The Brown Fairy Book E-Book

Andrew Lang

• Herausgeber: Jazzybee Verlag
• Kategorie: Fantasy und Science-Fiction
• Sprache: Englisch
• Veröffentlichungsjahr: 2012

Seitenzahl: 503

Beschreibung

Fairy tales and stories of the 'Arabian Nights' order are not often attempted by modern imaginations, but collections of the old legends are perennially popular. Mr. Andrew Lang has not yet exhausted the supply of these last, although he has to go to countries more and more remote for every new year's gleanings. For the material in his latest volume, ' The Brown Fairy Book ', he has searched the folk lore of the red Indians, the black Australians, the African Kaffirs, and the natives of Brazil and New Caledonia. Besides these, there are some tales of moment from the French and Persian, some of them being specially translated for this work. The beautiful illustrations in color are the work of Mr. Henry Ford. This book is illustrated and annotated with a rare extensive biographical sketch of the author, Andrew Lang, written by Sir Edmund Gosse, CB, a contemporary poet and writer. Contents: What The Rose Did To The Cypress Ball-Carrier And The Bad One How Ball-Carrier Finished His Task The Bunyip Father Grumbler The Story Of The Yara The Cunning Hare The Turtle And His Bride How Geirald The Coward Was Punished Hábogi How The Little Brother Set Free His Big Brothers The Sacred Milk Of Koumongoé The Wicked Wolverine The Husband Of The Rat's Daughter The Mermaid And The Boy Pivi And Kabo The Elf Maiden How Some Wild Animals Became Tame Ones Fortune And The Wood-Cutter The Enchanted Head The Sister Of The Sun The Prince And The Three Fates The Fox And The Lapp Kisa The Cat The Lion And The Cat Which Was The Foolishest? Asmund And Signy Rübezahl Story Of The King Who Would Be Stronger Than Fate Story Of Wali Dâd The Simple-Hearted Tale Of A Tortoise And Of A Mischievous Monkey The Knights Of The Fish

Leseprobe

The Brown Fairy Book

Andrew Lang

Contents:

Andrew Lang (1844-1912)

Preface

What The Rose Did To The Cypress

Ball-Carrier And The Bad One

How Ball-Carrier Finished His Task

The Bunyip

Father Grumbler

The Story Of The Yara

The Cunning Hare

The Turtle And His Bride

How Geirald The Coward Was Punished

Hábogi

How The Little Brother Set Free His Big Brothers

The Sacred Milk Of Koumongoé

The Wicked Wolverine

The Husband Of The Rat’s Daughter

The Mermaid And The Boy

Pivi And Kabo

The Elf Maiden

How Some Wild Animals Became Tame Ones

Fortune And The Wood-Cutter

The Enchanted Head

The Sister Of The Sun

The Prince And The Three Fates

The Fox And The Lapp

Kisa The Cat

The Lion And The Cat

Which Was The Foolishest?

Asmund And Signy

Rübezahl

Story Of The King Who Would Be Stronger Than Fate

Story Of Wali Dâd The Simple-Hearted

Tale Of A Tortoise And Of A Mischievous Monkey

The Knights Of The Fish

The Brown Fairy Book, A. Lang

Jazzybee Verlag Jürgen Beck

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Germany

ISBN: 9783849609269

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ANDREW LANG (1844-1912)

Biographical Sketch from "Portraits And Sketches" by Edmund Gosse

INVITED to note down some of my recollections of Andrew Lang, I find myself suspended between the sudden blow of his death and the slow development of memory, now extending in unbroken friendship over thirty-five years. The magnitude and multitude of Lang's performances, public and private, during that considerable length of time almost paralyse expression; it is difficult to know where to begin or where to stop. Just as his written works are so extremely numerous as to make a pathway through them a formidable task in bibliography, no one book standing out predominant, so his character, intellectual and moral, was full -of so many apparent inconsistencies, so many pitfalls for rash assertion, so many queer caprices of impulse, that in a whole volume of analysis, which would be tedious, one could scarcely do justice to them all. I will venture to put down, almost at haphazard, what I remember that seems to me to have been overlooked, or inexactly stated, by those who wrote, often very sympathetically, at the moment of his death, always premising that I speak rather of a Lang of from 1877 to 1890, when I saw him very frequently, than of a Lang whom younger people met chiefly in Scotland.

When he died, all the newspapers were loud in proclaiming his "versatility." But I am not sure that he was not the very opposite of versatile. I take "versatile" to mean changeable, fickle, constantly ready to alter direction with the weather-cock. The great instance of versatility in literature is Ruskin, who adopted diametrically different views of the same subject at different times of his life, and defended them with equal ardour. To be versatile seems to be unsteady, variable. But Lang was through his long career singularly unaltered; he never changed his point of view; what he liked and admired as a youth he liked and admired as an elderly man. It is true that his interests and knowledge were vividly drawn along a surprisingly large number of channels, but while there was abundance there does not seem to me to have been versatility. If a huge body of water boils up from a crater, it may pour down a dozen paths, but these will always be the same; unless there is an earthquake, new cascades will not form nor old rivulets run dry. In some authors earthquakes do take place as in Tolstoy, for instance, and in S. T. Coleridge but nothing of this kind was ever manifest in Lang, who was extraordinarily multiform, yet in his varieties strictly consistent from Oxford to the grave. As this is not generally perceived, I will take the liberty of expanding my view of his intellectual development.

To a superficial observer in late life the genius of Andrew Lang had the characteristics which we are in the habit of identifying with precocity. Yet he had not been, as a writer, precocious in his youth. One slender volume of verses represents all that he published in book-form before his thirty-fifth year. No doubt we shall learn in good time what he was doing before he flashed upon the world of journalism in all his panoply of graces, in 1876, at the close of his Merton fellowship. He was then, at all events, the finest finished product of his age, with the bright armour of Oxford burnished on his body to such a brilliance that humdrum eyes could hardly bear the radiance of it. Of the terms behind, of the fifteen years then dividing him from St. Andrews, we know as yet but little; they were years of insatiable acquirement, incessant reading, and talking, and observing gay preparation for a life to be devoted, as no other life in our time has been, to the stimulation of other people's observation and talk and reading. There was no cloistered virtue about the bright and petulant Merton don. He was already flouting and jesting, laughing with Ariosto in the sunshine, performing with a snap of his fingers tasks which might break the back of a pedant, and concealing under an affectation of carelessness a literary ambition which knew no definite bounds.

