Chapter III: Part 3

The tree is very widely distributed, growing abundantly on most of the mountain ranges of northern and central Europe; while in Asia it occurs at least as far east as the Lena, and in latitude extends from the Altaic ranges to beyond the Arctic circle. On the Swiss Alps it is one of the most prevalent and striking of the forest trees, its dark evergreen foliage often standing out in strong contrast to the snowy ridges and glaciers beyond. In the lower districts of Sweden it is the predominant tree in most of the great forests that spread over so large a portion of that country. In Norway it constitutes a considerable part of the dense woods of the southern dales, flourishing, according to Franz Christian Schubeler, on the mountain slopes up to an altitude of from 2800 to 3100 ft., and clothing the shores of some of the fjords to the water's edge; in the higher regions it is generally mingled with the pine. Less abundant on the western side of the fjelds, it again forms woods in Nordland, extending in the neighbourhood of the coast nearly to the 67th parallel; but it is, in that arctic climate, rarely met with at a greater elevation than 800 ft. above the sea, though in Swedish Lapland it is found on the slope of the Sulitelma as high as 1200 ft., its upper limit being everywhere lower than that of the pine. In all the Scandinavian countries it is known as the _Gran_ or _Grann_. Great tracts of low country along the southern shores of the Baltic and in northern Russia are covered with forests of spruce. It everywhere shows a preference for a moist but well-drained soil, and never attains its full stature or luxuriance of growth upon arid ground, whether on plain or mountain--a peculiarity that should be remembered by the planter. In a favourable soil and open situation it becomes the tallest and one of the stateliest of European trees, rising sometimes to a height of from 150 to 170 ft., the trunk attaining a diameter of from 5 to 6 ft. at the base. But when it grows in dense woods, where the lower branches decay and drop off early, only a small head of foliage remaining at the tapering summit, its stem, though frequently of great height, is rarely more than 1-1/2 or 2 ft. in thickness. Its growth is rapid, the straight leading shoot, in the vigorous period of the tree, often extending 2-1/2 or even 3 ft. in a single season. In its native habitats it is said to endure for several centuries; but in those countries from which the commercial supply of its timber is chiefly drawn, it attains perfection in from 70 to 90 years, according to soil and situation.

SILVER FIR (_Abies pectinata_).
A, Cone and foliage.

SPRUCE FIR (_Picea excelsa_).
B, Cone and foliage.

HEMLOCK SPRUCE (_Tsuga canadensis_)
C, Cone, seed and foliage.

DOUGLAS FIR (_Pseudo-tsuga Douglasii_).
D, Cone, seed and foliage.

_Photos by Henry Irving_.]

CYPRESS (_Cupressus sempervirens_).
A, Cone and branchlets.

JUNIPER (_Juniperus communis_).
B, Fruit and foliage.

ARAUCARIA (_A. imbricata_, Chile pine or monkey-puzzle).
C, Seed-bearing cone and a single scale with seed.

YEW (_Taxus baccata_).
D, Seed and foliage.

Photos by Henry Irving.]

In the most prevalent variety of the Norway spruce the wood is white, apt to be very knotty when the tree has grown in an open place, but, as produced in the close northern forests, often of fine and even grain. Immense quantities are imported into Britain from Norway, Sweden and Prussia, under the names of "white Norway," "Christiania" and "Danzig deal." The larger trees are sawn up into planks and battens, much used for the purposes of the builder, especially for flooring, joists and rafters. Where not exposed to the weather the wood is probably as lasting as that of the pine, but, not being so resinous, appears less adapted for out-door uses. Great quantities are sent from Sweden in a manufactured state, in the form of door and window-frames and ready-prepared flooring, and much of the cheap "white deal" furniture is made of this wood. The younger and smaller trees are remarkably durable, especially when the bark is allowed to remain on them; and most of the poles imported into Britain for scaffolding, ladders, mining-timber and similar uses are furnished by this fir. Small masts and spars are often made of it, and are said to be lighter than those of pine. The best poles are obtained in Norway from small, slender, drawn-up trees, growing under the shade of the larger ones in the thick woods, these being freer from knots, and tougher from their slower growth. A variety of the spruce, abounding in some parts of Norway, produces a red heartwood, not easy to distinguish from that of the Norway pine (Scotch fir), and imported with it into England as "red deal" or "pine." This kind is sometimes seen in plantations, where it may be recognized by its shorter, darker leaves and longer cones. The smaller branches and the waste portion of the trunks, left in cutting up the timber, are exported as fire-wood, or used for splitting into matches. The wood of the spruce is also employed in the manufacture of wood-pulp for paper.

