Part 10
Here is a forest primeval such as was never known east of the Cascade, not, at least, since that remote period when the sequoia flourished in Greenland. Man wanders, a mere pygmy, in a Brobdingnagian world of vast columnar trunks. This is the true home of the great conifers, the sequoia, silver fir, sugar-pine and Douglas spruce,--the magnificent of the earth. There is no wilderness of saplings as in the woods, and the general openness of the forest is remarkable, so that one has far-reaching vistas through splendid arches and is able to appreciate the size and character of individual trees.
Distinct from all others, the sequoias are a race apart. The big tree and the redwood of the Coast Range are the only surviving members of that ancient family, the giants of the foreworld. Their immense trunks might be the fluted columns of some noble order of architecture, surviving its builders like the marble temples of Greece,--columns three hundred feet high and thirty feet through at the base. Such a vast nave, such majestic aisles, such sublime spires, only the forest cathedrals know. Symmetrical silver firs, giant cedars and spruce grow side by side with sugar-pines of vast and irregular outline, whose huge branches, like outstretched arms, hold aloft the splendid cones--such is the ancient wood.
It is doubtful if these giant conifers are really as companionable as our eastern beeches and maples and oaks. The company is almost too grandiose; their dignity is overpowering. One could never, for instance, form such a pleasant acquaintance with a great sugar-pine as with a slender white birch. Fatherly white oaks and village elms seem to ally themselves with man as protecting deities of the wood. But this great race of trees has little affinity with our world. Be that as it may, there is perhaps no loftier association in Nature than contact with the forest. It is the force of a tremendous personality--calm, inspiring, majestic. Like the sea, it is not to be grasped in its entirety, and the mind responds to it, as some giant sugar-pine to the wind. These sequoias, which may easily be from two to four thousand years old, have seen men come and go as so many squirrels, or as bubbles on the stream; they have outlived empires, and may again.
As the forest inspires in sensitive minds the religious sentiment, so does it impose upon all alike, silence. Self-effacement is the law. Wild animals merge into their environment and have acquired protective coloration through force of necessity. The Indian has come to imitate them; it has become second nature to him to move stealthily, to stand and sit immovable for long at a time, to speak little. To the woodsman, silence is more congenial than speech; his wood life has made him alert; he has the habit of listening, and talk interferes.
Another influence is for sanity. It cannot fail to communicate a little of its imperturbable calm, that stable equilibrium of the granite ledge and the great tree trunks. There being none of the external and artificial excitations which constantly play on the mind in cities, a tremendous force of complex suggestion is removed, and the thought naturally works more simply and directly. The multiplicity of desires lies dormant. Everything conspires for simplicity, as in the city all things are in conspiracy against it.
A certain resourcefulness is the portion of the woodsman, a little of the independence and dexterity of the Indian, but more than this, an intellectual and spiritual resourcefulness. It devolves upon him in the solitude to become acquainted with himself--to be his own friend. A sturdy content grows out of this association with the forest. He does not require to be amused. It does not necessarily promote an unsocial state, but it does make him independent of much society. Thus the forest has its finer or spiritual influence.
Even greater is the suggestion of primitive vigor. The display of vast rude strength induces a robust state of mind quite as readily as the open-air life gives appetite and sleep. With the savage this influence is direct and may almost be classed as instinct. With the refined and cultivated mind it must first pierce the outer shell, the veneer, and filter into the subconscious depths, as the sunlight penetrates the forest twilight and brings to life dormant seeds lying there. A new class of ideas comes to life. The seeds of thought planted long ago in the nomadic period of evolution--in the hunter stage--germinate under the forest influence and send forth shoots. It is memory--the race-memory--coming blindly to the surface, and amounts to a reversion, not so great, however, but it may be wholesome. We speak of men being _animal_ when they are sensual or dissipated, unmindful that animals are neither, but eminently sane, rendering a complete and unconscious obedience to the laws of Nature. Some men make the mistake of trying to take the city to the wilderness, and, as a result, get neither one nor the other. The forest has its luxuries, and they consist, in a measure, of freedom from those things considered luxuries in the city.
Here in the Sierras we live in a wickiup, a sort of a roofless wigwam. The camp overlooks the forest in which the cañons and ranges are as folds and wrinkles. Neighbors are few, for animals conceal themselves, while song-birds are not properly of the forest, but seek the clearing and the settlement. An Oregon snowbird has her nest near by and comes hopping about on her marketing expeditions. A pair of lazuli-finches also live on the edge of the clearing, and the male is, perhaps, the most beautiful bird in the forest. His demure little mate is seldom seen, as she is preoccupied with her domestic cares, but he constantly flits about in the chaparral, where he gleams in the sunlight like a jewel.
