presence shortly after, recounts that when the head was brought to Harun he gazed at it, and summoning two witnesses commanded them to decapitate Yasir, crying, "I cannot bear to look upon the slayer of Ja'afar!" His vengeance did not cease with the death: he ordered the head to be gibbetted at one end and the trunk at the other abutment of the Tigris bridge where the corpses of the vilest malefactors used to be exposed; and, some months afterwards, he insulted the remains by having them burned—the last and worst indignity which can be offered to a Moslem. There are indeed pity and terror in the difference between two such items in the Treasury-accounts as these: "Four hundred thousand dinars (L200,000) to a robe of honour for the Wazir Ja'afar bin Yahya;" and, "Ten kirat, (5 shill.) to naphtha and reeds for burning the body of Ja'afar the Barmecide."

Meanwhile Yahya and Al-Fazl, seized by the Caliph Harun's command at Baghdad, were significantly cast into the prison "Habs al- Zanadikah"—of the Guebres—and their immense wealth which, some opine, hastened their downfall, was confiscated. According to the historian, Al-Tabari, who, however, is not supported by all the annalists, the whole Barmecide family, men, women, and children, numbering over a thousand, were slaughtered with only three exceptions; Yahya, his brother Mohammed, and his son Al- Fazl. The Caliph's foster-father, who lived to the age of seventy-four, was allowed to die in jail (A.H. 805) after two years' imprisonment at Rukkah. Al-Fazl, after having been tortured with two hundred blows in order to make him produce concealed property, survived his father three years and died in Nov. A.H. 808, some four months before his terrible foster- brother. A pathetic tale is told of the son warming water for the old man's use by pressing the copper ewer to his stomach.

The motives of this terrible massacre are variously recounted, but no sufficient explanation has yet been, or possibly ever will be, given. The popular idea is embodied in The Nights. [FN#269] Harun, wishing Ja'afar to be his companion even in the Harem, had wedded him, pro forma, to his eldest sister Abbasah, "the loveliest woman of her day," and brilliant in mind as in body; but he had expressly said "I will marry thee to her, that it may be lawful for thee to look upon her but thou shalt not touch her." Ja'afar bound himself by a solemn oath; but his mother Attabah was mad enough to deceive him in his cups and the result was a boy (Ibn Khallikan) or, according to others, twins. The issue was sent under the charge of a confidential eunuch and a slave-girl to Meccah for concealment; but the secret was divulged to Zubaydah who had her own reasons for hating husband and wife and cherished an especial grievance against Yahya.[FN#270] Thence it soon found its way to head-quarters. Harun's treatment of Abbasah supports the general conviction: according to the most credible accounts she and her child were buried alive in a pit under the floor of her apartment.

But, possibly, Ja'afar's perjury was only "the last straw." Already Al-Fazl bin Rabi'a, the deadliest enemy of the Barmecides, had been entrusted (A.D. 786) with the Wazirate which he kept seven years. Ja'afar had also acted generously but imprudently in abetting the escape of Yahya bin Abdillah, Sayyid and Alide, for whom the Caliph had commanded confinement in a close dark dungeon: when charged with disobedience the Wazir had made full confession and Harun had (they say) exclaimed, "Thou hast done well!" but was heard to mutter, "Allah slay me an I slay thee not."[FN#271] The great house seems at times to have abused its powers by being too peremptory with Harun and Zubaydah, especially in money matters;[FN#272] and its very greatness would have created for it many and powerful enemies and detractors who plied the Caliph with anonymous verse and prose. Nor was it forgotten that, before the spread of Al-Islam, they had presided over the Naubehar or Pyraethrum of Balkh; and Harun is said to have remarked anent Yahya, "The zeal for magianism, rooted in his heart, induces him to save all the monuments connected with his faith."[FN#273] Hence the charge that they were "Zanadakah," a term properly applied to those who study the Zend scripture, but popularly meaning Mundanists, Positivists, Reprobates, Atheists; and it may be noted that, immediately after al-Rashid's death, violent religious troubles broke out in Baghdad. Ibn Khallikan[FN#274] quotes Sa'id ibn Salim, a well-known grammarian and traditionist who philosophically remarked, "Of a truth the Barmecides did nothing to deserve Al- Rashid's severity, but the day (of their power and prosperity) had been long and whatso endureth long waxeth longsome." Fakhr al-Din says (p. 27), "On attribue encore leur ruine aux manieres fieres et orgueilleuses de Djafar (Ja'afar) et de Fadhl (Al- Fazl), manieres que les rois ne sauroient supporter." According to Ibn Badrun, the poet, when the Caliph's sister 'Olayyah[FN#275] asked him, "O my lord, I have not seen thee enjoy one happy day since putting Ja'afar to death: wherefore didst thou slay him?" he answered, "My dear life, an I thought that my shirt knew the reason I would rend it in pieces!" I therefore hold with Al Mas'udi,

