Read the book: «Love's Meinie: Three Lectures on Greek and English Birds»

PREFACE

Brantwood, 9th June, 1881.

Quarter past five, morning.

The birds chirping feebly,—mostly chaffinches answering each other, the rest discomposed, I fancy, by the June snow;¹ the lake neither smooth nor rippled, but like a surface of perfectly bright glass, ill cast; the lines of wave few and irregular, like flaws in the planes of a fine crystal.

I see this book was begun eight years ago;—then intended to contain only four Oxford lectures: but the said lectures also 'intended' to contain the cream of forty volumes of scientific ornithology. Which intentions, all and sundry, having gone, Carlyle would have said, to water, and more piously-minded persons, to fire, I am obliged now to cast my materials into another form: and here, at all events, is a bundle of what is readiest under my hand. The nature and name of which I must try to make a little more intelligible than my books have lately been, either in text or title.

'Meinie' is the old English word for 'Many,' in the sense of 'a many' persons attending one, as bridesmaids, when in sixes or tens or dozens;—courtiers, footmen, and the like. It passes gradually into 'Menial,' and unites the senses of Multitude and Servitude.

In the passages quoted from, or referred to in, Chaucer's translation of the Romance of the Rose, at the end of the first lecture, any reader who cares for a clue to the farther significances of the title, may find one to lead him safely through richer labyrinths of thought than mine: and ladder enough also,—if there be either any heavenly, or pure earthly, Love, in his own breast,—to guide him to a pretty bird's nest; both in the Romances of the Rose and of Juliet, and in the Sermons of St. Francis and St. Bernard.

The term 'Lecture' is retained, for though I lecture no more, I still write habitually in a manner suited for oral delivery, and imagine myself speaking to my pupils, if ever I am happily thinking in myself. But it will be also seen that by the help of this very familiarity of style, I am endeavoring, in these and my other writings on Natural History, to compel in the student a clearness of thought and precision of language which have not hitherto been in any wise the virtues, or skills, of scientific persons. Thoughtless readers, who imagine that my own style (such as it is, the one thing which the British public concedes to me as a real power) has been formed without pains, may smile at the confidence with which I speak of altering accepted, and even long-established, nomenclature. But the use which I now have of language has taken me forty years to attain; and those forty years spent, mostly, in walking through the wilderness of this world's vain words, seeking how they might be pruned into some better strength. And I think it likely that at last I may put in my pruning-hook with effect; for indeed a time must come when English fathers and mothers will wish their children to learn English again, and to speak it for all scholarly purposes; and, if they use, instead, Greek or Latin, to use them only that they may be understood by Greeks or Latins;² and not that they may mystify the illiterate many of their own land. Dead languages, so called, may at least be left at rest, if not honored; and must not be torn in mutilation out of their tumuli, that the skins and bones of them may help to hold our living nonsense together; while languages called living, but which live only to slack themselves into slang, or bloat themselves into bombast, must one day have new grammars written for their license, and new laws for their insolence.

Observe, however, that the recast methods of classification adopted in this book, and in 'Proserpina,' must be carefully distinguished from their recastings of nomenclature. I am perfectly sure that it is wiser to use plain short words than obscure long ones; but not in the least sure that I am doing the best that can be done for my pupils, in classing swallows with owls, or milkworts with violets. The classification is always given as tentative; and, at its utmost, elementary: but the nomenclature, as in all probability conclusive.

For the rest, the success and the service of all depend on the more or less thorough accomplishment of plans long since laid, and which would have been good for little if their coping could at once have been conjectured or foretold in their foundations. It has been throughout my trust, that if Death should write on these, "What this man began to build, he was not able to finish," God may also write on them, not in anger, but in aid,

"A stronger than he, cometh."

 
"Il etoit tout convert d'oisiaulx."
 

Romance of the Rose.

LECTURE I.³
THE ROBIN

1. Among the more splendid pictures in the Exhibition of the Old Masters, this year, you cannot but remember the Vandyke portraits of the two sons of the Duke of Lennox. I think you cannot but remember it, because it would be difficult to find, even among the works of Vandyke, a more striking representation of the youth of our English noblesse; nor one in which the painter had more exerted himself, or with better success, in rendering the decorous pride and natural grace of honorable aristocracy.

