Chapter VI: Wise Sayings of the Rabbis (4)

A story bearing some resemblance to this is related of a khalíf who was wont to cheat poets of their expected reward when they recited their compositions to him, until he was at length outwitted by the famous Arabian poet Al-Asma'í: It is said that a khalíf, who was very penurious, contrived by a trick to send from his presence without any reward those poets who came and recited their compositions to him. He had himself the faculty of retaining in his memory a poem after hearing it only once; he had a mamlúk (white slave) who could repeat one that he had heard twice; and a slave-girl who could repeat one that she had heard thrice. Whenever a poet came to compliment him with a panegyrical poem, the king used to promise him that if he found his verses to be of his own composition he would give him a sum of money equal in weight to what they were written on. The poet, consenting, would recite his ode, and the king would say: "It is not new, for I have known it some years"; and he would repeat it as he had heard it; after which he would add: "And this mamlúk also retains it in his memory," and order the mamlúk to repeat it, which, having heard it twice, from the poet and the king, he would do. Then the king would say to the poet: "I have also a slave-girl who can repeat it," and, ordering her to do so, stationed behind the curtains, she would repeat what she had thus thrice heard; so the poet would go away empty-handed. The celebrated poet Al-Asma'í, having heard of this device, determined upon outwitting the king, and accordingly composed an ode made up of very difficult words. But this was not the poet's only preparative measure--another will be presently explained; and a third was to assume the dress of a Bedouin, that he might not be known, covering his face, the eyes only excepted, with a _litham_ (piece of drapery), as is usual with the Arabs of the desert. Thus disguised, he went to the palace, and having obtained permission, entered and saluted the king, who said to him: "Who art thou, O brother of the Arabs? and what dost thou desire?" The poet answered: "May Allah increase the power of the king! I am a poet of such a tribe, and have composed an ode in praise of our lord the khalíf." "O brother of the Arabs," said the king, "hast thou heard of our condition?" "No," answered the poet; "and what is it, O khalíf of the age?" "It is," replied the king, "that if the ode be not thine, we give thee no reward; and if it be thine, we give thee the weight in money equal to what it is written upon." "How," said the poet, "should I assume to myself that which belongeth to another, and knowing, too, that lying before kings is one of the basest of actions? But I agree to the condition, O our lord the khalíf." So he repeated his ode. The king, perplexed, and unable to remember any of it, made a sign to the mamlúk, but he had retained nothing; then called to the female slave, but she was unable to repeat a word. "O brother of the Arabs," said the king, "thou hast spoken truth; and the ode is thine without doubt. I have never heard it before. Produce, therefore, what it is written upon, and I will give thee its weight in money, as I have promised." "Wilt thou," said the poet, "send one of the attendants to carry it?" "To carry what?" demanded the king. "Is it not upon a paper in thy possession?" "No, O our lord the khalíf. At the time I composed it I could not procure a piece of paper on which to write it, and could find nothing but a fragment of a marble column left me by my father; so I engraved it upon that, and it lies in the courtyard of the palace." He had brought it, wrapped up, on the back of a camel. The king, to fulfil his promise, was obliged to exhaust his treasury; and, to prevent a repetition of this trick, in future rewarded poets according to the custom of kings.

* * * * *

_Apropos_ of royal gifts to poets, it is related that, when the Afghans had possession of Persia, a rude chief of that nation was governor of Shíráz. A poet composed a panegyric on his wisdom, his valour, and his virtues. As he was taking it to the palace he was met by a friend at the outer gate, who inquired where he was going, and he informed him of his purpose. His friend asked him if he was insane, to offer an ode to a barbarian who hardly understood a word of the Persian language. "All that you say may be very true," said the poor poet, "but I am starving, and have no means of livelihood but by making verses. I must, therefore, proceed." He went and stood before the governor with his ode in his hand. "Who is that fellow?" said the Afghan lord. "And what is that paper which he holds?" "I am a poet," answered the man, "and this paper contains some poetry." "What is the use of poetry?" demanded the governor. "To render great men like you immortal," he replied, making at the same time a profound bow. "Let us hear some of it." The poet, on this mandate, began reading his composition aloud, but he had not finished the second stanza when he was interrupted. "Enough!" exclaimed the governor; "I understand it all. Give the poor man some money--_that_ is what he wants." As the poet retired he met his friend, who again commented on the folly of carrying odes to a man who did not understand one of them. "Not understand!" he replied. "You are quite mistaken. He has beyond all men the quickest apprehension of a _poet's meaning_!"

The khalífs were frequently lavish of their gifts to poets, but they were fond of having their little jokes with them when in merry mood. One day the Arabian poet Thálebí read before the khalíf Al-Mansúr a poem which he had just composed, and it found acceptance. The khalíf said: "O Thálebí, which wouldst thou rather have--that I give thee 300 gold dínars [about £150], or three wise sayings, each worth 100 dínars?" The poet replied: "Learning, O Commander of the Faithful, is better than transitory treasure." "Well, then," said the khalíf, "the first saying is: When thy garment grows old, sew not a new patch on it, for it hath an ill look." "O woe!" cried the poet, "one hundred dínars are lost!" Mansúr smiled, and proceeded: "The second saying is: When thou anointest thy beard, anoint not the lower part, for that would soil the collar of thy vest." "Alas!" exclaimed Thálebí, "a thousand times, alas! two hundred dínars are lost!" Again the khalíf smiled, and continued: "The third saying"--but before he had spoken it, the poet said: "O khalíf of our prosperity, keep the third maxim in thy treasury, and give me the remaining hundred dínars, for they will be worth a thousand times more to me than the hearing of maxims." At this the khalíf laughed heartily, and commanded his treasurer to give Thálebí five hundred dínars of gold.