In those days, and when he appeared for the first time in London, the poet was paramount in him. Jowett is said to have predicted that he would be greatly famous in this line, but I know not what evidence Jowett had before him. Unless I am much mistaken, it was not until Lang left Balliol that his peculiar bent became obvious. Up to that time he had been a promiscuous browser upon books, much occupied, moreover, in the struggle with ancient Greek, and immersed in Aristotle and Homer. But in the early days of his settlement at Merton he began to concentrate his powers, and I think there were certain influences which were instant and far-reaching. Among them one was pre-eminent. When Andrew Lang came up from St. Andrews he had found Matthew Arnold occupying the ancient chair of poetry at Oxford. He was a listener at some at least of the famous lectures which, in 1865, were collected as "Essays in Criticism"; while one of his latest experiences as a Balliol undergraduate was hearing Matthew Arnold lecture on the study of Celtic literature. His conscience was profoundly stirred by "Culture and Anarchy" (1869); his sense of prose-form largely determined by "Friendship's Garland" (1871). I have no hesitation in saying that the teaching and example of Matthew Arnold prevailed over all other Oxford influences upon the intellectual nature of Lang, while, although I think that his personal acquaintance with Arnold was very slight, yet in his social manner there was, in early days, not a little imitation of Arnold's aloofness and superfine delicacy of address. It was unconscious, of course, and nothing would have enraged Lang more than to have been accused of "imitating Uncle Matt."

The structure which his own individuality now began to build on the basis supplied by the learning of Oxford, and in particular by the study of the Greeks, and "dressed" by courses of Matthew Arnold, was from the first eclectic. Lang eschewed as completely what was not sympathetic to him as he assimilated what was attractive to him. Those who speak of his "versatility" should recollect what large tracts of the literature of the world, and even of England, existed outside the dimmest apprehension of Andrew Lang. It is, however, more useful to consider what he did apprehend; and there were two English books, published in his Oxford days, which permanently impressed him: one of these was "The Earthly Paradise," the other D. G. Rossetti's " Poems." In after years he tried to divest himself of the traces of these volumes, but he had fed upon their honey-dew and it had permeated his veins.

Not less important an element in the garnishing of a mind already prepared for it by academic and aesthetic studies was the absorption of the romantic part of French literature. Andrew Lang in this, as in everything else, was selective. He dipped into the wonderful lucky-bag of France wherever he saw the glitter of romance. Hence his approach, in the early seventies, was threefold: towards the mediaeval lais and chansons, towards the sixteenth-century Pleiade, and towards the school of which Victor Hugo was the leader in the nineteenth century. For a long time Ronsard was Lang's poet of intensest predilection; and I think that his definite ambition was to be the Ronsard of modern England, introducing a new poetical dexterity founded on a revival of pure humanism. He had in those days what he lost, or at least dispersed, in the weariness and growing melancholia of later years a splendid belief in poetry as a part of the renown of England, as a heritage to be received in reverence from our fathers, and to be passed on, if possible, in a brighter flame. This honest and beautiful ambition to shine as one of the permanent benefactors to national verse, in the attitude so nobly sustained four hundred years ago by Du Bellay and Ronsard, was unquestionably felt by Andrew Lang through his bright intellectual April, and supported him from Oxford times until 1882, when he published " Helen of Troy." The cool reception of that epic by the principal judges of poetry caused him acute disappointment, and from that time forth he became less eager and less serious as a poet, more and more petulantly expending his wonderful technical gift on fugitive subjects. And here again, when one comes to think of it, the whole history repeated itself, since in " Helen of Troy " Lang simply suffered as Ronsard had done in the "Franciade." But the fact that 1882 was his year of crisis, and the tomb of his brightest ambition, must be recognised by every one who closely followed his fortunes at that time. Lang's habit of picking out of literature and of life the plums of romance, and these alone, comes to be, to the dazzled observer of his extraordinarily vivid intellectual career, the principal guiding line. This determination to dwell, to the exclusion of all other sides of any question, on its romantic side is alone enough to rebut the charge of versatility. Lang was in a sense encyclopaedic; but the vast dictionary of his knowledge had blank pages, or pages pasted down, on which he would not, or could not, read what experience had printed. Absurd as it sounds, there was always something maidenly about his mind, and he glossed over ugly matters, sordid and dull conditions, so that they made no impression whatever upon him. He had a trick, which often exasperated his acquaintances, of declaring that he had " never heard " of things that everybody else was very well aware of. He had " never heard the name " of people he disliked, of books that he thought tiresome, of events that bored him; but, more than this, he used the formula for things and persons whom he did not wish to discuss. I remember meeting in the street a famous professor, who advanced with uplifted hands, and greeted me with " What do you think Lang says now? That he has never heard of Pascal! " This merely signified that Lang, not interested (at all events for the moment) in Pascal nor in the professor, thus closed at once all possibility of discussion.

It must not be forgotten that we have lived to see him, always wonderful indeed, and always passionately devoted to perfection and purity, but worn, tired, harassed by the unceasing struggle, the lifelong slinging of sentences from that inexhaustible ink-pot. In one of the most perfect of his poems, " Natural Theology," Lang speaks of Cagn, the great hunter, who once was kind and good, but who was spoiled by fighting many things. Lang was never " spoiled," but he was injured; the surface of the radiant coin was rubbed by the vast and interminable handling of journalism. He was jaded by the toil of writing many things. Hence it is not possible but that those who knew him intimately in his later youth and early middle-age should prefer to look back at those years when he was the freshest, the most exhilarating figure in living literature, when a star seemed to dance upon the crest of his already silvering hair. Baudelaire exclaimed of Theophile Gautier: " Homme heureux! homme digne d'envie! il n'a jamais aimé que le Beau!" and of Andrew Lang in those brilliant days the same might have been said. As long as he had confidence in beauty he was safe and strong; and much that, with all affection and all respect, we must admit was rasping and disappointing in his attitude to literature in his later years, seems to have been due to a decreasing sense of confidence in the intellectual sources of beauty. It is dangerous, in the end it must be fatal, to sustain the entire structure of life and thought on the illusions of romance. But that was what Lang did he built his house upon the rainbow.

