Fresh Fields

Shakespeare says of the martlet, that it

"Builds in the weather on the outward wall,Even in the force and road of casualty."

I noticed that a pair had built their nest on an iron bracket under the eaves of a building opposite our inn, which proved to be in the "road of casualty;" for one day the painters began scraping the building, preparatory to giving it a new coat of paint, and the "procreant cradle" was knocked down. The swallows did not desert the place, however, but were at work again next morning before the painters were. The Scotch, by the way, make a free use of paint. They even paint their tombstones. Most of them, I observed, were brown stones painted white. Carlyle's father once sternly drove the painters from his door when they had been summoned by the younger members of his family to give the house a coat "o' pent." "Ye can jist pent the bog wi' yer ashbaket feet, for ye'll pit nane o' yer glaur on ma door." But the painters have had their revenge at last, and their "glaur" now covers the old man's tombstone.

One day I visited a little overgrown cemetery about a mile below the village, toward Kirtlebridge, and saw many of the graves of the old stock of Carlyles, among them some of Carlyle's uncles. This name occurs very often in those old cemeteries; they were evidently a prolific and hardy race. The name Thomas is a favorite one among them, insomuch that I saw the graves and headstones of eight Thomas Carlyles in the two graveyards. The oldest Carlyle tomb I saw was that of one John Carlyle, who died in 1692. The inscription upon his stone is as follows: —

"Heir Lyes John Carlyle of Penerssaughs, who departed this life ye 17 of May 1692, and of age 72, and His Spouse Jannet Davidson, who departed this life Febr. ye 7, 1708, and of age 73. Erected by John, his son."

The old sexton, whom I frequently saw in the churchyard, lives in the Carlyle house. He knew the family well, and had some amusing and characteristic anecdotes to relate of Carlyle's father, the redoubtable James, mainly illustrative of his bluntness and plainness of speech. The sexton pointed out, with evident pride, the few noted graves the churchyard held; that of the elder Peel being among them. He spoke of many of the oldest graves as "extinct;" nobody owned or claimed them; the name had disappeared, and the ground was used a second time. The ordinary graves in these old burying places appear to become "extinct" in about two hundred years. It was very rare to find a date older than that. He said the "Cairls" were a peculiar set; there was nobody like them. You would know them, man and woman, as soon as they opened their mouths to speak; they spoke as if against a stone wall. (Their words hit hard.) This is somewhat like Carlyle's own view of his style. "My style," he says in his note-book, when he was thirty-eight years of age, "is like no other man's. The first sentence bewrays me." Indeed, Carlyle's style, which has been so criticised, was as much a part of himself, and as little an affectation, as his shock of coarse yeoman hair and bristly beard and bleared eyes were a part of himself; he inherited them. What Taine calls his barbarisms was his strong mason sire cropping out. He was his father's son to the last drop of his blood, a master builder working with might and main. No more did the former love to put a rock face upon his wall than did the latter to put the same rock face upon his sentences; and he could do it, too, as no other writer, ancient or modern, could.

I occasionally saw strangers at the station, which is a mile from the village, inquiring their way to the churchyard; but I was told there had been a notable falling off of the pilgrims and visitors of late. During the first few months after his burial, they nearly denuded the grave of its turf; but after the publication of the Reminiscences, the number of silly geese that came there to crop the grass was much fewer. No real lover of Carlyle was ever disturbed by those Reminiscences; but to the throng that run after a man because he is famous, and that chip his headstone or carry away the turf above him when he is dead, they were happily a great bugaboo.

A most agreeable walk I took one day down to Annan. Irving's name still exists there, but I believe all his near kindred have disappeared. Across the street from the little house where he was born this sign may be seen: "Edward Irving, Flesher." While in Glasgow, I visited Irving's grave, in the crypt of the cathedral, a most dismal place, and was touched to see the bronze tablet that marked its site in the pavement bright and shining, while those about it, of Sir this or Lady that, were dull and tarnished. Did some devoted hand keep it scoured, or was the polishing done by the many feet that paused thoughtfully above this name? Irving would long since have been forgotten by the world had it not been for his connection with Carlyle, and it was probably the lustre of the latter's memory that I saw reflected in the metal that bore Irving's name. The two men must have been of kindred genius in many ways, to have been so drawn to each other, but Irving had far less hold upon reality; his written word has no projectile force. It makes a vast difference whether you burn gunpowder on a shovel or in a gun-barrel. Irving may be said to have made a brilliant flash, and then to have disappeared in the smoke.

