Billy began to call, and it was beautiful"Billy began to call, and it was beautiful."
"There was a fine moon shining, nearly full, and a few clouds floating by. Billy called, and called, and called again. The air grew colder and colder; light frost on the meadow-grass; our teeth were chattering, fingers numb.
"Then we heard a bull give a short bawl, away off to the southward. Presently we could hear his horns knock against the trees, far up on the hill. McDonald whispered, 'He's comin',' and Billy gave another call.
"But it was another bull that answered, back of the north end of the pond, and pretty soon we could hear him rapping along through the woods. Then everything was still. 'Call agen,' says McDonald, and Billy called again.
"This time the bawl came from another bull, on top of the western hill, straight across the pond. It seemed to start up the other two bulls, and we could hear all three of them thrashing along, as fast as they could come, towards the pond. 'Call agen, a wee one,' says McDonald, trembling with joy. And Billy called a little, seducing call, with two grunts at the end.
"Well, sir, at that, a cow and a calf came rushing down through the brush not two hundred yards away from us, and the three bulls went splash into the water, one at the south end, one at the north end, and one on the west shore. 'Lord,' whispers McDonald, 'it's a meenadgerie!'"
"Dud," said the engineer, getting down to open the furnace door a crack, "this is mair than murder ye're comin' at; it's a buitchery—or else it's juist a pack o' lees."
"I give you my word," said Hemenway, "it's all true as the catechism. But let me go on. The cow and the calf only stayed in the water a few minutes, and then ran back through the woods. But the three bulls went sloshing around in the pond as if they were looking for something. We could hear them, but we could not see any of them, for the sky had clouded up, and they kept far away from us. Billy tried another short call, but they did not come any nearer. McDonald whispered that he thought the one in the south end might be the biggest, and he might be feeding, and the two others might be young bulls, and they might be keeping away because they were afraid of the big one. This seemed reasonable; and I said that I was going to crawl around the meadow to the south end. 'Keep near a tree,' says Mac; and I started.
"There was a deep trail, worn by animals, through the high grass; and in this I crept along on my hands and knees. It was very wet and muddy. My boots were full of cold water. After ten minutes I came to a little point running out into the pond, and one young birch growing on it. Under this I crawled, and rising up on my knees looked over the top of the grass and bushes.
"There, in a shallow bay, standing knee-deep in the water, and rooting up the lily-stems with his long, pendulous nose, was the biggest and blackest bull moose in the world. As he pulled the roots from the mud and tossed up his dripping head I could see his horns—four and a half feet across, if they were an inch, and the palms shining like tea-trays in the moonlight. I tell you, old Silverhorns was the most beautiful monster I ever saw.
"But he was too far away to shoot by that dim light, so I left my birch-tree and crawled along toward the edge of the bay. A breath of wind must have blown across me to him, for he lifted his head, sniffed, grunted, came out of the water, and began to trot slowly along the trail which led past me. I knelt on one knee and tried to take aim. A black cloud came over the moon. I couldn't see either of the sights on the gun. But when the bull came opposite to me, about fifty yards off, I blazed away at a venture.
"He reared straight up on his hind legs—it looked as if he rose fifty feet in the air—wheeled, and went walloping along the trail, around the south end of the pond. In a minute he was lost in the woods. Good-by, Silverhorns!"
"Ye tell it weel," said McLeod, reaching out for a fresh cigar, "fegs! Ah doot Sir Walter himsel' couldna impruve upon it. An, sae thot's the way ye didna murder puir Seelverhorrns? It's a tale I'm joyfu' to be hearin'."
"Wait a bit," Hemenway answered. "That's not the end, by a long shot. There's worse to follow. The next morning we returned to the pond at daybreak, for McDonald thought I might have wounded the moose. We searched the bushes and the woods when he went out very carefully, looking for drops of blood on his trail."
"Bluid!" groaned the engineer. "Hech, mon, wouldna that come nigh to mak' ye greet, to find the beast's red bluid splashed ower the leaves, and think o' him staggerin' on thro' the forest, drippin' the heart oot o' him wi' every step?"
"But we didn't find any blood, you old sentimentalist. That shot in the dark was a clear miss. We followed the trail by broken bushes and footprints, for half a mile, and then came back to the pond and turned to go down through the edge of the woods to the camp.
"It was just after sunrise. I was walking a few yards ahead, McDonald next, and Billy last. Suddenly he looked around to the left, gave a low whistle and dropped to the ground, pointing northward. Away at the head of the pond, beyond the glitter of the sun on the water, the big blackness of Silverhorns' head and body was pushing through the bushes, dripping with dew.
"Each of us flopped down behind the nearest shrub as if we had been playing squat-tag. Billy had the birch-bark horn with him, and he gave a low, short call. Silverhorns heard it, turned, and came parading slowly down the western shore, now on the sand-beach, now splashing through the shallow water. We could see every motion and hear every sound. He marched along as if he owned the earth, swinging his huge head from side to side and grunting at each step.