"As regards the intimate cause (of the catastrophe) it is unknown and Allah is Omniscient."

Aaron the Orthodox appears sincerely to have repented his enormous crime. From that date he never enjoyed refreshing sleep: he would have given his whole realm to recall Ja'afar to life; and, if any spoke slightingly of the Barmecides in his presence, he would exclaim, "God damn your fathers! Cease to blame them or fill the void they have left." And he had ample reason to mourn the loss. After the extermination of the wise and enlightened family, the affairs of the Caliphate never prospered: Fazl bin Rabi'a, though a man of intelligence and devoted to letters, proved a poor substitute for Yahya and Ja'afar; and the Caliph is reported to have applied to him the couplet:—

No sire to your sire,[FN#276] I bid you spare * Your calumnies or their place replace.

His unwise elevation of his two rival sons filled him with fear of poison, and, lastly, the violence and recklessness of the popular mourning for the Barmecides,[FN#277] whose echo has not yet died away, must have added poignancy to his tardy penitence. The crime still "sticks fiery off" from the rest of Harun's career: it stands out in ghastly prominence as one of the most terrible tragedies recorded by history, and its horrible details make men write passionately on the subject to this our day.[FN#278]

As of Harun so of Zubaydah it may be said that she was far superior in most things to contemporary royalties, and she was not worse at her worst than the normal despot-queen of the Morning-land. We must not take seriously the tales of her jealousy in The Nights, which mostly end in her selling off or burying alive her rivals; but, even were all true, she acted after the recognised fashion of her exalted sisterhood. The secret history of Cairo, during the last generation, tells of many a viceregal dame who committed all the crimes, without any of the virtues which characterised Harun's cousin-spouse. And the difference between the manners of the Caliphate and the "respectability" of the nineteenth century may be measured by the Tale called "Al-Maamun and Zubaydah."[FN#279] The lady, having won a game of forfeits from her husband, and being vexed with him for imposing unseemly conditions when he had been the winner, condemned him to lie with the foulest and filthiest kitchen-wench in the palace; and thus was begotten the Caliph who succeeded and destroyed her son.

Zubaydah was the grand-daughter of the second Abbaside Al-Mansur, by his son Ja'afar whom The Nights persistently term Al-Kasim: her name was Amat al-Aziz or Handmaid of the Almighty; her cognomen was Umm Ja'afar as her husband's was Abu Ja'afar; and her popular name "Creamkin" derives from Zubdah,[FN#280] cream or fresh butter, on account of her plumpness and freshness. She was as majestic and munificent as her husband; and the hum of prayer was never hushed in her palace. Al-Mas'udi[FN#281] makes a historian say to the dangerous Caliph Al-Kahir, "The nobleness and generosity of this Princess, in serious matters as in her diversions, place her in the highest rank"; and he proceeds to give ample proof. Al-Siyuti relates how she once filled a poet's mouth with jewels which he sold for twenty thousand dinars. Ibn Khallikan (i. 523) affirms of her, "Her charity was ample, her conduct virtuous, and the history of her pilgrimage to Meccah and of what she undertook to execute on the way is so well-known that it were useless to repeat it." I have noted (Pilgrimage iii. 2) how the Darb al-Sharki or Eastern road from Meccah to Al-Medinah was due to the piety of Zubaydah who dug wells from Baghdad to the Prophet's burial place and built not only cisterns and caravanserais, but even a wall to direct pilgrims over the shifting sands. She also supplied Meccah, which suffered severely from want of water, with the chief requisite for public hygiene by connecting it, through levelled hills and hewn rocks, with the Ayn al-Mushash in the Arafat subrange; and the fine aqueduct, some ten miles long, was erected at a cost of 1,700,000 to 2,000,000 of gold pieces. [FN#282] We cannot wonder that her name is still famous among the Badawin and the "Sons of the Holy Cities." She died at Baghdad, after a protracted widowhood, in A.H. 216 and her tomb, which still exists, was long visited by the friends and dependents who mourned the loss of a devout and most liberal woman.

