Chapter II (1)

Among the meadows the buttercups in spring are as innumerable as ever and as pleasant to look upon. The petal of the buttercup has an enamel of gold; with the nail you may scrape it off, leaving still a yellow ground, but not reflecting the sunlight like the outer layer. From the centre the golden pollen covers the fingers with dust like that from the wing of a butterfly. In the bunches of grass and by the gateways the germander speedwell looks like tiny specks of blue stolen, like Prometheus' fire, from the summer sky. When the mowing-grass is ripe the heads of sorrel are so thick and close that at a little distance the surface seems as if sunset were always shining red upon it. From the spotted orchis leaves in April to the honeysuckle-clover in June, and the rose and the honeysuckle itself, the meadow has changed in nothing that delights the eye. The draining, indeed, has made it more comfortable to walk about on, and some of the rougher grasses have gone from the furrows, diminishing at the same time the number of cardamine flowers; but of these there are hundreds by the side of every tiny rivulet of water, and the aquatic grasses flourish in every ditch. The meadow-farmers, dairymen, have not grubbed many hedges--only a few, to enlarge the fields, too small before, by throwing two into one. So that hawthorn and blackthorn, ash and willow, with their varied hues of green in spring, briar and bramble, with blackberries and hips later on, are still there as in the old, old time. Bluebells, violets, cowslips--the same old favourite flowers--may be found on the mounds or sheltered near by. The meadow-farmers have dealt mercifully with the hedges, because they know that for shade in heat and shelter in storm the cattle resort to them. The hedges--yes, the hedges, the very synonym of Merry England--are yet there, and long may they remain. Without hedges England would not be England. Hedges, thick and high, and full of flowers, birds, and living creatures, of shade and flecks of sunshine dancing up and down the bark of the trees--I love their very thorns. You do not know how much there is in the hedges.

We have still the woods, with here and there a forest, the beauty of the hills, and the charm of winding brooks. I never see roads, or horses, men, or anything when I get beside a brook. There is the grass, and the wheat, the clouds, the delicious sky, and the wind, and the sunlight which falls on the heart like a song. It is the same, the very same, only I think it is brighter and more lovely now than it was twenty years ago.

Along the footpath we travel slowly; you cannot walk fast very long in a footpath; no matter how rapidly at first, you soon lessen your pace, and so country people always walk slowly. The stiles--how stupidly they are put together. For years and years every one who has passed them, as long as man can remember, has grumbled at them; yet there they are still, with the elms reaching high above, and cows gazing over--cows that look so powerful, but so peacefully yield the way. They are a better shape than the cattle of the ancient time, less lanky, and with fewer corners; the lines, to talk in yachtsman's language, are finer. Roan is a colour that contrasts well with meadows and hedges. The horses are finer, both cart-horse and nag. Approaching the farmsteads, there are hay-ricks, but there are fewer corn-ricks. Instead of the rows on rows, like the conical huts of a savage town, there are but a few, sometimes none. So many are built in the fields and threshed there "to rights," as the bailiff would say. It is not needful to have them near home or keep them, now the threshing-machine has stayed the flail and emptied the barns. Perhaps these are the only two losses to those who look at things and mete them with the eye--the corn-ricks and the barns. The corn-ricks were very characteristic, but even now you may see plenty if you look directly after harvest. The barns are going by degrees, passing out of the life of farming; let us hope that some of them will be converted into silos, and so saved.

At the farmsteads themselves there are considerations for and against. On the one hand, the house and the garden is much tidier, less uncouth; there are flowers, such as geraniums, standard roses, those that are favourites in towns; and the unsightly and unhealthy middens and pools of muddy water have disappeared from beside the gates. But the old flowers and herbs are gone, or linger neglected in corners, and somehow the gentle touch of time has been effaced. The house has got a good deal away from farming. It is on the farm, but disconnected. It is a residence, not a farmhouse. Then you must consider that it is more healthy, sweeter, and better for those who live in it. From a little distance the old effect is obtainable. One thing only I must protest against, and that is the replacing of tiles with slates. The old red tiles of the farmhouses are as natural as leaves; they harmonise with the trees and the hedges, the grass, the wheat, and the ricks. But slates are wrong. In new houses, even farmhouses, it does not matter so much; the owners cannot be found fault with for using the advantages of modern times. On old houses where tiles were once, to put slates is an offence, nothing less. Every one who passes exclaims against it. Tiles tone down and become at home; they nestle together, and look as if you could be happily drowsy and slumber under them. They are to a house what leaves are to a tree, and leaves turn reddish or brown in the autumn. Upon the whole, with the exception of the slates--the hateful slates--the farmsteads are improved, for they have lost a great deal that was uncouth and even repulsive, which was slurred over in old pictures or omitted, but which was there.

