Why may we not (just for this summer) believe in Transmigrations, and find some elder civilization embodied in this community of birds,—all those lost arts taken wings, not to fly away, but to come flitting and building in our trees, picking crumbs from our door-steps?
Do they say birds are limited? Who are we that set bounds to this direct knowledge, this instinct? Mathematical, constructive, they certainly are. What bold architect has builded so snug, so airy a house,—well concealed, and yet with a good outlook? We make our dwellings conspicuous; they hide their pretty art.
We wiseacres, who stay at home, instead of following the seasons round the globe, should learn the art of making happy homes; yet what housekeeper will not hang her head in shame and despair, to see this nice adaptation of use to wants, shown each year in multitudes of nests? Now, only look at it! always just room enough,—none to spare. First, the four or five eggs lie comfortably in the small round at the bottom of the nest, with room enough for the mother robin to give them the whole warmth of her broad red breast,—her sloping back and wings making a rain-proof roof over her jewels. Then the callow younglings rise a little higher into the wider circle. Next the fledglings brim the cup; at last it runs over; four large clumsy robins flutter to the ground, with much noise, much anxious calling from papa and mamma,—much good advice, no doubt. They are fairly turned out to shift for themselves; with the same wise, unfathomable eyes which have mirrored the round world for so many years, which know all things, say nothing, older than time, lively and quick as to-day; with the same touching melody in their long monotonous call; soon with the same power of wing; next year to build a nest with the same wise economy, each young robin carrying in his own swelling, bulging breast the model of the hollow circle, the cradle of other young robins. So you see it is a nest within a nest,—a whole nest of nests; like Vishnu Sarma's fables, or Scheherazade's stories, you can never find where one leaves off and another begins, they shut so one into the other. No wonder the children and philosophers are they who ask, whether the egg comes from the bird, or the bird from the egg. Yes, it is a Heimskringla, a world-circle, a home-circle, this nest.
You remember that little, old, withered man who used to bring us eggs; the boys, you know, called him Egg Pop. When the thrifty housewife complained of the small size of his ware, he always said,—
"Yes, Marm, they be small; but they be monstrous full."
Yes, the packing of the nest is close; but closer is the packing of the egg. "As full as an egg of meat" is a wise proverb.
Let us look at these first-fruits which the bountiful Spring hangs on our trees.
"To break the eggshell after the meat is out we are taught in our childhood, and practise it all our lives; which, nevertheless, is but a superstitious relict, according to the judgment of Pliny, and the intent hereof was to prevent witch-craft [to keep the fairies out]; for lest witches should draw or prick their names therein, and veneficiously mischief their persons, they broke the shell, as Dalecampius hath observed." This is what Sir Thomas Browne tells us about eggshells. And Dr. Wren adds, "Least they [the witches] perchance might use them for boates to sayle in by night." But I, who have no fear of witches, would not break them,—rather use them, try what an untold variety of forms we may make out of this delicate oval.
By a little skilful turning and reversing, putting on a handle, a lip here, a foot there, always following the sacred oval, we shall get a countless array of pitchers and vases, of perfect finished form, handsome enough to be the oval for a king's name. Should they attempt to copy our rare vases in finest Parian, alabaster, or jasper, their art would fail to hit the delicate tints and smoothness of this fine shell; and then those dots and dashes, careless as put on by a master's hand!
Are not these rare lines? They look to me as wise as hieroglyphics. Who knows what rhyme and reason are written there,—what subtile wisdom rounded into this small curve,—repeated on the breasts and backs of the birds,—their own notes, it may be, photographed on their swelling breasts like the musical notes on the harp-shell,—written in bright, almost audible colors on the petals of flowers,—harmonies, melodies, for ear and eye? Has this language, older than Erse, older than Sanscrit, ever got translated? I am afraid, dear, the key has been turned in the lock, and thrown into the well.