The reader will bear with me while I run through the tales and add a few remarks to the notices given in the notes: the glance must necessarily be brief, however extensive be the theme. The admirable introduction follows, in all the texts and MSS. known to me, the same main lines but differs greatly in minor details as will be seen by comparing Mr. Payne's translation with Lane's and mine. In the Tale of the Sage Duban appears the speaking head which is found in the Kamil, in Mirkhond and in the Kitab al-Uyun: M. C. Barbier de Meynard (v. 503) traces it back to an abbreviated text of Al-Mas'udi. I would especially recommend to students The Porter and the Three Ladies of Baghdad (i. 82), whose mighty orgie ends so innocently in general marriage. Lane (iii. 746) blames it "because it represents Arab ladies as acting like Arab courtesans"; but he must have known that during his day the indecent frolic was quite possible in some of the highest circles of his beloved Cairo. To judge by the style and changes of person, some of the most "archaic" expressions suggest the hand of the Rawi or professional tale-teller; yet as they are in all the texts they cannot be omitted in a loyal translation. The following story of The Three Apples perfectly justifies my notes concerning which certain carpers complain. What Englishman would be jealous enough to kill his cousin-wife because a blackamoor in the streets boasted of her favours? But after reading what is annotated in vol. i. 6, and purposely placed there to give the key-note of the book, he will understand the reasonable nature of the suspicion; and I may add that the same cause has commended these "skunks of the human race" to debauched women in England.

The next tale, sometimes called "The Two Wazirs," is notable for its regular and genuine drama-intrigue which, however, appears still more elaborate and perfected in other pieces. The richness of this Oriental plot-invention contrasts strongly with all European literatures except the Spaniard's, whose taste for the theatre determined his direction, and the Italian, which in Boccaccio's day had borrowed freely through Sicily from the East. And the remarkable deficiency lasted till the romantic movement dawned in France, when Victor Hugo and Alexander Dumas showed their marvellous powers of faultless fancy, boundless imagination and scenic luxuriance, "raising French Poetry from the dead and not mortally wounding French prose.''[FN#283] The Two Wazirs is followed by the gem of the volume, The Adventure of the Hunchback-jester (i. 225), also containing an admirable surprise and a fine development of character, while its "wild but natural simplicity" and its humour are so abounding that it has echoed through the world to the farthest West. It gave to Addison the Story of Alnaschar[FN#284] and to Europe the term "Barmecide Feast," from the "Tale of Shacabac" (vol. i. 343). The adventures of the corpse were known in Europe long before Galland as shown by three fabliaux in Barbazan. I have noticed that the Barber's Tale of himself (i. 317) is historical and I may add that it is told in detail by Al-Mas'udi (chapt. cxiv).

Follows the tale of Nur al-Din Ali, and what Galland miscalls "The Fair Persian," a brightly written historiette with not a few touches of true humour. Noteworthy are the Slaver's address (vol. ii. 15), the fine description of the Baghdad garden (vol. ii. 21-24), the drinking-party (vol. ii. 25), the Caliph's frolic (vol. ii. 31-37) and the happy end of the hero's misfortunes (vol. ii. 44) Its brightness is tempered by the gloomy tone of the tale which succeeds, and which has variants in the Bagh o Bahar, a Hindustani versionof the Persian "Tale of the Four Darwayshes;" and in the Turkish Kirk Vezir or "Book of the Forty Vezirs." Its dismal peripeties are relieved only by the witty indecency of Eunuch Bukhayt and the admirable humour of Eunuch Kafur, whose "half lie" is known throughout the East. Here also the lover's agonies are piled upon him for the purpose of unpiling at last: the Oriental tale-teller knows by experience that, as a rule, doleful endings "don't pay."

