II

These still, hazy, brooding mid-April mornings, when the farmer first starts afield with his plow, when his boys gather the buckets in the sugar-bush, when the high-hole calls long and loud through the hazy distance, when the meadowlark sends up her clear, silvery shaft of sound from the meadow, when the bush sparrow trills in the orchard, when the soft maples look red against the wood, or their fallen bloom flecks the drying mud in the road,—such mornings are about the most exciting and suggestive of the whole year. How good the fields look, how good the freshly turned earth looks!—one could almost eat it as does the horse;—the stable manure just being drawn out and scattered looks good and smells good; every farmer's house and barn looks inviting; the children on the way to school with their dinner-pails in their hands—how they open a door into the past for you! Sometimes they have sprays of arbutus in their buttonholes, or bunches of hepatica. The partridge is drumming in the woods, and the woodpeckers are drumming on dry limbs.

The day is veiled, but we catch such glimpses through the veil. The bees are getting pollen from the pussy-willows and soft maples, and the first honey from the arbutus.

It is at this time that the fruit and seed catalogues are interesting reading, and that the cuts of farm implements have a new fascination. The soil calls to one. All over the country, people are responding to the call, and are buying farms and moving upon them. My father and mother moved upon their farm in the spring of 1828; I moved here upon mine in March, 1874.

I see the farmers, now going along their stone fences and replacing the stones that the frost or the sheep and cattle have thrown off, and here and there laying up a bit of wall that has tumbled down.

There is rare music now in the unmusical call of the phœbe-bird—it is so suggestive.

The drying road appeals to one as it never does at any other season. When I was a farm-boy, it was about this time that I used to get out of my boots for half an hour and let my bare feet feel the ground beneath them once more. There was a smooth, dry, level place in the road near home, and along this I used to run, and exult in that sense of lightfootedness which is so keen at such times. What a feeling of freedom, of emancipation, and of joy in the returning spring I used to experience in those warm April twilights!

I think every man whose youth was spent on the farm, whatever his life since, must have moments at this season when he longs to go back to the soil. How its sounds, its odors, its occupations, its associations, come back to him! Would he not like to return again to help rake up the litter of straw and stalks about the barn, or about the stack on the hill where the grass is starting? Would he not like to help pick the stone from the meadow, or mend the brush fence on the mountain where the sheep roam, or hunt up old Brindle's calf in the woods, or gather oven-wood for his mother to start again the big brick oven with its dozen loaves of rye bread, or see the plow crowding the lingering snow-banks on the side-hill, or help his father break and swingle and hatchel the flax in the barnyard?

When I see a farm advertised for rent or for sale in the spring, I want to go at once and look it over. All the particulars interest me—so many acres of meadow-land, so many of woodland, so many of pasture—the garden, the orchard, the outbuildings, the springs, the creek—I see them all, and am already half in possession.

Even Thoreau felt this attraction, and recorded in his Journal: "I know of no more pleasing employment than to ride about the country with a companion very early in the spring, looking at farms with a view to purchasing, if not paying for them."

Blessed is the man who loves the soil!

XI

THE WOODCOCK'S EVENING HYMN

The twilight flight song of the woodcock is one of the most curious and tantalizing yet interesting bird songs we have. I fancy that the persons who hear and recognize it in the April or May twilight are few and far between. I myself have heard it only on three occasions—one season in late March, one season in April, and the last time in the middle of May. It is a voice of ecstatic song coming down from the upper air and through the mist and the darkness—the spirit of the swamp and the marsh climbing heavenward and pouring out its joy in a wild burst of lyric melody; a haunter of the muck and a prober of the mud suddenly transformed into a bird that soars and circles and warbles like a lark hidden or half hidden in the depths of the twilight sky. The passion of the spring has few more pleasing exemplars. The madness of the season, the abandon of the mating instinct, is in every move and note. Ordinarily the woodcock is a very dull, stupid bird, with a look almost idiotic, and is seldom seen except by the sportsman or the tramper along marshy brooks. But for a brief season in his life he is an inspired creature, a winged song that baffles the eye and thrills the ear from the mystic regions of the upper air.

