Pastoral Days; or, Memories of a New England Year

by W. Hamilton Gibson

Above the wall, like an encampment of thatched wigwams, the corn-shocks lift their heads; a prospecting colony encamped among a field rich with outcroppings of gold—a wealth of great round nuggets all in sight. And were we to tear away that thatch, we might see where they have stowed away their accumulated grains of wealth. We hear their rustling whispers: “Hush! hush!” they seem to say to each other as we approach; but their wariness is gratuitous, for a tell-tale vine is creeping away upon the fence near-by, and has stopped to rest its golden burden on the summit of the wall, half hiding among the scarlet creepers.

Here yellow brakes abound, spreading their broad, triangular fronds on every side amid the brilliant berries of wild-rose, and pink leaves of blueberry. And here are thickets of black-alder, where every twig is studded with scarlet beads, that cling so close that even winter’s bluster cannot shake them off. No matter where we look in these October days, nature is burning itself away in a blaze of color that dazzles the eyes; and now we approach its very crowning touch.

I wish every one might see this gorgeous combination of oak and maples; see it and go no farther, for a further search were fruitless in finding its equal. It is the pride of the entire community; towns-people and visitors ride from miles around to see its final flush—a magnificent climax in the way of concentration of vivid color, in which nature seems to have grouped with distinct purpose and design, producing a piece of natural landscape-gardening such as no art could have approached. The background is a massive precipice of rock towering to the height of eighty feet, itself a perfect medley of tone.

The group is composed of eight maples, each a distinct contrast of pure color. In their midst a superb large oak presents one massive breadth of deep purple green; and spreading up one side like a flood of yellow light, a rock-maple lifts its splendid array of foliage. These two trees concentrate the effect, and the others are arranged around them like colors on a palette: one is a flaming scarlet, another beside it is always a rich green, even to the falling leaf—with only a single branch, that every year, even as early as August, persists in turning to a peculiar salmon pink; another, a red-maple, is so deep a red as to appear almost maroon, and its branches intermingle with the pale-pink verdure of another growing by its side. There is one that combines every intermediate color, from deep crimson to the palest saffron; while its neighbor flutters in the wind with every leaf a brilliant butterfly of pure green, with spots and splashes of deep carmine.

This whole assemblage of color fairly blazes in the landscape, and even from the top of Mount Pisgah, a half a mile away, it looks like a glowing coal dropped down upon a bed of smouldering ashes in the valley; for the surrounding meadow is thick-set with great gray rocks and crimson viburnum, as though it had caught fire from the flaming trees. What other country can boast the glory of a tree which, taken all in all, can hold its own beside our lovely maple? From the time when first it hangs its silken tassels to the awakening spring breeze until its autumn fire has burned away its leaves, it presents an everchanging phase that lends a distinct expression to American landscape. It affords us grateful shade in summer; and with its trickling bounty in the spring we can all unite in a hearty toast, “A health to the glorious maple.”

But there is another tree which should not be forgotten, and if once seen in a New England autumn landscape there is little danger of its escaping from the memory. Of course, I refer to the pepperidge, or tupelo, that nondescript among trees; for who ever saw two pepperidge-trees alike? They seem to scorn a reputation for symmetry, or even the idea of establishing among themselves the recognition of a type of character. Novelty or grotesqueness is their only aim, and they hit the bull’s-eye every time. There is one I have in mind that has always been a perfect curiosity. Its height is fully seventy feet, and its crown is as flat as though cut off with a mammoth pair of pruning-shears. The central trunk runs straight up to the summit, from which it squirms off into six or seven snake-like branches, that dip downward and writhe among the other limbs, all falling in the same direction. One gets the impression, on looking at it, that originally it might have been a respectable-looking tree, but that in some rude storm in its early days it had been struck by lightning, torn up by the roots, and afterward had taken root at the top. The tupelo, whenever seen, is always one of our most picturesque trees, and a never-failing source of surprise, twisting and turning into some unheard-of shape, and seeming always to say, “There! beat that if you can!” Near the coast it assumes the form of a crazy Italian pine, with spindling trunk and massive head of foliage. Sometimes it divides in the middle, like an hour-glass, and again mimics a fir-tree in caricature; but he who would keep track of the acrobatic capers of the tupelo would have his hands full. Whatever its shape, however, its brilliant, glossy crimson foliage forms one of the most striking features of our October landscape.

But I believe we were on the road to that carding-mill. We had almost forgotten it; and now, as we look ahead, we see the old lumber-shed that marks the upper ledge of Devil’s Hollow. From this old shed a trout-brook plunges through a series of rocky terraces, now winding among prostrate moss-grown trunks, now gurgling through the bare roots of great white birches, or spreading in a swift, glassy sheet as it pours across some broad shelving rock, and plunges from its edge in a filmy water-fall. It roars pent up in narrow cañons, and out again it swirls in a smooth basin worn in the solid rock. At almost every rod or two along its precipitous course there is a mill somewhere hid among the trees—queer, quaint little mills, some built up on high stone walls, others fed with trickling flumes which span from rock to rock, supporting on every beam a rounded cushion of velvety green moss, and hanging a fringe of ferns from almost every crevice. And one there is in ruins, fallen from its lofty perch, and piled in chaos in the stream. There are saw-mills, and shook-mills, and carding-mills, seven altogether in this one descent of about three hundred feet. The water enters the ravine as pure as crystal; but in its wild booming through race-ways, dams, and water-wheels, it gradually assumes a rich sienna hue from the débris of sawdust everywhere along its course. The interior of the ravine is musical with the trebles of the falling water and the accompaniment of the rumbling mills. Tiny rainbows gleam beneath the water-falls, and swarms of glistening bubbles and little islands of saffron-colored foam float away upon the dark-brown eddies.

At last we reach the carding-mill, which is the lowest of them all—in every sense, it seems, for it is as I had feared: the flume is but a pile of brown and mouldy timbers in the bed of the stream, and the old box-wheel has rotted and fallen from its spokes, almost obscured beneath a rank growth of weeds. No sound of buzzing teasels, no rumbling of the water-wheel, no happy carder singing at his work: nothing—but a couple of boys, kneeling in a corner, sucking cider through a straw. Yes, the old mill has fallen from grace; but what else might one expect from a mill in “Devil’s Hollow,” where all its neighbors are engaged in making hogshead staves, and the very water has turned to ruddy wine?