The new cottages are ugly with all their ornamentation; their false gables, impossible porches, absurd windows, are distinctly repellent. They are an improvement in a sanitary sense, and we are all glad of that, but we cannot like the buildings. They are of no style or time; only one thing is certain about them--they are _not_ English. Fortunately there are plenty of old cottages, hundreds of them (they show little or no sign of disappearing), and these can be chosen instead. The villages are to outward appearance much as they used to be, but the people are very different. In manners, conversation, and general tone there is a great change. It is, indeed, the people who have altered more than the surface of the country. Hard as the farmer may work, and plough and sow with engine and drill, the surface of the land does not much vary; but the farmer himself and the farmer's man are quite another race to what they were. Perhaps it was from this fact that the impression grew up that modern agriculture has polished away all the distinctive characteristics of the country. But it has not done so any more than it has removed the hills. The truth is, as I have endeavoured to explain, innovations so soon become old in the fields. The ancient earth covers them with her own hoar antiquity, and their newness disappears. They have already become so much a part of the life of the country that it seems as if they had always been there, so easily do they fit in, so easily does the eye accept them.

Intrinsically there is nothing used in modern agriculture less symmetrical than what was previously employed. The flails were the simplest of instruments, and were always seen with the same accompaniment--the interior of a barn. The threshing-machine is certainly not less interesting; it works in the open air, often with fine scenic surroundings, and the number of people with it impart vivacity. In reaping with the reaping-hook there were more men in the wheat, but the reaping-machine is not without colour. Scythes are not at all pleasant things; the mowing-machine is at least no worse. As for the steam-plough, it is very interesting to watch. All these fit in with trees and hedges, fields and woods, as well, and in some cases in a more striking manner than the old instruments. The surface of the ground presents more varied colours even than before, and the sunlight produces rich effects. Nor have all the ancient aspects disappeared as supposed--quite the reverse. In the next field to the steam-plough the old ploughs drawn by horses may be seen at work, and barns still stand, and the old houses. In hill districts oxen are yet yoked to the plough, the scythe and reaping-hook are often seen at work, and, in short, the old and the new so shade and blend together that you can hardly say where one begins and the other ends. That there are many, very many things concerning agriculture and country life whose disappearance is to be regretted I have often pointed out, and having done so, I feel that I can with the more strength affirm that in its natural beauty the country is as lovely now as ever.

It is, I venture to think, a mistake on the part of some who depict country scenes on canvas that they omit these modern aspects, doubtless under the impression that to admit them would impair the pastoral scene intended to be conveyed. So many pictures and so many illustrations seem to proceed upon the assumption that steam-plough and reaping-machine do not exist, that the landscape contains nothing but what it did a hundred years ago. These sketches are often beautiful, but they lack the force of truth and reality. Every one who has been fifty miles into the country, if only by rail, knows while looking at them that they are not real. You feel that there is something wanting, you do not know what. That something is the hard, perhaps angular fact which at once makes the sky above it appear likewise a fact. Why omit fifty years from the picture? That is what it usually means--fifty years left out; and somehow we feel as we gaze that these fields and these skies are not of our day. The actual fields, the actual machines, the actual men and women (how differently dressed to the conventional pictorial costumes!) would prepare the mind to see and appreciate the colouring, the design, the beauty--what, for lack of a better expression, may be called the soul of the picture--far more than forgotten, and nowadays even impossible accessories. For our sympathy is not with them, but with the things of our own time.

VILLAGE MINERS

"Right so, the hunter takes his pony which has been trained for the purpose, and stalks the deer behind him; the pony feeds towards the herd, so that they do not mind his approach, and when within a hundred yards, the hunter kneels down in the grass and fixes his iron rest or fork in the ground. He rests his Winchester rifle in the fork, and aims under the pony (which stands quite still) at his game. He generally kills one dead at the first shot, and wounds two or three more, firing rapidly after the first discharge so as to get as many shots as possible before the herd is out of range." So writes a friend in the wilds of Texas, adding that the hides fetch a few dollars. "Right so, departed Sir Launcelot."... "Right so, Sir Launcelot, his father, dressed his spear."... "Right so, he heard a voice that said;"--so runs the phrase in the "Mort d'Arthur," that ancient history of the Round Table, which was published nearly four hundred years ago. The coincidence of phrase indicates some resemblance in the circumstances, though so wide apart in time and distance. In England, in those old days, men lived in the woods and forests--out-of-doors--and were occupied with manual works. They had no opportunities of polishing their discourse, or their literary compositions. At this hour, in remote parts of the great continent of America, the pioneers of modern civilisation may be said to live amid medieval surroundings. The vast forests and endless prairies give a romance to common things. Sometimes pathos and sometimes humour arises in the log-cabin, and when the history of these simple but deeply human incidents comes to be told in this country, we are moved by the strange piquancy of event and language. From the new sounds and scenes, these Anglo-Saxons hewing a way through pine and hemlock now, as their ancestors hewed a way into England, have added fresh words and phrases to our common tongue. These words are not slang, they are pure primeval language. They express the act, or the scene, or the circumstance, as exactly as if it was painted in sound. For instance, the word "crack" expresses the noise of a rifle; say "crack," and you have the very sound; say "detonation," and it gives no ear-picture at all. Such a word is "ker-chunk." Imagine a huge log of timber falling from rock to rock, or a wounded opossum out of a tree, the word expresses the sound. There are scores of such examples, and it is these pure primitive words which put so much force into the narratives of American pathos and humour.