The next is the long romance of chivalry, "King Omar bin al- Nu'man" etc., which occupies an eighth of the whole repertory and the best part of two volumes. Mr. Lane omits it because "obscene and tedious," showing the license with which he translated; and he was set right by a learned reviewer,[FN#285] who truly declared that "the omission of half-a-dozen passages out of four hundred pages would fit it for printing in any language[FN#286] and the charge of tediousness could hardly have been applied more unhappily." The tale is interesting as a picture of mediaeval Arab chivalry and has many other notable points; for instance, the lines (iii. 86) beginning "Allah holds the kingship!" are a lesson to the manichaeanism of Christian Europe. It relates the doings of three royal generations and has all the characteristics of Eastern art: it is a phantasmagoria of Holy Places, palaces and Harems; convents, castles and caverns, here restful with gentle landscapes (ii. 240) and there bristling with furious battle-pictures (ii. 117, 221-8, 249) and tales of princely prowess and knightly derring-do. The characters stand out well. King Nu'man is an old lecher who deserves his death; the ancient Dame Zat al-Dawahi merits her title Lady of Calamities (to her foes); Princess Abrizah appears as a charming Amazon, doomed to a miserable and pathetic end; Zau al-Makan is a wise and pious royalty; Nuzhat al-Zaman, though a longsome talker, is a model sister; the Wazir Dandan, a sage and sagacious counsellor, contrasts with the Chamberlain, an ambitious miscreant; Kanmakan is the typical Arab knight, gentle and brave:—

Now managing the mouthes of stubborne steedes Now practising the proof of warlike deedes;

And the kind-hearted, simple-minded Stoker serves as a foil to the villains, the kidnapping Badawi and Ghazban the detestable negro. The fortunes of the family are interrupted by two episodes, both equally remarkable. Taj al-Muluk[FN#287] is the model lover whom no difficulties or dangers can daunt. In Aziz and Azizah (ii. 291) we have the beau ideal of a loving woman: the writer's object was to represent a "softy" who had the luck to win the love of a beautiful and clever cousin and the mad folly to break her heart. The poetical justice which he receives at the hands of women of quite another stamp leaves nothing to be desired. Finally the plot of "King Omar" is well worked out; and the gathering of all the actors upon the stage before the curtain drops may be improbable but it is highly artistic.

The long Crusading Romance is relieved by a sequence of sixteen fabliaux, partly historiettes of men and beasts and partly apologues proper—a subject already noticed. We have then (iii. 162) the saddening and dreary love-tale of Ali bin Bakkar, a Persian youth and the Caliph's concubine Shams al-Nahar. Here the end is made doleful enough by the deaths of the "two martyrs," who are killed off, like Romeo and Juliet,[FN#288] a lesson that the course of true Love is sometimes troubled and that men as well as women can die of the so-called "tender passion." It is followed (iii. 212) by the long tale of Kamar al-Zaman, or Moon of the Age, the first of that name, the "Camaralzaman" whom Galland introduced into the best European society. Like "The Ebony Horse" it seems to have been derived from a common source with "Peter of Provence" and "Cleomades and Claremond"; and we can hardly wonder at its wide diffusion: the tale is brimful of life, change, movement, containing as much character and incident as would fill a modern three-volumer and the Supernatural pleasantly jostles the Natural; Dahnash the Jinn and Maymunah daughter of Al-Dimiryat,[FN#289] a renowned King of the Jann, being as human in their jealousy about the virtue of their lovers as any children of Adam, and so their metamorphosis to fleas has all the effect of a surprise. The troupe is again drawn with a broad firm touch. Prince Charming, the hero, is weak and wilful, shifty and immoral, hasty and violent: his two spouses are rivals in abominations as his sons, Amjad and As'ad, are examples of a fraternal affection rarely found in half- brothers by sister-wives. There is at least one fine melodramatic situation (iii. 228); and marvellous feats of indecency, a practical joke which would occur only to the canopic mind (iii. 300-305), emphasise the recovery of her husband by that remarkable "blackguard," the Lady Budur. The interpolated tale of Ni'amah and Naomi (iv. I), a simple and pleasing narrative of youthful amours, contrasts well with the boiling passions of the incestuous and murderous Queens and serves as a pause before the grand denouement when the parted meet, the lost are found, the unwedded are wedded and all ends merrily as a xixth century novel.

