***

 

“De ce citesc?

Nu mă pot abţine.

Citesc ca să învăț și să cresc, să râd

și să fie motivat.

Citesc ca să înțeleg lucruri pe care nu le-am citit niciodată

la care am fost expus.

Citesc când sunt ursuz, când tocmai

a spus lucruri monumental de prostești la

oamenii pe care îi iubesc.

Citesc pentru putere să mă ajute când

mă simt distrus, descurajat și speriat.

Citesc când sunt supărat pe întreaga

lume.

Citesc când totul merge bine.

Citesc pentru a găsi speranță.

Citesc pentru că sunt făcut nu doar din

piele și oase, de priveliști, sentimente,

și o nevoie profundă de ciocolată, dar eu sunt

De asemenea, compus din cuvinte.

Cuvintele îmi descriu gândurile și ceea ce este

ascuns în inima mea.

Cuvintele sunt vii - când am găsit un

poveste pe care o iubesc, am citit-o din nou și

din nou, ca și cum aș cânta o melodie preferată

iar și iar.

Cititul nu este pasiv - intru în

poveste cu personajele, respiră

aerul lor, simte frustrările lor,

țipă la ei să se oprească când sunt

pe cale să fac o prostie, să plâng cu

ei, râzi cu ei.

Citind pentru mine, este să-mi petrec timpul cu un

Prietene.

O carte este un prieten.

Niciodată nu poți avea prea multe. ”

De Gary Paulsen, termen de valabilitate: Povești după carte ( https://amzn.to/44rPDuG )

#ad #booklovers #Classic #motivation #literaturelover 

***

 

..Atunci când vei fi bătrână…

1. Nu instrui niciodată pe nimeni. Chiar dacă știi că ai dreptate. Amintește-ţi cum te irita acest lucru. Și ai urmat oare sfatul celor mai în vârstă?

2. Nu încerca să ajuți, dacă nu ţi s-a cerut ajutorul. Nu încerca să-i protejezi pe cei apropiaţi de toate problemele lumii. Doar iubește-i.

3. Nu te plânge! De sănătate, vecini, guvernanți, fondul de pensii. Nu te transforma într-o bătrână ce stă pe banca din curte şi îi bârfește pe toți.

4. Nu aștepta recunoștință de la copii. Amintește-ţi: nu există copii nerecunoscători – există părinți proști care așteaptă recunoștință de la copii.

5. Nu spune expresii precum: “Eu la vârsta ta …”, “Ți-am dat cei mai buni ani …”, “Sunt mai în vârstă, aşa că știu mai bine …” – toate sunt insuportabile!

6. Dacă vei avea nepoți, nu insista să-ţi spună pe nume. Este prostesc.

7. Nu cheltui ultimii bani pe procedurile de întinerire. Este inutil. Mai bine să-i cheltui pentru călătorii.

8. Nu te uita în oglindă și nu te machia într-o cameră întunecată. Nu te lăuda. Și încearcă să arăți cât mai elegant posibil. Elegant, nu tineresc. Crede-mă, aşa va fi mai bine.

9. Ai grijă de bărbatul tău, chiar dacă a devenit un bătrân neputincios, zbârcit şi morocănos. Nu uita că odată era tânăr, puternic și vesel. Probabil este unicul care îşi amintește de tine tânără, subțire şi frumoasă, iar acum doar el are nevoie de tine.

10. Nu încerca cu orice preţ să ții pasul cu timpul: să înțelegi noile tehnologii, să urmărești maniacal știrile, să înveți ceva nou pentru a nu rămâne în urmă. E ridicol. Fă ceea ce-ți place. Cât se mai poate?!

11. Nu te învinui pentru nimic. Indiferent de viaţa ta şi a copiilor tăi – ai făcut tot ce ai putut.

12. În orice situație, păstrează-ţi demnitatea! Până la sfârșit! Fa-o, draga mea, este foarte important. Și nu uita: dacă eşti încă în viață, înseamnă că cineva are nevoie de tine...!"

  Text preluat

***

 

"Gulliver's Travels" by Jonathan Swift. 

"Gulliver's Travels" by Jonathan Swift is a satirical novel published in 1726. It tells the story of Lemuel Gulliver's voyages to various fantastical lands, including Lilliput, Brobdingnag, Laputa, and the land of the Houyhnhnms.

