Part 8

Colley means a blackbird; water-colley, the water-blackbird or water-ousel--called the dipper in the North. In districts where the bird is seldom seen it is occasionally shot and preserved as a white blackbird. But in flight and general appearance the water-colley is almost exactly like a starling with a white neck. His colour is not black or brown--it is a rusty, undecided brown, at a distance something the colour of a young starling, and he flies in a straight line, and yet clumsily, as a young starling does. His very cry, too, sounds immature, pettish, and unfinished, as if from a throat not capable of a full note. There are usually two together, and they pass and re-pass all day as you fish, but if followed are not to be observed without care. I came on the colley too suddenly the first time, at a bend of the river; he was beneath the bank towards me, and flew out from under my feet, so that I did not see him till he was on the wing. Away he flew with a call like a young bird just tumbled out of its nest, following the curves of the stream. Presently I saw him through an alder bush which hid me; he was perched on a root of alder under the opposite bank. Worn away by the stream the dissolved earth had left the roots exposed, the colley was on one of them; in a moment he stepped on to the shore under the hollow, and was hidden behind the roots under a moss-grown stole. When he came out he saw me, and stopped feeding.

He bobbed himself up and down as he perched on the root in the oddest manner, bending his legs so that his body almost touched his perch, and rising again quickly, this repeated in quick succession as if curtsying. This motion with him is a sign of uncertainty--it shows suspicion; after he had bobbed to me ten times, off he went. I found him next on a stone in the middle of the river; it stood up above the surface of a rapid connecting two pools. Like the trout, the colley always feeds at the rapids, and flies as they swim, from fall to fall. He was bobbing up and down, his legs bent, and his rusty brown body went up and down, but as I was hidden by a hedge he pained confidence, suspended his curtsying, and began to feed. First he looked all round the stone, and then stepped to another similar island in the midst of the rushing water, pushing his head over the edge into it. Next he stepped into the current, which, though shallow, looked strong enough to sweep him away. The water checked against him rose to the white mark on his breast. He waded up the rapid, every now and then thrusting his head completely under the water; sometimes he was up to his neck, sometimes not so deep; now and then getting on a stone, searching right and left as he climbed the cascade. The eddying water shot by his slender legs, but he moved against it easily, and soon ascended the waterfall. At the summit a second colley flew past, and he rose and accompanied his friend.

Upon a ledge of rock I saw him once more, but there was no hedge to hide me, and he would not feed; he stood and curtsied, and at the moment of bobbing let his wings too partly down, his tail drooping at the same time. Calling in an injured tone, as if much annoyed, he flew, swept round the meadow, and so to the river behind me. His friend followed. On reaching the river at a safe distance down, he skimmed along the surface like a kingfisher. They find abundance of insect life among the stones at the falls, and everywhere in shallow water. Some accuse them of taking the ova of trout, and they are shot at trout nurseries; but it is doubtful if they are really guilty, nor can they do any appreciable injury in an open stream, not being in sufficient numbers. It is the birds and other creatures peculiar to the water that render fly-fishing so pleasant; were they all destroyed, and nothing left but the mere fish, one might as well stand and fish in a stone cattle-trough. I hope all true lovers of sport will assist in preserving rather than in killing them.

NOTES ON LANDSCAPE PAINTING

The earth has a way of absorbing things that are placed upon it, of drawing from them their stiff individuality of newness, and throwing over them something of her own antiquity. As the furrow smooths and brightens the share, as the mist eats away the sharpness of the iron angles, so, in a larger manner, the machines sent forth to conquer the soil are conquered by it, become a part of it, and as natural as the old, old scythe and reaping-hook. Thus already the new agriculture has grown hoar.

The oldest of the modern implements is the threshing-machine, which is historic, for it was once the cause of rural war. There are yeomanry men still living who remember how they rode about at night after the rioters, guided by the blazing bonfires kindled to burn the new-fangled things. Much blood--of John Barleycorn--was spilt in that campaign; and there is many a farmer yet hearty who recollects the ale-barrels being rolled up into the rickyards and there broached in cans and buckets, that the rebels, propitiated with plentiful liquor, might forbear to set fire to the ricks or sack the homestead. Such memories read strange to the present generation, proving thereby that the threshing-machine has already grown old. It is so accepted that the fields would seem to lack something if it were absent. It is as natural as the ricks: things grow old so soon in the fields.

