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The following sketches, like the "Ways of Wood Folk", are the result of many years of personal observation in the woods and fields. They are studies of animals, pure and simple, not of animals with human motives and imaginations.Indeed, it is hardly necessary for genuine interest to give human traits to the beasts. Any animal is interesting enough as an animal, and has character enough of his own, without borrowing anything from man—as one may easily find out by watching long enough.Most wild creatures have but small measure of gentleness in them, and that only by instinct and at short stated seasons. Hence I have given both sides and both kinds, the shadows and lights, the savagery as well as the gentleness of the wilderness creatures.It were pleasanter, to be sure, especially when you have been deeply touched by some exquisite bit of animal devotion, to let it go at that, and to carry with you henceforth an ideal creature.But the whole truth is better—better for you, better for children—else personality becomes confused with mere animal individuality, and love turns to instinct, and sentiment vaporizes into sentimentality.This mother fox or fish-hawk here, this strong mother loon or lynx that to-day brings the quick moisture to your eyes by her utter devotion to the little helpless things which great Mother Nature gave her to care for, will to-morrow, when they are grown, drive those same little ones with savage treatment into the world to face its dangers alone, and will turn away from their sufferings thereafter with astounding indifference.
The following sketches, like the "Ways of Wood Folk", are the result of many years of personal observation in the woods and fields. They are studies of animals, pure and simple, not of animals with human motives and imaginations.Indeed, it is hardly necessary for genuine interest to give human traits to the beasts. Any animal is interesting enough as an animal, and has character enough of his own, without borrowing anything from man—as one may easily find out by watching long enough.Most wild creatures have but small measure of gentleness in them, and that only by instinct and at short stated seasons. Hence I have given both sides and both kinds, the shadows and lights, the savagery as well as the gentleness of the wilderness creatures.It were pleasanter, to be sure, especially when you have been deeply touched by some exquisite bit of animal devotion, to let it go at that, and to carry with you henceforth an ideal creature.But the whole truth is better—better for you, better for children—else personality becomes confused with mere animal individuality, and love turns to instinct, and sentiment vaporizes into sentimentality.This mother fox or fish-hawk here, this strong mother loon or lynx that to-day brings the quick moisture to your eyes by her utter devotion to the little helpless things which great Mother Nature gave her to care for, will to-morrow, when they are grown, drive those same little ones with savage treatment into the world to face its dangers alone, and will turn away from their sufferings thereafter with astounding indifference.It is well to remember this, and to give proper weight to the word, when we speak of the love of animals for their little ones.I met a bear once—but this foolish thing is not to be imitated—with two small cubs following at her heels. The mother fled into the brush; the cubs took to a tree. After some timorous watching I climbed after the cubs, and shook them off, and put them into a bag, and carried them to my canoe, squealing and appealing to the one thing in the woods that could easily have helped them. I was ready enough to quit all claims and to take to the brush myself upon inducement. But the mother had found a blueberry patch and was stuffing herself industriously.And I have seen other mother bears since then, and foxes and deer and ducks and sparrows, and almost all the wild creatures between, driving their own offspring savagely away. Generally the young go of their own accord as early as possible, knowing no affection but only dependence, and preferring liberty to authority; but more than once I have been touched by the sight of a little one begging piteously to be fed or just to stay, while the mother drove him away impatiently. Moreover, they all kill their weaklings, as a rule, and the burdensome members of too large a family. This is not poetry or idealization, but just plain animal nature.As for the male animals, little can be said truthfully for their devotion. Father fox and wolf, instead of caring for their mates and their offspring, as we fondly imagine, live apart by themselves in utter selfishness. They do nothing whatever for the support or instruction of the young, and are never suffered by the mothers to come into the den, lest they destroy their own little ones. One need not go to the woods to see this; his own stable or kennel, his own dog or cat will be likely to reveal the startling brutality at the first good opportunity.An indiscriminate love for all animals, likewise, is not the best sentiment to cultivate toward creation. Black snakes in a land of birds, sharks in the bluefish rips, rabbits in Australia, and weasels everywhere are out of place in the present economy of nature. Big owls and hawks, representing a yearly destruction of thousands of good game birds and of untold innocent songsters, may also be profitably studied with a gun sometimes instead of an opera-glass. A mink is good for nothing but his skin; a red squirrel—.