Vandyke is, however, inferior to Titian and Velasquez, in that his effort to show this noblesse of air and persons may always be detected; also the aristocracy of Vandyke's day were already so far fearful of their own position as to feel anxiety that it should be immediately recognized. And the effect of the painter's conscious deference, and of the equally conscious pride of the boys, as they stood to be painted, has been somewhat to shorten the power of the one, and to abase the dignity of the other. And thus, in the midst of my admiration of the youths' beautiful faces, and natural quality of majesty, set off by all splendors of dress and courtesies of art, I could not forbear questioning with myself what the true value was, in the scales of creation, of these fair human beings who set so high a value on themselves; and,—as if the only answer,—the words kept repeating themselves in my ear, "Ye are of more value than many sparrows."

2. Passeres, στρονθος [Greek: strouthos]—the things that open their wings, and are not otherwise noticeable; small birds of the land and wood; the food of the serpent, of man, or of the stronger creatures of their own kind,—that even these, though among the simplest and obscurest of beings, have yet price in the eyes of their Maker, and that the death of one of them cannot take place but by His permission, has long been the subject of declamation in our pulpits, and the ground of much sentiment in nursery education. But the declamation is so aimless, and the sentiment so hollow, that, practically, the chief interest of the leisure of mankind has been found in the destruction of the creatures which they professed to believe even the Most High would not see perish without pity; and, in recent days, it is fast becoming the only definition of aristocracy, that the principal business of its life is the killing of sparrows.

Sparrows, or pigeons, or partridges, what does it matter? "Centum mille perdrices plumbo confecit;"⁴ that is, indeed, too often the sum of the life of an English lord; much questionable now, if indeed of more value than that of many sparrows.

3. Is it not a strange fact, that, interested in nothing so much for the last two hundred years, as in his horses, he yet left it to the farmers of Scotland to relieve draught horses from the bearing-rein?⁵ Is it not one equally strange that, master of the forests of England for a thousand years, and of its libraries for three hundred, he left the natural history of birds to be written by a card-printer's lad of Newcastle?⁶ Written, and not written, for indeed we have no natural history of birds written yet. It cannot be written but by a scholar and a gentleman; and no English gentleman in recent times has ever thought of birds except as flying targets, or flavorous dishes. The only piece of natural history worth the name in the English language, that I know of, is in the few lines of Milton on the Creation. The only example of a proper manner of contribution to natural history is in White's Letters from Selborne. You know I have always spoken of Bewick as pre-eminently a vulgar or boorish person, though of splendid honor and genius; his vulgarity shows in nothing so much as in the poverty of the details he has collected, with the best intentions, and the shrewdest sense, for English ornithology. His imagination is not cultivated enough to enable him to choose, or arrange.

4. Nor can much more be said for the observations of modern science. It is vulgar in a far worse way, by its arrogance and materialism. In general, the scientific natural history of a bird consists of four articles,—first, the name and estate of the gentleman whose gamekeeper shot the last that was seen in England; secondly, two or three stories of doubtful origin, printed in every book on the subject of birds for the last fifty years; thirdly, an account of the feathers, from the comb to the rump, with enumeration of the colors which are never more to be seen on the living bird by English eyes; and, lastly, a discussion of the reasons why none of the twelve names which former naturalists have given to the bird are of any further use, and why the present author has given it a thirteenth, which is to be universally, and to the end of time, accepted.

5. You may fancy this is caricature; but the abyss of confusion produced by modern science in nomenclature, and the utter void of the abyss when you plunge into it after any one useful fact, surpass all caricature. I have in my hand thirteen plates of thirteen species of eagles; eagles all, or hawks all, or falcons all—whichever name you choose for the great race of the hook-headed birds of prey—some so like that you can't tell the one from the other, at the distance at which I show them to you, all absolutely alike in their eagle or falcon character, having, every one, the falx for its beak, and every one, flesh for its prey. Do you suppose the unhappy student is to be allowed to call them all eagles, or all falcons, to begin with, as would be the first condition of a wise nomenclature, establishing resemblance by specific name, before marking variation by individual name? No such luck. I hold you up the plates of the thirteen birds one by one, and read you their names off the back:—

There's a nice little lesson to entertain a parish school-boy with, beginning his natural history of birds!