Now, the dwellers in our own villages and country places in their way make use of just such expressions, that is, of words which afford the ear a picture of the act or circumstance, hieroglyphs of sound, and often, both in language and character, exhibit a close parallelism with the Californian miners. Country people say "fall" for autumn; "fall" is the usual American term for that season, and fall is most appropriate for the downward curve of time, the descent of the leaf. A slender slip of womanhood in the undeveloped period is alluded to in the villages as a "slickit" of a girl. "Slickit" means thin, slender, a piece that might be whittled off a stick with a knife, not a shaving, for a shaving curls, but a "slickit," a long thin slice. If any one be carving awkwardly with the left wrist doubled under, the right arm angularly extended, and the knife sawing at a joint, our village miners and country Californians call it "cack-" or "cag-handed." Cag-handed is worse than back-handed; it means awkward, twisted, and clumsy. You may see many a cag-handed person hacking at a fowl.

Hamlet folk are very apt to look a gift horse in the mouth, and if any one should receive a present not so large as expected, it would be contemptuously described as a "footy" little thing. "Footy" pronounced with a sneering expression of countenance conveys a sense of despicableness, even to those who do not know its exact definition, which may be taken as mean. Suppose a bunch of ripe nuts high up and almost out of reach; by dint of pressing into the bushes, pulling at the bough, and straining on tiptoe, you may succeed in "scraambing" it down. "Scraambing," or "scraambed," with a long accent on the aa, indicates the action of stretching and pulling downwards. Though somewhat similar in sound, it has no affinity with scramble; people scramble for things which have been thrown on the ground. In getting through hedges the thorns are apt to "limm" one's clothes, tearing a jagged hole in the coat. Country children are always "limming" their clothes to pieces; "limm," or "limb," expresses a ragged tear.

Recently, fashion set the example of ladies having their hair shorn as short as men. It is quite common to see young ladies, the backs of whose heads are polled, all the glory of hair gone, no plait, no twist, but all cut close and somewhat rough. If a village Californian were to see this he would say, "they got their hair hogged off." "Hogged" means cut off short so as to stand up like bristles. Ponies often have hogs' manes; all the horses in the Grecian sculpture have their manes hogged. In bitter winter weather the servants in the dairies who have much to do with buckets of water, and spend the morning in splashing--for dairies need much of that kind of thing--sometimes find that the drops have frozen as they walk, and discover that their aprons are fringed with "daglets," _i.e._ icicles. Thatched roofs are always hung with "daglets" in frost; thatch holds a certain amount of moisture, as of mist, and this drips during the day and so forms stalactites of ice, often a foot or more in length. "Clout" is a "dictionary word," a knock on the head, but it is pronounced differently here; they say a "clue" in the head. Stuttering and stammering each express well-known conditions of speech, but there is another not recognised in dictionary language. If a person has been made a butt of, laughed at, joked, and tormented till he hesitates and fumbles as it were with his words, he is said to be in a state of "hacka." "Hacka" is to have to think a minute before he can say what he wants to.

"Simmily" is a word of little interest, being evidently a mere provincialism and distortion of "seemingly," as "summat" of "something," or "somewhat," indifferently.

Occasionally a person is seized with a giggling fit, laughs on the least, or without any, provocation--a rather idiotic state--which he is quite conscious of but cannot stop. Presently some one will ask, "Have you found a wicker's nest?" which is a biting sarcasm, though the precise meaning seems uncertain, unless it bears some relation to mare's nest. Mares wicker, so do goats; giggling is wickering. The first work a boy does is to go out with a clapper, or his own strong voice, to scare birds from the corn all day; this we call bird-keeping, but the lads themselves, with an appreciation of the other side of the case, call it bird-starving. Forage is often used in a general sense of food, or in the more particular sense of green food, as clover, or vetches. Fodder, on the other hand, indicates dry food, such as hay; the labourers go twice a day in winter to fodder the cattle, that is, to carry them their hay. Many of these labourers before they start out to work, in their own words, "fodder" their boots. Some fine soft hay is pushed into the boots, forming a species of sock. Should either of them have a clumsy pair, they say his boots are like a seed-lip, which is a vessel like a basket used in sowing corn, and would be a very loose fit. They have not yet forgotten the ancient superstition about Easter Sunday, and the girls will not go out without a new ribbon at least; they must have something new on that day, if the merest trifle.