The resinous products of the Norway spruce, though yielded by the tree in less abundance than those furnished by the pine, are of considerable economic value. In Scandinavia a thick turpentine oozes from cracks or fissures in the bark, forming by its congelation a fine yellow resin, known commercially as "spruce rosin," or "frankincense"; it is also procured artificially by cutting off the ends of the lower branches, when it slowly exudes from the extremities. In Switzerland and parts of Germany, where it is collected in some quantity for commerce, a long strip of bark is cut out of the tree near the root; the resin that slowly accumulates during the summer is scraped out in the latter part of the season, and the slit enlarged slightly the following spring to ensure a continuance of the supply. The process is repeated every alternate year, until the tree no longer yields the resin in abundance, which under favourable circumstances it will do for twenty years or more. The quantity obtained from each fir is very variable, depending on the vigour of the tree, and greatly lessens after it has been subjected to the operation for some years. Eventually the tree is destroyed, and the wood rendered worthless for timber, and of little value even for fuel. From the product so obtained most of the better sort of "Burgundy pitch" of the druggists is prepared. By the peasantry of its native countries the Norway spruce is applied to innumerable purposes of daily life. The bark and young cones afford a tanning material, inferior indeed to oak-bark, and hardly equal to that of the larch, but of value in countries where substances more rich in tannin are not abundant. In Norway the sprays, like those of the juniper, are scattered over the floors of churches and the sitting-rooms of dwelling-houses, as a fragrant and healthful substitute for carpet or matting. The young shoots are also given to oxen in the long winters of those northern latitudes, when other green fodder is hard to obtain. In times of scarcity the Norse peasant-farmer uses the sweetish inner bark, beaten in a mortar and ground in his primitive mill with oats or barley, to eke out a scanty supply of meal, the mixture yielding a tolerably palatable though somewhat resinous substitute for his ordinary _flad-brod_. A decoction of the buds in milk or whey is a common household remedy for scurvy; and the young shoots or green cones form an essential ingredient in the spruce-beer drank with a similar object, or as an occasional beverage. The well-known "Danzig-spruce" is prepared by adding a decoction of the buds or cones to the wort or saccharine liquor before fermentation. Similar preparations are in use wherever the spruce fir abounds. The wood is burned for fuel, its heat-giving power being reckoned in Germany about one-fourth less than that of beech. From the widespreading roots string and ropes are manufactured in Lapland and Bothnia: the longer ones which run near the surface are selected, split through, and then boiled for some hours in a ley of wood-ashes and salt, which, dissolving out the resin, loosens the fibres and renders them easily separable, and ready for twisting into cordage. Light portable boats are sometimes made of very thin boards of fir, sewn together with cord thus manufactured from the roots of the tree.

The Norway spruce seems to have been the "Picea" of Pliny, but is evidently often confused by the Latin writers with their "Abies," the _Abies pectinata_ of modern botanists. From an equally loose application of the word "fir" by our older herbalists, it is difficult to decide upon the date of introduction of this tree into Britain; but it was commonly planted for ornamental purposes in the beginning of the 17th century. In places suited to its growth it seems to flourish nearly as well as in the woods of Norway or Switzerland; but as it needs for its successful cultivation as a timber tree soils that might be turned to agricultural account, it is not so well adapted for economic planting in Britain as the Scotch fir or larch, which come to perfection in more bleak and elevated regions, and on comparatively barren ground, though it may perhaps be grown to advantage on some moist hill-sides and mountain hollows. Its great value to the English forester is as a "nurse" for other trees, for which its dense leafage and tapering form render it admirably fitted, as it protects, without overshading, the young saplings, and yields saleable stakes and small poles when cut out. For hop-poles it is not so well adapted as the larch. As a picturesque tree, for park and ornamental plantation, it is among the best of the conifers, its colour and form contrasting yet harmonizing with the olive green and rounded outline of oaks and beeches, or with the red trunk and glaucous foliage of the pine. When young its spreading boughs form good cover for game. The fresh branches, with their thick mat of foliage, are useful to the gardener for sheltering wall-fruit in the spring. In a good soil and position the tree sometimes attains an enormous size: one in Studley Park, Yorkshire, attained nearly 140 ft. in height, and the trunk more than 6 ft. in thickness near the ground. The spruce bears the smoke of great cities better than most of the _Abietineae_; but in suburban localities after a certain age it soon loses its healthy appearance, and is apt to be affected with blight (_Eriosoma_), though not so much as the Scotch fir and most of the pines.