The charm of Andrew Lang's person and company was founded upon a certain lightness, an essential gentleness and elegance which were relieved by a sharp touch; just as a very dainty fruit may be preserved from mawkishness by something delicately acid in the rind of it. His nature was slightly inhuman; it was unwise to count upon its sympathy beyond a point which was very easily reached in social intercourse. If any simple soul showed an inclination, in eighteenth-century phrase, to " repose on the bosom " of Lang, that support was immediately withdrawn, and the confiding one fell among thorns. Lang was like an Angora cat, whose gentleness and soft fur, and general aspect of pure amenity, invite to caresses, which are suddenly met by the outspread paw with claws awake. This uncertain and freakish humour was the embarrassment of his friends, who, however, were preserved from despair by the fact that no malice was meant, and that the weapons were instantly sheathed again in velvet. Only, the instinct to give a sudden slap, half in play, half in fretful caprice, was incorrigible. No one among Lang's intimate friends but had suffered from this feline impulse, which did not spare even the serenity of Robert Louis Stevenson. But, tiresome as it sometimes was, this irritable humour seldom cost Lang a friend who was worth preserving. Those who really knew him recognised that he was always shy and usually tired.

His own swift spirit never brooded upon an offence, and could not conceive that any one else should mind what he himself minded so little and forgot so soon. Impressions swept over him very rapidly, and injuries passed completely out of his memory. Indeed, all his emotions were too fleeting, and in this there was something fairy-like; quick and keen and blithe as he was, he did not seem altogether like an ordinary mortal, nor could the appeal to gross human experience be made to him with much chance of success. This, doubtless, is why almost all imaginative literature which is founded upon the darker parts of life, all squalid and painful tragedy, all stories that " don't end well" all religious experiences, all that is not superficial and romantic, was irksome to him. He tried sometimes to reconcile his mind to the consideration of real life; he concentrated his matchless powers on it; but he always disliked it. He could persuade himself to be partly just to Ibsen or Hardy or Dostoieffsky, but what he really enjoyed was Dumas pêre, because that fertile romance-writer rose serene above the phenomena of actual human experience. We have seen more of this type in English literature than the Continental nations have in theirs, but even we have seen no instance of its strength and weakness so eminent as Andrew Lang. He was the fairy in our midst, the wonder-working, incorporeal, and tricksy fay of letters, who paid for all his wonderful gifts and charms by being not quite a man of like passions with the rest of us. In some verses which he scribbled to R.L.S. and threw away, twenty years ago, he acknowledged this unearthly character, and, speaking of the depredations of his kin, he said:

Faith, they might steal me, w? ma will,

And, ken'd I ony fairy hill

I#d lay me down there, snod and still,

Their land to win;

For, man, I maistly had my fill

O' this world's din

His wit had something disconcerting in its impishness. Its rapidity and sparkle were dazzling, but it was not quite human; that is to say, it conceded too little to the exigencies of flesh and blood. If we can conceive a seraph being fanny, it would be in the manner of Andrew Lang. Moreover, his wit usually danced over the surface of things, and rarely penetrated them. In verbal parry, in ironic misunderstanding, in breathless agility of topsy-turvy movement, Lang was like one of Milton's " yellow-skirted fays," sporting with the helpless, moon-bewildered traveller. His wit often had a depressing, a humiliating effect, against which one's mind presently revolted. I recollect an instance which may be thought to be apposite: I was passing through a phase of enthusiasm for Emerson, whom Lang very characteristically detested, and I was so ill-advised as to show him the famous epigram called " Brahma." Lang read it with a snort of derision (it appeared to be new to him), and immediately he improvised this parody:

If the wild bowler thinks he bowls,

Or if the batsman thinks he's bowled,

They know not, poor misguided souls,

They, too, shall perish unconsoled.

I am the batsman and the bat,

I am the bowler and the ball,

The umpire, the pavilion cat,

The roller, pitch and stumps, and all

This would make a pavilion cat laugh, and I felt that Emerson was done for. But when Lang had left me, and I was once more master of my mind, I reflected that the parody was but a parody, wonderful for its neatness and quickness, and for its seizure of what was awkward in the roll of Emerson's diction, but essentially superficial. However, what would wit be if it were profound? I must leave it there, feeling that I have not explained why Lang's extraordinary drollery in conversation so often left on the memory a certain sensation of distress.

But this was not the characteristic of his humour at its best, as it was displayed throughout the happiest period of his work. If, as seems possible, it is as an essayist that he will ultimately take his place in English literature, this element will continue to delight fresh generations of enchanted readers. I cannot imagine that the preface to his translation of " Theocritus," "Letters to Dead Authors," "In the Wrong Paradise," " Old Friends," and " Essays in Little " will ever lose their charm; but future admirers will have to pick their way to them through a tangle of history and anthropology and mythology, where there may be left no perfume and no sweetness. I am impatient to see this vast mass of writing reduced to the limits of its author's delicate, true, but somewhat evasive and ephemeral. genius. However, as far as the circumstances of his temperament permitted, Andrew Lang has left with us the memory of one of our most surprising contemporaries, a man of letters who laboured without cessation from boyhood to the grave, who pursued his ideal with indomitable activity and perseverance, and who was never betrayed except by the loftiness of his own endeavour. Lang's only misfortune was not to be completely in contact with life, and his work will survive exactly where he was most faithful to his innermost illusions.

