Chapter 3

The chickadee is indeed a truly Emersonian bird, and the poet shows him to be both a hero and a philosopher. Hardy, active, social, a winter bird no less than a summer, a defier of both frost and heat, lover of the pine-tree, and diligent searcher after truth in the shape of eggs and larvae of insects, preeminently a New England bird, clad in black and ashen gray, with a note the most cheering and reassuring to be heard in our January woods,--I know of none other of our birds so well calculated to captivate the Emersonian muse.

Emerson himself is a northern hyperborean genius,--a winter bird with a clear, saucy, cheery call, and not a passionate summer songster. His lines have little melody to the ear, but they have the vigor and distinctness of all pure and compact things. They are like the needles of the pine--"the snow loving pine"--more than the emotional foliage of the deciduous trees, and the titmouse becomes them well:--

"Up and away for life! be fleet!-- The frost-king ties my fumbling feet, Sings in my ears, my hands are stones, Curdles the blood to the marble bones, Tugs at the heart-strings, numbs the sense, And hems in life with narrowing fence. Well, in this broad bed lie and sleep,-- The punctual stars will vigil keep,-- Embalmed by purifying cold; The wind shall sing their dead march old, The snow is no ignoble shroud, The moon thy mourner, and the cloud.

"Softly,--but this way fate was pointing, 'T was coming fast to such anointing, When piped a tiny voice hard by, Gay and polite, a cheerful cry, _Chick-chickadeedee!_ saucy note, Out of sound heart and merry throat, As if it said 'Good day, good sir! Fine afternoon, old passenger! Happy to meet you in these places, Where January brings few faces.'

"This poet, though he lived apart, Moved by his hospitable heart, Sped, when I passed his sylvan fort, To do the honors of his court, As fits a feathered lord of land; Flew near, with soft wing grazed my hands Hopped on the bough, then darting low, Prints his small impress on the snow, Shows feats of his gymnastic play, Head downward, clinging to the spray.

"Here was this atom in full breath, Hurling defiance at vast death; This scrap of valor just for play Fronts the north-wind in waistcoat gray, As if to shame my weak behavior; I greeted loud my little savior, 'You pet! what dost here? and what for? In these woods, thy small Labrador, At this pinch, wee San Salvador! What fire burns in that little chest, So frolic, stout, and self-possest? Henceforth I wear no stripe but thine; Ashes and jet all hues outshine. Why are not diamonds black and gray, To ape thy dare-devil array? And I affirm, the spacious North Exists to draw thy virtue forth. I think no virtue goes with size; The reason of all cowardice Is, that men are overgrown, And, to be valiant, must come down To the titmouse dimension.'

. . . . . . . .

"I think old Caesar must have heard In northern Gaul my dauntless bird, And, echoed in some frosty wold, Borrowed thy battle-numbers bold. And I will write our annals new And thank thee for a better clew. I, who dreamed not when I came here To find the antidote of fear, Now hear thee say in Roman key, _Poean! Veni, vidi, vici."_

A late bird-poem, and a good one of its kind, is Celia Thaxter's "Sandpiper," which recalls Bryant's "Water-Fowl" in its successful rendering of the spirit and atmosphere of the scene, and the distinctness with which the lone bird, flitting along the beach, is brought before the mind. It is a woman's or a feminine poem, as Bryant's is characteristically a man's.

The sentiment or feeling awakened by any of the aquatic fowls is preeminently one of loneliness. The wood duck which your approach starts from the pond or the marsh, the loon neighing down out of the April sky, the wild goose, the curlew, the stork, the bittern, the sandpiper, awaken quite a different train of emotions from those awakened by the land-birds. They all have clinging to them some reminiscence and suggestion of the sea. Their cries echo its wildness and desolation; their wings are the shape of its billows.

Of the sandpipers there are many varieties, found upon the coast and penetrating inland along the rivers and water-courses, one of the most interesting of the family, commonly called the "tip-up," going up all the mountain brooks and breeding in the sand along their banks; but the characteristics are the same in all, and the eye detects little difference except in size.

The walker on the beach sees it running or flitting before him, following up the breakers and picking up the aquatic insects left on the sands; and the trout-fisher along the farthest inland stream likewise intrudes upon its privacy. Flitting along from stone to stone seeking its food, the hind part of its body "teetering" up and down, its soft gray color blending it with the pebbles and the rocks, or else skimming up or down the stream on its long, convex wings, uttering its shrill cry, the sandpiper is not a bird of the sea merely; and Mrs. Thaxter's poem is as much for the dweller inland as for the dweller upon the coast:--

THE SANDPIPER

Across the narrow beach we flit, One little sandpiper and I; And fast I gather, bit by bit, The scattered driftwood bleached and dry. The wild waves reach their hands for it, The wild wind raves, the tide runs high, As up and down the beach we flit,-- One little sandpiper and I.