When I last heard it, I was with a companion, and our attention was arrested, as we were skirting the edge of a sloping, rather marshy, bowlder-strewn field, by the "zeep," "zeep," which the bird utters on the ground, preliminary to its lark-like flight. We paused and listened. The light of day was fast failing; a faint murmur went up from the fields below us that defined itself now and then in the good-night song of some bird. Now it was the lullaby of the song sparrow or the swamp sparrow. Once the tender, ringing, infantile voice of the bush sparrow stood out vividly for a moment on that great background of silence. "Zeep," "zeep," came out of the dimness six or eight rods away. Presently there was a faint, rapid whistling of wings, and my companion said: "There, he is up." The ear could trace his flight, but not the eye. In less than a minute the straining ear failed to catch any sound, and we knew he had reached his climax and was circling. Once we distinctly saw him whirling far above us. Then he was lost in the obscurity, and in a few seconds there rained down upon us the notes of his ecstatic song—a novel kind of hurried, chirping, smacking warble. It was very brief, and when it ceased, we knew the bird was dropping plummet-like to the earth. In half a minute or less his "zeep," "zeep," came up again from the ground. In two or three minutes he repeated his flight and song, and thus kept it up during the half-hour or more that we remained to listen: now a harsh plaint out of the obscurity upon the ground; then a jubilant strain from out the obscurity of the air above. His mate was probably somewhere within earshot, and we wondered just how much interest she took in the performance. Was it all for her benefit, or inspired by her presence? I think, rather, it was inspired by the May night, by the springing grass, by the unfolding leaves, by the apple bloom, by the passion of joy and love that thrills through nature at this season. An hour or two before, we had seen the bobolinks in the meadow beating the air with the same excited wing and overflowing with the same ecstasy of song, but their demure, retiring, and indifferent mates were nowhere to be seen. It would seem as if the male bird sang, not to win his mate, but to celebrate the winning, to invoke the young who are not yet born, and to express the joy of love which is at the heart of Nature.

When I reached home, I went over the fourteen volumes of Thoreau's Journal to see if he had made any record of having heard the "woodcock's evening hymn," as Emerson calls it. He had not. Evidently he never heard it, which is the more surprising as he was abroad in the fields and marshes and woods at almost all hours in the twenty-four and in all seasons and weathers, making it the business of his life to see and record what was going on in nature.

Thoreau's eye was much more reliable than his ear. He saw straight, but did not always hear straight. For instance, he seems always to have confounded the song of the hermit thrush with that of the wood thrush. He records having heard the latter even in April, but never the former. In the Maine woods and on Monadnock it is always the wood thrush which he hears, and never the hermit.

But if Thoreau's ear was sometimes at fault, I do not recall that his eye ever was, while his mind was always honest. He had an instinct for the truth, and while we may admit that the truth he was in quest of in nature was not always scientific truth, or the truth of natural history, but was often the truth of the poet and the mystic, yet he was very careful about his facts; he liked to be able to make an exact statement, to clinch his observations by going again and again to the spot. He never taxes your credulity. He had never been bitten by the mad dog of sensationalism that has bitten certain of our later nature writers.

Thoreau made no effort to humanize the animals. What he aimed mainly to do was to invest his account of them with literary charm, not by imputing to them impossible things, but by describing them in a way impossible to a less poetic nature. The novel and the surprising are not in the act of the bird or beast itself, but in Thoreau's way of telling what it did. To draw upon your imagination for your facts is one thing; to draw upon your imagination in describing what you see is quite another. The new school of nature writers will afford many samples of the former method; read Thoreau's description of the wood thrush's song or the bobolink's song, or his account of wild apples, or of his life at Walden Pond, or almost any other bit of his writing, for a sample of the latter. In his best work he uses language in the imaginative way of the poet.

Literature and science do not differ in matters of fact, but in spirit and method. There is no live literature without a play of personality, and there is no exact science without the clear, white light of the understanding. What we want, and have a right to expect, of the literary naturalist is that his statement shall have both truth and charm, but we do not want the charm at the expense of the truth. I may invest the commonest fact I observe in the fields or by the roadside with the air of romance, if I can, but I am not to put the romance in place of the fact. If you romance about the animals, you must do so unequivocally, as Kipling does and as Æsop did; the fiction must declare itself at once, or the work is vicious. To make literature out of natural history observation is not to pervert or distort the facts, or to draw the long bow at all; it is to see the facts in their true relations and proportions and with honest emotion.

Truth of seeing and truth of feeling are the main requisite: add truth of style, and the thing is done.