On the fitful autumn breeze, with brown leaves whirling and grey grass rustling in the hedges, the hum of the fly-wheel sounds afar, travelling through the mist which hides the hills. Sometimes the ricks are in the open stubble, up the Down side, where the wind comes in a long, strong rush, like a tide, carrying away the smoke from the funnel in a sweeping trail; while the brown canvas, stretched as a screen, flaps and tears, and the folk at work can scarce hear each other speak, any more than you can by the side of the sea. Vast atmospheric curtains--what else can you call them?--roll away, opening a view of the stage of hills a moment, and, closing again, reach from heaven to earth around. The dark sky thickens and lowers as if it were gathering thunder, as women glean wheatears in their laps. It is not thunder; it is as if the wind grew solid and hurled itself--as a man might throw out his clenched fist--at the hill. The inclined plane of the mist-clouds again reflects a grey light, and, as if swept up by the fierce gale, a beam of sunshine comes. You see it first long, as it is at an angle; then overhead it shortens, and again lengthens after it has passed, somewhat like the spoke of a wheel. In the second of its presence a red handkerchief a woman wears on the ricks stands out, the brass on the engine glows, the water in the butt gleams, men's faces brighten, the cart-horse's coat looks glossy, the straw a pleasant yellow. It is gone, and lights up the backs of the sheep yonder as it runs up the hill swifter than a hare. Swish! The north wind darkens the sky, and the fly-wheel moans in the gloom; the wood-pigeons go a mile a minute on the wind, hardly using their wings; the brown woods below huddle together, rounding their shoulders to the blast; a great air-shadow, not mist, a shadow of thickness in the air looms behind a tiled roof in the valley. The vast profound is full of the rushing air.

These are days of autumn; but earlier than this, when the wheat that is now being threshed was ripe, the reaping-machine went round and round the field, beginning at the outside by the hedges. Red arms, not unlike a travelling windmill on a small scale, sweep the corn as it is cut and leave it spread on the ground. The bright red fans, the white jacket of the man driving, the brown and iron-grey horses, and yellow wheat are toned--melted together at their edges--with warm sunlight. The machine is lost in the corn, and nothing is visible but the colours, and the fact that it is the reaping, the time of harvest, dear to man these how many thousand years! There is nothing new in it; it is all old as the hills. The straw covers over the knives, the rims of the wheels sink into pimpernel, convolvulus, veronica; the dry earth powders them, and so all beneath is concealed. Above the sunlight (and once now and then the shadow of a tree) throws its mantle over, and, like the hand of an enchanter softly waving, surrounds it with a charm. So the cranks, and wheels, and knives, and mechanism do not exist--it was a machine in the workshop, but it is not a machine in the wheat-field. For the wheat-field you see is very, very old, and the air is of old time, and the shadow, the flowers, and the sunlight, and that which moves among them becomes of them. The solitary reaper alone in the great field goes round and round, the red fans striking beside him, alone with the sunlight, and the blue sky, and the distant hills; and he and his reaper are as much of the corn-field as the long-forgotten sickle or the reaping-hook.

The sharp rattle of the mowing-machine disturbs the corncrake in the meadow. Crake! crake! for many a long day since the grass began to grow fast in April till the cowslips flowered, and white parsley flourished like a thicket, blue scabious came up, and yonder the apple trees drop their bloom. Crake! crake! nearly day and night; but now the rattle begins, and the bird must take refuge in the corn. Like the reaper, the mowing-machine is buried under the swathe it cuts, and flowers fall over it--broad ox-eye daisies and red sorrel. Upon the hedge June roses bloom; blackbirds whistle in the oaks; now and again come the soft hollow notes of the cuckoo. Angles and wheels, cranks and cogs, where are they? They are lost; it is not these we see, but the flowers and the pollen on the grass. There is an odour of new-made hay; there is the song of birds, and the trees are beautiful.