Above our heads the sullen clouds Scud black and swift across the sky; Like silent ghosts in misty shrouds Stand out the white lighthouses high. Almost as far as eye can reach I see the close-reefed vessels fly, As fast we flit along the beach,-- One little sandpiper and I.

I watch him as he skims along, Uttering his sweet and mournful cry; He starts not at my fitful song, Or flash of fluttering drapery; He has no thought of any wrong; He scans me with a fearless eye. Stanch friends are we, well tried and strong, The little sandpiper and I.

Comrade, where wilt thou be to-night When the loosed storm breaks furiously? My driftwood fire will burn so bright! To what warm shelter canst thou fly? I do not fear for thee, though wroth The tempest rushes through the sky; For are we not God's children both, Thou, little sandpiper, and I?

Others of our birds have been game for the poetic muse, but in most cases the poets have had some moral or pretty conceit to convey, and have not loved the bird first. Mr. Lathrop preaches a little in his pleasant poem, "The Sparrow," but he must some time have looked upon the bird with genuine emotion to have written the first two stanzas:--

"Glimmers gay the leafless thicket Close beside my garden gate, Where, so light, from post to wicket, Hops the sparrow, blithe, sedate: Who, with meekly folded wing, Comes to sun himself and sing.

"It was there, perhaps, last year, That his little house he built; For he seems to perk and peer, And to twitter, too, and tilt The bare branches in between, With a fond, familiar mien."

The bluebird has not been overlooked, and Halleek, Longfellow, and Mrs. Sigourney have written poems upon him, but from none of them does there fall that first note of his in early spring,--a note that may be called the violet of sound, and as welcome to the ear, heard above the cold, damp earth; as is its floral type to the eye a few weeks later Lowell's two lines come nearer the mark:--

"The bluebird, shifting his light load of song From post to post along the cheerless fence."

Or the first swallow that comes twittering up the southern valley, laughing a gleeful, childish laugh, and awakening such memories in the heart, who has put him in a poem? So the hummingbird, too, escapes through the finest meshes of rhyme.

The most melodious of our songsters, the wood thrush and the hermit thrush,--birds whose strains, more than any others, express harmony and serenity,--have not yet, that I am aware, had reared to them their merited poetic monument, unless, indeed, Whitman has done this service for the hermit thrush in his "President Lincoln's Burial Hymn." Here the threnody is blent of three chords, the blossoming lilac, the evening star, and the hermit thrush, the latter playing the most prominent part throughout the composition. It is the exalting and spiritual utterance of the "solitary singer" that calms and consoles the poet when the powerful shock of the President's assassination comes upon him, and he flees from the stifling atmosphere and offensive lights and conversation of the house,--

"Forth to hiding, receiving night that talks not, Down to the shores of the water, the path by the swamp in the dimness, To the solemn shadowy cedars and ghostly pines so still."

Numerous others of our birds would seem to challenge attention by their calls and notes. There is the Maryland yellowthroat, for instance, standing in the door of his bushy tent, and calling out as you approach, _"which way, sir! which way, sir!"_ If he says this to the ear of common folk, what would he not say to the poet? One of the peewees says _"stay there!"_ with great emphasis. The cardinal grosbeak calls out _"what cheer" "what cheer;"_ " the bluebird says _"purity," "purity," "purity;"_ the brown thrasher, or ferruginous thrush, according to Thoreau, calls out to the farmer planting his corn, _"drop it," "drop it," "cover it up," "cover it up"_ The yellow-breasted chat says _"who," "who"_ and _"tea-boy"_ What the robin says, caroling that simple strain from the top of the tall maple, or the crow with his hardy haw-haw, or the pedestrain meadowlark sounding his piercing and long-drawn note in the spring meadows, the poets ought to be able to tell us. I only know the birds all have a language which is very expressive, and which is easily translatable into the human tongue.

II TOUCHES OF NATURE

I

WHEREVER Nature has commissioned one creature to prey upon another, she has preserved the balance by forewarning that other creature of what she has done. Nature says to the cat, "Catch the mouse," and she equips her for that purpose; but on the selfsame day she says to the mouse, "Be wary,--the cat is watching for you." Nature takes care that none of her creatures have smooth sailing, the whole voyage at least. Why has she not made the mosquito noiseless and its bite itchless? Simply because in that case the odds would be too greatly in its favor. She has taken especial pains to enable the owl to fly softly and silently, because the creatures it preys upon are small and wary, and never venture far from their holes. She has not shown the same caution in the case of the crow, because the crow feeds on dead flesh, or on grubs and beetles, or fruit and grain, that do not need to be approached stealthily. The big fish love to cat up the little fish, and the little fish know it, and, on the very day they are hatched, seek shallow water, and put little sandbars between themselves and their too loving parents.