The backwoodsmen have found out many ways of curing cuts, wounds, bruises and injuries, rough methods, but effectual, and use the herbs and leaves much as their English forefathers did a century ago. For the most part in villages the knowledge and use of herbs has died out, and there are not many who resort to them. Elder-flower ointment, however, keeps its ground, and is, I think, still made for sale in the shops of towns. But the true country elder-flower ointment contains a little piece of adder's-tongue fern, which is believed to confer magical virtue. So curious a plant may naturally have had a mysterious value attached to it in old times. It is the presence of this touch of home-lore in the recipe which makes the product so different from the "ointment of the apothecary," manufactured by scale and weight and prosaic rule. Upon some roofs the houseleek still grows, though it is now often torn away as injurious. Where it grows it is usually on outhouses attached to the main building, sloping lean-tos. It does not present so glowing an appearance as the stonecrop, which now and then flourishes on houses, and looks like a brilliant golden cushion against the red tiles. The houseleek, however, is a singular plant, worthy of examination; it has an old-world look, as if it had survived beyond its date into the nineteenth century. It hides in odd places and gables like a relic of witchcraft, and a black cat and an aged woman with a crutch-handled stick would be its appropriate owner. The houseleek is still used for the cure of wounds and cuts. A leaf--the leaves are rather like portions of the plant than mere leaves--is bruised to pulp, and the juice and some of the pulp mixed with cream. They say it is efficacious. They call it "silgreen." In old English singreen means evergreen. Silgreen and singreen seem close congeners. Possibly sil or sin may be translated "through" as much as "ever," for the leaf of the plant is thick, and green all through, if broken like a tough cake. I think I would rather use it than the tobacco juice which the mowers and reapers are now so fond of applying to the cuts they frequently get. They appear to have quite forsaken the ancient herbal remedies, as the sickle-herb, knotted figwort, and so on. Tobacco juice does not seem a nice thing for a bleeding wound; probably it gets well rather in spite of it than because of it.

If any one wanted a tonic in old farmhouses, it used to be the custom, and till quite lately, to put a nail in sherry, making an iron wine, which was believed to be very restorative. Now, one of the recent additions to the wine merchants' lists is a sherry from Australia, Tintara, which is recommended on account of its having been extracted from grapes growing on an ironstone soil. So the old things come up again in another form. There are scores of iron tonics of various kinds sold in the shops; possibly the nail in sherry was almost as good. Those who did not care to purchase sherry, put their nail in cider. A few odd names of plants may yet be heard among the labourers, such as "loving-andrews" for the blue meadow geranium; "loggerums" for the hard knapweed, and also for the scabious; "Saturday night's pepper" for the spurge, which grows wild in gardens; and there is a weed called "good-neighbour," but as to which it is I am ignorant. The spotted-leaf orchis flowers, which grow in moist and shady meads, lifting their purplish heads among the early spring grass, are called by the children "gran'fer goslings." To express extreme lack--as of money--they will say their purses are as bare as a toad is of feathers.

In these days it is the fashion to praise mattresses and to depreciate the feather-bed. Nothing so healthy as a mattress, nothing so good in every way. Mattresses are certainly cheaper, and there it ends. I maintain that no modern invention approaches the feather-bed. People try to persuade me to eat the coarsest part of flour--actually the rejected part--and to sleep on a mattress; that is to say, to go back about twenty thousand years in civilisation. But I decline. Having some acquaintance with wheat, I prefer the fine white flour, which is the very finest of all the products of the earth; having slept on all sorts of beds, sitting on a pole, lying on turf leaning against a tree, and so forth, no one will ever persuade me that any couch is equal to a feather-bed. But should any desire a yet cheaper mattress than those advertised, I can put them in the way to obtain it. Among my hamlet Californians it is not unusual to find beds in use stuffed with the "hucks" of oats, _i.e._ the chaff. Like the backwoodsmen, they have to make shift with what they can get. Their ancestors steamed their arrows so as to soften the wood, when it was bound to a rigid rod and hung up in the chimney to dry perfectly straight. The modern cottager takes a stout stick and boils it in the pot till it becomes flexible. He then bends it into the shape of a hook, ties it with string in that curve, and suspends it in his chimney corner to dry crooked. This crooked stick is the fagging hook used to pull the wheat towards the reaper with the left hand, while he cuts it with the reap-hook in the right.