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."

He then gave a sealed paper to Ayaz, begging him to hand it to the sultan in a leisure moment after 20 days had elapsed, and set off on his travels with no better equipment than his staff and a dervish's cloak. At the expiration of the 20 days Ayaz gave the paper to the sultan, who on opening it found the celebrated satire which is now always prefixed to copies of the _Shahnama_, and which is perhaps one of the bitterest and severest pieces of reproach ever penned. Mahmud, in a violent rage, sent after the poet and promised a large reward for his capture, but he was already in comparative safety. Firdousi directed his steps to Mazandaran, and took refuge with Kabus, prince of Jorjan, who at first received him with great favour, and promised him his continued protection and patronage; learning, however, the circumstances under which he had left Ghazni, he feared the resentment of so powerful a sovereign as Mahmud, who he knew already coveted his kingdom, and dismissed the poet with a magnificent present. Firdousi next repaired to Bagdad, where he made the acquaintance of a merchant, who introduced him to the vizier of the caliph, al-Qadir, by presenting an Arabic poem which the poet had composed in his honour. The vizier gave Firdousi an apartment near himself, and related to the caliph the manner in which he had been treated at Ghazni. The caliph summoned him into his presence, and was so much pleased with a poem of a thousand couplets, which Firdousi composed in his honour, that he at once received him into favour. The fact of his having devoted his life and talents to chronicling the renown of fire-worshipping Persians was, however, somewhat of a crime in the orthodox caliph's eyes; in order therefore to recover his prestige, Firdousi composed another poem of 9000 couplets on the theme borrowed from the Koran of the loves of Joseph and Potiphar's wife--_Yusuf and Zuleikha_ (edited by H. Ethe, Oxford, 1902; complete metrical translation by Schlechta-Wssehrd, Vienna, 1889). This poem, though rare and little known, is still in existence--the Royal Asiatic Society possessing a copy. But Mahmud had by this time heard of his asylum at the court of the caliph, and wrote a letter menacing his liege lord, and demanding the surrender of the poet. Firdousi, to avoid further troubles, departed for Ahwaz, a province of the Persian Irak, and dedicated his _Yusuf and Zuleikha_ to the governor of that district. Thence he went to Kohistan, where the governor, Nasir Lek, was his intimate and devoted friend, and received him with great ceremony upon the frontier. Firdousi confided to him that he contemplated writing a bitter exposition of his shameful treatment at the hands of the sultan of Ghazni; but Nasir Lek, who was a personal friend of the latter, dissuaded him from his purpose, but himself wrote and remonstrated with Mahmud. Nasir Lek's message and the urgent representations of Firdousi's friends had the desired effect; and Mahmud not only expressed his intention of offering full reparation to the poet, but put his enemy Maimandi to death. The change, however, came too late; Firdousi, now a broken and decrepit old man, had in the meanwhile returned to Tus, and, while wandering through the streets of his native town, heard a child lisping a verse from his own satire in which he taunts Mahmud with his slavish birth:--

"Had Mahmud's father been what he is now
A crown of gold had decked this aged brow;
Had Mahmud's mother been of gentle blood,
In heaps of silver knee-deep had I stood."

