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	<id>https://db.seven-sages-of-rome.org/index.php?action=history&amp;feed=atom&amp;title=Ingenia_2</id>
	<title>Ingenia 2 - Revision history</title>
	<link rel="self" type="application/atom+xml" href="https://db.seven-sages-of-rome.org/index.php?action=history&amp;feed=atom&amp;title=Ingenia_2"/>
	<link rel="alternate" type="text/html" href="https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;action=history"/>
	<updated>2026-06-15T13:22:08Z</updated>
	<subtitle>Revision history for this page on the wiki</subtitle>
	<generator>MediaWiki 1.43.6</generator>
	<entry>
		<id>https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=16095&amp;oldid=prev</id>
		<title>Bonsall at 17:02, 10 March 2026</title>
		<link rel="alternate" type="text/html" href="https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=16095&amp;oldid=prev"/>
		<updated>2026-03-10T17:02:56Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 17:02, 10 March 2026&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l9&quot;&gt;Line 9:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 9:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[Entered by Jane Bonsall]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[Entered by Jane Bonsall]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Note=This material is closely related to the other &quot;Wiles of Women&quot; stories, which are: [[Ingenia|Ingenia, The Trick: The Wiles of Women Collection]], in which a man tries (and fails) to record examples of all of women&#039;s trickery; Ingenia 3, The Trick: The Fish in the Field, in which a woman makes a fool of her misogynist husband; and [[Ingenia 4|Ingenia 4: The Fur Coat]], in which a woman challenges her husband&#039;s misogynist scribe, who writes about women&#039;s wiles, into testing her capacity for creative adultery.    &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Note=This material is closely related to the other &quot;Wiles of Women&quot; stories, which are: [[Ingenia|Ingenia, The Trick: The Wiles of Women Collection]], in which a man tries (and fails) to record examples of all of women&#039;s trickery; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[[Ingenia 3|&lt;/ins&gt;Ingenia 3, The Trick: The Fish in the Field&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;]]&lt;/ins&gt;, in which a woman makes a fool of her misogynist husband; and [[Ingenia 4|Ingenia 4: The Fur Coat]], in which a woman challenges her husband&#039;s misogynist scribe, who writes about women&#039;s wiles, into testing her capacity for creative adultery.    &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Nishimura notes:  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Nishimura notes:  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Bonsall</name></author>
	</entry>
	<entry>
		<id>https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=16084&amp;oldid=prev</id>
		<title>Bonsall at 15:56, 10 March 2026</title>
		<link rel="alternate" type="text/html" href="https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=16084&amp;oldid=prev"/>
		<updated>2026-03-10T15:56:58Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 15:56, 10 March 2026&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Line 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{Inset Story&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{Inset Story&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;|Has Short Description=The Trick: Hidden Under the Throne&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Critical Literature=Nishimura (2001); Basset (1891); Marzolph and van Leeuwen (2004); Clouston (1884); Chauvin (1892-1922)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Critical Literature=Nishimura (2001); Basset (1891); Marzolph and van Leeuwen (2004); Clouston (1884); Chauvin (1892-1922)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Motif=Deception; Deceitful woman; Deceitful lover; Gullible husband; Lesson: women’s cleverness and deceit; Adultery; Humour; Admission of trick framed as a joke; Riches; Jealousy; Jealous husband&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Motif=Deception; Deceitful woman; Deceitful lover; Gullible husband; Lesson: women’s cleverness and deceit; Adultery; Humour; Admission of trick framed as a joke; Riches; Jealousy; Jealous husband&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;; Trick in plain sight; Disguise; Cross dressing; Cross dressing: man in women’s clothes; Concealed lover; Mistaken or concealed identity&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Summary=&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;The Wiles of Women&#039;&#039;&#039;&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Summary=Passing through the city, a queen sees a great crowd