The novel is renowned for its sharp satire and hidden meanings, often criticizing various aspects of society and humanity. Here are a few key themes in "Gulliver's Travels":

1. **Political Satire**: The book satirizes the political landscape of Swift's time. For instance, the conflict between the tiny Lilliputians and the giant Brobdingnagians can be seen as a commentary on the petty disputes among European nations.

2. **Social Critique**: Swift uses the differences between the societies Gulliver encounters to critique various aspects of British society, such as the legal system, government corruption, and the role of the monarchy.

3. **Human Nature**: Gulliver's encounters with different societies highlight the flaws in human nature. The Houyhnhnms, a rational horse-like species, are contrasted with the Yahoos, a degenerate and brutish human-like species, emphasizing the dark aspects of humanity.

4. **Religious and Philosophical Critique**: Swift uses the Laputians and their obsession with theoretical knowledge to criticize the over-intellectualization of society. The Struldbrugs represent the idea of immortality as a curse, critiquing the pursuit of eternal life.

5. **Colonialism and Imperialism**: Gulliver's travels can also be seen as a reflection on the British Empire's expansion and colonialism. His experiences with the Lilliputians and the Houyhnhnms touch on the theme of European imperialism.

6. **Human Size**: The changing scale of Gulliver throughout the book may symbolize the relativity of power and perspective, highlighting how one's status in society can shift based on circumstances.

In "Gulliver's Travels," Swift employs allegory, irony, and symbolism to convey his critical views on politics, society, and human nature. The hidden meanings and satirical elements in the book continue to make it a rich source for analysis and interpretation.

@everyone

Unde mai ieșim cu prietenii? Distracție la Katz GastroLab!

 Mi-e dor de voi, prieteni dragi! Știu... Nu ne-am văzut de mult timp, dar parcă nu ne-am fi despărțit niciodată. Am ținut legătura pe diferite cai: telefonic, prin mesaje, pe e-mail, pe diverse aplicații și în diverse rețele sociale. Uneori ne-am întâlnit direct, în grupuri mici, dar adesea pe fugă. Nu neg: am avut contact direct în toți acești ani, dar nu e ca și cum am fi fost alături ca înainte, în vremurile bune.

Este explicabil... Vremurile ne-au împrăștiat în diferite direcții, pe unde ne-au purtat valurile vieții. Ne-am întemeiat familii, ne-am asumat responsabilități, ne străduim să îndeplinim sarcini felurite și pentru aceasta avem nevoie de timp, foarte mult timp. Și la sfârșitul zilei, când tragem linie și facem bilanțul, constatăm că pentru noi, pentru sufletul nostru, ne rămâne din ce în ce mai puțin timp.

Mi-e dor de voi, dragi prieteni! Și mi-aș dori să ne revedem cândva. Frumos ar fi să ne vedem în mediul care ne-a consacrat ca și prieteni: orașul natal, școala unde am învățat, parcurile în care ne-am relaxat în perioada caldă a anului. Dar știu că vă este greu multora dintre voi să vă întoarceți acasă. De aceea poate ar fi mai ușor să ne adunăm în Capitală; unii dintre voi trăiți și munciți în București și aici a devenit pentru voi ACASĂ. Pentru ceilalți poate că ne-ar fi mai ușor să ne facem drum într-acolo... Unii ne mai adunăm pentru manifestări științifice sau culturale, alții pentru rezolvarea diverselor probleme.

Ne putem întâlni la o locație aparte: un local unde ne putem delecta cu mâncăruri și băuturi rafinate, dar și cu muzica bună: Katz GastroLab. Da! Este acel restaurant din București situat în apropierea parcului Cișmigiu și vis-a-vis de Conservator. Un restaurant situat în zona centrală, uşor de reperat, unde se poate ajunge extrem de uşor, care se armonizează cu estetica centrului vechi al capitalei, un restaurant cu concerte live, bucătărie internațională, unde ne putem simți perfect și în spiritul atât al vremurilor de altădată cât și al vremurilor de acum. Este alegerea sigură pentru întâlnirile cu prietenii dar şi pentru organiyarea unor evenimente private, cărora le dă o distincţie aparte.

Ne vedem la un pahar de vorbă? Mâncăm ceva bun? Mergem la un concert sau poate la o seară de dans? Dacă nu sunteți hotărâți, le putem combina pe toate la un loc. Dacă nu reușim într-o singură zi, putem reveni și altădată, căci presimt că nu vom reuși să epuizam satisfacerea tuturor dorințelor deodată.

