Kitabı oku: «The Sketch-Book of Geoffrey Crayon», sayfa 6

THE ART OF BOOK-MAKING

If that severe doom of Synesius be true, – “It is a greater offence to steal dead men’s labor, than their clothes,” – what shall become of most writers? —

BURTON’S ANATOMY OF MELANCHOLY.

HAVE often wondered at the extreme fecundity of the press, and how it comes to pass that so many heads, on which Nature seems to have inflicted the curse of barrenness, should teem with voluminous productions. As a man travels on, however, in the journey of life, his objects of wonder daily diminish, and he is continually finding out some very simple cause for some great matter of marvel. Thus have I chanced, in my peregrinations about this great metropolis, to blunder upon a scene which unfolded to me some of the mysteries of the book-making craft, and at once put an end to my astonishment.

I was one summer’s day loitering through the great saloons of the British Museum, with that listlessness with which one is apt to saunter about a museum in warm weather; sometimes lolling over the glass cases of minerals, sometimes studying the hieroglyphics on an Egyptian mummy, and some times trying, with nearly equal success, to comprehend the allegorical paintings on the lofty ceilings. Whilst I was gazing about in this idle way, my attention was attracted to a distant door, at the end of a suite of apartments. It was closed, but every now and then it would open, and some strange-favored being, generally clothed in black, would steal forth, and glide through the rooms, without noticing any of the surrounding objects. There was an air of mystery about this that piqued my languid curiosity, and I determined to attempt the passage of that strait, and to explore the unknown regions beyond. The door yielded to my hand, with all that facility with which the portals of enchanted castles yield to the adventurous knight-errant. I found myself in a spacious chamber, surrounded with great cases of venerable books. Above the cases, and just under the cornice, were arranged a great number of black-looking portraits of ancient authors. About the room were placed long tables, with stands for reading and writing, at which sat many pale, studious personages, poring intently over dusty volumes, rummaging among mouldy manuscripts, and taking copious notes of their contents. A hushed stillness reigned through this mysterious apartment, excepting that you might hear the racing of pens over sheets of paper, and occasionally the deep sigh of one of these sages, as he shifted his position to turn over the page of an old folio; doubtless arising from that hollowness and flatulency incident to learned research.

Now and then one of these personages would write something on a small slip of paper, and ring a bell, whereupon a familiar would appear, take the paper in profound silence, glide out of the room, and return shortly loaded with ponderous tomes, upon which the other would fall, tooth and nail, with famished voracity. I had no longer a doubt that I had happened upon a body of magi, deeply engaged in the study of occult sciences. The scene reminded me of an old Arabian tale, of a philosopher shut up in an enchanted library, in the bosom of a mountain, which opened only once a year; where he made the spirits of the place bring him books of all kinds of dark knowledge, so that at the end of the year, when the magic portal once more swung open on its hinges, he issued forth so versed in forbidden lore, as to be able to soar above the heads of the multitude, and to control the powers of Nature.

My curiosity being now fully aroused, I whispered to one of the familiars, as he was about to leave the room, and begged an interpretation of the strange scene before me. A few words were sufficient for the purpose. I found that these mysterious personages, whom I had mistaken for magi, were principally authors, and were in the very act of manufacturing books. I was, in fact, in the reading-room of the great British Library, an immense collection of volumes of all ages and languages, many of which are now forgotten, and most of which are seldom read: one of these sequestered pools of obsolete literature to which modern authors repair, and draw buckets full of classic lore, or “pure English, undefiled,” wherewith to swell their own scanty rills of thought.

Being now in possession of the secret, I sat down in a corner, and watched the process of this book manufactory. I noticed one lean, bilious-looking wight, who sought none but the most worm-eaten volumes, printed in black letter. He was evidently constructing some work of profound erudition, that would be purchased by every man who wished to be thought learned, placed upon a conspicuous shelf of his library, or laid open upon his table – but never read. I observed him, now and then, draw a large fragment of biscuit out of his pocket, and gnaw; whether it was his dinner, or whether he was endeavoring to keep off that exhaustion of the stomach, produced by much pondering over dry works, I leave to harder students than myself to determine.

