Part 6

The black spruce (_Picea nigra_) is a tree of more formal growth than the preceding. The branches grow at a more acute angle and in more regular whorls than those of the Norway spruce; and, though the lower ones become bent to a horizontal position, they do not droop, so that the tree has a much less elegant appearance. The leaves, which grow very thickly all round the stem, are short, nearly quadrangular, and of a dark greyish-green. The cones, produced in great abundance, are short and oval in shape, the scales with rugged indented edges; they are deep purple when young, but become brown as they ripen. The tree also occurs in the New England states and extends over nearly the whole of British North America, its northern limit occurring at about 67 deg. N. lat., often forming a large part of the dense forests, mostly in the swampy districts. A variety with lighter foliage and reddish bark is common in Newfoundland and some districts on the mainland adjacent. The trees usually grow very close together, the slender trunks rising to a great height bare of branches; but they do not attain the size of the Norway spruce, being seldom taller than 60 or 70 ft., with a diameter of 1-1/2 or 2 ft. at the base. This species prefers a peaty soil, and often grows luxuriantly in very moist situations. The wood is strong, light and very elastic, forming an excellent material for small masts and spars, for which purpose the trunks are used in America, and exported largely to England. The sawn timber is inferior to that of _P. excelsa_, besides being of a smaller size. In the countries in which it abounds, the log-houses of the settlers are often built of the long straight trunks. The spruce-beer of America is generally made from the young shoots of this tree. The small twigs, tied in bundles, are boiled for some time in water with broken biscuit or roasted grain; the resulting decoction is then poured into a cask with molasses or maple sugar and a little yeast, and left to ferment. It is often made by the settlers and fishermen of the St Lawrence region, being esteemed as a preventive of scurvy. The American "essence of spruce," occasionally used in England for making spruce-beer, is obtained by boiling the shoots and buds and concentrating the decoction. The resinous products of the tree are of no great value. It was introduced into Britain at the end of the 17th century.

The white spruce (_Picea alba_), sometimes met with in English plantations, is a tree of lighter growth than the black spruce, the branches being more widely apart; the foliage is of a light glaucous green; the small light-brown cones are more slender and tapering than in _P. nigra_, and the scales have even edges. It is of comparatively small size, but is of some importance in the wilds of the Canadian dominion, where it is found to the northern limit of tree-vegetation growing up to at least 69 deg.; the slender trunks yield the only useful timber of some of the more desolate northern regions. In the woods of Canada it occurs frequently mingled with the black spruce and other trees. The fibrous tough roots, softened by soaking in water, and split, are used by the Indians and voyageurs to sew together the birch-bark covering of their canoes; and a resin that exudes from the bark is employed to varnish over the seams. It was introduced to Great Britain at the end of the 17th century and was formerly more extensively planted than at present.

The hemlock spruce (_Tsuga canadensis_) is a large tree, abounding in most of the north-eastern parts of America up to Labrador; in lower Canada, New Brunswick and Nova Scotia it is often the prevailing tree. The short leaves are flat, those above pressed close to the stem, and the others forming two rows; they are of a rather light green tint above, whitish beneath. The cones are very small, ovate and pointed. The large branches droop, like those of the Norway spruce, but the sprays are much lighter and more slender, rendering the tree one of the most elegant of the conifers, especially when young. When old, the branches, broken and bent down by the winter snows, give it a ragged but very picturesque aspect. The trunk is frequently 3 ft. thick near the base. The hemlock prefers rather dry and elevated situations, often forming woods on the declivities of mountains. The timber is very much twisted in grain, and liable to warp and split, but is used for making plasterers' laths and for fencing; "shingles" for roofing are sometimes made of it. The bark, split off in May or June, forms one of the most valuable tanning substances in Canada. The sprays are sometimes used for making spruce-beer and essence of spruce. It was introduced into Great Britain in about the year 1736.

The Douglas spruce (_Pseudo-tsuga Douglasii_), one of the finest conifers, often rises to a height of 200 ft. and sometimes considerably more, while the gigantic trunk frequently measures 8 or 10 ft. across. The yew-like leaves spread laterally, and are of a deep green tint; the cones are furnished with tridentate bracts that project far beyond the scales. It forms extensive forests in Vancouver Island, British Columbia and Oregon, whence the timber is exported, being highly prized for its strength, durability and even grain, though very heavy; it is of a deep yellow colour, abounding in resin, which oozes from the thick bark. It was introduced into Britain soon after its rediscovery by David Douglas in 1827, and has been widely planted, but does not flourish well where exposed to high winds or in too shallow soil.

