and the Garnerer of graveyards and the Reaper for Resurrection-day, and they became as though they never had been. So laud be to the Lord who dieth not and who knoweth no shadow of change. FINIS [Illustration: ‏وٱلسلام‎] VARIANTS AND ANALOGUES OF THE TALES IN THE SUPPLEMENTAL NIGHTS, VOL. III. BY W. A. CLOUSTON, AUTHOR OF “POPULAR TALES AND FICTIONS: THEIR MIGRATIONS AND TRANSFORMATIONS,” ETC. =Appendix.= _VARIANTS AND ANALOGUES OF THE TALES IN THE SUPPLEMENTAL NIGHTS,_ VOL. III. BY W. A. CLOUSTON. _THE TALE OF ZAYN AL-ASNAM—p. 3._ This story is a compound of two distinct tales, namely, the Dream of Riches and the Quest of the Ninth Image. It has always been one of the most popular of the tales in our common version of the “Arabian Nights,” with this advantage, that it is perhaps the only one of the whole collection in which something like a moral purpose may be discovered—“a virtuous woman is more precious than fine gold.” Baron de Sacy has remarked of The Nights, that in the course of a few years after Galland’s version appeared “it filled Europe with its fame, though offering no object of moral or philosophical interest, and detailing stories merely for the pleasure of relating them.” But this last statement is not quite accurate: Shahrazad relates her stories merely to prolong her own life. It is a curious fact—and one perhaps not very generally known—that the Tale of Zayn al-Asnám is one of two (the other being that of Khudádád) which Galland repudiated, as having been foisted into his 8th volume without his knowledge, as he expressly asserts in the “Avertissement” to the 9th vol., promising to remove them in a second edition, which, however, he did not live to see. I understand that M. Herrmann Zotenberg purposes showing, in his forthcoming edition of “Aladdin,” that these two _histoires_ (including that of the Princess of Daryábár, which is interwoven with the tale of Khudádád and his Brothers) were Turkish tales translated by M. Petis de la Croix and were intended to appear in his “Mille et un Jours,” which was published, after his death, in 1710; and that, like most of the tales in that work, they were derived from the Turkish collection entitled “Al-Faráj ba’d al-Shiddah,” or Joy after Affliction. But that Turkish story-book is said to be a translation of the Persian collection entitled “Hazár ú Yek Rúz” (the Thousand and One Days), which M. Petis rendered into French.