This little book is but another chapter in the shy 'wild life of the fields and woods' of which "Ways of Wood Folk" and "Wilderness Ways" were the beginning. It is given gladly in answer to the call for more from those who have read the previous volumes, and whose letters are full of the spirit of kindness and appreciation. Many questions have come of late with these same letters; chief of which is this: How shall one discover such things for himself? how shall we, too, read the secrets of the Wood Folk? There is no space here to answer, to describe the long training, even if one could explain perfectly what is more or less unconscious. I would only suggest that perhaps the real reason why we see so little in the woods is the way we go through them—talking, laughing, rustling, smashing twigs, disturbing the peace of the solitudes by what must seem strange and uncouth noises to the little wild creatures. They, on the other hand, slip with noiseless feet through their native coverts, shy, silent, listening, more concerned to hear than to be heard, loving the silence, hating noise and fearing it, as they fear and hate their natural enemies. We would not feel comfortable if a big barbarian came into our quiet home, broke the door down, whacked his war-club on the furniture, and whooped his battle yell. We could hardly be natural under the circumstances. Our true dispositions would hide themselves. We might even vacate the house bodily. Just so Wood Folk. Only as you copy their ways can you expect to share their life and their secrets. And it is astonishing how little the shyest of them fears you, if you but keep silence and avoid all excitement, even of feeling; for they understand your feeling quite as much as your action. A dog knows when you are afraid of him; when you are hostile; when friendly. So does a bear. Lose your nerve, and the horse you are riding goes to pieces instantly. Bubble over with suppressed excitement, and the deer yonder, stepping daintily down the bank to your canoe in the water grasses, will stamp and snort and bound away without ever knowing what startled him. But be quiet, friendly, peace-possessed in the same place, and the deer, even after discovering you, will draw near and show his curiosity in twenty pretty ways ere he trots away, looking back over his shoulder for your last message. Then be generous—show him the flash of a looking-glass, the flutter of a bright handkerchief, a tin whistle, or any other little kickshaw that the remembrance of a boy's pocket may suggest—and the chances are that he will come back again, finding curiosity so richly rewarded.
This little book is but another chapter in the shy 'wild life of the fields and woods' of which "Ways of Wood Folk" and "Wilderness Ways" were the beginning. It is given gladly in answer to the call for more from those who have read the previous volumes, and whose letters are full of the spirit of kindness and appreciation. Many questions have come of late with these same letters; chief of which is this: How shall one discover such things for himself? how shall we, too, read the secrets of the Wood Folk? There is no space here to answer, to describe the long training, even if one could explain perfectly what is more or less unconscious. I would only suggest that perhaps the real reason why we see so little in the woods is the way we go through them—talking, laughing, rustling, smashing twigs, disturbing the peace of the solitudes by what must seem strange and uncouth noises to the little wild creatures. They, on the other hand, slip with noiseless feet through their native coverts, shy, silent, listening, more concerned to hear than to be heard, loving the silence, hating noise and fearing it, as they fear and hate their natural enemies. We would not feel comfortable if a big barbarian came into our quiet home, broke the door down, whacked his war-club on the furniture, and whooped his battle yell. We could hardly be natural under the circumstances. Our true dispositions would hide themselves. We might even vacate the house bodily. Just so Wood Folk. Only as you copy their ways can you expect to share their life and their secrets. And it is astonishing how little the shyest of them fears you, if you but keep silence and avoid all excitement, even of feeling; for they understand your feeling quite as much as your action.
Practice the Art of Watercolor with this Beginner’s Guide to Picturesque Mountains, Lakes, Sunrises and More From a striking Desert Sunset Silhouette to a majestic Icelandic Waterfall to an eye-catching Magical Snowy Forest, watercolor artist Kolbie Blume’s wilderness scenes are the perfect introduction to watercolor painting. Kolbie’s step-by-step instructions make it easy to paint stunning landscapes featuring all of the key elements of wilderness painting and teach you beginner-friendly techniques for colorful skies, mountains, trees, wildflowers, oceans, lakes, and more. Each chapter teaches progressively more advanced elements, allowing you to build upon your skills as you work through the projects. And the final chapter combines all of the elements in breathtaking scenes—like a Glassy Milky Way and an Aurora Glacier Lagoon—that you’ll be proud to hang on your wall or gift to a friend or family member. With all the tips, tricks, and techniques you need to master the basics of watercolor painting and instructions on how to paint every element of nature, this collection of wilderness landscapes is the go-to guide for both beginner painters and more experienced artists looking for new subjects to paint.
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I started on my third excursion to the Maine woods Monday, July 20, 1857, with one companion, arriving at Bangor the next day at noon. The succeeding morning, a relative of mine who is well acquainted with the Penobscot Indians took me in his wagon to Oldtown to assist me in obtaining an Indian for this expedition. We were ferried across to the Indian Island in a bateau. The ferryman's boy had the key to it, but the father, who was a blacksmith, after a little hesitation, cut the chain with a cold chisel on the rock. He told me that the Indians were nearly all gone to the seaboard and to Massachusetts, partly on account of the smallpox, of which they are very much afraid, having broken out in Oldtown. The old chief Neptune, however, was there still. The first man we saw on the island was an Indian named Joseph Polis, whom my relative addressed familiarly as "Joe." He was dressing a deerskin in his yard. The skin was spread over a slanting log, and he was scraping it with a stick held by both hands. He was stoutly built, perhaps a little above the middle height, with a broad face, and, as others said, perfect Indian features and complexion. His house was a two-story white one with blinds, the best-looking that I noticed there, and as good as an average one on a New England village street. It was surrounded by a garden and fruit trees, single cornstalks standing thinly amid the beans. We asked him if he knew any good Indian who would like to go into the woods with us, that is, to the Allegash Lakes by way of Moosehead, and return by the East Branch of the Penobscot.