While sitting on this soft-cushioned log, tasting the pungent acidulous wood-sorrel (Oxalis acetorella), the blossoms of which, large and pink-veined, rise everywhere above the moss, a rufous-colored bird flies quickly past, and, alighting on a low limb a few rods off, salutes me with "Whew! Whew!" or "Whoit! Whoit!" almost as you would whistle for your dog. I see by his impulsive, graceful movements, and his dimly speckled breast, that it is a Thrush. Presently he utters a few soft, mellow, flute-like notes, one of the most simple expressions of melody to be heard, and scuds away, and I see it is the Veery or Wilson's Thrush. He is the least of the Thrushes in size, being about that of the common Bluebird, and he may be distinguished from his relatives by the dimness of the spots upon his breast. The Wood-Thrush has very clear, distinct oval spots on a white ground; in the Hermit, the spots run more into lines, on a ground of a faint bluish-white; in the Veery, the marks are almost obsolete, and a few rods off his breast presents only a dull yellowish appearance. To get a good view of him you have only to sit down in his haunts, as in such cases he seems equally anxious to get a good view of you.
From those tall hemlocks proceeds a very fine insect-like warble, and occasionally I see a sprayteeter, or catch the flit of a wing. I watch and watch till my head grows dizzy and my neck is in danger of permanent displacement, and still do not get a good view. Presently the bird darts, or, as it seems, falls down a few feet in pursuit of a fly or moth, and I see the whole of it, but in the dim light am undecided. It is for such emergencies that I have brought this gun. A bird in the hand is worth half a dozen in the bush, even for ornithological purposes; and no sure and rapid progress can be made in the study without taking life, without procuring specimens. This bird is a Warbler, plainly enough, from his habits and manner; but what kind of Warbler? Look on him and name him: a deep orange or flame-colored throat and breast; the same color showing also in a line over the eye and in his crown; back variegated black and white. The female is less marked and brilliant. The Orange-throated Warbler would seem to be his right name, his characteristic cognomen; but no, he is doomed to wear the name of some discoverer, perhaps the first who robbed his nest or rifled him of his mate,—Blackburn; hence, Blackburnian Warbler. Theburnseems appropriate enough, for in these dark evergreens his throat and breast show like flame. He has a very fine warble, suggesting that of the Redstart, but not especially musical. I find him in no other woods in this vicinity.
I am attracted by another warble in the same locality, and experience a likedifficulty in getting a good view of the author of it. It is quite a noticeable strain, sharp and sibilant, and sounds well amid the old trees. In the upland woods of beech and maple it is a more familiar sound than in these solitudes. On taking the bird in your hand, even if you are not a young lady, you will probably exclaim, "How beautiful!" So tiny and elegant, the smallest of the Warblers; a delicate blue back, with a slight bronze-colored triangular spot between the shoulders; upper mandible black; lower mandible yellow as gold; throat yellow, becoming a dark bronze on the breast. Blue Yellow-Back he is called, though the yellow is much nearer a bronze. He is remarkably delicate and beautiful,—the handsomest, as he is the smallest, of the Warblers known to me. It is never without surprise that I find amid these rugged, savage aspects of Nature creatures so fairy and delicate. But such is the law. Go to the sea or climb the mountain, and with the ruggedest and the savagest you will find likewise the fairest and the most delicate. The greatness and the minuteness of Nature pass all understanding.
Ever since I entered the woods, even while listening to the lesser songsters, or contemplating the silent forms about me, a strain has reached my ear from out the depths of the forest that to me is the finest sound in nature,—the song of the Hermit-Thrush. I often hear him thus a long way off, sometimes over a quarter of a mile away, when only the stronger and more perfect parts of his music reach me; and through the general chorus of Wrens and Warblers I detect this sound rising pure and serene, as if a spirit from some remote height were slowly chanting a divine accompaniment. This song appeals to the sentiment of the beautiful in me, and suggests a serene religious beatitude as no other sound in nature does. It is perhaps more of an evening than a morning hymn, though I hear it at all hours of the day. It is very simple, and I can hardly tell the secret of its charm. "O spheral, spheral!" he seems to say; "O holy, holy! O clear away, clear away! O clear up, clear up!" interspersed with the finest trills and the most delicate preludes. It is not a proud, gorgeous strain, like the Tanager's or the Grosbeak's; suggests no passion or emotion,—nothing personal,—but seems to be the voice of that calm, sweet solemnity one attains to in his best moments. It realizes a peace and a deep, solemn joy that only the finest souls may know. A few nights ago I ascended a mountain to see the world by moonlight; and when near the summit the Hermit commenced his evening hymn a few rods from me. Listening to this strain on the lone mountain, with the full moon just rounded from the horizon, the pomp of your cities and the pride of your civilization seemed trivial and cheap.
Whether it is because of their rareness, or an accident of my observation, or a characteristic trait, I cannot tell, yet I have never known two of these birds to be singing at the same time in the same locality, rivalling each other, like the Wood-Thrush or the Veery. Shooting one from a tree, I have observed another take up the strain from almost the identical perch in less than ten minutes afterward. Later in the day, when I had penetrated the heart of the old Barkpeeling, I came suddenly upon one singing from a low stump, and for a wonder he did not seem alarmed, but lifted up his divine voice as if his privacy was undisturbed. I open his beak and find the inside yellow as gold. I was prepared to find it inlaid with pearls and diamonds, or to see an angel issue from it.