The Brown Fairy Book

PREFACE

The stories in this Fairy Book come from all quarters of the world. For example, the adventures of ‘Ball-Carrier and the Bad One’ are told by Red Indian grandmothers to Red Indian children who never go to school, nor see pen and ink. ‘The Bunyip’ is known to even more uneducated little ones, running about with no clothes at all in the bush, in Australia. You may see photographs of these merry little black fellows before their troubles begin, in ‘Northern Races of Central Australia,’ by Messrs. Spencer and Gillen. They have no lessons except in tracking and catching birds, beasts, fishes, lizards, and snakes, all of which they eat. But when they grow up to be big boys and girls, they are cruelly cut about with stone knives and frightened with sham bogies—‘all for their good’ their parents say—and I think they would rather go to school, if they had their choice, and take their chance of being birched and bullied. However, many boys might think it better fun to begin to learn hunting as soon as they can walk. Other stories, like ‘The Sacred Milk of Koumongoé,’ come from the Kaffirs in Africa, whose dear papas are not so poor as those in Australia, but have plenty of cattle and milk, and good mealies to eat, and live in houses like very big bee-hives, and wear clothes of a sort, though not very like our own. ‘Pivi and Kabo’ is a tale from the brown people in the island of New Caledonia, where a boy is never allowed to speak to or even look at his own sisters; nobody  knows why, so curious are the manners of this remote island. The story shows the advantages of good manners and pleasant behaviour; and the natives do not now cook and eat each other, but live on fish, vegetables, pork, and chickens, and dwell in houses. ‘What the Rose did to the Cypress’ is a story from Persia, where the people, of course, are civilised, and much like those of whom you read in ‘The Arabian Nights.’ Then there are tales like ‘The Fox and the Lapp’ from the very north of Europe, where it is dark for half the year and daylight for the other half. The Lapps are a people not fond of soap and water, and very much given to art magic. Then there are tales from India, told to Major Campbell, who wrote them out, by Hindoos; these stories are ‘Wali Dâd the Simple-hearted,’ and ‘The King who would be Stronger than Fate,’ but was not so clever as his daughter. From Brazil, in South America, comes ‘The Tortoise and the Mischievous Monkey,’ with the adventures of other animals. Other tales are told in various parts of Europe, and in many languages; but all people, black, white, brown, red, and yellow, are like each other when they tell stories; for these are meant for children, who like the same sort of thing, whether they go to school and wear clothes, or, on the other hand, wear skins of beasts, or even nothing at all, and live on grubs and lizards and hawks and crows and serpents, like the little Australian blacks.

The tale of ‘What the Rose did to the Cypress,’ is translated out of a Persian manuscript by Mrs. Beveridge. ‘Pivi and Kabo’ is translated by the Editor from a French version; ‘Asmund and Signy’ by Miss Blackley; the Indian stories by Major Campbell, and all the rest are told by Mrs. Lang, who does not give them exactly as they are told by all sorts of outlandish natives, but makes them up in the hope white people will like them, skipping the pieces which they will not like. That is how this Fairy Book was made up for your entertainment.

WHAT THE ROSE DID TO THE CYPRESS

Once upon a time a great king of the East, named Saman-lāl-pōsh, had three brave and clever sons—Tahmāsp, Qamās, and Almās-ruh-bakhsh. One day, when the king was sitting in his hall of audience, his eldest son, Prince Tahmāsp, came before him, and after greeting his father with due respect, said: ‘O my royal father! I am tired of the town; if you will give me leave, I will take my servants to-morrow and will go into the country and hunt on the hill-skirts; and when I have taken some game I will come back, at evening-prayer time.’ His father consented, and sent with him some of his own trusted servants, and also hawks, and falcons, hunting dogs, cheetahs and leopards.

At the place where the prince intended to hunt he saw a most beautiful deer. He ordered that it should not be killed, but trapped or captured with a noose. The deer looked about for a place where he might escape from the ring of the beaters, and spied one unwatched close to the prince himself. It bounded high and leaped right over his head, got out of the ring, and tore like the eastern wind into the waste. The prince put spurs to his horse and pursued it; and was soon lost to the sight of his followers.  Until the world-lighting sun stood above his head in the zenith he did not take his eyes off the deer; suddenly it disappeared behind some rising ground, and with all his search he could not find any further trace of it. He was now drenched in sweat, and he breathed with pain; and his horse’s tongue hung from its mouth with thirst. He dismounted and toiled on, with bridle on arm, praying and casting himself on the mercy of heaven. Then his horse fell and surrendered its life to God. On and on he went across the sandy waste, weeping and with burning breast, till at length a hill rose into sight. He mustered his strength and climbed to the top, and there he found a giant tree whose foot kept firm the wrinkled earth, and whose crest touched the very heaven. Its branches had put forth a glory of leaves, and there were grass and a spring underneath it, and flowers of many colours.

Gladdened by this sight, he dragged himself to the water’s edge, drank his fill, and returned thanks for his deliverance from thirst.

He looked about him and, to his amazement, saw close by a royal seat. While he was pondering what could have brought this into the merciless desert, a man drew near who was dressed like a faqīr, and had bare head and feet, but walked with the free carriage of a person of rank. His face was kind, and wise and thoughtful, and he came on and spoke to the prince.

‘O good youth! how did you come here? Who are you? Where do you come from?’

The prince told everything just as it had happened to him, and then respectfully added: ‘I have made known my own circumstances to you, and now I venture to beg you to tell me your own. Who are you? How did you come to make your dwelling in this wilderness?’

To this the faqīr replied: ‘O youth! it would be best for you to have nothing to do with me and to know nothing of my fortunes, for my story is fit neither for telling nor for hearing.’ The prince, however, pleaded so  hard to be told, that at last there was nothing to be done but to let him hear.

