How this entertaining story found its way into North Germany—and nowhere else in Europe, so far as I am aware—it is not easy to say, but its twin-brother seems to be orally current there, in all essential details, excepting the marvellous conclusion. For the poor ropemaker, however, a struggling weaver and for the two gentlemen, Sa’d and Sa’dí, three rich students are substituted. There does not appear (according to the version given by Thorpe in his “Yule Tide Stories,” which he entitles, not inaptly, The Three Gifts) to be any difference of opinion among the students regarding the influence of Destiny, or Fate, upon men’s fortunes: they simply give the poor weaver a hundred dollars, “to assist him in his housekeeping.” The weaver hides the money in a heap of rags, unknown to his wife, who sells them to a rag-collector for a trifling sum. A year afterwards the students are again passing the house of the weaver and find him poorer than ever. He tells them of his mishap and they give him another hundred dollars, warning him to be more careful with the money this time. The weaver conceals the dollars in the ash-tub, again without the cognisance of his wife, who disposes of the ashes for a few pieces of soap. At the end of the second year the students once more visit the wretched weaver, and on being informed of his loss, they throw a bit of lead at his feet, saying it’s of no use to give such a fool money, and go away in a great huff. The weaver picks up the lead and places it on the window-sill. By-and-by a neighbour, who is a fisherman, comes in and asks for a bit of lead or some other heavy thing, for his net, and on receiving the lead thrown down by the students promises to give him in return the first large fish he catches. The weaver does get a fine fish, which he immediately cuts open, and finds in its stomach a “large stone,” which he lays on the window-sill, where, as it becomes dark, the stone gives forth a brighter and brighter light, “just like a candle,” and then he places it so that it illuminates the whole apartment. “That’s a cheap lamp,” quoth he to his wife: “wouldst not like to dispose of it as thou didst the two hundred dollars?” The next evening a merchant happening to ride past the weaver’s house perceives the brilliant stone, and alighting from his horse, enters and looks at it, then offers ten dollars for it, but the weaver says the stone is not for sale. “What! not even for twenty dollars?” “Not even for that.” The merchant keeps on increasing his offers till he reaches a thousand dollars, which was about half its real value, for the stone was a diamond, and which the weaver accepts, and thus he becomes the richest man in all the village. His wife, however, took credit to herself for his prosperity, often saying to him, “How well it was that I threw away the money twice, for thou hast me to thank for thy good luck!”—and here the German story ends. For the turban of the ropemaker and the kite that carried it off, with its precious lining, we have the heap of rags and the rag-collector; but the ashes exchanged for soap agrees with the Arabian story almost exactly.
The incident of the kite carrying off the poor ropemaker’s turban in which he had deposited the most part of the gold pieces that he received from the gentleman who believed that “money makes money”—an unquestionable fact, in spite of our story—is of very frequent occurrence in both Western and Eastern fictions. My readers will recollect its exact parallel in the abstract of the romance of Sir Isumbras, cited in Appendix to the preceding volumes: how the Knight, with his little son, after the soudan’s ship has sailed away with his wife, is bewildered in a forest, where they fall asleep, and in the morning at sunrise when he awakes, an eagle pounces down and carries off his scarlet mantle, in which he had tied up his scanty store of provisions together with the gold he had received from the soudan; and how many years after he found it in a bird’s nest (Supp. Nights, vol. ii. p. 361 and p. 365).—And, not to multiply examples, a similar incident occurs in the “Kathá Sarit Ságara,” Book ix. ch. 54, where a merchant named Samudrasúra is shipwrecked and contrives to reach the land, where he perceives the corpse of a man, round the loins of which is a cloth with a knot in it. On unfastening the cloth he finds in it a necklace studded with jewels. The merchant proceeds towards a city called Kalasapuri, carrying the necklace in his hand. Overpowered by the heat, he sits down in a shady place and falls asleep. The necklace is recognised by some passing policemen as that of the king’s daughter, and the merchant is at once taken before the king and accused of having stolen it. While the merchant is being examined, a kite swoops down and carries off the necklace. Presently a voice from heaven declares that the merchant is innocent, explains how the necklace came into his possession, and orders the king to dismiss him with honour. This celestial testimony in favour of the accused satisfies the king, who gives the merchant much wealth and sends him on his way. The rest of the story is as follows: “And after he had crossed the sea, he travelled with a caravan, and one day, at evening time, he reached a wood. The caravan encamped in the wood for the night, and while Samudrasúra was awake a powerful host of bandits attacked it. While the bandits were massacring the members of the caravan, Samudrasúra left his wares and fled, and climbed up a banyan-tree without being discovered. The host of bandits departed, after they had carried off all the wealth, and the merchant spent that night there, perplexed with fear and distracted with grief. In the morning he cast his eyes towards the top of the tree, and saw, as fate would have it, what looked like the light of a lamp, trembling among the leaves. And in his astonishment he climbed up the 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.