There was one dapper little gentleman in bright-colored clothes, with a chirping gossiping expression of countenance, who had all the appearance of an author on good terms with his bookseller. After considering him attentively, I recognized in him a diligent getter-up of miscellaneous works, which bustled off well with the trade. I was curious to see how he manufactured his wares. He made more stir and show of business than any of the others; dipping into various books, fluttering over the leaves of manuscripts, taking a morsel out of one, a morsel out of another, “line upon line, precept upon precept, here a little and there a little.” The contents of his book seemed to be as heterogeneous as those of the witches’ cauldron in Macbeth. It was here a finger and there a thumb, toe of frog and blind worm’s sting, with his own gossip poured in like “baboon’s blood,” to make the medley “slab and good.”

After all, thought I, may not this pilfering disposition be implanted in authors for wise purposes? may it not be the way in which Providence has taken care that the seeds of knowledge and wisdom shall be preserved from age to age, in spite of the inevitable decay of the works in which they were first produced? We see that Nature has wisely, though whimsically provided for the conveyance of seeds from clime to clime, in the maws of certain birds; so that animals, which, in themselves, are little better than carrion, and apparently the lawless plunderers of the orchard and the corn-field, are, in fact, Nature’s carriers to disperse and perpetuate her blessings. In like manner, the beauties and fine thoughts of ancient and obsolete authors are caught up by these flights of predatory writers, and cast forth, again to flourish and bear fruit in a remote and distant tract of time. Many of their works, also, undergo a kind of metempsychosis, and spring up under new forms. What was formerly a ponderous history, revives in the shape of a romance – an old legend changes into a modern play – and a sober philosophical treatise furnishes the body for a whole series of bouncing and sparkling essays. Thus it is in the clearing of our American woodlands; where we burn down a forest of stately pines, a progeny of dwarf oaks start up in their place; and we never see the prostrate trunk of a tree mouldering into soil, but it gives birth to a whole tribe of fungi.

Let us not then, lament over the decay and oblivion into which ancient writers descend; they do but submit to the great law of Nature, which declares that all sublunary shapes of matter shall be limited in their duration, but which decrees, also, that their element shall never perish. Generation after generation, both in animal and vegetable life, passes away, but the vital principle is transmitted to posterity, and the species continue to flourish. Thus, also, do authors beget authors, and having produced a numerous progeny, in a good old age they sleep with their fathers, that is to say, with the authors who preceded them – and from whom they had stolen.

Whilst I was indulging in these rambling fancies I had leaned my head against a pile of reverend folios. Whether it was owing to the soporific emanations for these works; or to the profound quiet of the room; or to the lassitude arising from much wandering; or to an unlucky habit of napping at improper times and places, with which I am grievously afflicted, so it was, that I fell into a doze. Still, however, my imagination continued busy, and indeed the same scene continued before my mind’s eye, only a little changed in some of the details. I dreamt that the chamber was still decorated with the portraits of ancient authors, but that the number was increased. The long tables had disappeared, and, in place of the sage magi, I beheld a ragged, threadbare throng, such as may be seen plying about the great repository of cast-off clothes, Monmouth Street. Whenever they seized upon a book, by one of those incongruities common to dreams, methought it turned into a garment of foreign or antique fashion, with which they proceeded to equip themselves. I noticed, however, that no one pretended to clothe himself from any particular suit, but took a sleeve from one, a cape from another, a skirt from a third, thus decking himself out piecemeal, while some of his original rags would peep out from among his borrowed finery.

There was a portly, rosy, well-fed parson, whom I observed ogling several mouldy polemical writers through an eyeglass. He soon contrived to slip on the voluminous mantle of one of the old fathers, and having purloined the gray beard of another, endeavored to look exceedingly wise; but the smirking commonplace of his countenance set at naught all the trappings of wisdom. One sickly-looking gentleman was busied embroidering a very flimsy garment with gold thread drawn out of several old court-dresses of the reign of Queen Elizabeth. Another had trimmed himself magnificently from an illuminated manuscript, had stuck a nosegay in his bosom, culled from “The Paradise of Dainty Devices,” and having put Sir Philip Sidney’s hat on one side of his head, strutted off with an exquisite air of vulgar elegance. A third, who was but of puny dimensions, had bolstered himself out bravely with the spoils from several obscure tracts of philosophy, so that he had a very imposing front, but he was lamentably tattered in rear, and I perceived that he had patched his small-clothes with scraps of parchment from a Latin author.