of people gathered around a shop where a man offers to help women decieve their lovers, selling tricks and amulets, and writing their letters. She sends for him secretly, and he arrives at the palace disguised as a black woman. While the two are talking, a lady in waiting rushes in to inform the queen of the king&#039;s approach. The queen asks the man to demonstrate his deceit and his trickery, but he freezes in fear instead. She orders him to curl up under the seat of her high chair, then sits upon it, concealing him beneath her skirts. When the king enters, the queen immediately tells him that she has a man under her chair; the king draws his sword in fury. The queen then bursts out laughing, tells the king she is joking and that actually it is the shy daughter of a minister she has concealed who was too nervous to face the king, and so hid in fright. The king leaves, and the man promises that he can never match women&#039;s trickery, and will give up his business. The queen gives him a great deal of money, and he is never seen again.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Passing through the city, a queen sees a great crowd of people gathered around a shop where a man offers to help women decieve their lovers, selling tricks and amulets, and writing their letters. She sends for him secretly, and he arrives at the palace disguised as a black woman. While the two are talking, a lady in waiting rushes in to inform the queen of the king&#039;s approach. The queen asks the man to demonstrate his deceit and his trickery, but he freezes in fear instead. She orders him to curl up under the seat of her high chair, then sits upon it, concealing him beneath her skirts. When the king enters, the queen immediately tells him that she has a man under her chair; the king draws his sword in fury. The queen then bursts out laughing, tells the king she is joking and that actually it is the shy daughter of a minister she has concealed who was too nervous to face the king, and so hid in fright. The king leaves, and the man promises that he can never match women&#039;s trickery, and will give up his business. The queen gives him a great deal of money, and he is never seen again.&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l10&quot;&gt;Line 10:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 9:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[Entered by Jane Bonsall]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[Entered by Jane Bonsall]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Note=Nishimura notes:  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Note=&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;This material is closely related to the other &quot;Wiles of Women&quot; stories, which are: [[Ingenia|Ingenia, The Trick: The Wiles of Women Collection]], in which a man tries (and fails) to record examples of all of women&#039;s trickery; Ingenia 3, The Trick: The Fish in the Field, in which a woman makes a fool of her misogynist husband; and [[Ingenia 4|Ingenia 4: The Fur Coat]], in which a woman challenges her husband&#039;s misogynist scribe, who writes about women&#039;s wiles, into testing her capacity for creative adultery.   &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Nishimura notes:  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&amp;#039;&amp;#039;&amp;#039;Analogues:&amp;#039;&amp;#039;&amp;#039; &amp;#039;&amp;#039;Le Jardin parfumé&amp;#039;&amp;#039;, 11.7 ‘The story of a woman who played a trick on a gallant’. Cardonne, &amp;#039;&amp;#039;Mélanges de littérature orientale&amp;#039;&amp;#039;, ‘Die Geschicht von verliebten Philosophen’ (pp. 276-279. The man hides in a box). Hagen, &amp;#039;&amp;#039;Gesamtabenteuer&amp;#039;&amp;#039;, 41, ‘Der Ritter unterm Zuber’ (by Jacob Appet).&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&amp;#039;&amp;#039;&amp;#039;Analogues:&amp;#039;&amp;#039;&amp;#039; &amp;#039;&amp;#039;Le Jardin parfumé&amp;#039;&amp;#039;, 11.7 ‘The story of a woman who played a trick on a gallant’. Cardonne, &amp;#039;&amp;#039;Mélanges de littérature orientale&amp;#039;&amp;#039;, ‘Die Geschicht von verliebten Philosophen’ (pp. 276-279. The man hides in a box). Hagen, &amp;#039;&amp;#039;Gesamtabenteuer&amp;#039;&amp;#039;, 41, ‘Der Ritter unterm Zuber’ (by Jacob Appet).&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&#039;&#039;&#039;Bibliography:&#039;&#039;&#039; &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Chauvin VIII142, 206. &lt;/del&gt;Landau 4. Hagen, II, pp. xxxvi-xl&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. W.A. Clouston, pp. 258-263&lt;/del&gt;.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&#039;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Additional &lt;/ins&gt;Bibliography:&#039;&#039;&#039; Landau 4. Hagen, II, pp. xxxvi-xl.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;}}&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Bonsall</name></author>