Sir Richard Burton has remarked, in note 1, p. [369], that Mr. Coote could only find in the south of Europe, or in the Levant, analogues of two of the incidents of this tale, yet one of those may accepted as proof of its Eastern extraction, namely, in the Cyprian story of “Three Eyes,” where the ogre attempts to rescue his wife with a party of blacks concealed in bales: “The King’s jester went downstairs, in order to open the bales and take something out of them. Directly he approached one of the sacks, the black man answered from the inside, ‘Is it time, master?’ In the same manner he tried all the sacks, and then went upstairs and told them that the sacks were full of black men. Directly the King’s bride heard this, she made the jester and the company go downstairs. They take the executioner with them, and go to the first sack. The black man says from the inside, ‘Is it time?’ ‘Yes,’ say they to him, and directly he came out they cut his head off. In the same manner they go to the other sacks and kill the other black men.”[[157]]
The first part of the tale of Ali Baba—ending with the death of his greedy brother—is current in North Germany, to this effect:
A poor woodcutter, about to fell a beech at the back of the scattered ruins of the castle of Dummburg, seeing a monk approach slowly through the forest, hid himself behind a tree. The monk passed by and went among the rocks. The woodcutter stole cautiously after him and saw that he stopped at a small door which had never been discovered by the villagers. The monk knocks gently and cries, “Little door, open!” and the door springs open. He also cries, “Little door, shut!” and the door is closed. The woodcutter carefully observes the place, and next Sunday goes secretly and obtains access to the vault by the same means as that employed by the monk. He finds in it “large open vessels and sacks full of old dollars and fine guilders, together with heavy gold pieces, caskets filled with jewels and pearls, costly shrines and images of saints, which lay about or stood on tables of silver in corners of the vault.” He takes but a small quantity of the coin, and as he is quitting the vault a voice cries, “Come again!” First giving to the church, for behoof of the poor, a tenth of what he had taken, he goes to the town and buys clothes for his wife and children, giving out to his neighbours that he had found an old dollar and a few guilders under the roots of a tree that he had felled. Next Sunday he again visits the vault, this time supplying himself somewhat more liberally from the hoard, but still with moderation and discretion, and “Come again!” cries a voice as he is leaving. He now gives to the church two tenths, and resolves to bury the rest of the money he had taken in his cellar. But he can’t resist a desire to first measure the gold, for he could not count it. So he borrows for this purpose a corn-measure of a neighbour—a very rich but penurious man, who starved himself, hoarded up corn, cheated the labourer of his hire, robbed the widow and the orphan, and lent money on pledges. Now the measure had some cracks in the bottom, through which the miser shook some grains of corn into his own heap when selling it to the poor labourer, and into these cracks two or three small coins lodged, which the miser was not slow to discover. He goes to the woodcutter and asks him what it was he had been measuring. “Pine-cones and beans.” But the miser holds up the coins he had found in the cracks of the measure, and threatens to inform upon him and have him put to the question if he will not disclose to him the secret of his money. So the woodcutter is constrained to tell him the whole story and much against his will, but not before he had made the miser promise that he would give one-tenth to the church, he conducts him to the vault. The miser enters, with a number of sacks, the woodcutter waiting outside to receive them when filled with treasure. But while the miser is gloating over the enormous wealth before him—even “wealth beyond the dreams of avarice”—a great black dog comes and lays himself down on the sacks. Terrified at the flaming eyes of the dog, the miser crept towards the door, but in his fear forgot the proper words, and instead of saying, “Little door, open!” he cried, “Little door, shut!” The woodcutter, having waited a long time, approached the door, and knocking gently and crying “Little door, open!” the door sprang open and he entered. There lay the bleeding body of his wicked neighbour, stretched on his sacks, but the vessels of gold and silver, and diamonds and pearls, sank deeper and deeper into the earth before his eyes, till all had completely vanished.[[158]]