A droll story is told of the Persian poet Anwarí: Passing the market-place of Balkh one day, he saw a crowd of people standing in a ring, and going up, he put his head within the circle and found a fellow reciting the poems of Anwarí himself as his own. Anwarí went up to the man, and said: "Sir, whose poems are these you are reciting?" He replied: "They are Anwarí's." "Do you know him, then?" said Anwarí. The man, with cool effrontery, answered: "What do you say? I am Anwarí." On hearing this Anwarí laughed, and remarked: "I have heard of one who stole poetry, but never of one who stole the poet himself!"--Talking of "stealing poetry," Jámí tells us that a man once brought a composition to a critic, every line of which he had plagiarised from different collections of poems, and each rhetorical figure from various authors. Quoth the critic: "For a wonder, thou hast brought a line of camels; but if the string were untied, every one of the herd would run away in different directions."

There is no little humour in the story of the Persian poet who wrote a eulogium on a rich man, but got nothing for his trouble; he then abused the rich man, but he said nothing; he next seated himself at the rich man's gate, who said to him: "You praised me, and I said nothing; you abused me, and I said nothing; and now, why are you sitting here?" The poet answered: "I only wish that when you die I may perform the funeral service."

V

UNLUCKY OMENS--THE OLD MAN'S PRAYER--THE OLD WOMAN IN THE MOSQUE--THE WEEPING TURKMANS--THE TEN FOOLISH PEASANTS--THE WAKEFUL SERVANT--THE THREE DERVISHES--THE OIL-MAN'S PARROT--THE MOGHUL AND HIS PARROT--THE PERSIAN SHOPKEEPER AND THE PRIME MINISTER--HEBREW FACETIÆ.

Muslims and other Asiatic peoples, like Europeans not so many centuries since, are always on the watch for lucky or unlucky omens. On first going out of a morning, the looks and countenances of those who cross their path are scrutinised, and a smile or a frown is deemed favourable or the reverse. To encounter a person blind of the left eye, or even with one eye, forebodes sorrow and calamity. While Sir John Malcolm was in Persia, as British Ambassador, he was told the following story: When Abbas the Great was hunting, he met one morning as day dawned an uncommonly ugly man, at the sight of whom his horse started. Being nearly dismounted, and deeming it a bad omen, the king called out in a rage to have his head cut off. The poor peasant, whom the attendants had seized and were on the point of executing, prayed that he might be informed of his crime. "Your crime," said the king, "is your unlucky countenance, which is the first object I saw this morning, and which has nearly caused me to fall from my horse." "Alas!" said the man, "by this reckoning what term must I apply to your Majesty's countenance, which was the first object my eyes met this morning, and which is to cause my death?" The king smiled at the wit of the reply, ordered the man to be released, and gave him a present instead of cutting off his head.--Another Persian story is to the same purpose: A man said to his servant: "If you see two crows together early in the morning, apprise me of it, that I may also behold them, as it will be a good omen, whereby I shall pass the day pleasantly." The servant did happen to see two crows sitting in one place, and informed his master, who, however, when he came saw but one, the other having in the meantime flown away. He was very angry, and began to beat the servant, when a friend sent him a present of game. Upon this the servant exclaimed: "O my lord! you saw only one crow, and have received a fine present; had you seen _two_, you would have met with _my_ fare."[38]

[38] This last jest reappears in the apocryphal Life of Esop,
by Planudes, the only difference being that Esop's
master is invited to a feast, instead of receiving a
present of game, upon which Esop exclaims: "Alas! I see
two crows, and I am beaten; you see one, and are asked
to a feast. What a delusion is augury!"

It would seem, from the following story, that an old man's prayers are sometimes reversed in response, as dreams are said to "go by contraries": An old Arab left his house one morning, intending to go to a village at some distance, and coming to the foot of a hill which he had to cross he exclaimed: "O Allah! send some one to help me over this hill." Scarcely had he uttered these words when up came a fierce soldier, leading a mare with a very young colt by her side, who compelled the old man, with oaths and threats, to carry the colt. As they trudged along, they met a poor woman with a sick child in her arms. The old man, as he laboured under the weight of the colt, kept groaning, "O Allah! O Allah!" and, supposing him to be a dervish, the woman asked him to pray for the recovery of her child. In compliance, the old man said: "O Allah! I beseech thee to shorten the days of this poor child." "Alas!" cried the mother, "why hast thou made such a cruel prayer?" "Fear nothing," said the old man; "thy child will assuredly enjoy long life. It is my fate to have the reverse of whatever I pray for. I implored Allah for assistance to carry me over this hill, and, by way of help, I suppose, I have had this colt imposed on my shoulders."

