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).