Rustic Sounds.

by Francis Darwin.

I RUSTIC SOUNDS

Sounds are to me more reminiscent than sights; they bring back the sensations of childhood, and indeed all memories of my past life, in a way more touching and clear than what is seen. Wendell Holmes claims the sense of smell as most closely a.s.sociated with memory; for me, as I say, it is that of hearing.

In this paper I shall wander in imagination through the different seasons in the home of my youth, and let the recalled rustic sounds lead where they will.

To children there is something impressive and almost sacred in the changes of the seasons, in the onset of winter, or the clear approach of spring. The first of these changes was heralded for me by the appearance of puddles frozen to a shining white; mysterious because the frost had drunk them dry in roofing them with ice, and especially delightful in the sharp crackling sound they gave when trodden on. This was the noise of the beginning of winter. Another winter memory is the humming whistle of the boys' feet as they slid on the village pond, a remembrance that recalls my envious admiration of their heavily nailed boots, giving them an advantage in pace and a more n.o.ble style of sliding.

Another familiar sound was the wicked groaning crack that ran round the solitary pond on which we skated, as it unwillingly settled down to bear us on its surface. It had a threat in it, and reminded us how helpless we were, that the pond-spirit was our master and had our lives in its grip.

Another winter note was the hooting of invisible owls, boldly calling to each other from one moonlit tree to another. In the spring there was the querulous sound of the lambs, staggering half fledged in the cold fields among the half-eaten turnips beside their dirty yellow mothers. Not the sheep of the Dresden shepherdess, but rather of the old man in _As You Like It_, who warns Rosalind that shepherding has its ugly side. Yet it had something prophetic of more genial days.

[Picture: Whistle: Fig. 1] As the sap began to rise in the trees my thoughts lightly turned to the making of whistles. I was taught the mystery by a labourer in my father's employ and never departed from his method. The first thing was to cut a branch of some likely tree, a horse-chestnut for choice, severing it by an oblique cut, removing a ring of bark R and notching it at N. The bark had then to be removed in one piece so as to make the tube of the whistle. The first thing was to suck the bark and thoroughly wet it-a process I now believe to have been entirely useless. The bark was next hammered all over with the haft of the knife, which was held by the blade. Then when the inner layer of the bark was well bruised, it could be removed in one piece. To effect this I was taught to hold it in my handkerchief, and after a twist or two, a delicious yielding was experienced and the bark slipped off. The shiny white stick which remained in the other hand had to be cut in half, shaved in a particular way and again fitted into its bark tube. Then came the exciting moment,-would the thing whistle? The joy was short lived, and the whistles soon dried and shrank and ceased to satisfy the artist. But it was always possible to make a new one.

Since the above description was written, there has appeared in _The Times_ Literary Supplement (February 22, 1917, p. 90) a notice of the poems of a Canadian writer {3} from which the reviewer quotes the following beautiful lines:

"So in the shadow by the nimble flood, He made her whistles of the willow wood, Flutes of one note with mellow slender tone; (A robin piping in the dark alone).

Lively the pleasure was the wand to bruise, And notch the light rod for its lyric use, Until the stem gave up its slender sheath, And showed the white and glistening wood beneath.

And when the ground was covered with light chips, Grey leaves and green, and twigs and tender slips," . . .

This could only have been written by one perfectly familiar with the art of whistle-making. But it seems to have been misunderstood by the reviewer, who says that he "once came upon one of these small aeolian harps in a wooded isle in the 'Land of Afternoon,'" . . . and decided "that it was a work of superst.i.tion by Indian hands." As an aeolian harp is a stringed instrument sounded by the wind, and a whistle belongs to the very distinct cla.s.s of musical things sounded by human breath, I can only suppose that the reviewer has misunderstood the poem.

I cannot leave the Canadian poet without a reference to the beautiful line, ("A robin piping in the dark alone.") A Canadian robin must surely make a song like ours, who seems also to sing in parenthesis.

The other form of rustic pipe that pleased me was a sort of oboe made from a dandelion stalk by squeezing it at one end. It had a rough nasal note, which could be controlled by holes cut in the stalk and stopped with the fingers. This again was but brief satisfaction, for the two halves of the reed soon curled outwards and ceased to speak. In later life this curling outwards was made use of in my work in the physiology of plants. I like to remember that my primeval oboe gave me the idea.

