The Book of the Thousand Nights and a Night, vol 13 by Sir Richard Francis Burton (mobi reader android .txt) 📖

soudan’s ship has sailed away with his wife, is bewildered in a forest, where they fall asleep, and in the morning at sunrise when he awakes, an eagle pounces down and carries off his scarlet mantle, in which he had tied up his scanty store of provisions together with the gold he had received from the soudan; and how many years after he found it in a bird’s nest (Supp. Nights, vol. ii. p. 260 and p. 263).—And, not to multiply examples, a similar incident occurs in the “Kath� Sarit S�gara,” Book ix. ch. 54, where a merchant named Samudras�ra is shipwrecked and contrives to reach the land, where he perceives the corpse of a man, round the loins of which is a cloth with a knot in it. On unfastening the cloth he finds in it a necklace studded with jewels. The merchant proceeds towards a city called Kalasapuri, carrying the necklace in his hand. Overpowered by the heat, he sits down in a shady place and falls asleep. The necklace is recognised by some passing policemen as that of the king’s daughter, and the merchant is at once taken before the king and accused of having stolen it. While the merchant is being examined, a kite swoops down and carries off the necklace. Presently a voice from heaven declares that the merchant is innocent, explains how the necklace came into his possession, and orders the king to dismiss him with honour. This celestial testimony in favour of the accused satisfies the king, who gives the merchant much wealth and sends him on his way. The rest of the story is as follows: “And after he had crossed the sea, he travelled with a caravan, and one day, at evening time, he reached a wood. The caravan encamped in the wood for the night, and while Samudras�ra was awake a powerful host of bandits attacked it. While the bandits were massacring the members of the caravan, Samudras�ra left his wares and fled, and climbed up a banyan-tree without being discovered. The host of bandits departed, after they had carried off all the wealth, and the merchant spent that night there, perplexed with fear and distracted with grief. In the morning he cast his eves towards the top of the tree, and saw, as fate would have it, what looked like the light of a lamp, trembling among the leaves. And in his astonishment he climbed up the tree and saw a kite’s nest, in which there was a heap of glittering priceless jewelled ornaments. He took them all out of it, and found among the ornaments that necklace which he had found in Svarnadv�pa and the kite had carried off.

He obtained from that nest unlimited wealth, and descending from the tree, he went off delighted, and reached in course of time his own city of Harshap�ra.

There the merchant Samudras�ra remained, enjoying himself to his heart’s content, with his family, free from the desire of any other wealth.”

 

There is nothing improbable—at all events, nothing impossible—in the History of Khwajah Hasan al-Habb�l. That he should lose the two sums of money in the manner described is quite natural, and the incidents carry with them the moral: “Always take your wife into your confidence” (but the Khwajah was a Muslim), notwithstanding the great good luck which afterwards befell, and which, after all, was by mere chance. There is nothing improbable in the finding of the turban with the money intact in the bird’s nest, but that this should occur while the Khwajah’s benefactors were his guests is—well, very extraordinary indeed! As to the pot of bran—why, some little license must be allowed a story-teller, that is all that need be said! The story from beginning to end is a most charming one, and will continue to afford pleasure to old and young—to “generations yet unborn.”

 

Ali Baba and the Forty Thieves—p.219

 

I confess to entertaining a peculiar affection for this tale. It was the first of the tales of the “Arabian Nights Entertainments” which I read in the days of my “marvelling boyhood” eheu! fugaces, &c, etc. I may therefore be somewhat prejudiced in its favour, just as I still consider Scott’s “Waverley” as the best of his long series of fascinating fictions, that being the first of them which I read—as it was the first he wrote. But “All Baba and the Forty Thieves”—the “open, sesame!” “shut, sesame!”—the sackfuls of gold and silver and the bales of rich merchandise in the robbers’ cave—the avaricious brother forgetting the magical formula which would open the door and permit him to escape with his booty—his four quarters hung up in terrorem—and above all, the clever, devoted slave girl Morgiana, who in every way outwitted the crafty robber-chief,—these incidents remain stamped in my memory ineffaceably: like the initials of lovers’ names cut into the bark of a growing tree, which, so far from disappearing, become larger by the lapse of time. To me this delightful tale will ever be, as Hafiz sings of something, “freshly fresh and newly new.” I care not much though it never be found in an Arabic or any other Oriental dress—but that it is of Asiatic invention is self-evident; there is, in my poor opinion nothing to excel it, if indeed to equal it, for intense interest and graphic narrative power in all The Nights proper.