	</entry>
	<entry>
		<id>https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=12596&amp;oldid=prev</id>
		<title>Bonsall at 14:48, 6 November 2025</title>
		<link rel="alternate" type="text/html" href="https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=12596&amp;oldid=prev"/>
		<updated>2025-11-06T14:48:51Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 14:48, 6 November 2025&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Line 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{Inset Story&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{Inset Story&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Critical Literature=Nishimura (2001); Basset (1891); Marzolph and van Leeuwen (2004); Clouston (1884); Chauvin (1892-1922)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Critical Literature=Nishimura (2001); Basset (1891); Marzolph and van Leeuwen (2004); Clouston (1884); Chauvin (1892-1922)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Motif=Deception; Deceitful woman; Deceitful lover; Gullible husband; Lesson: women’s cleverness and deceit; Adultery; Humour; Admission of trick framed as a joke; Riches&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Motif=Deception; Deceitful woman; Deceitful lover; Gullible husband; Lesson: women’s cleverness and deceit; Adultery; Humour; Admission of trick framed as a joke; Riches&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;; Jealousy; Jealous husband&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Summary=&amp;#039;&amp;#039;&amp;#039;The Wiles of Women&amp;#039;&amp;#039;&amp;#039;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;|Has Summary=&amp;#039;&amp;#039;&amp;#039;The Wiles of Women&amp;#039;&amp;#039;&amp;#039;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Passing through the city, a queen sees a great crowd of people gathered around a shop where a man offers to help women decieve their lovers, selling tricks and amulets, and writing their letters. She sends for him secretly, and he arrives at the palace disguised as a black woman. While the two are talking, a lady in waiting rushes in to inform the queen of the king&amp;#039;s approach. The queen asks the man to demonstrate his deceit and his trickery, but he freezes in fear instead. She orders him to curl up under the seat of her high chair, then sits upon it, concealing him beneath her skirts. When the king enters, the queen immediately tells him that she has a man under her chair; the king draws his sword in fury. The queen then bursts out laughing, tells the king she is joking and that actually it is the shy daughter of a minister she has concealed who was too nervous to face the king, and so hid in fright. The king leaves, and the man promises that he can never match women&amp;#039;s trickery, and will give up his business. The queen gives him a great deal of money, and he is never seen again.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Passing through the city, a queen sees a great crowd of people gathered around a shop where a man offers to help women decieve their lovers, selling tricks and amulets, and writing their letters. She sends for him secretly, and he arrives at the palace disguised as a black woman. While the two are talking, a lady in waiting rushes in to inform the queen of the king&amp;#039;s approach. The queen asks the man to demonstrate his deceit and his trickery, but he freezes in fear instead. She orders him to curl up under the seat of her high chair, then sits upon it, concealing him beneath her skirts. When the king enters, the queen immediately tells him that she has a man under her chair; the king draws his sword in fury. The queen then bursts out laughing, tells the king she is joking and that actually it is the shy daughter of a minister she has concealed who was too nervous to face the king, and so hid in fright. The king leaves, and the man promises that he can never match women&amp;#039;s trickery, and will give up his business. The queen gives him a great deal of money, and he is never seen again.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;From the &amp;#039;&amp;#039;One Thousand and One Nights,&amp;#039;&amp;#039; from Nishimura&amp;#039;s summary of Basset&amp;#039;s MS, found in Leiden Or. 14.303.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;From the &amp;#039;&amp;#039;One Thousand and One Nights,&amp;#039;&amp;#039; from Nishimura&amp;#039;s summary of Basset&amp;#039;s MS, found in Leiden Or. 14.303.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Bonsall</name></author>
	</entry>
	<entry>
		<id>https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=12560&amp;oldid=prev</id>