There were some well-dressed gentlemen, it is true, who only helped themselves to a gem or so, which sparkled among their own ornaments, without eclipsing them. Some, too, seemed to contemplate the costumes of the old writers, merely to imbibe their principles of taste, and to catch their air and spirit; but I grieve to say, that too many were apt to array themselves, from top to toe, in the patchwork manner I have mentioned. I shall not omit to speak of one genius, in drab breeches and gaiters, and an Arcadian hat, who had a violent propensity to the pastoral, but whose rural wanderings had been confined to the classic haunts of Primrose Hill, and the solitudes of the Regent’s Park. He had decked himself in wreaths and ribbons from all the old pastoral poets, and, hanging his head on one side, went about with a fantastical, lackadaisical air, “babbling about green field.” But the personage that most struck my attention was a pragmatical old gentleman in clerical robes, with a remarkably large and square but bald head. He entered the room wheezing and puffing, elbowed his way through the throng with a look of sturdy self-confidence, and, having laid hands upon a thick Greek quarto, clapped it upon his head, and swept majestically away in a formidable frizzled wig.

In the height of this literary masquerade, a cry suddenly resounded from every side, of “Thieves! thieves!” I looked, and lo! the portraits about the walls became animated! The old authors thrust out, first a head, then a shoulder, from the canvas, looked down curiously for an instant upon the motley throng, and then descended, with fury in their eyes, to claim their rifled property. The scene of scampering and hubbub that ensued baffles all description. The unhappy culprits endeavored in vain to escape with their plunder. On one side might be seen half a dozen old monks, stripping a modern professor; on another, there was sad devastation carried into the ranks of modern dramatic writers. Beaumont and Fletcher, side by side, raged round the field like Castor and Pollux, and sturdy Ben Jonson enacted more wonders than when a volunteer with the army in Flanders. As to the dapper little compiler of farragos mentioned some time since, he had arrayed himself in as many patches and colors as harlequin, and there was as fierce a contention of claimants about him, as about the dead body of Patroclus. I was grieved to see many men, to whom I had been accustomed to look up with awe and reverence, fain to steal off with scarce a rag to cover their nakedness. Just then my eye was caught by the pragmatical old gentleman in the Greek grizzled wig, who was scrambling away in sore affright with half a score of authors in full cry after him. They were close upon his haunches; in a twinkling off went his wig; at every turn some strip of raiment was peeled away, until in a few moments, from his domineering pomp, he shrunk into a little, pursy, “chopp’d bald shot,” and made his exit with only a few tags and rags fluttering at his back.

There was something so ludicrous in the catastrophe of this learned Theban that I burst into an immoderate fit of laughter, which broke the whole illusion. The tumult and the scuffle were at an end. The chamber resumed its usual appearance. The old authors shrunk back into their picture-frames, and hung in shadowy solemnity along the walls. In short, I found myself wide awake in my corner, with the whole assemblage of hookworms gazing at me with astonishment. Nothing of the dream had been real but my burst of laughter, a sound never before heard in that grave sanctuary, and so abhorrent to the ears of wisdom, as to electrify the fraternity.

The librarian now stepped up to me, and demanded whether I had a card of admission. At first I did not comprehend him, but I soon found that the library was a kind of literary “preserve,” subject to game-laws, and that no one must presume to hunt there without special license and permission. In a word, I stood convicted of being an arrant poacher, and was glad to make a precipitate retreat, lest I should have a whole pack of authors let loose upon me.

A ROYAL POET

 
Though your body be confined
And soft love a prisoner bound,
Yet the beauty of your mind
Neither check nor chain hath found.
Look out nobly, then, and dare
Even the fetters that you wear.
 

FLETCHER.

N a soft sunny morning in the genial month of May I made an excursion to Windsor Castle. It is a place full of storied and poetical associations. The very external aspect of the proud old pile is enough to inspire high thought. It rears its irregular walls and massive towers, like a mural crown around the brow of a lofty ridge, waves its royal banner in the clouds, and looks down with a lordly air upon the surrounding world.