Suppose some one wavers and cannot make up his mind. Now he will do this and now he will do that, uncertain and unstable, putting his hand to the plough and removing it again, my Californian at home would call him "wivel-minded." "Wivelly" means undecided, wavering, not to be depended on. It sounds like it. If the labourer gets his clothes soaked, he says they are "sobbled." The sound of boots or dress saturated with rain very nearly approximates to sobbled. But "gaamze" is the queerest word, perhaps, of all--it is to smear as with grease. Beans are said to be "cherky," which means dry. Doubtless the obese old gentleman in Boccaccio who was cured of his pains--the result of luxurious living--by a diet which forced him to devour beans for very hunger, did think them dry and cherky. They have come up again now in the shape of lentils, which are nothing but beans. It is not generally known that Boccaccio was the inventor of the bean cure. Cat's claws are notoriously apt to scratch. Should a savage cat tear out a piece of flesh from the hand, she is said to "dawk" it out. "Dawk" expresses a ferocious dab and tear combined. A sharp iron nail unseen might "dawk" the skin off an unwary hand. In ancient days when women quarrelled and fought, they are said to have "dawked" fragments from each other's faces with their finger-nails. Such incidents are now obsolete. It has often been pointed out that many names of places are reduplications. New layers of population, Saxon, Dane, or Norman, added their words with the same meaning to the former term. There is a hill called "Up-at-a-Peak." "Up" itself signifies high, as in the endless examples in which it forms the first syllable. "Peak," of course, is point. This is a modern reduplication, not an archaeological one.

If any one hacks and haws in speaking, it is called "hum-dawing." Some very prominent persons of the present day are much given to "hum-dawing," which is often a species of conversational hedging. Are "horse-stepple" and "stabbling" purely provincial, or known in towns? "Stepple" is the mark or step of a horse; "stabbling" is poaching up the turf or ground from continual movement of feet, whether human, equine, or otherwise. The ground near gateways in fields is often "stabbled" to such a degree in wet weather as to appear impassable. A piece of wood falling into water, gradually absorbs the liquid into its pores, and swells. The same thing happens in wet weather to gates and even doors; the wood swells, so that if they fitted at all tightly before, they can then scarcely be opened. Anything that swells in this manner by absorption is said to "plim." A sponge does not "plim"; it is not apparently larger when full of water than previously, and it is still limp. To "plim" up implies a certain amount of enlargement, and consequent tightness or firmness. Snow-flakes are called "blossoms." The word snow-flake is unknown. A big baby is always a thing to be proud of, and you may hear an enthusiastic aunt describing the weight and lumpiness of the youngster, and winding up with the declaration, "He's a regular nitch." A chump of wood, short, thick, and heavy, is said to be a "nitch," but it seems gone out of use a good deal for general weights, and to be chiefly used in speaking of infants. There is a word of somewhat similar sound common among the fishermen of the south coast. Towards the stern of a fishing smack there is a stout upright post with a fork at the top, into which fork the mast is lowered while they are engaged with the nets at sea. It is called the "mitch," or "match," but though I mention it as similar in sound, I do not think it has any other affinity.

Of old time, crab-apples were usually planted in or near rickyards or elsewhere close to farmhouses. The custom is now gone out; no crab-apples are planted, and so in course of years there will be but few. Crab-apple is not nearly so plentiful as anciently, either in hedges or enclosures. The juice of the crab-apple, varges, used to be valued as a cure for sprains. The present generation can hardly understand that there was a time when matches were not known. To such a period must be traced the expression still common in out-of-the-way places, of a "handful of fire." A cottager who found her fire out would go to a neighbour and bring home some live embers to light up again. When the fire chances to be nearly out, the expression is still heard both in cottages and farmhouses, "There is hardly a handful of fire." Such a mere handful is of course easily "douted." An extinguisher "douts" a candle; the heel of a boot "douts" a match thrown down. But the exact definition of "dout" is to smother, or extinguish by beating. In the days when wood fires were universal, as the wood burned, quantities of a fine white powder or ash collected, which at intervals, when the servant cleaned the hearth, was swept up into a corner. At night, if any embers remained glowing, a few shovelfuls of this heap of white ash were thrown over them before retiring, and so the fire was "douted." To smother with such ashes precisely conveys the meaning of "dout." Incipient fires in grass, straw, or other material, are often beaten out as with bushes; this too is "douting." Stick your heels in the ground, arch your spine, and drag with all your might at a rope, and then you would be said to "scaut." Horses going uphill, or straining to draw a heavily laden waggon through a mud hole, "scaut" and tug. At football there is a good deal of "scauting." The axle of a wheelbarrow revolving without grease, and causing an ear-piercing sound, is said to be giving forth a "scrupeting" noise. What can be more explicit, and at the same time so aggravating, as to be told that you are a "mix-muddle"? A person who mixes up his commissions may feel a little abashed. A person who muddles his affairs may not be altogether proud of his achievements. But to be a mix-muddle, to both mix and muddle, to morally fumble without tact, and display a totally imbecile wandering; I shall get mixed myself if I try to describe such a state. Mixed in this sense is American too. Take a duster, dexterously swing it, and remove a fleck of dust from a table or books, and you will understand the verb to "flirk," which is nearly the same as to flick. "Pansherds" are "potsherds."