Of the _Abies_ group, the silver fir (_A. pectinata_), may be taken as the type,--a lofty tree, rivalling the Norway spruce in size, with large spreading horizontal boughs curving upward toward the extremities. The flat leaves are arranged in two regular, distinct rows; they are deep green above, but beneath have two broad white lines, which, as the foliage in large trees has a tendency to curl upwards, give it a silvery appearance from below. The large cones stand erect on the branches, are cylindrical in shape, and have long bracts, the curved points of which project beyond the scales. When the tree is young the bark is of a silvery grey, but gets rough with age. This tree appears to have been the true "Abies" of the Latin writers--the "pulcherrima abies" of Virgil. From early historic times it has been held in high estimation in the south of Europe, being used by the Romans for masts and all purposes for which timber of great length was required. It is abundant in most of the mountain ranges of southern and central Europe, but is not found in the northern parts of that continent. In Asia it occurs on the Caucasus and Ural, and in some parts of the Altaic chain. Extensive woods of this fir exist on the southern Alps, where the tree grows up to nearly 4000 ft.; in the Rhine countries it forms great part of the extensive forest of the Hochwald, and occurs in the Black Forest and in the Vosges; it is plentiful likewise on the Pyrenees and Apennines. The wood is inferior to that of _Picea excelsa_, but, being soft and easily worked, is largely employed in the countries to which it is indigenous for all the purposes of carpentry. Articles of furniture are frequently made of it, and it is in great esteem for carving and for the construction of stringed instruments. Deficient in resin, the wood is more perishable than that of the spruce fir when exposed to the air, though it is said to stand well under water. The bark contains a large amount of a fine, highly-resinous turpentine, which collects in tumours on the trunk during the heat of summer. In the Alps and Vosges this resinous semi-fluid is collected by climbing the trees and pressing out the contents of the natural receptacles of the bark into horn or tin vessels held beneath them. After purification by straining, it is sold as "Strasburg turpentine," much used in the preparation of some of the finer varnishes. Burgundy pitch is also prepared from it by a similar process as that from _Picea excelsa_. A fine oil of turpentine is distilled from the crude material; the residue forms a coarse resin. Introduced into Britain at the beginning of the 17th century, the silver fir has become common there as a planted tree, though, like the Norway spruce, it rarely comes up from seed scattered naturally. There are many fine trees in Scotland; one near Roseneath, figured by Strutt in his _Sylva Britannica_, then measured more than 22 ft. round the trunk. In the more southern parts of the island it often reaches a height of 90 ft., and specimens exist considerably above that size; but the young shoots are apt to be injured in severe winters, and the tree on light soils is also hurt by long droughts, so that it usually presents a ragged appearance; though, in the distance, the lofty top and horizontal boughs sometimes stand out in most picturesque relief above the rounded summits of the neighbouring trees. The silver fir flourishes in a deep loamy soil, and will grow even upon stiff clay, when well drained--a situation in which few conifers will succeed. On such lands, where otherwise desirable, it may sometimes be planted with profit. The cones do not ripen till the second year.

The silver fir of Canada (_A. balsamea_), a small tree resembling the last species in foliage, furnishes the "Canada balsam"; it abounds in Quebec and the adjacent provinces.

Numerous other firs are common in gardens and shrubberies, and some furnish valuable products in their native countries; but they are not yet of sufficient economic or general interest to demand mention here.

For further information see Veitch's _Manual of Coniferae_ (2nd ed., 1900).

FIRDOUSI, FIRDAUSI or FIRDUSI, Persian poet. Abu 'l Kasim Mansur (or Hasan), who took the _nom de plume_ of Firdousi, author of the epic poem the _Shahnama_, or "Book of Kings," a complete history of Persia in nearly 60,000 verses, was born at Shadab, a suburb of Tus, about the year 329 of the Hegira (941 A.D.), or earlier. His father belonged to the class of _Dihkans_ (the old native country families and landed proprietors of Persia, who had preserved their influence and status under the Arab rule), and possessed an estate in the neighbourhood of Tus (in Khorasan). Firdousi's own education eminently qualified him for the gigantic task which he subsequently undertook, for he was profoundly versed in the Arabic language and literature and had also studied deeply the Pahlavi or Old Persian, and was conversant with the ancient historical records which existed in that tongue.