He was so affected by this proof of universal sympathy with his misfortunes that he went home, fell sick and died. He was buried in a garden, but Abu'l Kasim Jurjani, chief sheikh of Tus, refused to read the usual prayers over his tomb, alleging that he was an infidel, and had devoted his life to the glorification of fire-worshippers and misbelievers. The next night, however, having dreamt that he beheld Firdousi in paradise dressed in the sacred colour, green, and wearing an emerald crown, he reconsidered his determination; and the poet was henceforth held to be perfectly orthodox. He died in the year 411 of the Hegira (1020 A.D.), aged about eighty, eleven years after the completion of his great work. The legend goes that Mahmud had in the meanwhile despatched the promised hundred thousand pieces of gold to Firdousi, with a robe of honour and ample apologies for the past. But as the camels bearing the treasure reached one of the gates of the city, Firdousi's funeral was leaving it by another. His daughter, to whom they brought the sultan's present, refused to receive it; but his aged sister remembering his anxiety for the construction of the stone embankment for the river of Tus, this work was completed in honour of the poet's memory, and a large caravanserai built with the surplus.

Much of the traditional life, as given above, which is based upon that
prefixed to the revised edition of the poem, undertaken by order of
Baisingar Khan, grandson of Timur-i-Leng (Timur), is rejected by
modern scholars (see T. Noldeke, "Das iranische Nationalepos," in W.
Geiger's _Grundriss der iranischen Philologie_, ii. pp. 150-158).

The _Shahnama_ is based, as we have seen, upon the ancient legends
current among the populace of Persia, and collected by the Dihkans, a
class of men who had the greatest facilities for this purpose. There
is every reason therefore to believe that Firdousi adhered faithfully
to these records of antiquity, and that the poem is a perfect
storehouse of the genuine traditions of the country.

The entire poem (which only existed in MS. up to the beginning of the
19th century) was published (1831-1868) with a French translation in a
magnificent folio edition, at the expense of the French government, by
the learned and indefatigable Julius von Mohl. The size and number of
the volumes, however, and their great expense, made them difficult of
access, and Frau von Mohl published the French translation (1876-1878)
with her illustrious husband's critical notes and introduction in a
more convenient and cheaper form. Other editions are by Turner Macan
(Calcutta, 1829), J.A. Vullers and S. Landauer (unfinished; Leiden,
1877-1883). There is an English abridgment by J. Atkinson (London,
1832; reprinted 1886, 1892); there is a verse-translation, partly
rhymed and partly unrhymed, by A.G. and E. Warner (1905 foll.), with
an introduction containing an account of Firdousi and the Shahnama;
the version by A. Rogers (1907) contains the greater part of the work.
The episode of Sohrab and Rustam is well known to English readers from
Matthew Arnold's poem. The only complete translation is Il Libro dei
Rei, by I. Pizzi (8 vols., Turin, 1886-1888), also the author of a
history of Persian poetry.

See also E.G. Browne's _Literary History of Persia_, i., ii.
(1902-1906); T. Noldeke (as above) for a full account of the Shahnama,
editions, &c.; and H. Ethe, "Neupersische Litteratur," in the same
work. (E. H. P.; X.)

FOOTNOTE:

[1] A sort of cuirass.

FIRE (in O. Eng. _fyr_; the word is common to West German languages, cf. Dutch _vuur_, Ger. _Feuer_; the pre-Teutonic form is seen in Sanskrit _pu_, _pavaka_, and Gr. [Greek: pur]; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. _purus_), the term commonly used for the visible effect of combustion (see FLAME), operating as a heating or lighting agency.