One other neighbor we have, an Audubon hermit-thrush, which might be a voice merely--like Echo haunting the mountain--and no bird at all. He appears to sing in the twilight only, and his song, like that of all thrushes, is spiritual and unworldly. A single white lily, tall and branching, stands near the camp, and day after day opens its ghostly racemes in the dusk to white moths which come flitting out of the forest like winged Psyches; and with the opening of the spirit-like flower comes the vesper song of the thrush.
Night in the forest is a spell, an enchantment. It descends suddenly and envelopes us in darkness, tangible and real. The wickiup stands at the edge of a little clearing, and, as we roll ourselves in our blankets, we seem to float in inky blackness, while the pines are like beetling cliffs against the starlit heavens. Darkness and light confront each other; it is as if we hovered between them and had made our camp for the night on the borderland. But with the dawn, that luminous world has vanished and we are again under the familiar pines.
One is impressed most by the wonderful stillness of the night. Not only is the world blotted out in the enveloping darkness, but it is voiceless, and there prevails absolute silence. Rarely this is broken by the yapping of coyotes, or a dry twig snaps sharply under the foot of some animal.
Not until the wind rises does the forest recover its voice. During the day there is always music; it is as constant as noise in the city. Impalpable currents descend from the empyrean to caress only the tops of the tallest pines, coming no nearer to earth than this, and while all is silent below there arises a distant chant in the tree tops, which have been touched by an invisible hand and made to respond to moods of the sky. Full and resonant, yet with that muffled quality of tone which makes it appear always to come from a distance, the rhythmic force of this chant sways one like the vibrations of an orchestra. Starting at some center, as if at a signal, these tremulous waves of sound recede farther and farther into the forest and die away in a sigh.
Here the tendency grows on one to wander in the early morning and again in late afternoon, to become crepuscular, like the animals, and to stay in camp in the middle of the day. Deer do not stir abroad in the heat, nor do fish bite, nor birds sing. This love of dawn and twilight is partly inspired by fear of man, but it is none the less natural. At daybreak the deer go down the cañons to the salt-licks, as surreptitiously as nymphs going to bathe. It is their witching hour, as midnight is the owls'.
To arise at dawn should be an occasion; to make it usual would mean the sacrifice of the more subtle impressions, the mind is so readily blunted by the habitual.
Like a black mantle the great forest lies over the earth as I roll myself in my blankets beside the fire. That little flaring light appears to be the only one in this dark wilderness, reclaiming a minute portion of space and making it habitable. Wherever one may be in the forest, it is only necessary to gather a few dry sticks and strike a match. The signal summons the genii, servant of the woodsman. More properly one should use a flint, or rub two sticks together. He allies himself with man against the hosts of darkness and defies the wilderness; a merry fellow, his laugh may be heard in the crackling flames. All through the night he entertains with his merry gossip and with pictures he shows in the fire. At times he reveals his own glowing face in the embers, but quickly assumes the head of a bear or a lynx, or melts away in the flames, to reappear presently in another spot.
When I awake, the morning-star hangs low in the heavens like a great lamp, its light an infinitely pure and serene radiance with no suggestion of heat or combustion, made to appeal to some higher vision. A heap of cold gray ashes is all that is left of the fire, in the center a single glowing spot, which may have been the eye of the genii of the night. The black mantle has been lifted, and the earth is illumined by a faint glow, as if solely by the reflected rays of that planet. Unspeakably soft is this light, the forerunner of the dawn, in which the forest is bathed and from which one derives a peculiar satisfaction.
Imperceptibly, almost, it fades, and is replaced by one of a different quality--the light of day--which creeps over the world until at length one is aware that that other, which was neither of the night nor of the day, has gone. Long pale lines of fog and fleecy banks of clouds now evolve upon the horizon. The earth remains suffused in this cold light, which fascinates and still repels, making the ranges look distant and severe, and giving to the whole face of Nature an unsympathetic look. It is the beauty of marble, a Gorgon beauty, which chills the heart. In that scene is no note of human passion. Those pale clouds, cold and gray as the ashes of the fire, seem to lure to some beyond, as if they would draw one from the world of life and warmth to some region of cold and death.
Presently comes a faint blush in the sky and over the hills, a new warmth of light, as if blood now ran in those marble veins. It is the _foreglow_, which is to the sunrise what the afterglow is to the sunset. Color is again born into the world, and the earth is once more alive and sympathetic. As the sun rises, dawn, the exquisite dawn, the most ethereal thing that mortal eyes shall ever behold, flees away into the uttermost parts of space. The mystical, alluring quality slowly dies, and it is once more the matter-of-fact light of day.
With the appearance of the sun these subtle impressions vanish, like a dream vague and unreal. Nature reasserts herself in the robust sense of existence; now the smell of frying bacon, the comforting effect of the morning coffee in a tin cup, are the real and important things. Physical life is enough in itself--so concentrated, vigorous, aggressive it is. The mere breathing, seeing, tasting are more in themselves than is possible under other conditions. How good the resiny odor of the forest! How exhilarating the scene in its pure savagery! How stimulating the morning air! How the stream lures as I get down the trout-rod, and climbing out on a sugar-pine log cast a brown hackle on the swirling glassy flood!