The _Shahnama_ of Firdousi (see also PERSIA: _Literature_) is perhaps the only example of a poem produced by a single author which at once took its place as the national epic of the people. The nature of the work, the materials from which it was composed, and the circumstances under which it was written are, however, in themselves exceptional, and necessarily tended to this result. The grandeur and antiquity of the empire and the vicissitudes through which it passed, their long series of wars and the magnificent monuments erected by their ancient sovereigns, could not fail to leave numerous traces in the memory of so imaginative a people as the Persians. As early as the 5th century of the Christian era we find mention made of these historical traditions in the work of an Armenian author, Moses of Chorene (according to others, he lived in the 7th or 8th century). During the reign of Chosroes I. (Anushirvan) the contemporary of Mahomet, and by order of that monarch, an attempt had been made to collect, from various parts of the kingdom, all the popular tales and legends relating to the ancient kings, and the results were deposited in the royal library. During the last years of the Sassanid dynasty the work was resumed, the former collection being revised and greatly added to by the Dihkan Danishwer, assisted by several learned mobeds. His work was entitled the _Khoda'inama_, which in the old dialect also meant the "Book of Kings." On the Arab invasion this work was in great danger of perishing at the hands of the iconoclastic caliph Omar and his generals, but it was fortunately preserved; and we find it in the 2nd century of the Hegira being paraphrased in Arabic by Abdallah ibn el Mokaffa, a learned Persian who had embraced Islam. Other Guebres occupied themselves privately with the collection of these traditions; and, when a prince of Persian origin, Yakub ibn Laith, founder of the Saffarid dynasty, succeeded in throwing off his allegiance to the caliphate, he at once set about continuing the work of his illustrious predecessors. His "Book of Kings" was completed in the year 260 of the Hegira, and was freely circulated in Khorasan and Irak. Yakub's family did not continue long in power; but the Samanid princes who succeeded applied themselves zealously to the same work, and Prince Nuh II., who came to the throne in 365 A.H. (A.D. 976), entrusted it to the court poet Dakiki, a Guebre by religion. Dakiki's labours were brought to a sudden stop by his own assassination, and the fall of the Samanian house happened not long after, and their kingdom passed into the hands of the Ghaznevids. Mahmud ibn Sabuktagin, the second of the dynasty (998-1030), continued to make himself still more independent of the caliphate than his predecessors, and, though a warrior and a fanatical Moslem, extended a generous patronage to Persian literature and learning, and even developed it at the expense of the Arabic institutions. The task of continuing and completing the collection of the ancient historical traditions of the empire especially attracted him. With the assistance of neighbouring princes and of many of the influential Dihkans, Mahmud collected a vast amount of materials for the work, and after having searched in vain for a man of sufficient learning and ability to edit them faithfully, and having entrusted various episodes for versification to the numerous poets whom he had gathered round him, he at length made choice of Firdousi. Firdousi had been always strongly attracted by the ancient Pahlavi records, and had begun at an early age to turn them into Persian epic verse. On hearing of the death of the poet Dakiki, he conceived the ambitious design of himself carrying out the work which the latter had only just commenced; and, although he had not then any introduction to the court, he contrived, thanks to one of his friends, Mahommed Lashkari, to procure a copy of the Dihkan Danishwer's collection, and at the age of thirty-six commenced his great undertaking. Abu Mansur, the governor of Tus, patronized him and encouraged him by substantial pecuniary support. When Mahmud succeeded to the throne, and evinced such active interest in the work, Firdousi was naturally attracted to the court of Ghazni. At first court jealousies and intrigues prevented Firdousi from being noticed by the sultan; but at length one of his friends, Mahek, undertook to present to Mahmud his poetic version of one of the well-known episodes of the legendary history. Hearing that the poet was born at Tus, the sultan made him explain the origin of his native town, and was much struck with the intimate knowledge of ancient history which he displayed. Being presented to the seven poets who were then engaged on the projected epic, Abu 'l Kasim was admitted to their meetings, and on one occasion improvised a verse, at Mahmud's request, in praise of his favourite Ayaz, with such success that the sultan bestowed upon him the name of Firdousi, saying that he had converted his assemblies into paradise (_Firdous_). During the early days of his sojourn at court an incident happened which contributed in no small measure to the realization of his ambition. Three of the seven poets were drinking in a garden when Firdousi approached, and wishing to get rid of him without rudeness, they informed him who they were, and told him that it was their custom to admit none to their society but such as could give proof of poetical talent. To test his acquirements they proposed that each should furnish an extemporary line of verse, his own to be the last, and all four ending in the same rhyme. Firdousi accepted the challenge, and the three poets having previously agreed upon three rhyming words to which a fourth could not be found in the Persian language, 'Ansari began--

"Thy beauty eclipses the light of the sun";

Farrakhi added--

"The rose with thy cheek would comparison shun";

'Asjadi continued--

"Thy glances pierce through the mailed warrior's johsun";[1]

and Firdousi, without a moment's hesitation, completed the quatrain--

"Like the lance of fierce Giv in his fight with Poshun."