Some men are like nails, easily drawn; others are like rivets, not drawable at all. Carlyle is a rivet, well headed in. He is not going to give way, and be forgotten soon. People who differed from him in opinion have stigmatized him as an actor, a mountebank, a rhetorician; but he was committed to his purpose and to the part he played with the force of gravity. Behold how he toiled! He says, "One monster there is in the world, – the idle man." He did not merely preach the gospel of work; he was it, – an indomitable worker from first to last. How he delved! How he searched for a sure foundation, like a master builder, fighting his way through rubbish and quicksands till he reached the rock! Each of his review articles cost him a month or more of serious work. "Sartor Resartus" cost him nine months, the "French Revolution" three years, "Cromwell" four years, "Frederick" thirteen years. No surer does the Auldgarth bridge, that his father helped build, carry the traveler over the turbulent water beneath it, than these books convey the reader over chasms and confusions, where before there was no way, or only an inadequate one. Carlyle never wrote a book except to clear some gulf or quagmire, to span and conquer some chaos. No architect or engineer ever had purpose more tangible and definite. To further the reader on his way, not to beguile or amuse him, was always his purpose. He had that contempt for all dallying and toying and lightness and frivolousness that hard, serious workers always have. He was impatient of poetry and art; they savored too much of play and levity. His own work was not done lightly and easily, but with labor throes and pains, as of planting his piers in a weltering flood and chaos. The spirit of struggling and wrestling which he had inherited was always uppermost. It seems as if the travail and yearning of his mother had passed upon him as a birthmark. The universe was madly rushing about him, seeking to engulf him. Things assumed threatening and spectral shapes. There was little joy or serenity for him. Every task he proposed to himself was a struggle with chaos and darkness, real or imaginary. He speaks of "Frederick" as a nightmare; the "Cromwell business" as toiling amid mountains of dust. I know of no other man in literature with whom the sense of labor is so tangible and terrible. That vast, grim, struggling, silent, inarticulate array of ancestral force that lay in him, when the burden of written speech was laid upon it, half rebelled, and would not cease to struggle and be inarticulate. There was a plethora of power: a channel, as through rocks, had to be made for it, and there was an incipient cataclysm whenever a book was to be written. What brings joy and buoyancy to other men, namely, a genial task, brought despair and convulsions to him. It is not the effort of composition, – he was a rapid and copious writer and speaker, – but the pressure of purpose, the friction of power and velocity, the sense of overcoming the demons and mud-gods and frozen torpidity he so often refers to. Hence no writing extant is so little like writing, and gives so vividly the sense of something done. He may praise silence and glorify work. The unspeakable is ever present with him; it is the core of every sentence: the inarticulate is round about him; a solitude like that of space encompasseth him. His books are not easy reading; they are a kind of wrestling to most persons. His style is like a road made of rocks: when it is good, there is nothing like it; and when it is bad, there is nothing like it!

In "Past and Present" Carlyle has unconsciously painted his own life and character in truer colors than has any one else: "Not a May-game is this man's life, but a battle and a march, a warfare with principalities and powers; no idle promenade through fragrant orange groves and green, flowery spaces, waited on by the choral Muses and the rosy Hours: it is a stern pilgrimage through burning, sandy solitudes, through regions of thick-ribbed ice. He walks among men; loves men with inexpressible soft pity, as they cannot love him: but his soul dwells in solitude, in the uttermost parts of Creation. In green oases by the palm-tree wells, he rests a space; but anon he has to journey forward, escorted by the Terrors and the Splendors, the Archdemons and Archangels. All heaven, all pandemonium, are his escort." Part of the world will doubtless persist in thinking that pandemonium furnished his chief counsel and guide; but there are enough who think otherwise, and their numbers are bound to increase in the future.

