“The History of the Forty Vezirs” is evidently a collection of very old stories. Its compilation is attributed to Sheik-Zada, who lived in the reign of Murad II, 1421-1451. To this Sultan the tales are dedicated. They are like all oriental tales, barely tinged with any ethical significance; they aim principally at amusing and distracting the mind by a series of quickly changing incidents; there is no attempt at character-drawing, and an amazing element of the improbable spices the whole series. They form, however, the most notable work in prose produced in that period which saw the dawn of a Turkish literature, and are only inferior to the tales of Pilpay and the Hitopadesa in their frivolity, exaggeration and evident lack of all those features which would indicate an earnest and conscientious study of real life. They are none the less entertaining, and their genuine Turkish characteristics render them valuable to the student of Ottoman literature as well as to the general reader who may take them up merely _pour passer le temps_. The fables by unknown authors, which we include in this volume, and which have never before been translated into English, are much later productions of Turkish genius. In Europe the fable has always been, in its original form, one of the most effective and pungent vehicles of appeal to public opinion. Witness “The Belly and the Members” of Menenius Agrippa, so nobly rendered in Shakespeare’s “Coriolanus.” It well illustrates La Fontaine’s excuse for his own fables, namely, that under some circumstances a man must be silent or “strike from afar.” From the vantage ground of the fable Menenius could rebuke a raging mob, and Le Fontaine score the ingratitude of kings, as in more recent times Krilof has satirized the despotic abuses of the Russian government. The Turkish fables also “hit from afar.” The tyranny of Turkish rulers is pointed out in “The Farmer and His Hounds.” The corruption that surrounds access to the great is vividly suggested in “The Sailors in Distress.” But the weaknesses of the Turkish character are also reflected in fables which contain but little wisdom; the apathy which puts up with everything is expressed in the moral of “The Candle”; the want of enterprise and energy which is characteristic of the Turk, in “The Shark” and “The Clown Turned First Soldier, then Merchant.”