* * * * *

Jámí tells this humorous story in the Sixth "Garden" of his _Baháristán_, or Abode of Spring: A man said the prescribed prayers in a mosque and then began his personal supplications. An old woman, who happened to be near him, exclaimed: "O Allah! cause me to share in whatsoever he supplicates for." The man, overhearing her, then prayed: "O Allah! hang me on a gibbet, and cause me to die of scourging." The old trot continued: "O Allah! pardon me, and preserve me from what he has asked for." Upon this the man turned to her and said: "What a very unreasonable partner this is! She desires to share in all that gives rest and pleasure, but she refuses to be my partner in distress and misery."

* * * * *

We have already seen that even the grave and otiose Turk is not devoid of a sense of the ludicrous, and here is another example, from Mr. E. J. W. Gibb's translation of the _History of the Forty Vezírs_: A party of Turkmans left their encampment one day and went into a neighbouring city. Returning home, as they drew near their tents, they felt hungry, and sat down and ate some bread and onions at a spring-head. The juice of the onions went into their eyes and caused them to water. Now the children of those Turkmans had gone out to meet them, and, seeing the tears flow from their eyes, they concluded that one of their number had died in the city, so, without making any inquiry, they ran back, and said to their mothers: "One of ours is dead in the city, and our fathers are coming weeping." Upon this all the women and children of the encampment went forth to meet them, weeping together. The Turkmans who were coming from the city thought that one of theirs had died in the encampment; and thus they were without knowledge one of the other, and they raised a weeping and wailing together such that it cannot be described. At length the elders of the camp stood up in their midst and said: "May ye all remain whole; there is none other help than patience"; and they questioned them. The Turkmans coming from the city asked: "Who is dead in the camp?" The others replied: "No one is dead in the camp; who has died in the city?" Those who were coming from the city, said: "No one has died in the city." The others said: "For whom then are ye wailing and lamenting?" At length they perceived that all this tumult arose from their trusting the words of children.

This last belongs rather to the class of simpleton-stories; and in the following, from the Rev. J. Hinton Knowles' _Folk Tales of Kashmír_ (Trübner: 1888), we have a variant of the well-known tale of the twelve men of Gotham who went one day to fish, and, before returning home, miscounted their number, of which several analogues are given in my _Book of Noodles_, pp. 28 ff. (Elliot Stock: 1888): Ten peasants were standing on the side of the road weeping. They thought that one of their number had been lost on the way, as each man had counted the company, and found them nine only. "Ho! you--what's the matter?" shouted a townsman passing by. "O sir," said the peasants, "we were ten men when we left the village, but now we are only nine." The townsman saw at a glance what fools they were: each of them had omitted to count himself in the number. He therefore told them to take off their _topís_ (skull-caps) and place them on the ground. This they did, and counted ten of them, whereupon they concluded they were all there, and were comforted. But they could not tell how it was.

* * * * *

That wakefulness is not necessarily watchfulness may seem paradoxical, yet here is a Persian story which goes far to show that they are not always synonymous terms: Once upon a time (to commence in the good old way) there came into a city a merchant on horseback, attended by his servant on foot. Hearing that the city was infested by many bold and expert thieves, in consequence of which property was very insecure, he said to his servant at night: "I will keep watch, and do you sleep; for I cannot trust you to keep awake, and I much fear that my horse may be stolen." But to this arrangement his faithful servant would not consent, and he insisted upon watching all night. So the master went to sleep, and three hours after awoke, when he called to his servant: "What are you doing?" He answered: "I am meditating how Allah has spread the earth upon the water." The master said: "I am afraid lest thieves come, and you know nothing of it." "O my lord, be satisfied; I am on the watch." The merchant again went to sleep, and awaking about midnight cried: "Ho! what are you doing?" The servant replied: "I am considering how Allah has supported the sky without pillars." Quoth the master: "But I am afraid that while you are busy meditating thieves will carry off my horse." "Be not afraid, master, I am fully awake; how, then, can thieves come?" The master replied: "If you wish to sleep, I will keep watch." But the servant would not hear of this; he was not at all sleepy; so his master addressed himself once more to slumber; and when one hour of the night yet remained he awoke, and as usual asked him what he was doing, to which he coolly answered: "I am considering, since the thieves have stolen the horse, whether I shall carry the saddle on my head, or you, sir."

* * * * *

Somewhat akin to the familiar "story" of the man whose eyesight was so extraordinary that he could, standing in the street, perceive a fly on the dome of St. Paul's is the tale of the Three Dervishes who, travelling in company, came to the sea-shore of Syria, and desired the captain of a vessel about to sail for Cyprus to give them a passage. The captain was willing to take them "for a consideration"; but they told him they were dervishes, and therefore without money, but they possessed certain wonderful gifts, which might be of use to him on the voyage. The first dervish said that he could descry any object at the distance of a year's journey; the second could hear at as great a distance as his brother could see. "Well!" exclaimed the captain, "these are truly miraculous gifts; and pray, sir," said he, turning to the third dervish, "what may _your_ particular gift be?" "I, sir," replied he, "am an unbeliever." When the captain heard this, he said he could not take such a person on board of his ship; but on the others declaring they must all three go together or remain behind, he at length consented to allow the third dervish a passage with the two highly-gifted ones. In the course of the voyage, it happened one fine day that the captain and the three dervishes were on deck conversing, when suddenly the first dervish exclaimed: "Look, look!--see, there--the daughter of the sultan of India sitting at the window of her palace, working embroidery." "A mischief on your eyes!" cried the second dervish, "for her needle has this moment dropped from her hand, and I hear it sound upon the pavement below her window." "Sir," said the third dervish, addressing the captain, "shall I, or shall I not, be an unbeliever?" Quoth the captain: "Come, friend, come with me into my cabin, and let us cultivate unbelief together!"

