Ways of Nature. John Burroughs
Coming to the end of the open way there, it turned to the left and reached out into vacancy, till it struck another window-sill running at right angles to the former; along this it traveled nearly half an inch a day, till it came to the end of that road. Then it ventured out into vacant space again, and pointed straight toward me at my desk, ten feet distant. Day by day it kept its seat upon the window-sill, and stretched out farther and farther, almost beckoning me to give it a lift or to bring it support. I could hardly resist its patient daily appeal. Late in October it had bridged about three feet of the distance that separated us, when, one day, the moment came when it could maintain itself outright in the air no longer, and it fell to the floor. "Poor thing," I said, "your faith was blind, but it was real. You knew there was a support somewhere, and you tried all ways to find it." This is Nature. She goes around the circle, she tries every direction, sure that she will find a way at some point. Animals in cages behave in a similar way, looking for a means of escape. In the vineyard I see the grape-vines reaching out blindly in all directions for some hold for their tendrils. The young arms seize upon one another and tighten their hold as if they had at last found what they were in search of. Stop long enough beside one of the vines, and it will cling to you and run all over you.
Behold the tumble-bug with her ball of dung by the roadside; where is she going with it? She is going anywhere and everywhere; she changes her direction, like the vine, whenever she encounters an obstacle. She only knows that somewhere there is a depression or a hole in which her ball with its egg can rest secure, and she keeps on tumbling about till she finds it, or maybe digs one, or comes to grief by the foot of some careless passer-by. This, again, is Nature's way, randomly and tirelessly seeking her ends. When we look over a large section of history, we see that it is man's way, too, or Nature's way in man. His progress has been a blind groping, the result of endless experimentation, and all his failures and mistakes could not be written in a book. How he has tumbled about with his ball, seeking the right place for it, and how many times has he come to grief! All his successes have been lucky hits: steam, electricity, representative government, printing – how long he groped for them before he found them! There is always and everywhere the Darwinian tendency to variation, to seek new forms, to improve upon the past; and man is under this law, the same as is the rest of nature. One generation of men, like one generation of leaves, becomes the fertilizer of the next; failures only enrich the soil or make smoother the way.
There are so many conflicting forces and interests, and the conditions of success are so complex! If the seed fall here, it will not germinate; if there, it will be drowned or washed away; if yonder, it will find too sharp competition. There are only a few places where it will find all the conditions favorable. Hence the prodigality of Nature in seeds, scattering a thousand for one plant or tree. She is like a hunter shooting at random into every tree or bush, hoping to bring down his game, which he does if his ammunition holds out long enough; or like the British soldier in the Boer War, firing vaguely at an enemy that he does not see. But Nature's ammunition always holds out, and she hits her mark in the end. Her ammunition on our planet is the heat of the sun. When this fails, she will no longer hit the mark or try to hit it.
Let there be a plum tree anywhere with the disease called the "black-knot" upon it, and presently every plum tree in its neighborhood will have black knots. Do you think the germs from the first knot knew where to find the other plum trees? No; the wind carried them in every direction, where the plum trees were not as well as where they were. It was a blind search and a chance hit. So with all seeds and germs. Nature covers all the space, and is bound to hit the mark sooner or later. The sun spills his light indiscriminately into space; a small fraction of his rays hit the earth, and we are warmed. Yet to all intents and purposes it is as if he shone for us alone.
II
BIRD-SONGS
I suspect it requires a special gift of grace to enable one to hear the bird-songs; some new power must be added to the ear, or some obstruction removed. There are not only scales upon our eyes so that we do not see, there are scales upon our ears so that we do not hear. A city woman who had spent much of her time in the country once asked a well-known ornithologist to take her where she could hear the bluebird. "What, never heard the bluebird!" said he. "I have not," said the woman. "Then you will never hear it," said the bird-lover; never hear it with that inward ear that gives beauty and meaning to the note. He could probably have taken her in a few minutes where she could have heard the call or warble of the bluebird; but it would have fallen upon unresponsive ears – upon ears that were not sensitized by love for the birds or associations with them. Bird-songs are not music, properly speaking, but only suggestions of music. A great many people whose attention would be quickly arrested by the same volume of sound made by a musical instrument or by artificial means never hear them at all. The sound of a boy's penny whistle there in the grove or the meadow would separate itself more from the background of nature, and be a greater challenge to the ear, than is the strain of the thrush or the song of the sparrow. There is something elusive, indefinite, neutral, about bird-songs that makes them strike obliquely, as it were, upon the ear; and we are very apt to miss them. They are a part of nature, the Nature that lies about us, entirely occupied with her own affairs, and quite regardless of our presence. Hence it is with bird-songs as it is with so many other things in nature – they are what we make them; the ear that hears them must be half creative. I am always disturbed when persons not especially observant of birds ask me to take them where they can hear a particular bird, in whose song they have become interested through a description in some book. As I listen with them, I feel like apologizing for the bird: it has a bad cold, or has just heard some depressing news; it will not let itself out. The song seems so casual and minor when you make a dead set at it. I have taken persons to hear the hermit thrush, and I have fancied that they were all the time saying to themselves, "Is that all?" But should one hear the bird in his walk, when the mind is attuned to simple things and is open and receptive, when expectation is not aroused and the song comes as a surprise out of the dusky silence of the woods, then one feels that it merits all the fine things that can be said of it.
One of our popular writers and lecturers upon birds told me this incident: He had engaged to take two city girls out for a walk in the country, to teach them the names of the birds they might see and hear. Before they started, he read to them Henry van Dyke's poem on the song sparrow, – one of our best bird-poems, – telling them that the song sparrow was one of the first birds they were likely to hear. As they proceeded with their walk, sure enough, there by the roadside was a sparrow in song. The bird man called the attention of his companions to it. It was some time before the unpracticed ears of the girls could make it out; then one of them said (the poem she had just heard, I suppose, still ringing in her ears), "What! that little squeaky thing?" The sparrow's song meant nothing to her at all, and how could she share the enthusiasm of the poet? Probably the warble of the robin, or the call of the meadowlark or of the highhole, if they chanced to hear them, meant no more to these girls. If we have no associations with these sounds, they will mean very little to us. Their merit as musical performances is very slight. It is as signs of joy and love in nature, as heralds of spring, and as the spirit of the woods and fields made audible, that they appeal to us. The drumming of the woodpeckers and of the ruffed grouse give great pleasure to a countryman, though these sounds have not the quality of real music. It is the same with the call of the migrating geese or the voice of any wild thing: our pleasure in them is entirely apart from any considerations of music. Why does the wild flower, as we chance upon it in the woods or bogs, give us more pleasure than the more elaborate flower of the garden or lawn? Because it comes as a surprise, offers a greater contrast with its surroundings, and suggests a spirit in wild nature that seems to take thought of itself and to aspire to beautiful forms.
The songs of caged birds are always disappointing, because such birds have nothing but their musical qualities to recommend them to us. We have separated them from that which gives quality and, meaning to their songs. One recalls Emerson's lines: —
"I thought the sparrow's note from heaven,
Singing at dawn on the alder bough;
I brought him home, in his nest, at even;
He sings the song, but it cheers not now,
For I did not bring home the river and sky; —
He sang to my ear, – they sang to my