IV

A HUNT FOR THE NIGHTINGALE

While I lingered away the latter half of May in Scotland, and the first half of June in northern England, and finally in London, intent on seeing the land leisurely and as the mood suited, the thought never occurred to me that I was in danger of missing one of the chief pleasures I had promised myself in crossing the Atlantic, namely, the hearing of the song of the nightingale. Hence, when on the 17th of June I found myself down among the copses near Hazlemere, on the borders of Surrey and Sussex, and was told by the old farmer, to whose house I had been recommended by friends in London, that I was too late, that the season of the nightingale was over, I was a good deal disturbed.

"I think she be done singing now, sir; I ain't heered her in some time, sir," said my farmer, as we sat down to get acquainted over a mug of the hardest cider I ever attempted to drink.

"Too late!" I said in deep chagrin, "and I might have been here weeks ago."

"Yeas, sir, she be done now; May is the time to hear her. The cuckoo is done too, sir; and you don't hear the nightingale after the cuckoo is gone, sir."

(The country people in this part of England sir one at the end of every sentence, and talk with an indescribable drawl.)

But I had heard a cuckoo that very afternoon, and I took heart from the fact. I afterward learned that the country people everywhere associate these two birds in this way; you will not hear the one after the other has ceased. But I heard the cuckoo almost daily till the middle of July. Matthew Arnold reflects the popular opinion when in one of his poems ("Thyrsis") he makes the cuckoo say in early June, —

"The bloom is gone, and with the bloom go I!"

The explanation is to be found in Shakespeare, who says, —

"The cuckoo is in June

Heard, not regarded,"

as the bird really does not go till August. I got out my Gilbert White, as I should have done at an earlier day, and was still more disturbed to find that he limited the singing of the nightingale to June 15. But seasons differ, I thought, and it can't be possible that any class of feathered songsters all stop on a given day. There is a tradition that when George I. died the nightingales all ceased singing for the year out of grief at the sad event; but his majesty did not die till June 21. This would give me a margin of several days. Then, when I looked further in White, and found that he says the chaffinch ceases to sing the beginning of June, I took more courage, for I had that day heard the chaffinch also. But it was evident I had no time to lose; I was just on the dividing line, and any day might witness the cessation of the last songster. For it seems that the nightingale ceases singing the moment her brood is hatched. After that event, you hear only a harsh chiding or anxious note. Hence the poets, who attribute her melancholy strains to sorrow for the loss of her young, are entirely at fault. Virgil, portraying the grief of Orpheus after the loss of Eurydice, says: —

"So Philomela, 'mid the poplar shade,Bemoans her captive brood; the cruel hindSaw them unplumed, and took them; but all nightGrieves she, and, sitting on a bough, runs o'erHer wretched tale, and fills the woods with woe."

But she probably does nothing of the kind. The song of a bird is not a reminiscence, but an anticipation, and expresses happiness or joy only, except in those cases where the male bird, having lost its mate, sings for a few days as if to call the lost one back. When the male renews his powers of song, after the young brood has been destroyed, or after it has flown away, it is a sign that a new brood is contemplated. The song is, as it were, the magic note that calls the brood forth. At least, this is the habit with other song-birds, and I have no doubt the same holds good with the nightingale. Destroy the nest or brood of the wood thrush, and if the season is not too far advanced, after a week or ten days of silence, during which the parent birds by their manner seem to bemoan their loss and to take counsel together, the male breaks forth with a new song, and the female begins to construct a new nest. The poets, therefore, in depicting the bird on such occasions as bewailing the lost brood, are wide of the mark; he is invoking and celebrating a new brood.