So general is the knowledge of fire and its uses that it is a question whether we have any authentic instance on record of a tribe altogether ignorant of them. A few notices indeed are to be found in the voluminous literature of travel which would decide the question in the affirmative; but when they are carefully investigated, their evidence is found to be far from conclusive. The missionary Krapf was told by a slave of a tribe in the southern part of Shoa who lived like monkeys in the bamboo jungles, and were totally ignorant of fire; but no better authority has been found for the statement, and the story, which seems to be current in eastern Africa, may be nothing else than the propagation of fables about the Pygmies whom the ancients located around the sources of the Nile. Lieut. Charles Wilkes, commander of the United States exploring expedition of 1838-42, says that in Fakaafo or Bowditch Island "there was no sign of places for cooking nor any appearance of fire," and that the natives felt evident alarm at the sparks produced by flint and steel and the smoke emitted by those with cigars in their mouths. The presence of the word _afi_, fire, in the Fakaafo vocabulary supplied by Hale the ethnographer of the expedition, though it might perhaps be explained as equivalent only to solar light and heat, undoubtedly invalidates the supposition of Wilkes; and the Rev. George Turner, in an account of a missionary voyage in 1859, not only repeats the word _afi_ in his list for Fakaafo, but relates the native legend about the origin of fire, and describes some peculiar customs connected with its use. Alvaro de Saavedra, an old Spanish traveller, informs us that the inhabitants of Los Jardines, an island of the Pacific, showed great fear when they saw fire--which they did not know before. But that island has not been identified with certainty by modern explorers. It belongs, perhaps, to the Ladrones or Marianas Archipelago, where fire was unknown, says Padre Gobien, "till Magellan, wroth at the pilferings of the inhabitants, burnt one of their villages. When they saw their wooden huts ablaze, their first thought was that fire was a beast which eats up wood. Some of them having approached the fire too near were burnt, and the others kept aloof, fearing to be torn or poisoned by the powerful breath of that terrible animal." To this Freycinet objects that these Ladrone islanders made pottery before the arrival of Europeans, that they had words expressing the ideas of flame, fire, oven, coals, roasting and cooking. Let us add that in their country numerous graves and ruins have been found, which seem to be remnants of a former culture. Thus the question remains in uncertainty: though there is nothing impossible in the supposition of the existence of a fireless tribe, it cannot be said that such a tribe has been discovered.

It is useless to inquire in what way man first discovered that fire was subject to his control, and could even be called into being by appropriate means. With the natural phenomenon and its various aspects he must soon have become familiar. The volcano lit up the darkness of night and sent its ashes or its lava down into the plains; the lightning or the meteor struck the tree, and the forest was ablaze; or some less obvious cause produced some less extensive ignition. For a time it is possible that the grand manifestations of nature aroused no feelings save awe and terror; but man is quite as much endowed with curiosity as with reverence or caution, and familiarity must ere long have bred confidence if not contempt. It is by no means necessary to suppose that the practical discovery of fire was made only at one given spot and in one given way; it is much more probable indeed that different tribes and races obtained the knowledge in a variety of ways.

It has been asserted of many tribes that they would be unable to rekindle their fires if they were allowed to die out. Travellers in Australia and Tasmania depict the typical native woman bearing always about with her a burning brand, which it is one of her principal duties to protect and foster; and it has been supposed that it was only ignorance which imposed on her the endless task. This is absurd. The Australian methods of producing fire by the friction of two pieces of wood are perfectly well known, and are illustrated in Howitt's _Native Tribes of South-East Australia_, pp. 771-773. To carry a brand saves a little trouble to the men.

The methods employed for producing fire vary considerably in detail, but are for the most part merely modified applications of concussion or friction. Lord Avebury has remarked that the working up of stone into implements must have been followed sooner or later by the discovery of fire; for in the process of chipping sparks were elicited, and in the process of polishing heat was generated. The first or concussion method is still familiar in the flint and steel, which has hardly passed out of use even in the most civilized countries. Its modifications are comparatively few and unimportant. The Alaskans and Aleutians take two pieces of quartz, rub them well with native sulphur, strike them together till the sulphur catches fire, and then transfer the flame to a heap of dry grass over which a few feathers have been scattered. Instead of two pieces of quartz the Eskimos use a piece of quartz and a piece of iron pyrites. Mr Frederick Boyle saw fire produced by striking broken china violently against a bamboo, and Bastian observed the same process in Burma, and Wallace in Ternate. In Cochin China two pieces of bamboo are considered sufficient, the silicious character of the outside layer rendering it as good as native flint. The friction methods are more various. One of the simplest is what E.B. Tylor calls the stick and groove--"a blunt pointed stick being run along a groove of its own making in a piece of wood lying on the ground." Much, of course, depends on the quality of the woods and the expertness of the manipulator. In Tahiti Charles Darwin saw a native produce fire in a few seconds, but only succeeded himself after much labour. The same device was employed in New Zealand, the Sandwich Islands, Tonga, Samoa and the Radak Islands. Instead of rubbing the movable stick backwards and forwards other tribes make it rotate rapidly in a round hole in the stationary piece of wood--thus making what Tylor has happily designated a fire-drill. This device has been observed in Australia, Kamchatka, Sumatra and the Carolines, among the Veddahs of Ceylon, throughout a great part of southern Africa, among the Eskimo and Indian tribes of North America, in the West Indies, in Central America, and as far south as the Straits of Magellan. It was also employed by the ancient Mexicans, and Tylor gives a quaint picture of the operation from a Mexican MS.--a man half kneeling on the ground is causing the stick to rotate between the palms of his hands. This simple method of rotation seems to be very generally in use; but various devices have been resorted to for the purpose of diminishing the labour and hastening the result. The Gaucho of the Pampas takes "an elastic stick about 18 in. long, presses one end to his breast and the other in a hole in a piece of wood, and then rapidly turns the curved part like a carpenter's centre-bit." In other cases the rotation is effected by means of a cord or thong wound round the drill and pulled alternately by this end and that. In order to steady the drill the Eskimo and others put the upper end in a socket of ivory or bone which they hold firmly in their mouth. A further advance was made by the Eskimo and neighbouring tribes, who applied the principle of the bow-drill; and the still more ingenious pump-drill was used by the Onondaga Indians. For full descriptions of these instruments and a rich variety of details connected with fire-making we must refer the reader to Tylor's valuable chapter in his _Researches_. These methods of producing fire are but rarely used in Europe, and only in connexion with superstitious observances. We read in Wuttke that some time ago the authorities of a Mecklenburg village ordered a "wild fire" to be lit against a murrain amongst the cattle. For two hours the men strove vainly to obtain a spark, but the fault was not to be ascribed to the quality of the wood, or to the dampness of the atmosphere, but to the stubbornness of an old lady, who, objecting to the superstition, would not put out her night lamp; such a fire, to be efficient, must burn alone. At last the strong-minded female was compelled to give in; fire was obtained---but of bad quality, for it did not stop the murrain.