"You see, we were just in the edge of the woods, strung along the south end of the pond, Billy nearest the west shore, where the moose was walking, McDonald next, and I last, perhaps fifteen yards farther to the east. It was a fool arrangement, but we had no time to think about it. McDonald whispered that I should wait until the moose came close to us and stopped.
"So I waited. I could see him swagger along the sand and step out around the fallen logs. The nearer he came the bigger his horns looked; each palm was like an enormous silver fish-fork with twenty prongs. Then he went out of my sight for a minute as he passed around a little bay in the southwest corner, getting nearer and nearer to Billy. But I could still hear his steps distinctly—slosh, slosh, slosh—thud, thud, thud (the grunting had stopped)—closer came the sound, until it was directly behind the dense green branches of a fallen balsam-tree, not twenty feet away from Billy. Then suddenly the noise ceased. I could hear my own heart pounding at my ribs, but nothing else. And of Silverhorns not hair nor hide was visible. It looked as if he must be a Boojum, and had the power to
"'Softly and silently vanish away.'
"'Softly and silently vanish away.'
"'Softly and silently vanish away.'
"Billy and Mac were beckoning to me fiercely and pointing to the green balsam-top. I gripped my rifle and started to creep toward them. A little twig, about as thick as the tip of a fishing-rod, cracked under my knee. There was a terrible crash behind the balsam, a plunging through the underbrush and a rattling among the branches, a lumbering gallop up the hill through the forest, and Silverhorns was gone into the invisible.
"He had stopped behind the tree because he smelled the grease on Billy's boots. As he stood there, hesitating, Billy and Mac could see his shoulder and his side through a gap in the branches—a dead-easy shot. But so far as I was concerned, he might as well have been in Alaska. I told you that the way we had placed ourselves was a fool arrangement. But McDonald would not say anything about it, except to express his conviction thatit was not predestinated we should get that moose."
"Ah didna ken auld Rob had sae much theology aboot him," commented McLeod. "But noo I'm thinkin' ye went back to yer main camp, an' lat puir Seelverhorrns live oot his life?"
"Not much, did we! For now we knew that he wasn't badly frightened by the adventure of the night before, and that we might get another chance at him. In the afternoon it began to rain; and it poured for forty-eight hours. We cowered in our shelter before a smoky fire, and lived on short rations of crackers and dried prunes—it was a hungry time."
"But wasna there slathers o' food at the main camp? Ony fule wad ken eneugh to gae doon to the river an' tak' a guid fill-up."
"But that wasn't what we wanted. It was Silverhorns. Billy and I made McDonald stay, and Thursday afternoon, when the clouds broke away, we went back to the pond to have a last try at turning our luck.
"This time we took our positions with great care, among some small spruces on a point that ran out from the southern meadow. I was farthest to the west; McDonald (who had also brought his gun) was next; Billy, with the horn, was farthest away from the point where he thought the moose would come out. So Billy began to call, very beautifully. The long echoes went bellowing over the hills. The afternoon was still and the setting sun shone through a light mist, like a ball of red gold.
"Fifteen minutes after sundown Silverhorns gave a loud bawl from the western ridge and came crashing down the hill. He cleared the bushes two or three hundred yards to our left with a leap, rushed into the pond, and came wading around the south shore toward us. The bank here was rather high, perhaps four feet above the water, and the mud below it was deep, so that the moose sank in to his knees. I give you my word, as he came along there was nothing visible to Mac and me except his ears and his horns. Everything else was hidden below the bank.
"There were we behind our little spruce-trees. And there was Silverhorns, standing still now, right in front of us. And all that Mac and I could see were those big ears and those magnificent antlers, appearing and disappearing as he lifted and lowered his head. It was a fearful situation. And there was Billy, with his birch-bark hooter, forty yards below us—he could see the moose perfectly.
"I looked at Mac, and he looked at me. He whispered something about predestination. Then Billy lifted his horn and made ready to give a little soft grunt, to see if the moose wouldn't move along a bit, just to oblige us. But as Billy drew in his breath, one of those tiny fool flies that are always blundering around a man's face flew straight down his throat. Instead of a call he burst out with a furious, strangling fit of coughing. The moose gave a snort, and a wild leap in the water, and galloped away under the bank, the way he had come. Mac and I both fired at his vanishing ears and horns, but of course——"
"All aboooard!" The conductor's shout rang along the platform.
"Line's clear," exclaimed McLeod, rising. "Noo we'll be off! Wull ye stay here wi' me, or gang awa' back to yer bed?"
"Here," answered Hemenway, not budging from his place on the bench.