As it was mid-afternoon, I could only compose myself till nightfall. I accompanied the farmer to the hay-field and saw the working of his mowing-machine, a rare implement in England, as most of the grass is still cut by hand, and raked by hand also. The disturbed skylarks were hovering above the falling grass, full of anxiety for their nests, as one may note the bobolinks on like occasions at home. The weather is so uncertain in England, and it is so impossible to predict its complexion, not only from day to day but from hour to hour, that the farmers appear to consider it a suitable time to cut grass when it is not actually raining. They slash away without reference to the aspects of the sky, and when the field is down trust to luck to be able to cure the hay, or get it ready to "carry" between the showers. The clouds were lowering and the air was damp now, and it was Saturday afternoon; but the farmer said they would never get their hay if they minded such things. The farm had seen better days; so had the farmer; both were slightly down at the heel. Too high rent and too much hard cider were working their effects upon both. The farm had been in the family many generations, but it was now about to be sold and to pass into other hands, and my host said he was glad of it. There was no money in farming any more; no money in anything. I asked him what were the main sources of profit on such a farm.

"Well," he said, "sometimes the wheat pops up, and the barley drops in, and the pigs come on, and we picks up a little money, sir, but not much, sir. Pigs is doing well naow. But they brings so much wheat from Ameriky, and our weather is so bad that we can't get a good sample, sir, one year in three, that there is no money made in growing wheat, sir." And the "wuts" (oats) were not much better. "Theys as would buy hain't got no money, sir." "Up to the top of the nip," for top of the hill, was one of his expressions. Tennyson had a summer residence at Blackdown, not far off. "One of the Queen's poets, I believe, sir." "Yes, I often see him riding about, sir."

After an hour or two with the farmer, I walked out to take a survey of the surrounding country. It was quite wild and irregular, full of bushy fields and overgrown hedge-rows, and looked to me very nightingaly. I followed for a mile or two a road that led by tangled groves and woods and copses, with a still meadow trout stream in the gentle valley below. I inquired for nightingales of every boy and laboring-man I met or saw. I got but little encouragement; it was too late. "She be about done singing now, sir." A boy whom I met in a footpath that ran through a pasture beside a copse said, after reflecting a moment, that he had heard one in that very copse two mornings before, – "about seven o'clock, sir, while I was on my way to my work, sir." Then I would try my luck in said copse and in the adjoining thickets that night and the next morning. The railway ran near, but perhaps that might serve to keep the birds awake. These copses in this part of England look strange enough to American eyes. What thriftless farming! the first thought is; behold the fields grown up to bushes, as if the land had relapsed to a state of nature again. Adjoining meadows and grain-fields, one may see an inclosure of many acres covered with a thick growth of oak and chestnut sprouts, six or eight or twelve feet high. These are the copses one has so often heard about, and they are a valuable and productive part of the farm. They are planted and preserved as carefully as we plant an orchard or a vineyard. Once in so many years, perhaps five or six, the copse is cut and every twig is saved; it is a woodland harvest that in our own country is gathered in the forest itself. The larger poles are tied up in bundles and sold for hoop-poles; the fine branches and shoots are made into brooms in the neighboring cottages and hamlets, or used as material for thatching. The refuse is used as wood.

About eight o'clock in the evening I sallied forth, taking my way over the ground I had explored a few hours before. The gloaming, which at this season lasts till after ten o'clock, dragged its slow length along. Nine o'clock came, and, though my ear was attuned, the songster was tardy. I hovered about the copses and hedge-rows like one meditating some dark deed; I lingered in a grove and about an overgrown garden and a neglected orchard; I sat on stiles and leaned on wickets, mentally speeding the darkness that should bring my singer out. The weather was damp and chilly, and the tryst grew tiresome. I had brought a rubber water-proof, but not an overcoat. Lining the back of the rubber with a newspaper, I wrapped it about me and sat down, determined to lay siege to my bird. A footpath that ran along the fields and bushes on the other side of the little valley showed every few minutes a woman or girl, or boy or laborer, passing along it. A path near me also had its frequent figures moving along in the dusk. In this country people travel in footpaths as much as in highways. The paths give a private, human touch to the landscape that the roads do not. They are sacred to the human foot. They have the sentiment of domesticity, and suggest the way to cottage doors and to simple, primitive times.