THE SEA
The sea ever baffles description. It is a living thing, pulsating with energy, and, possessed of a subtle consciousness, elusive and full of moods--changeable as woman and as incomprehensible. Now it is tender and appealing; again distant and cold. Perhaps it is because of its essentially feminine traits that it so beguiles. Certainly it fascinates as nothing else fascinates in Nature.
There is what may be called a _sense_ of the sea, which is indefinable. No lesser body of water, no other aspect of Nature affords this. It is in the air, like a touch of autumn, and we know it as much through feeling as through seeing. The coast is saturated for some distance inland with this presence of the sea, much as the beach is soaked with salt water. It is music and poetry to the soul and as elusive as they, wrapping us in dreams and yielding fugitive glimpses of that which we may never grasp, but which skirts, like a beautiful phantom, the mind's horizon. Like music, it is an opiate, and unlocks for us new states of mind in which we wander, as in halls of alabaster and mother-of-pearl, but where, alas, we may not linger. We can as readily sound the ocean as fathom the feelings it inspires. It is too deep for thought. As often as the sea speaks to us of the birth of Venus and of Joy, so also does it remind of Prometheus bound and the thrall of Nature.
Who can recall those impressions of the sea which were his as a child--a relish, a vividness, perhaps never experienced in after life? What wonderful thing was the pure white sand; what fascinating objects the sea-shells--and the boom of the surf, what thrilling music! No longer is it that simple strain, but inwrought with hopes and fears and memories. The children on the beach play in an ocean of their own; we cannot put foot on their shore, try as we will. Sometimes, as the salty fragrance is wafted over the sands, one is on the point of regaining that lost consciousness, and then it eludes and is gone. Never again shall we find that alluring and altogether wonderful sea upon which we happened in childhood. Yet who knows but in some auspicious moment we may come upon one still more entrancing.
With an east wind the sea is always musical. It breaks forth in its solemn chant, as though the wind were an influence that awakened memories of the immeasurable past, and inspired this primitive song. From a distance it comes like a rhythmical murmur upon the horizon, and it is strange how this sound will fall upon unheeding ears, and then with what suddenness one becomes aware of it. At times it loses its rhythmical character and becomes a sort of recitative. One imagines the venerable sea to be muttering of its epic past--to be relating that wonderful saga.
Yesterday the sea was glass. It lay tranquil as if never again could its surface be ruffled. So indefinite was the sky-line it was difficult to tell which was sky and which water,--a dream-ocean, a charming vision, which was to dissolve like a mirage of the desert.
This morning how it was changed! Up from the shore came a muffled and ominous growl. As one approached, this ceased, and there was instead the spitting and hissing of little waves--a sound of irritation and suppressed anger. The sea was leaden, aggressive, formidable. It was as if some troubled spirit had entered there--it was possessed of a devil. This unrest is savage and terrible like that of a caged tiger. The eye turns with relief to the imperturbable rock, which seems to confine and restrain the angry waters. The granite rests in unalterable calm, sphinxlike, on the edge of the watery desert. It stands for the constant and enduring, as it forever confronts the inconstant and changeful sea. They are two opposing forces: the sea coy, arch, coquettish, now bewitching and full of her beautiful wiles, now disdainful and imperious, again mad, tempestuous, hurling herself in her wild passion; the granite grim, massive, unconquerable.
Late in the afternoon the wind is blowing from the north, the sky has cleared and the sea is sapphire, dotted with whitecaps; yesterday, opal, this morning leaden, and later, sapphire. It is no longer formidable, rather is it cold and distant. The _face_ of the waters is a peculiarly pertinent figure of speech, for the sea is as a face reflecting all moods. In the glare of noonday, ocean and landscape seem to discharge themselves of feeling,--that is to say, they are barren to the eye and unproductive of feeling in us. But in the atmosphere of sunset and twilight they are again expressive. The quality of light may be compared to the _timbre_ of sound. Sometimes--as at noon--it is like the blare of brass, and, again, it has the softness of wood-winds, the tenderness of violins and cellos.
The receding day carries with it the disquieting influences, and night exorcises the demons of unrest. They scurry away with the sunset clouds on the horizon like fleeing witches. As if in obedience to some silent command, the sea becomes passive. He must be distraught indeed who can look at it now without coming under the spell of the hour--the serene hour. It is as if the passion and strife of life had been succeeded by the beautiful calm of death. To gaze on the mute and motionless ocean at ebb-tide is to be inevitably inspired to reflection, so potent is the suggestion of repose. Apparently the forces of Nature have conspired together for peace.