Sunt sigură că ne vom simți bine. Atât de bine încât parcă ne vom transpune într-o altă stare, într-o altă lume. Atmosfera este atât de selecta și atât de discretă încât satisface toate gusturile și toate doleanțele. Putem alege o seară de muzică latino sau o seară de jazz. O seară de dans sau o seară de karaoke. Putem alege orice tematică, într-o varietate de genuri care ne vor satisface pe toți, oricât de mofturoși am putea fi.  Şi putem repeta experienţa ori de câte ori vom simţi nevoia să o facem.

Mi+e dor de voi, prieteni! Şi abia aştept să ne revedem...

Articol scris pentru Spring SuperBlog 2024

***

 

Regizorul, scenaristul şi graficianul Ion Popescu-Gopo, câştigător al unui „Palme d’Or” (1957) s-a născut la 1 mai 1923, în Bucureşti.

Ion Popescu-Gopo s-a impus, prin creațiile sale artistice, ca o mare personalitate a cinematografiei românești, câștigând, în 1957, Marele Premiu Palme d’Or la Festivalul Internațional de Film de la Cannes, Franța, cu filmul de scurt metraj Scurtă istorie. A primit titlul de Artist Emerit (anterior anului 1962).

Pseudonimul său Gopo provine de la numele de familie ale părinților săi, numele de fată al mamei sale, Gorenco, și numele tatălui, Popescu.

A debutat în presă în anul 1939, publicând caricaturi, la fel ca „pionierii” animaţiei româneşti Aurel Petrescu şi Marin Iorda. A studiat la Academia de Arte din Bucureşti, pe care nu a absolvit-o, dar a urmat la Moscova un curs de animaţie pe care l-a absolvit. S-a afirmat ca desenator, caricaturist, ilustrator de carte.

În animaţie debutează în anul 1949 alături de tatăl său şi de Matty Aslan, cu scurt-metrajul de animaţie „Punguţa cu doi bani”.

Din anul 1950 începe să lucreze la Studioul cinematografic Bucureşti, în cadrul secţiei de animaţie. Primele desene animate erau zoomorfe şi constituiau fabule educative în spiritul epocii.

Regizor, scenarist şi cineast de o factură aparte, Ion Popescu-Gopo se impune după 1950 ca principală personalitate a filmului de animaţie din România, la Studiourile Buftea şi Animafilm.

În anul 1951, Gopo produce un alt desen animat: „Răţoiul neascultător”. Urmează „Albina şi porumbelul”, apoi „Doi iepuraşi” (1952), „Marinică” (1953), „O muscă cu bani” (1954), „Şurubul lui Marinică” şi „Ariciul răutăcios” (1955), „Galateea” (1957) ș.a.

Personajul emblematic pentru poetica lui Gopo este Omuleţul cu floarea – Omuleţul („Scurtă istorie”, „7 arte”, „Homo sapiens”) este personajul nud şi schiţat din câteva linii, care interpretează însă atât de complet problemele lumii contemporane.

Primul său succes, Marele Premiu (Palme d’Or) la Cannes (1957) cu „Scurtă istorie”, a fost şi cel mai mare.

Iată cum a apreciat la vremea respectivă Georges Sadoul inovaţia lui Gopo:

„Filmul său acumulează în zece minute idei poetice, într-o povestire umoristică plină de ritm şi imaginaţie. Este foarte important că filmul său nu datorează cu rigurozitate nimic nici lui Disney, nici lui Grimault, nici şcolii cehoslovace, nici celei sovietice. Acest filmuleţ a fost la Cannes o descoperire care trebuia semnalată prin strălucirea unui mare premiu”.

Peste ani, Gopo spunea:

„Am făcut un omuleţ cu mare economie de linii. Ochii lui sunt două puncte, nu şi-i poate da peste cap şi nici nu se uită galeş. Mi-am redus de bunăvoie posibilităţile. Gura lui este aproape imobilă. Nu am folosit nici expresia feţei. Subiectul însă a căpătat forţă”.

Palmaresul acestei pelicule, dar şi al altora de animaţie, a fost de peste 50 de premii pe diferite meridiane ale lumii.

La mijlocul anilor ’60, Gopo a creat filmul-pilulă. Câteva exemple de parabole condensate care ilustrează genul sunt: „Balanţa”, „Ploaia”, „Ulciorul”.