Presently a man with a fishing-rod, and capped, coated, and booted for the work, came through the meadow, and began casting for trout in the stream below me. How he gave himself to the work! how oblivious he was of everything but the one matter in hand! I doubt if he was conscious of the train that passed within a few rods of him. Your born angler is like a hound that scents no game but that which he is in pursuit of. Every sense and faculty were concentrated upon that hovering fly. This man wooed the stream, quivering with pleasure and expectation. Every foot of it he tickled with his decoy. His close was evidently a short one, and he made the most of it. He lingered over every cast, and repeated it again and again. An American angler would have been out of sight down stream long ago. But this fisherman was not going to bolt his preserve; his line should taste every drop of it. His eager, stealthy movements denoted his enjoyment and his absorption. When a trout was caught, it was quickly rapped on the head and slipped into his basket, as if in punishment for its tardiness in jumping. "Be quicker next time, will you?" (British trout, by the way, are not so beautiful as our own. They have more of a domesticated look. They are less brilliantly marked, and have much coarser scales. There is no gold or vermilion in their coloring.)

Presently there arose from a bushy corner of a near field a low, peculiar purring or humming sound, that sent a thrill through me; of course, I thought my bird was inflating her throat. Then the sound increased, and was answered or repeated in various other directions. It had a curious ventriloquial effect. I presently knew it to be the nightjar or goatsucker, a bird that answers to our whip-poor-will. Very soon the sound seemed to be floating all about me, —Jr-r-r-r-r or Chr-r-r-r-r, slightly suggesting the call of our toads, but more vague as to direction. Then as it grew darker the birds ceased; the fisherman reeled up and left. No sound was now heard, – not even the voice of a solitary frog anywhere. I never heard a frog in England. About eleven o'clock I moved down by a wood, and stood for an hour on a bridge over the railroad. No voice of bird greeted me till the sedge-warbler struck up her curious nocturne in a hedge near by. It was a singular medley of notes, hurried chirps, trills, calls, warbles, snatched from the songs of other birds, with a half-chiding, remonstrating tone or air running through it all. As there was no other sound to be heard, and as the darkness was complete, it had the effect of a very private and whimsical performance, – as if the little bird had secluded herself there, and was giving vent to her emotions in the most copious and vehement manner. I listened till after midnight, and till the rain began to fall, and the vivacious warbler never ceased for a moment. White says that, if it stops, a stone tossed into the bush near it will set it going again. Its voice is not musical; the quality of it is like that of the loquacious English house sparrows; but its song or medley is so persistently animated, and in such contrast to the gloom and the darkness, that the effect is decidedly pleasing.

This and the nightjar were the only nightingales I heard that night. I returned home, a good deal disappointed, but slept upon my arms, as it were, and was out upon the chase again at four o'clock in the morning. This time I passed down a lane by the neglected garden and orchard, where I was told the birds had sung for weeks past; then under the railroad by a cluster of laborers' cottages, and along a road with many copses and bushy fence-corners on either hand, for two miles, but I heard no nightingales. A boy of whom I inquired seemed half frightened, and went into the house without answering.

After a late breakfast I sallied out again, going farther in the same direction, and was overtaken by several showers. I heard many and frequent bird-songs, – the lark, the wren, the thrush, the blackbird, the whitethroat, the greenfinch, and the hoarse, guttural cooing of the wood-pigeons, – but not the note I was in quest of. I passed up a road that was a deep trench in the side of a hill overgrown with low beeches. The roots of the trees formed a network on the side of the bank, as their branches did above. In a framework of roots, within reach of my hand, I spied a wren's nest, a round hole leading to the interior of a large mass of soft green moss, a structure displaying the taste and neatness of the daintiest of bird architects, and the depth and warmth and snugness of the most ingenious mouse habitation. While lingering here, a young countryman came along whom I engaged in conversation. No, he had not heard the nightingale for a few days; but the previous week he had been in camp with the militia near Guildford, and while on picket duty had heard her nearly all night. "'Don't she sing splendid to-night?' the boys would say." This was tantalizing; Guildford was within easy reach; but the previous week, – that could not be reached. However, he encouraged me by saying he did not think they were done singing yet, as he had often heard them during haying-time. I inquired for the blackcap, but saw he did not know this bird, and thought I referred to a species of tomtit, which also has a black cap. The woodlark I was also on the lookout for, but he did not know this bird either, and during my various rambles in England I found but one person who did. In Scotland it was confounded with the titlark or pipit.