The poets asked for an explanation of this allusion, and Firdousi recited to them the battle as described in the _Shahnama_, and delighted and astonished them with his learning and eloquence.

Mahmud now definitely selected him for the work of compiling and versifying the ancient legends, and bestowed upon him such marks of his favour and munificence as to elicit from the poet an enthusiastic panegyric, which is inserted in the preface of the _Shahnama_, and forms a curious contrast to the bitter satire which he subsequently prefixed to the book. The sultan ordered his treasurer, Khojah Hasan Maimandi, to pay to Firdousi a thousand gold pieces for every thousand verses; but the poet preferred allowing the sum to accumulate till the whole was finished, with the object of amassing sufficient capital to construct a dike for his native town of Tus, which suffered greatly from defective irrigation, a project which had been the chief dream of his childhood. Owing to this resolution, and to the jealousy of Hasan Maimandi, who often refused to advance him sufficient for the necessaries of life, Firdousi passed the later portion of his life in great privation, though enjoying the royal favour and widely extended fame. Amongst other princes whose liberal presents enabled him to combat his pecuniary difficulties, was one Rustam, son of Fakhr Addaula, the Dailamite, who sent him a thousand gold pieces in acknowledgment of a copy of the episode of Rustam and Isfendiar which Firdousi had sent him, and promised him a gracious reception if he should ever come to his court. As this prince belonged, like Firdousi, to the Shiah sect, while Mahmud and Maimandi were Sunnites, and as he was also politically opposed to the sultan, Hasan Maimandi did not fail to make the most of this incident, and accused the poet of disloyalty to his sovereign and patron, as well as of heresy. Other enemies and rivals also joined in the attack, and for some time Firdousi's position was very precarious, though his pre-eminent talents and obvious fitness for the work prevented him from losing his post. To add to his troubles he had the misfortune to lose his only son at the age of 37.

At length, after thirty-five years' work, the book was completed (1011), and Firdousi entrusted it to Ayaz, the sultan's favourite, for presentation to him. Mahmud ordered Hasan Maimandi to take the poet as much gold as an elephant could carry, but the jealous treasurer persuaded the monarch that it was too generous a reward, and that an elephant's load of silver would be sufficient. 60,000 silver dirhems were accordingly placed in sacks, and taken to Firdousi by Ayaz at the sultan's command, instead of the 60,000 gold pieces, one for each verse, which had been promised. The poet was at that moment in the bath, and seeing the sacks, and believing that they contained the expected gold, received them with great satisfaction, but finding only silver he complained to Ayaz that he had not executed the sultan's order. Ayaz related what had taken place between Mahmud and Hasan Maimandi, and Firdousi in a rage gave 20 thousand pieces to Ayaz himself, the same amount to the bath-keeper, and paid the rest to a beer seller for a glass of beer (_fouka_), sending word back to the sultan that it was not to gain money that he had taken so much trouble. On hearing this message, Mahmud at first reproached Hasan with having caused him to break his word, but the wily treasurer succeeded in turning his master's anger upon Firdousi to such an extent that he threatened that on the morrow he would "cast that Carmathian (heretic) under the feet of his elephants." Being apprised by one of the nobles of the court of what had taken place, Firdousi passed the night in great anxiety; but passing in the morning by the gate that led from his own apartments into the palace, he met the sultan in his private garden, and succeeded by humble apologies in appeasing his wrath. He was, however, far from being appeased himself, and determined at once upon quitting Ghazni. Returning home he tore up the draughts of some thousands of verses which he had composed and threw them in the fire, and repairing to the grand mosque of Ghazni he wrote upon the walls, at the place where the sultan was in the habit of praying, the following lines:--

"The auspicious court of Mahmud, king of Zabulistan, is like a sea. What a sea! One cannot see its shore. If I have dived therein without finding any pearls it is the fault of my star and not of the sea."