xii Introduction
As an example of an illuminating detail, we may note
that in these Egyptian stories the tc Black Man'1 or
bogieman—the '' Arap '' of Oriental fiction—becomes a
man in a black coat, black hat, and black boots. For
the negro was a familiar and a friendly figure in Egypt,
and so the *' Black Man'' was converted into the un-
familiar and formidable foreigner. While as an-example
of point of view, we may observe that the Turk generally
appears in one of two roles, respectively characteristic of
the contempt of an Egyptian Cleopatra for the stupidity
of her lord and master, and of her respect for his strength.
Innumerable are the stories in which the Turk is deceived
by the cleverness of an unscrupulous Egyptian mistress,
but these are mostly too long and too broad for reproduc-
tion. Here is one in which the feminine part is played by
a man.
A Copt who was clerk to a Turkish Pasha accounted
for money he had stolen by charging it—to shoeing
camels and shearing horses. "-What is this?" said the
Pasha. " Who shoes camels and shears horses ?" t( Oh,
Pasha/' said the Copt, "thou knowest all, and nothing
escapes thee. Shall I, then, write it as to shoeing horses
and shearing camels?" "But no camels have been
shorn nor horses shod," objected the Pasha. tcOh,
Pasha, thou art always in the right," said the Copt,
and that is why thy servant so wrote it in the account-s'
Which satisfied the Pasha, who settled the account.
Now for another tale expressive of a feminine admira*
tion for men of action.
Allah, looking one day on the Garden of Eden, saw
that Adam and Eve had sinned. So he summoned an
angel, and said to him : " Go thou and show clearly to
these twain how they have sinned, and why, therefore,
they must go out from My garden." So the angel went