* * * * *

A very droll parrot story occurs--where, indeed, we should least expect to meet with such a thing--in the _Masnaví_ of Jelálu-'d-Dín er-Rúmí (13th century), a grand mystical poem, or rather series of poems, in six books, written in Persian rhymed couplets, as the title indicates. In the second poem of the First Book we read that an oilman possessed a fine parrot, who amused him with her prattle and watched his shop during his absence. It chanced one day, when the oilman had gone out, that a cat ran into the shop in chase of a mouse, which so frightened the parrot that she flew about from shelf to shelf, upsetting several jars and spilling their contents. When her master returned and saw the havoc made among his goods he fetched the parrot a blow that knocked out all her head feathers, and from that day she sulked on her perch. The oilman, missing the prattle of his favourite, began to shower his alms on every passing beggar, in hopes that some one would induce the parrot to speak again. At length a bald-headed mendicant came to the shop one day, upon seeing whom, the parrot, breaking her long silence, cried out: "Poor fellow! poor fellow! hast thou, too, upset some oil-jar?"[39]

[39] This tale is found in the early Italian novelists,
slightly varied, and it was doubtless introduced by
Venetian merchants from the Levant: A parrot belonging
to Count Fiesco was discovered one day stealing some
roast meat from the kitchen. The enraged cook,
overtaking him, threw a kettle of boiling water at him,
which completely scalded all the feathers from his head,
and left the poor bird with a bare poll. Some time
afterwards, as Count Fiesco was engaged in conversation
with an abbot, the parrot, observing the shaven crown of
his reverence, hopped up to him and said: "What! do
_you_ like roast meat too?"

In another form the story is orally current in the North
of England. Dr. Fryer tells it to this effect, in his
charming _English Fairy Tales from the North Country_: A
grocer kept a parrot that used to cry out to the
customers that the sugar was sanded and the butter mixed
with lard. For this the bird had her neck wrung and was
thrown upon an ash-heap; but reviving and seeing a dead
cat beside her she cried: "Poor Puss! have you, too,
suffered for telling the truth?"

There is yet another variant of this droll tale, which
has been popular for generations throughout England, and
was quite recently reproduced in an American journal as
a genuine "nigger" story: In olden times there was a
roguish baker who made many of his loaves less than the
regulation weight, and one day, on observing the
government inspector coming along the street, he
concealed the light loaves in a closet. The inspector
having found the bread on the counter of the proper
weight, was about to leave, when a parrot, which the
baker kept in his shop, cried out: "Light bread in the
closet!" This caused a search to be made, and the baker
was heavily fined. Full of fury, the baker seized the
parrot, wrung its neck, and threw it in his back yard,
near the carcase of a pig that had died of the measles.
The parrot, coming to itself again, observed the dead
porker and inquired in a tone of sympathy: "O poor
piggy, didst thou, too, tell about light bread in the
closet?"

Somewhat more credible is the tale of the man who taught a parrot to say, "What doubt is there of this?" (_dur ín cheh shuk_) and took it to market for sale, fixing the price at a hundred rupís. A Moghul asked the bird: "Are you really worth a hundred rupís?" to which the bird answered very readily: "What doubt is there of this?" Delighted with the apt reply, he bought the parrot and took it home; but he soon found that, whatever he might say, the bird always made the same answer, so he repented his purchase and exclaimed: "I was certainly a great fool to buy this bird!" The parrot said: "What doubt is there of this?" The Moghul smiled, and gave the bird her liberty.

* * * * *

Sir John Malcolm cites a good example of the ready wit of the citizens of Isfahán, in his entertaining _Sketches of Persia_, as follows: When the celebrated Haji Ibrahím was prime minister of Persia [some sixty years since], his brother was governor of Isfahán, while other members of his family held several of the first offices of the kingdom. A shop-keeper one day went to the governor to represent that he was unable to pay certain taxes. "You must pay them," replied the governor, "or leave the city." "Where can I go to?" asked the Isfahání. "To Shíráz or Kashan." "Your nephew rules in one city and your brother in the other." "Go to the Sháh, and complain if you like." "Your brother the Haji is prime minister." "Then go to Satan," said the enraged governor. "Haji Merhúm, your father, the pious pilgrim, is dead," rejoined the undaunted Isfahání. "My friend," said the governor, bursting into laughter, "I will pay your taxes, even myself, since you declare that my family keep you from all redress, both in this world and the next."

* * * * *

The Hebrew Rabbis who compiled the Talmud were, some of them, witty as well as wise--indeed I have always held that wisdom and wit are cousins german, if not full brothers--and our specimens of Oriental Wit and Humour may be fittingly concluded with a few Jewish jests from a scarce little book, entitled, _Hebrew Tales_, by Hyman Hurwitz: An Athenian, walking about in the streets of Jerusalem one day, called to a little Hebrew boy, and, giving him a _pruta_ (a small coin of less value than a farthing), said: "Here is a pruta, my lad, bring me something for it, of which I may eat enough, leave some for my host, and carry some home to my family." The boy went, and presently returned with a quantity of salt, which he handed to the jester. "Salt!" he exclaimed, "I did not ask thee to buy me salt." "True," said the urchin; "but didst thou not tell me to bring thee something of which thou mightest eat, leave, and take home? Of this salt there is surely enough for all three purposes."[40]

[40] In the Rev. J. Hinton Knowles' _Folk-Tales of Kashmír_ a
merchant gives his stupid son a small coin with which he
is to purchase something to eat, something to drink,
something to gnaw, something to sow in the garden, and
some food for the cow. A clever young girl advises him
to buy a water-melon, which would answer all the
purposes required.--P. 145.