How easily a bird's tail, or that of any fowl, or in fact any part of the plumage, comes out when the hold of its would-be capturer is upon this alone; and how hard it yields in the dead bird! No doubt there is relaxation in the former case. Nature says to the pursuer, "Hold on," and to the pursued, "Let your tail go." What is the tortuous, zigzag course of those slow-flying moths for but to make it difficult for the birds to snap them up? The skunk is a slow, witless creature, and the fox and lynx love its meat; yet it carries a bloodless weapon that neither likes to face.

I recently heard of an ingenious method a certain other simple and slow-going creature has of baffling its enemy. A friend of mine was walking in the fields when he saw a commotion in the grass a few yards off. Approaching the spot, he found a snake--the common garter snake--trying to swallow a lizard. And how do you suppose the lizard was defeating the benevolent designs of the snake? By simply taking hold of its own tail and making itself into a hoop. The snake went round and round, and could find neither beginning nor end. Who was the old giant that found himself wrestling with Time? This little snake had a tougher customer the other day in the bit of eternity it was trying to swallow.

The snake itself has not the same wit, because I lately saw a black snake in the woods trying to swallow the garter snake, and he had made some headway, though the little snake was fighting every inch of the ground, hooking his tail about sticks and bushes, and pulling back with all his might, apparently not liking the look of things down there at all. I thought it well to let him have a good taste of his own doctrines, when I put my foot down against further proceedings.

This arming of one creature against another is often cited as an evidence of the wisdom of Nature, but it is rather an evidence of her impartiality. She does not care a fig more for one creature than for another, and is equally on the side of both, or perhaps it would be better to say she does not care a fig for either. Every creature must take its chances, and man is no exception. We can ride if we know how and are going her way, or we can be run over if we fall or make a mistake. Nature does not care whether the hunter slay the beast or the beast the hunter; she will make good compost of them both, and her ends are prospered whichever succeeds.

"If the red slayer think he slays, Or if the slain think he is slain, They know not well the subtle ways I keep, and pass, and turn again."

What is the end of Nature? Where is the end of a sphere? The sphere balances at any and every point. So everything in Nature is at the top, and yet no _one_ thing is at the top.

She works with reference to no measure of time, no limit of space, and with an abundance of material, not expressed by exhaustless. Did you think Niagara a great exhibition of power? What is that, then, that withdraws noiseless and invisible in the ground about, and of which Niagara is but the lifting of the finger?

Nature is thoroughly selfish, and looks only to her own ends. One thing she is bent upon, and that is keeping up the supply, multiplying endlessly and scattering as she multiplies. Did Nature have in view our delectation when she made the apple, the peach, the plum, the cherry? Undoubtedly; but only as a means to her own private ends. What a bribe or a wage is the pulp of these delicacies to all creatures to come and sow their seed! And Nature has taken care to make the seed indigestible, so that, though the fruit be eaten, the germ is not, but only planted.

God made the crab, but man made the pippin; but the pippin cannot propagate itself, and exists only by violence and usurpation. Bacon says, "It is easier to deceive Nature than to force her," but it seems to me the nurserymen really force her. They cut off the head of a savage and clap on the head of a fine gentleman, and the crab becomes a Swaar or a Baldwin. Or is it a kind of deception practiced upon Nature, which succeeds only by being carefully concealed? If we could play the same tricks upon her in the human species, how the great geniuses could be preserved and propagated, and the world stocked with them! But what a frightful condition of things that would be! No new men, but a tiresome and endless repetition of the old ones,--a world perpetually stocked with Newtons and Shakespeares!

We say Nature knows best, and has adapted this or that to our wants or to our constitution,--sound to the ear, light and color to the eye; but she has not done any such thing, but has adapted man to these things. The physical cosmos is the mould, and man is the molten metal that is poured into it. The light fashioned the eye, the laws of sound made the ear; in fact, man is the outcome of Nature and not the reverse. Creatures that live forever in the dark have no eyes; and would not any one of our senses perish and be shed, as it were, in a world where it could not be used?

II

It is well to let down our metropolitan pride a little. Man thinks himself at the top, and that the immense display and prodigality of Nature are for him. But they are no more for him than they are for the birds and beasts, and he is no more at the top than they are. He appeared upon the stage when the play had advanced to a certain point, and he will disappear from the stage when the play has reached another point, and the great drama will go on without him. The geological ages, the convulsions and parturition throes of the globe, were to bring him forth no more than the beetles. Is not all this wealth of the seasons, these solar and sidereal influences, this depth and vitality and internal fire, these seas, and rivers, and oceans, and atmospheric currents, as necessary to the life of the ants and worms we tread under foot as to our own? And does the sun shine for me any more than for yon butterfly? What I mean to say is, we cannot put our finger upon this or that and say, Here is the end of Nature. The Infinite cannot be measured. The plan of Nature is so immense,--but she has no plan, no scheme, but to go on and on forever. What is size, what is time, distance, to the Infinite? Nothing. The Infinite knows no time, no space, no great, no small, no beginning, no end.