He is not much in the books. Indeed, I am acquainted with scarcely any writer on ornithology whose head is not muddled on the subject of our three prevailing song-thrushes, confounding either their figures or their songs. A writer in the Atlantic[A]gravely tells us the Wood-Thrush is sometimes called the Hermit, and then, after describing the song of the Hermit withgreat beauty and correctness, coolly ascribes it to the Veery! The new Cyclopædia, fresh from the study of Audubon, says the Hermit's song consists of a single plaintive note, and that the Veery's resembles that of the Wood-Thrush! These observations deserve to be preserved with that of the author of "Out-door Papers," who tells us the trill of the Hair-Bird (Fringilla socialis) is produced by the bird fluttering its wings upon its sides! The Hermit-Thrush may be easily identified by his color; his back being a clear olive-brown, becoming rufous on his rump and tail. A quill from his wing placed beside one from his tail, on a dark ground, presents quite a marked contrast.
I walk along the old road, and note the tracks in the thin layer of mud. When do these creatures travel here? I have never yet chanced to meet one. Here a partridge has set its foot; there, a woodcock; here, a squirrel or mink; there, a skunk; there, a fox. What a clear, nervous track Reynard makes! how easy to distinguish it from that of a little dog,—it is so sharply cut and defined! A dog's track is coarse and clumsy beside it. There is as much wildness in the track of an animal as in its voice. Is a deer's track like a sheep's or a goat's? What winged-footed fleetness and agility may be inferred from the sharp, braided track of the gray squirrel upon the new snow! Ah! in nature is the best discipline. I think the sculptor might carve finer and more expressive lines if he grew up in the woods, and the painter discriminate finer hues. How wood-life sharpens the senses, giving a new power to the eye, the ear, the nose! And are not the rarest and most exquisite songsters wood-birds?
Everywhere in these solitudes I am greeted with the pensive, almost pathetic note of the Wood-Pewee. Do you know the Pewees? They are the true Flycatchers, and are easily identified. They are very characteristic birds, have very strong family traits, and very pugnacious dispositions. Without any exception or qualification they are the homeliest or the least elegant birds of our fields or forest. Sharp-shouldered, big-headed, short-legged, of no particular color, of little elegance in flight or movement, with a disagreeable flirt of the tail, always quarrelling with their neighbors and with one another, no birds are so little calculated to excite pleasurable emotions in the beholder, or to become objects of human interest and affection. The King-Bird is the best-dressed member of the family, but he is a braggart; and, though always snubbing his neighbors, is an arrant coward, and shows the white feather at the slightest display of pluck in his antagonist. I have seen him turn tail to a Swallow, and have known the little Pewee in question to whip him beautifully. From the Great Crested to the Little Green Flycatcher, their ways and general habits are the same. Slow in flying from point to point, they yet have a wonderful quickness, and snap up the fleetest insects with little apparent effort. There is a constant play of quick, nervous movements underneath their outer show of calmness and stolidity. They do not scour the limbs and trees like the Warblers, but, perched upon the middle branches, wait like true hunters for the game to come along. There is often a very audible snap of the beak as they arrest their prey.
The Wood-Pewee, the prevailing species in this locality, arrests your attention by his sweet, pathetic cry. There is room for it also in the deep woods, as well as for the more prolonged and elevated strains. His mate builds an exquisite nest of moss on the side of some shelving cliff or overhanging rock. The other day, passing by a ledge near the top of a mountain in a singularly desolate locality, my eye rested upon one of these structures, looking precisely as if it grew there, so in keeping was it with the mossy character of the rock; and I have had a growing affection for the bird ever since. The rock seemed to love the nest and to claim it as its own. I said, What a lesson inarchitecture is here! Here is a house that was built, but built with such loving care and such beautiful adaptation of the means to the end, that it looks like a product of nature. The same wise economy is noticeable in the nests of all birds. No bird would paint its house white or red, or add aught for show.
Coming to a drier and less mossy place in the woods, I am amused with the Golden-crowned Thrush,—which, however, is no thrush at all, but a Warbler, theSciurus aurocapillus. He walks on the ground ahead of me with such an easy gliding motion, and with such an unconscious, preoccupied air, jerking his head like a hen or a partridge, now hurrying, now slackening his pace, that I pause to observe him. If I sit down, he pauses to observe me, and extends his pretty ramblings on all sides, apparently very much engrossed with his own affairs, but never losing sight of me. But few of the birds are walkers, most being hoppers, like the Robin. I recall only five species of the former among our ordinary birds,—the one in question, the Meadow-Lark, the Tit-Lark, the Cow-Bunting, and the Water-Wagtail (a relative of the Golden-Crown).
Satisfied that I have no hostile intentions, the pretty pedestrian mounts a limb a few feet from the ground, and gives me the benefit of one of his musical performances, a sort of accelerating chant. Commencing in a very low key, which makes him seem at a very uncertain distance, he grows louder and louder, till his body quakes and his chant runs into a shriek, ringing in my ears with a peculiar sharpness. This lay may be represented thus: "Teacher teacher, teacher, teacher teacher!"—the accent on the first syllable and each word uttered with increased force and shrillness. No writer with whom I am acquainted gives him credit for more musical ability than is displayed in this strain. Yet in this the half is not told. He has a far rarer song, which he reserves for some nymph whom he meets in the air. Mounting by easy flights to the top of the tallest tree, he launches into the air with a sort of suspended, hovering flight, like certain of the Finches, and bursts into a perfect ecstasy of song,—clear, ringing, copious, rivalling the Goldfinch's in vivacity, and the Linnet's in melody. This strain is one of the rarest bits of bird-melody to be heard. Over the woods, hid from view, the ecstatic singer warbles his finest strain. In this song you instantly detect his relationship to the Water-Wagtail (Sciurus Noveboracensis),—erroneously called Water-Thrush,—whose song is likewise a sudden burst, full and ringing, and with a tone of youthful joyousness in it, as if the bird had just had some unexpected good-fortune. For nearly two years this strain of the pretty walker was little more than a disembodied voice to me, and I was puzzled by it as Thoreau by his mysterious Night-Warbler, which, by the way, I suspect was no new bird at all, but one he was otherwise familiar with. The little bird himself seems disposed to keep the matter a secret, and improves every opportunity to repeat before you his shrill, accelerating lay, as if this were quite enough and all he laid claim to. Still, I trust I am betraying no confidence in making the matter public here. I think this is pre-eminently his love-song, as I hear it oftenest about the mating season. I have caught half-suppressed bursts of it from two birds chasing each other with fearful speed through the forest.