 

Sir Richard Burton has remarked, in note 1, p. 219, that Mr. Coote could only find in the south of Europe, or in the Levant, analogues of two of the incidents of this tale, yet one of those may be accepted as proof of its Eastern extraction, namely, the Cyprian story of “Three Eyes,” where the ogre attempts to rescue his wife with a party of blacks concealed in bales: “The King’s jester went downstairs, in order to open the bales and takes something out of them. Directly he approached one of the sacks, the black man answered from the inside,‘Is it time, master?’ In the same manner he tried all the sacks, and then went upstairs and told them that the sacks were full of black men. Directly the King’s bride heard this, she made the jester and the company go downstairs. They take the executioner with them, and go to the first sack.

The black man says from the inside, ‘Is it time ?’ ‘Yes,’ say they to him, and directly he came out they cut his head off. In the same manner they go to the other sacks and kill the other black men.”[FN#408]

 

The first part of the tale of Ali Baba—ending with the death of his greedy brother—is current in North Germany, to this effect: A poor woodcutter, about to fell a beech at the back of the scattered ruins of the castle of Dummburg, seeing a monk approach slowly through the forest, hid himself behind a tree. The monk passed by and went among the rocks. The woodcutter stole cautiously after him and saw that he stopped at a small door which had never been discovered by the villagers. The monk knocks gently and cries, “Little door, open!” and the door springs open. He also cries, “Little door, shut!” and the door is closed. The woodcutter carefully observes the place, and next Sunday goes secretly and obtains access to the vault by the same means as that employed by the monk. He finds in it “large open vessels and sacks full of old dollars and fine guilders, together with heavy gold pieces, caskets filled with jewels and pearls, costly shrines and images of saints, which lay about or stood on tables of silver in corners of the vault.”

He takes but a small quantity of the coin, and as he is quitting the vault a voice cries, “Come again!” First giving to the church, for behoof of the poor, a tenth of what he had taken, he goes to the town and buys clothes for his wife and children, giving out to his neighbours that he had found an old dollar and a few guilders under the roots of a tree that he had felled. Next Sunday he again visits the vault, this time supplying himself somewhat more liberally from the hoard, but still with moderation and discretion, and “Come again!” cries a voice as he is leaving. He now gives to the church two tenths, and resolves to bury the rest of the money he had taken in his cellar. But he can’t resist a desire to first measure the gold, for he could not count it. So he borrows for this purpose a corn-measure of a neighbour—a very rich but penurious man, who starved himself, hoarded up corn, cheated the labourer of his hire, robbed the widow and the orphan, and lent money on pledges. Now the measure had some cracks in the bottom, through which the miser shook some grains of corn into his own heap when selling it to the poor labourer, and into these cracks two or three small coins lodged, which the miser was not slow to discover. He goes to the woodcutter and asks him what it was he had been measuring. “Pine-cones and beans. But the miser holds up the coins he had found in the cracks of the measure, and threatens to inform upon him and have him put to the question if he will not disclose to him the secret of his money. So the woodcutter is constrained to tell him the whole story and much against his will, but not before he had made the miser promise that he would give one-tenth to the church, he conducts him to the vault. The miser enters, with a number of sacks, the woodcutter waiting outside to receive them when filled with treasure. But while the miser is gloating over the enormous wealth before him—even “wealth beyond the dreams of avarice”—a great black dog comes and lays himself down on the sacks. Terrified at the flaming eyes of the dog, the miser crept towards the door but in his fear forgot the proper words, and instead of saying, “Little door, open!” he cried!, “Little door, shut!”

The woodcutter, having waited a long time, approached the door, and knocking gently and crying “Little door, open!” the door sprang open and he entered.

There lay the bleeding body of his wicked neighbour, stretched on his sacks, but the vessels of gold and silver, and diamonds and pearls, sank deeper and deeper into the earth before his eyes, till all had completely vanished.[FN#409]

 

The resemblance which this North German tale bears to the first part of “All Baba” is striking, and is certainly not merely fortuitous; the fundamental outline of the latter is readily recognisable in the legend of The Dummburg, notwithstanding differences in the details. In both the hero is a poor woodcutter, or faggot-maker; for the band of robbers a monk is substituted in the German legend, and for the “open, sesame” and “shut, sesame,” we have “little door, shut,” and “little door, open.” In both the borrowing of a corn-measure is the cause of the secret being revealed—in the one case, to Kasim, the greedy brother of Ali Baba and in the other, to a miserly old hunks; the fate of the latter and the disappearance of all the treasure are essentially German touches. The subsequent incidents of the tale of Ali Baba, in which the main interest of the narrative is concentrated;—Ali Baba’s carrying off the four quarters of his brother’s body and having them sewed together, the artifices by which the slave-girl checkmates the robber-chief and his followers in their attempts to discover the man who had learned the secret of the treasure-cave—her marking all the doors in the street and her pouring boiling oil on the robbers concealed in the oil-skins in the courtyard;—these incidents seem to have been adapted, or imitated, from some version of the