Din 1956 abordează, ca scenarist, regizor şi, ocazional, interpret sau compozitor, filmul de ficţiune cu actori: „Fetiţa mincinoasă”, debut premiat la Damasc în 1956, „S-a furat o bombă” (1961), „De-aş fi… Harap-alb” (1965), premiat la Mamaia şi la Moscova în 1965, „Povestea dragostei” (1976), „Maria, Mirabela” (1981), film inspirat din povestea „Fata babei şi fata moşneagului” a lui Ion Creangă, „Maria şi Mirabela în Tranzistoria” (1988), în ultimele două artistul apare ca interpret al personajului Moş Timp.

„Când am început să lucrez cu actorii, mi-am descoperit parcă nişte independenţe în mişcare, m-am simţit ca un dinozaur cu membre lungi şi neascultătoare”, mărturisea Ion Popescu-Gopo

Basmele ecranizate de Ion Popescu-Gopo nu sunt simple ecranizări fidele, ci sunt actualizate şi interpretate. Spre exemplu, „Maria, Mirabela” nu e o simplă lectură a basmului „ Fata babei şi fata moşneagului”, ci un musical; în „Rămăşagul” (1985) zâna se deplasează pe bicicletă.

Pe lângă activitatea sa de scenarist şi regizor, Gopo a şi interpretat câteva roluri în filmele proprii: „Faust XX”, „Galax”, „Rămăşagul”, „O zi la Bucureşti”, dar şi în filme ale altor regizori: „O noapte de pomină” (1939, regia Ion Şahighian) sau „Dimitrie Cantemir” (1973, regia Gheorghe Vitanidis), unde l-a interpretat pe ţarul Petru cel Mare.

În anii 1980, Ion Popescu-Gopo experimentează noi tehnici de animaţie: mişcarea acelor de gămălie („Şi totuşi se mişcă”, 1980), a firelor de tutun („Animagic film”, 1981), animarea obiectelor, statuetelor, părului („Tu”, 1983).

A fost preşedinte al Asociaţiei Cineaştilor din România (1968-1989), iar în perioada 1969-1972 a fost vicepreşedinte al Asociaţiei Internaţionale a Filmului de Animaţie şi director al secţiei de film şi televiziune din cadrul Organizaţiei Mondiale a Sănătăţii.

A fost ales membru de onoare al Uniunii Autorilor şi Realizatorilor de Film.

A murit la 29 noiembrie 1989, la Bucureşti, în urma unui atac de cord.

***

 

.

   Cea mai veche bibliotecă 

            din România se află la Iași.

Palatul Fundațiunii Universitare „Regele Ferdinand I”, cunoscut azi ca Biblioteca Centrală Universitară „Mihai Eminescu” din Iași, este o clădire monumentală din Iași situată în Piața Mihai Eminescu, pe bulevardul Carol I colț cu strada Păcurari. Clădirea a fost construită în stil neoclasic între anii 1930-1934 pentru a adăposti sediul Fundațiunii Universitare „Regele Ferdinand I” și biblioteca acesteia. După al Doilea Război Mondial clădirea a fost naționalizată, în ea mutându-se Biblioteca Universității. Prin reunirea fondurilor celor două biblioteci a fost creată Biblioteca Centrală Universitară „Mihai Eminescu”.

  Edificiul a fost construit în anii `30 și este impresionant prin arhitectură. Interiorul este lucrat în marmură de Carrara şi mozaic veneţian, iar exteriorul conține elemente în stil ionic.

Acest palat este prin el însuși atractiv pentru că este realizat prin frumosul și nobilul gest al Majestății sale, regele Ferdinand, printr-un decret semnat în 27 februarie 1927, cu câteva luni înainte de a muri regele, a declarat Gelu Teodorescu, director BCU Iași.

Printre cele mai importante încăperi ce pot fi vizitate sunt aula, renumită pentru acustica deosebită și sala Hașdeu. Însă, la cerere, puteți vizita și depozitele cu numeroasele comori literare ascunse, dar nu numai.

„A fost mai mult decât o bibliotecă. Este un palat al culturii. De pildă, în aula bibliotecii, unde avem permanent o stagiune camerală și multe evenimente științifice care se derulează aici,cu o acustică extraordinară, știți că se numește și Micul Ateneu pentru acustica deosebită. Compar cu Ateneul de la București”, a spus Gelu Teodorescu, director BCU Iași.

La Biblioteca din Iași puteți alege documente, dintr-un fond de peste două milioane de cărți sau manuscrise rare. Jurnale, scrisori, reviste sau cărți vechi, toate sunt păstrate ca niște adevărate comori pe rafturile celei mai vechi instituții de acest gen din țară.