XII

THE COMING OF SUMMER

Who shall say when one season ends and another begins? Only the almanac-makers can fix these dates. It is like saying when babyhood ends and childhood begins, or when childhood ends and youth begins. To me spring begins when the catkins on the alders and the pussy-willows begin to swell; when the ice breaks up on the river and the first sea-gulls come prospecting northward. Whatever the date—the first or the middle or the last of March—when these signs appear, then I know spring is at hand. Her first birds—the bluebird, the song sparrow, the robin, the red-shouldered starling—are here or soon will be. The crows have a more confident caw, the sap begins to start in the sugar maple, the tiny boom of the first bee is heard, the downy woodpecker begins his resonant tat, tat, tat, on the dry limbs, and the cattle in the barnyard low long and loud with wistful looks toward the fields.

The first hint of summer comes when the trees are fully fledged and the nymph Shadow is born. See her cool circles again beneath the trees in the field, or her deeper and cooler retreats in the woods. On the slopes, on the opposite side of the river, there have been for months under the morning and noon sun only slight shadow tracings, a fretwork of shadow lines; but some morning in May I look across and see solid masses of shade falling from the trees athwart the sloping turf. How the eye revels in them! The trees are again clothed and in their right minds; myriad leaves rustle in promise of the coming festival. Now the trees are sentient beings; they have thoughts and fancies; they stir with emotion; they converse together; they whisper or dream in the twilight; they struggle and wrestle with the storm.

"Caught and cuff'd by the gale,"

Tennyson says.

Summer always comes in the person of June, with a bunch of daisies on her breast and clover blossoms in her hands. A new chapter in the season is opened when these flowers appear. One says to himself, "Well, I have lived to see the daisies again and to smell the red clover." One plucks the first blossoms tenderly and caressingly. What memories are stirred in the mind by the fragrance of the one and the youthful face of the other! There is nothing else like that smell of the clover: it is the maidenly breath of summer; it suggests all fresh, buxom, rural things. A field of ruddy, blooming clover, dashed or sprinkled here and there with the snow-white of the daisies; its breath drifts into the road when you are passing; you hear the boom of bees, the voice of bobolinks, the twitter of swallows, the whistle of woodchucks; you smell wild strawberries; you see the cattle upon the hills; you see your youth, the youth of a happy farm-boy, rise before you. In Kentucky I once saw two fields, of one hundred acres each, all ruddy with blooming clover—perfume for a whole county.

The blooming orchards are the glory of May, the blooming clover-fields the distinction of June. Other characteristic June perfumes come from the honey-locusts and the blooming grapevines. At times and in certain localities the air at night and morning is heavy with the breath of the former, and along the lanes and roadsides we inhale the delicate fragrance of the wild grape. The early grasses, too, with their frostlike bloom, contribute something very welcome to the breath of June.

Nearly every season I note what I call the bridal day of summer—a white, lucid, shining day, with a delicate veil of mist softening all outlines. How the river dances and sparkles; how the new leaves of all the trees shine under the sun; the air has a soft lustre; there is a haze, it is not blue, but a kind of shining, diffused nimbus. No clouds, the sky a bluish white, very soft and delicate. It is the nuptial day of the season; the sun fairly takes the earth to be his own, for better or for worse, on such a day, and what marriages there are going on all about us: the marriages of the flowers, of the bees, of the birds. Everything suggests life, love, fruition. These bridal days are often repeated; the serenity and equipoise of the elements combine. They were such days as these that the poet Lowell had in mind when he exclaimed, "What is so rare as a day in June?" Here is the record of such a day, June 1, 1883: "Day perfect in temper, in mood, in everything. Foliage all out except on button-balls and celtis, and putting on its dark green summer color, solid shadows under the trees, and stretching down the slopes. A few indolent summer clouds here and there. A day of gently rustling and curtsying leaves, when the breeze almost seems to blow upward. The fields of full-grown, nodding rye slowly stir and sway like vast assemblages of people. How the chimney swallows chipper as they sweep past! The vireo's cheerful warble echoes in the leafy maples; the branches of the Norway spruce and the hemlocks have gotten themselves new light green tips; the dandelion's spheres of ethereal down rise above the grass: and now and then one of them suddenly goes down: the little chippy, or social sparrow, has thrown itself upon the frail stalk and brought it to the ground, to feed upon its seeds; here it gets the first fruits of the season. The first red and white clover heads have just opened, the yellow rock-rose and the sweet viburnum are in bloom; the bird chorus is still full and animated; the keys of the red maple strew the ground, and the cotton of the early everlasting drifts upon the air." For several days there was but little change. "Getting toward the high tide of summer. The air well warmed up, Nature in her jocund mood, still, all leaf and sap. The days are idyllic. I lie on my back on the grass in the shade of the house, and look up to the soft, slowly moving clouds, and to the chimney swallows disporting themselves up there in the breezy depths. No hardening in vegetation yet. The moist, hot, fragrant breath of the fields—mingled odor of blossoming grasses, clover, daisies, rye—the locust blossoms, dropping. What a humming about the hives; what freshness in the shade of every tree; what contentment in the flocks and herds! The springs are yet full and cold; the shaded watercourses and pond margins begin to draw one." Go to the top of the hill on such a morning, say by nine o'clock, and see how unspeakably fresh and full the world looks. The morning shadows yet linger everywhere, even in the sunshine; a kind of blue coolness and freshness, the vapor of dew tinting the air.