‘Learn and know, O young man! that I am King Janāngīr of Babylon, and that once I had army and servants, family and treasure; untold wealth and belongings. The Most High God gave me seven sons who grew up well versed in all princely arts. My eldest son heard from travellers that in Turkīstān, on the Chinese frontier, there is a king named Quimūs, the son of Tīmūs, and that he has an only child, a daughter named Mihr-afrūz, who, under all the azure heaven, is unrivalled for beauty. Princes come from all quarters to ask her hand, and on one and all she imposes a condition. She says to them: “I know a riddle; and I will marry anyone who answers it, and will bestow on him all my possessions. But if a suitor cannot answer my question I cut off his head and hang it on the battlements of the citadel.” The riddle she asks is, “What did the rose do to the cypress?”

‘Now, when my son heard this tale, he fell in love with that unseen girl, and he came to me lamenting and bewailing himself. Nothing that I could say had the slightest effect on him. I said: “Oh my son! if there must be fruit of this fancy of yours, I will lead forth a great army against King Quimūs. If he will give you his daughter freely, well and good; and if not, I will ravage his kingdom and bring her away by force.” This plan did not please him; he said: “It is not right to lay a kingdom waste and to destroy a palace so that I may attain my desire. I will go alone; I will answer the riddle, and win her in this way.” At last, out of pity for him, I let him go. He reached the city of King Quimūs. He was asked the riddle and could not give the true answer; and his head was cut off and hung upon the battlements. Then I mourned him in black raiment for forty days.

‘After this another and another of my sons were seized  by the same desire, and in the end all my seven sons went, and all were killed. In grief for their death I have abandoned my throne, and I abide here in this desert, withholding my hand from all State business and wearing myself away in sorrow.’

Prince Tahmāsp listened to this tale, and then the arrow of love for that unseen girl struck his heart also. Just at this moment of his ill-fate his people came up, and gathered round him like moths round a light. They brought him a horse, fleet as the breeze of the dawn; he set his willing foot in the stirrup of safety and rode off. As the days went by the thorn of love rankled in his heart, and he became the very example of lovers, and grew faint and feeble. At last his confidants searched his heart and lifted the veil from the face of his love, and then set the matter before his father, King Saman-lāl-pōsh. ‘Your son, Prince Tahmāsp, loves distractedly the Princess Mihr-afrūz, daughter of King Quimūs, son of Tīmūs.’ Then they told the king all about her and her doings. A mist of sadness clouded the king’s mind, and he said to his son: ‘If this thing is so, I will in the first place send a courier with friendly letters to King Quimūs, and will ask the hand of his daughter for you. I will send an abundance of gifts, and a string of camels laden with flashing stones and rubies of Badakhshān. In this way I will bring her and her suite, and I will give her to you to be your solace. But if King Quimūs is unwilling to give her to you, I will pour a whirlwind of soldiers upon him, and I will bring to you, in this way, that most consequential of girls.’ But the prince said that this plan would not be right, and that he would go himself, and would answer the riddle. Then the king’s wise men said: ‘This is a very weighty matter; it would be best to allow the prince to set out accompanied by some persons in whom you have confidence. Maybe he will repent and come back.’ So King Saman ordered all preparations for the journey to be made, and then Prince  Tahmāsp took his leave and set out, accompanied by some of the courtiers, and taking with him a string of two-humped and raven-eyed camels laden with jewels, and gold, and costly stuffs.

By stage after stage, and after many days’ journeying, he arrived at the city of King Quimūs. What did he see? A towering citadel whose foot kept firm the wrinkled earth, and whose battlements touched the blue heaven. He saw hanging from its battlements many heads, but it had not the least effect upon him that these were heads of men of rank; he listened to no advice about laying aside his fancy, but rode up to the gate and on into the heart of the city. The place was so splendid that the eyes of the ages have never seen its like, and there, in an open square, he found a tent of crimson satin set up, and beneath it two jewelled drums with jewelled sticks. These drums were put there so that the suitors of the princess might announce their arrival by beating on them, after which some one would come and take them to the king’s presence. The sight of the drums stirred the fire of Prince Tahmāsp’s love. He dismounted, and moved towards them; but his companions hurried after and begged him first to let them go and announce him to the king, and said that then, when they had put their possessions in a place of security, they would enter into the all-important matter of the princess. The prince, however, replied that he was there for one thing only; that his first duty was to beat the drums and announce himself as a suitor, when he would be taken, as such, to the king, who would then give him proper lodgment. So he struck upon the drums, and at once summoned an officer who took him to King Quimūs.

When the king saw how very young the prince looked, and that he was still drinking of the fountain of wonder, he said: ‘O youth! leave aside this fancy which my daughter has conceived in the pride of her beauty. No one can answer her riddle, and she has  done to death many men who had had no pleasure in life nor tasted its charms. God forbid that your spring also should be ravaged by the autumn winds of martyrdom.’ All his urgency, however, had no effect in making the prince withdraw. At length it was settled between them that three days should be given to pleasant hospitality and that then should follow what had to be said and done. Then the prince went to his own quarters and was treated as became his station.

King Quimūs now sent for his daughter and for her mother, Gul-rukh, and talked to them. He said to Mihr-afrūz: ‘Listen to me, you cruel flirt! Why do you persist in this folly? Now there has come to ask your hand a prince of the east, so handsome that the very sun grows modest before the splendour of his face; he is rich, and he has brought gold and jewels, all for you, if you will marry him. A better husband you will not find.’

But all the arguments of father and mother were wasted, for her only answer was: ‘O my father! I have sworn to myself that I will not marry, even if a thousand years go by, unless someone answers my riddle, and that I will give myself to that man only who does answer it.’

The three days passed; then the riddle was asked: ‘What did the rose do to the cypress?’ The prince had an eloquent tongue, which could split a hair, and without hesitation he replied to her with a verse: ‘Only the Omnipotent has knowledge of secrets; if any man says, “I know” do not believe him.’

Then a servant fetched in the polluted, blue-eyed headsman, who asked: ‘Whose sun of life has come near its setting?’ took the prince by the arm, placed him upon the cloth of execution, and then, all merciless and stony-hearted, cut his head from his body and hung it on the battlements.