„O asemenea bibliotecă reprezintă secretul instruirii multora, mai ales din domeniul umanistic, celor care au avut rezultate foarte bune, beneficiind de înțelepciunea păstrată în rafturile acestei biblioteci”, a precizat istoricul Sorin Iftimi.

Unul din cele mai importante obiecte păstrate aici este „Evanghelia cu învățătura de Coresi”, tiparită în 1581, una dintre cele mai vechi cărţi tipărite pe aceste meleaguri. Chiar dacă mai noi, la fel de preţioase sunt şi documentele legate de Mihai Eminescu, din perioada în care a fost bibliotecar la Iași.

„Din vremea trecerii lui pe la bibliotecă, prima perioadă directorat și a doua perioadă 1884 - 1886 când a fost sub-bibliotecar la BCU Iași, datează în fondul de arhivă internă, datează rapoarte, articole, mărturii, din timpul trecerii poetului pe la bibliotecă”, a declarat Lăcrămioara Chihaia, coordonator secții speciale BCU Iaşi.

•••

Înglobând fonduri care au făcut parte din fostele biblioteci ale Academiilor domnești (cea mai veche, Academia Vasiliană, de la 1640, înființată la Mănăstirea Trei Ierarhi), actuala Bibliotecă Centrală Universitară „Mihai Eminescu” din Iași se bucură de continuitate și stabilitate începând cu anul 1835, ca Bibliotecă a Academiei Mihăilene, schimbându-și în timp doar denumirea: Biblioteca Universității din Iași, Biblioteca „Ulpia”, Biblioteca Centrală.

A funcționat, între 1835-1860, în clădirea Academiei Mihăilene, în Universitatea veche (actuala Universitate de Medicină și Farmacie), până în 1897, apoi în Universitatea nouă (actualmente Biblioteca și corpul A al Universității Tehnice „Gh. Asachi”), pentru ca după al doilea război mondial să se mute în clădirea Fundațiunii Universitare „Regele Ferdinand I”, a cărei bibliotecă o înglobează.

***

 

ALI BABA AND THE FORTY THIEVES 

ARABIAN NIGHTS FAIRY TALES 

In a town in Persia there dwelt two brothers, one named Cassim, the other Ali Baba. Cassim was married to a rich wife and lived in plenty, while Ali Baba had to maintain his wife and children by cutting wood in a neighboring forest and selling it in the town.

One day, when Ali Baba was in the forest, he saw a troop of men on horseback, coming toward him in a cloud of dust. He was afraid they were robbers, and climbed into a tree for safety. When they came up to him and dismounted, he counted forty of them. They unbridled their horses and tied them to trees.

The finest man among them, whom Ali Baba took to be their captain, went a little way among some bushes, and said, "Open, Sesame!" so plainly that Ali Baba heard him.

A door opened in the rocks, and having made the troop go in, he followed them, and the door shut again of itself. They stayed some time inside, and Ali Baba, fearing they might come out and catch him, was forced to sit patiently in the tree. At last the door opened again, and the Forty Thieves came out. As the Captain went in last he came out first, and made them all pass by him; he then closed the door, saying, "Shut, Sesame!"

Every man bridled his horse and mounted, the Captain put himself at their head, and they returned as they came.

Then Ali Baba climbed down and went to the door concealed among the bushes, and said, "Open, Sesame!" and it flew open.

Ali Baba, who expected a dull, dismal place, was greatly surprised to find it large and well lighted, hollowed by the hand of man in the form of a vault, which received the light from an opening in the ceiling. He saw rich bales of merchandise -- silk, stuff-brocades, all piled together, and gold and silver in heaps, and money in leather purses. He went in and the door shut behind him. He did not look at the silver, but brought out as many bags of gold as he thought his asses, which were browsing outside, could carry, loaded them with the bags, and hid it all with fagots.

Using the words, "Shut, Sesame!" he closed the door and went home.

Then he drove his asses into the yard, shut the gates, carried the money-bags to his wife, and emptied them out before her. He bade her keep the secret, and he would go and bury the gold.

"Let me first measure it," said his wife. "I will go borrow a measure of someone, while you dig the hole."

So she ran to the wife of Cassim and borrowed a measure. Knowing Ali Baba's poverty, the sister was curious to find out what sort of grain his wife wished to measure, and artfully put some suet at the bottom of the measure. Ali Baba's wife went home and set the measure on the heap of gold, and filled it and emptied it often, to her great content. She then carried it back to her sister, without noticing that a piece of gold was sticking to it, which Cassim's wife perceived directly her back was turned.