Turning to the left from the old road, I wander, over soft logs and gray yieldingdébris, across the little trout brook, until I emerge in the Barkpeeling,—pausing now and then on the way to admire a small, solitary white flower which rises above the moss, with radical, heart-shaped leaves, and a blossom precisely like the liverwort except in color, but which is not put down in my botany,—or to observe the ferns, of which I count six varieties, some gigantic ones nearly shoulder-high.
At the foot of a rough, scraggy yellow birch, on a bank of club-moss, so richly inlaid with partridge-berry andcurious shining leaves,—with here and there in the bordering a spire of the false wintergreen (Pyrola rotundifolia) strung with faint pink flowers and exhaling the breath of a May orchard,—that it looks too costly a couch for such an idler, I recline to note what transpires. The sun is just past the meridian, and the afternoon chorus is not yet in full tune. Most birds sing with the greatest spirit and vivacity in the forenoon, though there are occasional bursts later in the day, in which nearly all voices join; while it is not till the twilight that the full power and solemnity of the thrush's hymn is felt.
My attention is soon arrested by a pair of Humming-Birds, the Ruby-Throated, disporting themselves in a low bush a few yards from me. The female takes shelter amid the branches, and squeaks exultingly as the male, circling above, dives down as if to dislodge her. Seeing me, he drops like a feather on a slender twig, and in a moment both are gone. Then, as if by a preconcerted signal, the throats are all atune. I lie on my back with eyes half closed, and analyze the chorus of Warblers, Thrushes, Finches, and Flycatchers; while, soaring above all, a little withdrawn and alone, rises the divine soprano of the Hermit. That richly modulated warble proceeding from the top of yonder birch, and which unpractised ears would mistake for the voice of the Scarlet Tanager, comes from that rare visitant, the Rose-breasted Grosbeak. It is a strong, vivacious strain, a bright noonday song, full of health and assurance, indicating fine talents in the performer, but not genius. As I come up under the tree he casts his eye down at me, but continues his song. This bird is said to be quite common in the Northwest, but he is rare in the Eastern districts. His beak is disproportionately large and heavy, like a huge nose, which slightly mars his good looks; but Nature has made it up to him in a blush rose upon his breast, and the most delicate of pink linings to the under side of his wings. His back is variegated black and white, and when flying low the white shows conspicuously. If he passed over your head, you would note the delicate flush under his wings.
That bit of bright scarlet on yonder dead hemlock, glowing like a live coal against the dark background, seeming almost too brilliant for the severe Northern climate, is his relative, the Scarlet Tanager. I occasionally meet him in the deep hemlocks, and know no stronger contrast in nature. I almost fear he will kindle the dry limb on which he alights. He is quite a solitary bird, and in this section seems to prefer the high, remote woods, even going quite to the mountain's top. Indeed, the event of my last visit to the mountain was meeting one of these brilliant creatures near the summit, in full song. The breeze carried the notes far and wide. He seemed to enjoy the elevation, and I imagined his song had more scope and freedom than usual. When he had flown far down the mountain-side, the breeze still brought me his finest notes. In plumage he is the most brilliant bird we have. The Bluebird is not entirely blue; nor will the Indigo-bird bear a close inspection, nor the Goldfinch, nor the Summer Redbird. But the Tanager loses nothing by a near view; the deep scarlet of his body and the black of his wings and tail are quite perfect. This is his holiday suit; in the fall he becomes a dull green,—the color of the female the whole season.
One of the leading songsters in this choir of the old Barkpeeling is the Purple Finch or Linnet. He sits somewhat apart, usually on a dead hemlock, and warbles most exquisitely. He is one of our finest songsters, and stands at the head of the Finches, as the Hermit at the head of the Thrushes. His song approaches an ecstasy, and, with the exception of the Winter Wren's, is the most rapid and copious strain to be heard in these woods. It is quite destitute of the trills and the liquid, silvery, bubbling notes that characterize the Wren's; but there runs through it a round, richly modulated whistle, very sweet and very pleasing. The call ofthe Robin is brought in at a certain point with marked effect, and, throughout, the variety is so great and the strain so rapid that the impression is as of two or three birds singing at the same time. He is not common here, and I only find him in these or similar woods. His color is peculiar, and looks as if it might have been imparted by dipping a brown bird in diluted pokeberry juice. Two or three more dippings would have made the purple complete. The female is the color of the Song-Sparrow, a little larger, with heavier beak, and tail much more forked.
In a little opening quite free from brush and trees I step down to bathe my hands in the brook, when a small, light slate-colored bird flutters out of the bank, not three feet from my head, as I stoop down, and, as if severely lamed or injured, flutters through the grass and into the nearest bush. As I do not follow, but remain near the nest, shechipssharply, which brings the male, and I see it is the Speckled Canada Warbler. I find no authority in the books for this bird to build upon the ground, yet here is the nest, made chiefly of dry grass, set in a slight excavation in the bank, not two feet from the water, and looking a little perilous to anything but ducklings or sandpipers. There are two young birds and one little specked egg, just pipped. But how is this? what mystery is here? One nestling is much larger than the other, monopolizes most of the nest, and lifts its open mouth far above that of its companion, though obviously both are of the same age, not more than a day old. Ah! I see;—the old trick of the Cow-Bunting, with a stinging human significance. Taking the interloper by the nape of the neck, I deliberately drop it into the water, but not without a pang, as I see its naked form, convulsed with chills, float down stream. Cruel! So is Nature cruel. I take one life to save two. In less than two days this pot-bellied intruder would have caused the death of the two rightful occupants of the nest; so I step in and divert things into their proper channel again.
