Not so with the birds. The bird has the human eye in its clearness, its power, and its supremacy over the other senses. How acute their sense of smell may be is uncertain; their hearing is sharp enough, but their vision is the most remarkable. A crow or a hawk, or any of the larger birds, will not mistake you for a stump or a rock, stand you never so still amid the bushes. But they cannot separate you from your horse or team. A hawk reads a man on horseback as one animal, and reads it as a horse. None of the sharp-scented animals could be thus deceived.

The bird has man's brain also in its size. The brain of a song-bird is even much larger in proportion than that of the greatest human monarch, and its life is correspondingly intense and high-strung. But the bird's eye is superficial. It is on the outside of his head. It is round, that it may take in a full circle at a glance.

All the quadrupeds emphasize their direct forward gaze by a corresponding movement of the ears, as if to supplement and aid one sense with another. But man's eye seldom needs the confirmation of his ear, while it is so set, and his head so poised, that his look is forcible and pointed without being thus seconded.



XIII

I once saw a cow that had lost her cud. How forlorn and desolate and sick at heart that cow looked! No more rumination, no more of that second and finer mastication, no more of that sweet and juicy reverie under the spreading trees, or in the stall. Then the farmer took an elder and scraped the bark and put something with it, and made the cow a cud, and, after due waiting, the experiment took, a response came back, and the mysterious machinery was once more in motion, and the cow was herself again.

Have you, O poet, or essayist, or story-writer, never lost your cud, and wandered about days and weeks without being able to start a single thought or an image that tasted good,—your literary appetite dull or all gone, and the conviction daily growing that it was all over with you in that direction? A little elder-bark, something fresh and bitter from the woods, is about the best thing you can take.



XIV

Notwithstanding what I have elsewhere said about the desolation of snow, when one looks closely it is little more than a thin veil after all, and takes and repeats the form of whatever it covers. Every path through the fields is just as plain as before. On every hand the ground sends tokens, and the curves and slopes are not of the snow, but of the earth beneath. In like manner the rankest vegetation hides the ground less than we think. Looking across a wide valley in the month of July, I have noted that the fields, except the meadows, had a ruddy tinge, and that corn, which near at hand seemed to completely envelop the soil, at that distance gave only a slight shade of green. The color of the ground everywhere predominated, and I doubt not that, if we could see the earth from a point sufficiently removed, as from the moon, its ruddy hue, like that of Mars, would alone be visible.

What is a man but a miniature earth, with many disguises in the way of manners, possessions, dissemblances? Yet through all—through all the work of his hands and all the thoughts of his mind—how surely the ground quality of him, the fundamental hue, whether it be this or that, makes itself felt and is alone important!



XV

Men follow their noses, it is said. I have wondered why the Greek did not follow his nose in architecture,—did not copy those arches that spring from it as from a pier, and support his brow,—but always and everywhere used the post and the lintel. There was something in that face that has never reappeared in the human countenance. I am thinking especially of that straight, strong profile. Is it really godlike, or is this impression the result of association? But any suggestion or reminiscence of it in the modern face at once gives one the idea of strength. It is a face strong in the loins, or it suggests a high, elastic instep. It is the face of order and proportion. Those arches are the symbols of law and self-control. The point of greatest interest is the union of the nose with the brow,—that strong, high embankment; it makes the bridge from the ideal to the real sure and easy. All the Greek's ideas passed readily into form. In the modern face the arches are more or less crushed, and the nose is severed from the brow,—hence the abstract and the analytic; hence the preponderance of the speculative intellect over creative power.



XVI

I have thought that the boy is the only true lover of Nature, and that we, who make such a dead set at studying and admiring her, come very wide of the mark. "The nonchalance of a boy who is sure of his dinner," says our Emerson, "is the healthy attitude of humanity." The boy is a part of Nature; he is as indifferent, as careless, as vagrant as she. He browses, he digs, he hunts, he climbs, he halloes, he feeds on roots and greens and mast. He uses things roughly and without sentiment. The coolness with which boys will drown dogs or cats, or hang them to trees, or murder young birds, or torture frogs or squirrels, is like Nature's own mercilessness.

Certain it is that we often get some of the best touches of nature from children. Childhood is a world by itself, and we listen to children when they frankly speak out of it with a strange interest. There is such a freedom from responsibility and from worldly wisdom,—it is heavenly wisdom. There is no sentiment in children, because there is no ruin; nothing has gone to decay about them yet,—not a leaf or a twig. Until he is well into his teens, and sometimes later, a boy is like a bean-pod before the fruit has developed,—indefinite, succulent, rich in possibilities which are only vaguely outlined. He is a pericarp merely. How rudimental are all his ideas! I knew a boy who began his school composition on swallows by saying there were two kinds of swallows,—chimney swallows and swallows.

Girls come to themselves sooner; are indeed, from the first, more definite and "translatable."



XVII

Who will write the natural history of the boy? One of the first points to be taken account of is his clannishness. The boys of one neighborhood are always pitted against those of an adjoining neighborhood, or of one end of the town against those of the other end. A bridge, a river, a railroad track, are always boundaries of hostile or semi-hostile tribes. The boys that go up the road from the country school hoot derisively at those that go down the road, and not infrequently add the insult of stones; and the down-roaders return the hooting and the missiles with interest.

Often there is open war, and the boys meet and have regular battles. A few years since, the boys of two rival towns on opposite sides of the Ohio River became so belligerent that the authorities had to interfere. Whenever an Ohio boy was caught on the West Virginia side of the river, he was unmercifully beaten; and when a West Virginia boy was discovered on the Ohio side, he was pounced upon in the same manner. One day a vast number of boys, about one hundred and fifty on a side, met by appointment upon the ice and engaged in a pitched battle. Every conceivable missile was used, including pistols. The battle, says the local paper, raged with fury for about two hours. One boy received a wound behind the ear, from the effects of which he died the next morning. More recently the boys of a large manufacturing town of New Jersey were divided into two hostile clans that came into frequent collision. One Saturday both sides mustered their forces, and a regular fight ensued, one boy here also losing his life from the encounter.

Every village and settlement is at times the scene of these youthful collisions When a new boy appears in the village, or at the country school, how the other boys crowd around him and take his measure, or pick at him and insult him to try his mettle!

I knew a boy, twelve or thirteen years old, who was sent to help a drover with some cattle as far as a certain village ten miles from his home. After the place was reached, and while the boy was eating his cracker and candies, he strolled about the village, and fell in with some other boys playing upon a bridge. In a short time a large number of children of all sizes had collected upon the bridge. The new-comer was presently challenged by the boys of his own age to jump with them. This he readily did, and cleared their farthest mark. Then he gave them a sample of his stone-throwing, and at this pastime he also far surpassed his competitors. Before long, the feeling of the crowd began to set against him, showing itself first in the smaller fry, who began half playfully to throw pebbles and lumps of dry earth at him. Then they would run up slyly and strike him with sticks. Presently the large ones began to tease him in like manner, till the contagion of hostility spread, and the whole pack was arrayed against the strange boy. He kept them at bay for a few moments with his stick, till, the feeling mounting higher and higher, he broke through their ranks, and fled precipitately toward home, with the throng of little and big at his heels. Gradually the girls and smaller boys dropped behind, till at the end of the first fifty rods only two boys of about his own size, with wrath and determination in their faces, kept up the pursuit. But to these he added the final insult of beating them at running also, and reached, much blown, a point beyond which they refused to follow.

The world the boy lives in is separate and distinct from the world the man lives in. It is a world inhabited only by boys. No events are important or of any moment save those affecting boys. How they ignore the presence of their elders on the street, shouting out their invitations, their appointments, their pass-words from our midst, as from the veriest solitude! They have peculiar calls, whistles, signals, by which they communicate with each other at long distances, like birds or wild creatures. And there is as genuine a wildness about these notes and calls as about those of a fox or a coon.

The boy is a savage, a barbarian, in his taste,—devouring roots, leaves, bark, unripe fruit; and in the kind of music or discord he delights in,—of harmony he has no perception. He has his fashions that spread from city to city. In one of our large cities the rage at one time was an old tin can with a string attached, out of which they tortured the most savage and ear-splitting discords. The police were obliged to interfere and suppress the nuisance. On another occasion, at Christmas, they all came forth with tin horns, and nearly drove the town distracted with the hideous uproar.

Another savage trait of the boy is his untruthfulness. Corner him, and the chances are ten to one he will lie his way out. Conscience is a plant of slow growth in the boy. If caught in one lie, he invents another. I know a boy who was in the habit of eating apples in school. His teacher finally caught him in the act, and, without removing his eye from him, called him to the middle of the floor.

"I saw you this time," said the teacher.

"Saw me what?" said the boy innocently.

"Bite that apple," replied the teacher.

"No, sir," said the rascal.

"Open your mouth;" and from its depths the teacher, with his thumb and finger, took out the piece of apple.

"Did n't know it was there," said the boy, unabashed.