She grew very curious, and said to Cassim when he came home, "Cassim, your brother is richer than you. He does not count his money, he measures it."

He begged her to explain this riddle, which she did by showing him the piece of money and telling him where she found it. Then Cassim grew so envious that he could not sleep, and went to his brother in the morning before sunrise. "Ali Baba," he said, showing him the gold piece, "you pretend to be poor and yet you measure gold."

By this Ali Baba perceived that through his wife's folly Cassim and his wife knew their secret, so he confessed all and offered Cassim a share.

"That I expect," said Cassim; "but I must know where to find the treasure, otherwise I will discover all, and you will lose all."

Ali Baba, more out of kindness than fear, told him of the cave, and the very words to use. Cassim left Ali Baba, meaning to be beforehand with him and get the treasure for himself. He rose early next morning, and set out with ten mules loaded with great chests. He soon found the place, and the door in the rock.

He said, "Open, Sesame!" and the door opened and shut behind him. He could have feasted his eyes all day on the treasures, but he now hastened to gather together as much of it as possible; but when he was ready to go he could not remember what to say for thinking of his great riches. Instead of "Sesame," he said, "Open, Barley!" and the door remained fast. He named several different sorts of grain, all but the right one, and the door still stuck fast. He was so frightened at the danger he was in that he had as much forgotten the word as if he had never heard it.

About noon the robbers returned to their cave, and saw Cassim's mules roving about with great chests on their backs. This gave them the alarm; they drew their sabers, and went to the door, which opened on their Captain's saying, "Open, Sesame!"

Cassim, who had heard the trampling of their horses' feet, resolved to sell his life dearly, so when the door opened he leaped out and threw the Captain down. In vain, however, for the robbers with their sabers soon killed him. On entering the cave they saw all the bags laid ready, and could not imagine how anyone had got in without knowing their secret. They cut Cassim's body into four quarters, and nailed them up inside the cave, in order to frighten anyone who should venture in, and went away in search of more treasure.

As night drew on Cassim's wife grew very uneasy, and ran to her brother-in-law, and told him where her husband had gone. Ali Baba did his best to comfort her, and set out to the forest in search of Cassim. The first thing he saw on entering the cave was his dead brother. Full of horror, he put the body on one of his asses, and bags of gold on the other two, and, covering all with some fagots, returned home. He drove the two asses laden with gold into his own yard, and led the other to Cassim's house.

The door was opened by the slave Morgiana, whom he knew to be both brave and cunning. Unloading the ass, he said to her, "This is the body of your master, who has been murdered, but whom we must bury as though he had died in his bed. I will speak with you again, but now tell your mistress I am come."

The wife of Cassim, on learning the fate of her husband, broke out into cries and tears, but Ali Baba offered to take her to live with him and his wife if she would promise to keep his counsel and leave everything to Morgiana; whereupon she agreed, and dried her eyes.

Morgiana, meanwhile, sought an apothecary and asked him for some lozenges. "My poor master," she said, "can neither eat nor speak, and no one knows what his distemper is." She carried home the lozenges and returned next day weeping, and asked for an essence only given to those just about to die.

Thus, in the evening, no one was surprised to hear the wretched shrieks and cries of Cassim's wife and Morgiana, telling everyone that Cassim was dead.

The day after Morgiana went to an old cobbler near the gates of the town who opened his stall early, put a piece of gold in his hand, and bade him follow her with his needle and thread. Having bound his eyes with a handkerchief, she took him to the room where the body lay, pulled off the bandage, and bade him sew the quarters together, after which she covered his eyes again and led him home. Then they buried Cassim, and Morgiana his slave followed him to the grave, weeping and tearing her hair, while Cassim's wife stayed at home uttering lamentable cries. Next day she went to live with Ali Baba, who gave Cassim's shop to his eldest son.

The Forty Thieves, on their return to the cave, were much astonished to find Cassim's body gone and some of their money-bags.

"We are certainly discovered," said the Captain, "and shall be undone if we cannot find out who it is that knows our secret. Two men must have known it; we have killed one, we must now find the other. To this end one of you who is bold and artful must go into the city dressed as a traveler, and discover whom we have killed, and whether men talk of the strange manner of his death. If the messenger fails he must lose his life, lest we be betrayed."

One of the thieves started up and offered to do this, and after the rest had highly commended him for his bravery he disguised himself, and happened to enter the town at daybreak, just by Baba Mustapha's stall. The thief bade him good-day, saying, "Honest man, how can you possibly see to stitch at your age?"