6. There are not so many varieties of robin as of hawk, but the scientific classifiers are not to be beaten. If they cannot find a number of similar birds to give different names to, they will give two names to the same one. Here are two pictures of your own redbreast, out of the two best modern works on ornithology. In one, it is called "Motacilla rubecula;" in the other, "Rubecula familiaris."

7. It is indeed one of the most serious, as one of the most absurd, weaknesses, of modern naturalists to imagine that any presently invented nomenclature can stand, even were it adopted by the consent of nations, instead of the conceit of individuals. It will take fifty years' digestion before the recently ascertained elements of natural science can permit the arrangement of species in any permanently (even over a limited period) namable order; nor then, unless a great man is born to perceive and exhibit such order. In the meantime, the simplest and most descriptive nomenclature is the best. Every one of these birds, for instance, might be called falco in Latin, hawk in English, some word being added to distinguish the genus, which should describe its principal aspect or habit. Falco montium, Mountain Hawk; Falco silvarum, Wood Hawk; Falco procellarum, Sea Hawk; and the like. Then, one descriptive epithet would mark species. Falco montium, aureus, Golden Eagle; Falco silvarum, apivorus, Honey Buzzard; and so on; and the naturalists of Vienna, Paris, and London should confirm the names of known creatures, in conclave, once every half-century, and let them so stand for the next fifty years.

8. In the meantime, you yourselves, or, to speak more generally, the young rising scholars of England,—all of you who care for life as well as literature, and for spirit,—even the poor souls of birds,—as well as lettering of their classes in books,—you, with all care, should cherish the old Saxon-English and Norman-French names of birds, and ascertain them with the most affectionate research—never despising even the rudest or most provincial forms: all of them will, some day or other, give you clue to historical points of interest. Take, for example, the common English name of this low-flying falcon, the most tamable and affectionate of his tribe, and therefore, I suppose, fastest vanishing from field and wood, the buzzard. That name comes from the Latin "buteo," still retained by the ornithologists; but, in its original form, valueless, to you. But when you get it comfortably corrupted into Provençal "Busac," (whence gradually the French busard, and our buzzard,) you get from it the delightful compound "busacador," "adorer of buzzards"—meaning, generally, a sporting person; and then you have Dante's Bertrand de Born, the first troubadour of war, bearing witness to you how the love of mere hunting and falconry was already, in his day, degrading the military classes, and, so far from being a necessary adjunct of the noble disposition of lover or soldier, was, even to contempt, showing itself separate from both.

 
"Le ric home, cassador,
M'enneion, e'l buzacador.
Parlan de volada, d'austor,
Ne jamais, d'armas, ni d'amor."
 
 
The rich man, the chaser,
Tires me to death; and the adorer of buzzards.
They talk of covey and hawk,
And never of arms, nor of love.
 

"Cassador," of course, afterwards becomes "chasseur," and "austor" "vautour." But after you have read this, and familiarized your ear with the old word, how differently Milton's phrase will ring to you,—"Those who thought no better of the Living God than of a buzzard idol,"—and how literal it becomes, when we think of the actual difference between a member of Parliament in Milton's time, and the Busacador of to-day;—and all this freshness and value in the reading, observe, come of your keeping the word which great men have used for the bird, instead of letting the anatomists blunder out a new one from their Latin dictionaries.

9. There are not so many namable varieties, I just now said, of robin as of falcon; but this is somewhat inaccurately stated. Those thirteen birds represented a very large proportion of the entire group of the birds of prey, which in my sevenfold classification I recommended you to call universally, "hawks." The robin is only one of the far greater multitude of small birds which live almost indiscriminately on grain or insects, and which I recommended you to call generally "sparrows"; but of the robin itself, there are two important European varieties—one red-breasted, and the other blue-breasted.