Heat and moisture, the father and mother of all that lives, when June has plenty of these, the increase is sure.

Early in June the rye and wheat heads begin to nod; the motionless stalks have a reflective, meditative air. A little while ago, when their heads were empty or filled only with chaff and sap, how straight up they held them! Now that the grain is forming, they have a sober, thoughtful look. It is one of the most pleasing spectacles of June, a field of rye gently shaken by the wind. How the breezes are defined upon its surface—a surface as sensitive as that of water; how they trip along, little breezes and big breezes together! Just as this glaucous green surface of the rye-field bends beneath the light tread of the winds, so, we are told, the crust of the earth itself bends beneath the giant strides of the great atmospheric waves.

There is one bird I seldom hear till June, and that is the cuckoo. Sometimes the last days of May bring him, but oftener it is June before I hear his note. The cuckoo is the true recluse among our birds. I doubt if there is any joy in his soul. "Rain-crow," he is called in some parts of the country. His call is supposed to bode rain. Why do other birds, the robin for instance, often make war upon the cuckoo, chasing it from the vicinity of their nests? There seems to be something about the cuckoo that makes its position among the birds rather anomalous. Is it at times a parasitical bird, dropping its eggs into other birds' nests? Or is there some suggestion of the hawk about our species as well as about the European? I do not know. I only know that it seems to be regarded with a suspicious eye by other birds, and that it wanders about at night in a way that no respectable bird should. The birds that come in March, as the bluebird, the robin, the song sparrow, the starling, build in April; the April birds, such as the brown thrasher, the barn swallow, the chewink, the water-thrush, the oven-bird, the chippy, the high-hole, the meadowlark, build in May, while the May birds, the kingbird, the wood thrush, the oriole, the orchard starling, and the warblers, build in June. The April nests are exposed to the most dangers: the storms, the crows, the squirrels, are all liable to cut them off. The midsummer nests, like that of the goldfinch and the waxwing, or cedar-bird, are the safest of all.

In March the door of the seasons first stands ajar a little; in April it is opened much wider; in May the windows go up also; and in June the walls are fairly taken down and the genial currents have free play everywhere. The event of March in the country is the first good sap day, when the maples thrill with the kindling warmth; the event of April is the new furrow and the first seeding;—how ruddy and warm the soil looks just opened to the sun!—the event of May is the week of orchard bloom; with what sweet, pensive gladness one walks beneath the pink-white masses, while long, long thoughts descend upon him! See the impetuous orioles chase one another amid the branches, shaking down the fragrant snow. Here the rose-breasted grosbeak is in the blooming cherry tree, snipping off the blossoms with that heavy beak of his—a spot of crimson and black half hidden in masses of white petals. This orchard bloom travels like a wave. In March it is in the Carolinas; by the middle of April its crest has reached the Potomac; a week or ten days later it is in New Jersey; then in May it sweeps through New York and New England; and early in June it is breaking upon the orchards in Canada. Finally, the event of June is the fields ruddy with clover and milk-white with daisies.

TRANSCRIBER'S NOTES Title page: Changed typo "Cambridg" to "Cambridge." Table of Contents/Chapter VIII: Retained punctuation error in chapter title. Page 18: Added missing period to sentence: "The bear was fussing ... to burying it." Page 30: Changed typo "sudddenly" to "suddenly." Pages 31, 79, 95: Retained inconsistent spellings of highhole/high-hole. Pages 32 & 58: Retained inconsistent spellings of treetops/tree-tops. Page 38: Changed single quote to double quote in sentence: "Here, Jim, you do this ... thing through". Chapter XII: Changed typo "IIX" to "XII."