Wood-folk comedies

by William J. Long

When I struggled out of the pool, the white spot floated up a hill in front of me, noiselessly as an owl, and vanished in a thicket of fir. As I smashed in after it, out it blew on the opposite side, making me feel creepy again till a twig cracked. That was the first sound I heard, and it told me that the thing had legs long enough to reach the ground. Twice afterward I saw it close ahead, broadening, narrowing, drifting away; but except that it was an animal, and a large one, I had no notion of what I was following. Then it vanished for good, and on my right was a gleam of the lake. I had my bearings then, and turning to the left I soon found the lost trail, making an Indian compass of broken twigs as I went.

At daybreak I was back at the place and following my Indian compass. Near the fir thicket I found the track of a large deer, but was unable to follow it on the hard ground. An hour later, as I watched the lake shore, a buck white as snow stepped out. He was an albino, the first I had ever met, and to this day I have never again seen so magnificent a specimen. It was he, undoubtedly, who had played with me in the dark woods, waiting till I came close to him, then moving on to watch my flounderings from another vantage ground. The widening of the white spot, which had so completely mystified me, was due to a momentary glimpse of his broadside as he turned away.

A second reason for the animal’s boldness has already been suggested; namely, that at night a man’s feeling undergoes a change. He is no longer confident of his superior power; as eyes fail him he grows doubtful of himself; and the wild animal is like certain dogs in that he seems able to recognize one’s mental attitude. Hunters who call moose will tell you that the bulls are extraordinarily wary after dark, and that is often true; but for this wariness the hunter, not the moose, is responsible. In the first place, your modern hunter goes out with a guide; and two men make ten times as much noise as one, and spread far more terror. Next, the hunter is eager to see, to shoot, to kill; his excitement gets into his skin, gets into the guide and the call, and a sensitive moose probably feels this contagion of excitement as he draws near it; though it might be hard to explain why or how. As Simmo the Indian says, “Moose don’t know how he know somet’ing; he jus’ know.”

I think Simmo is right, and that he has an explanation of the fact that a sportsman who is most keen to kill in the calling season is often the one who must wait longest for his chance; while to the man who goes out unarmed opportunity comes with both hands full. Though I am a very poor caller, measured by Simmo’s art, I have seldom found much difficulty in bringing out a bull; but this may be due to the fact that most of my calling has been done far from settlements, in regions where moose are seldom hunted. Yet even in Maine, where moose are literally hunted to death, during the summer or “closed” season they have no more fear than in the remote wilderness. If you meet one on the trail at night, he may come quite as near as you care to have him; and in the early part of the mating season it is not unusual to have two or three bulls answer the call. After the hunting season opens, it is much more difficult to deceive the ungainly brutes; but the difficulty is largely due to the fact that, because of the law which protects cows and so makes them abundant, the bulls are already mated and no longer interested in your wailing.

In the wilder region of northern New Brunswick, the first time I ever tried to call moose a truculent old bull burst out of the woods and chased me into my canoe. On another occasion I was sitting on a big rock in the moonlight, “talking” to a young bull that answered but was shy of showing himself, when a huge brute with magnificent antlers came silently behind me, and would, I think, have poked me off my rock had I not made a hasty exit. As I have never done any shooting at such times, I do not know whether bulls would come as readily to my call if there were a rifle behind it; but I do know, from repeated experiment, that when I take others with me it is much harder to bring a bull into the open than when I call alone.

Perhaps the chief reason for the fearlessness of wild beasts at night is that their senses then become so acute as to produce almost perfect self-reliance. In the daytime your eyes are better than theirs; but after nightfall they have you at a disadvantage, and they seem to know it. Not only do their eyes or ears tell them of your coming, but their nostrils seem to detect your very quality or condition. This is not theory, but experience. Repeatedly animals that run from me by day have at night stood quietly beside the trail till I was almost upon them.

The nose of a beast is wonderful enough at any hour; but at night it is to him what a lamp is to you, because the moist air is then laden with odors which are quenched by the dry sunlight. No sooner does twilight fall than the forest becomes a huge bouquet. If you test the matter, you can soon learn to recognize every tree or shrub you pass by its characteristic fragrance. You can wind a beast before you see him, and can pick up from the dewy grass the musky odor of a deer, the heavy smell of a moose, the pungent reek of a fox, long after one of these animals has crossed the trail. Curiously enough, the pine and balsam needles call in their odorous messengers with the night; many flowers suspend their fragrant activity when they close their petals, and not till the sun rises will they be known once more.

From such human experience one may judge what the sense of smell must be to wild animals, which are better endowed in this respect, and which daily cultivate a gift that we neglect. Watch any beast, your dog for example, and note that he does not trust even his master till his nose brings its perfect message. When a deer with his exquisite nostrils passes through the night woods, finding at every step odors which invite or check or warn him, the sensation must be like that of a keen-eyed man who looks upon a landscape flooded with sunshine. Because a man trusts only his sight (the least trustworthy of the senses) he is timid in the darkness, and grows bold with the morning. For the same psychological reason an animal, which trusts his nose, is wary in the dry sunshine when odors are faintest, but grows confident when night falls and the woods fill with messages that he understands perfectly.

The night is better also for hearing. Sounds travel farther, more clearly and more accurately in the elastic air, and the animal’s keen ears are then like another pair of eyes. Even a man’s ears grow sensitive to the meaning of sounds that are mere cries or noises by day, calling of owls far or near, hunting calls, assembly calls, food calls, rain calls; hail or farewell of loons, answered by hail or farewell from another lake far away over the hills; eager or querulous barking of a mother fox, calling her cubs to the feast or chiding them for their clumsy hunting. Above these and a hundred other wild calls is that rushing sound of music which sweeps over the listening night woods, like the surge and swell of a mighty organ at an immeasurable distance.

It is commonly believed that this thrilling harmony of the night is from within, from overstrained nerves of the ear; but I think, on the contrary, that it is wholly objective, as real as the vibration of a wind harp or a ’cello string or any other instrument. I take one person into the big woods at night, and say to him: “Listen; what do you hear?” And he answers, “I hear nothing.” I take another person, and say: “Listen; what do you hear?” And a great wonder comes into his face as he answers: “I hear music. What is it?” When I am alone in the woods my ears are always tense; but on some nights the rushing harmony is everywhere, while on other nights I cannot hear it, listen as I will. Only when conditions are just right, when the air is like a stretched wire, do the woods begin to sing. Then from a distance comes a faint vibration; from the waterfall, it may be, or from some mountain edge purring under a current of air, or from ten-million trembling needles in a swaying grove of pines. The hanging leaves feel it and begin to stir rhythmically; shells of hardwood, dry and resonant as violins, fall to humming with the movement, and suddenly all the forest is musical. The strangest thing about this eerie, wonderful melody is that, when you change position to hear better, it vanishes altogether, and hours may pass before you hear it again.