Another Athenian desired a boy to buy him some cheese and eggs. Having done so, "Now, my lad," said the stranger, "tell me which of these cheese were made of the milk of white goats and which of black goats?" The little Hebrew answered: "Since thou art older than I, and more experienced, first do thou tell me which of these eggs came from white and which from black hens."

Once more did a Hebrew urchin prove his superiority in wit over an Athenian: "Here, boy," said he, "here is some money; bring us some figs and grapes." The lad went and bought the fruit, kept half of it for himself, and gave the other half to the Athenian. "How!" cried the man, "is it the custom of this city for a messenger to take half of what he is sent to purchase?" "No," replied the boy; "but it is our custom to speak what we mean, and to do what we are desired." "Well, then, I did not desire thee to take half of the fruit." "Why, what else could you mean," rejoined the little casuist, "by saying, 'Bring _us_?' Does not that word include the hearer as well as the speaker?" The stranger, not knowing how to answer such reasoning, smiled and went his way, leaving the shrewd lad to eat his share of the fruit in peace.

"There is no rule without some exception," as the following tale demonstrates: Rabbi Eliezar, who was as much distinguished by his greatness of mind as by the extraordinary size of his body, once paid a friendly visit to Rabbi Simon. The learned Simon received him most cordially, and filling a cup with wine handed it to him. Eliezar took it and drank it off at a draught. Another was poured out--it shared the same fate. "Brother Eliezar," said Simon, jestingly, "rememberest thou not what the wise men have said on this subject?" "I well remember," replied his corpulent friend, "the saying of our instructors, that people ought not to take a cup at one draught. But the wise men have not so defined their rule as to admit of no exception; and in this instance there are not less than three--the _cup_ is small, the _receiver_ is large, and your WINE, brother Simon, is DELICIOUS!"

TALES OF A PARROT.

I

GENERAL PLAN OF EASTERN ROMANCES--THE "TUTI NAMA," OR PARROT-BOOK--THE FRAME-STORY--TALES: THE STOLEN IMAGES--THE WOMAN CARVED OUT OF WOOD--THE MAN WHOSE MARE WAS KICKED BY A MERCHANT'S HORSE.

Oriental romances are usually constructed on the plan of a number of tales connected by a general or leading story running throughout, like the slender thread that holds a necklace of pearls together--a familiar example of which is the _Book of the Thousand and One Nights_, commonly known amongst us under the title of _Arabian Nights Entertainments_. In some the subordinate tales are represented as being told by one or more individuals to serve a particular object, by the moral, or warning, which they are supposed to convey; as in the case of the _Book of Sindibád_, in which a prince is falsely accused by one of his father's ladies, and defended by the king's seven vazírs, or counsellors, who each in turn relate to the king two stories, the purport of which being to warn him to put no faith in the accusations of women, to which the lady replies by stories representing the wickedness and perfidy of men; and that of the _Bakhtyár Náma_, in which a youth, falsely accused of having violated the royal harem, obtains for himself a respite from death during ten days by relating to the king each day a story designed to caution him against precipitation in matters of importance. In others supernatural beings are the narrators of the subordinate tales, as in the Indian romances, _Vetála Panchavinsati_, or Twenty-five Tales of a Demon, and the _Sinhásana Dwatrinsati_, or Tales of the Thirty-two Speaking Statues--literally, Thirty-two (Tales) of a Throne. In others, again, the relators are birds, as in the Indian work entitled _Hamsa Vinsati_, or Twenty Tales of a Goose.

Of this last class is the popular Persian work, _Tútí Náma_, (Tales of a Parrot, or Parrot-Book), of which I purpose furnishing some account, as it has not yet been completely translated into English. This work was composed, according to Pertsch, in A.D. 1329, by a Persian named Nakhshabí, after an older Persian version, now lost, which was made from a Sanskrit work, also no longer extant, but of which the modern representative is the _Suka Saptati_, or Seventy Tales of a Parrot.[41] The frame, or leading story, of the Persian Parrot-Book is to the following effect:

[41] Ziyáu-'d-Dín Nakhshabí, so called from Nakhshab, or
Nasaf, the modern Kashí, a town situated between
Samarkand and the Oxus, led a secluded life in Badá'um,
and died, as stated by 'Abdal-Hakk, A.H. 751 (A.D.
1350-1).--Dr. Rieu's _Catalogue of Persian MSS. in the
British Museum_.--In 1792 the Rev. B. Gerrans published
an English translation of twelve of the fifty-two tales
comprised in the _Tútí Náma_, but the work is now best
known in Persia and India from an abridgment made by
Kádirí in the last century, which was printed, with a
translation, at London in 1801.

