The scene changes. The earth is no longer level, but treeless and verdant as ever. Its surface exhibits a succession of parallel undulations, here and there swelling into smooth round hills. It is covered with a soft turf of brilliant greenness. These undulations remind one of the ocean after a mighty storm, when the crisped foam has died upon the waves, and the big swell comes bowling in. They look as though they had once been such waves, that by an omnipotent mandate had been transformed to earth and suddenly stood still.
This is the “rolling prairie.”
Again the scene changes. I am among greenswards and bright flowers; but the view is broken by groves and clumps of copse-wood. The frondage is varied, its tints are vivid, its outlines soft and graceful. As I move forward, new landscapes open up continuously: views park-like and picturesque. Gangs of buffalo, herds of antelope, and droves of wild horses, mottle the far vistas. Turkeys run into the coppice, and pheasants whirr up from the path.
Where are the owners of these lands, of these flocks and fowls? Where are the houses, the palaces, that should appertain to these lordly parks? I look forward, expecting to see the turrets of tall mansions spring up over the groves. But no. For hundreds of miles around no chimney sends forth its smoke. Although with a cultivated aspect, this region is only trodden by the moccasined foot of the hunter, and his enemy, the Red Indian.
These are the mottes—the “islands” of the prairie sea.
I am in the deep forest. It is night, and the log fire throws out its vermilion glare, painting the objects that surround our bivouac. Huge trunks stand thickly around us; and massive limbs, grey and giant-like, stretch out and over. I notice the bark. It is cracked, and clings in broad scales crisping outward. Long snake-like parasites creep from tree to tree, coiling the trunks as though they were serpents, and would crush them! There are no leaves overhead. They have ripened and fallen; but the white Spanish moss, festooned along the branches, hangs weeping down like the drapery of a deathbed.
Prostrate trunks, yards in diameter and half-decayed, lie along the ground. Their ends exhibit vast cavities where the porcupine and opossum have taken shelter from the cold.
My comrades, wrapped in their blankets, and stretched upon the dead leaves, have gone to sleep. They lie with their feet to the fire, and their heads resting in the hollow of their saddles. The horses, standing around a tree, and tied to its lower branches, seem also to sleep. I am awake and listening. The wind is high up, whistling among the twigs and causing the long white streamers to oscillate. It utters a wild and melancholy music. There are few other sounds, for it is winter, and the tree-frog and cicada are silent. I hear the crackling knots in the fire, the rustling of dry leaves swirled up by a stray gust, the “coo-whoo-a” of the white owl, the bark of the raccoon, and, at intervals, the dismal howling of wolves. These are the nocturnal voices of the winter forest. They are savage sounds; yet there is a chord in my bosom that vibrates under their influence, and my spirit is tinged with romance as I lie and listen.
The forest in autumn; still bearing its full frondage. The leaves resemble flowers, so bright are their hues. They are red and yellow, and golden and brown. The woods are warm and glorious now, and the birds flutter among the laden branches. The eye wanders delighted down long vistas and over sunlit glades. It is caught by the flashing of gaudy plumage, the golden green of the paroquet, the blue of the jay, and the orange wing of the oriole. The red-bird flutters lower down in the coppice of green pawpaws, or amidst the amber leaflets of the beechen thicket. Hundreds of tiny wings flit through the openings, twinkling in the sun like the glancing of gems.
The air is filled with music: sweet sounds of love. The bark of the squirrel, the cooing of mated doves, the “rat-ta-ta” of the pecker, and the constant and measured chirrup of the cicada, are all ringing together. High up, on a topmost twig, the mocking-bird pours forth his mimic note, as though he would shame all other songsters into silence.