Here is a country recipe for discovering whether a lover is faithful or not. Take a laurel leaf, scratch his name on it, or the initials, and put it in the bosom of the dress. If it turns brown, he is true; if not, he'll deceive you. The character of a girl, according to the following couplets, is to be learned from the colour of her eyes:--

"Brown eyes, beauty,
Do your mother's duty.
Blue eyes--pick-a-pie,
Lie a-bed and tell a lie.
Grey eyes--greediness,
Gobble all the world up."

The interpretation is, that brown eyes indicate a gentle and dutiful disposition. Blue eyes show three guilty tendencies--to pick-a-pie, that is, to steal; to lie a-bed, that is, to be idle; and to tell a lie. As for grey eyes, their selfish greediness and ambition could not be contented with less than the whole world. No one but a woman could have composed this scandal on the sex. Sometimes the green lanes are crossed by gates, over which the trees in the hedges each side form a leafy arch. On the top bar of such a gate, rustic lovers often write love messages to their ladies, with a fragment of chalk. Unable from some cause or other to keep the appointed rendezvous, they leave a few explanatory words in conspicuous white letters, so that the gate answers the same purpose as the correspondence column in the daily papers. When a gate is not available, they thrust a stick in the ground near the footpath, split the upper end, and place a piece of paper in it with the message.

The hamlet forge is not yet quite extinct, and the blacksmith's hammer sounds among the oaks. He frequently has to join two pieces of iron together, say to lengthen a rod. He places both ends in the fire, heats them to a certain point, and then presses the one against the other. By this simple means of touching they unite, the metal becomes one almost like a chemical union, and so complete is it, that, with a little polishing to remove the marks of fire, the join is not perceptible to an ordinary eye. This is the most perfect way of joining metal, and when accomplished, the pieces are said to be "butt-shut." The word has passed from the forge into conversation, and the expression is often heard, "That won't butt-shut." If any one be telling a tale, or giving an account of something of which his hearers are incredulous, they say it will not butt-shut--one part of the story will not agree and dovetail with the rest; there is a break in the continuity of the evidence, which does not unite and make one rod. Such a term is true miners' language. Indeed, the American backwoodsmen, miners, and so on, are really only English farmers and labourers transplanted to a freer and larger life.

MIND UNDER WATER

The thud, thud of a horse's hoof does not alarm fish. Basking in the sun under the bank, a jack or pike lying close to the surface of the water will remain unmoved, however heavy the sound may be. The vibrations reach the fish in several ways. There is what we should ourselves call the noise as conveyed by the air, and which in the case of a jack actually at the surface may be supposed to reach him direct. Next there is the vibration passing through the water, which is usually pronounced to be a good medium. Lastly, there is the bodily movement of the substance of the water. When the bank is hard and dry this latter amounts only to a slight shaking, but it frequently happens that the side of a brook or pond is soft, and "gives" under a heavy weight. Sometimes the edge is even pushed into the water, and the brook in a manner squeezed. You can see this when cattle walk by the margin the grassy edge is pushed out, and in a minute way they may be said to contract the stream. It is in too small a degree to have the least apparent effect upon the water, but it is different with the sense of hearing, which is so delicate that the bodily movement thus caused may be reasonably believed to be very audible indeed to the jack. The wire fences which are now so much used round shrubberies and across parks give a very good illustration of the conveyance of sound. Strung tight by a spanner, the strands of twisted wire resemble a stringed instrument. If you place your hand on one of the wires and get a friend to strike it with his stick, say, thirty or forty yards away, you will distinctly feel it vibrate. If the ear is held close enough you will hear it, vibration and sound being practically convertible terms. To the basking jack three such wires extend, and when the cart-horse in the meadow puts down his heavy hoof he strikes them all at once. Yet, though fish are so sensitive to sound, the jack is not in the least alarmed, and there can be little doubt that he knows what it is. A whole herd of cattle feeding and walking about does not disturb him, but if the light step--light in comparison--of a man approach, away he goes. Poachers, therefore, unable to disguise their footsteps, endeavour to conceal them, and by moving slowly to avoid vibrating the earth, and through it the water.