10. You probably, some of you, never heard of the blue-breast; very few, certainly, have seen one alive, and, if alive, certainly not wild in England.

Here is a picture of it, daintily done,⁷ and you can see the pretty blue shield on its breast, perhaps, at this distance. Vain shield, if ever the fair little thing is wretched enough to set foot on English ground! I find the last that was seen was shot at Margate so long ago as 1842,—and there seems to be no official record of any visit before that, since Mr. Thomas Embledon shot one on Newcastle town moor in 1816. But this rarity of visit to us is strange; other birds have no such clear objection to being shot, and really seem to come to England expressly for the purpose. And yet this blue-bird—(one can't say "blue robin"—I think we shall have to call him "bluet," like the cornflower)—stays in Sweden, where it sings so sweetly that it is called "a hundred tongues."

11. That, then, is the utmost which the lords of land, and masters of science, do for us in their watch upon our feathered suppliants. One kills them, the other writes classifying epitaphs.

We have next to ask what the poets, painters, and monks have done.

The poets—among whom I affectionately and reverently class the sweet singers of the nursery, mothers and nurses—have done much; very nearly all that I care for your thinking of. The painters and monks, the one being so greatly under the influence of the other, we may for the present class together; and may almost sum their contributions to ornithology in saying that they have plucked the wings from birds, to make angels of men, and the claws from birds, to make devils of men.

If you were to take away from religious art these two great helps of its—I must say, on the whole, very feeble—imagination; if you were to take from it, I say, the power of putting wings on shoulders, and claws on fingers and toes, how wonderfully the sphere of its angelic and diabolic characters would be contracted! Reduced only to the sources of expression in face or movements, you might still find in good early sculpture very sufficient devils; but the best angels would resolve themselves, I think, into little more than, and not often into so much as, the likenesses of pretty women, with that grave and (I do not say it ironically) majestic expression which they put on, when, being very fond of their husbands and children, they seriously think either the one or the other have misbehaved themselves.

12. And it is not a little discouraging for me, and may well make you doubtful of my right judgment in this endeavor to lead you into closer attention to the bird, with its wings and claws still in its own possession;—it is discouraging, I say, to observe that the beginning of such more faithful and accurate observation in former art, is exactly coeval with the commencement of its decline. The feverish and ungraceful natural history of Paul, called, "of the birds," Paolo degli Uccelli, produced, indeed, no harmful result on the minds of his contemporaries, they watched in him, with only contemptuous admiration, the fantasy of zoological instinct which filled his house with painted dogs, cats, and birds, because he was too poor to fill it with real ones. Their judgment of this morbidly naturalistic art was conclusively expressed by the sentence of Donatello, when going one morning into the Old Market, to buy fruit, and finding the animal painter uncovering a picture, which had cost him months of care, (curiously symbolic in its subject, the infidelity of St. Thomas, of the investigatory fingering of the natural historian,) "Paul, my friend," said Donatello, "thou art uncovering the picture just when thou shouldst be shutting it up."

13. No harm, therefore, I repeat, but, on the contrary, some wholesome stimulus to the fancy of men like Luca and Donatello themselves, came of the grotesque and impertinent zoology of Uccello.

But the fatalest institutor of proud modern anatomical and scientific art, and of all that has polluted the dignity, and darkened the charity, of the greater ages, was Antonio Pollajuolo of Florence. Antonio (that is to say) the Poulterer—so named from the trade of his grandfather, and with just so much of his grandfather's trade left in his own disposition, that being set by Lorenzo Ghiberti to complete one of the ornamental festoons of the gates of the Florentine Baptistery, there, (says Vasari) "Antonio produced a quail, which may still be seen, and is so beautiful, nay, so perfect, that it wants nothing but the power of flight."

