RICHARD WATSON GILDER

This bronze doth keep the very form and mold Of our great martyr's face. Yes, this is he: That brow all wisdom, all benignity; That human, humorous mouth; those cheeks that hold Like some harsh landscape all the summer's gold; That spirit fit for sorrow, as the sea For storms to beat on; the lone agony Those silent, patient lips too well foretold.

Yes, this is he who ruled a world of men As might some prophet of the elder day-- Brooding above the tempest and the fray With deep-eyed thought and more than mortal ken.

A power was his beyond the touch of art Or armed strength--his pure and mighty heart.

NOTES

=the life-mask=:--The life-mask of Abraham Lincoln was made by Leonard W. Volk, in Chicago, in April, 1860. A good picture of it is given as the frontispiece to Volume 4 of Nicolay and Hay's _Abraham Lincoln, A History_.

=this bronze=:--A life-mask is made of plaster first; then usually it is cast in bronze.

SUGGESTIONS FOR STUDY

This is not difficult to understand. Read it over slowly, trying first to get the meaning of each sentence as if it were prose. You may have to read it several times before you see the exact meaning of each part.

When you have mastered it, read it through consecutively, thinking of what it tells about Lincoln.

This poem is, as you may know, a sonnet. Notice the number of lines, the meter, and the rhyme-scheme, referring to page 139 for a review of the sonnet form. Notice how the thought changes at the ninth line. Find a sonnet in one of the good current magazines. How can you recognize it?

Read it carefully. If it is appropriate, bring it to cla.s.s, and read and explain it to your cla.s.smates. Why has the sonnet form been used so much by poets?

If you can find it, read the sonnet on _The Sonnet_, by Richard Watson Gilder.

COLLATERAL READINGS

For references on Lincoln, see pages 50 and 51.

For portraits of Richard Watson Gilder, and biographical material, consult: Current Literature, 41:319 (Portrait); Review of Reviews, 34: 491 (Portrait); Nation, 89:519; Dial, 47:441; Harper's Weekly, 53:6; World's Work, 17:11293 (Portrait); Craftsman, 16:130, May, 1909 (Portrait); Outlook, 93:689 (Portrait).

For references to material on the sonnet, see page 140.

A FIRE AMONG THE GIANTS

JOHN MUIR

(From _Our National Parks_)

In the forest between the Middle and East forks of the Kaweah, I met a great fire, and as fire is the master scourge and controller of the distribution of trees, I stopped to watch it and learn what I could of its works and ways with the giants. It came racing up the steep chaparral-covered slopes of the East Fork canon with pa.s.sionate enthusiasm in a broad cataract of flames, now bending down low to feed on the green bushes, devouring acres of them at a breath, now towering high in the air as if looking abroad to choose a way, then stooping to feed again,--the lurid flapping surges and the smoke and terrible rushing and roaring hiding all that is gentle and orderly in the work.

But as soon as the deep forest was reached, the ungovernable flood became calm like a torrent entering a lake, creeping and spreading beneath the trees where the ground was level or sloped gently, slowly nibbling the cake of compressed needles and scales with flames an inch high, rising here and there to a foot or two on dry twigs and clumps of small bushes and brome gra.s.s. Only at considerable intervals were fierce bonfires lighted, where heavy branches broken off by snow had acc.u.mulated, or around some venerable giant whose head had been stricken off by lightning.

I tethered Brownie on the edge of a little meadow beside a stream a good safe way off, and then cautiously chose a camp for myself in a big stout hollow trunk not likely to be crushed by the fall of burning trees, and made a bed of ferns and boughs in it. The night, however, and the strange wild fireworks were too beautiful and exciting to allow much sleep. There was no danger of being chased and hemmed in; for in the main forest belt of the Sierra, even when swift winds are blowing, fires seldom or never sweep over the trees in broad all-embracing sheets as they do in the dense Rocky Mountain woods and in those of the Cascade Mountains of Oregon and Washington. Here they creep from tree to tree with tranquil deliberation, allowing close observation, though caution is required in venturing around the burning giants to avoid falling limbs and knots and fragments from dead shattered tops. Though the day was best for study, I sauntered about night after night, learning what I could, and admiring the wonderful show vividly displayed in the lonely darkness, the ground-fire advancing in long crooked lines gently grazing and smoking on the close-pressed leaves, springing up in thousands of little jets of pure flame on dry ta.s.sels and twigs, and tall spires and flat sheets with jagged flapping edges dancing here and there on gra.s.s tufts and bushes, big bonfires blazing in perfect storms of energy where heavy branches mixed with small ones lay smashed together in hundred cord piles, big red arches between spreading root-swells and trees growing close together, huge fire-mantled trunks on the hill slopes glowing like bars of hot iron, violet-colored fire running up the tall trees, tracing the furrows of the bark in quick quivering rills, and lighting magnificent torches on dry shattered tops, and ever and anon, with a tremendous roar and burst of light, young trees clad in low-descending feathery branches vanishing in one flame two or three hundred feet high.