It has long been known that the rays of the sun might be concentrated by a lens or concave mirror. Aristophanes mentions the burning-lens in _The Clouds_, and the story of Archimedes using a mirror to fire the ships at Syracuse is familiar to every schoolboy. If Garcilasso de la Vega can be trusted as an authority the Virgins of the Sun in Peru kindled the sacred fire with a concave cup set in a great bracelet. In China the burning-glass is in common use.

To the inquiry how mankind became possessed of fire, the cosmogonies, those records of pristine speculative thought, do not give any reply which would not be found in the relations of travellers and historians.

They say in the Tonga Islands that the god of the earthquakes is
likewise the god of fire. At Mangaia it is told that the great Maui
went down to hell, where he surprised the secret of making fire by
rubbing two pieces of wood together. The Maoris tell the tale
differently. Maui had the fire given to him by his old blind
grandmother, Mahuika, who drew it from the nails of her hands. Wishing
to have a stronger one, he pretended that it had gone out, and so he
obtained fire from her great toe. It was so fierce that every thing
melted before the glow; even Maui and the grandmother herself were
already burning when a deluge, sent from heaven, saved the hero and
the perishing world; but before the waters extinguished all the blaze,
Mahuika shut a few sparks into some trees, and thence men draw it now.
The Maoris have also the legend that thunder is the noise of Tawhaki's
footsteps, and that lightnings flash from his armpits. At Western
Point, Victoria, the Australians say the good old man Pundyil opened
the door of the sun, whose light poured then on earth, and that
Karakorok, the good man's good daughter, seeing the earth to be full
of serpents, went everywhere destroying serpents; but before she had
killed them all, her staff snapped in two, and while it broke, a flame
burst out of it. Here the serpent-killer is a fire-bringer. In the
Persian _Shahnama_ also fire was discovered by a dragon-fighter.
Hushenk, the powerful hero, hurled at the monster a prodigious stone,
which, evaded by the snake, struck a rock and was splintered by it.
"Light shone from the dark pebble, the heart of the rock flashed out
in glory, and fire was seen for the first time in the world." The
snake escaped, but the mystery of fire had been revealed.

North American legends narrate how the great buffalo, careering
through the plains, makes sparks flit in the night, and sets the
prairie ablaze by his hoofs hitting the rocks. We meet the same idea
in the Hindu mythology, which conceives thunder to have been, among
many other things, the clatter of the solar horses on the Akmon or
hard pavement of the sky. The Dakotas claim that their ancestor
obtained fire from the sparks which a friendly panther struck with its
claws, as it scampered upon a stony hill.