The bell clanged, and the powerful machine puffed out on its flaring way through the night. Faster and faster came the big explosive breaths, until they blended in a long steady roar, and the train was sweeping northward at forty miles an hour. The clouds had broken; the night had grown colder; the gibbous moon gleamed over the vast and solitary landscape. It was a different thing to Hemenway, riding in the cab of the locomotive, from an ordinary journey in the passenger-car or an unconscious ride in the sleeper. Here he was on the crest of motion, at the fore-front of speed, and the quivering engine with the long train behind it seemed like a living creature leaping along the track. It responded to the labour of the fireman and the touch of the engineer almost as if it could think and feel. Its pace quickened without a jar; its great eye pierced the silvery space of moonlight with a shaft of blazing yellow; the rails sang before it and trembled behind it; it was an obedient and joyful monster, conquering distance and devouring darkness.
On the wide level barrens beyond the Tete-a-Gouche River the locomotive reached its best speed, purring like a huge cat and running smoothly. McLeod leaned back on his bench with a satisfied air.
"She's doin' fine, the nicht," said he. "Ah'm thinkin', whiles, o' yer auld Seelverhorrns. Whaur is he noo? Awa' up on Hogan's Pond, gallantin' around i' the licht o' the mune wi' a lady moose, an' the gladness juist bubblin' in his hairt. Ye're no sorry that he's leevin' yet, are ye, Dud?"
"Well," answered Hemenway slowly, between the puffs of his pipe, "I can't say I'm sorry that he's alive and happy, though I'm not glad that I lost him. But he did his best, the old rogue; he played a good game, and he deserved to win. Where he is now nobody can tell. He was travelling like a streak of lightning when I last saw him. By this time he may be——"
"What's yon?" cried McLeod, springing up. Far ahead, in the narrow apex of the converging rails, stood a black form, motionless, mysterious. McLeod grasped the whistle-cord. The black form loomed higher in the moonlight and was clearly silhouetted against the horizon—a big moose standing across the track. They could see his grotesque head, his shadowy horns, his high, sloping shoulders. The engineer pulled the cord. The whistle shrieked loud and long.
The moose turned and faced the sound. The glare of the headlight fascinated, challenged, angered him. There he stood defiant, front feet planted wide apart, head lowered, gazing steadily at the unknown enemy that was rushing toward him. He was the monarch of the wilderness. There was nothing in the world that he feared, except those strange-smelling little beasts on two legs who crept around through the woods and shot fire out of sticks. This was surely not one of those treacherous animals, but some strange new creature that dared to shriek at him and try to drive him out of its way. He would not move. He would try his strength against this big yellow-eyed beast.
There he stood defiant, front feet planted wide apartThere he stood defiant, front feet planted wide apart.
"Losh!" cried McLeod; "he's gaun' to fecht us!" and he dropped the cord, grabbed the levers, and threw the steam off and the brakes on hard. The heavy train slid groaning and jarring along the track. The moose never stirred. The fire smouldered in his small narrow eyes. His black crest was bristling. As the engine bore down upon him, not a rod away, he reared high in the air, his antlers flashing in the blaze, and struck full at the headlight with his immense fore feet. There was a shattering of glass, a crash, a heavy shock, and the train slid on through the darkness, lit only by the moon.
Thirty or forty yards beyond, the momentum was exhausted and the engine came to a stop. Hemenway and McLeod clambered down and ran back, with the other trainmen and a few of the passengers. The moose was lying in the ditch beside the track, stone dead and frightfully shattered. But the great head and the vast, spreading antlers were intact.
"Seelver-horrns, sure eneugh!" said McLeod, bending over him. "He was crossin' frae the Nepissiguit to the Jacquet; but he didna get across. Weel, Dud, are ye glad? Ye hae killt yer first moose!"
"Yes," said Hemenway, "it's my first moose. But it's your first moose, too. And I think it's our last. Ye gods, what a fighter!"
NOTIONS ABOUT NOVELS
"YOU must write a novel," said my Uncle Peter to the young Man of Letters. "The novel is the literary form in which the psychological conditions of interest are most easily discovered and met. It appeals directly to the reader's self-consciousness, and invites him to fancy how fine a figure he would cut in more picturesque circumstances than his own. When it simplifies great events, as Stevenson said it must, it produces the feeling of power; and when it dignifies the commonplace, as Schopenhauer said it ought to, it produces the sense of importance. People like to imagine themselves playing on a large stage. The most humdrum of men would be pleased to act a hero's part, if it could be done without risk or effort; and the plainest of women has the capacity to enjoy, at least in fancy, a greater variety in the affair of love than real life is likely to furnish. Novels give these unsatisfied souls their opportunity. That is why fiction is so popular. You must take advantage of the laws of the human mind if you want to be a successful author. Write a novel."
This protracted remark was patiently received by the little company of friends, who were sitting on a rocky eminence of the York Harbor Golf Links (near the seventh hole, which was called, for obvious reasons, "Götterdämmerung"). My Uncle Peter's right to make long speeches was conceded. In him they did not seem criminal, because they were evidently necessary. Moreover, in this case, the majority agreed with him, and therefore were not tempted to interrupt.
