“One of the most extraordinary things among all these adverse circumstances” he adds, “was, that I never for a day give up listening to the songs of our birds, or watching their peculiar habits, or delineating them in the best way I could; nay, during my deepest troubles, I frequently would wrench myself from the persons around me and retire to some secluded part of our noble forests; and many a time, at the sound of the wood-thrushes’ melodies, have I fallen on my knees and there prayed earnestly to our God. This never failed to bring me the most valuable of thoughts, and always comfort, and it was often necessary for me to exert my will and compel myself to return to my fellow-beings.”
Do you not fancy that Audubon was himself a rara avis and worthy of admiration and study?
Such a man, in the language of a contemporary, should have a monument in the old Creole country in which he was born, and whose birds inspired his childish visions. It should be the most beautiful work possible to the sculptor’s art, portraying Audubon in the garb he wore when he was proud and happy to be called the “American Woodman,” and at his feet should stand the Eagle which he named the “Bird of Washington,” and near should perch the Mocking Bird, as once, in his description, it flew and fluttered and sang to the mind’s eye and ear from the pages of the old reading book.
C. C. Marble.
summer tanager
From col. F. M. Woodruff. Copyrighted by
Nature Study Pub. Co., 1897, Chicago.