The long tale of Ala al-Din, our old friend "Aladdin," is wholly out of place in its present position (iv. 29): it is a counterpart of Ali Nur al-Din and Miriam the Girdle-girl (vol. ix. i); and the mention of the Shahbandar or Harbour-master (iv. 29), the Kunsul or Consul (p. 84), the Kaptan (Capitano), the use of cannon at sea and the choice of Genoa city (p. 85) prove that it belongs to the xvth or xvith century and should accompanyKamar al-Zaman II. and Ma'aruf at the end of The Nights. Despite the lutist Zubaydah being carried off by the Jinn, the Magic Couch, a modification of Solomon's carpet, and the murder of the King who refused to islamize, it is evidently a European tale and I believe with Dr. Bacher that it is founded upon the legend of "Charlemagne's" daughter Emma and his secretary Eginhardt, as has been noted in the counterpart (vol. ix. 1).

This quasi-historical fiction is followed hy a succession of fabliaux, novelle and historiettes which fill the rest of the vol. iv. and the whole of vol. v. till we reach the terminal story, The Queen of the Serpents (vol. v. pp. 304-329). It appears to me that most of them are historical and could easily be traced. Not a few are in Al-Mas'udi; for instance the grim Tale of Hatim of Tayy (vol. iv. 94) is given bodily in "Meads of Gold" (iii. 327); and the two adventures of Ibrahim al-Mahdi with the barber-surgeon (vol. iv. 103) and the Merchant's sister (vol. iv. 176) are in his pages (vol. vii. 68 and 18). The City of Lubtayt (vol. iv. 99) embodies the legend of Don Rodrigo, last of the Goths, and may have reached the ears of Washington Irving; Many-columned Iram (vol. iv. 113) is held by all Moslems to be factual and sundry writers have recorded the tricks played by Al- Maamun with the Pyramids of Jizah which still show his handiwork.[FN#290] The germ of Isaac of Mosul (vol. iv. 119) is found in Al-Mas'udi who (vii. 65) names "Buran" the poetess (Ibn Khall. i. 268); and Harun al-Rashid and the Slave-girl (vol. iv. 153) is told by a host of writers. Ali the Persian is a rollicking tale of fun from some Iranian jest-book: Abu Mohammed hight Lazybones belongs to the cycle of "Sindbad the Seaman," with a touch of Whittington and his Cat; and Zumurrud ("Smaragdine") in Ali Shar (vol. iv. 187) shows at her sale the impudence of Miriam the Girdle-girl and in bed the fescennine device of the Lady Budur. The "Ruined Man who became Rich," etc. (vol. iv. 289) is historical and Al-Mas'udi (vii. 281) relates the coquetry of Mahbubah the concubine (vol. iv. 291): the historian also quotes four couplets, two identical with Nos. 1 and 2 in The Nights (vol. iv. 292) and adding:—

Then see the slave who lords it o'er her lord * In lover privacy and public site: Behold these eyes that one like Ja'afar saw: * Allah on Ja'afar reign boons infinite!

Uns al-Wujud (vol. v. 32) is a love-tale which has been translated into a host of Eastern languages; and The Lovers of the Banu Ozrah belong to Al-Mas'udi's "Martyrs of Love" (vii. 355), with the ozrite "Ozrite love" of Ibn Khallikan (iv. 537). "Harun and the Three Poets" (vol. v. 77) has given to Cairo a proverb which Burckhardt (No. 561) renders "The day obliterates the word or promise of the Night," for

The promise of night is effaced by day.

