The Sketch-Book of Geoffrey Crayon

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.
    ON 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