THE FULLER, HIS WIFE, AND THE TROOPER.—Vol. XI. p. 231.
In addition to the versions of this amusing story referred to on p. 231—all of which will be found in the second volume of my work on "Popular Tales and Fictions," pp. 212-228—there is yet another in a Persian story-book, of unknown date, entitled, "Shamsa ú Kuhkuha," written by Mirza Berkhorder Turkman, of which an account, together with specimens, is given in a recently- published little book (Quaritch), "Persian Portraits: a sketch of Persian History, Literature, and Politics," by Mr. F. F. Arbuthnot, author of "Early Ideas: a Group of Hindoo Stories."
This version occurs in a tale of three artful wives—or, to employ the story-teller's own graphic terms, "three whales of the sea of fraud and deceit: three dragons of the nature of thunder and the quickness of lightning; three defamers of honour and reputation; namely, three men-deceiving, lascivious women, each of whom had from the chicanery of her cunning issued the diploma of turmoil to a hundred cities and countries, and in the arts of fraud they accounted Satan as an admiring spectator in the theatre of their stratagems.[509] One of them was sitting in the court of justice of the kazi's embrace; the second was the precious gem of the bazaar-master's diadem of compliance; and the third was the beazle and ornament of the signet-ring of the life and soul of the superintendent of police. They were constantly entrapping the fawns of the prairie of deceit within the grasp of cunning, and plundered the wares of the caravans of tranquillity of hearts of strangers and acquaintances, by means of the edge of the scimitar of fraud. One day this trefoil of roguery met at the public bath, and, according to their homogeneous nature they intermingled as intimately as the comb with the hair; they tucked up their garment of amity to the waist of union, entered the tank of agreement, seated themselves in the hot-house of love, and poured from the dish of folly, by means of the key of hypocrisy, the water of profusion upon the head of intercourse; they rubbed with the brush of familiarity and the soap of affection the stains of jealousies from each other's limbs. After a while, when they had brought the pot of concord to boil by the fire of mutual laudation, they warmed the bath of association with the breeze of kindness, and came out. In the dressing-room all three of them happened simultaneously to find a ring, the gem of which surpassed the imagination of the jeweler of destiny, and the like of which he had never beheld in the storehouse of possibility. In short, these worthy ladies contended with each other for possession of the ring, until at length the mother of the bathman came forward and proposed that they should entrust the ring to her in the meanwhile, and it should be the prize of the one who most cleverly deceived and befooled her husband, to which they all agreed, and then departed for their respective domiciles.[510]
Mr. Arbuthnot's limits pertained only of abstracts of the tricks played upon their husbands by the three ladies—which the story- teller gives at great length—and that of the kazi's wife is as follows:
The kazi's wife knows that a certain carpenter, who lived close to her, was very much in love with her. She sends her maid to him with a message to say that the flame of his love had taken effect upon her heart, and that he must make an underground passage between his house and her dwelling, so that they might communicate with each other freely by means of the mine. The carpenter digs the passage, and the lady pays him a visit, and says to him, "To-morrow I shall come here, and you must bring the kazi to marry me to you." The next day the kazi goes to his office; the lady goes to the carpenter's house, and sends him to bring her husband, the kazi, to marry them. The carpenter fetches him, and, as the kazi hopes for a good present, he comes willingly enough, but is much surprised at the extreme likeness between the bride and his own wife. The more he looks at her, the more he is in doubt; and at last, offering an excuse to fetch something, he rushes off to his own house, but is forestalled by his spouse, who had gone thither by the passage, and on his arrival is lying on her bed. The kazi makes some excuses for his sudden entry into her room, and, after some words, goes back to the carpenter's house; but his wife had preceded him, and is sitting in her place. Again he begins the ceremony, but is attracted by a black mole on the corner of the bride's lip, which he could have sworn was the same as that possessed by his wife. Making more excuses, and in spite of the remonstrances of the carpenter, he hurries back to his house once more; but his wife had again got there before him, and he finds her reading a book, and much astonished at his second visit. She suggests that he is mad, and he admits that his conduct is curious, and returns to the carpenter's house to complete the ceremony. This is again frequently interrupted, but finally he marries his own wife to the carpenter, and, having behaved in such an extraordinary manner throughout, is sent off to a lunatic asylum.
For the tricks of the two other ladies, and for many other equally diverting tales, I refer the reader to Mr. Arbuthnot's pleasing and instructive little book, which is indeed an admirable epitome of the history and literature of Persia, and one which was greatly wanted in these days, when most men, "like the dogs in Egypt for fear of the crocodiles, must drink of the waters of information as they run, in dread of the old enemy Time."
I have discussed the question of the genealogy of this tale elsewhere, but, after a somewhat more minute comparative analysis of the several versions, am disposed to modify the opinion which I then entertained. I think we must consider as the direct or indirect source of the versions and variants the "Miles Gloriosus" of Plautus, the plot of which, it is stated in the prologue to the second act, was taken from a Greek play. It is, however, not very clear whether Berni adapted his story from Plautus or the "Seven Wise Masters"; probably from the former, since in both the lady is represented, to the captain and the cuckold, as a twin sister, while in the S. W. M. the crafty knight pretends that she is his leman, come from Hungary with tidings that he may now with safety return home. On the other hand, in the S. W. M., as in Plautus, the lovers make their escape by sea, an incident which Berni has altered to a journey by land—no doubt, in order to introduce further adventures for the development of his main plot. But then we find a point of resemblance between Berni and the S. W. M., in the incident of the cuckold accompanying the lovers part of their way—in the latter to the sea-shore; while in Plautus the deceived captain remains at home to prosecute an amour and get a thrashing for his reward (in Plautus, instead of a wife, it is the captain's slave- girl). It is curious that amidst all the masquerade of the Arabian story the cuckold's wife also personates her supposititious twin-sister, as in Plautus and Berni. In Plautus the houses of the lover and the captain adjoin, as is also the case in the modern Italian and Sicilian versions; while in Berni, the S. W. M., the Arabian, and the Persian story cited in this note they are at some distance. With these resemblances and variations it is not easy to say which version was derived from another. Evidently the Arabian story has been deliberately modified by the compiler, and he has, I think, considerably improved upon the original: the ludicrous perplexity of the poor fuller when he awakes, to find himself apparently transformed into a Turkish trooper, recalls the nursery rhyme of the little woman "who went to market her eggs for to sell," and falling asleep on the king's highway a pedlar cut off her petticoats up to the knees, and when she awoke and saw her condition she exclaimed, "Lawk-a-mercy me, this is none of I!" and so on. And not less diverting is the pelting the blockhead receives from his brother fullers—altogether, a capital story.