Straparola’s version has another point of resemblance in the Persian story—so far as can be judged from Scott’s abstract—and also in the Arabian story: the lover discovers the lady by chance, and is not advised to seek out some object of love, as in Giovanni;—in the Arabian the singer is counselled by the druggist to go about and entertain wine parties. Story-comparers have too much cause to be dissatisfied with Jonathan Scott’s translation of the “Bahár-i-Dánish”—a work avowedly derived from Indian sources—although it is far superior to Dow’s garbled version. The abstracts of a number of the tales which Scott gives in an appendix, while of some use, are generally tantalising: some stories he has altogether omitted “because they are similar to tales already well known” (unfortunately the comparative study of popular fictions was hardly begun in his time); while of others bare outlines are furnished, because he considered them “unfit for general perusal.” But his work, even as it is, has probably never been “generally” read, and he seems to have had somewhat vague notions of “propriety,” to judge by his translations from the Arabic and Persian. A complete English rendering of the “Bahár-i-Dánish” would be welcomed by all interested in the history of fiction. THE FULLER, HIS WIFE, AND THE TROOPER, _p. 329_. The trick played on the silly fuller of dressing him up as a Turkish soldier resembles that of one of the Three Deceitful Women who found a gold ring in the public bath, as related in the Persian story-book, “Shamsa ú Kuhkuha:”