The village boys made 'musics' by fixing strips of laurel leaf into a split stick, and blowing violently into them, which set the leaf vibrating and made a coa.r.s.e scream, but this instrument we despised, and I think rightly, for it had none of the pleasant tone of the whistle, nor was there any art in the making of it.

A primeval musical instrument called the 'Whit horn' I have seen in the possession of the late Mr. Taphouse, of Oxford. It is a conical tube of bark held together with thorns and sounded by means of a rough oboe-reed made of bark; there were no finger-holes, and is said to have yielded a harsh shriek on one note. It was, I think, played on May 1st, or else at Whitsuntide. It is to Mr. Taphouse that I owe my introduction to the pipe and tabor which form the subject of a paper in this volume. The pipe is shrill in its upper register, but this is no great fault in an instrument meant to be played out of doors: the same fault is to be found with the flageolet, and the penny whistle. But the last named instrument is reminiscent of a man playing outside a London public-house, and we know from the story of the perfidious Sergeant in _The Wrong Box_ to what lengths it may lead us. {5}

The most truly rustic instrument (and here I mean an instrument of polite life-an orchestral instrument) is undoubtedly the oboe. The ba.s.soon runs it hard, but has a touch of comedy and a stronger flavour of necromancy, while the oboe is quite good and simple in nature and is excessively in earnest; it seems to have in it the ghost of a sunburnt boy playing to himself under a tree, in a ragged shirt unb.u.t.toned at the throat, a boy created by Velasquez. To hear an oboe actually played as a rustic instrument one must go to Brittany, where it accompanies the national bagpipe or 'biniou.' To a reed-instrument player it was painful to see the oboist bite a bit off his reed when the tone was not to his liking!

From this digression, originating in the whistle cut from a horse-chestnut bough, I return to some less artificial sounds. I must say a word about the song of birds, but my knowledge of the subject is but small. The most obvious of spring-time sounds is the voice of the cuckoo. I confess to liking the muttering chuckle which, in an unscientific mood, I have supposed to mean that an egg has successfully been laid in a hedge-sparrow's nest. But the cuckoo's "word in a minor third" is always delightful. The bird is neither more nor less of a foreigner than a willow-wren, yet he has, in comparison to the wren's subdued chromatic warble, a song so self-a.s.sertive, and a tone so unlike our other birds, that one feels him an obvious exotic, a foreigner of so glorious and dashing a nature that one is grateful to him for singing among flat ploughed lands and monotonous hedges. I fancy the Welsh proverb, "Who would have thought the cuckoo would sing on the turf-heaps of the mountains," is a poetic reflexion of this thought.

Of the nightingale I have nothing to say, except to put on record a true remark of Sir Charles Stanford's, viz., that he sings in a syncopated rhythm. But, though I lived in a nightingale land, it is another bird that most clearly brings back to me the country of my boyhood, I mean the night-jar. He has something of antique mystery which I do not find in the nightingale, as he purrs on his only note through the warm night.

There is something unknown and primaeval and vaguely threatening in his relentless simplicity. Can it be that I inherit from a stone-age ancestor both the fear and love of the bull-roarer?

Another bird that moves one in a very different way is the robin, of whom it is hard to say whether he has more of tears or smiles in his recitative. In comparison to the night-jar he seems like a civilised human soul who has quite modern sorrows, and has half forgotten them in quiet contentment with the autumn sunshine. The blackbird has a tinge of the robin's sentiment, but it is over-borne by the glory of his song as a whole, which is pure gold, like his beak.

The chaffinch is not an interesting person, and he is so numerous that one soon becomes weary of him and his song. Let us hope that he expresses his real nature in the building of his pretty nest rather than in song. This must, I think, often happen, and to take an example from human builders, it is not inconceivable that the architect of St. John's College Chapel, Cambridge, may have sung delightfully. But there are limits to one's faith, and personally I cannot imagine the desecrator of Pembroke College in the same injured town of Cambridge practising any art in a way that would please me.

To return to birds-the greenfinch is a pleasant singer, or perhaps a conversationalist. I am never tired of hearing him repeat the word "Squeese" as he sits hidden in the heavy shade of the summer elms. His twinkling bell-note with its contented simplicity is also attractive.