The news of the death of Prince Tahmāsp plunged his father into despair and stupefaction. He mourned for  him in black raiment for forty days; and then, a few days later, his second son, Prince Qamās, extracted from him leave to go too; and he, also, was put to death. One son only now remained, the brave, eloquent, happy-natured Prince Almās-ruh-bakhsh. One day, when his father sat brooding over his lost children, Almās came before him and said: ‘O father mine! the daughter of King Quimūs has done my two brothers to death; I wish to avenge them upon her.’ These words brought his father to tears. ‘O light of your father!’ he cried, ‘I have no one left but you, and now you ask me to let you go to your death.’

‘Dear father!’ pleaded the prince, ‘until I have lowered the pride of that beauty, and have set her here before you, I cannot settle down or indeed sit down off my feet.’

In the end he, too, got leave to go; but he went without a following and alone. Like his brothers, he made the long journey to the city of Quimūs the son of Tīmūs; like them he saw the citadel, but he saw there the heads of Tahmāsp and Qamās. He went about in the city, saw the tent and the drums, and then went out again to a village not far off. Here he found out a very old man who had a wife 120 years old, or rather more. Their lives were coming to their end, but they had never beheld face of child of their own. They were glad when the prince came to their house, and they dealt with him as with a son. He put all his belongings into their charge, and fastened his horse in their out-house. Then he asked them not to speak of him to anyone, and to keep his affairs secret. He exchanged his royal dress for another, and next morning, just as the sun looked forth from its eastern oratory, he went again into the city. He turned over in his mind without ceasing how he was to find out the meaning of the riddle, and to give them a right answer, and who could help him, and how to avenge his brothers. He wandered about the city, but heard nothing of service,  for there was no one in all that land who understood the riddle of Princess Mihr-afrūz.

One day he thought he would go to her own palace and see if he could learn anything there, so he went out to her garden-house. It was a very splendid place, with a wonderful gateway, and walls like Alexander’s ramparts. Many gate-keepers were on guard, and there was no chance of passing them. His heart was full of bitterness, but he said to himself: ‘All will be well! it is here I shall get what I want.’ He went round outside the garden wall hoping to find a gap, and he made supplication in the Court of Supplications and prayed, ‘O Holder of the hand of the helpless! show me my way.’

While he prayed he bethought himself that he could get into the garden with a stream of inflowing water. He looked carefully round, fearing to be seen, stripped, slid into the stream and was carried within the great walls. There he hid himself till his loin cloth was dry. The garden was a very Eden, with running water amongst its lawns, with flowers and the lament of doves and the jug-jug of nightingales. It was a place to steal the senses from the brain, and he wandered about and saw the house, but there seemed to be no one there. In the forecourt was a royal seat of polished jasper, and in the middle of the platform was a basin of purest water that flashed like a mirror. He pleased himself with these sights for a while, and then went back to the garden and hid himself from the gardeners and passed the night. Next morning he put on the appearance of a madman and wandered about till he came to a lawn where several perī-faced girls were amusing themselves. On a throne, jewelled and overspread with silken stuffs, sat a girl the splendour of whose beauty lighted up the place, and whose ambergris and attar perfumed the whole air. ‘That must be Mihr-afrūz,’ he thought, ‘she is indeed lovely.’ Just then one of the attendants came to the water’s edge to fill a cup, and though the prince was in hiding, his face was  reflected in the water. When she saw this image she was frightened, and let her cup fall into the stream, and thought, ‘Is it an angel, or a perī, or a man?’ Fear and trembling took hold of her, and she screamed as women scream. Then some of the other girls came and took her to the princess who asked: ‘What is the matter, pretty one?’

‘O princess! I went for water, and I saw an image, and I was afraid.’ So another girl went to the water and saw the same thing, and came back with the same story. The princess wished to see for herself; she rose and paced to the spot with the march of a prancing peacock. When she saw the image she said to her nurse: ‘Find out who is reflected in the water, and where he lives.’ Her words reached the prince’s ear, he lifted up his head; she saw him and beheld beauty such as she had never seen before. She lost a hundred hearts to him, and signed to her nurse to bring him to her presence. The prince let himself be persuaded to go with the nurse, but when the princess questioned him as to who he was and how he had got into her garden, he behaved like a man out of his mind—sometimes smiling, sometimes crying, and saying: ‘I am hungry,’ or words misplaced and random, civil mixed with the rude.

‘What a pity!’ said the princess, ‘he is mad!’ As she liked him she said: ‘He is my mad man; let no one hurt him.’ She took him to her house and told him not to go away, for that she would provide for all his wants. The prince thought, ‘It would be excellent if here, in her very house, I could get the answer to her riddle; but I must be silent, on pain of death.’

Now in the princess’s household there was a girl called Dil-arām; she it was who had first seen the image of the prince. She came to love him very much, and she spent day and night thinking how she could make her affection known to him. One day she escaped from the  princess’s notice and went to the prince, and laid her head on his feet and said: ‘Heaven has bestowed on you beauty and charm. Tell me your secret; who are you, and how did you come here? I love you very much, and if you would like to leave this place I will go with you. I have wealth equal to the treasure of the miserly Qarūn.’ But the prince only made answer like a man distraught, and told her nothing. He said to himself, ‘God forbid that the veil should be taken in vain from my secret; that would indeed disgrace me.’ So, with streaming eyes and burning breast, Dil-arām arose and went to her house and lamented and fretted.

Now whenever the princess commanded the prince’s attendance, Dil-arām, of all the girls, paid him attention and waited on him best. The princess noticed this, and said: ‘O Dil-arām! you must take my madman into your charge and give him whatever he wants.’ This was the very thing Dil-arām had prayed for. A little later she took the prince into a private place and she made him take an oath of secrecy, and she herself took one and swore, ‘By Heaven! I will not tell your secret. Tell me all about yourself so that I may help you to get what you want.’ The prince now recognised in her words the perfume of true love, and he made compact with her. ‘O lovely girl! I want to know what the rose did to the cypress. Your mistress cuts off men’s heads because of this riddle; what is at the bottom of it, and why does she do it?’ Then Dil-arām answered: ‘If you will promise to marry me and to keep me always amongst those you favour, I will tell you all I know, and I will keep watch about the riddle.’