"Old as I am," replied the cobbler, "I have very good eyes, and will you believe me when I tell you that I sewed a dead body together in a place where I had less light than I have now."

The robber was overjoyed at his good fortune, and, giving him a piece of gold, desired to be shown the house where he stitched up the dead body. At first Mustapha refused, saying that he had been blindfolded; but when the robber gave him another piece of gold he began to think he might remember the turnings if blindfolded as before. This means succeeded; the robber partly led him, and was partly guided by him, right in front of Cassim's house, the door of which the robber marked with a piece of chalk. Then, well pleased, he bade farewell to Baba Mustapha and returned to the forest. By and by Morgiana, going out, saw the mark the robber had made, quickly guessed that some mischief was brewing, and fetching a piece of chalk marked two or three doors on each side, without saying anything to her master or mistress.

The thief, meantime, told his comrades of his discovery. The Captain thanked him, and bade him show him the house he had marked. But when they came to it they saw that five or six of the houses were chalked in the same manner. The guide was so confounded that he knew not what answer to make, and when they returned he was at once beheaded for having failed.

Another robber was dispatched, and, having won over Baba Mustapha, marked the house in red chalk; but Morgiana being again too clever for them, the second messenger was put to death also.

The Captain now resolved to go himself, but, wiser than the others, he did not mark the house, but looked at it so closely that he could not fail to remember it. He returned, and ordered his men to go into the neighboring villages and buy nineteen mules, and thirty-eight leather jars, all empty except one, which was full of oil. The Captain put one of his men, fully armed, into each, rubbing the outside of the jars with oil from the full vessel. Then the nineteen mules were loaded with thirty-seven robbers in jars, and the jar of oil, and reached the town by dusk.

The Captain stopped his mules in front of Ali Baba's house, and said to Ali Baba, who was sitting outside for coolness, "I have brought some oil from a distance to sell at tomorrow's market, but it is now so late that I know not where to pass the night, unless you will do me the favor to take me in."

Though Ali Baba had seen the Captain of the robbers in the forest, he did not recognize him in the disguise of an oil merchant. He bade him welcome, opened his gates for the mules to enter, and went to Morgiana to bid her prepare a bed and supper for his guest. He brought the stranger into his hall, and after they had supped went again to speak to Morgiana in the kitchen, while the Captain went into the yard under pretense of seeing after his mules, but really to tell his men what to do.

Beginning at the first jar and ending at the last, he said to each man, "As soon as I throw some stones from the window of the chamber where I lie, cut the jars open with your knives and come out, and I will be with you in a trice."

He returned to the house, and Morgiana led him to his chamber. She then told Abdallah, her fellow slave, to set on the pot to make some broth for her master, who had gone to bed. Meanwhile her lamp went out, and she had no more oil in the house.

"Do not be uneasy," said Abdallah; "go into the yard and take some out of one of those jars."

Morgiana thanked him for his advice, took the oil pot, and went into the yard. When she came to the first jar the robber inside said softly, "Is it time?"

Any other slave but Morgiana, on finding a man in the jar instead of the oil she wanted, would have screamed and made a noise; but she, knowing the danger her master was in, bethought herself of a plan, and answered quietly, "Not yet, but presently."

She went to all the jars, giving the same answer, till she came to the jar of oil. She now saw that her master, thinking to entertain an oil merchant, had let thirty-eight robbers into his house. She filled her oil pot, went back to the kitchen, and, having lit her lamp, went again to the oil jar and filled a large kettle full of oil. When it boiled she went and poured enough oil into every jar to stifle and kill the robber inside. When this brave deed was done she went back to the kitchen, put out the fire and the lamp, and waited to see what would happen.

In a quarter of an hour the Captain of the robbers awoke, got up, and opened the window. As all seemed quiet, he threw down some little pebbles which hit the jars. He listened, and as none of his men seemed to stir he grew uneasy, and went down into the yard. On going to the first jar and saying, "Are you asleep?" he smelt the hot boiled oil, and knew at once that his plot to murder Ali Baba and his household had been discovered. He found all the gang was dead, and, missing the oil out of the last jar, became aware of the manner of their death. He then forced the lock of a door leading into a garden, and climbing over several walls made his escape. Morgiana heard and saw all this, and, rejoicing at her success, went to bed and fell asleep.