I sometimes think that the earth and the worlds are a kind of nervous ganglia in an organization of which we can form no conception, or less even than that. If one of the globules of blood that circulate in our veins were magnified enough million times, we might see a globe teeming with life and power. Such is this earth of ours, coursing in the veins of the Infinite. Size is only relative, and the imagination finds no end to the series either way.

III

Looking out of the car window one day, I saw the pretty and unusual sight of an eagle sitting upon the ice in the river, surrounded by half a dozen or more crows. The crows appeared as if looking up to the noble bird and attending his movements. "Are those its young?" asked a gentleman by my side. How much did that man know--not about eagles, but about Nature? If he had been familiar with geese or hens, or with donkeys, he would not have asked that question. The ancients had an axiom that he who knew one truth knew all truths; so much else becomes knowable when one vital fact is thoroughly known. You have a key, a standard, and cannot be deceived. Chemistry, geology, astronomy, natural history, all admit one to the same measureless interiors.

I heard a great man say that he could see how much of the theology of the day would fall before the standard of him who had got even the insects. And let any one set about studying these creatures carefully, and he will see the force of the remark. We learn the tremendous doctrine of metamorphosis from the insect world; and have not the bee and the ant taught man wisdom from the first? I was highly edified the past summer by observing the ways and doings of a colony of black hornets that established themselves under one of the projecting gables of my house. This hornet has the reputation of being a very ugly customer, but I found it no trouble to live on the most friendly terms with her. She was as little disposed to quarrel as I was. She is indeed the eagle among hornets, and very noble and dignified in her bearing. She used to come freely into the house and prey upon the flies. You would hear that deep, mellow hum, and see the black falcon poising on wing, or striking here and there at the flies, that scattered on her approach like chickens before a hawk. When she had caught one, she would alight upon some object and proceed to dress and draw her game. The wings were sheared off, the legs cut away, the bristles trimmed, then the body thoroughly bruised and broken. When the work was completed, the fly was rolled up into a small pellet, and with it under her arm the hornet flew to her nest, where no doubt in due time it was properly served up on the royal board. Every dinner inside these paper walls is a state dinner, for the queen is always present.

I used to mount the ladder to within two or three feet of the nest and observe the proceedings. I at first thought the workshop must be inside,--a place where the pulp was mixed, and perhaps treated with chemicals; for each hornet, when she came with her burden of materials, passed into the nest, and then, after a few moments, emerged again and crawled to the place of building. But I one day stopped up the entrance with some cotton, when no one happened to be on guard, and then observed that, when the loaded hornet could not get inside, she, after some deliberation, proceeded to the unfinished part and went forward with her work. Hence I inferred that maybe the hornet went inside to report and to receive orders, or possibly to surrender her material into fresh hands. Her career when away from the nest is beset with dangers; the colony is never large, and the safe return of every hornet is no doubt a matter of solicitude to the royal mother.

The hornet was the first paper-maker, and holds the original patent. The paper it makes is about like that of the newspaper; nearly as firm, and made of essentially the same material,--woody fibres scraped from old rails and boards. And there is news on it, too, if one could make out the characters.

When I stopped the entrance with cotton, there was no commotion or excitement, as there would have been in the case of yellow-jackets. Those outside went to pulling, and those inside went to pushing and chewing. Only once did one of the outsiders come down and look me suspiciously in the face, and inquire very plainly what my business might be up there. I bowed my head, being at the top of a twenty-foot ladder, and had nothing to say.

The cotton was chewed and moistened about the edges till every fibre was loosened, when the mass dropped. But instantly the entrance was made smaller, and changed so as to make the feat of stopping it more difficult.

IV

There are those who look at Nature from the standpoint of conventional and artificial life,--from parlor windows and through gilt-edged poems,--the sentimentalists. At the other extreme are those who do not look at Nature at all, but are a grown part of her, and look away from her toward the other class,--the backwoodsmen and pioneers, and all rude and simple persons. Then there are those in whom the two are united or merged,--the great poets and artists. In them the sentimentalist is corrected and cured, and the hairy and taciturn frontiersman has had experience to some purpose. The true poet knows more about Nature than the naturalist because he carries her open secrets in his heart. Eckermann could instruct Goethe in ornithology, but could not Goethe instruct Eckermann in the meaning and mystery of the bird? It is my privilege to number among my friends a man who has passed his life in cities amid the throngs of men, who never goes to the woods or to the country, or hunts or fishes, and yet he is the true naturalist. I think he studies the orbs. I think day and night and the stars, and the faces of men and women, have taught him all there is worth knowing.