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of Paradise, The Pious Black Slave, The Blacksmith who could handle fire without hurt, The Ferryman and the Hermit, etc., etc.; the equally favourite class of stories of unfortunate lovers, such as Otbeh and Reyya and The Mad Lover, and such purely fantastic tales as Abou Mohammed the Lazy, The Man who never laughed again, The Enchanted Springs, The House with the Belvedere, The City of Irem, the three stories of the Angel of Death, etc., etc.; and lastly, such “merry gestes” and Boccaccio-like “inventions” as Ali the Persian and the Kurd Sharper, The Man of Yemen and his Six Slave-girls, The Man who saw the Night of Power, The Simpleton and the Sharper, the three stories of foolish Schoolmasters, The Lady and her Five Suitors (one of many stories of trickery practised by women upon their husbands or lovers), and most of the series of short tales known as “The Malice of Women.” It is into this latter portion of the collection that European authors appear to have dipped most freely, many of the incidents in works of the Decameron and Heptameron kind and in such bodies of popular fiction as those collected or expanded by Grimm, Asbjornsen, Andersen, etc., etc., bearing unmistakable traces of affinity, immediate or derivative, with the Thousand and One Nights.
(4) Fables and apologues or short moral stories, such as The Cat and the Crow, The Birds and Beasts and the Son of Adam and the parables and moral instances of which the (Indian) story of Jelyaad and Shimas in great part consists.
(5) Tales, so called, such as Taweddud, the examination
