[FN#309] I have noted that as a rule in The Nights poetical justice is administered with much rigour and exactitude. Here, however, the tale-teller allows the good brother to be slain by the two wicked brothers as he permitted the adulterous queens to escape the sword of Kamar al-Zaman. Dr. Steingass brings to my notice that I have failed to do justice to the story of Sharrkán (vol. ii., p. 172), where I note that the interest is injured by the gratuitous incest But this has a deeper meaning and a grander artistic effect. Sharrkán begins with most unbrotherly feelings towards his father’s children by a second wife. But Allah’s decree forces him to love his half-sister despite himself, and awe and repentance convert the savage, who joys at the news of his brother’s reported death, to a loyal and devoted subject of the same brother. But Judar with all his goodness proved himself an arrant softy and was no match for two atrocious villains. And there may be overmuch of forgiveness as of every other good thing. [FN#310] In such case the “’iddah” would be four months and ten days. [FN#311] Not quite true. Weil’s German version, from a MS. in the Ducal Library of Gotha gives the “Story of Judar of Cairo and Mahmud of Tunis” in a very different form. It has been pleasantly “translated (from the German) and edited” by Mr. W. F. Kirby, of the British Museum, under the title of “The New Arabian Nights” (London: W. Swan Sonnenschein & Co.), and the author kindly sent me a copy. “New Arabian Nights” seems now to have become a fashionable title applied without any signification: such at least is the pleasant collection of Nineteenth Century Novelettes, published under that designation by Mr. Robert Louis Stevenson, Chatto and Windus, Piccadilly, 1884. [FN#312] Von Hammer holds this story to be a satire on Arab superstition and the compulsory propagation, the compelle intrare, of Al-Islam. Lane (iii. 235) omits it altogether for reasons of his own. I differ with great diffidence from the learned Baron whose Oriental reading was extensive; but the tale does not seem to justify his explanations. It appears to me simply one of the wilder romances, full of purposeful anachronisms (e.g. dated between Abraham and Moses, yet quoting the Koran) and written by someone familiar with the history of Oman. The style too is peculiar, in many places so abrupt that much manipulation is required to make it presentable: it suits, however, the rollicking, violent brigand-like life which it depicts. There is only one incident about the end which justifies Von Hammer’s suspicion. [FN#313] The Persian hero of romance who converses with the Simurgh or Griffin. [FN#314] The word is as much used in Egypt as wunderbar in Germany. As an exclamation is equivalent to “mighty fine!” [FN#315] In modern days used in a bad sense, as a freethinker, etc. So Dalilah the Wily is noted to be a philosopheress.