‘O lovely girl,’ rejoined he, ‘if I accomplish my purpose, so that I need no longer strive for it, I will keep my compact with you. When I have this woman in my power and have avenged my brothers, I will make you my solace.’

‘O wealth of my life and source of my joy!’ responded  Dil-arām, ‘I do not know what the rose did to the cypress; but so much I know that the person who told Mihr-afrūz about it is a negro whom she hides under her throne. He fled here from Wāq of the Caucasus—it is there you must make inquiry; there is no other way of getting at the truth.’ On hearing these words, the prince said to his heart, ‘O my heart! your task will yet wear away much of your life.’

He fell into long and far thought, and Dil-arām looked at him and said: ‘O my life and my soul! do not be sad. If you would like this woman killed, I will put poison into her cup so that she will never lift her head from her drugged sleep again.’

‘O Dil-arām! such a vengeance is not manly. I shall not rest till I have gone to Wāq of the Caucasus and have cleared up the matter.’ Then they repeated the agreement about their marriage, and bade one another good-bye.

The prince now went back to the village, and told the old man that he was setting out on a long journey, and begged him not to be anxious, and to keep safe the goods which had been entrusted to him.

The prince had not the least knowledge of the way to Wāq of the Caucasus, and was cast down by the sense of his helplessness. He was walking along by his horse’s side when there appeared before him an old man of serene countenance, dressed in green and carrying a staff, who resembled Khizr. The prince thanked heaven, laid the hands of reverence on his breast and salaamed. The old man returned the greeting graciously, and asked: ‘How fare you? Whither are you bound? You look like a traveller.’

‘O revered saint! I am in this difficulty: I do not know the way to Wāq of the Caucasus.’ The old man of good counsel looked at the young prince and said: ‘Turn back from this dangerous undertaking. Do not go;  choose some other task! If you had a hundred lives you would not bring one out safe from this journey.’ But his words had no effect on the prince’s resolve. ‘What object have you,’ the old man asked, ‘in thus consuming your life?’

‘I have an important piece of business to do, and only this journey makes it possible. I must go; I pray you, in God’s name, tell me the way.’

When the saint saw that the prince was not to be moved, he said: ‘Learn and know, O youth! that Wāq of Qāf is in the Caucasus and is a dependency of it. In it there are jins, demons, and perīs. You must go on along this road till it forks into three; take neither the right hand nor the left, but the middle path. Follow this for a day and a night. Then you will come to a column on which is a marble slab inscribed with Cufic characters. Do what is written there; beware of disobedience.’ Then he gave his good wishes for the journey and his blessing, and the prince kissed his feet, said good-bye, and, with thanks to the Causer of Causes, took the road.

After a day and a night he saw the column rise in silent beauty to the heavens. Everything was as the wise old man had said it would be, and the prince, who was skilled in all tongues, read the following Cufic inscription: ‘O travellers! be it known to you that this column has been set up with its tablet to give true directions about these roads. If a man would pass his life in ease and pleasantness, let him take the right-hand path. If he take the left, he will have some trouble, but he will reach his goal without much delay. Woe to him who chooses the middle path! if he had a thousand lives he would not save one; it is very hazardous; it leads to the Caucasus, and is an endless road. Beware of it!’

The prince read and bared his head and lifted his hands in supplication to Him who has no needs, and prayed, ‘O Friend of the traveller! I, Thy servant, come  to Thee for succour. My purpose lies in the land of Qāf and my road is full of peril. Lead me by it.’ Then he took a handful of earth and cast it on his collar, and said: ‘O earth! be thou my grave; and O vest! be thou my winding-sheet!’ Then he took the middle road and went along it, day after day, with many a silent prayer, till he saw trees rise from the weary waste of sand. They grew in a garden, and he went up to the gate and found it a slab of beautifully worked marble, and that near it there lay sleeping, with his head on a stone, a negro whose face was so black that it made darkness round him. His upper lip, arched like an eyebrow, curved upwards to his nostrils and his lower hung down like a camel’s. Four millstones formed his shield, and on a box-tree close by hung his giant sword. His loin-cloth was fashioned of twelve skins of beasts, and was bound round his waist by a chain of which each link was as big as an elephant’s thigh.

The prince approached and tied up his horse near the negro’s head. Then he let fall the Bismillāh from his lips, entered the garden and walked through it till he came to the private part, delighting in the great trees, the lovely verdure, and the flowery borders. In the inner garden there were very many deer. These signed to him with eye and foot to go back, for that this was enchanted ground; but he did not understand them, and thought their pretty gestures were a welcome. After a while he reached a palace which had a porch more splendid than Cæsar’s, and was built of gold and silver bricks. In its midst was a high seat, overlaid with fine carpets, and into it opened eight doors, each having opposite to it a marble basin.

Banishing care, Prince Almās walked on through the garden, when suddenly a window opened and a girl, who was lovely enough to make the moon writhe with jealousy, put out her head. She lost her heart to the good looks of the prince, and sent her nurse to fetch him so that  she might learn where he came from and how he had got into her private garden where even lions and wolves did not venture. The nurse went, and was struck with amazement at the sun-like radiance of his face; she salaamed and said: ‘O youth! welcome! the lady of the garden calls you; come!’ He went with her and into a palace which was like a house in Paradise, and saw seated on the royal carpets of the throne a girl whose brilliance shamed the shining sun. He salaamed; she rose, took him by the hand and placed him near her. ‘O young man! who are you? where do you come from? How did you get into this garden?’ He told her his story from beginning to end, and Lady Latīfa replied: ‘This is folly! It will make you a vagabond of the earth, and lead you to destruction. Come, cease such talk! No one can go to the Caucasus. Stay with me and be thankful, for here is a throne which you can share with me, and in my society you can enjoy my wealth. I will do whatever you wish; I will bring here King Quimūs and his daughter, and you can deal with them as you will.’