In poaching, the intelligence of the man is backed against the intelligence of the fish or animal, and the poacher tries to get himself into the ways of the creature he means to snare. That is what really takes place as seen by us as lookers-on; to the poacher himself, in nine out of ten cases, it is merely an acquired knack learned from watching others, and improved by practice. But to us, as lookers-on, this is what occurs: the man fits himself to the ways of the creature, and for the time it becomes a struggle between them. It is the same with the Red Indians, and the white trappers and hunters in wild regions, who depend much more on their knowledge of the ways and habits of the fur-bearing animals than upon their skill with the rifle. A man may be an excellent shot with gun or rifle, and yet be quite incapable of coping on comparatively equal terms with wild creatures. He is a sportsman, depending on skill, quick sight, and ready hand--not a hunter. Perhaps the nearest approach to it in legitimate, English sport is in fly-fishing and salmon fishing, when the sportsman relies upon his own unassisted efforts. Deer-stalking, where the sportsman has to reckon on the wind, and its curious twists and turns in valleys and round rocks, would be a very near approach to it did the stalker stalk alone. But all this work is usually done for him by an attendant, a native Highlander; and this man really does pit his intelligence against that of the stag. The Highlander actually is a Red Indian, or hunter, and in this sense struggles with the wild animal. The poacher is the hunter on illegitimate ground, and with arts which it has been mutually agreed shall not be employed.

Considered in this sense it is interesting to observe to what extent the intelligence even of a fish reaches--and I think upon reflection it will be found that the fish is as clever as any creature could be in its position. I deny altogether that the cold-blooded fish--looked on with contempt so far as its intellectual powers are concerned--is stupid, or slow to learn. On the contrary, fish are remarkably quick, not only under natural conditions, but quick at accommodating themselves to altered circumstances which they could not foresee, and the knowledge how to meet which could not have been inherited. The basking jack is not alarmed at the cart-horse's hoofs, but remains quiet, let them come down with ever so heavy a thud. He has observed that these vibrations never cause him any injury. He hears them at all periods of the day and night, often with long intervals of silence and with every possible variation. Never once has the sound been followed by injury or by anything to disturb his peace. So the rooks have observed that passing trains are harmless, and will perch on the telegraph wires or poles over the steam of the roaring locomotive. Observation has given them confidence. Thunder of wheels and immense weight in motion, the open furnace and glaring light, the faces at the long tier of windows--all these terrors do not ruffle a feather. A little boy with a wooden clapper can set a flock in retreat immediately. Now the rooks could not have acquired this confidence in the course of innumerable generations; it is not hereditary; it is purely what we understand by intelligence. Why are the rooks afraid of the little boy with the clapper? Because they have noticed his hostile intent. Why is the basking jack off the instant he hears the light step of a man?

He has observed that after this step there have often followed attempts to injure him; a stone has been flung at him, a long pole thrust into the water; he has been shot at, or felt the pinch of a wire. He remembers this, and does not wait for the attempt to be repeated, but puts himself into safety. If he did not realise that it was a man--and a possible enemy--he would not trouble. The object consequently of the tricks of the poacher is to obliterate himself. If you can contrive to so move, and to so conduct yourself that the fish shall not recognise you as his enemy, you can do much as you please with him, and in varying degrees it is the same with animals. Think a moment by what tokens a fish recognises a man. First, his light, and, compared with other animals, brisk step--a two-step instead of a four-step, remember; two feet, not four hoofs. There is a difference at once in the rhythm of the noise. Four hoofs can by no possibility produce the same sound, or succession of sounds, as is made even by four feet--that is, by two men. The beats are not the same. Secondly, by his motions, and especially the brisk motions of the arms. Thirdly, by this briskness itself; for most animals, except man, move with a slow motion--paradox as it may seem--even when they are going along fast. With them it is usually repose in action. Fourthly, and this is rather curious--experience seems to show that fish, and animals and birds certainly, recognise man by his hat or cap, to which they have a species of superstitious dislike.

Hats are generally of a different hue to the rest of the suit, for one thing; and it was noted, a century ago, that wild creatures have a particular objection to a black hat. A covering to the head at all is so Opposite to their own ideas that it arouses suspicion, for we must remember that animals look on our clothes as our skin. To have a black skin over the hair of the head is somewhat odd. By all these signs a fish knows a man immediately, and as certainly as any creature moving on land would know him. There is no instinctive or hereditary fear of man at all--it is acquired by observation (which a thousand facts demonstrate); so that we are quite justified in believing that a fish really does notice some or all of these attributes of its enemy. What the poacher or wild hunter has to do is to conceal these attributes. To hide the two-step, he walks as slowly as possible, not putting the foot down hard, but feeling the ground first, and gradually pressing it. In this way progress may be made without vibration. The earth is not shaken, and does not communicate the sound to the water. This will bring him to the verge of the place where the fish is basking.