On this morning, the weather was of that voluptuous vernal kind which calls forth all the latent romance of a man’s temperament, filling his mind with music, and disposing him to quote poetry and dream of beauty. In wandering through the magnificent saloons and long echoing galleries of the castle I passed with indifference by whole rows of portraits of warriors and statesmen, but lingered in the chamber where hang the likenesses of the beauties which graced the gay court of Charles the Second; and as I gazed upon them, depicted with amorous, half-dishevelled tresses, and the sleepy eye of love, I blessed the pencil of Sir Peter Lely, which had thus enabled me to bask in the reflected rays of beauty. In traversing also the “large green courts,” with sunshine beaming on the gray walls and glancing along the velvet turf, my mind was engrossed with the image of the tender, the gallant, but hapless Surrey, and his account of his loiterings about them in his stripling days, when enamoured of the Lady Geraldine —

 
“With eyes cast up unto the maiden’s tower,
With easie sighs, such as men draw in love.”
 

In this mood of mere poetical susceptibility, I visited the ancient keep of the castle, where James the First of Scotland, the pride and theme of Scottish poets and historians, was for many years of his youth detained a prisoner of state. It is a large gray tower, that has stood the brunt of ages, and is still in good preservation. It stands on a mound which elevates it above the other parts of the castle, and a great flight of steps leads to the interior. In the armory, a Gothic hall furnished with weapons of various kinds and ages, I was shown a coat of armor hanging against the wall, which had once belonged to James. Hence I was conducted up a staircase to a suite of apartments, of faded magnificence, hung with storied tapestry, which formed his prison, and the scene of that passionate and fanciful amour, which has woven into the web of his story the magical hues of poetry and fiction.

The whole history of this amiable but unfortunate prince is highly romantic. At the tender age of eleven, he was sent from home by his father, Robert III., and destined for the French court, to be reared under the eye of the French monarch, secure from the treachery and danger that surrounded the royal house of Scotland. It was his mishap, in the course of his voyage, to fall into the hands of the English, and he was detained prisoner by Henry IV., notwithstanding that a truce existed between the two countries.

The intelligence of his capture, coming in the train of many sorrows and disasters, proved fatal to his unhappy father. “The news,” we are told, “was brought to him while at supper, and did so overwhelm him with grief that he was almost ready to give up the ghost into the hands of the servants that attended him. But being carried to his bedchamber, he abstained from all food, and in three days died of hunger and grief at Rothesay.” ³

James was detained in captivity above eighteen years; but, though deprived of personal liberty, he was treated with the respect due to his rank. Care was taken to instruct him in all the branches of useful knowledge cultivated at that period, and to give him those mental and personal accomplishments deemed proper for a prince. Perhaps in this respect his imprisonment was an advantage, as it enabled him to apply himself the more exclusively to his improvement, and quietly to imbibe that rich fund of knowledge and to cherish those elegant tastes which have given such a lustre to his memory. The picture drawn of him in early life by the Scottish historians is highly captivating, and seems rather the description of a hero of romance than of a character in real history. He was well learnt, we are told, “to fight with the sword, to joust, to tourney, to wrestle, to sing and dance; he was an expert mediciner, right crafty in playing both of lute and harp, and sundry other instruments of music, and was expert in grammar, oratory, and poetry.” ⁴

With this combination of manly and delicate accomplishments, fitting him to shine both in active and elegant life, and calculated to give him an intense relish for joyous existence, it must have been a severe trial, in an age of bustle and chivalry, to pass the spring-time of his years in monotonous captivity. It was the good fortune of James, however, to be gifted with a powerful poetic fancy, and to be visited in his prison by the choicest inspirations of the muse. Some minds corrode, and grow inactive, under the loss of personal liberty; others grow morbid and irritable; but it is the nature of the poet to become tender and imaginative in the loneliness of confinement. He banquets upon the honey of his own thoughts, and, like the captive bird, pours forth his soul in melody.

 
Have you not seen the nightingale,
A pilgrim coop’d into a cage,
How doth she chant her wonted tale,
In that her lonely hermitage!
Even there her charming melody doth prove
That all her boughs are trees, her cage a grove.
 

Roger L’Estrange.

Indeed, it is the divine attribute of the imagination, that it is irrepressible, unconfinable – that when the real world is shut out, it can create a world for itself, and, with a necromantic power, can conjure up glorious shapes and forms and brilliant visions, to make solitude populous, and irradiate the gloom of the dungeon. Such was the world of pomp and pageant that lived round Tasso in his dismal cell at Ferrara, when he conceived the splendid scenes of his Jerusalem; and we may consider The King’s Quair,⁵ composed by James during his captivity at Windsor, as another of those beautiful breakings forth of the soul from the restraint and gloom of the prison-house.