A merchant who had a very beautiful wife informs her one day that he has resolved to travel into foreign countries in order to increase his wealth by trade. His wife endeavours to persuade him to remain at home in peace and security instead of imperiling his life among strangers. But he expatiates on the evils of poverty and the advantages of wealth: "A man without riches is fatherless, and a home without money is deserted. He that is in want of cash is a nonentity, and wanders in the land unknown. It is, therefore, everybody's duty to procure as much money as possible; for gold is the delight of our lives--it is the bright live-coal of our hearts--the yellow links which fasten the coat of mail--the gentle stimulative of the world--the complete coining die of the globe--the traveller who speaks all languages, and is welcome in every city--the splendid bride unveiled--the defender, register, and mirror of jehandars. The man who has dirhams [_Scottice_, 'siller'--_Fr._ 'l'argent'] is handsome; the sun never shines on the inauspicious man without money."[42] Before leaving home the merchant purchased at great cost in the bazaar a wonderful parrot, that could discourse eloquently and intelligently, and also a sharak, a species of nightingale, which, according to Gerrans, "imitates the human voice in so surprising a manner that, if you do not see the bird, you cannot help being deceived"; and, having put them into the same cage, he charged his spouse that whenever she had any matter of importance to transact she should first obtain the sanction of both birds.

[42] "He that has money in the scales," says Saádí, "has
strength in his arms, and he who has not the command of
money is destitute of friends in the world."--Hundreds
of similar sarcastic observations on the power of wealth
might be cited from the Hindú writers, such as: "He who
has riches has friends; he who has riches has relations;
he who has riches _is even a sage_!" The following
verses in praise of money are, I think, worth
reproducing, if only for their whimsical arrangement:

Honey,
Our Money
We find in the end
Both relation and friend;
'Tis a helpmate for better, for worse.
Neither father nor mother,
Nor sister nor brother,
Nor uncles nor aunts,
Nor dozens
Of cousins,
Are like a friend in the purse.
Still regard the main chance;
'Tis the clink
Of the chink
Is the music to make the heart dance.

The merchant having protracted his absence many months (Vatsyayana, in his _Káma Sutra_, says that the man who is given to much travelling does not deserve to be married), and, his wife chancing to be on the roof of her house one day when a young foreign prince of handsome appearance passed by with his attendants, she immediately fell in love with him--"the battle-axe of prudence dropped from her hand; the vessel of continence became a sport to the waves of confusion; while the avenues leading to the fortress of reason remained unguarded, the sugar-cane of incontinence triumphantly raised its head above the rose-tree of patience." The prince had also observed the lady, as she stood on the terrace of her house, and was instantly enamoured of her. He sends an old woman (always the obliging--"for a consideration"--go-between of Eastern lovers) to solicit an interview with the lady at his own palace in the evening, and, after much persuasion, she consents. Arraying her beauteous person in the finest apparel, she proceeds to the cage, and first consults the sharak as to the propriety of her purpose. The sharak forbids her to go, and is at once rewarded by having her head wrung off. She then represents her case to the parrot, who, having witnessed the fate of his companion, prudently resolves to temporise with the amorous dame; so he "quenched the fire of her indignation with the water of flattery, and began a tale conformable to her temperament, which he took care to protract till the morning." In this manner does the prudent parrot prevent the lady's intended intrigue by relating, night after night, till the merchant returns home from his travels, one or more fascinating tales, which he does not bring to an end till it is too late for the assignation.[43]

[43] In a Telúgú MS., entitled _Patti Vrútti Mahima_ (the
Value of Chaste Wives), the minister of Chandra Pratápa
assumes the form of a bird owing to a curse pronounced
against him by Siva, and is sold to a merchant named
Dhanadatta, whose son, Kuvéradatta, is vicious. The bird
by moral lessons reformed him for a time. They went to a
town called Pushpamayuri, where the king's son saw the
wife of Kuveradatta when he was absent from home. An
illicit amour was about to begin, when the bird
interposed by relating tales of chaste wives, and
detained the wanton lady at home till her husband
returned.

The order of the parrot's tales is not the same in all texts; in Kádirí's abridgment there are few of the Nights which correspond with those of the India Office MS. No. 2573, which may, perhaps, be partly accounted for by the circumstance that Kádirí has given only 35 of the 52 tales that are in the original text. For the general reader, however, the sequence of the tales is a minor consideration; and I shall content myself with giving abstracts of some of the best stories, irrespective of their order in any text, and complete translations of two or three others. It so happens that the Third Night is the same in Kádirí and the India Office MS. No. 2573, which comprises the complete text; and the story the eloquent bird relates on that night may be entitled

_The Stolen Images._

A goldsmith and a carpenter, travelling in company, steal from a Hindú temple some golden images, which, when they arrive in the neighbourhood of their own city, they bury beneath a tree. The goldsmith goes secretly one night and carries away the images, and next morning, when both go together to share the spoil, the goldsmith accuses the carpenter of having played him false. But the carpenter was a shrewd fellow, and so he makes a figure resembling the goldsmith, dresses it in clothes similar to what he usually wore, and procures a couple of bear's cubs, which he teaches to take their food from the skirts and sleeves of the effigy. Thus the cubs conceived a great affection for the figure of the goldsmith. He then contrives to steal the goldsmith's two sons, and, when the father comes to seek them at his house, he pretends they have been changed into young bears. The goldsmith brings his case before the kází; the cubs are brought into court, and no sooner do they discover the goldsmith than they run up and fondle him. Upon this the judge decides in favour of the carpenter, to whom the goldsmith confesses his guilt, and offers to give up all the gold if he restore his children, which he does accordingly.[44]