Death? Nay, rather transfiguration, for now the sea is illumined by a golden radiance. Stretches of burnished copper and molten gold merge one into the other; areas again of liquid silver, and beyond, the vast ethereal blue. Out of the coves shadows come creeping and stealing over the water, silently advancing to overwhelm the rose and copper and gold, while these recede and slip out to sea, growing fainter and fainter until they are absorbed in the all-pervading dusk. In the succeeding darkness one beholds, not the sea, but a vast bottomless pit, Dantesque and terrible.
Above all else it is the immense vigor of the sea which appeals to us. We are made to feel the play of cosmic forces. The long stretch of rocky coast is rude and Titanic; the expanse of ocean suggests that chaos from which the earth has gradually been redeemed. The waters piling themselves up are as elemental and chaotic as nebulæ or the seething envelopes of the sun. It is incredible they should be hitched to the gentle moon, and should follow that pale phantom like a leashed panther, now purring, now growling, but obedient always. The mountains impress one with their age, the sea with its agelessness. Here at least is something which appears superior to Time. It is no more youth than it is age--the formless, without beginning and without end, but always that superabundant vigor, power, freedom.
Denuded woodland and disfigured landscape bring to mind that iron Necessity which it is not pleasant to see advertised. But the sea is unimproved. It is the universal solvent, and dissolves the trivial, the commonplace, the mean, and gives an heroic cast to whatever it touches. One needs, however, to observe it from the shore and to have that vantage which is derived from being on land. In mid-ocean it is too entirely dominant--there is nothing to afford contrast. It is like the moon--so fair at a distance, such desolation upon its surface. One can be alone on the mountains and find them friendly, but who would choose to be alone in mid-ocean? There is a sense of isolation, a disassociation, as if one had, in fact, severed connection with earthly affairs altogether; hour after hour and day after day the same inscrutable desert of water, which begins everywhere and ends nowhere.
Yet how inviting it appears when the glittering sunbeams dance on a gently rippling surface. It seems an expression of irrepressible gaiety as if all the joyousness in Nature had come to the surface here. The twinkling dance of the innocent waves--who can recall the tragedies now?
The gulls appear to enjoy some favoritism, as though they were kin to the sea--its very own. To them it is altogether friendly; they find it always congenial. Whether the breeze blows north or south, it is all the same. In the last gale it was next to impossible to keep one's feet in the full force of the wind, but the gulls sustained themselves with ease. Over the gray-green sea the clouds appeared to rest like a cowl. The thunder of the waves drowned all else and shut one off from the world; consciousness was swallowed up in the din and tumult. In vast mountainous billows the swirling waters rushed for the shore and dissolved in spray. I stood in the lee of the rocks, bracing myself against the gale--a reed shaken by the wind--and saw flocks of coots riding at ease in the maelstrom beyond. Always facing the wind, they sank into the troughs and rose again, were lost to view as the crests broke over them, and reappeared in the old position. Ships would have dragged their anchors where these coots rode at ease, anchored by heaven knows what power.
Where the surf broke with its terrible thunder, countless crabs, urchins, starfish and whelk reposed in the rockweed and Irish moss. Were they aware of the storm? Did the anemones shut their doors or open them wider in view of a feast?
The marvelous pools in which they live have no resemblance to the surface of the sea, but suggest the bottom of the deep--limpid, dark and still. Each is a world by itself, inhabited by a strange order of beings: dull nomads, which drift with the waves, or cling, they know not how, to something, they know not what. If there is any event in their life it is the rise of the tide. In all likelihood they do not know our day and night, are not impressed by these phenomena; but the flood is their day, the ebb their night. Small whelk stud the rich background of sea-mosses like precious stones, some gamboge, some orange, others white as marble or banded with black. There are colonies of sertularia tinted a delicate mauve, solitary sea-urchins of heliotrope, and starfish, some luminous pink, others deep rose-madder. These hues are characteristic of sea life, as of lichens and mushrooms and the lower orders in general; not crude colors, red and blue, but delicate gradations. Now and again a single jellyfish, stranded by the receding tide, a spectral diaphanous creature, hovers ghostlike in the liquid atmosphere of his strange world. It is all of an antediluvian and prehistoric character, associated with the beginning of things--with an age of fishes rather than an age of man. The deathless sea takes no note of the flight of time; it still brings forth only brood upon brood of slimy, goggle-eyed things.
What a harvest, this of the sea! After a storm all craft put out. The lobstermen in their dories take in the lobster-pots and replenish the bait, while the dory rises and sinks on the long swells. Fleets of mackerel boats and schooners bound for the Banks after cod and haddock creep along the horizon-line. On the beach men rake up the Irish moss, flung ashore in the storm, and spread it on old sails to bleach in the sun. Others haul kelp for the fields, while women gather driftwood. So great a resource is the ocean; so many gleaners there are.