One of the most impressive and beautiful sights was made by the great fallen trunks lying on the hillsides all red and glowing like colossal iron bars fresh from a furnace, two hundred feet long some of them, and ten to twenty feet thick. After repeated burnings have consumed the bark and sapwood, the sound charred surface, being full of cracks and sprinkled with leaves, is quickly overspread with a pure, rich, furred, ruby glow almost flameless and smokeless, producing a marvelous effect in the night. Another grand and interesting sight are the fires on the tops of the largest living trees flaming above the green branches at a height of perhaps two hundred feet, entirely cut off from the ground-fires, and looking like signal beacons on watch towers. From one standpoint I sometimes saw a dozen or more, those in the distance looking like great stars above the forest roof. At first I could not imagine how these Sequoia lamps were lighted, but the very first night, strolling about waiting and watching, I saw the thing done again and again. The thick fibrous bark of old trees is divided by deep, nearly continuous furrows, the sides of which are bearded with the bristling ends of fibres broken by the growth swelling of the trunk, and when the fire comes creeping around the feet of the trees, it runs up these bristly furrows in lovely pale blue quivering, bickering rills of flame with a low, earnest whispering sound to the lightning-shattered top of the trunk, which, in the dry Indian summer, with perhaps leaves and twigs and squirrel-gnawed cone-scales and seed-wings lodged in it, is readily ignited. These lamp-lighting rills, the most beautiful fire-streams I ever saw, last only a minute or two, but the big lamps burn with varying brightness for days and weeks, throwing off sparks like the spray of a fountain, while ever and anon a shower of red coals comes sifting down through the branches, followed at times with startling effect by a big burned-off chunk weighing perhaps half a ton.

The immense bonfires where fifty or a hundred cords of peeled, split, smashed wood has been piled around some old giant by a single stroke of lightning is another grand sight in the night. The light is so great I found I could read common print three hundred yards from them, and the illumination of the circle of onlooking trees is indescribably impressive. Other big fires, roaring and booming like waterfalls, were blazing on the upper sides of trees on hillslopes, against which limbs broken off by heavy snow had rolled, while branches high overhead, tossed and shaken by the ascending air current, seemed to be writhing in pain. Perhaps the most startling phenomenon of all was the quick death of childlike Sequoias only a century or two of age. In the midst of the other comparatively slow and steady fire work one of these tall, beautiful saplings, leafy and branchy, would be seen blazing up suddenly, all in one heaving, booming, pa.s.sionate flame reaching from the ground to the top of the tree, and fifty to a hundred feet or more above it, with a smoke column bending forward and streaming away on the upper, free-flowing wind. To burn these green trees a strong fire of dry wood beneath them is required, to send up a current of air hot enough to distill inflammable gases from the leaves and sprays; then instead of the lower limbs gradually catching fire and igniting the next and the next in succession, the whole tree seems to explode almost simultaneously, and with awful roaring and throbbing a round, tapering flame shoots up two or three hundred feet, and in a second or two is quenched, leaving the green spire a black, dead mast, bristled and roughened with down-curling boughs. Nearly all the trees that have been burned down are lying with their heads up hill, because they are burned far more deeply on the upper side, on account of broken limbs rolling down against them to make hot fires, while only leaves and twigs acc.u.mulate on the lower side and are quickly consumed without injury to the tree. But green, resinless Sequoia wood burns very slowly, and many successive fires are required to burn down a large tree. Fires can run only at intervals of several years, and when the ordinary amount of fire-wood that has rolled against the gigantic trunk is consumed, only a shallow scar is made, which is slowly deepened by recurring fires until far beyond the centre of gravity, and when at last the tree falls, it of course falls up hill. The healing folds of wood layers on some of the deeply burned trees show that centuries have elapsed since the last wounds were made.

When a great Sequoia falls, its head is smashed into fragments about as small as those made by lightning, which are mostly devoured by the first running, hunting fire that finds them, while the trunk is slowly wasted away by centuries of fire and weather. One of the most interesting fire-actions on the trunk is the boring of those great tunnel-like hollows through which hors.e.m.e.n may gallop. All of these famous hollows are burned out of the solid wood, for no Sequoia is ever hollowed by decay. When the tree falls, the brash trunk is often broken straight across into sections as if sawed; into these joints the fire creeps, and, on account of the great size of the broken ends, burns for weeks or even months without being much influenced by the weather. After the great glowing ends fronting each other have burned so far apart that their rims cease to burn, the fire continues to work on in the centres, and the ends become deeply concave. Then heat being radiated from side to side, the burning goes on in each section of the trunk independent of the other, until the diameter of the bore is so great that the heat radiated across from side to side is not sufficient to keep them burning. It appears, therefore, that only very large trees can receive the fire-auger and have any sh.e.l.l-rim left.