It suggests Congreve's Doris:—

For who o'er night obtain'd her grace, She can next day disown, etc.

"Harun and the three Slave-girls" (vol. v. 81) smacks of Gargantua (lib. i. c. 11): "It belongs to me, said one: 'Tis mine, said another"; and so forth. The Simpleton and the Sharper (vol. v. 83) like the Foolish Dominie (vol. v. 118) is an old Joe Miller in Hindu as well as Moslem folk-lore. "Kisra Anushirwan" (vol. v. 87) is "The King, the Owl and the Villages of Al- Mas'udi" (iii. 171), who also notices the Persian monarch's four seals of office (ii. 204); and "Masrur the Eunuch and Ibn Al- Karibi" (vol. v. 109) is from the same source as Ibn al-Maghazili the Reciter and a Eunuch belonging to the Caliph Al-Mu'tazad (vol. viii. 161). In the Tale of Tawaddud (vol. v. 139) we have the fullest development of the disputations and displays of learning then so common in Europe, teste the "Admirable Crichton"; and these were affected not only by Eastern tale- tellers but even by sober historians. To us it is much like "padding" when Nuzhat al-Zaman (vol. ii. 156 etc.) fags her hapless hearers with a discourse covering sixteen mortal pages; when the Wazir Dandan (vol. ii. 195, etc.) reports at length the cold speeches of the five high-bosomed maids and the Lady of Calamities and when Wird Khan, in presence of his papa (Nights cmxiv-xvi.) discharges his patristic exercitations and heterogeneous knowledge. Yet Al-Mas'udi also relates, at dreary extension (vol. vi. 369) the disputation of the twelve sages in presence of Barmecide Yahya upon the origin, the essence, the accidents and the omnes res of Love; and in another place (vii. 181) shows Honayn, author of the Book of Natural Questions, undergoing a long examination before the Caliph Al-Wasik (Vathek) and describing, amongst other things, the human teeth. See also the dialogue or catechism of Al-Hajjaj and Ibn Al-Kirriya in Ibn Khallikan (vol. i. 238-240).

These disjecta membra of tales and annals are pleasantly relieved by the seven voyages of Sindbad the Seaman (vol. vi. 1-83). The "Arabian Odyssey" may, like its Greek brother, descend from a noble family, the "Shipwrecked Mariner" a Coptic travel-tale of the twelfth dynasty (B. C. 3500) preserved on a papyrus at St. Petersburg. In its actual condition "Sindbad," is a fanciful compilation, like De Foe's "Captain Singleton," borrowed from travellers' tales of an immense variety and extracts from Al- Idrisi, Al-Kazwini and Ibn al-Wardi. Here we find the Polyphemus, the Pygmies and the cranes of Homer and Herodotus; the escape of Aristomenes; the Plinian monsters well known in Persia; the magnetic mountain of Saint Brennan (Brandanus); the aeronautics of "Duke Ernest of Bavaria''[FN#291] and sundry cuttings from Moslem writers dating between our ninth and fourteenth centuries.[FN#292] The "Shayhk of the Seaboard" appears in the Persian romance of Kamaraupa translated by Francklin, all the particulars absolutely corresponding. The "Odyssey" is valuable because it shows how far Eastward the mediaeval Arab had extended: already in The Ignorance he had reached China and had formed a centre of trade at Canton. But the higher merit of the cento is to produce one of the most charming books of travel ever written, like Robinson Crusoe the delight of children and the admiration of all ages.