"A novel," said the Publisher, "will bear ten times as much advertising as any other kind of book. This is a fact."
"A novel," said the Critic, "is the most highly developed type of literature. Therefore, it is the fittest to survive. This is a theory. And I should like——"
But the Critic did not share the Philosopher's long-speech prerogative. His audience was inclined to limit him to the time when he could be pungent.
The Business Man broke in upon him: "A novel is good because it is just plain reading—no theories or explanations—or at least, if there are any, you can skip them."
"Novels," said the Doctor of Divinity solemnly, "are valuable because they give an insight into life. I deprecate the vice of excessive novel-reading in young persons. But for myself I wish that there were more really interesting novels to read. Most of the old ones I have read already."
A smile flickered around the circle. "What do you call old?" asked the Cynic. "Have you read 'The Vulgarities of Antoinette'?"
"Nonsense," said the Publisher; "some novels grow as old in a twelvemonth as others do in a decade. A book is not really aged until it ceases to be advertised. 'The Celestial Triplets,' for example. But fortunately it is a poor year that does not produce at least three new novelists of distinction."
"For my part," said the True Story Teller, seated on her throne among the rocks and dispensing gentle influence like the silent sweetness of the summer afternoon, "for my part, I am not sure that fiction is the only kind of literature worth reading. Essays, biography, history and poetry still have their attractions for me. But what I should like to know is what made one kind of novel so popular yesterday, and what puts another kind in its place to-day, and what kind is likely to last forever? What gives certain novels their amazing vogue?"
"A new public," answered the Cynic. "Popular education has done it. Fifty years ago thinking and reading went together. But nowadays reading is the most familiar amusement of the thoughtless. It is the new public that buys four hundred thousand copies of a novel in a single year."
"A striking explanation," said the Critic, "but, you know, De Quincey said practically the same thing more than fifty years ago in his essay on Oliver Goldsmith. Yet the sale of 'The Prude of Pimlico' exceeds the sale of the leading novel of De Quincey's day by at least five hundred per cent. How do you explain that?"
"Very simply," said the Cynic. "A thousandper centumincrease in the new public; stock of intelligence still more freely watered."
"But you are not answering my question about the different kinds of novels," said the lady. "Tell me why the types of fiction change."
"Fashion, dear lady," replied the Cynic. "It is like tight sleeves and loose sleeves. People feel comfortable when they wear what everybody is wearing and read what everybody is reading. The art of modern advertising is an appeal to the instinct of imitation. Our friend the Publisher has become a millionaire by discovering that the same law governs the sale of books and of dry-goods."
"Not at all," interrupted the Critic; "your explanation is too crude for satire and too shallow for science. There is a regular evolution in fiction. First comes the external type, the novel of plot; then the internal type, the novel of character; then the social type, the novel of problem and purpose. The development proceeds from outward to inward, from objective to subjective, from simplicity to complexity."
"But," said the lady, "if I remember rightly, the facts happened the other way. 'Pamela' and 'Joseph Andrews' and 'Caleb Williams' are character novels; 'Waverley' and 'Ivanhoe' are adventure novels. Kingsley wrote 'Yeast' and 'Alton Locke' before 'Westward Ho!' and 'Hypatia.' 'Bleak House' and 'Uncle Tom's Cabin' are older than 'Lorna Doone' and 'David Balfour.' The day before yesterday it was all character-sketching, mainly Scotch; the day before that it was all problem-solving, chiefly religious; yesterday it was all adventure-seeking, called historical because it seems highly improbable; and to-day it is a mixture of automobile-journeys and slum-life. It looks to me as if there must be somebody always ready to read some kind of fiction, but his affections are weather-cocky."
"I don't object to a few characters in a novel," said the Man of Business, "provided they do something interesting."
"Right," said the Publisher; "the public always knows what is interesting, provided it is properly pointed out. Now here is a little list of our most profitable new books: a story of a beautiful Cow-boy, a Kentucky love-tale, a narrative of the Second Crusade, a romance about an imaginary princess and two motor-cars, a modern society story with vivid descriptions of the principal New York restaurants and Monte Carlo—all of these have passed the forty-thousand line. We send out the list with a statement to that effect, and advise people not to lose the chance of reading books that have aroused so much interest."
"It seems to me," put in the Doctor of Divinity, "that some of the modern books do not give me as much insight into life as I should like. I perused 'The Prisoner on a Bender' the other day without getting a single illustration for a sermon. But I continue to read novels from a sense of duty, to keep in touch with my young people."