The resemblance which this North German tale bears to the first part of “Ali Baba” is striking, and is certainly not merely fortuitous; the fundamental outline of the latter is readily recognisable in the legend of the Dummburg, notwithstanding differences in the details. In both the hero is a poor woodcutter, or faggot-maker; for the band of robbers a monk is substituted in the German legend, and for the “open, sesame” and “shut, sesame,” we have “little door, shut,” and “little door, open.” In both the borrowing of a corn-measure is the cause of the secret being revealed—in the one case, to Kasim, the greedy brother of Ali Baba, and in the other, to a miserly old hunks; the fate of the latter and the disappearance of all the treasure are essentially German touches. The subsequent incidents of the tale of Ali Baba, in which the main interest of the narrative is concentrated;—Ali Baba’s carrying off the four quarters of his brother’s body and having them sewed together; the artifices by which the slave-girl checkmates the robber-chief and his followers in their attempts to discover the man who had learned the secret of the treasure-cave—her marking all the doors in the street and her pouring boiling oil on the robbers concealed in the oil-skins in the courtyard;—these incidents seem to have been adapted, or imitated, from some version of the world-wide story of the Robbery of the Royal Treasury, as told by Herodotus, of Rhampsinitus, King of Egypt, in which the hero performs a series of similar exploits to recover the headless body of his brother and at the same time escape detection. Moreover, the conclusion of the tale of Ali Baba, where we are told he lived in comfort and happiness on the wealth concealed in the robbers’ cave, and “in after days he showed the hoard to his sons and his sons’ sons, and taught them how the door could be caused to open and shut”—this is near akin to the beginning of Herodotus’ legend of the royal treasury: the architect who built it left a stone loose, yet so nicely adjusted that it could not be discovered by any one not in the secret, by removing which he gained access to the royal stores of gold, and having taken what he wanted replaced the stone as before; on his deathbed he revealed the secret to his two sons as a legacy for their future maintenance. The discovery of Ali Baba’s being possessed of much money from some coins adhering to the bottom of the corn-measure is an incident of very frequent occurrence in popular fictions; for instance, in the Icelandic story of the Magic Quern that ground out gold or whatever its possessor desired (Powell and Magnússon’s collection, second series); in the Indian tale of the Six Brothers (Vernieux’s collection) and its Irish analogue, “Little Fairly”; in the modern Greek popular tale of the Man with Three Grapes (Le Grand’s French collection), and a host of other tales, both Western and Eastern. The fate of Ali Baba’s rich and avaricious brother, envious of his good luck, finds also many parallels—mutatis mutandis—as in the story of the Magic Quern, already referred to, and the Mongolian tale of the poor man and the Dakinis, the 14th Relation of Siddhí Kúr. Morgiana’s counter-device of marking all the doors in the street, so that her master’s house should not be recognised, often occurs, in different forms: in my work on Popular Tales and Fictions, vol. ii. pp. 164, 165, a number of examples are cited. The pretended merchant’s objecting to eat meat cooked with salt, which fortunately aroused Morgiana’s suspicions of his real character—for robber and murderer as he was, he would not be “false to his salt”[[159]]—recalls an anecdote related by D’Herbelot, which may find a place here, in conclusion: The famous robber Yacúb bin Layth, afterwards the founder of a dynasty of Persian monarchs called Soffarides, in one of his expeditions broke into the royal palace and having collected a large quantity of plunder, was on the point of carrying it off when his foot struck against something which made him stumble. Supposing it not to be an article of value, he put it to his mouth, the better to distinguish it. From the taste he found it was a lump of salt, the symbol and pledge of hospitality, on which he was so touched that he retired immediately without carrying away any part of his booty. The next morning the greatest astonishment was caused throughout the palace on the discovery of the valuables packed up and ready for removal. Yacúb was arrested and brought before the prince, to whom he gave a faithful account of the whole affair, and by this means so ingratiated himself with his sovereign that he employed him as a man of courage and ability in many arduous enterprises, in which he was so successful as to be raised to the command of the royal troops, whose confidence in and affection for their general induced them on the prince’s death to prefer his interest to that of the heir to the throne, from whence he afterwards spread his extensive conquests.