The subject of the poem is his love for the lady Jane Beaufort, daughter of the Earl of Somerset, and a princess of the blood-royal of England, of whom he became enamoured in the course of his captivity. What gives it a peculiar value, is, that it may be considered a transcript of the royal bard’s true feelings, and the story of his real loves and fortunes. It is not often that sovereigns write poetry or that poets deal in fact. It is gratifying to the pride of a common man, to find a monarch thus suing, as it were, for admission into his closet, and seeking to win his favor by administering to his pleasures. It is a proof of the honest equality of intellectual competition, which strips off all the trappings of factitious dignity, brings the candidate down to a level with his fellow-men, and obliges him to depend on his own native powers for distinction. It is curious, too, to get at the history of a monarch’s heart, and to find the simple affections of human nature throbbing under the ermine. But James had learnt to be a poet before he was a king; he was schooled in adversity, and reared in the company of his own thoughts. Monarchs have seldom time to parley with their hearts or to meditate their minds into poetry; and had James been brought up amidst the adulation and gayety of a court, we should never, in all probability, have had such a poem as the Quair.

I have been particularly interested by those parts of the poem which breathe his immediate thoughts concerning his situation, or which are connected with the apartment in the Tower. They have thus a personal and local charm, and are given with such circumstantial truth as to make the reader present with the captive in his prison and the companion of his meditations.

Such is the account which he gives of his weariness of spirit, and of the incident which first suggested the idea of writing the poem. It was the still mid-watch of a clear moonlight night; the stars, he says, were twinkling as fire in the high vault of heaven, and “Cynthia rinsing her golden locks in Aquarius.” He lay in bed wakeful and restless, and took a book to beguile the tedious hours. The book he chose was Boetius’ Consolations of Philosophy, a work popular among the writers of that day, and which had been translated by his great prototype, Chaucer. From the high eulogium in which he indulges, it is evident this was one of his favorite volumes while in prison; and indeed it is an admirable text-book for meditation under adversity. It is the legacy of a noble and enduring spirit, purified by sorrow and suffering, bequeathing to its successors in calamity the maxims of sweet morality, and the trains of eloquent but simple reasoning, by which it was enabled to bear up against the various ills of life. It is a talisman, which the unfortunate may treasure up in his bosom, or, like the good King James, lay upon his nightly pillow.

After closing the volume he turns its contents over in his mind, and gradually falls into a fit of musing on the fickleness of fortune, the vicissitudes of his own life, and the evils that had overtaken him even in his tender youth. Suddenly he hears the bell ringing to matins, but its sound, chiming in with his melancholy fancies, seems to him like a voice exhorting him to write his story. In the spirit of poetic errantry he determines to comply with this intimation; he therefore takes pen in hand, makes with it a sign of the cross to implore a benediction, and sallies forth into the fairy-land of poetry. There is something extremely fanciful in all this, and it is interesting as furnishing a striking and beautiful instance of the simple manner in which whole trains of poetical thought are sometimes awakened and literary enterprises suggested to the mind.

In the course of his poem, he more than once bewails the peculiar hardness of his fate, thus doomed to lonely and inactive life, and shut up from the freedom and pleasure of the world in which the meanest animal indulges unrestrained. There is a sweetness, however, in his very complaints; they are the lamentations of an amiable and social spirit at being denied the indulgence of its kind and generous propensities; there is nothing in them harsh nor exaggerated; they flow with a natural and touching pathos, and are perhaps rendered more touching by their simple brevity. They contrast finely with those elaborate and iterated repinings which we sometimes meet with in poetry, the effusions of morbid minds sickening under miseries of their own creating, and venting their bitterness upon an unoffending world. James speaks of his privations with acute sensibility, but having mentioned them passes on, as if his manly mind disdained to brood over unavoidable calamities. When such a spirit breaks forth into complaint, however brief, we are aware how great must be the suffering that extorts the murmur. We sympathize with James, a romantic, active, and accomplished prince, cut off in the lustihood of youth from all the enterprise, the noble uses, and vigorous delights of life, as we do with Milton, alive to all the beauties of nature and glories of art, when he breathes forth brief but deep-toned lamentations over his perpetual blindness.