Nearly all the moral sentiment and graces are late in maturing in the boy. He has no proper self-respect till past his majority. Of course there are exceptions, but they are mostly windfalls. The good boys die young. We lament the wickedness and thoughtlessness of the young vagabonds at the same time that we know it is mainly the acridity and bitterness of the unripe fruit that we are lamenting.



III A BIRD MEDLEY

People who have not made friends with the birds do not know how much they miss. Especially to one living in the country, of strong local attachments and an observing turn of mind, does an acquaintance with the birds form a close and invaluable tie. The only time I saw Thomas Carlyle, I remember his relating, apropos of this subject, that in his earlier days he was sent on a journey to a distant town on some business that gave him much bother and vexation, and that on his way back home, forlorn and dejected, he suddenly heard the larks singing all about him,—soaring and singing, just as they did about his father's fields, and it comforted him and cheered him up amazingly.

Most lovers of the birds can doubtless recall similar experiences from their own lives. Nothing wonts me to a new place more than the birds. I go, for instance, to take up my abode in the country,—to plant myself upon unfamiliar ground. I know nobody, and nobody knows me. The roads, the fields, the hills, the streams, the woods, are all strange. I look wistfully upon them, but they know me not. They give back nothing to my yearning gaze. But there, on every hand, are the long-familiar birds,—the same ones I left behind me, the same ones I knew in my youth,—robins, sparrows, swallows, bobolinks, crows, hawks, high-holes, meadowlarks, all there before me, and ready to renew and perpetuate the old associations. Before my house is begun, theirs is completed; before I have taken root at all, they are thoroughly established. I do not yet know what kind of apples my apple-trees bear, but there, in the cavity of a decayed limb, the bluebirds are building a nest, and yonder, on that branch, the social sparrow is busy with hairs and straws. The robins have tasted the quality of my cherries, and the cedar-birds have known every red cedar on the place these many years. While my house is yet surrounded by its scaffoldings, the phoebe-bird has built her exquisite mossy nest on a projecting stone beneath the eaves, a robin has filled a niche in the wall with mud and dry grass, the chimney swallows are going out and in the chimney, and a pair of house wrens are at home in a snug cavity over the door, and, during an April snowstorm, a number of hermit thrushes have taken shelter in my unfinished chambers. Indeed, I am in the midst of friends before I fairly know it. The place is not so new as I had thought. It is already old; the birds have supplied the memories of many decades of years.

There is something almost pathetic in the fact that the birds remain forever the same. You grow old, your friends die or move to distant lands, events sweep on, and all things are changed. Yet there in your garden or orchard are the birds of your boyhood, the same notes, the same calls, and, to all intents and purposes, the identical birds endowed with perennial youth. The swallows, that built so far out of your reach beneath the eaves of your father's barn, the same ones now squeak and chatter beneath the eaves of your barn. The warblers and shy wood-birds you pursued with such glee ever so many summers ago, and whose names you taught to some beloved youth who now, perchance, sleeps amid his native hills, no marks of time or change cling to them; and when you walk out to the strange woods, there they are, mocking you with their ever-renewed and joyous youth. The call of the high-holes, the whistle of the quail, the strong piercing note of the meadowlark, the drumming of the grouse,—how these sounds ignore the years, and strike on the ear with the melody of that springtime when the world was young, and life was all holiday and romance!

During any unusual tension of the feelings or emotions, how the note or song of a single bird will sink into the memory, and become inseparably associated with your grief or joy! Shall I ever again be able to hear the song of the oriole without being pierced through and through? Can it ever be other than a dirge for the dead to me? Day after day, and week after week, this bird whistled and warbled in a mulberry by the door, while sorrow, like a pall, darkened my day. So loud and persistent was the singer that his note teased and worried my excited ear.

"Hearken to yon pine warbler, Singing aloft in the tree! Hearest thou, O traveler! What he singeth to me?

"Not unless God made sharp thine ear With sorrow such as mine, Out of that delicate lay couldst thou Its heavy tale divine."

It is the opinion of some naturalists that birds never die what is called a natural death, but come to their end by some murderous or accidental means; yet I have found sparrows and vireos in the fields and woods dead or dying, that bore no marks of violence; and I remember that once in my childhood a redbird fell down in the yard exhausted, and was brought in by the girl; its bright scarlet image is indelibly stamped upon my recollection. It is not known that birds have any distempers like the domestic fowls, but I saw a social sparrow one day quite disabled by some curious malady that suggested a disease that sometimes attacks poultry; one eye was nearly put out by a scrofulous-looking sore, and on the last joint of one wing there was a large tumorous or fungous growth that crippled the bird completely. On another occasion I picked up one that appeared well, but could not keep its centre of gravity when in flight, and so fell to the ground.

One reason why dead birds and animals are so rarely found is, that on the approach of death their instinct prompts them to creep away in some hole or under some cover, where they will be least liable to fall a prey to their natural enemies. It is doubtful if any of the game-birds, like the pigeon and grouse, ever die of old age, or the semi-game-birds, like the bobolink, or the "century living" crow; but in what other form can death overtake the hummingbird, or even the swift and the barn swallow? Such are true birds of the air; they may be occasionally lost at sea during their migrations, but, so far as I know, they are not preyed upon by any other species.

The valley of the Hudson, I find, forms a great natural highway for the birds, as do doubtless the Connecticut, the Susquehanna, the Delaware, and all other large water-courses running north and south. The birds love an easy way, and in the valleys of the rivers they find a road already graded for them; and they abound more in such places throughout the season than they do farther inland. The swarms of robins that come to us in early spring are a delight to behold. In one of his poems Emerson speaks of

"April's bird, Blue-coated, flying before from tree to tree;"

but April's bird with me is the robin, brisk, vociferous, musical, dotting every field, and larking it in every grove; he is as easily atop at this season as the bobolink is a month or two later. The tints of April are ruddy and brown,—the new furrow and the leafless trees,—and these are the tints of its dominant bird.

>From my dining-room window I look, or did look, out upon a long stretch of smooth meadow, and as pretty a spring sight as I ever wish to behold was this field, sprinkled all over with robins, their red breasts turned toward the morning sun, or their pert forms sharply outlined against lingering patches of snow. Every morning for weeks I had those robins for breakfast; but what they had I never could find out.

After the leaves are out, and gayer colors come into fashion, the robin takes a back seat. He goes to housekeeping in the old apple- tree, or, what he likes better, the cherry-tree. A pair reared their domestic altar (of mud and dry grass) in one of the latter trees, where I saw much of them. The cock took it upon himself to keep the tree free of all other robins during cherry time, and its branches were the scene of some lively tussles every hour in the day. The innocent visitor would scarcely alight before the jealous cock was upon him; but while he was thrusting the intruder out at one side, a second would be coming in on the other. He managed, however, to protect his cherries very well, but had so little time to eat the fruit himself that we got fully our share.

I have frequently seen the robin courting, and have always been astonished and amused at the utter coldness and indifference of the female. The females of every species of bird, however, I believe, have this in common,—they are absolutely free from coquetry, or any airs and wiles whatever. In most cases, Nature has given the song and the plumage to the other sex, and all the embellishing and acting is done by the male bird.

I am always at home when I see the passenger pigeon. Few spectacles please me more than to see clouds of these birds sweeping across the sky, and few sounds are more agreeable to my ear than their lively piping and calling in the spring woods. They come in such multitudes, they people the whole air; they cover townships, and make the solitary places gay as with a festival. The naked woods are suddenly blue as with fluttering ribbons and scarfs, and vocal as with the voices of children. Their arrival is always unexpected. We know April will bring the robins and May the bobolinks, but we do not know that either they or any other month will bring the passenger pigeon. Sometimes years elapse and scarcely a flock is seen. Then, of a sudden, some March or April they come pouring over the horizon from the south or southwest, and for a few days the land is alive with them.

The whole race seems to be collected in a few vast swarms or assemblages. Indeed, I have sometimes thought there was only one such in the United States, and that it moved in squads, and regiments, and brigades, and divisions, like a giant army. The scouting and foraging squads are not unusual, and every few years we see larger bodies of them, but rarely indeed do we witness the spectacle of the whole vast tribe in motion. Sometimes we hear of them in Virginia, or Kentucky and Tennessee; then in Ohio or Pennsylvania; then in New York; then in Canada or Michigan or Missouri. They are followed from point to point, and from State to State, by human sharks, who catch and shoot them for market.

A year ago last April, the pigeons flew for two or three days up and down the Hudson. In long bowing lines, or else in dense masses, they moved across the sky. It was not the whole army, but I should think at least one corps of it; I had not seen such a flight of pigeons since my boyhood. I went up to the top of the house, the better to behold the winged procession. The day seemed memorable and poetic in which such sights occurred.

[Footnote: This proved to be the last flight of the pigeons in the valley of the Hudson. The whole tribe has now (1895) been nearly exterminated by pot-hunters. The few that still remain appear to be scattered through the Northern States in small, loose flocks.]

