The "Fifty Pleasant Stories" are very simple as to the machinery, so to speak, of the telling of them. "Count Lucanor" throughout the book asks advice of his friend Patronio, stating his case, and being responded to with a story. Who Count Lucanor may have been is a mystery for ever. The book shows him to posterity only as a Spanish gentleman of apparent consequence, whose forte, as poor Artemus Ward would say, seems to have been to fall into difficulties and ask advice of Patronio. This gentleman appears as a sort of Don Abraham Lincoln, or Señor Tom Corwin, rather. Every question instantly and irresistibly reminds him of "a little story, you know," etc., etc. This is all of their history. What the end of a man must have been who answered every question with an anecdote, we can only shudderingly decline to conjecture. Whether the gallant Count Lucanor sportively ran him through the body after one story too many some roystering day; whether he went mad when the stories gave out, or whether death interrupted him in a sage narrative, with his sapient hand button-holing the count's doublet, it is not said. There is a world of dry, old-world, dusty, aged pithiness about the stories. They are generally very fairly to the point, and often full of the peculiar patness so characteristic of Sancho Panza. The most remarkable thing about the book, though, is the really large number of apparent originals it contains. In it are gems of all manner of precepts and principles that others have amplified into poetry, and tragedy, and novels, and almost everything. Still, we cannot call this more than a seeming originality, because directly alongside of a tale we are surprised to trace in Shakespeare, or La Fontaine, (a principal debtor to Count Lucanor,) or some other admired author, we are as likely to find some story so aged, so thread-bare, so worn and torn and sapless with the use of centuries, that one is tempted to refer it back to the year 1. Several of the tales are taken from the _Arabian Nights_, and Don Juan Manuel generally modernized them (?) to suit the enlightened Castilian and anti-Moorish tastes of A.D. 1335, The old, old story of Alnaschar, for instance, is dished up as "What happened to a Woman called Pruhana," and the note to the story quietly goes on to the original original, (skipping old Alnaschar with a word as a mere junior copy,) namely, "the fifth part of the _Pantcha Pantra_," which, all will be charmed to learn, is entitled "Aparickchita Kariteva," which latter an Irish friend translates, "Much good may it do ye," and our annotator "Inconsiderate Conduct." {141} We will not quote the intensely thrilling narrative of this Hindoo classic, but content ourselves with assuring our readers, on our honor as a Brahmin, that the point is identically the same.