A LITERARY ANTIQUARY.
Printed bookes he contemnes, as a novelty of this latter age; but
a manuscript he pores on everlastingly; especially if the cover be
all moth-eaten, and the dust make a parenthesis betweene every
syllable.
—Mico-Cosmographie, 1638.
The Squire receives great sympathy and support, in his antiquated humours, from the parson, of whom I made some mention on my former visit to the Hall, and who acts as a kind of family chaplain. He has been cherished by the Squire almost constantly, since the time that they were fellow-students at Oxford; for it is one of the peculiar advantages of these great universities, that they often link the poor scholar to the rich patron, by early and heart-felt ties, that last through life, without the usual humiliations of dependence and patronage. Under the fostering protection of the Squire, therefore, the little parson has pursued his studies in peace. Having lived almost entirely among books, and those, too, old books, he is quite ignorant of the world, and his mind is as antiquated as the garden at the Hall, where the flowers are all arranged in formal beds, and the yew-trees clipped into urns and peacocks.
His taste for literary antiquities was first imbibed in the Bodleian Library at Oxford; where, when a student, he passed many an hour foraging among the old manuscripts. He has since, at different times, visited most of the curious libraries in England, and has ransacked many of the cathedrals. With all his quaint and curious learning, he has nothing of arrogance or pedantry; but that unaffected earnestness and guileless simplicity which seem to belong to the literary antiquary.
He is a dark, mouldy little man, and rather dry in his manner; yet, on his favourite theme, he kindles up, and at times is even eloquent. No fox-hunter, recounting his last day’s sport, could be more animated than I have seen the worthy parson, when relating his search after a curious document, which he had traced from library to library, until he fairly unearthed it in the dusty chapter-house of a cathedral. When, too, he describes some venerable manuscript, with its rich illuminations, its thick creamy vellum, its glossy ink, and the odour of the cloisters that seemed to exhale from it, he rivals the enthusiasm of a Parisian epicure, expatiating on the merits of a Perigord pie, or a Patté de Strasbourg.
His brain seems absolutely haunted with love-sick dreams about gorgeous old works in “silk linings, triple gold bands, and tinted leather, locked up in wire cases, and secured from the vulgar hands of the mere reader;” and, to continue the happy expressions of an ingenious writer, “dazzling one’s eyes like eastern beauties, peering through their jealousies."[3]
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[ D’Israeli—Curiosities of Literature.]