While I was looking at the pigeons, a flock of wild geese went by, harrowing the sky northward. The geese strike a deeper chord than the pigeons. Level and straight they go as fate to its mark. I cannot tell what emotions these migrating birds awaken in me,—the geese especially. One seldom sees more than a flock or two in a season, and what a spring token it is! The great bodies are in motion. It is like the passage of a victorious army. No longer inch by inch does spring come, but these geese advance the standard across zones at one pull. How my desire goes with them; how something in me, wild and migratory, plumes itself and follows fast!

"Steering north, with raucous cry, Through tracts and provinces of sky, Every night alighting down In new landscapes of romance, Where darkling feed the clamorous clans By lonely lakes to men unknown."

Dwelling upon these sights, I am reminded that the seeing of spring come, not only upon the great wings of the geese and the lesser wings of the pigeons and birds, but in the many more subtle and indirect signs and mediums, is also a part of the compensation of living in the country. I enjoy not less what may be called the negative side of spring,— those dark, dank, dissolving days, yellow sposh and mud and water everywhere,—yet who can stay long indoors? The humidity is soft and satisfying to the smell, and to the face and hands, and, for the first time for months, there is the fresh odor of the earth. The air is full of the notes and calls of the first birds. The domestic fowls refuse their accustomed food and wander far from the barn. Is it something winter has left, or spring has dropped, that they pick up? And what is it that holds me so long standing in the yard or in the fields? Something besides the ice and snow melts and runs away with the spring floods.

The little sparrows and purple finches are so punctual in announcing spring, that some seasons one wonders how they know without looking in the almanac, for surely there are no signs of spring out of doors. Yet they will strike up as cheerily amid the driving snow as if they had just been told that to-morrow is the first day of March. About the same time I notice the potatoes in the cellar show signs of sprouting. They, too, find out so quickly when spring is near. Spring comes by two routes,—in the air and underground, and often gets here by the latter course first. She undermines Winter when outwardly his front is nearly as bold as ever. I have known the trees to bud long before, by outward appearances, one would expect them to. The frost was gone from the ground before the snow was gone from the surface.

But Winter hath his birds also; some of them such tiny bodies that one wonders how they withstand the giant cold,—but they do. Birds live on highly concentrated food,—the fine seeds of weeds and grasses, and the eggs and larvae of insects. Such food must be very stimulating and heating. A gizzard full of ants, for instance, what spiced and seasoned extract is equal to that? Think what virtue there must be in an ounce of gnats or mosquitoes, or in the fine mysterious food the chickadee and the brown creeper gather in the winter woods! It is doubtful if these birds ever freeze when fuel enough can be had to keep their little furnaces going. And, as they get their food entirely from the limbs and trunks of trees, like the woodpeckers, their supply is seldom interfered with by the snow. The worst annoyance must be the enameling of ice our winter woods sometimes get.

Indeed, the food question seems to be the only serious one with the birds. Give them plenty to eat, and no doubt the majority of them would face our winters. I believe all the woodpeckers are winter birds, except the high-hole or yellow-hammer, and he obtains the greater part of his subsistence from the ground, and is not a woodpecker at all in his habits of feeding. Were it not that it has recourse to budding, the ruffed grouse would be obliged to migrate. The quail—a bird, no doubt, equally hardy, but whose food is at the mercy of the snow—is frequently cut off by our severe winters when it ventures to brave them, which is not often. Where plenty of the berries of the red cedar can be had, the cedar-bird will pass the winter in New York. The old ornithologists say the bluebird migrates to Bermuda; but in the winter of 1874-75, severe as it was, a pair of them wintered with me eighty miles north of New York city. They seem to have been decided in their choice by the attractions of my rustic porch and the fruit of a sugar-berry tree (celtis—a kind of tree-lotus) that stood in front of it. They lodged in the porch and took their meals in the tree. Indeed, they became regular lotus-eaters. Punctually at dusk they were in their places on a large laurel root in the top of the porch, whence, however, they were frequently routed by an indignant broom that was jealous of the neatness of the porch floor. But the pair would not take any hints of this kind, and did not give up their quarters in the porch or their lotus berries till spring.

Many times during the winter the sugar-berry tree was visited by a flock of cedar-birds that also wintered in the vicinity. At such times it was amusing to witness the pretty wrath of the bluebirds, scolding and threatening the intruders, and begrudging them every berry they ate. The bluebird cannot utter a harsh or unpleasing note. Indeed, he seems to have but one language, one speech, for both love and war, and the expression of his indignation is nearly as musical as his song. The male frequently made hostile demonstrations toward the cedar-birds, but did not openly attack them, and, with his mate, appeared to experience great relief when the poachers had gone.

I had other company in my solitude also, among the rest a distinguished arrival from the far north, the pine grosbeak, a bird rarely seen in these parts, except now and then a single specimen. But in the winter of 1875, heralding the extreme cold weather, and no doubt in consequence of it, there was a large incursion of them into this State and New England. They attracted the notice of the country people everywhere. I first saw them early in December about the head of the Delaware. I was walking along a cleared ridge with my gun, just at sundown, when I beheld two strange birds sitting in a small maple. On bringing one of them down, I found it was a bird I had never before seen; in color and shape like the purple finch, but quite as large again in size. From its heavy beak, I at once recognized it as belonging to the family of grosbeaks. A few days later I saw large numbers of them in the woods, on the ground, and in the trees. And still later, and on till February, they were very numerous on the Hudson, coming all about my house,—more familiar even than the little snowbird, hopping beneath the windows, and looking up at me apparently with as much curiosity as I looked down upon them. They fed on the buds of the sugar maples and upon frozen apples in the orchard. They were mostly young birds and females, colored very much like the common sparrow, with now and then visible the dull carmine-colored head and neck of an old male.

Other northern visitors that tarried with me the same winter were the tree or Canada sparrow and the redpoll, the former a bird larger than the social sparrow or hair-bird, but otherwise much resembling it, and distinguishable by a dark spot in the middle of its breast; the latter a bird the size and shape of the common goldfinch, with the same manner of flight and nearly the same note or cry, but darker than the winter plumage of the goldfinch, and with a red crown and a tinge of red on the breast. Little bands of these two species lurked about the barnyard all winter, picking up the hayseed, the sparrow sometimes venturing in on the haymow when the supply outside was short. I felt grateful to them for their company. They gave a sort of ornithological air to every errand I had to the barn.

Though a number of birds face our winters, and by various shifts worry through till spring, some of them permanent residents, and some of them visitors from the far north, yet there is but one genuine snow bird, nursling of the snow, and that is the snow bunting, a bird that seems proper to this season, heralding the coming storm, sweeping by on bold and rapid wing, and calling and chirping as cheerily as the songsters of May. In its plumage it reflects the winter landscape,—an expanse of white surmounted or streaked with gray and brown; a field of snow with a line of woods or a tinge of stubble. It fits into the scene, and does not appear to lead a beggarly and disconsolate life, like most of our winter residents. During the ice-harvesting on the river, I see them flitting about among the gangs of men, or floating on the cakes of ice, picking and scratching amid the droppings of the horses. They love the stack and hay-barn in the distant field, where the farmer fodders his cattle upon the snow, and every red-root, ragweed, or pigweed left standing in the fall adds to their winter stores.

Though this bird, and one or two others, like the chickadee and nuthatch, are more or less complacent and cheerful during the winter, yet no bird can look our winters in the face and sing, as do so many of the English birds. Several species in Great Britain, their biographers tell us, sing the winter through, except during the severest frosts; but with us, as far south as Virginia, and, for aught I know, much farther, the birds are tuneless at this season. The owls, even, do not hoot, nor the hawks scream.

Among the birds that tarry briefly with us in the spring on their way to Canada and beyond, there is none I behold with so much pleasure as the white-crowned sparrow. I have an eye out for him all through April and the first week in May. He is the rarest and most beautiful of the sparrow kind. He is crowned, as some hero or victor in the games. He is usually in company with his congener, the white-throated sparrow, but seldom more than in the proportion of one to twenty of the latter. Contrasted with this bird, he looks like its more fortunate brother, upon whom some special distinction has been conferred, and who is, from the egg, of finer make and quality. His sparrow color of ashen gray and brown is very clear and bright, and his form graceful. His whole expression, however, culminates in a singular manner in his crown. The various tints of the bird are brought to a focus here and intensified, the lighter ones becoming white, and the deeper ones nearly black. There is the suggestion of a crest, also, from a habit the bird has of slightly elevating this part of its plumage, as if to make more conspicuous its pretty markings. They are great scratchers, and will often remain several minutes scratching in one place, like a hen. Yet, unlike the hen and like all hoppers, they scratch with both feet at once, which is by no means the best way to scratch.

The white-throats often sing during their sojourning both in fall and spring; but only on one occasion have I ever heard any part of the song of the white-crowned, and that proceeded from what I took to be a young male, one October morning, just as the sun was rising. It was pitched very low, like a half-forgotten air, but it was very sweet. It was the song of the vesper sparrow and the white-throat in one. In his breeding haunts he must be a superior songster, but he is very chary of his music while on his travels.

The sparrows are all meek and lowly birds. They are of the grass, the fences, the low bushes, the weedy wayside places. Nature has denied them all brilliant tints, but she has given them sweet and musical voices. Theirs are the quaint and simple lullaby songs of childhood. The white-throat has a timid, tremulous strain, that issues from the low bushes or from behind the fence, where its cradle is hid. The song sparrow modulates its simple ditty as softly as the lining of its own nest. The vesper sparrow has only peace and gentleness in its strain.

What pretty nests, too, the sparrows build! Can anything be more exquisite than a sparrow's nest under a grassy or mossy bank? What care the bird has taken not to disturb one straw or spear of grass, or thread of moss! You cannot approach it and put your hand into it without violating the place more or less, and yet the little architect has wrought day after day and left no marks. There has been an excavation, and yet no grain of earth appears to have been moved. If the nest had slowly and silently grown like the grass and the moss, it could not have been more nicely adjusted to its place and surroundings. There is absolutely nothing to tell the eye it is there. Generally a few spears of dry grass fall down from the turf above and form a slight screen before it. How commonly and coarsely it begins, blending with the debris that lies about, and how it refines and comes into form as it approaches the centre, which is modeled so perfectly and lined so softly! Then, when the full complement of eggs is laid, and incubation has fairly begun, what a sweet, pleasing little mystery the silent old bank holds!

The song sparrow, whose nest I have been describing, displays a more marked individuality in its song than any bird with which I am acquainted. Birds of the same species generally all sing alike, but I have observed numerous song sparrows with songs peculiarly their own. Last season, the whole summer through, one sang about my grounds like this: swee-e-t, swee-e-t, swee-e-t, bitter. Day after day, from May to September, I heard this strain, which I thought a simple but very profound summing-up of life, and wondered how the little bird had learned it so quickly. The present season, I heard another with a song equally original, but not so easily worded. Among a large troop of them in April, my attention was attracted to one that was a master songster,—some Shelley or Tennyson among his kind. The strain was remarkably prolonged, intricate, and animated, and far surpassed anything I ever before heard from that source.

But the most noticeable instance of departure from the standard song of a species I ever knew of was in the case of a wood thrush. The bird sang, as did the sparrow, the whole season through, at the foot of my lot near the river. The song began correctly and ended correctly; but interjected into it about midway was a loud, piercing, artificial note, at utter variance with the rest of the strain. When my ear first caught this singular note, I started out, not a little puzzled, to make, as I supposed, a new acquaintance, but had not gone far when I discovered whence it proceeded. Brass amid gold, or pebbles amid pearls, are not more out of place than was this discordant scream or cry in the melodious strain of the wood thrush. It pained and startled the ear. It seemed as if the instrument of the bird was not under control, or else that one note was sadly out of tune, and, when its turn came, instead of giving forth one of those sounds that are indeed like pearls, it shocked the ear with a piercing discord. Yet the singer appeared entirely unconscious of the defect; or had he grown used to it, or had his friends persuaded him that it was a variation to be coveted? Sometimes, after the brood had hatched and the bird's pride was at its full, he would make a little triumphal tour of the locality, coming from under the hill quite up to the house, and flaunting his cracked instrument in the face of whoever would listen. He did not return again the next season; or, if he did, the malformation of his song was gone.

I have noticed that the bobolink does not sing the same in different localities. In New Jersey it has one song; on the Hudson, a slight variation of the same; and on the high grass-lands of the interior of the State, quite a different strain,—clearer, more distinctly articulated, and running off with more sparkle and liltingness. It reminds one of the clearer mountain air and the translucent spring-water of those localities. I never could make out what the bobolink says in New Jersey, but in certain districts in this State his enunciation is quite distinct. Sometimes he begins with the word gegue, gegue. Then again, more fully, be true to me, Clarsy, be true to me, Clarsy, Clarsy, thence full tilt into his inimitable song, interspersed in which the words kick your slipper, kick your slipper, and temperance, temperance (the last with a peculiar nasal resonance), are plainly heard. At its best, it is a remarkable performance, a unique performance, as it contains not the slightest hint or suggestion, either in tone or manner or effect, of any other bird-song to be heard. The bobolink has no mate or parallel in any part of the world. He stands alone. There is no closely allied species. He is not a lark, nor a finch, nor a warbler, nor a thrush, nor a starling (though classed with the starlings by late naturalists). He is an exception to many well-known rules. He is the only ground-bird known to me of marked and conspicuous plumage. He is the only black and white field-bird we have east of the Mississippi, and, what is still more odd, he is black beneath and white above,—the reverse of the fact in all other cases. Preeminently a bird of the meadow during the breeding season, and associated with clover and daisies and buttercups as no other bird is, he yet has the look of an interloper or a newcomer, and not of one to the manner born.

The bobolink has an unusually full throat, which may help account for his great power of song. No bird has yet been found that could imitate him, or even repeat or suggest a single note, as if his song were the product of a new set of organs. There is a vibration about it, and a rapid running over the keys, that is the despair of other songsters. It is said that the mockingbird is dumb in the presence of the bobolink. My neighbor has an English skylark that was hatched and reared in captivity. The bird is a most persistent and vociferous songster, and fully as successful a mimic as the mockingbird. It pours out a strain that is a regular mosaic of nearly all the bird-notes to be heard, its own proper lark song forming a kind of bordering for the whole. The notes of the phoebe- bird, the purple finch, the swallow, the yellowbird, the kingbird, the robin, and others, are rendered with perfect distinctness and accuracy, but not a word of the bobolink's, though the lark must have heard its song every day for four successive summers. It was the one conspicuous note in the fields around that the lark made no attempt to plagiarize. He could not steal the bobolink's thunder.

The lark is a more marvelous songster than the bobolink only on account of his soaring flight and the sustained copiousness of his song. His note is rasping and harsh, in point of melody, when compared with the bobolink's. When caged and near at hand, the lark's song is positively disagreeable, it is so loud and full of sharp, aspirated sounds. But high in air above the broad downs, poured out without interruption for many minutes together, it is very agreeable.

The bird among us that is usually called a lark, namely, the meadowlark, but which our later classifiers say is no lark at all, has nearly the same quality of voice as the English skylark,—loud, piercing, z-z-ing; and during the mating season it frequently indulges while on the wing in a brief song that is quite lark-like. It is also a bird of the stubble, and one of the last to retreat on the approach of winter.

The habits of many of our birds are slowly undergoing a change. Their migrations are less marked. With the settlement and cultivation of the country, the means of subsistence of nearly every species are vastly increased. Insects are more numerous, and seeds of weeds and grasses more abundant. They become more and more domestic, like the English birds. The swallows have nearly all left their original abodes—hollow trees, and cliffs, and rocks—for human habitations and their environments. Where did the barn swallow nest before the country was settled? The chimney swallow nested in hollow trees, and, perhaps, occasionally resorts thither yet. But the chimney, notwithstanding the smoke, seems to suit his taste best. In the spring, before they have paired, I think these swallows sometimes pass the night in the woods, but not if an old, disused chimney is handy.

One evening in early May, my attention was arrested by a band of them containing several hundreds, perhaps a thousand, circling about near a large, tall, disused chimney in a secluded place in the country. They were very lively, and chippering, and diving in a most extraordinary manner. They formed a broad continuous circle many rods in diameter. Gradually the circle contracted and neared the chimney. Presently some of the birds as they came round began to dive toward it, and the chippering was more animated than ever. Then a few ventured in; in a moment more, the air at the mouth of the chimney was black with the stream of descending swallows. When the passage began to get crowded, the circle lifted and the rest of the birds continued their flight, giving those inside time to dispose of themselves. Then the influx began again, and was kept up till the crowd became too great, when it cleared as before. Thus by installments, or in layers, the swallows were packed into the chimney until the last one was stowed away. Passing by the place a few days afterward, I saw a board reaching from the roof of the building to the top of the chimney, and imagined some curious person or some predaceous boy had been up to take a peep inside, and see how so many swallows could dispose of themselves in such a space. It would have been an interesting spectacle to see them emerge from the chimney in the morning.



IV APRIL

If we represent the winter of our northern climate by a rugged snow-clad mountain, and summer by a broad fertile plain, then the intermediate belt, the hilly and breezy uplands, will stand for spring, with March reaching well up into the region of the snows, and April lapping well down upon the greening fields and unloosened currents, not beyond the limits of winter's sallying storms, but well within the vernal zone,—within the reach of the warm breath and subtle, quickening influences of the plain below. At its best, April is the tenderest of tender salads made crisp by ice or snow water. Its type is the first spear of grass. The senses—sight, hearing, smell—are as hungry for its delicate and almost spiritual tokens as the cattle are for the first bite of its fields. How it touches one and makes him both glad and sad! The voices of the arriving birds, the migrating fowls, the clouds of pigeons sweeping across the sky or filling the woods, the elfin horn of the first honey-bee venturing abroad in the middle of the day, the clear piping of the little frogs in the marshes at sundown, the campfire in the sugar-bush, the smoke seen afar rising over the trees, the tinge of green that comes so suddenly on the sunny knolls and slopes, the full translucent streams, the waxing and warming sun,— how these things and others like them are noted by the eager eye and ear! April is my natal month, and I am born again into new delight and new surprises at each return of it. Its name has an indescribable charm to me. Its two syllables are like the calls of the first birds,—like that of the phoebe-bird, or of the meadowlark. Its very snows are fertilizing, and are called the poor man's manure.

Then its odors! I am thrilled by its fresh and indescribable odors,—the perfume of the bursting sod, of the quickened roots and rootlets, of the mould under the leaves, of the fresh furrows. No other month has odors like it. The west wind the other day came fraught with a perfume that was to the sense of smell what a wild and delicate strain of music is to the ear. It was almost transcendental. I walked across the hill with my nose in the air taking it in. It lasted for two days. I imagined it came from the willows of a distant swamp, whose catkins were affording the bees their first pollen: or did it come from much farther,—from beyond the horizon, the accumulated breath of innumerable farms and budding forests? The main characteristic of these April odors is their uncloying freshness. They are not sweet, they are oftener bitter, they are penetrating and lyrical. I know well the odors of May and June, of the world of meadows and orchards bursting into bloom, but they are not so ineffable and immaterial and so stimulating to the sense as the incense of April.

The season of which I speak does not correspond with the April of the almanac in all sections of our vast geography. It answers to March in Virginia and Maryland, while in parts of New York and New England it laps well over into May. It begins when the partridge drums, when the hyla pipes, when the shad start up the rivers, when the grass greens in the spring runs, and it ends when the leaves are unfolding and the last snowflake dissolves in midair. It may be the first of May before the first swallow appears, before the whip- poor-will is heard, before the wood thrush sings; but it is April as long as there is snow upon the mountains, no matter what the almanac may say. Our April is, in fact, a kind of Alpine summer, full of such contrasts and touches of wild, delicate beauty as no other season affords. The deluded citizen fancies there is nothing enjoyable in the country till June, and so misses the freshest, tenderest part. It is as if one should miss strawberries and begin his fruit-eating with melons and peaches. These last are good,— supremely so, they are melting and luscious,—but nothing so thrills and penetrates the taste, and wakes up and teases the papillae of the tongue, as the uncloying strawberry. What midsummer sweetness half so distracting as its brisk sub-acid flavor, and what splendor of full-leaved June can stir the blood like the best of leafless April?

One characteristic April feature, and one that delights me very much, is the perfect emerald of the spring runs while the fields are yet brown and sere,—strips and patches of the most vivid velvet green on the slopes and in the valleys. How the eye grazes there, and is filled and refreshed! I had forgotten what a marked feature this was until I recently rode in an open wagon for three days through a mountainous, pastoral country, remarkable for its fine springs. Those delicious green patches are yet in my eye. The fountains flowed with May. Where no springs occurred, there were hints and suggestions of springs about the fields and by the roadside in the freshened grass,—sometimes overflowing a space in the form of an actual fountain. The water did not quite get to the surface in such places, but sent its influence.

The fields of wheat and rye, too, how they stand out of the April landscape,—great green squares on a field of brown or gray!

Among April sounds there is none more welcome or suggestive to me than the voice of the little frogs piping in the marshes. No bird- note can surpass it as a spring token; and as it is not mentioned, to my knowledge, by the poets and writers of other lands, I am ready to believe it is characteristic of our season alone. You may be sure April has really come when this little amphibian creeps out of the mud and inflates its throat. We talk of the bird inflating its throat, but you should see this tiny minstrel inflate its throat, which becomes like a large bubble, and suggests a drummer- boy with his drum slung very high. In this drum, or by the aid of it, the sound is produced. Generally the note is very feeble at first, as if the frost was not yet all out of the creature's throat, and only one voice will be heard, some prophet bolder than all the rest, or upon whom the quickening ray of spring has first fallen. And it often happens that he is stoned for his pains by the yet unpacified element, and is compelled literally to "shut up" beneath a fall of snow or a heavy frost. Soon, however, he lifts up his voice again with more confidence, and is joined by others and still others, till in due time, say toward the last of the month, there is a shrill musical uproar, as the sun is setting, in every marsh and bog in the land. It is a plaintive sound, and I have heard people from the city speak of it as lonesome and depressing, but to the lover of the country it is a pure spring melody. The little piper will sometimes climb a bulrush, to which he clings like a sailor to a mast, and send forth his shrill call. There is a Southern species, heard when you have reached the Potomac, whose note is far more harsh and crackling. To stand on the verge of a swamp vocal with these, pains and stuns the ear. The call of the Northern species is far more tender and musical. [Footnote: The Southern species is called the green hyla. I have since heard them in my neighborhood on the Hudson.]

Then is there anything like a perfect April morning? One hardly knows what the sentiment of it is, but it is something very delicious. It is youth and hope. It is a new earth and a new sky. How the air transmits sounds, and what an awakening, prophetic character all sounds have! The distant barking of a dog, or the lowing of a cow, or the crowing of a cock, seems from out the heart of Nature, and to be a call to come forth. The great sun appears to have been reburnished, and there is something in his first glance above the eastern hills, and the way his eye-beams dart right and left and smite the rugged mountains into gold, that quickens the pulse and inspires the heart.

Across the fields in the early morning I hear some of the rare April birds,—the chewink and the brown thrasher. The robin, the bluebird, the song sparrow, the phoebe-bird, come in March; but these two ground-birds are seldom heard till toward the last of April. The ground-birds are all tree-singers or air-singers; they must have an elevated stage to speak from. Our long-tailed thrush, or thrasher, like its congeners the catbird and the mockingbird, delights in a high branch of some solitary tree, whence it will pour out its rich and intricate warble for an hour together. This bird is the great American chipper. There is no other bird that I know of that can chip with such emphasis and military decision as this yellow-eyed songster. It is like the click of a giant gunlock. Why is the thrasher so stealthy? It always seems to be going about on tiptoe. I never knew it to steal anything, and yet it skulks and hides like a fugitive from justice. One never sees it flying aloft in the air and traversing the world openly, like most birds, but it darts along fences and through bushes as if pursued by a guilty conscience. Only when the musical fit is upon it does it come up into full view, and invite the world to hear and behold.

The chewink is a shy bird also, but not stealthy. It is very inquisitive, and sets up a great scratching among the leaves, apparently to attract your attention. The male is perhaps the most conspicuously marked of all the ground-birds except the bobolink, being black above, bay on the sides, and white beneath. The bay is in compliment to the leaves he is forever scratching among,—they have rustled against his breast and sides so long that these parts have taken their color; but whence come the white and the black? The bird seems to be aware that his color betrays him, for there are few birds in the woods so careful about keeping themselves screened from view. When in song, its favorite perch is the top of some high bush near to cover. On being disturbed at such times, it pitches down into the brush and is instantly lost to view.

This is the bird that Thomas Jefferson wrote to Wilson about, greatly exciting the latter's curiosity. Wilson was just then upon the threshold of his career as an ornithologist, and had made a drawing of the Canada jay which he sent to the President. It was a new bird, and in reply Jefferson called his attention to a "curious bird" which was everywhere to be heard, but scarcely ever to be seen. He had for twenty years interested the young sportsmen of his neighborhood to shoot one for him, but without success. "It is in all the forests, from spring to fall," he says in his letter, "and never but on the tops of the tallest trees, from which it perpetually serenades us with some of the sweetest notes, and as clear as those of the nightingale. I have followed it for miles, without ever but once getting a good view of it. It is of the size and make of the mockingbird, lightly thrush-colored on the back, and a grayish white on the breast and belly. Mr. Randolph, my son- in-law, was in possession of one which had been shot by a neighbor," etc. Randolph pronounced it a flycatcher, which was a good way wide of the mark. Jefferson must have seen only the female, after all his tramp, from his description of the color; but he was doubtless following his own great thoughts more than the bird, else he would have had an earlier view. The bird was not a new one, but was well known then as the ground-robin. The President put Wilson on the wrong scent by his erroneous description, and it was a long time before the latter got at the truth of the case. But Jefferson's letter is a good sample of those which specialists often receive from intelligent persons who have seen or heard something in their line very curious or entirely new, and who set the man of science agog by a description of the supposed novelty,— a description that generally fits the facts of the case about as well as your coat fits the chair-back. Strange and curious things in the air, and in the water, and in the earth beneath, are seen every day except by those who are looking for them, namely, the naturalists. When Wilson or Audubon gets his eye on the unknown bird, the illusion vanishes, and your phenomenon turns out to be one of the commonplaces of the fields or woods.

A prominent April bird, that one does not have to go to the woods or away from his own door to see and hear, is the hardy and ever- welcome meadowlark. What a twang there is about this bird, and what vigor! It smacks of the soil. It is the winged embodiment of the spirit of our spring meadows. What emphasis in its "z-d-t, z-d-t" and what character in its long, piercing note! Its straight, tapering, sharp beak is typical of its voice. Its note goes like a shaft from a crossbow; it is a little too sharp and piercing when near at hand, but, heard in the proper perspective, it is eminently melodious and pleasing. It is one of the major notes of the fields at this season. In fact, it easily dominates all others. "Spring o' the year! spring o' the year!" it says, with a long-drawn breath, a little plaintive, but not complaining or melancholy. At times it indulges in something much more intricate and lark-like while hovering on the wing in midair, but a song is beyond the compass of its instrument, and the attempt usually ends in a breakdown. A clear, sweet, strong, high-keyed note, uttered from some knoll or rock, or stake in the fence, is its proper vocal performance. It has the build and walk and flight of the quail and the grouse. It gets up before you in much the same manner, and falls an easy prey to the crack shot. Its yellow breast, surmounted by a black crescent, it need not be ashamed to turn to the morning sun, while its coat of mottled gray is in perfect keeping with the stubble amid which it walks. The two lateral white quills in its tail seem strictly in character. These quills spring from a dash of scorn and defiance in the bird's make-up. By the aid of these, it can almost emit a flash as it struts about the fields and jerks out its sharp notes. They give a rayed, a definite and piquant expression to its movements. This bird is not properly a lark, but a starling, say the ornithologists, though it is lark-like in its habits, being a walker and entirely a ground-bird. Its color also allies it to the true lark. I believe there is no bird in the English or European fields that answers to this hardy pedestrian of our meadows. He is a true American, and his note one of our characteristic April sounds.

Another marked April note, proceeding sometimes from the meadows, but more frequently from the rough pastures and borders of the woods, is the call of the high-hole, or golden-shafted woodpecker. It is quite as strong as that of the meadowlark, but not so long- drawn and piercing. It is a succession of short notes rapidly uttered, as if the bird said "if-if-if-if-if-if-if." The notes of the ordinary downy and hairy woodpeckers suggest, in some way. the sound of a steel punch; but that of the high-hole is much softer, and strikes on the ear with real springtime melody. The high-hole is not so much a wood-pecker as he is a ground-pecker. He subsists largely on ants and crickets, and does not appear till they are to be found.

In Solomon's description of spring, the voice of the turtle is prominent, but our turtle, or mourning dove, though it arrives in April, can hardly be said to contribute noticeably to the open-air sounds. Its call is so vague, and soft, and mournful,—in fact, so remote and diffused,—that few persons ever hear it at all.

Such songsters as the cow blackbird are noticeable at this season, though they take a back seat a little later. It utters a peculiarly liquid April sound. Indeed, one would think its crop was full of water, its notes so bubble up and regurgitate, and are delivered with such an apparent stomachic contraction. This bird is the only feathered polygamist we have. The females are greatly in excess of the males, and the latter are usually attended by three or four of the former. As soon as the other birds begin to build, they are on the qui vive, prowling about like gypsies, not to steal the young of others, but to steal their eggs into other birds' nests, and so shirk the labor and responsibility of hatching and rearing their own young. As these birds do not mate, and as therefore there can be little or no rivalry or competition between the males, one wonders—in view of Darwin's teaching—why one sex should have brighter and richer plumage than the other, which is the fact. The males are easily distinguished from the dull and faded females by their deep glossy-black coats.

The April of English literature corresponds nearly to our May. In Great Britain, the swallow and the cuckoo usually arrive by the middle of April; with us, their appearance is a week or two later. Our April, at its best, is a bright, laughing face under a hood of snow, like the English March, but presenting sharper contrasts, a greater mixture of smiles and tears and icy looks than are known to our ancestral climate. Indeed, Winter sometimes retraces his steps in this month, and unburdens himself of the snows that the previous cold has kept back; but we are always sure of a number of radiant, equable days,—days that go before the bud, when the sun embraces the earth with fervor and determination. How his beams pour into the woods till the mould under the leaves is warm and emits an odor! The waters glint and sparkle, the birds gather in groups, and even those unused to singing find a voice. On the streets of the cities, what a flutter, what bright looks and gay colors! I recall one preeminent day of this kind last April. I made a note of it in my note-book. The earth seemed suddenly to emerge from a wilderness of clouds and chilliness into one of these blue sunlit spaces. How the voyagers rejoiced! Invalids came forth, old men sauntered down the street, stocks went up, and the political outlook brightened.

Such days bring out the last of the hibernating animals. The woodchuck unrolls and creeps out of his den to see if his clover has started yet. The torpidity leaves the snakes and the turtles, and they come forth and bask in the sun. There is nothing so small, nothing so great, that it does not respond to these celestial spring days, and give the pendulum of life a fresh start.

April is also the month of the new furrow. As soon as the frost is gone and the ground settled, the plow is started upon the hill, and at each bout I see its brightened mould-board flash in the sun. Where the last remnants of the snowdrift lingered yesterday the plow breaks the sod to-day. Where the drift was deepest the grass is pressed flat, and there is a deposit of sand and earth blown from the fields to windward. Line upon line the turf is reversed, until there stands out of the neutral landscape a ruddy square visible for miles, or until the breasts of the broad hills glow like the breasts of the robins.

Then who would not have a garden in April? to rake together the rubbish and burn it up, to turn over the renewed soil, to scatter the rich compost, to plant the first seed, or bury the first tuber! It is not the seed that is planted, any more than it is I that is planted; it is not the dry stalks and weeds that are burned up, any more than it is my gloom and regrets that are consumed. An April smoke makes a clean harvest.

I think April is the best month to be born in. One is just in time, so to speak, to catch the first train, which is made up in this month. My April chickens always turn out best. They get an early start; they have rugged constitutions. Late chickens cannot stand the heavy dews, or withstand the predaceous hawks. In April all nature starts with you. You have not come out of your hibernaculum too early or too late; the time is ripe, and, if you do not keep pace with the rest, why, the fault is not in the season.



V SPRING POEMS

There is no month oftener on the tongues of the poets than April. It is the initiative month; it opens the door of the seasons; the interest and expectations of the untried, the untasted, lurk in it,

"From you have I been absent in the spring,"

says Shakespeare in one of his sonnets,—

"When proud-pied April, dressed in all his trim, Hath put a spirit of youth in everything, That heavy Saturn laughed and leaped with him."

The following poem, from Tennyson's "In Memoriam," might be headed "April," and serve as descriptive of parts of our season:—

"Now fades the last long streak of snow, Now bourgeons every maze of quick About the flowering squares, and thick By ashen roots the violets blow.

"Now rings the woodland loud and long, The distance takes a lovelier hue, And drowned in yonder living blue The lark becomes a sightless song.

"Now dance the lights on lawn and lea, The flocks are whiter down the vale, And milkier every milky sail On winding stream or distant sea;

"Where now the sea-mew pipes, or dives In yonder greening gleam, and fly The happy birds, that change their sky To build and brood; that live their lives

"From land to land; and in my breast Spring wakens too; and my regret Becomes an April violet, And buds and blossoms like the rest."

In the same poem the poet asks:—

"Can trouble live with April days?"

Yet they are not all jubilant chords that this season awakens. Occasionally there is an undertone of vague longing and sadness, akin to that which one experiences in autumn. Hope for a moment assumes the attitude of memory and stands with reverted look. The haze, that in spring as well as in fall sometimes descends and envelops all things, has in it in some way the sentiment of music, of melody, and awakens pensive thoughts. Elizabeth Akers, in her "April," has recognized and fully expressed this feeling. I give the first and last stanzas:—

"The strange, sweet days are here again, The happy-mournful days; The songs which trembled on our lips Are half complaint, half praise.

"Swing, robin, on the budded sprays, And sing your blithest tune;— Help us across these homesick days Into the joy of June!"

This poet has also given a touch of spring in her "March," which, however, should be written "April" in the New England climate:—

"The brown buds thicken on the trees, Unbound, the free streams sing, As March leads forth across the leas The wild and windy spring.

"Where in the fields the melted snow Leaves hollows warm and wet, Ere many days will sweetly blow The first blue violet."

But on the whole the poets have not been eminently successful in depicting spring. The humid season, with its tender, melting blue sky, its fresh, earthy smells, its new furrow, its few simple signs and awakenings here and there, and its strange feeling of unrest,— how difficult to put its charms into words! None of the so-called pastoral poets have succeeded in doing it. That is the best part of spring which escapes a direct and matter-of-fact description of her. There is more of spring in a line or two of Chaucer and Spenser than in the elaborate portraits of her by Thomson or Pope, because the former had spring in their hearts, and the latter only in their inkhorns. Nearly all Shakespeare's songs are spring songs,—full of the banter, the frolic, and the love-making of the early season. What an unloosed current, too, of joy and fresh new life and appetite in Burns!

In spring everything has such a margin! there are such spaces of silence! The influences are at work underground. Our delight is in a few things. The drying road is enough; a single wild flower, the note of the first bird, the partridge drumming in the April woods, the restless herds, the sheep steering for the uplands, the cow lowing in the highway or hiding her calf in the bushes, the first fires, the smoke going up through the shining atmosphere, from the burning of rubbish in gardens and old fields,—each of these simple things fills the breast with yearning and delight, for they are tokens of the spring. The best spring poems have this singleness and sparseness. Listen to Solomon: "For lo, the winter is past, the rain is over and gone; the flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in the land." In Wordsworth are some things that breathe the air of spring. These lines, written in early spring, afford a good specimen:—

"I heard a thousand blended notes, While in a grove I sate reclined, In that sweet mood when pleasant thoughts Bring sad thoughts to the mind."

"To her fair works did Nature link The human soul that through me ran; And much it grieved my heart to think What man has made of man.

"Through primrose tufts, in that green bower, The periwinkle trailed its wreaths; And 't is my faith that every flower Enjoys the air it breathes.

"The birds around me hopped and played, Their thoughts I cannot measure: But the least motion which they made It seemed a thrill of pleasure."

Or these from another poem, written in his usual study, "Out-of- Doors," and addressed to his sister:—

"It is the first mild day of March, Each minute sweeter than before; The redbreast sings from the tall larch That stands beside the door.

"There is a blessing in the air, Which seems a sense of joy to yield To the bare trees, and mountains bare, And grass in the green field.

. . . . . . . . .

"Love, now a universal birth, From heart to heart is stealing, From earth to man, from man to earth; It is the hour of feeling.

"One moment now may give us more Than years of toiling reason: Our minds shall drink at every pore The spirit of the season."

It is the simplicity of such lines, like the naked branches of the trees or the unclothed fields, and the spring-like depth of feeling and suggestion they hold, that make them so appropriate to this season.

At this season I often find myself repeating these lines of his also:—

"My heart leaps up, when I behold A rainbow in the sky; So was it, when my life began; So is it, now I am a man; So be it, when I shall grow old, Or let me die!"

Though there are so few good poems especially commemorative of the spring, there have no doubt been spring poets,—poets with such newness and fullness of life, and such quickening power, that the world is re-created, as it were, beneath their touch. Of course this is in a measure so with all real poets. But the difference I would indicate may exist between poets of the same or nearly the same magnitude. Thus, in this light Tennyson is an autumnal poet, mellow and dead-ripe, and was so from the first; while Wordsworth has much more of the spring in him, is nearer the bone of things and to primitive conditions.

Among the old poems, one which seems to me to have much of the charm of springtime upon it is the story of Cupid and Psyche in Apuleius. The songs, gambols, and wooings of the early birds are not more welcome and suggestive. How graceful and airy, and yet what a tender, profound, human significance it contains! But the great vernal poem, doubly so in that it is the expression of the springtime of the race, the boyhood of man as well, is the Iliad of Homer. What faith, what simple wonder, what unconscious strength, what beautiful savagery, what magnanimous enmity,—a very paradise of war!

Though so young a people, there is not much of the feeling of spring in any of our books. The muse of our poets is wise rather than joyous. There is no excess or extravagance or unruliness in her. There are spring sounds and tokens in Emerson's "May-Day:"—

"April cold with dropping rain Willows and lilacs brings again, The whistle of returning birds, And trumpet-lowing of the herds. The scarlet maple-keys betray What potent blood hath modest May, What fiery force the earth renews, The wealth of forms, the flush of hues; What joy in rosy waves outpoured Flows from the heart of Love, the Lord."

But this is not spring in the blood. Among the works of our young and rising poets, I am not certain but that Mr. Gilder's "New Day" is entitled to rank as a spring poem in the sense in which I am speaking. It is full of gayety and daring, and full of the reckless abandon of the male bird when he is winning his mate. It is full also of the tantalizing suggestiveness, the half-lights and shades, of April and May.

Of prose poets who have the charm of the springtime upon them, the best recent example I know of is Bjornson, the Norwegian romancist. What especially makes his books spring-like is their freshness and sweet good faith. There is also a reticence and an unwrought suggestiveness about them that is like the promise of buds and early flowers. Of Turgenieff, the Russian, much the same thing might be said. His stories are simple and elementary, and have none of the elaborate hair-splitting and forced hot-house character of the current English or American novel. They spring from stronger, more healthful and manly conditions, and have a force in them that is like a rising, incoming tide.



VI OUR RURAL DIVINITY

I wonder that Wilson Flagg did not include the cow among his "Picturesque Animals," for that is where she belongs. She has not the classic beauty of the horse, but in picture-making qualities she is far ahead of him. Her shaggy, loose-jointed body; her irregular, sketchy outlines, like those of the landscape,—the hollows and ridges, the slopes and prominences; her tossing horns, her bushy tail, tier swinging gait, her tranquil, ruminating habits,—all tend to make her an object upon which the artist eye loves to dwell. The artists are forever putting her into pictures, too. In rural landscape scenes she is an important feature. Behold her grazing in the pastures and on the hillsides, or along banks of streams, or ruminating under wide-spreading trees, or standing belly-deep in the creek or pond, or lying upon the smooth places in the quiet summer afternoon, the day's grazing done, and waiting to be summoned home to be milked; and again in the twilight lying upon the level summit of the hill, or where the sward is thickest and softest; or in winter a herd of them filing along toward the spring to drink, or being "foddered" from the stack in the field upon the new snow,—surely the cow is a picturesque animal, and all her goings and comings are pleasant to behold.

I looked into Hamerton's clever book on the domestic animals also, expecting to find my divinity duly celebrated, but he passes her by and contemplates the bovine qualities only as they appear in the ox and the bull.

Neither have the poets made much of the cow, but have rather dwelt upon the steer, or the ox yoked to the plow. I recall this touch from Emerson:—

"The heifer that lows in the upland farm, Far heard, lows not thine ear to charm."

But the ear is charmed, nevertheless, especially if it be not too near, and the air be still and dense, or hollow, as the farmer says. And again, if it be springtime and she task that powerful bellows of hers to its utmost capacity, how round the sound is, and how far it goes over the hills!

The cow has at least four tones or lows. First, there is her alarmed or distressed low when deprived of her calf, or when separated from her mates,—her low of affection. Then there is her call of hunger, a petition for food, sometimes full of impatience, or her answer to the farmer's call, full of eagerness. Then there is that peculiar frenzied bawl she utters on smelling blood, which causes every member of the herd to lift its head and hasten to the spot,—the native cry of the clan. When she is gored or in great danger she bawls also, but that is different. And lastly, there is the long, sonorous volley she lets off on the hills or in the yard, or along the highway, and which seems to be expressive of a kind of unrest and vague longing,—the longing of the imprisoned Io for her lost identity. She sends her voice forth so that every god on Mount Olympus can hear her plaint. She makes this sound in the morning, especially in the spring, as she goes forth to graze.

One of our rural poets, Myron Benton, whose verse often has the flavor of sweet cream, has written some lines called "Rumination," in which the cow is the principal figure, and with which I am permitted to adorn my theme. The poet first gives his attention to a little brook that "breaks its shallow gossip" at his feet and "drowns the oriole's voice:"—

"But moveth not that wise and ancient cow, Who chews her juicy cud so languid now Beneath her favorite elm, whose drooping bough Lulls all but inward vision fast asleep: But still, her tireless tail a pendulum sweep Mysterious clock-work guides, and some hid pulley Her drowsy cud, each moment, raises duly.

"Of this great, wondrous world she has seen more Than you, my little brook, and cropped its store Of succulent grass on many a mead and lawn; And strayed to distant uplands in the dawn. And she has had some dark experience Of graceless man's ingratitude; and hence Her ways have not been ways of pleasantness, Nor all her paths of peace. But her distress And grief she has lived past; your giddy round Disturbs her not, for she is learned profound In deep brahminical philosophy. She chews the cud of sweetest revery Above your worldly prattle, brooklet merry, Oblivious of all things sublunary."

The cow figures in Grecian mythology, and in the Oriental literature is treated as a sacred animal. "The clouds are cows and the rain milk." I remember what Herodotus says of the Egyptians' worship of heifers and steers; and in the traditions of the Celtic nations the cow is regarded as a divinity. In Norse mythology the milk of the cow Andhumbla afforded nourishment to the Frost giants, and it was she that licked into being and into shape a god, the father of Odin. If anything could lick a god into shape, certainly the cow could do it. You may see her perform this office for young Taurus any spring. She licks him out of the fogs and bewilderments and uncertainties in which he finds himself on first landing upon these shores, and up onto his feet in an incredibly short time. Indeed, that potent tongue of hers can almost make the dead alive any day, and the creative lick of the old Scandinavian mother cow is only a large-lettered rendering of the commonest facts.

The horse belongs to the fiery god Mars. He favors war, and is one of its oldest, most available, and most formidable engines. The steed is clothed with thunder, and smells the battle from afar; but the cattle upon a thousand hills denote that peace and plenty bear sway in the land. The neighing of the horse is a call to battle; but the lowing of old Brockleface in the valley brings the golden age again. The savage tribes are never without the horse; the Scythians are all mounted; but the cow would tame and humanize them. When the Indians will cultivate the cow, I shall think their civilization fairly begun. Recently, when the horses were sick with the epizootic, and the oxen came to the city and helped to do their work, what an Arcadian air again filled the streets! But the dear old oxen,—how awkward and distressed they looked! Juno wept in the face of every one of them. The horse is a true citizen, and is entirely at home in the paved streets; but the ox,—what a complete embodiment of all rustic and rural things! Slow, deliberate, thick- skinned, powerful, hulky, ruminating, fragrant-breathed, when he came to town the spirit and suggestion of all Georgics and Bucolics came with him. O citizen, was it only a plodding, unsightly brute that went by? Was there no chord in your bosom, long silent, that sweetly vibrated at the sight of that patient, Herculean couple? Did you smell no hay or cropped herbage, see no summer pastures with circles of cool shade, hear no voice of herds among the hills? They were very likely the only horses your grandfather ever had. Not much trouble to harness and unharness them. Not much vanity on the road in those days. They did all the work on the early pioneer farm. They were the gods whose rude strength first broke the soil. They could live where the moose and the deer could. If there was no clover or timothy to be had, then the twigs of the basswood and birch would do. Before there were yet fields given up to grass, they found ample pasturage in the woods. Their wide-spreading horns gleamed in the duskiness, and their paths and the paths of the cows became the future roads and highways, or even the streets of great cities.

All the descendants of Odin show a bovine trace, and cherish and cultivate the cow. In Norway she is a great feature. Professor Boyesen describes what he calls the saeter, the spring migration of the dairy and dairymaids, with all the appurtenances of butter and cheese making, from the valleys to the distant plains upon the mountains, where the grass keeps fresh and tender till fall. It is the great event of the year in all the rural districts. Nearly the whole family go with the cattle and remain with them. At evening the cows are summoned home with a long horn, called the loor, in the hands of the milkmaid. The whole herd comes winding down the mountain-side toward the saeter in obedience to the mellow blast.

What were those old Vikings but thick-hided bulls that delighted in nothing so much as goring each other? And has not the charge of beefiness been brought much nearer home to us than that? But about all the northern races there is something that is kindred to cattle in the best sense,—something in their art and literature that is essentially pastoral, sweet-breathed, continent, dispassionate, ruminating, wide-eyed, soft-voiced,—a charm of kine, the virtue of brutes.

The cow belongs more especially to the northern peoples, to the region of the good, green grass. She is the true grazing animal. That broad, smooth, always dewy nose of hers is just the suggestion of greensward. She caresses the grass; she sweeps off the ends of the leaves; she reaps it with the soft sickle of her tongue. She crops close, but she does not bruise or devour the turf like the horse. She is the sward's best friend, and will make it thick and smooth as a carpet.

"The turfy mountains where live the nibbling sheep"

are not for her. Her muzzle is too blunt; then she does not bite as do the sheep; she has no upper teeth; she crops. But on the lower slopes, and margins, and rich bottoms, she is at home. Where the daisy and the buttercup and clover bloom, and where corn will grow, is her proper domain. The agriculture of no country can long thrive without her. Not only a large part of the real, but much of the potential, wealth of the land is wrapped up in her.

Then the cow has given us some good words and hints. How could we get along without the parable of the cow that gave a good pail of milk and then kicked it over? One could hardly keep house without it. Or the parable of the cream and the skimmed milk, or of the buttered bread? We know, too, through her aid, what the horns of the dilemma mean, and what comfort there is in the juicy cud of reverie.

I have said the cow has not been of much service to the poets, and yet I remember that Jean Ingelow could hardly have managed her "High Tide" without "Whitefoot" and "Lightfoot" and "Cusha! Cusha! Cusha! calling;" or Trowbridge his "Evening at the Farm," in which the real call of the American farm-boy of "Co', boss! Co', boss! Co', Co'," makes a very musical refrain.

Tennyson's charming "Milking Song" is another flower of poesy that has sprung up in my divinity's footsteps.

What a variety of individualities a herd of cows presents when you have come to know them all, not only in form and color, but in manners and disposition! Some are timid and awkward, and the butt of the whole herd. Some remind you of deer. Some have an expression in the face like certain persons you have known. A petted and well- fed cow has a benevolent and gracious look; an ill-used and poorly fed one, a pitiful and forlorn look. Some cows have a masculine or ox expression; others are extremely feminine. The latter are the ones for milk. Some cows will kick like a horse; some jump fences like deer. Every herd has its ringleader, its unruly spirit,—one that plans all the mischief, and leads the rest through the fences into the grain or into the orchard. This one is usually quite different from the master spirit, the "boss of the yard." The latter is generally the most peaceful and law-abiding cow in the lot, and the least bullying and quarrelsome. But she is not to be trifled with; her will is law; the whole herd give way before her, those that have crossed horns with her and those that have not, but yielded their allegiance without crossing. I remember such a one among my father's milkers when I was a boy,—a slender-horned, deep-shouldered, large-uddered, dewlapped old cow that we always put first in the long stable, so she could not have a cow on each side of her to forage upon; for the master is yielded to no less in the stanchions than in the yard. She always had the first place anywhere. She had her choice of standing-room in the milking-yard, and when she wanted to lie down there or in the fields the best and softest spot was hers. When the herd were foddered from the stack or barn, or fed with pumpkins in the fall, she was always first served. Her demeanor was quiet but impressive. She never bullied or gored her mates, but literally ruled them with the breath of her nostrils. If any new-comer or ambitious younger cow, however, chafed under her supremacy, she was ever ready to make good her claims. And with what spirit she would fight when openly challenged! She was a whirlwind of pluck and valor; and not after one defeat or two defeats would she yield the championship. The boss cow, when overcome, seems to brood over her disgrace, and day after day will meet her rival in fierce combat.

A friend of mine, a pastoral philosopher, whom I have consulted in regard to the master cow, thinks it is seldom the case that one rules all the herd, if it number many, but that there is often one that will rule nearly all. "Curiously enough," he says, "a case like this will often occur: No. 1 will whip No. 2; No. 2 whips No. 3; and No. 3 whips No. 1; so around in a circle. This is not a mistake; it is often the case. I remember," he continued, "we once had feeding out of a large bin in the centre of the yard six cows who mastered right through in succession from No. 1 to No. 6; but No. 6 paid off the score by whipping No. 1. I often watched them when they were all trying to feed out of the box, and of course trying, dog-in-the-manger fashion, each to prevent any other she could. They would often get in the order to do it very systematically, since they could keep rotating about the box till the chain happened to get broken somewhere, when there would be confusion. Their mastership, you know, like that between nations, is constantly changing. There are always Napoleons who hold their own through many vicissitudes; but the ordinary cow is continually liable to lose her foothold. Some cow she has always despised, and has often sent tossing across the yard at her horns' ends, some pleasant morning will return the compliment and pay off old scores."

But my own observation has been that, in herds in which there have been no important changes for several years, the question of might gets pretty well settled, and some one cow becomes the acknowledged ruler.

The bully of the yard is never the master, but usually a second or third rate pusher that never loses an opportunity to hook those beneath her, or to gore the masters if she can get them in a tight place. If such a one can get loose in the stable, she is quite certain to do mischief. She delights to pause in the open bars and turn and keep those behind her at bay till she sees a pair of threatening horns pressing toward her, when she quickly passes on. As one cow masters all, so there is one cow that is mastered by all. These are the two extremes of the herd, the head and the tail. Between them are all grades of authority, with none so poor but hath some poorer to do her reverence.

The cow has evidently come down to us from a wild or semi-wild state; perhaps is a descendant of those wild, shaggy cattle of which a small band is still preserved in some nobleman's park in Scotland. Cuvier seems to have been of this opinion. One of the ways in which her wild instincts still crop out is the disposition she shows in spring to hide her calf,—a common practice among the wild herds. Her wild nature would be likely to come to the surface at this crisis if ever; and I have known cows that practiced great secrecy in dropping their calves. As their time approached, they grew restless, a wild and excited look was upon them; and if left free, they generally set out for the woods, or for some other secluded spot. After the calf is several hours old, and has got upon its feet and had its first meal, the dam by some sign commands it to lie down and remain quiet while she goes forth to feed. If the calf is approached at such time, it plays "possum," pretends to be dead or asleep, till, on finding this ruse does not succeed, it mounts to its feet, bleats loudly and fiercely, and charges desperately upon the intruder. But it recovers from this wild scare in a little while, and never shows signs of it again.