At daybreak Ali Baba arose, and, seeing the oil jars still there, asked why the merchant had not gone with his mules. Morgiana bade him look in the first jar and see if there was any oil. Seeing a man, he started back in terror. "Have no fear," said Morgiana; "the man cannot harm you; he is dead."

Ali Baba, when he had recovered somewhat from his astonishment, asked what had become of the merchant.

"Merchant!" said she, "he is no more a merchant than I am!" and she told him the whole story, assuring him that it was a plot of the robbers of the forest, of whom only three were left, and that the white and red chalk marks had something to do with it. Ali Baba at once gave Morgiana her freedom, saying that he owed her his life. They then buried the bodies in Ali Baba's garden, while the mules were sold in the market by his slaves.

The Captain returned to his lonely cave, which seemed frightful to him without his lost companions, and firmly resolved to avenge them by killing Ali Baba. He dressed himself carefully, and went into the town, where he took lodgings in an inn. In the course of a great many journeys to the forest he carried away many rich stuffs and much fine linen, and set up a shop opposite that of Ali Baba's son. He called himself Cogia Hassan, and as he was both civil and well dressed he soon made friends with Ali Baba's son, and through him with Ali Baba, whom he was continually asking to sup with him.

Ali Baba, wishing to return his kindness, invited him into his house and received him smiling, thanking him for his kindness to his son.

When the merchant was about to take his leave Ali Baba stopped him, saying, "Where are you going, sir, in such haste? Will you not stay and sup with me?"

The merchant refused, saying that he had a reason; and, on Ali Baba's asking him what that was, he replied, "It is, sir, that I can eat no victuals that have any salt in them."

"If that is all," said Ali Baba, "let me tell you that there shall be no salt in either the meat or the bread that we eat to-night."

He went to give this order to Morgiana, who was much surprised.

"Who is this man," she said, "who eats no salt with his meat?"

"He is an honest man, Morgiana," returned her master; "therefore do as I bid you."

But she could not withstand a desire to see this strange man, so she helped Abdallah to carry up the dishes, and saw in a moment that Cogia Hassan was the robber Captain, and carried a dagger under his garment.

"I am not surprised," she said to herself, "that this wicked man, who intends to kill my master, will eat no salt with him; but I will hinder his plans."

She sent up the supper by Abdallah, while she made ready for one of the boldest acts that could be thought on. When the dessert had been served, Cogia Hassan was left alone with Ali Baba and his son, whom he thought to make drunk and then to murder them. Morgiana, meanwhile, put on a headdress like a dancing-girl's, and clasped a girdle round her waist, from which hung a dagger with a silver hilt, and said to Abdallah, "Take your tabor, and let us go and divert our master and his guest."

Abdallah took his tabor and played before Morgiana until they came to the door, where Abdallah stopped playing and Morgiana made a low courtesy.

"Come in, Morgiana," said Ali Baba, "and let Cogia Hassan see what you can do"; and, turning to Cogia Hassan, he said, "She's my slave and my housekeeper."

Cogia Hassan was by no means pleased, for he feared that his chance of killing Ali Baba was gone for the present; but he pretended great eagerness to see Morgiana, and Abdallah began to play and Morgiana to dance. After she had performed several dances she drew her dagger and made passes with it, sometimes pointing it at her own breast, sometimes at her master's, as if it were part of the dance. Suddenly, out of breath, she snatched the tabor from Abdallah with her left hand, and, holding the dagger in her right hand, held out the tabor to her master. Ali Baba and his son put a piece of gold into it, and Cogia Hassan, seeing that she was coming to him, pulled out his purse to make her a present, but while he was putting his hand into it Morgiana plunged the dagger into his heart.

"Unhappy girl!" cried Ali Baba and his son, "what have you done to ruin us?"

"It was to preserve you, master, not to ruin you," answered Morgiana. "See here," opening the false merchant's garment and showing the dagger; "see what an enemy you have entertained! Remember, he would eat no salt with you, and what more would you have? Look at him! he is both the false oil merchant and the Captain of the Forty Thieves."

Ali Baba was so grateful to Morgiana for thus saving his life that he offered her to his son in marriage, who readily consented, and a few days after the wedding was celebrated with greatest splendor.

At the end of a year Ali Baba, hearing nothing of the two remaining robbers, judged they were dead, and set out to the cave. The door opened on his saying, "Open Sesame!" He went in, and saw that nobody had been there since the Captain left it. He brought away as much gold as he could carry, and returned to town. He told his son the secret of the cave, which his son handed down in his turn, so the children and grandchildren of Ali Baba were rich to the end of their lives.