tree and saw a kite’s nest, in which there was a heap of glittering priceless jewelled ornaments. He took them all out of it, and found among the ornaments that necklace which he had found in Svarnadvípa and the kite had carried off. He obtained from that nest unlimited wealth, and descending from the tree, he went off delighted, and reached in course of time his own city of Harshapúra. There the merchant Samudrasúra remained, enjoying himself to his heart’s content, with his family, free from the desire of any other wealth.” There is nothing improbable—at all events, nothing impossible—in the History of Khwajah Hasan al-Habbál. That he should lose the two sums of money in the manner described is quite natural, and the incidents carry with them the moral: “Always take your wife into your confidence” (but the Khwajah was a Muslim), notwithstanding the great good luck which afterwards befell, and which, after all, was by mere chance. There is nothing improbable in the finding of the turban with the money intact in the bird’s nest, but that this should occur while the Khwajah’s benefactors were his guests is—well, _very_ extraordinary indeed! As to the pot of bran—why, some little license must be allowed a story-teller, that is all that need be said! The story from beginning to end is a most charming one, and will continue to afford pleasure to old and young—to “generations yet unborn.” _ALI BABA AND THE FORTY THIEVES—p. 369._ I confess to entertaining a peculiar affection for this tale. It was the first of the tales of the “Arabian Nights Entertainments” which I read in the days of my “marvelling boyhood”—eheu! fugaces, &c., &c. I may therefore be somewhat prejudiced in its favour, just as I still consider Scott’s “Waverley” as the best of his long series of fascinating fictions, that being the first of them which I read—as it was the first he wrote. But “Ali Baba and the Forty Thieves”—the “open, sesame!” “shut, sesame!”—the sackfuls of gold and silver and the bales of rich merchandise in the robbers’ cave—the avaricious brother forgetting the magical formula which would open the door and permit him to escape with his booty—his four quarters hung up _in terrorem_—and above all, the clever, devoted slave-girl, Morgiana, who in every way outwitted the crafty robber-chief;—these incidents remain stamped in my memory ineffaceably: like the initials of lovers’ names cut into the bark of a growing tree, which, so far from disappearing, become larger by the lapse of time. To me this delightful tale will ever be, as Hafiz sings of something, “freshly fresh and newly new.” I care not much though it never be found in an Arabic or any other Oriental dress—but that it is of Asiatic invention is self-evident; there is, in my poor opinion, nothing to excel it, if indeed to equal it, for intense interest and graphic narrative power in all the Nights proper.