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The history of the Seven Wise Masters forms an important epoch in the history of European popular stories, because it affords the most remarkable evidence of the literary descent and origin of stories, as distinct from a traditional descent. Professor Comparetti in his Researches respecting the Book of Sindibad, published by the Folk-Lore Society, Mr. Clouston in his Bakhtyar Nama and in his Book of Sindibad, two privately printed books, and Mr. Wright in his Sevyn Sages, printed by the Percy Society in 1846, have practically exhausted the literary history of this famous collection of stories. Shortly summarised from these three sources the main facts are these. There was an ancient original Indian book of stories which became so popular that it was copied frequently, and thus handed down from one generation to another. From this book two separate groups of texts have descended. To the first belong all the texts in the Eastern languages; to the other belong the Dolopathos, the Historia Septem Sapientum, the Erasto, and other numerous texts of the various European literatures of the Middle Ages. With the Eastern group of texts we have now nothing to do beyond saying that Professor Comparetti has restored, in the scholarly book above mentioned, the form of the original text for the guidance of the modern student. The Western group of texts has a history of its own quite apart from its Eastern origin. It has kept the original framework, but it has varied the setting; and this variation will be found of great interest to the student of popular tradition. Before, however, we come to this part of the subject, let us see the kind of work with which we are dealing. The framework of the romance is as follows: A young prince, falsely accused by the wife of the king, his father, of having attempted to offer her violence, is defended by seven sages, who relate a series of stories to show the deceits of women, the queen at the same time urging the death of the accused prince by the example of stories told by herself. This system of story-telling is practically the same as that adopted in the Arabian Nights. Boccaccio adopted this plan in hisDecameron; Chaucer adopted it in his Canterbury Tales. Among the Eastern texts is a famous one in Hebrew, dating as far back as the first half of the thirteenth century. Under the title of Historia Septem Sapientum Romæ, a Latin translation of this was made by Dam Jehans, a monk of the abbey of Haute Selve, in the diocese of Nancy, in the thirteenth century. The earliest printed copy of this version that I have been able to find is one printed at Cologne in 1490, of which I shall say something a little further on. It was through this Latin version that the work was communicated to nearly all the languages of Western Europe; and in 1520 a translation into English was printed by the famous printer Wynkyn de Worde. A fine copy of this is preserved in the British Museum, and from it is printed the text of the present version. One or two pages are missing from this copy, and the passages are restored from the earliest chap-book version which I have been able to discover—namely, that printed in 1671 at London, and belonging to the British Museum. This chap-book version is nearly identical with the Wynkyn de Worde, with the simple alteration of the spelling to the modern forms. One curious variation, however, illustrating the force of the change of religious opinions at the time of the Reformation, is well worth noting. On page 173 of our text will be found related how the murdered children of the Emperor Lodwyke were found alive singing "of ye moost blessed vyrgyne Mary, aue Maria gracia plena dn̄s tecum," but in the chap-book of 1671 it is said they were singing praises to the Almighty.