[44] Many Asiatic stories relate to the concealing of
treasure--generally at the foot of a tree, to mark the
spot--by two or more companions, and its being secretly
stolen by one of them. The device of the carpenter in
the foregoing tale of abducting the rascally goldsmith's
two sons, and so on, finds an analogue in the
_Panchatantra_, the celebrated Sanskrit collection of
fables (Book I, Fab. 21, of Benfey's German
translation), where we read that a young man, who had
spent the wealth left to him by his father, had only a
heavy iron balance remaining of all his possessions, and
depositing it with a merchant went to another country.
When he returned, after some time, he went to the
merchant and demanded back his balance. The merchant
told him it had been eaten by rats; adding: "The iron of
which it was composed was particularly sweet, and so the
rats ate it." The young man, knowing that the merchant
spoke falsely, formed a plan for the recovery of his
balance. One day he took the merchant's young son,
unknown to his father, to bathe, and left him in the
care of a friend. When the merchant missed his son he
accused the young man of having stolen him, and summoned
him to appear in the king's judgment-hall. In answer to
the merchant's accusation, the young man asserted that a
kite had carried away the boy; and when the officers of
the court declared this to be impossible, he said: "In a
country where an iron balance was eaten by rats, a kite
might well carry off an elephant, much more a boy." The
merchant, having lost his cause, returned the balance to
the young man and received back his boy.

The Sixth Tale of the Parrot, according to the India Office MS., relates to

_The Woman Carved out of Wood._

Four men--a goldsmith, a carpenter, a tailor, and a dervish--travelling together, one night halted in a desert place, and it was agreed they should watch turn about until daybreak. The carpenter takes the first watch, and to amuse himself he carves the figure of a woman out of a log of wood. When it came to the goldsmith's turn to watch, finding the beautiful female figure, he resolved also to exhibit his art, and accordingly made a set of ornaments of gold and silver, which he placed on the neck, arms, and ankles. During the third watch the tailor made a suit of clothes becoming a bride, and put them on the figure. Lastly, the dervish, when it came to his turn to watch, beholding the captivating female form, prayed that it might be endowed with life, and immediately the effigy became animated. In the morning all four fell in love with the charming damsel, each claiming her for himself; the carpenter, because he had carved her with his own hands; the goldsmith, because he had adorned her with gems; the tailor, because he had suitably clothed her; and the dervish, because he had, by his intercession, endowed her with life. While they were thus disputing, a man came to the spot, to whom they referred the case. On seeing the woman, he exclaimed: "This is my own wife, whom you have stolen from me," and compelled them to come before the kutwal, who, on viewing her beauty, in his turn claimed her as the wife of his brother, who had been waylaid and murdered in the desert. The kutwal took them all, with the woman, before the kází, who declared that she was his slave, who had absconded from his house with a large sum of money. An old man who was present suggested that they should all seven appeal to the Tree of Decision, and thither they went accordingly; but no sooner had they stated their several claims than the trunk of the tree split open, the woman ran into the cleft, and on its reuniting she was no more to be seen. A voice proceeded from the tree, saying: "Everything returns to its first principles"; and the seven suitors of the woman were overwhelmed with shame.[45]

[45] So, too, Boethius, in his _De Consolatione Philosophiæ_,
says, according to Chaucer's translation: "All thynges
seken ayen to hir [i.e. their] propre course, and all
thynges rejoysen on hir retournynge agayne to hir
nature."--A tale current in Oude, and given in _Indian
Notes and Queries_ for Sept. 1887, is an illustration of
the maxim that "everything returns to its first
principles": A certain prince chose his friends out of
the lowest class, and naturally imbibed their principles
and habits. When the death of his father placed him on
the throne, he soon made his former associates his
courtiers, and exacted the most servile homage from the
nobles. The old vazír, however, despised the young king
and would render none. This so exasperated him that he
called his counsellors together to advise the most
excruciating of tortures for the old man. Said one: "Let
him be flayed alive and let shoes be made of his skin."
The vazír ejaculated on this but one word, "Origin."
Said the next: "Let him be hacked into pieces and his
limbs cast to the dogs." The vazír said, "Origin."
Another advised: "Let him be forthwith executed, and his
house be levelled to the ground." Once more the vazír
simply said, "Origin." Then the king turned to the rest,
who declared each according to his opinion, the vazír
noticing each with the same word. At last a young man,
who had not spoken hitherto, was asked. "May it please
your Majesty," said he, "if you ask my opinion, it is
this: Here is an aged man, and honourable from his
years, family, and position; moreover, he served in the
king your father's court, and nursed you as a boy. It
were well, considering all these matters, to pay him
respect, and render his old age comfortable." Again the
vazír uttered the word "Origin." The king now demanded
what he meant by it. "Simply this, your Majesty,"
responded the vazír: "You have here the sons of
shoemakers, butchers, executioners, and so forth, and
each has expressed himself according to his father's
trade. There is but one noble-born among them, and he
has made himself conspicuous by speaking according to
the manner of his race." The king was ashamed, and
released the vazír.--A parallel to this is found in the
Turkish _Qirq Vezír Taríkhí_, or History of the Forty
Vezírs (Lady's 4th Story): according to Mr. Gibb's
translation, "All things return to their origin."