‘O Lady Latīfa,’ he said, ‘I have made a compact with heaven not to sit down off my feet till I have been to Wāq of Qāf and have cleared up this matter, and have taken Mihr-afrūz from her father, as brave men take, and have put her in prison. When I have done all this I will come back to you in state and with a great following, and I will marry you according to the law.’ Lady Latīfa argued and urged her wishes, but in vain; the prince was not to be moved. Then she called to the cupbearers for new wine, for she thought that when his head was hot with it he might consent to stay. The pure, clear wine was brought; she filled a cup and gave to him. He said: ‘O most enchanting sweetheart! it is the rule for the host to drink first and then the guest.’ So to make him lose his head, she drained the cup; then filled it again and gave him. He drank it off, and she took a lute from one  of the singers and played upon it with skill which witched away the sense of all who heard. But it was all in vain; three days passed in such festivities, and on the fourth the prince said: ‘O joy of my eyes! I beg now that you will bid me farewell, for my way is long and the fire of your love darts flame into the harvest of my heart. By heaven’s grace I may accomplish my purpose, and, if so, I will come back to you.’

Now she saw that she could not in any way change his resolve, she told her nurse to bring a certain casket which contained, she said, something exhilarating which would help the prince on his journey. The box was brought, and she divided off a portion of what was within and gave it to the prince to eat. Then, and while he was all unaware, she put forth her hand to a stick fashioned like a snake; she said some words over it and struck him so sharply on the shoulder that he cried out; then he made a pirouette and found that he was a deer.

When he knew what had been done to him he thought, ‘All the threads of affliction are gathered together; I have lost my last chance!’ He tried to escape, but the magician sent for her goldsmith, who, coming, overlaid the deer-horns with gold and jewels. The kerchief which that day she had had in her hand was then tied round its neck, and this freed it from her attentions.

The prince-deer now bounded into the garden and at once sought some way of escape. It found none, and it joined the other deer, which soon made it their leader. Now, although the prince had been transformed into the form of a deer, he kept his man’s heart and mind. He said to himself, ‘Thank heaven that the Lady Latīfa has changed me into this shape, for at least deer are beautiful.’ He remained for some time living as a deer amongst the rest, but at length resolved that an end to such a life must be put in some way. He looked again for some place by which he could get out of the magic garden.  Following round the wall he reached a lower part; he remembered the Divine Names and flung himself over, saying, ‘Whatever happens is by the will of God.’ When he looked about he found that he was in the very same place he had jumped from; there was the palace, there the garden and the deer! Eight times he leaped over the wall and eight times found himself where he had started from; but after the ninth leap there was a change, there was a palace and there was a garden, but the deer were gone.

Presently a girl of such moon-like beauty opened a window that the prince lost to her a hundred hearts. She was delighted with the beautiful deer, and cried to her nurse: ‘Catch it! if you will I will give you this necklace, every pearl of which is worth a kingdom.’ The nurse coveted the pearls, but as she was three hundred years old she did not know how she could catch a deer. However, she went down into the garden and held out some grass, but when she went near the creature ran away. The girl watched with great excitement from the palace window, and called: ‘O nurse, if you don’t catch it, I will kill you!’ ‘I am killing myself,’ shouted back the old woman. The girl saw that nurse tottering along and went down to help, marching with the gait of a prancing peacock. When she saw the gilded horns and the kerchief she said: ‘It must be accustomed to the hand, and be some royal pet!’ The prince had it in mind that this might be another magician who could give him some other shape, but still it seemed best to allow himself to be caught. So he played about the girl and let her catch him by the neck. A leash was brought, fruits were given, and it was caressed with delight. It was taken to the palace and tied at the foot of the Lady Jamīla’s raised seat, but she ordered a longer cord to be brought so that it might be able to jump up beside her.

When the nurse went to fix the cord she saw tears falling from its eyes, and that it was dejected and  sorrowful. ‘O Lady Jamīla! this is a wonderful deer, it is crying; I never saw a deer cry before.’ Jamīla darted down like a flash of lightning, and saw that it was so. It rubbed its head on her feet and then shook it so sadly that the girl cried for sympathy. She patted it and said: ‘Why are you sad, my heart? Why do you cry, my soul? Is it because I have caught you? I love you better than my own life.’ But, spite of her comforting, it cried the more. Then Jamīla said: ‘Unless I am mistaken, this is the work of my wicked sister Latīfa, who by magic art turns servants of God into beasts of the field.’ At these words the deer uttered sounds, and laid its head on her feet. Then Jamīla was sure it was a man, and said: ‘Be comforted, I will restore you to your own shape.’ She bathed herself and ordered the deer to be bathed, put on clean raiment, called for a box which stood in an alcove, opened it and gave a portion of what was in it to the deer to eat. Then she slipped her hand under her carpet and produced a stick to which she said something. She struck the deer hard, it pirouetted and became Prince Almās.

The broidered kerchief and the jewels lay upon the ground. The prince prostrated himself in thanks to heaven and Jamīla, and said: ‘O delicious person! O Chinese Venus! how shall I excuse myself for giving you so much trouble? With what words can I thank you?’ Then she called for a clothes-wallet and chose out a royal dress of honour. Her attendants dressed him in it, and brought him again before the tender-hearted lady. She turned to him a hundred hearts, took his hand and seated him beside her, and said: ‘O youth! tell me truly who you are and where you come from, and how you fell into the power of my sister.’

Even when he was a deer the prince had much admired Jamīla; now he thought her a thousand times more lovely than before. He judged that in truth alone was safety, and so told her his whole story. Then she  asked: ‘O Prince Almās-ruh-bakhsh, do you still wish so much to make this journey to Wāq of Qāf? What hope is there in it? The road is dangerous even near here, and this is not yet the borderland of the Caucasus. Come, give it up! It is a great risk, and to go is not wise. It would be a pity for a man like you to fall into the hands of jins and demons. Stay with me, and I will do whatever you wish.’