His cousin, the bunting, makes remarks not unlike those of the greenfinch; and he appears to address them by preference to the travellers on dusty high roads, where he pa.s.ses much of his time sitting on telegraph wires. The anchorite yellow-hammer persistently declining cheese with his bread is always pleasant. Professor Newton used to say that the spring begins with the yellow-hammer's song. According to Blomefield's _Calendar _{8} the average date in Cambridgeshire is February 16, but he has been known to sing on January 30-rather a wintry beginning for spring. I have never made up my mind as to what the kitty-wren says or sings. He is always in a desperate hurry to get through his piece, as if he were afraid of lagging behind the beat of some invisible conductor. In consequence of this there is a want of restraint, and a style that suggests a shy child gabbling a show bit of poetry. But I repent these words for I love the kitty-wren.

There are a mult.i.tude of other bird-sounds which are pleasant to hear as their turn comes round, for instance, the complaint of the wryneck, the "cuckoo's mate," who seems to me to be querulously expressing his dislike to my garden, which he tries year after year and deserts after a day or two.

I have never heard that contented bird the quail, who should be a wholesome lesson to all wrynecks. I should like to hear him as Schubert has him:

"Sitzend im Grunen Mit Halmen umhullt,"

and singing "Lobe Gott" all day in the rhythm with which the oboe praises G.o.d in the Pastoral Symphony.

Another bird, whom I take for a contented fellow, is the green woodp.e.c.k.e.r, for he goes through life laughing, but I am not quite sure that I should like his taste in jokes. He is always a.s.sociated in my mind with a pa.s.sage in a letter of my father's: "At last I fell fast asleep on the gra.s.s, and awoke with a chorus of birds singing around me; and squirrels running up the trees, and some woodp.e.c.k.e.rs laughing, and it was as pleasant and rural a scene as ever I saw, and I did not care one penny how any of the beasts or birds had been formed." {9}

There are many noises rather than notes which are most pleasant to hear.

The invisible industrious corncrake, whose persistent cry comes from nowhere and everywhere at once. The harsh warning of the jay who seems to say "Man! man!" as he skulks off when his wood is invaded. The rough noise of the ox-eye sharpening his little saw, and many others.

Then I must not forget the noise of birds in flocks, ranging from the familiar wrangle of sparrows noisily going to roost, to the mysterious sound of great flights of birds migrating at night, one of the most romantic of sounds, but to me untranslatable, since I do not know the language of these wanderers.

I come now to human sounds. It was exciting to wake at 5 o'clock some morning in June, and to learn by the sound of scythes being whetted that the mowers had arrived, and that the hay harvest had actually begun. The field had been a great sea of tall gra.s.ses, pink with sorrel and white with dog-daisies, a sacred sea into which we might not enter. But now we could at least follow the mowers, and watch the growth of the tracks made by their shifting feet, and listen to the swish of the scythes as the swathes of fallen gra.s.s and flowers also grew in length. There was something military in their rhythm, and something relentless and machine-like in their persistence. But our admiration was mixed with pity from the time that one of them told us that after the first day's mowing he was too tired to sleep. In later years another sound was a.s.sociated with haymaking, when in an Alpine meadow the group of resting peasants were heard hammering the blades of their little pre-Raphaelite scythes to flatten the dents made by stones hidden among the gra.s.s.

A well-remembered sound that came near the end of the harvest was the cry of "Stand fast!" which was heard at intervals warning the man in the cart, whose duty it was to arrange the pitched-up hay, that a move was to be made. Why it was necessary to shout the warning so that it could be heard a quarter of a mile away I cannot say. But its impressive effect depended on its loud chant-like tone. This sound is connected with recollections of riding in the empty hay-cart, from the sea-green stack mysteriously growing in the corner of the field back to where hay waited to be carted. The inside of the hay-cart was enchantingly polished, and also full of hay-seed, which had a charm for me. The hay-making at Down was a leisurely affair, with many women gossiping as they gently turned the hay. There was, however, one man of whom we children were much afraid, a fierce red-eyed old labourer who acted as foreman, and did not hesitate to show that he thought us out of place in a hay-field.

One sound there was peculiar to Down,-I mean the sound of drawing water.