It is a singular freak of Nature, this instinct which prompts one bird to lay its eggs in the nests of others, and thus shirk the responsibility of rearing its own young. The Cow-Buntings always resort to this cunning trick; and when one reflects upon their numbers it is evident that these little tragedies are quite frequent. In Europe the parallel case is that of the Cuckoo, and occasionally our own Cuckoo imposes upon a Robin or a Thrush in the same manner. The Cow-Bunting seems to have no conscience about the matter, and, so far as I have observed, invariably selects the nest of a bird smaller than itself. Its egg is usually the first to hatch; its young overreaches all the rest when food is brought; it grows with great rapidity, spreads and fills the nest, and the starved and crowded occupants soon perish, when the parent bird removes their dead bodies, giving its whole energy and care to the foster-child.
The Warblers and smaller Flycatchers are generally the sufferers, though I sometimes see the Slate-colored Snowbird unconsciously duped in like manner; and the other day, in a tall tree in the woods, I discovered the Black-throated Green-backed Warbler devoting itself to this dusky, overgrown foundling. An old farmer to whom I pointed out the fact was much surprised that such things should happen in his woods without his knowledge.
From long observation it is my opinion that the male Bunting selects the nest into which the egg is to be deposited, and exercises a sort of guardianship over it afterward, lingering in the vicinity and uttering his peculiar, liquid, glassy note from the tops of the tall trees.
The Speckled Canada is a very superior Warbler, having a lively, animated strain, reminding you of certain parts of the Canary's, though quite broken and incomplete; the bird the while hopping amid the branches withincreased liveliness, and indulging in fine sibilant chirps, too happy to keep silent.
His manners are very marked. He has a habit of curtsying when he discovers you, which is very pretty. In form he is a very elegant bird, somewhat slender, his back of a bluish lead-color becoming nearly black on his crown; the under part of his body, from his throat down, is of a light, delicate yellow, with a belt of black dots across his breast. He has a very fine eye, surrounded by a light yellow ring.
The parent birds are much disturbed by my presence, and keep up a loud, emphatic chirping, which attracts the attention of their sympathetic neighbors, and one after another they come to see what has happened. The Chestnut-Sided and the Blackburnian come in company. The Black-and-Yellow Warbler pauses a moment and hastens away; the Maryland Yellow-Throat peeps shyly from the lower bushes and utters his "Fip! fip!" in sympathy; the Wood-Pewee comes straight to the tree overhead, and the Red-eyed Vireo lingers and lingers, eying me with a curious, innocent look, evidently much puzzled. But all disappear again, one after another, apparently without a word of condolence or encouragement to the distressed pair. I have often noticed among birds this show of sympathy,—if indeed it be sympathy, and not merely curiosity, or a feeling of doubt concerning their own safety.
An hour afterward I approach the place, find all still, and the mother bird upon the nest. As I draw near she seems to sit closer, her eyes growing large with an inexpressibly wild, beautiful look. She keeps her place till I am within two paces of her, when she flutters away as at first. In the brief interval the remaining egg has hatched, and the two little nestlings lift their heads without being jostled or overreached by any strange bedfellow. A week afterward and they are flown away,—so brief is the infancy of birds. And the wonder is that they escape, even for this short time, the skunks and minks and muskrats that abound here, and that have a decided partiality for such tidbits.
I pass on through the old Barkpeeling, now threading an old cow-path or an overgrown wood-road; now clambering over soft and decayed logs, or forcing my way through a network of briers and hazel; now entering a perfect bower of wild-cherry, beech, and soft-maple; now emerging into a little grassy lane, golden with buttercups or white with daisies, or wading waist-deep in the red raspberry-bushes.
Whir! whir! whir! and a brood of half-grown Partridges start up like an explosion, a few paces from me, and, scattering, disappear in the bushes on all sides. Let me sit down here behind this screen of ferns and briers, and hear this wild-hen of the woods call together her brood. Have you observed at what an early age the Partridge flies? Nature seems to concentrate her energies on the wing, making the safety of the bird a point to be looked after first; and while the body is covered with down, and no signs of feathers are visible, the wing-quills sprout and unfold, and in an incredibly short time the young make fair headway in flying.
The same rapid development of wing may be observed in chickens and turkeys, but not in water-fowls, nor in birds that are safely housed in the nest till full-fledged. The other day, by a brook, I came suddenly upon a young Sandpiper, a most beautiful creature, enveloped in a soft gray down, swift and nimble, and apparently a week or two old, but with no signs of plumage either of body or wing. And it needed none, for it escaped me by taking to the water as readily as if it had flown with wings.
Hark! There arises over there in the brush a soft, persuasive cooing, a sound so subtile and wild and unobtrusive that it requires the most alert and watchful ear to hear it. How gentle and solicitous and full of yearning love! It is the voice of the mother hen. Presently a faint, timid "Yeap!" which almost eludes the ear, is heard in various directions,—the young responding. Asno danger seems near, the cooing of the parent bird is soon a very audible clucking call, and the young move cautiously in the direction. Let me step never so carefully from my hiding-place, and all sounds instantly cease, and I search in vain for either parent or young.
The Partridge (Bonasa umbellus) is one of our most native and characteristic birds. The woods seem good to be in where I find him. He gives a habitable air to the forest, and one feels as if the rightful occupant was really at home. The woods where I do not find him seem to want something, as if suffering from some neglect of Nature. And then he is such a splendid success, so hardy and vigorous. I think he enjoys the cold and the snow. His wings seem to rustle with more fervency in midwinter. If the snow falls very fast, and promises a heavy storm, he will complacently sit down and allow himself to be snowed under. Approaching him at such times, he suddenly bursts out of the snow at your feet, scattering the flakes in all directions, and goes humming away through the woods like a bomb-shell,—a picture of native spirit and success.
His drum is one of the most welcome and beautiful sounds of spring. Scarcely have the trees showed their buds, when, in the still April mornings, or toward nightfall, you hear the hum of his devoted wings. He selects not, as you would predict, a dry and resinous log, but a decayed and crumbling one, seeming to give the preference to old oak-logs that are partially blended with the soil. If a log to his taste cannot be found, he sets up his altar on a rock, which becomes resonant beneath his fervent blows. Have you seen the Partridge drum? It is the next thing to catching a weasel asleep, though by much caution and tact it may be done. He does not hug the log, but stands very erect, expands his ruff, gives two introductory blows, pauses half a second, and then resumes, striking faster and faster till the sound becomes a continuous, unbroken whir, the whole lasting less than half a minute. The tips of his wings barely brush the log, so that the sound is produced rather by the force of the blows upon the air and upon his own body as in flying. One log will be used for many years, though not by the same drummer. It seems to be a sort of temple, and held in great respect. The bird always approaches it on foot, and leaves it in the same quiet manner, unless rudely disturbed. He is very cunning, though his wit is not profound. It is very difficult to approach him by stealth; you will try many times before succeeding; but seem to pass by him in a great hurry, making all the noise possible, and with plumage furled he stands as immovable as a knot, allowing you a good view and a good shot, if you are a sportsman.
Passing along one of the old barkpeelers' roads which wander aimlessly about, I am attracted by a singularly brilliant and emphatic warble, proceeding from the low bushes, and quickly suggesting the voice of the Maryland Yellow-Throat. Presently the singer hops up on a dry twig, and gives me a good view. Lead-colored head and neck, becoming nearly black on the breast; clear olive-green back, and yellow belly. From his habit of keeping near the ground, even hopping upon it occasionally, I know him to be a Ground-Warbler; from his dark breast the ornithologist has added the expletive Mourning, hence the Mourning Ground-Warbler.
Of this bird both Wilson and Audubon confessed their comparative ignorance, neither ever having seen its nest or become acquainted with its haunts and general habits. Its song is quite striking and novel, though its voice at once suggests the class of Warblers, to which it belongs. It is very shy and wary, flying but a few feet at a time, and studiously concealing itself from your view. I discover but one pair here. The female has food in her beak, but carefully avoids betraying the locality of her nest. The Ground-Warblers all have one notable feature,—very beautiful legs, as white and delicate as if they had always worn silkstockings and satin slippers. High tree Warblers have dark brown or black legs and more brilliant plumage, but less musical ability.
The Chestnut-Sided belongs to the latter class. He is quite common in these woods, as in all the woods about. He is one of the rarest and handsomest of the Warblers; his white breast and throat, chestnut sides, and yellow crown show conspicuously. Audubon did not know his haunts, and had never seen his nest or known any naturalist who had. Last year I found the nest of one in an uplying beech-wood, in a low bush near the roadside, where cows passed and browsed daily. Things went on smoothly till the Cow-Bunting stole her egg into it, when other mishaps followed, and the nest was soon empty. A characteristic attitude of the male during this season is a slight drooping of the wings, and tail a little elevated, which gives him a very smart, bantam-like appearance. His song is fine and hurried, and not much of itself, but has its place in the general chorus.
A far sweeter strain, falling on the ear with the true sylvan cadence, is that of the Black-throated Green-backed Warbler, whom I meet at various points. He has no superiors among the trueSylvia. His song is very plain and simple, but remarkably pure and tender, and might be indicated by straight lines, thus, —— ——\/——; the first two marks representing two sweet, silvery notes, in the same pitch of voice, and quite unaccented; the latter marks, the concluding notes, wherein the tone and inflection are changed. The throat and breast of the male are a rich black, like velvet, his face yellow, and his back a yellowish green.
Beyond the Barkpeeling, where the woods are mingled hemlock, beech, and birch, the languid midsummer note of the Black-throated Blue-Back falls on my ear. "Twea, twea, twea-e-e!" in the upward slide, and with the peculiarz-ingof certain insects, but not destitute of a certain plaintive cadence. It is one of the most languid, unhurried sounds in all the woods. I feel like reclining upon the dry leaves at once. Audubon says he has never heard his love-song; but this is all the love-song he has, and he is evidently a very plain hero with his little brown mistress. He is not the bird you would send to the princess to "cheep and twitter twenty million loves"; she would go to sleep while he was piping. He assumes few attitudes, and is not a bold and striking gymnast, like many of his kindred. He has a preference for dense woods of beech and maple, moves slowly amid the lower branches and smaller growths, keeping from eight to ten feet from the ground, and repeating now and then his listless, indolent strain. His back and crown are dark blue; his throat and breast, black; his belly, pure white; and he has a white spot on each wing.
Here and there I meet the Black and White Creeping-Warbler, whose fine strain reminds me of hair-wire. It is unquestionably the finest bird-song to be heard. Few insect strains will compare with it in this respect; while it has none of the harsh, brassy character of the latter, being very delicate and tender.
That sharp, interrupted, but still continued warble, which, before one has learned to discriminate closely, he is apt to confound with the Red-eyed Vireo's, is that of the Solitary Warbling Vireo,—a bird slightly larger, much rarer, and with a louder, less cheerful and happy strain. I see him hopping along lengthwise of the limbs, and note the orange tinge of his breast and sides and the white circle around his eye.
But the declining sun and the deepening shadows admonish me that this ramble must be brought to a close, even though only the leading characters in this chorus of forty songsters have been described, and only a small portion of the venerable old woods explored. In a secluded swampy corner of the old Barkpeeling, where I find the great purple orchis in bloom, and where the foot of man or beast seems never to have trod, I linger long, contemplating thewonderful display of lichens and mosses that overrun both the smaller and the larger growths. Every bush and branch and sprig is dressed up in the most rich and fantastic of liveries; and, crowning all, the long bearded moss festoons the branches or sways gracefully from the limbs. Every twig looks a century old, though green leaves tip the end of it. A young yellow birch has a venerable, patriarchal look, and seems ill at ease under such premature honors. A decayed hemlock is draped as if by hands for some solemn festival.
Mounting toward the upland again, I pause reverently as the hush and stillness of twilight come upon the woods. It is the sweetest, ripest hour of the day. And as the Hermit's evening hymn goes up from the deep solitude below me, I experience that serene exaltation of sentiment of which music, literature, and religion are but the faint types and symbols.
FOOTNOTES:[A]For December, 1858.
[A]For December, 1858.
[A]For December, 1858.
Landor has frequently been ridiculed for insisting upon an orthography peculiar at present to himself, and this ridicule has been bestowed most mercilessly, because of the supposition that he was bent upon revolutionizing the English language merely for the sake of singularity. But Landor has logic on his side, and it would be wise to heed authoritative protests against senseless innovations that bid fair to destroy the symmetry of words, and which, fifty years hence, will render the tracing of their derivation an Herculean task, unless Trenches multiply in proportion to the necessities of the times. If I ever wished the old lion to put forth all the majesty of his indignation, I had only to whisper the cabalistic words, "Phonetic spelling!" Yet Landor was not very exacting. In the "Last Fruit off an Old Tree," he says, through his medium, Pericles, who is giving advice to Alcibiades: "Every time we pronounce a word different from another, we show our disapprobation of his manner, and accuse him of rusticity. In all common things we must do as others do. It is more barbarous to undermine the stability of a language than of an edifice that hath stood as long. This is done by the introduction of changes. Write as others do, but only as the best of others; and, if one eloquent man forty or fifty years ago spoke and wrote differently from the generality of the present, follow him, though alone, rather than the many. But in pronunciation we are not indulged in this latitude of choice; we must pronounce as those do who favor us with their audience." Landor only claimed to write as the best of others do, and in his own name protests to Southey against misconstruction. "One would represent me as attempting to undermine our native tongue; another, as modernizing; a third, as antiquating it.Wheras" (Landor's spelling) "I am trying to underprop, not to undermine; I am trying to stop the man-milliner at his ungainly work of trimming and flouncing; I am trying to show how graceful is our English, not in its stiff decrepitude, not in its riotous luxuriance, but in its hale mid-life. I would make bad writers follow good ones, and good ones accord with themselves. If all cannot be reduced into order, is that any reason why nothing should be done toward it? If languages and men too are imperfect, must we never make an effortto bring them a few steps nearer to what is preferable?"
It is my great good fortune to possess a copy of Landor's works made curious and peculiarly valuable by the author's own revisions and corrections, and it is most interesting to wander through these volumes, wherein almost every page is a battle-field between the writer and his arch-enemy, the printer. The finallinstillandtillis ignominiously blotted out;exclaimis writtenexclame; adis put over the obliteratedainsteady;tis substitutedtis substituted for the secondsinconfessedand kindred words;straightwayis shorn ofgh;pontiffis allowed but onef. Landor spellshonorin what we call the modern way, without theu; and therandeinsceptrechange places. A dash of the pen cancels thesinisleand the finaleinwherefore,therefore, &c.Simileis terminated with ay; the imperfect of the verbsto milk,to ask, etc., is spelled with at;whereatloses its seconde, andalthoughis deprived of its last three letters. To his poem of "Guidone and Lucia" has been added this final verse:—
"The sire had earned with gold his son's releaseAnd led him home; at home he died in peace.His soul was with Lucia, and he praidTo meet again soon, soon, that happier maid.This wish was granted, for the Powers aboveAbound in mercy and delight in love."
"The sire had earned with gold his son's releaseAnd led him home; at home he died in peace.His soul was with Lucia, and he praidTo meet again soon, soon, that happier maid.This wish was granted, for the Powers aboveAbound in mercy and delight in love."
And to this verse is appended the following note: "If the pret. and partic. oflayislaid, ofsay,said, that ofpraymust bepraid. We want a lexiconomist."
In his lines entitled "New Style," which are a burlesque on Wordsworth, Landor introduces a new verse:—
"Some one (I might have asked her who)Has given her a locket;I, more considerate, brought her twoPotatoes in each pocket."
"Some one (I might have asked her who)Has given her a locket;I, more considerate, brought her twoPotatoes in each pocket."
Landor has been accused of an unwarrantable dislike to the manufacture of words; but so far from true is this, that I have known him to indulge with great felicity in words of his own coining, when conversation chanced to take a humorous turn. He makes Sam. Johnson say that "all words are good which come when they are wanted; all which come when they are not wanted should be dismissed." Tooke, in the same conversation, cites Cicero as one who, not contented with new spellings, created new words; but Tooke further declares, that "only one valuable word has been received into our language since my birth, or perhaps since yours. I have lately heardappreciateforestimate." To which Johnson replies: "Words taken from the French should be amenable, in their spelling, to English laws and regulations.Appreciateis a good and useful one; it signifies more thanestimateorvalue; it implies 'to value justly.'"