I am strongly of opinion that the foregoing story is of Buddhistic extraction; but however this may be, it is not a bad specimen of Eastern humour, nor is the following, which the eloquent bird tells the lady another night:

_Of the Man whose Mare was kicked by a Merchant's Horse._

A merchant had a vicious horse that kicked a mare, which he had warned the owner not to tie near his animal. The man carried the merchant before the kází, and stated his complaint. The kází inquired of the merchant what he had to say in his own defence; but he pretended to be dumb, answering not a word to the judge's interrogatives. Upon this the kází remarked to the plaintiff that since the merchant was dumb he could not be to blame for the accident. "How do you know he is dumb?" said the owner of the mare. "At the time I wished to fasten my mare near his horse he said, 'Don't!' yet now he feigns himself dumb." The kází observed that if he was duly warned against the accident he had himself to blame, and so dismissed the case.

II

THE EMPEROR'S DREAM--THE GOLDEN APPARITION--THE FOUR TREASURE-SEEKERS.

We are not without instances in European popular fictions of two young persons dreaming of each other and falling in love, although they had never met or known of each other's existence. A notable example is the story of the Two Dreams in the famous _History of the Seven Wise Masters_. Incidents of this kind are very common in Oriental stories: the romance of _Kámarupa_ (of Indian origin, but now chiefly known through the Persian version) is based upon a dream which the hero has of a certain beautiful princess, with whom he falls in love, and he sets forth with his companions to find her, should it be at the uttermost ends of the earth. It so happens that the damsel also dreams of him, and, when they do meet, they need no introduction to each other. The Indian romance of _Vasayadatta_ has a similar plot. But the royal dreamer and lover in the following story, told by the Parrot on the 39th Night, according to the India Office MS. No. 2573, adopted a plan for the discovery of the beauteous object of his vision more conformable to his own ease:

_The Emperor's Dream._

An emperor of China dreamt of a very beautiful damsel whom he had never seen or heard of, and, being sorely pierced with the darts of love for the creature of his dreaming fancy, he could find no peace of mind. One of his vazírs, who was an excellent portrait painter, receiving from the emperor a minute description of the lady's features, drew the face, and the imperial lover acknowledged the likeness to be very exact. The vazír then went abroad with the portrait, to see whether any one could identify it with the fair original. After many disappointments he met with an old hermit, who at once recognised it as the portrait of the princess of Rúm,[46] who, he informed the vazír, had an unconquerable aversion against men ever since she beheld, in her garden, a peacock basely desert his mate and their young ones, when the tree on which their nest was built had been struck by lightning. She believed that all men were quite as selfish as that peacock, and was resolved never to marry. Returning to his imperial master with these most interesting particulars regarding the object of his affection, he next undertakes to conquer the strange and unnatural aversion of the princess. Taking with him the emperor's portrait and other pictures, he procures access to the princess of Rúm; shows her, first, the portrait of the emperor of China, and then pictures of animals in the royal menagerie, among others that of a deer, concerning which he relates a story to the effect that the emperor, sitting one day in his summer-house, saw a deer, his doe, and their fawn on the bank of the river, when suddenly the waters overflowed the banks, and the doe, in terror for her life, fled away, while the deer bravely remained with the fawn and was drowned. This story, so closely resembling her own, struck the fair princess with wonder and admiration, and she at once gave her consent to be united to the emperor of China; and we may suppose that "they continued together in joy and happiness until they were overtaken by the terminater of delights and the separator of companions."

[46] Originally, Rúmelia (Rúm Eyli) was only implied by the
word _Rúm_, but in course of time it was employed to
designate the whole Turkish empire.

* * * * *

There can be little or no doubt, I think, that in this tale we find the original of the frame, or leading story, of the Persian Tales, ascribed to a dervish named Mukhlis, of Isfahán, and written after the _Arabian Nights_, as it is believed, in which the nurse of the Princess has to relate almost as many stories to overcome her aversion against men (the result of an incident similar to that witnessed by the Lady of Rúm) as the renowned Sheherazade had to tell her lord, who entertained--for a very different reason--a bitter dislike of women.

* * * * *

I now present a story unabridged, translated by Gerrans in the latter part of the last century. It is assuredly of Buddhistic origin:

_The Golden Apparition._

In the extreme boundaries of Khurasán there once lived, according to general report, a merchant named Abdal-Malik, whose warehouses were crowded with rich merchandise, and whose coffers overflowed with money. The scions of genius ripened into maturity under the sunshine of his liberality; the sons of indigence fattened on the bread of his hospitality; and the parched traveller amply slaked his thirst in the river of his generosity. One day, as he meditated on the favours which his Creator had so luxuriantly showered upon him, he testified his gratitude by the following resolution: "Long have I traded in the theatre of the world, much have I received, and little have I bestowed. This wealth was entrusted to my care, with no other design or intention but to enable me to assist the unfortunate and indigent. Before, therefore, the Angel of Death shall come to demand the spoil of my mortality, it is my last wish and sole intention to expiate my sins and follies by voluntary oblations of this she-camel [alluding to the Muslim Feast of the Camel] in the last month of her pregnancy, and to proclaim to all men, by this late breakfasting [alluding to the Feast of Ramadan, when food is only permitted after sunset], my past mortification."