Had not James evinced a deficiency of poetic artifice, we might almost have suspected that these lowerings of gloomy reflection were meant as preparative to the brightest scene of his story, and to contrast with that refulgence of light and loveliness, that exhilarating accompaniment of bird and song, and foliage and flower, and all the revel of, the year, with which he ushers in the lady of his heart. It is this scene, in particular, which throws all the magic of romance about the old castle keep. He had risen, he says, at daybreak, according to custom, to escape from the dreary meditations of a sleepless pillow. “Bewailing in his chamber thus alone,” despairing of all joy and remedy, “for, tired of thought, and woe-begone,” he had wandered to the window to indulge the captive’s miserable solace, of gazing wistfully upon the world from which he is excluded. The window looked forth upon a small garden which lay at the foot of the tower. It was a quiet, sheltered spot, adorned with arbors and green alleys, and protected from the passing gaze by trees and hawthorn hedges.

 
Now was there made fast by the tower’s wall,
A garden faire, and in the corners set
An arbour green with wandis long and small
Railed about, and so with leaves beset
Was all the place and hawthorn hedges knet,
That lyf⁶ was none, walkyng there forbye,
That might within scarce any wight espye.
 
 
So thick the branches and the leves grene,
Beshaded all the alleys that there were,
And midst of every arbour might be seen,
The sharpe, grene, swete juniper,
Growing so fair with branches here and there,
That as it seemed to a lyf without,
The boughs did spread the arbour all about.
 
 
And on the small grene twistis⁷ set
The lytel swete nightingales, and sung
So loud and clear, the hymnis consecrate
Of lovis use, now soft, now loud among,
That all the garden and the wallis rung
Right of their song —
 

It was the month of May, when every thing was in bloom, and he interprets the song of the nightingale into the language of his enamoured feeling:

 
Worship, all ye that lovers be, this May;
For of your bliss the kalends are begun,
And sing with us, Away, winter, away.
Come, summer, come, the sweet season and sun.
 

As he gazes on the scene, and listens to the notes of the birds, he gradually relapses into one of those tender and undefinable reveries, which fill the youthful bosom in this delicious season. He wonders what this love may be of which he has so often read, and which thus seems breathed forth in the quickening breath of May, and melting all nature into ecstasy and song. If it really be so great a felicity, and if it be a boon thus generally dispensed to the most insignificant beings, why is he alone cut off from its enjoyments?

Oft would I think, O Lord, what may this be,

That love is of such noble myght and kynde?

Loving his folke, and such prosperitee,

Is it of him, as we in books do find;

May he oure hertes setten⁸ and unbynd:

Hath he upon oure hertes such maistrye?

Or is all this but feynit fantasye?

For giff he be of so grete excellence

That he of every wight hath care and charge,

What have I gilt⁹ to him, or done offense,

That I am thral’d, and birdis go at large?

In the midst of his musing, as he casts his eye downward, he beholds “the fairest and the freshest young floure” that ever he had seen. It is the lovely Lady Jane, walking in the garden to enjoy the beauty of that “fresh May morrowe.” Breaking thus suddenly upon his sight in a moment of loneliness and excited susceptibility, she at once captivates the fancy of the romantic prince, and becomes the object of his wandering wishes, the sovereign of his ideal world.

There is, in this charming scene, an evident resemblance to the early part of Chaucer’s Knight’s Tale, where Palamon and Arcite fall in love with Emilia, whom they see walking in the garden of their prison. Perhaps the similarity of the actual fact to the incident which he had read in Chaucer may have induced James to dwell on it in his poem. His description of the Lady Jane is given in the picturesque and minute manner of his master, and, being doubtless taken from the life, is a perfect portrait of a beauty of that day. He dwells with the fondness of a lover on every article of her apparel, from the net of pearl, splendent with emeralds and sapphires, that confined her golden hair, even to the “goodly chaine of small orfeverye” ¹⁰ about her neck, whereby there hung a ruby in shape of a heart, that seemed, he says, like a spark of fire burning upon her white bosom. Her dress of white tissue was looped up to enable her to walk with more freedom. She was accompanied by two female attendants, and about her sported a little hound decorated with bells, probably the small Italian hound of exquisite symmetry which was a parlor favorite and pet among the fashionable dames of ancient times. James closes his description by a burst of general eulogium: