Part 16

Birds, I say, have wonderfully keen eyes. Throw a fresh bone or a piece of meat upon the snow in winter, and see how soon the crows will discover it and be on hand. If it be near the house or barn, the crow that first discovers it will alight near it, to make sure that he is not deceived; then he will go away and soon return with a companion. The two alight a few yards from the bone, and after some delay, during which the vicinity is sharply scrutinized, one of the crows advances boldly to within a few feet of the coveted prize. Here he pauses, and if no trick is discovered, and the meat be indeed meat, he seizes it and makes off.

One midwinter I cleared away the snow under an apple-tree near the house, and scattered some corn there. I had not seen a bluejay for weeks, yet that very day they found my corn, and after that they came daily and partook of it, holding the kernels under their feet upon the limbs of the trees and pecking them vigorously.

Of course the woodpecker and his kind have sharp eyes. Still I was surprised to see how quickly Downy found out some bones that were placed in a convenient place under the shed to be pounded up for the hens. In going out to the barn I often disturbed him making a meal off the bits of meat that still adhered to them.

"Look intently enough at anything," said a poet to me one day, "and you will see something that would otherwise escape you." I thought of the remark as I sat on a stump in the opening of the woods one spring day. I saw a small hawk approaching; he flew to a tall tulip-tree and alighted on a large limb near the top. He eyed me and I eyed him. Then the bird disclosed a trait that was new to me; he hopped along the limb to a small cavity near the trunk, when he thrust in his head and pulled out some small object and fell to eating it. After he had partaken of it some minutes he put the remainder back in his larder and flew away. I had seen something like feathers eddying slowly down as the hawk ate, and on approaching the spot found the feathers of a sparrow here and there clinging to the bushes beneath the tree. The hawk then--commonly called the chicken hawk--is as provident as a mouse or squirrel, and lays by a store against a time of need; but I should not have discovered the fact had I not held my eye to him.

An observer of the birds is attracted by any unusual sound or commotion among them. In May and June, when other birds are most vocal, the jay is a silent bird; he goes sneaking about the orchards and the groves as silent as a pickpocket; he is robbing birds'-nests and he is very anxious that nothing should be said about it, but in the fall none so quick and loud to cry "Thief, thief" as he. One December morning a troop of them discovered a little screech-owl secreted in the hollow trunk of an old apple-tree near my house. How they found the owl out is a mystery, since it never ventures forth in the light of day; but they did, and proclaimed the fact with great emphasis. I suspect the bluebirds first told them, for these birds are constantly peeping into holes and crannies, both spring and fall. Some unsuspecting bird probably entered the cavity, prospecting for a place for next year's nest, or else looking out a likely place to pass a cold night, when it has rushed with very important news. A boy who should unwittingly venture into a bear's den when Bruin was at home could not be more astonished and alarmed than a bluebird would be on finding itself in the cavity of a decayed tree with an owl. At any rate, the bluebirds joined the jays, in calling the attention of all whom it might concern to the fact that a culprit of some sort was hiding from the light of day in the old apple-tree. I heard the notes of warning and alarm and approached to within eyeshot. The bluebirds were cautious, and hovered about uttering their peculiar twittering calls; but the jays were bolder, and took turns looking in at the cavity and deriding the poor shrinking owl. A jay would alight in the entrance of the hole, and flirt and peer and attitudinize, and then fly away crying "Thief, thief, thief," at the top of his voice.

I climbed up and peered into the opening, and could just descry the owl clinging to the inside of the tree. I reached in and took him out, giving little heed to the threatening snapping of his beak. He was as red as a fox and as yellow-eyed as a cat. He made no effort to escape, but planted his claws in my forefinger and clung there with a grip that soon grew uncomfortable. I placed him in the loft of an out-house in hopes of getting better acquainted with him. By day he was a very willing prisoner, scarcely moving at all even when approached and touched with the hand, but looking out upon the world with half-closed sleepy eyes. But at night what a change; how alert, how wild, how active! He was like another bird; he darted about with wild fearful eyes, and regarded me like a cornered cat. I opened the window, and swiftly, but as silently as a shadow, he glided out into the congenial darkness, and perhaps ere this has revenged himself upon the sleeping jay or bluebird that first betrayed his hiding-place.

Copyrighted by Houghton, Mifflin and Company, Boston.

WAITING

Serene, I fold my hands and wait, Nor care for wind, or tide, or sea; I rave no more 'gainst time or fate, For lo! my own shall come to me.

I stay my haste, I make delays, For what avails this eager pace? I stand amid the eternal ways, And what is mine shall know my face.

Asleep, awake, by night or day, The friends I seek are seeking me; No wind can drive my bark astray, Nor change the tide of destiny.

What matter if I stand alone? I wait with joy the coming years; My heart shall reap where it has sown, And garner up its fruit of tears.

The waters know their own, and draw The brook that springs in yonder height; So flows the good with equal law Unto the soul of pure delight.

The stars come nightly to the sky; The tidal wave unto the sea; Nor time, nor space, nor deep, nor high, Can keep my own away from me.

Republished by courtesy of John Burroughs.

SIR RICHARD F. BURTON

(1821-1890)

It has sometimes been said that the roving propensities of Sir Richard Burton are attributable to a slight infusion of gipsy blood; but if this pedigree were to be assumed for all instinctively nomadic Englishmen, it would make family trees as farcical in general as they often are now. At any rate, Burton early showed a love for travel which circumstances strengthened. Although born in Hertfordshire, England, he spent much of his boyhood on the Continent, where he was educated under tutors. He returned for a course at Oxford, after which, at twenty-one, he entered the Indian service. For nineteen years he was in the Bombay army corps, the first ten in active service, principally in the Sindh Survey, on Sir Charles Napier's staff. He also served in the Crimea as Chief of Staff to General Blatsom, and was chief organizer of the irregular cavalry. For nearly twenty-six years he was in the English consular service in Africa, Asia, South America, and Europe.

[Illustration: RICHARD BURTON]

In 1852, when upon leave, Captain Burton accomplished one of his most striking feats. Disguised as an Afghan Moslem, he went on a pilgrimage to Mecca and Medina, in the hope of finding out "something of the great eastern wilderness marked 'Ruba el Khala' (the Empty Abode) on our maps." For months he successfully braved the imminent danger of detection and death. Conspicuous among his explorations is his trip of 1856, when with Speke he discovered the lake regions of Central Africa. The bitter Speke controversy which followed, dividing geographers for a time into two contending factions, deprived Burton of the glory which he merited and drew upon him much unfriendly criticism.

He had the true ardor of the discoverer. In 'First Footsteps in Eastern Africa' he shows his unhesitating bravery again, when penetrating the mysterious, almost mythical walled city of Harar. After many dangers and exhausting experiences he sees the goal at last. "The spectacle, materially speaking, was a disappointment," he says. "Nothing conspicuous appeared but two gray minarets of rude shape. Many would grudge exposing their lives to win so paltry a prize. But of all that have attempted, none ever succeeded in entering that pile of stones."

Richard Burton carefully worded his varied experiences, and has left about fifty valuable and interesting volumes. Among the best known are 'Sindh,' 'The Lake Regions of Central Africa,' 'Two Trips to Gorilla Land,' and 'Ultima Thule.' With his knowledge of thirty-five languages and dialects he gained an intimate acquaintance with the people among whom he lived, and was enabled to furnish the world much novel information in his strong, straightforward style.

Perhaps his most noteworthy literary achievement was his fine translation of the 'Arabian Nights,' which appeared in 1885. Of this his wife wrote:--

"This grand Arabian work I consider my husband's Magnum Opus.... We were our own printers and our own publishers, and we made, between September 1885 and November 1888, sixteen thousand guineas--six thousand of which went for publishing and ten thousand into our own pockets, and it came just in time to give my husband the comforts and luxuries and freedom that gilded the five last years of his life. When he died there were four florins left, which I put into the poor-box."

This capable soldier and author was very inadequately recompensed. As a soldier, his bravery and long service brought him only the rank of Captain. In the civil service he was given only second-class consulates. The French Geographical Society, and also the Royal Geographical Society of England, each awarded him a gold medal, but the latter employed him upon only one expedition. At the age of sixty-five he was knighted. He had no other honors. This lack of recognition was undoubtedly a mortification, although toward the end of his career he writes philosophically:--

"The press are calling me 'the neglected Englishman,' and I want to express to them the feelings of pride and gratitude with which I have seen the exertions of my brethren of the press to procure for me a tardy justice. The public is a fountain of honor which amply suffices all my aspirations; it is the more honorable as it will not allow a long career to be ignored because of catechisms or creed."

He comforted himself, no doubt, with the belief that his outspoken skepticism was the cause of this lack of advancement, and that he was in some sort a martyr to freedom of thought; but one may be excused for discrediting this in the face of so many contrary instances. Capable men are too scarce to throw aside for such things in this century. The real and sufficient reason was his equally outspoken criticism of his superior officers in every department. A subordinate may and often does know more than his masters; but if he wishes the luxury of advertising the fact, he must pay for it with their ill-will and his own practical suppression.

Lady Burton was also an author; her 'Inner Life in Syria' and 'Arabia, Egypt, and India' are bright and entertaining. But her most important work is the 'Life of Sir Richard F. Burton,' published in 1892, two years after her husband's death. This unorganized mass of interesting material, in spite of carelessness and many faults of style and taste, shows her a ready observer, with a clever and graphic way of stating her impressions.

THE PRETERNATURAL IN FICTION

From the Essay on 'The Book of a Thousand Nights and a Night'

"As the active world is inferior to the rational soul," says Bacon, with his normal sound sense, "so Fiction gives to Mankind what History denies, and in some measure satisfies the Mind with Shadows when it cannot enjoy the Substance. And as real History gives us not the success of things according to the deserts of vice and virtue, Fiction corrects it and presents us with the fates and fortunes of persons rewarded and punished according to merit." But I would say still more. History paints or attempts to paint life as it is, a mighty maze with or without a plan; Fiction shows or would show us life as it should be, wisely ordered and laid down on fixed lines. Thus Fiction is not the mere handmaid of History: she has a household of her own, and she claims to be the triumph of Art, which, as Goethe remarked, is "Art because it is not Nature." Fancy, _la folle du logis_, is "that kind and gentle portress who holds the gate of Hope wide open, in opposition to Reason, the surly and scrupulous guard." As Palmerin of England says, and says well:--"For that the report of noble deeds doth urge the courageous mind to equal those who bear most commendation of their approved valiancy; this is the fair fruit of Imagination and of ancient histories." And last, but not least, the faculty of Fancy takes count of the cravings of man's nature for the marvelous, the impossible, and of his higher aspirations for the Ideal, the Perfect; she realizes the wild dreams and visions of his generous youth, and portrays for him a portion of that "other and better world," with whose expectation he would console his age.

The imaginative varnish of 'The Nights' serves admirably as a foil to the absolute realism of the picture in general. We enjoy being carried away from trivial and commonplace characters, scenes, and incidents; from the matter-of-fact surroundings of a workaday world, a life of eating and drinking, sleeping and waking, fighting and loving, into a society and a _mise-en-scène_ which we suspect can exist and which we know do not. Every man, at some turn or term of his life, has longed for supernatural powers and a glimpse of Wonderland. Here he is in the midst of it. Here he sees mighty spirits summoned to work the human mite's will, however whimsical; who can transport him in an eye-twinkling whithersoever he wishes; who can ruin cities and build palaces of gold and silver, gems and jacinths; who can serve up delicate viands and delicious drinks in priceless chargers and impossible cups, and bring the choicest fruits from farthest Orient: here he finds magas and magicians who can make kings of his friends, slay armies of his foes, and bring any number of beloveds to his arms.

And from this outraging probability and outstripping possibility arises not a little of that strange fascination exercised for nearly two centuries upon the life and literature of Europe by 'The Nights,' even in their mutilated and garbled form. The reader surrenders himself to the spell, feeling almost inclined to inquire, "And why may it not be true?" His brain is dazed and dazzled by the splendors which flash before it, by the sudden procession of Jinns and Jinniyahs, demons and fairies, some hideous, others preternaturally beautiful; by good wizards and evil sorcerers, whose powers are unlimited for weal and for woe; by mermen and mermaids, flying horses, talking animals, and reasoning elephants; by magic rings and their slaves, and by talismanic couches which rival the carpet of Solomon. Hence, as one remarks, these Fairy Tales have pleased and still continue to please almost all ages, all ranks, and all different capacities.

Dr. Hawkesworth observes that these Fairy Tales find favor "because even their machinery, wild and wonderful as it is, has its laws; and the magicians and enchanters perform nothing but what was naturally to be expected from such beings, after we had once granted them existence." Mr. Heron "rather supposes the very contrary is the truth of the fact. It is surely the strangeness, the unknown nature, the anomalous character of the supernatural agents here employed, that makes them to operate so powerfully on our hopes, fears, curiosities, sympathies, and in short, on all the feelings of our hearts. We see men and women who possess qualities to recommend them to our favor, subjected to the influence of beings whose good or ill will, power or weakness, attention or neglect, are regulated by motives and circumstances which we cannot comprehend: and hence we naturally tremble for their fate with the same anxious concern as we should for a friend wandering in a dark night amidst torrents and precipices; or preparing to land on a strange island, while he knew not whether he should be received on the shore by cannibals waiting to tear him piecemeal and devour him, or by gentle beings disposed to cherish him with fond hospitality."

Both writers have expressed themselves well; but meseems each has secured, as often happens, a fragment of the truth and holds it to be the whole Truth. Granted that such spiritual creatures as Jinns walk the earth, we are pleased to find them so very human, as wise and as foolish in word and deed as ourselves; similarly we admire in a landscape natural forms like those of Staffa or the Palisades, which favor the works of architecture. Again, supposing such preternaturalisms to be around and amongst us, the wilder and more capricious they prove, the more our attention is excited and our forecasts are baffled, to be set right in the end. But this is not all. The grand source of pleasure in fairy tales is the natural desire to learn more of the Wonderland which is known to many as a word and nothing more, like Central Africa before the last half-century; thus the interest is that of the "personal narrative" of a grand exploration, to one who delights in travels. The pleasure must be greatest where faith is strongest; for instance, amongst imaginative races like the Kelts, and especially Orientals, who imbibe supernaturalism with their mothers' milk. "I am persuaded," writes Mr. Bayle St. John, "that the great scheme of preternatural energy, so fully developed in 'The Thousand and One Nights,' is believed in by the majority of the inhabitants of all the religious professions both in Syria and Egypt." He might have added, "by every reasoning being from prince to peasant, from Mullah to Badawi, between Marocco and Outer Ind."...

Dr. Johnson thus sums up his notice of 'The Tempest':--"Whatever might have been the intention of their author, these tales are made instrumental to the production of many characters, diversified with boundless invention, and preserved with profound skill in nature, extensive knowledge of opinions, and accurate observation of life. Here are exhibited princes, courtiers, and sailors, all speaking in their real characters. There is the agency of airy spirits and of earthy goblins, the operations of magic, the tumults of a storm, the adventures on a desert island, the native effusion of untaught affection, the punishment of guilt, and the final happiness of those for whom our passions and reason are equally interested."

We can fairly say this much and far more for our Tales. Viewed as a _tout ensemble_ in full and complete form, they are a drama of Eastern life, and a Dance of Death made sublime by faith and the highest emotions, by the certainty of expiation and the fullness of atoning equity, where virtue is victorious, vice is vanquished, and the ways of Allah are justified to man. They are a panorama which remains ken-speckle upon the mental retina. They form a phantasmagoria in which archangels and angels, devils and goblins, men of air, of fire, of water, naturally mingle with men of earth; where flying horses and talking fishes are utterly realistic; where King and Prince meet fisherman and pauper, lamia and cannibal; where citizen jostles Badawi, eunuch meets knight; the Kazi hob-nobs with the thief; the pure and pious sit down to the same tray with the pander and the procuress; where the professional religionist, the learned Koranist, and the strictest moralist consort with the wicked magician, the scoffer, and the debauchee-poet like Abu Nowas; where the courtier jests with the boor, and where the sweep is bedded with the noble lady. And the characters are "finished and quickened by a few touches swift and sure as the glance of sunbeams." The whole is a kaleidoscope where everything falls into picture; gorgeous palaces and pavilions; grisly underground caves and deadly wolds; gardens fairer than those of the Hesperid; seas dashing with clashing billows upon enchanted mountains; valleys of the Shadow of Death; air-voyages and promenades in the abysses of ocean; the duello, the battle, and the siege; the wooing of maidens and the marriage-rite. All the splendor and squalor, the beauty and baseness, the glamor and grotesqueness, the magic and the mournfulness, the bravery and baseness of Oriental life are here: its pictures of the three great Arab passions--love, war, and fancy--entitle it to be called 'Blood, Musk, and Hashish.' And still more, the genius of the story-teller quickens the dry bones of history, and by adding Fiction to Fact revives the dead past; the Caliphs and the Caliphate return to Baghdad and Cairo, whilst Asmodeus kindly removes the terrace-roof of every tenement and allows our curious glances to take in the whole interior. This is perhaps the best proof of their power. Finally the picture-gallery opens with a series of weird and striking adventures, and shows as a tail-piece an idyllic scene of love and wedlock, in halls before reeking with lust and blood.

A JOURNEY IN DISGUISE

From 'The Personal Narrative of a Pilgrimage to El Medinah and Meccah'

The thoroughbred wanderer's idiosyncrasy I presume to be a composition of what phrenologists call "inhabitiveness" and "locality," equally and largely developed. After a long and toilsome march, weary of the way, he drops into the nearest place of rest to become the most domestic of men. For a while he smokes the "pipe of permanence" with an infinite zest; he delights in various siestas during the day, relishing withal a long sleep at night; he enjoys dining at a fixed dinner hour, and wonders at the demoralization of the mind which cannot find means of excitement in chit-chat or small talk, in a novel or a newspaper. But soon the passive fit has passed away; again a paroxysm of _ennui_ coming on by slow degrees, Viator loses appetite, he walks about his room all night, he yawns at conversations, and a book acts upon him as a narcotic. The man wants to wander, and he must do so or he shall die.