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the Sparrow and the Eagle, the Cat and the Crow, the Falcon and the Birds, etc., apparently derived from Æsop (with whom, by the way, the celebrated Oriental fabulist Lucman or Lokman, quoted in the Koran, is supposed to be identical, though by some Arabic authors he is stated to have been a black slave, living in the time of David, and by others an Arab of the time of Job and a kinsman of that patriarch), and in numerous other fables, parables and legends of saints and hermits, evidently referable to Christian, Jewish, Brahman or Buddhist sources.
Nevertheless, numerous as are the instances in which the authors of the Thousand and One Nights have drawn upon foreign sources, the general tone of the work is distinctly and almost exclusively Arabic, and Arabic of Syria, Egypt and Chaldæa (or Irak-Arabi); whether the scene is laid in Persia, India, Anatolia, Armenia, Arabia, Greece, France, Genoa, Ceylon, Tartary, China or any other actually existing country or in such fantastic and imaginary portions of the ideal world as Jinnistan, the Mountain Caf, the White, Blue, Black or Green Countries, the Camphor, the Ebony, the Khalidan or the Wac-Wac Islands, and whether the persons who figure in the stories are men or Jinn, Afrits or Angels, Indians or Chinese, Christians or Jews, Magians or Idolaters, the scenery and manners described, the persons, things and way of thought and action are distinctly those of such cities as Baghdad, Bassora, Mosul and Cairo. Even in tales like the Queen of the Serpents, whose Persian origin is unmistakable and whose scene is laid in a remote præ-Mohammedan age, the Arab author has apparently most
