Wazir’s death, the mourner’s song and the “tongue of the case” (vol. ii. 10); the murder of Princess Abrizah with the babe sucking its dead mother’s breast (vol. ii. 128); and, generally, the last moments of good Moslems (e. g. vol. 167), which are described with inimitable terseness and naivete.  The sad and the gay mingle in the character of the good Hammam-stoker who becomes Roi Crotte and the melancholy deepens in the Tale of the Mad Lover (vol. v. 138); the Blacksmith who could handle fire without hurt (vol. v. 271); the Devotee Prince (vol. v. iii) and the whole Tale of Azizah (vol. ii. 298), whose angelic love is set off by the sensuality and selfishness of her more fortunate rivals.  A new note of absolutely tragic dignity seems to be struck in the Sweep and the Noble Lady (vol. iv. 125), showing the piquancy of sentiment which can be evolved from the common and the unclean.  The pretty conceit of the Lute (vol. v. 244) is afterwards carried out in the Song (vol. viii. 281), which is a masterpiece of originality[FN#294] and (in the Arabic) of exquisite tenderness and poetic melancholy, the wail over the past and the vain longing for reunion.  And the very depths of melancholy, of majestic pathos and of true sublimity are reached in Many-columned Iram (vol. iv. 113) and the City of Brass (vol. vi. 83):  the metrical part of the latter shows a luxury of woe; it is one long wail of despair which echoes long and loud in the hearer’s heart.

In my Foreword I have compared the humorous vein of the comic tales with our northern “wut,” chiefly for the dryness and slyness which pervade it.  But it differs in degree as much as the pathos varies.  The staple article is Cairene “chaff,” a peculiar banter possibly inherited from their pagan forefathers:  instances of this are found in the Cock and Dog (vol. i. 22), the Eunuch’s address to the Cook (vol. i. 244), the Wazir’s exclamation, “Too little pepper!” (vol. i. 246), the self-communing of Judar (vol. vi. 219), the Hashish-eater in Ali Shar (vol. iv. 213), the scene between the brother-Wazirs (vol. i. 197), the treatment of the Gobbo (vol. i. 221, 228), the Water of Zemzem (vol. i. 284), and the Eunuchs Bukhayt and Kafur[FN#295] (vol. ii. 49, 51).  At times it becomes a masterpiece of fun, of rollicking Rabelaisian humour underlaid by the caustic mother-wit of Sancho Panza, as in the orgie of the Ladies of Baghdad (vol. i. 92, 93); the Holy Ointment applied to the beard of Luka the Knight—­ “unxerunt regem Salomonem” (vol. ii. 222); and Ja’afar and the Old Badawi (vol. v. 98), with its reminiscence of “chaffy” King Amasis.  This reaches its acme in the description of ugly old age (vol. v. 3); in The Three Wishes, the wickedest of satires on the alter sexus (vi. 180); in Ali the Persian (vol. iv. 139); in the Lady and her Five Suitors (vol. vi. 172), which corresponds and contrasts with the dully told Story of Upakosa and her Four Lovers of the Katha (p. 17); and in The Man of Al-Yaman (vol. iv. 245) where we find the true Falstaffian touch.  But there is sterling wit, sweet and bright, expressed without any artifice of words, in the immortal Barber’s tales of his brothers, especially the second, the fifth and the sixth (vol. i. 324, 325 and 343).  Finally, wherever the honest and independent old debauchee Abu Nowas makes his appearance the fun becomes fescennine and milesian.