The hearty life and realism of Sindbad are made to stand out in strong relief by the deep melancholy which pervades "The City of Brass" (vol. vi. 83), a dreadful book for a dreary day. It is curious to compare the doleful verses (pp. 103, 105) with those spoken to Caliph Al-Mutawakkil by Abu al-Hasan Ali (A1-Mas'udi, vii. 246). We then enter upon the venerable Sindibad-nameh, the Malice of Women (vol. vi. 122), of which, according to the Kitab al-Fihrist (vol. i. 305), there were two editions, a Sinzibad al- Kabir and a Sinzibad al-Saghir, the latter being probably an epitome of the former. This bundle of legends, I have shown, was incorporated with the Nights as an editor's addition; and as an independent work it has made the round of the world.

Space forbids any detailed notice of this choice collection of anecdotes for which a volume would be required. I may, however, note that the "Wife's device" (vol. vi. 152) has its analogues in the Katha (chapt. xiii.) in the Gesta Romanorum (No. xxviii.) and in Boccaccio (Day iii. 6 and Day vi. 8), modified by La Fontaine to Richard Minutolo (Contes lib. i. tale 2): it is quoted almost in the words of The Nights by the Shaykh al-Nafzawi (p. 207). That most witty and indecent tale The Three Wishes (vol. vi. 180) has forced its way disguised as a babe into our nurseries. Another form of it is found in the Arab proverb "More luckless than Basus" (Kamus), a fair Israelite who persuaded her husband, also a Jew, to wish that she might become the loveliest of women. Jehovah granted it, spitefully as Jupiter; the consequence was that her contumacious treatment of her mate made him pray that the beauty might be turned into a bitch; and the third wish restored her to her original state.

The Story of Judar (vol. vi. 207) is Egyptian, to judge from its local knowledge (pp. 217 and 254) together with its ignorance of Marocco (p. 223). It shows a contrast, in which Arabs delight, of an almost angelical goodness and forgiveness with a well-nigh diabolical malignity, and we find the same extremes in Abu Sir the noble-minded Barber and the hideously inhuman Abu Kir. The excursion to Mauritania is artfully managed and gives a novelty to the mise-en-scene. Gharib and Ajib (vi. 207, vii. 91) belongs to the cycle of Antar and King Omar bin Nu'man: its exaggerations make it a fine type of Oriental Chauvinism, pitting the superhuman virtues, valour, nobility and success of all that is Moslem, against the scum of the earth which is non-Moslem. Like the exploits of Friar John of the Chopping-knives (Rabelais i. c. 27) it suggests ridicule cast on impossible battles and tales of giants, paynims and paladins. The long romance is followed by thirteen historiettes all apparently historical: compare "Hind, daughter of Al-Nu'man" (vol. viii. 7-145) and "Isaac of Mosul and the Devil" (vol. vii. 136-139) with Al Mas'udi v. 365 and vi. 340. They end in two long detective-tales like those which M. Gaboriau has popularised, the Rogueries of Dalilah and the Adventures of Mercury Ali, based upon the principle, "One thief wots another." The former, who has appeared before (vol. ii. 329), seems to have been a noted character: Al-Mas'udi says (viii. 175) "in a word this Shaykh (Al-'Ukab) outrivalled in his rogueries and the ingenuities of his wiles Dallah (Dalilah?) the Crafty and other tricksters and coney-catchers, ancient and modern."

The Tale of Ardashir (vol. vii. 209-264) lacks originality: we are now entering upon a series of pictures which are replicas of those preceding. This is not the case with that charming Undine, Julnar the Sea-born (vol. vii. 264-308) which, like Abdullah of the Land and Abdullah of the Sea (vol. ix. Night cmxl.), describes the vie intime of mermen and merwomen. Somewhat resembling Swift's inimitable creations, the Houyhnhnms for instance, they prove, amongst other things, that those who dwell in a denser element can justly blame and severely criticise the contradictory and unreasonable prejudices and predilections of mankind. Sayf al-Muluk (vol. viii. Night dcclviii.), the romantic tale of two lovers, shows by its introduction that it was originally an independent work and it is known to have existed in Persia during the eleventh century: this novella has found its way into every Moslem language of the East even into Sindi, which calls the hero "Sayfal." Here we again meet the Old Man of the Sea or rather the Shaykh of the Seaboard and make acquaintance with a Jinn whose soul is outside his body: thus he resembles Hermotimos of Klazamunae in Apollonius, whose spirit left his mortal frame a discretion. The author, philanthropically remarking (vol. viii. 4) "Knowest thou not that a single mortal is better, in Allah's sight than a thousand Jinn?" brings the wooing to a happy end which leaves a pleasant savour upon the mental palate.