"I think," began my Uncle Peter (and this solemn announcement made everyone attentive), "I think you have failed to discern a certain law of periodicity which governs the formal variations of fiction. This periodicity is natural to the human mind, and it also has relations to profound social movements. The popularity of the novels of Fielding, Richardson, and Smollett, whose characters were mainly drawn from humble life, was due to the rise of the same spirit of democracy that produced the American and French Revolutions. The reaction to the romantic and historical novel, under Scott and his followers, was a revival of the aristocratic spirit. It took a historical form because the past had been made vivid to the popular imagination by the great historians of the eighteenth century. The purpose novels, which took the lead in the middle of the nineteenth century, were another reaction, and came out of the social ferment of the times. The general pictures of society and manners which followed were written for a public that was fairly well-to-do and contented with itself. The later realistic studies of life in its lowest forms were the offspring of the scientific spirit. And the latest reaction to the novel of adventure, with its emphasis on daring and virility, is connected with the remarkable revival of imperialism. But while fiction is specifically the most transient of forms, generically it is the most permanent. Therefore, our young Man of Letters must write a novel. That is what the public wants."
"Yes," cried the Publisher, "a novel of adventure in Cromwell's time. That period is up, just now, and has not been worked out."
"A novel of purpose," said the Critic; "that is the highest type of fiction."
"A novel of character," said the Cynic. "A change in fashion is due. Take the President of a Trust for your hero, and make him repent under the pressure of the Social Boycott. The public loves surprises."
"Why not write the Great American Novel?" said the Doctor of Divinity. "I have heard several demands for it."
"A good love story," said the Man of Business, "or perhaps a detective story, would be the best thing to sell."
"The one point on which your friends seem agreed," said the True Story Teller, with a smile, "is that the public gives you an order for a novel."
"Well, you know, I have written one already," answered the young Man of Letters, very quietly.
"Why didn't you tell us?" chorused the others. "Why haven't you published it?"
He hesitated a moment before answering: "It did not seem to me good enough."
"My young friend," said the Publisher, with his most impressive and benevolent air, "we have your welfare at heart. You may write essays and stories and poems as a recreation, or for some future age. But this is the day of the novel, and you are wasting your chance unless you publish one as soon as possible. Touch your novel up, or give it to me as it is. You will certainly make a big thing out of it."
"Perhaps," said the young Man of Letters, thoughtfully; "but what if I would rather write the things that please me most, and try to do good work?"
My Uncle Peter looked at him half-quizzically, yet with a smile of benevolent approval, and conferred upon him the honour and reward of escorting the True Story Teller home in his canoe that evening, across the swirling river, where the molten gold of sunset ran slowly to the sea.
SOME REMARKS ON GULLS
with a foot-note on a fish
I
CITY GULLS
THE current estimate of the sea-gull as an intellectual force is compressed into the word "gullibility"—a verbal monument of contempt. But when we think how many things the gull does that we cannot do—how he has mastered the arts of flying and floating, so that he is equally at home in the air and on the water; how cleverly he adapts himself to his environment, keeping warm among the ice-floes in winter and cool when all the rest of the folks at the summer watering-places are sweltering in the heat; how well he holds his own against the encroachments of that grasping animal, man, who has driven so many other wild creatures to the wall, and over it into extinction; how prudently he accepts and utilizes all the devices of civilization which suit him, (such as steamship-lanes across the Atlantic, and dumping-scows in city harbors, and fish-oil factories on the seashore), without becoming in the least civilized himself—in short, when we consider how he succeeds in doing what every wise person is trying to do, living his own proper life amid various and changing circumstances, it seems as if we might well reform the spelling of that supercilious word, and write it "gull-ability."
But probably the gull would show no more relish for the compliment than he has hitherto shown distaste for the innuendo; both of them being inedible, and he of a happy disposition, indifferent to purely academic opinions of his rank and station in the universe. Imagine a gull being disquieted because some naturalist solemnly averred that a hawk or a swallow was a better master of the art of flight; or a mocking-bird falling into a mood of fierce resentment or nervous depression because some professor of music declared that the hermit thrush had a more spontaneous and inspired song! The gull goes a-flying in his own way and the mocking-bird sits a-singing his roundelay, original or imitated, just as it comes to him; and neither of them is angry or depressed when a critic makes odious comparisons, because they are both doing the best that they know with "a whole and happy heart." Not so with poets, orators, and other human professors of the high-flying and cantatory arts. They are often perturbed and acerbated, and sometimes diverted from their proper course by the winds of adverse comment.
When Cicero Tomlinson began his career as a public speaker he showed a very pretty vein of humour, which served to open his hearers' minds with honest laughter to receive his plain and forcible arguments. But someone remarked that his speaking lacked dignity and weight; so he loaded himself with the works of Edmund Burke; and now he discusses the smallest subject with a ponderosity suited to the largest. The charm of Alfred Tennyson Starling's early lyrics was unmistakable. But in an evil day a newspaper announced that his poetry smelled of the lamp and was deficient in virility. Alfred took it painfully to heart, and fell into a violent state of Whitmania. Have you seen his patient imitations of the long-lined, tumultuous one?
After all, the surest way to be artificial is to try to be natural according to some other man's recipe.
One reason why the wild children of nature attract our eyes, and give us an inward, subtle satisfaction in watching them, is because they seem so confident that their own way of doing things is, for them at least, the best way. They let themselves go, on the air, in the water, over the hills, among the trees, and do not ask for admiration or correction from people who are differently built. The sea-gulls flying over a busy port of commerce, or floating at ease on the discoloured, choppy, churned-up waves of some great river,
"Bordered by cities, and hoarseWith a thousand cries,"
"Bordered by cities, and hoarseWith a thousand cries,"
"Bordered by cities, and hoarse
With a thousand cries,"
are unconscious symbols of nature's self-reliance and content with her ancient methods. Not a whit have they changed their manner of flight, their comfortable, rocking-chair seat upon the water, their creaking, eager voice of hunger and excitement, since the days when the port was a haven of solitude, and the river was crossed only by the red man's canoe passing from forest to forest. They are untroubled by the fluctuations of trade, the calms and tempests which afflict the stock market, the hot waves and cold waves of politics. They do not fash themselves about the fashions—except, perhaps, that silly and barbarous one of adorning the headgear of women with the remains of dead gulls. They do not ask whether life is worth living, but launch themselves boldly upon the supposition that it is, and seem to find it interesting, various, and highly enjoyable, even among wharves, steamboats, and factory chimneys.
My first acquaintance with these untamed visitors of the metropolis was
"When that I was a littel tine boy,"
"When that I was a littel tine boy,"
"When that I was a littel tine boy,"
and lived on the Heights of Brooklyn. A nurse, whose hateful official relation was mitigated by many amiable personal qualities—she was a rosy Irish girl—had the happy idea of going, now and then, for a "day off" and a breath of fresh air, on one of the ferry-boats that ply the waters of Manhattan. Sometimes she took one of the ordinary ferries that went straight over to New York and back again; but more often she chose a boat that proposed a longer and more adventurous voyage—to Hoboken, or Hunter's Point, or Staten Island. We would make the trip to and fro several times, but Biddy never paid, so far as my memory goes, more than one fare. By what arrangement or influence she made the deckhands considerately blind to this repetition of the journey without money and without price, I neither knew nor cared, being altogether engaged with playing about the deck and admiring the wonders of the vasty deep.
The other boats were wonderful, especially the big sailing-ships, which were far more numerous then than they are now. The steam tugs, with their bluff, pushing, hasty manners, were very attractive, and I wondered why all of them had a gilt eagle, instead of a gull, on top of the wheel-house. A little rowboat, tossing along the edge of the wharves, or pushing out bravely for Governor's Island, seemed to be full of perilous adventure. But most wonderful of all were the sea-gulls, flying and floating all over the East River and the North River and the bay.
Where did they come from? It was easy to see where they got their living; they were "snappers-up of unconsidered trifles" from every passing vessel whose cabin-boy threw the rubbish overboard. If you could succeed in getting off the peel of an orange in two or three big pieces, or if you could persuade yourself to leave a reasonably large core of an apple, or, best of all, if you had the limp skin of a yellow banana, you cast the forbidden fruit into the water, and saw how quickly one of the gulls would pick it up, and how beautifully the others would fight him for it. Evidently gulls have a wider range of diet than little boys; also they have never been told that it is wrong to fight.
"How greedy they are! What makes some of them white and some of them gray? They must be different kinds; or else the gray ones are the father and mother gulls. But if that is so, it is funny that the white ones are the best fliers and seem able to take things away from the gray ones. How would you like to fly like that? They swoop around and go just where they want to. Perhaps that is the way the angels fly; only of course the angels are much larger, and very much more particular about what they eat. Isn't it queer that all the gulls have eyes just alike—black and shiny and round, just like little shoe-buttons? How funnily they swim! They sit right down on the water as if it wasn't wet. Don't you wish you could do that? Look how they tuck up their pinky feet under them when they fly, and how they turn their heads from side to side, looking for something good to eat. See, there's a great big flock all together in the water, over yonder, must be a thousand hundred. Now they all fly up at once, like when you tear a newspaper into little scraps and throw a handful out of the window. Where do you suppose they go at night? Perhaps they sleep on the water. That must be fun! Do they have gulls in Ireland, Biddy, and are all their eyes black and shiny?"
"Sure!" says Biddy. "An' they do be a hundred toimes bigger an' foiner than these wans. The feathers o' thim shoines in the sun loike silver and gowld, an' their oyes is loike jools, an' they do be floying fasther then the ships can sail. If ye was only seein' some o' thim rale Oirish gulls, ye'd think no more o' these little wans!"
This increases your determination to go to the marvellous green island some day; but it does not in the least diminish your admiration for the gulls of Manhattan. In the summer, when you go to the seaside and watch the
"Gray spirits of the sea and of the shore"
"Gray spirits of the sea and of the shore"
"Gray spirits of the sea and of the shore"
sailing over the white beach or floating on the blue waves of the unsullied ocean, you wonder whether these country gulls are happier than the city gulls. That they are different you are sure, and also that they must have less variety in their diet, hardly any banana-skins and orange-peel at all. But then they have more fish, and probably more fun in catching them.
These are memories of old times—the ancient days before the Great Invasion of the English Sparrows—the good old days when orioles and robins still built their nests in Brooklyn trees, and Brooklyn streets still resounded to the musical cries of the hucksters: "Radishees!newradishees!" or "Ole clo' an' bottles! anyoleclo' to sell!" or "Shad O!fre-e-shshad!" In that golden age we played football around the old farmhouse on Montague Terrace, coasted down the hill to Fulton Ferry, and made an occasional expedition to Manhattan to observe the strange wigwams and wild goats of the tribe of squatters who inhabited the rocky country south of the newly discovered Central Park.Eheu fugaces!
There was a long interval of years after that when the sea-gulls of the harbour did not especially interest me. But now again, of late, I have begun to find delight in them. Conscience, awakened by responsibility, no longer permits those surreptitiously repeated voyages without a repeated fare. But I go through the gate at the end of each voyage, and consider twelve cents a reasonable price for the pleasure of travelling up and down the North River for an hour and watching the city gulls in their winter holiday.
I know a little more about them now. They are almost all herring gulls, although occasionally a stray bird of another species may be seen. The dark-gray ones are the young. They grow lighter and more innocent-looking as they grow older, until they are pure white, except the back and the top of the wings, which are of the softest pearl gray. The head and neck, in winter, are delicately pencilled with dusky lines. The bill is bright yellow and rather long, with the upper part curved and slightly hooked, for a good hold on slippery little fish. The foot has three long toes in front and a foolish little short one behind. The web between the front toes goes down to the tips; but it makes only a small paddle, after all, and when it comes to swimming, the loon and the duck and several other birds can easily distance the gull. It is as a floater that he excels in water sports; he rides the waves more lightly and gracefully than any other creature.
"The gull, high floating like a sloop unladen,Lets the loose water waft him as it will;The duck, round-breasted as a rustic maiden,Paddles and plunges, busy, busy, still."
"The gull, high floating like a sloop unladen,Lets the loose water waft him as it will;The duck, round-breasted as a rustic maiden,Paddles and plunges, busy, busy, still."
"The gull, high floating like a sloop unladen,
Lets the loose water waft him as it will;
The duck, round-breasted as a rustic maiden,
Paddles and plunges, busy, busy, still."
But it is when the gull rises into the air, where, indeed, he seems to spend most of his time, that you perceive the perfection of his design as a master of motion. The spread of his wings is more than twice the length of his body, and every feather of those long, silvery-pearly, crescent fans seems instinct with the passion and the skill of flight. He rises and falls without an effort; he swings and turns from side to side with balancing motions like a skater; he hangs suspended in the air immovable as if he were held there by some secret force of levitation; he dives suddenly head foremost and skims along the water, feet dangling and wings flapping, to snatch a bit of food from the surface with his crooked golden bill. If the morsel is too large for him to swallow, look how quickly three or four other gulls will follow him, trying to take it away. How he turns and twists and dodges, and how cleverly they head him off and hang on his airy trail, like winged hounds, giving tongue with thin and querulous voices, half laughing and half crying and altogether hungry. He cannot say a word, for his mouth is full. He gulps hastily at his booty, trying to get it down before the others catch him. But it is too big for his gullet, and he drops it in the very act and article of happy deglutition. The largest and whitest of his pursuers scoops up the morsel almost before it touches the waves, and flaps away to enjoy his piratical success in some quiet retreat.
What a variety of cooking the gulls enjoy from the steamships and sailing-vessels of various nationalities which visit Manhattan! French cooks, Italian, German, Spanish, English, Swedish—cooks of all races minister to their appetites. Whenever a panful of scraps is thrown out from the galley, a flock of gulls may be seen fluttering over their fluenttable d'hôte. Their shrill, quavering cries of joy and expectancy sound as if the machinery of their emotions were worked by rusty pulleys; their sharp eyes glisten, and their great wings flap and whirl together in a confusion of white and gray. It is said that they do useful service as scavengers of the harbor. No doubt; but to me they commend themselves chiefly as visible embodiments and revelations of the mystery, wonder, and gladness of flight.
What do we know about it, after all? We call this long-winged fellowLarus argerdatus smithsonianus. We find that his normal temperature is about two degrees higher than ours, and that he breathes faster, and that his bones are lighter, and that his body is full of air-sacs, fitting him to fly. But how does he do it? How does he poise himself on an invisible ledge of air,
"Motionless as a cloud ...That heareth not the loud winds when they call,And moveth altogether if it move at all?"
"Motionless as a cloud ...That heareth not the loud winds when they call,And moveth altogether if it move at all?"
"Motionless as a cloud ...