Very probably not only fish, but animals and some birds hear as much by the vibration of the earth as by the sound travelling in the atmosphere, and depend as much upon their immediate perception of the slightest tremor of the earth as upon recognition by the ear in the manner familiar to ourselves. When rabbits, for instance, are out feeding in the grass, it is often possible to get quite close to them by walking in this way, extremely slowly, and carefully placing the foot by slow degrees upon the ground. The earth is then merely pressed, and not stepped upon at all, so that there is no jar. By doing this I have often moved up within gunshot of rabbits without the least aid from cover. Once now and then I have walked across a field straight at them. Something, however, depends on the direction of the wind, for then the question of scent comes in. To some degree it is the same with hares. It is certainly the case with birds, as wood-pigeons, a flock of them, will remain feeding only just the other side of the hedge; but, if you stamp the earth, will rise instantly. So will rooks, though they will not fly far if you are not armed. Partridges certainly secure themselves by their attention to the faint tremor of the ground. Pheasants do so too, and make off, running through the underwood long before any one is in sight. The most sensitive are landrails, and it is difficult to get near them, for this reason. Though the mowing-grass must conceal an approaching person from them as it conceals them from him, these birds change their positions, no matter how quietly he walks. Let him be as cunning as he will, and think to cut off corners and cross the land-rail's retreat, the bird baffles him nine times in ten. That it is advised of the direction the pursuer takes by the vibration of the surface is at least probable. Other birds sit, and hope to escape by remaining still, till they detect the tremor coming direct towards them, when they rise.

Rain and dry weather change the susceptibility of the surface to vibrate, and may sometimes in part account for the wildness or apparent tameness of birds and animals. Should any one doubt the existence of such tremors, he has only to lie on the ground with his ear near the surface; but, being unused to the experiment, he will at first only notice the heavier sounds, as of a waggon or a cart-horse. In recent experiments with most delicate instruments devised to show the cosmic vibration of the earth, the movements communicated to it by the tides, or by the "pull" of the sun and moon, it has been found almost impossible as yet to carry out the object, so greatly are these movements obscured by the ceaseless and inexplicable vibrations of the solid earth. There is nothing unreasonable in the supposition that, if an instrument can be constructed to show these, the ears of animals and birds--living organisms, and not iron and steel--should be able to discover the tremors of the surface.

The wild hunter can still further check or altogether prevent observation by moving on hands and knees, when his weight is widely distributed. In the particular instance of a fish he endeavours to come to the margin of the water at the rear of the fish, whose eyes are so placed that it can see best in front. When he has arrived at the margin, and has to rear himself up, if from hands and knees, or, if already upright, when he commences his work, he tries to conceal his arms, or, rather, to minimise their peculiar appearance as much as practicable by keeping them close to his sides. All this time I am supposing that you are looking at the poacher from the fish. To a fish or any wild animal the arms of a man are suspicious. No other creature that they know possesses these singular appurtenances, which move in almost any direction, and yet have nothing to do with locomotion. You may be sure that this great difference in the anatomical construction of a man is recognised by all wild animals once they are compelled for their own safety to observe him. Arms are so entirely opposite to all the varieties of limb possessed by the varieties of living creatures.

Can you put yourselves in the position of either of these creatures--moving on all-fours, on wings, or by the aid of a membraneous tail and fins, and without arms, and imagine how strange the arms of a man must look? Suppose yourself with your arms tucked to your sides under the fur of an animal; something of the idea may be gathered by putting on a cloak without sleeves or armholes. At once it will be apparent how helpless all creatures are in comparison with man. It is true that apes are an exception; yet their arms are also legs, and they are deficient in the power of the thumb. Man may be defined as an animal with arms. While the creatures of the field or the water have no cause to fear him they do not observe him, but the moment they learn that he is bent on their destruction they watch him narrowly, and his arms are, above all, the part which alarms them. To them these limbs are men's weapons--his tusks, and tusks which strike and wound afar. From these proceed an invisible force which can destroy where it would seem the intervening distance alone would afford safety. The sharp shot, the keen hook, the lacerating wire, the spear--everything which kills or wounds, comes in some manner or other from the arms, down to the stone or the primitive knob-kerrie. Consequently animals, birds, and fishes not only in our own, but in the wildest countries, have learned to watch and to dread man's arms. He raises his arms, and in an instant there shoots forth a bright flash of flame, and before the swift wings can beat the air again the partridge is dashed to the ground.

So long as a gun is carried under the arm--that is, with the arms close to the sides--many birds will let the sportsman approach. Rabbits will do the same. Rabbits have one advantage (and perhaps only one): being numerous and feeding out by daylight, all kinds of experiments can be tried on them, while hares are not so easily managed. Suppose a rabbit feeding, and any one with a gun creeping up beside the hedge, while the gun is kept down and the arms down the rabbit remains still; the instant the arms are lifted to point the gun, up he sits, or off he goes. You have only to point your arm at a rook, without any gun, to frighten him. Bird-keepers instinctively raise their arms above their heads, when shouting, to startle birds. Every creature that has ever watched man knows that his arms are dangerous. The poacher or wild hunter has to conceal his arms by reducing their movements to a minimum, and by conducting those movements as slowly as possible.