Fire attacks the large trees only at the ground, consuming the fallen leaves and humus at their feet, doing them but little harm unless considerable quant.i.ties of fallen limbs happen to be piled about them, their thick mail of spongy, unpitchy, almost unburnable bark affording strong protection. Therefore the oldest and most perfect unscarred trees are found on ground that is nearly level, while those growing on hillsides, against which fallen branches roll, are always deeply scarred on the upper side, and as we have seen are sometimes burned down. The saddest thing of all was to see the hopeful seedlings, many of them crinkled and bent with the pressure of winter snow, yet bravely aspiring at the top, helplessly perishing, and young trees, perfect spires of verdure and naturally immortal, suddenly changed to dead masts. Yet the sun looked cheerily down the openings in the forest roof, turning the black smoke to a beautiful brown as if all was for the best.

NOTES

=Kaweah=:--A river in California, which runs through the Sequoia National Park.

=Brownie=:--A small donkey which Mr. Muir had brought along to carry his pack of blankets and provisions. (See pp. 285, 286 of _Our National Parks_.)

=humus=:--Vegetable mold.

SUGGESTIONS FOR STUDY

In 1875, Mr. Muir spent some weeks in the Sequoia forests, learning what he could of the life and death of the giant trees. This selection is from his account of his experiences. How does the author make you feel the fierceness of the fire? Why does it become calmer when it enters the forest? Would most people care to linger in a burning forest? What is shown by Mr. Muir's willingness to stay? Note the vividness of the pa.s.sage beginning "Though the day was best": How does the author manage to make it so clear? Might this pa.s.sage be differently punctuated, with advantage? What is the value of the figure "like colossal iron bars"?

Note the vivid words in the pa.s.sage beginning "The thick" and ending with "half a ton." What do you think of the expressions _onlooking trees_, and _childlike Sequoias_? Explain why the burned trees fall up hill. Go through the selection and pick out the words that show action; color; sound. Try to state clearly the reasons why this selection is clear and picturesque.

THEME SUBJECTS

The Forest Fire A Group of Large Trees Felling a Tree A Fire in the Country A Fire in the City Alone in the Woods The Woodsman In the Woods Camping Out for the Night By-products of the Forest A Tree Struck by Lightning A Famous Student of Nature Planting Trees The Duties of a Forest Ranger The Lumber Camp A Fire at Night Learning to Observe The Conservation of the Forests The Pine Ravages of the Paper Mill

SUGGESTIONS FOR WRITING

=A Fire at Night=:--If possible, found this theme on actual observation and experience. Tell of your first knowledge of the fire--the smoke and the flame, or the ringing of bells and the shouting. From what point of view did you see the fire? Tell how it looked when you first saw it. Use words of color and action, as Mr. Muir does. Perhaps you can make your description vivid by means of sound-words. Tell what people did and what they said. Did you hear anything said by the owners of the property that was burning? Go on and trace the progress of the fire, describing its change in volume and color. Try at all times to make your reader see the beauty and fierceness and destructiveness of the fire. You might close your theme with the putting out of the fire, or perhaps you will prefer to speak of the appearance of the ruins by daylight. When you have finished your theme, read it over, and see where you can touch it up to make it clearer and more impressive. Read again some of the most brilliant pa.s.sages in Mr. Muir's description, and see how you can profit by the devices he uses.

=In the Woods=:--Give an account of a long or a short trip in the woods, and tell what you observed. It might be well to plan this theme a number of days before writing it, and in the interim to take a walk in the woods to get mental notes. In writing the theme, give your chief attention to the trees--their situation, appearance, height, manner of growth from the seedling up, peculiarities. Make clear the differences between the kinds of trees, especially between varieties of the same species. You can make good use of color-words in your descriptions of leaves, flowers, seed-receptacles (cones, keys, wings, etc.), and berries. Keep your work simple, almost as if you were talking to some one who wishes information about the forest trees.

COLLATERAL READINGS

Our National Parks John Muir My First Summer in the Sierra " "

The Mountains of California " "

The Story of my Boyhood and Youth " "

Stickeen: The Story of a Dog " "

The Yosemite John Muir The Giant Forest (chapter 18 of _The Mountains_) Stewart Edward White The Pines (chapter 8 of _The Mountains_) " " "

The Blazed Trail " " "

The Forest " " "

The Heart of the Ancient Wood C.G.D. Roberts The Story of a Thousand-year Pine (in _Wild Life on the Rockies_) Enos A. Mills The Lodge-pole Pine (in _Wild Life on the Rockies_) " "

Rocky Mountain Forests (in _Wild Life on the Rockies_) " "

The Spell of the Rockies " "

Under the Sky in California C.F. Saunders Field Days in California Bradford Torrey The Snowing of the Pines (poem) T.W. Higginson A Young Fir Wood (poem) D.G. Rossetti The Spirit of the Pine (poem) Bayard Taylor To a Pine Tree J.R. Lowell Silverado Squatters Robert Louis Stevenson Travels with a Donkey " " "

A Forest Fire (in _The Old Pacific Capital_) " " "

The Two Matches (in _Fables_) " " "