That heareth not the loud winds when they call,
And moveth altogether if it move at all?"
How does he sail after a ship, with wings outspread, against the wind, never seeming to move a feather? You understand how a kite mounts upon the breeze: the string holds it from going back, so it must go up. But where is the string that holds the gull?
I like these city gulls because they come to us in winter, when the gypsy part of our nature is most in need of comforting reminders that the world is not yet entirely dead or civilized. A man that I know once wrote a poem about them, and sent it to a magazine. It was evidently an out-of-door poem and so the editor put it in the midsummer number,—when you might cross the ferry a hundred times without seeing a single gull. They do not begin to come to town until October; and it is well on into November before their social season begins. In March and April they begin to flit again, and by May they are all away northward, to the inland lakes among the mountains, or to the rocky islands of the Maine coast. Let us follow them.
II
A GULL PARADISE
IN the waters south of Cape Cod, where blue-fish and other gamy surface swimmers are found, the gulls are often useful guides to the fisherman. When he sees a great flock of them fluttering over the water, he suspects that the objects of his pursuit are there, feeding from below on the squid, the shiners, or the skip-jack, on which the gulls are feeding from above. So the fisherman sails as fast as possible in that direction, wishing to drag his trolls through the school of fish while they are still hungry. But in the colder waters around the island of Mount Desert, where the blue-fish have never come and the mackerel have gone away, the sign of the fluttering gulls does not indicate fish to be caught, but fish which have already been caught, and which some other fisherman is cleaning for the market as he hurries home. The gulls follow his boat and glean from the waves behind it. They are commentators now, not prophets.
In these blue and frigid deeps the real sport of angling is unknown. There is instead a rather childish, but amusing, game of salt-water grab-bag. You let down a heavy lump of lead and two big hooks baited with clams into thirty, forty, or sixty feet of water. Then you wait until something nudges the line. Then you give the line a quick jerk, and pull in, hand over hand, and see what you have drawn from the grab-bag. It may be a silly, but nutritious cod, gaping in surprise at this curious termination of his involuntary rise in the world; or a silvery haddock, staring at you with round, reproachful eyes; or a pollock, handsome but worthless; or a shiny, writhing dog-fish, whose villainy is written in every line of his degenerate, chinless face. It may be that spiny gargoyle of the sea, a sculpin; or a soft and stupid bake from the mud-flats. It may be any one of the grotesque products of Neptune's vegetable garden, a sea-cucumber, a sea-carrot, or a sea-cabbage. Or it may be nothing at all. When you have made your grab, and deposited the result, if it be edible, in the barrel which stands in the middle of the boat, you try another grab, and that's the whole story.
It is astonishing how much amusement apparently sane men can get out of such a simple game as this. The interest lies, first, in the united effort to fill the barrel, and second, in the rivalry among the fishermen as to which of them shall take in the largest cod or the greatest number of haddock, these being regarded as prize packages. The sculpin and the sea vegetables may be compared to comic valentines, which expose the recipient to ridicule. The dog-fish are like tax notices and assessments; the man who gets one of them gets less than nothing, for they count against the catcher. It is quite as much a game of chance as politics or poker. You do not know on which side of the boat the good fish are hidden. You cannot tell the difference between the nibble of a cod and the bite of a dog-fish. You have no idea what is coming to you, until you have hauled in almost all of your line and caught sight of your allotment wriggling and whirling in the blue water. Sometimes you get twins.
The barrel is nearly full. Let us stop fishing and drifting. Hoist the jib, and trim in the main-sheet. The boat ceases to rock lazily on the tide. The life of the wind enters into her, and she begins to step over the waves and to cut through them, sending bright showers of spray from her bow, and leaving a swirling, bubbling, foaming wake astern. Were there ever waters so blue, or woods so green, or rocky shores so boldly and variously cut, or mountains so clear in outline and so jewel-like in shifting colors, as these of Mount Desert? Was there ever an air which held a stronger, sweeter cordial, fragrant with blended odours of the forest and the sea, soothing, exhilarating, and life-renewing?
Here is the place to see it all, and to drain the full cup of delight; not a standpoint, but a sailing-line just beyond Baker's Island: a voyager's field of vision, shifting, changing, unfolding, as new bays and islands come into view, and new peaks arise, and new valleys open in the line of emerald and amethyst and carnelian and tourmaline hills. You can count all the summits: Newport, and Green, and Pemetic, and Sargent, and Brown, and Dog, and Western. The lesser hills, the Bubbles, Bald Mountain, Flying Mountain, and the rest, detach themselves one after another and stand out from their background of green and gray. How rosy the cliffs of Otter and Seal Harbor glow in the sunlight! How magically the great white flower of foam expands and closes on the sapphire water as the long waves, one by one, pass over the top of the big rock between us and Islesford! This is a bird's-eye view: not a high-flying bird, circling away up in the sky, or perched upon some lofty crag, as Tennyson describes the eagle:—