As for the drill in spring-time, it is ancient indeed, and ancients follow it--aged men stepping after over the clods, and watching it as if it were a living thing, that the grains may fall each in its appointed place. Their faces, their gait, nay, the very planting of their heavy shoes' stamp on the earth, are full of the importance of this matter. On this the year depends, and the harvest, and all our lives, that the sowing be accomplished in good order, as is meet. Therefore they are in earnest, and do not turn aside to gaze at strangers, like those do who hoe, being of no account. This is a serious matter, needing men of days, little of speech, but long of experience. So the heavy drill, with its hanging rows of funnels, travels across the field well tended, and there is not one who notes the deep azure of the March sky above the elms.

Still another step, tracing the seasons backwards, brings in the steam-plough. When the spotted arum leaves unfold on the bank, before the violets or the first celandine, while the "pussies" hang on the hazel, the engines roll into the field, pressing the earth into barred ruts. The massive wheels leave their imprint, the footsteps of steam, behind them. By the hedges they stand, one on either side, and they hold the field between them with their rope of iron. Like the claws of some prehistoric monster, the shares rout up the ground; the solid ground is helpless before them; they tear and rend it. One engine is under an oak, dark yet with leafless boughs, up through which the black smoke rises; the other overtops a low hedge, and is in full profile. By the panting, and the humming, and the clanking as the drum revolves, by the smoke hanging in the still air, by the trembling of the monster as it strains and tugs, by the sense of heat, and effort, and pent-up energy bubbling over in jets of steam that struggle through crevices somewhere, by the straightened rope and the jerking of the plough as it comes, you know how mighty is the power that thus in narrow space works its will upon the earth. Planted broadside, its four limbs--the massive wheels--hold the ground like a wrestler drawing to him the unwilling opponent. Humming, panting, trembling, with stretched but irresistible muscles, the iron creature conquers, and the plough approaches. All the field for the minute seems concentrated in this thing of power. There are acres and acres, scores of acres around, but they are surface only. This is the central spot: they are nothing, mere matter. This is force--Thor in another form. If you are near you cannot take your eyes off the sentient iron, the wrestler straining. But now the plough has come over, and the signal given reverses its way. The lazy monotonous clanking as the drum unwinds on this side, the rustling of the rope as it is dragged forth over the clods, the quiet rotation of the fly-wheel--these sounds let the excited thought down as the rotating fly-wheel works off the maddened steam. The combat over, you can look round.

It is the February summer that comes, and lasts a week or so between the January frosts and the east winds that rush through the thorns. Some little green is even now visible along the mound where seed-leaves are springing up. The sun is warm, and the still air genial, the sky only dotted with a few white clouds. Wood-pigeons are busy in the elms, where the ivy is thick with ripe berries. There is a feeling of spring and of growth; in a day or two we shall find violets; and listen, how sweetly the larks are singing! Some chase each other, and then hover fluttering above the hedge. The stubble, whitened by exposure to the weather, looks lighter in the sunshine, and the distant view is softened by haze. A water-tank approaches, and the cart-horse steps in the pride of strength. The carter's lad goes to look at the engine and to wonder at the uses of the gauge. All the brazen parts gleam in the bright sun, and the driver presses some waste against the piston now it works slowly, till it shines like polished silver. The red glow within, as the furnace-door is opened, lights up the lad's studious face beneath like sunset. A few brown leaves yet cling to one bough of the oak, and the rooks come over cawing happily in the unwonted warmth. The low hum and the monotonous clanking, the rustling of the wire rope, give a sense of quiet. Let us wander along the hedge, and look for signs of spring. This is to-day. To-morrow, if we come, the engines are half hidden from afar by driving sleet and scattered snow-flakes fleeting aslant the field. Still sternly they labour in the cold and gloom. A third time you may find them, in September or bright October, with acorns dropping from the oaks, the distant sound of the gun, and perhaps a pheasant looking out from the corner. If the moon be full and bright they work on an hour or so by her light, and the vast shadows of the engines are thrown upon the stubble.

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.