“Excita nunc, anima mea, et erige totum intellectum tuum, et cogita quantum potes quale et quantum sit illud bonum (_i.e._ Deus). Si enim singula bona delectabilia sunt, cogita intente quam delectabile sit illud bonum quod continet jucunditatem omnium bonorum; et non qualem in rebus creatis sumus experti, sed tanto differentem quanto differt Creator a creatura. Si enim bona est vita creata, quam bona est vita creatrix! Si jucunda est salus facta, quam jucunda est salus quae fecit omnem salutem! Si amabilis est sapientia in cognitione rerum conditarum, quam amabilis est sapientia quae omnia condidit ex nihilo! Denique, si multae et magnae delectationes sunt in rebus delectabilibus, qualis et quanta delectatio est in illo qui fecit ipsa delectabilia!”[250] In a more emotional passage Anselm arouses in his soul the terror of the Judgment. It is from a “Meditatio”: “Taedet animam meam vitae meae; vivere erubesco, mori pertimesco. Quid ergo restat tibi, o peccator, nisi ut in tota vita tua plores totam vitam tuam, ut ipsa tota se ploret totam? Sed est in hoc quoque anima mea miserabiliter mirabilis et mirabiliter miserabilis, quia non tantum dolet quantum se noscit; sed sic secura torpet, velut quid patiatur ignoret. O anima sterilis, quid agis? quid torpes, anima peccatrix? Dies judicii venit, juxta est dies Domini magnus, juxta et velox nimis, _dies irae dies illa_, dies tribulationis et angustiae, dies calamitatis et miseriae, dies tenebrarum et caliginis, dies nebulae et turbinis, dies tubae et clangoris. O vox diei Domini amara! Quid dormitas, anima tepida et digna evomi?”[251] Damiani wrote in the middle of the eleventh century, Anselm in the latter part. The northern lands could as yet show no such characteristic styles,[252] although the classically educated German, Lambert of Hersfeld, wrote as correctly and perspicuously as either. His _Annals_ have won admiration for their clear and correct Latinity, modelled upon the styles of Sallust and Livy. He died in 1077, the year of Canossa, his _Annals_ covering the conflict between Henry IV. and Hildebrand up to that event. The narrative moves with spirit, as one may see by reading his description of King Henry and his consort struggling through Alpine ice and snow to reach that castle never to be forgotten, and gain absolution from the Pope before the ban should have completed Henry’s ruin.[253]