14. Here, the morbid tendency was as attractive as it was subtle. Ghiberti himself fell under the influence of it; allowed the borders of his gates, with their fluttering birds and bossy fruits, to dispute the spectators' favor with the religious subjects they inclosed; and, from that day forward, minuteness and muscularity were, with curious harmony of evil, delighted in together; and the lancet and the microscope, in the hands of fools, were supposed to be complete substitutes for imagination in the souls of wise men: so that even the best artists are gradually compelled, or beguiled, into compliance with the curiosity of their day; and Francia, in the city of Bologna, is held to be a "kind of god, more particularly" (again I quote Vasari) "after he had painted a set of caparisons for the Duke of Urbino, on which he depicted a great forest all on fire, and whence there rushes forth an immense number of every kind of animal, with several human figures. This terrific, yet truly beautiful representation, was all the more highly esteemed for the time that had been expended on it in the plumage of the birds, and other minutiæ in the delineation of the different animals, and in the diversity of the branches and leaves of the various trees seen therein;" and thenceforward the catastrophe is direct, to the ornithological museums which Breughel painted for gardens of Eden, and to the still life and dead game of Dutch celebrities.

15. And yet I am going to invite you to-day to examine, down to almost microscopic detail, the aspect of a small bird, and to invite you to do this, as a most expedient and sure step in your study of the greatest art.

But the difference in our motive of examination will entirely alter the result. To paint birds that we may show how minutely we can paint, is among the most contemptible occupations of art. To paint them, that we may show how beautiful they are, is not indeed one of its highest, but quite one of its pleasantest and most useful; it is a skill within the reach of every student of average capacity, and which, so far as acquired, will assuredly both make their hearts kinder, and their lives happier.

Without further preamble, I will ask you to look to-day, more carefully than usual, at your well-known favorite, and to think about him with some precision.

16. And first, Where does he come from? I stated that my lectures were to be on English and Greek birds; but we are apt to fancy the robin all our own. How exclusively, do you suppose, he really belongs to us? You would think this was the first point to be settled in any book about him. I have hunted all my books through, and can't tell you how much he is our own, or how far he is a traveler.

And, indeed, are not all our ideas obscure about migration itself? You are broadly told that a bird travels, and how wonderful it is that it finds its way; but you are scarcely ever told, or led to think, what it really travels for—whether for food, for warmth, or for seclusion—and how the traveling is connected with its fixed home. Birds have not their town and country houses,—their villas in Italy, and shooting boxes in Scotland. The country in which they build their nests is their proper home,—the country, that is to say, in which they pass the spring and summer. Then they go south in the winter, for food and warmth; but in what lines, and by what stages? The general definition of a migrant in this hemisphere is a bird that goes north to build its nest, and south for the winter; but, then, the one essential point to know about it is the breadth and latitude of the zone it properly inhabits,—that is to say, in which it builds its nest; next, its habits of life, and extent and line of southing in the winter; and finally, its manner of traveling.

17. Now, here is this entirely familiar bird, the robin. Quite the first thing that strikes me about it, looking at it as a painter, is the small effect it seems to have had on the minds of the southern nations. I trace nothing of it definitely, either in the art or literature of Greece or Italy. I find, even, no definite name for it; you don't know if Lesbia's "passer" had a red breast, or a blue, or a brown. And yet Mr. Gould says it is abundant in all parts of Europe, in all the islands of the Mediterranean, and in Madeira and the Azores. And then he says—(now notice the puzzle of this),—"In many parts of the Continent it is a migrant, and, contrary to what obtains with us, is there treated as a vagrant, for there is scarcely a country across the water in which it is not shot down and eaten."

"In many parts of the Continent it is a migrant." In what parts—how far—in what manner?

18. In none of the old natural history books can I find any account of the robin as a traveler, but there is, for once, some sufficient reason for their reticence. He has a curious fancy in his manner of traveling. Of all birds, you would think he was likely to do it in the cheerfulest way, and he does it in the saddest. Do you chance to have read, in the Life of Charles Dickens, how fond he was of taking long walks in the night and alone? The robin, en voyage, is the Charles Dickens of birds. He always travels in the night, and alone; rests, in the day, wherever day chances to find him; sings a little, and pretends he hasn't been anywhere. He goes as far, in the winter, as the north-west of Africa; and in Lombardy, arrives from the south early in March; but does not stay long, going on into the Alps, where he prefers wooded and wild districts. So, at least, says my Lombard informant.