Hasan of Bassorah (vol. viii. 7-145) is a Master Shoetie on a large scale like Sindbad, but his voyages and travels extend into the supernatural and fantastic rather than the natural world. Though long the tale is by no means wearisome and the characters are drawn with a fine firm hand. The hero with his hen-like persistency of purpose, his weeping, fainting and versifying is interesting enough and proves that "Love can find out the way." The charming adopted sister, the model of what the feminine friend should be; the silly little wife who never knows that she is happy till she loses happiness; the violent and hard-hearted queen with all the cruelty of a good woman, and the manners and customs of Amazon land are outlined with a life-like vivacity. Khalifah the next tale (vol. viii. 147-184) is valuable as a study of Eastern life, showing how the fisherman emerges from the squalor of his surroundings and becomes one of the Caliph's favourite cup-companions. Ali Nur al-Din (vol. viii. 264) and King Jali'ad (vol. ix., Night dcccxciv) have been noticed elsewhere and there is little to say of the concluding stories which bear the evident impress of a more modern date.

Dr. Johnson thus sums up his notice of The Tempest. "Whatever might have been the intention of their author, these tales are made instrumental to the production of many characters, diversified with boundless invention, and preserved with profound skill in nature; extensive knowledge of opinions, and accurate observation of life. Here are exhibited princes, courtiers and sailors, all speaking in their real characters. There is the agency of airy spirits and of earthy goblin, the operations of magic, the tumults of a storm, the adventures of a desert island, the native effusion of untaught affection, the punishment of guilt, and the final happiness of those for whom our passions and reason are equally interested."

We can fairly say this much and far more for our Tales. Viewed as a tout ensemble in full and complete form, they are a drama of Eastern life, and a Dance of Death made sublime by faith and the highest emotions, by the certainty of expiation and the fulness of atoning equity, where virtue is victorious, vice is vanquished and the ways of Allah are justified to man. They are a panorama which remains ken-speckle upon the mental retina. They form a phantasmagoria in which archangels and angels, devils and goblins, men of air, of fire, of water, naturally mingle with men of earth; where flying horses and talking fishes are utterly realistic: where King and Prince meet fisherman and pauper, lamia and cannibal; where citizen jostles Badawi, eunuch meets knight; the Kazi hob-nobs with the thief; the pure and pious sit down to the same tray with the bawd and the pimp; where the professional religionist, the learned Koranist and the strictest moralist consort with the wicked magician, the scoffer and the debauchee- poet like Abu Nowas; where the courtier jests with the boor and where the sweep is bedded with the noble lady. And the characters are "finished and quickened by a few touches swift and sure as the glance of sunbeams." The work is a kaleidoscope where everything falls into picture; gorgeous palaces and pavilions; grisly underground caves and deadlywolds; gardens fairer than those of the Hesperid; seas dashing with clashing billows upon enchanted mountains; valleys of the Shadow of Death; air-voyages and promenades in the abysses of ocean; the duello, the battle and the siege; the wooing of maidens and the marriage- rite. All the splendour and squalor, the beauty and baseness, the glamour and grotesqueness, the magic and the mournfulness, the bravery and the baseness of Oriental life are here: its pictures of the three great Arab passions, love, war and fancy, entitle it to be called "Blood, Musk and Hashish."[FN#293] And still more, the genius of the story-teller quickens the dry bones of history, and by adding Fiction to Pact revives the dead past: the Caliphs and the Caliphate return to Baghdad and Cairo, whilst Asmodeus kindly removes the terrace-roof of every tenement and allows our curious glances to take in the whole interior. This is perhaps the best proof of their power. Finally, the picture- gallery opens with a series of weird and striking adventures and shows as a tail-piece, an idyllic scene of love and wedlock in halls before reeking with lust and blood.