		<title>Bonsall at 11:21, 6 November 2025</title>
		<link rel="alternate" type="text/html" href="https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=12560&amp;oldid=prev"/>
		<updated>2025-11-06T11:21:56Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 11:21, 6 November 2025&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l9&quot;&gt;Line 9:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 9:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[Entered by Jane Bonsall]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[Entered by Jane Bonsall]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;|Has Note=Nishimura notes: &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;Analogues:&#039;&#039;&#039; &#039;&#039;Le Jardin parfumé&#039;&#039;, 11.7 ‘The story of a woman who played a trick on a gallant’. Cardonne, &#039;&#039;Mélanges de littérature orientale&#039;&#039;, ‘Die Geschicht von verliebten Philosophen’ (pp. 276-279. The man hides in a box). Hagen, &#039;&#039;Gesamtabenteuer&#039;&#039;, 41, ‘Der Ritter unterm Zuber’ (by Jacob Appet).&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;Bibliography:&#039;&#039;&#039; Chauvin VIII142, 206. Landau 4. Hagen, II, pp. xxxvi-xl. W.A. Clouston, pp. 258-263.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;}}&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Bonsall</name></author>
	</entry>
	<entry>
		<id>https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=12559&amp;oldid=prev</id>
		<title>Bonsall: Created page with &quot;{{Inset Story |Has Critical Literature=Nishimura (2001); Basset (1891); Marzolph and van Leeuwen (2004); Clouston (1884); Chauvin (1892-1922) |Has Motif=Deception; Deceitful woman; Deceitful lover; Gullible husband; Lesson: women’s cleverness and deceit; Adultery; Humour; Admission of trick framed as a joke; Riches |Has Summary=&#039;&#039;&#039;The Wiles of Women&#039;&#039;&#039;    Passing through the city, a queen sees a great crowd of people gathered around a shop where a man offers to help wo...&quot;</title>
		<link rel="alternate" type="text/html" href="https://db.seven-sages-of-rome.org/index.php?title=Ingenia_2&amp;diff=12559&amp;oldid=prev"/>
		<updated>2025-11-06T11:21:12Z</updated>

		<summary type="html">&lt;p&gt;Created page with &amp;quot;{{Inset Story |Has Critical Literature=Nishimura (2001); Basset (1891); Marzolph and van Leeuwen (2004); Clouston (1884); Chauvin (1892-1922) |Has Motif=Deception; Deceitful woman; Deceitful lover; Gullible husband; Lesson: women’s cleverness and deceit; Adultery; Humour; Admission of trick framed as a joke; Riches |Has Summary=&amp;#039;&amp;#039;&amp;#039;The Wiles of Women&amp;#039;&amp;#039;&amp;#039;    Passing through the city, a queen sees a great crowd of people gathered around a shop where a man offers to help wo...&amp;quot;&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;{{Inset Story&lt;br /&gt;
|Has Critical Literature=Nishimura (2001); Basset (1891); Marzolph and van Leeuwen (2004); Clouston (1884); Chauvin (1892-1922)&lt;br /&gt;
|Has Motif=Deception; Deceitful woman; Deceitful lover; Gullible husband; Lesson: women’s cleverness and deceit; Adultery; Humour; Admission of trick framed as a joke; Riches&lt;br /&gt;
|Has Summary=&amp;#039;&amp;#039;&amp;#039;The Wiles of Women&amp;#039;&amp;#039;&amp;#039;&lt;br /&gt;
&lt;br /&gt;
Passing through the city, a queen sees a great crowd of people gathered around a shop where a man offers to help women decieve their lovers, selling tricks and amulets, and writing their letters. She sends for him secretly, and he arrives at the palace disguised as a black woman. While the two are talking, a lady in waiting rushes in to inform the queen of the king&amp;#039;s approach. The queen asks the man to demonstrate his deceit and his trickery, but he freezes in fear instead. She orders him to curl up under the seat of her high chair, then sits upon it, concealing him beneath her skirts. When the king enters, the queen immediately tells him that she has a man under her chair; the king draws his sword in fury. The queen then bursts out laughing, tells the king she is joking and that actually it is the shy daughter of a minister she has concealed who was too nervous to face the king, and so hid in fright. The king leaves, and the man promises that he can never match women&amp;#039;s trickery, and will give up his business. The queen gives him a great deal of money, and he is never seen again.&lt;br /&gt;
&lt;br /&gt;
From the &amp;#039;&amp;#039;One Thousand and One Nights,&amp;#039;&amp;#039; from Nishimura&amp;#039;s summary of Basset&amp;#039;s MS, found in Leiden Or. 14.303.&lt;br /&gt;
&lt;br /&gt;
[Entered by Jane Bonsall]&lt;br /&gt;
}}&lt;/div&gt;</summary>
		<author><name>Bonsall</name></author>
	</entry>
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