I do not find him named in the list of Cretan birds; but even if often seen, his dim red breast was little likely to make much impression on the Greeks, who knew the flamingo, and had made it, under the name of Phœnix or Phœnicopterus, the center of their myths of scarlet birds. They broadly embraced the general aspect of the smaller and more obscure species, under the term ξονθος [Greek: xonthos], which, as I understand their use of it, exactly implies the indescribable silky brown, the groundwork of all other color in so many small birds, which is indistinct among green leaves, and absolutely identifies itself with dead ones, or with mossy stems.

19. I think I show it you more accurately in the robin's back than I could in any other bird; its mode of transition into more brilliant color is, in him, elementarily simple; and although there is nothing, or rather because there is nothing, in his plumage, of interest like that of tropical birds, or even of our own game-birds, I think it will be desirable for you to learn first from the breast of the robin what a feather is. Once knowing that, thoroughly, we can further learn from the swallow what a wing is; from the chough what a beak is; and from the falcon what a claw is.

I must take care, however, in neither of these last two particulars, to do injustice to our little English friend here; and before we come to his feathers, must ask you to look at his bill and his feet.

20. I do not think it is distinctly enough felt by us that the beak of a bird is not only its mouth, but its hand, or rather its two hands. For, as its arms and hands are turned into wings, all it has to depend upon, in economical and practical life, is its beak. The beak, therefore, is at once its sword, its carpenter's tool-box, and its dressing-case; partly also its musical instrument; all this besides its function of seizing and preparing the food, in which functions alone it has to be a trap, carving-knife, and teeth, all in one.

21. It is this need of the beak's being a mechanical tool which chiefly regulates the form of a bird's face, as opposed to a four-footed animal's. If the question of food were the only one, we might wonder why there were not more four-footed creatures living on seeds than there are; or why those that do—field-mice and the like—have not beaks instead of teeth. But the fact is that a bird's beak is by no means a perfect eating or food-seizing instrument. A squirrel is far more dexterous with a nut than a cockatoo; and a dog manages a bone incomparably better than an eagle. But the beak has to do so much more! Pruning feathers, building nests, and the incessant discipline in military arts, are all to be thought of, as much as feeding.

Soldiership, especially, is a much more imperious necessity among birds than quadrupeds. Neither lions nor wolves habitually use claws or teeth in contest with their own species; but birds, for their partners, their nests, their hunting-grounds, and their personal dignity, are nearly always in contention; their courage is unequaled by that of any other race of animals capable of comprehending danger; and their pertinacity and endurance have, in all ages, made them an example to the brave, and an amusement to the base, among mankind.

22. Nevertheless, since as sword, as trowel, or as pocket-comb, the beak of the bird has to be pointed, the collection of seeds may be conveniently intrusted to this otherwise penetrative instrument, and such food as can only be obtained by probing crevices, splitting open fissures, or neatly and minutely picking things up, is allotted, pre-eminently, to the bird species.

The food of the robin, as you know, is very miscellaneous. Linnæus says of the Swedish one, that it is "delectatus euonymi baccis,"—"delighted with dogwood berries,"—the dogwood growing abundantly in Sweden, as once in Forfarshire, where it grew, though only a bush usually in the south, with trunks a foot or eighteen inches in diameter, and the tree thirty feet high. But the Swedish robin's taste for its berries is to be noted by you, because, first, the dogwood berry is commonly said to be so bitter that it is not eaten by birds (Loudon, "Arboretum," ii., 497, 1.); and, secondly, because it is a pretty coincidence that this most familiar of household birds should feed fondly from the tree which gives the housewife her spindle,—the proper name of the dogwood in English, French, and German being alike "Spindle-tree." It feeds, however, with us, certainly, most on worms and insects. I am not sure how far the following account of its mode of dressing its dinners may be depended on: I take it from an old book on Natural History, but find it, more or less, confirmed by others: "It takes a worm by one extremity in its beak, and beats it on the ground till the inner part comes away. Then seizing it in a similar manner by the other end, it entirely cleanses the outer part, which alone it eats."