Taking up one day Dean Trench's excellent little book on "The Study of Words," which lay on my table, Landor expressed a desire to read it. He brought it back not long afterward, enriched with notes, and declared himself to have been much pleased with the manner in which the Dean had treated a subject so deeply interesting to himself. I have singled out a few of these notes, that student of etymology may read the criticisms of so able a man. Dean Trench is taken to task for a misuse ofevery wherein making two words of it. Landor puts the question, "Is the Dean ignorant thateverywhereis one word, andwhereis no substantive?" Trench asserts thatcapriceis fromcapra, "a goat," whereupon his critic says, "No,—then it would be capracious. It is fromcaper—capere."To retract, writes Trench, means properly, as its derivation declares, no more than to handle over again, to reconsider; Landor declares that "it means more.Retrahereisto draw back." But he very vehemently approves of the Dean's remarks on the use of the wordtalents. We should say "a man of talents," not "of talent," for that is nonsense, though "of a talent" would be allowable.
"Κοσμος is both 'world' and 'ornament,' hence 'cosmetic,'" writes Landor in answer to a doubt expressed by Trench whether the well-known quotation from St. James, "The tongue is a world of iniquity," could not also betranslated, as some maintain, "the ornament of iniquity." Making use of the expression "redolent of scorn" in connection with words that formerly expressed sacred functions and offices, Landor adds: "Gray is highly poetical in his 'redolent of joy and youth.' The word is now vilely misused daily." "By and bye," writes the Dean. "Why writebye?" asks his commentator. Once or twice Landor credits Horne Tooke with what the Dean gives as his own, and occasionally scores an observation as old. "Why won't people saymessager?" he demands. "By what right ismessengermade out ofmessage?"
"Have you nothing else for the old man to read? have you nothing American?" Landor inquired upon returning Trench. Desiring to obtain the verdict of one so high in authority, I gave him Drake's "Culprit Fay," and some fugitive verses by M. C. Field, whose poems have never been collected in book form. Of the latter's "Indian Hunting the Buffaloes," "Night on the Prairie," "Les Très Marias," and others, known to but few readers now, Landor spoke in high commendation, and this praise will be welcome to those friends of "Phazma" still living, and still loving the memory of him who died early, and found, as he wished, an ocean grave. With "The Culprit Fay" came a scrap of paper on which was written: "The Culprit Fay is rich in imagination,—few poems more so. Drake is among the noblest of names, and this poem throws a fresh lustre on it." Observing in this poem a misuse of the exclamation "Oh!" Landor remarked, "'Oh!' properly is an expression of grief or pain. 'O!' without the aspirate may express pleasure or hope." Current literature rarely makes any distinction between the two, and even good writers stumble through carelessness.
Style in writing was one of Landor's favorite topics, and his ire was rarely more quickly excited than by placing before him a specimen of high-flown sentimentality. He would put on his spectacles, exclaim, "What is this?" and, having read a few lines, would throw the book down, saying, "I have not the patience to read such stuff. It may be very fine, but I cannot understand it. It is beyond me." He had little mercy to bestow upon transcendentalists, though he praised Emerson one day,—a marvellous proof of high regard when it is considered how he detested the school to which Emerson belongs. "Emerson called on me when he was in Florence many years ago, and a very agreeable visit I had from him. He is a very clever man, and might be cleverer if he were less sublimated. But then you Americans, practical as you are, are fond of soaring in high latitudes." Carlyle in his last manner had the same effect upon Landor's nerves as a discord in music produces upon a sensitive ear. "Ah," said he with a quizzical smile, "'Frederick the Great' convinces me that I write two dead languages,—Latin and English!"
English hexameter was still another pet detestation which Landor nursed with great volubility. In 1860 all Anglo-Saxon Florence was reading with no little interest a poem in this metre, which had recently appeared, and which of course passed under the critical eye of the old Grecian. "Well, Mr. Landor, what do you think of the new poem?" I asked during its nine days' reign. "Think of it? I don't think of it. I don't want to be bothered with it. The book has driven all the breath out of my body. I am lame with galloping. I've been on a gallop from the beginning to the end. Never did I have so hard and long a ride. But what else to expect when mounted on anightmare! It may be very fine. I dare say it is, but Giallo and I prefer our ease to being battered. I am too old to hop, skip, and jump, and he is too sensible. It may be very bad taste, but we prefer verse that stands on two feet to verse that limps about on none. Now-a-days it is better to stumble than to walk erect. Giallo and I, however, have registered an oath not to encourageso base a fashion. We have consulted old Homer, and he quite approves our indignation."
Speaking of certain Americanisms and of our ridiculous squeamishness in the use of certain honest words, Landor remarked: "You Americans are very proper people; you have difficulties, but not diseases. Legs are unknown,—you have limbs; and under no consideration do you go to bed,—you retire." Much of this I could not gainsay, for only a few days previously I had been severely frowned upon for making inquiries about a broken leg. "My dear," said Landor to a young American girl who had been speaking of the city of New Orleens,—such being the ordinary Southern pronunciation,—"that pretty mouth of yours should not be distorted by vulgar dialect. You should say Or'leans." But he was never pedantic in his language. He used the simplest and most emphatic words.
There are those who accuse Landor of having sacrificed all things to style: it were as wise to assert that Beethoven sacrificed harmony to time. If his accusers would but read Landor before criticising, a proper regard for their own reputations would prevent them from hazarding such an opinion. "Style," writes Landor, "I consider as nothing, if what it covers be unsound: wisdom in union with harmony is oracular. On this idea, the wiser of ancient days venerated in the same person the deity of oracles and of music; and it must have been the most malicious and the most ingenious of satirists who transferred the gift of eloquence to the god of thieves." Those who by the actual sweat of their brows have got at the deep, hidden meaning of the most recent geniuses, will honor and thank Landor for having practically enforced his own refreshing theory. There are certain modern books of positive value which the reader closes with a sense of utter exhaustion. The meaning is discovered, but at too great an outlay of vitality. To render simple things complex, is to fly in the face of Nature; and after such mental "gymnastics," we turn with relief to Landor. "The greater part of those who are most ambitious of style are unaware of all its value. Thought does not separate man from the brutes; for the brutes think: but man alone thinks beyond the moment and beyond himself. Speech does not separate them; for speech is common to all, perhaps more or less articulate, and conveyed and received through different organs in the lower and more inert. Man's thought, which seems imperishable, loses its form, and runs along from proprietor to impropriator, like any other transitory thing, unless it is invested so becomingly and nobly that no successor can improve upon it by any new fashion or combination. For want of dignity or beauty, many good things are passed and forgotten; and much ancient wisdom is overrun and hidden by a rampant verdure, succulent, but unsubstantial.... Let those who look upon style as unworthy of much attention ask themselves how many, in proportion to men of genius, have excelled in it. In all languages, ancient and modern, are there ten prose-writers at once harmonious, correct, and energetic?"
Popular as is the belief that Landor's gifts were the offspring of profound study, he himself says: "Only four years of my life were given up much to study; and I regret that I spent so many so ill. Even these debarred me from no pleasure; for I seldom read or wrote within doors, excepting a few hours at night. The learning of those who are called the learned is learning at second hand; the primary and most important must be acquired by reading in our own bosoms; the rest by a deep insight into other men's. What is written is mostly an imperfect and unfaithful copy." This confession emanates from one who is claimed as a university rather than a universal man. Landor remained but two years at Oxford, and, though deeply interested in the classics, never contended for a Latinprize. Speaking of this one day, he said: "I once wrote some Latin verses for a fellow of my college who, being in great trouble, came to me for aid. What was hard work to him was pastime to me, and it ended in my composing the entire poem. At the time the fellow was very grateful, but it happened that these verses excited attention and were much eulogized. The supposed author accepted the praise as due to himself. This of course I expected, as he knew full well I would never betray him; but the amusing part of the matter was that the fellow never afterwards spoke to me, never came near me,—in fact, treated me as though I had done him a grievous wrong. It was of no consequence to me that he strutted about in my feathers. If they became him, he was welcome to them,—but of such is the kingdom of cowards."
"Poetry," writes Landor, "was always my amusement, prose my study and business." In his thirtieth year he lived in the woods, "did not exchange twelve sentences with men," and wrote "Gebir," his most elaborate and ambitious poem, which Southey took as a model in blank verse, and which a Boston critic wonders whether anyone ever read through. "Pericles and Aspasia," and the finest of his "Imaginary Conversations," were the flowering of half a century of thought. There are few readers who do not prefer Landor's prose to his verse, for in the former he does not aim at the dramatic: the passion peculiar to verse is not congenial to his genius. He sympathizes most fully with men and women in repose, when intellect, not the heart, rules. His prose has all the purity of outline and harmony of Greek plastic art. He could not wield the painter's brush, but the great sculptor had yet power to depict the grief of a "Niobe," the agony of the "Laocoön," or the majesty of a "Moses." Like a sculptor, he rarely groups more than two figures.
It is satisfactory then to know that in the zenith of physical strength Landor was at his noblest and best, for his example is a forcible protest against the feverish enthusiasm of young American authors, who wear out their lives in the struggle to be famous at the age of Keats, never remembering that "there must be a good deal of movement and shuffling before there is any rising from the ground; and those who have the longest wings have the most difficulty in the first mounting. In literature, as at football, strength and agility are insufficient of themselves; you must have yourside, or you may run till you are out of breath, and kick till you are out of shoes, and never win the game. There must be some to keep others off you, and some to prolong for you the ball's rebound.... Do not, however, be ambitious of an early fame: such is apt to shrivel and to drop under the tree." The poetical dictum, "Whom the gods love, die young," has worked untold mischief, having created a morbid dislike to a fine physique, on the theory that great minds are antagonistic to noble bodies. There never was error so fatal: the larger the brain, the larger should be the reservoir from which to draw vitality. Were Seneca alive now, he would write no such letter as he once wrote to Lucilius, protesting against the ridiculous devotion of his countrymen to physical gymnastics. "To be wise is to be well," was the gospel he went about preaching. "To be well is to be wise," would answer much better as the modern article of faith. The utmost that a persistent brain-worker of this century can do is to keep himself bodily up to mental requirements. Landor, however, was an extraordinary exception. He could boast of never having worn an overcoat since boyhood, and of not having been ill more than three times in his life. Even at eighty-six his hand had none of the wavering of age; and it was with no little satisfaction that, grasping an imaginary pistol, he showed me how steady an aim he could still take, and told of how famous a shot he used to be. "But my sister was more skilful than I," he added.
One day conversation chanced upon Aubrey De Vere, the beautiful Catholic poet of Ireland, whose name is scarcely known on this side of the Atlantic. This is our loss, though De Vere can never be a popular poet, for his muse lives in the past and breathes ether rather than air. "De Vere is charming both as man and as poet," said Landor enthusiastically, rising as he spoke and leaving the room to return immediately with a small volume of De Vere's poems published at Oxford in 1843. "Here are his poems given to me by himself. Such a modest, unassuming man as he is! Now listen to this from the 'Ode on the Ascent of the Alps.' Is it not magnificent?