In that dry chalky country we depended for drinking-water on a deep well from which it came up cold and pure in buckets. These were raised by a wire rope wound on a spindle turned by a heavy fly-wheel, and it was the monotonous song of the turning wheel that became so familiar to us. The well-house, gloomily placed among laurel bushes, had a sort of terrifying attraction for us, and I remember dropping pebbles and waiting-it seemed ages-for them to fall into the water below. We believed the well to be 365 feet deep, also that this was the height of the dome of St. Paul's-I have never tested the truth of either statement. The opening was roofed in by a pair of hinged flaps, or doors, and I especially liked the moment when the rising bucket crashed into the doors from below, throwing them open with a brutal and roystering air, which one forgave it as having made a long and dangerous journey up from the distant water. But the best was when the empty bucket went down, and the fly-wheel spun round till its spokes were invisible. Then was the time to remember the death of a dog (called d.i.c.k) who was killed by jumping through the flying wheel. I envied my elder brothers who could actually remember d.i.c.k: to me he was only a tragic myth. I imagine that in hot dry weather more water was drawn, or else that being more constantly out of doors we heard more of it. It is at least certain that the sound of the well came to be a.s.sociated with peaceful days and happy weather in that dear garden.

Another sound I like to recall is connected with the memory of my father.

He daily took a certain number of turns round a little wood planted by himself, and christened the Sandwalk. As he paced round it he struck his heavy iron-shod walking-stick against the ground, and its rhythmical click became a familiar sound that spoke of his presence near us, and was a.s.sociated with his constant sympathy in our pursuits. It is a sound that seems to me to have lasted all those years that stretch from misty childish days until his death. I am sure that all his children loved that sound.

_February_, 1912.

II.

FRANCIS GALTON {13} 18221911

Francis Galton was born on February 16th, ninety-two years ago, and to-day we are met together to remember him-a word that seems to me more in tune with his nature than the more formal expression _commemorate_.

He disliked pomposity, but he seems to have loved little private ceremonials. For instance, when he opened the first notebook in preparation for his autobiographical _Memories_, he began page I with Falstaff's words: "Lord, Lord, how subject we old men are to this vice of lying"-an inverted appeal to truth which no man ever stood less in need of. And again, at the foot of the very last page of his _Memories_ is a drawing of _Galtonia candicans_, a little ceremony without words, a hieroglyphic glorification of the honour paid him in giving his name to this African plant.

Many persons, and even some reviewers, form their opinions of books by reading half-a-dozen pa.s.sages at random. I have been more scientific in selecting the first and last pages, and from these I conclude that a simple and kindly commemoration is not out of harmony with the genius of this great and loveable man.

I should like to express my appreciation of the honour done me in asking me to give the first Galton lecture. In many ways I am a bad choice, since I have had no share in his science of eugenics, neither has my research-work been directly connected with evolution. I can only hope that in consideration of my delight in the fibre and flavour of Galton's mind, with its youth, its charm of humour, and its ever-springing originality and acuteness,-I say that I hope these considerations may excuse me for having undertaken an office for which I am in so many ways unfitted.

One of his most obvious characteristics was his love of method. I do not mean methodicalness, but that he took delight in knowing how to do all manner of things in the very best way. He also liked to teach his methods to others. Those who never saw him, or even read his books, will exclaim, "What a bore he must have been." One might as well call the lightning a bore for explaining that the thunder was coming, or complain of the match for boring the gunpowder as to the proper way of exploding.

With Galton's explanations there was a flash of clear words, a delightful smile or gesture, which seemed to say: "That's all-don't let me take up your time." n.o.body was ever more decidedly the very ant.i.thesis of a bore than Francis Galton.

He first appeared on the literary and scientific stage as a traveller, geographer, and author of a book on South Africa (1853), and it was the experience there gained that enabled him to write two years later, in 1855, that wonderful book, _The Art of Travel_. There he teaches such vitally important things as how to find water, how to train oxen as pack animals, to pitch a tent, to build a fire, to cook, and a thousand other secrets.

He liked, of course, to be useful to weary and thirsty travellers, but he was as much, or more, impelled by the love of method for its own sake.

He was in fact an artist in method. The same thing is shown in a letter he wrote to Nature near the end of his life, explaining how to cut a cake on scientific principles so that it shall not become stale. This again was not so much a philanthropic desire that his fellow men should not have dry cake, as delight in method.