Since the foregoing was in type I discovered that I had overlooked another German version, in Grimm, which preserves some features of the Arabian tale omitted in the legend of The Dummburg:
There were two brothers, one rich, the other poor. The poor brother, one day wheeling a barrow through the forest, had just come to a naked-looking mountain, when he saw twelve great wild men approaching, and he hid himself in a tree, believing them to be robbers. “Semsi mountain, Semsi mountain, open!” they cried, and the mountain opened, and they went in. Presently they came out, carrying heavy sacks. “Semsi mountain, Semsi mountain, shut thyself!” they cried; the mountain closed and they went away. The poor man went up then and cried, “Semsi mountain, Semsi mountain, open!” the mountain opens, he goes in, finds a cavern full of gold, silver, and jewels, fills his pockets with gold only, and coming out cries, “Semsi mountain, Semsi mountain, shut thyself!” He returns home and lives happily till his gold is exhausted. Then “he went to his brother to borrow a measure that held a bushel, and brought himself some more.” This he does again, and this time the rich brother smears the inside of the bushel with pitch, and when he gets it back finds a gold coin sticking to it, so he taxes his poor brother with having treasure and learns the secret. Off he drives, resolved to bring back, not gold, but jewels. He gets in by saying, “Semsi mountain, Semsi mountain, open!” He loads himself with precious stones, but has forgotten the word, and cries only “Simeli mountain, Simeli mountain, open!” The robbers return and charge him with having twice stolen from them. He vainly protests, “It was not I,” and they cut his head off.
Here the twelve wild men represent the forty robbers, and, as in Ali Baba, it is the hero’s brother who falls a victim to his own cupidity. In the Arabian tale the hero climbs up into a tree when he sees the robbers approach; in The Dummburg he hides himself behind a tree to watch the proceedings of the monk; and in Grimm’s version he hides in a tree. On this last-cited story W. Grimm has the following note: “It is remarkable that this story, which is told in the province of Münster, is told also in the Hartz, about The Dummburg, and closely resembles the Eastern story of ‘The Forty Thieves,’ where even the rock Sesam, which falls open at the words Semsi and Semeli, recalls the name of the mountain in the German saga. This name for a mountain is, according to a document in Pistorius (3, 642), very ancient in Germany. A mountain in Grabfeld is called Similes, and in a Swiss song a Simeliberg is again mentioned. This makes us think of the Swiss word ‘Sinel,’ for ‘sinbel,’ round. In Meier, No. 53, we find ‘Open, Simson.’ In Pröhle’s ‘Märchen für die Jugend,’ No. 30, where the story is amplified, it is Simsimseliger Mountain. There is also a Polish story which is very like it.” Dr. Grimm is mistaken in saying that in the Arabian tale the “rock Sesam” falls open at the words Semsi and Semeli: even in his own version, as the brother finds to his cost, the word Simeli does not open the rock. In Ali Baba the word is “Simsim” (Fr. Sesame), a species of grain, which the brother having forgot, he cries out “Barley.” The “Open, Simson” in Meier’s version and the “Semsi” in Grimm’s story are evidently corruptions of “Simsim,” or “Samsam,” and seem to show that the story did not become current in Germany through Galland’s work.
Dr. N. B. Dennys, in his “Folk-Lore of China, and its Affinities with that of the Aryan and Semitic Races,” p. 134, cites a legend of the cave Kwang-sio-foo in Kiang-si, which reflects part of the tale of Ali Baba: There was in the neighbourhood a poor herdsman named Chang, his sole surviving relative being a grandmother with whom he lived. One day, happening to pass near the cave, he overheard some one using the following words: “Shih mun kai, Kwai Ku hsen shêng lai,” Stone door, open; Mr. Kwai Ku is coming. Upon this the door of the cave opened and the speaker entered. Having remained there for some time he came out, and saying, “Stone door, close; Mr. Kwai Ku is going,” the door again closed and the visitor departed. Chang’s curiosity was naturally excited, and having several times heard the formula repeated, he waited one day until the genie (for such he was) had taken his departure and essayed to obtain an entrance. To his great delight the door yielded, and having gone inside he found himself in a romantic grotto of immense extent. Nothing however in the shape of treasure met his eye, so having fully explored the place he returned to the door, which shut at his bidding, and went home. Upon telling his grandmother of his adventure she expressed a strong wish to see the wonderful cavern; and thither they accordingly went together the next day. Wandering about in admiration of the scenery, they became separated, and Chang at length, supposing that his grandmother had left, passed out of the door and ordered it to shut. Reaching home, he found to his dismay that she had not yet arrived. She must of course have been locked up in the cave, so back he sped and before long was using the magic sentence to obtain access. But alas! the talisman had failed, and poor Chang fell into an agony of apprehension as he reflected that his grandmother would either be starved to death or killed by the enraged genie. While in this perplexity the genie appeared and asked him what was amiss. Chang frankly told him the truth and implored him to open the door. This the genie refused to do, but told him that his grandmother’s disappearance was a matter of fate. The cave demanded a victim. Had it been a male, every succeeding generation of his family would have seen one of its members arrive at princely rank. In the case of a woman her descendants would in a similar way possess power over demons. Somewhat comforted to know that he was not exactly responsible for his grandmother’s death, Chang returned home and in process of time married. His first son duly became Chang tien shih (Chang, the Master of Heaven), who about A.D. 25 was the first holder of an office which has existed uninterruptedly to the present day.
ALI KHWAJAH AND THE MERCHANT OF BAGHDAD—p. [405].
Precocious Children.—See note at end of the Tale, p. [416].—In the (apocryphal) Arabic Gospel of the Saviour’s Infancy is the following passage:
“Now in the month of Adar, Jesus, after the manner of a King, assembled the boys together. They spread their clothes on the ground and he sat down upon them. Then they put on his head a crown made of flowers, and like chamber-servants stood in his presence, on the right and on the left, as if he was a king. And whoever passed by that way was forcibly dragged by the boys, saying, ‘Come hither and adore the king; then go away.’”
A striking parallel to this is found in the beginning of the Mongolian Tales of Ardshi Bordshi—i.e., the celebrated Indian monarch, Rájá Bhoja, as given in Miss Busk’s “Sagas from the Far East,” p. 252.
“Long ages ago there lived a mighty king called Ardshi Bordshi.[[160]] In the neighbourhood of his residence was a hill where the boys who were tending the calves were wont to pass the time by running up and down. But they had also another custom, and it was that whichever of them won the race was king for the day—an ordinary game enough, only that when it was played in this place the Boy-King thus constituted was at once endowed with such extraordinary importance and majesty that everyone was constrained to treat him as a real king. He had not only ministers and dignitaries among his playfellows, who prostrated themselves before him, and fulfilled all his behests, but whoever passed that way could not choose but pay him homage also.”[[161]]
This is followed by an analogous story to that of Alí Khwajah and the Merchant of Baghdad, under the title of “The False Friend,” in which a merchant on a trading journey entrusts a friend with a valuable jewel to give to his wife on his return home, and the friend retaining it for his own use suborns two men to bear witness that they saw him deliver it to the merchant’s wife, so the King dismisses the suit. But the Boy-King undertakes to try the case de novo; causes the two witnesses to be confined in separate places, each with a piece of clay which he is required to make into the form of the jewel, and the models are found to be different one from the other, and both from the shape of the jewel as described by the false friend. A similar story occurs in several Indian collections, with a Kází instead of the Boy-King.