CLIFTON JOHNSON.
Hadley, Mass., 1910.
NOTE.—The pictures in this volume were all made in the Catskills and are the results of several trips to the regions described in the essays.
IN THE CATSKILLS
I
THE SNOW-WALKERS
He who marvels at the beauty of the world in summer will find equal cause for wonder and admiration in winter. It is true the pomp and the pageantry are swept away, but the essential elements remain—the day and the night, the mountain and the valley, the elemental play and succession and the perpetual presence of the infinite sky. In winter the stars seem to have rekindled their fires, the moon achieves a fuller triumph, and the heavens wear a look of a more exalted simplicity. Summer is more wooing and seductive, more versatile and human, appeals to the affections and the sentiments, and fosters inquiry and the art impulse. Winter is of a more heroic cast, and addresses the intellect. The severe studies and disciplines come easier in winter. One imposes larger tasks upon himself, and is less tolerant of his own weaknesses.
The tendinous part of the mind, so to speak, is more developed in winter; the fleshy, in summer. I should say winter had given the bone and sinew to Literature, summer the tissues and blood.
The simplicity of winter has a deep moral. The return of nature, after such a career of splendor and prodigality, to habits so simple and austere, is not lost either upon the head or the heart. It is the philosopher coming back from the banquet and the wine to a cup of water and a crust of bread.
And then this beautiful masquerade of the elements—the novel disguises our nearest friends put on! Here is another rain and another dew, water that will not flow, nor spill, nor receive the taint of an unclean vessel. And if we see truly, the same old beneficence and willingness to serve lurk beneath all.
Look up at the miracle of the falling snow—the air a dizzy maze of whirling, eddying flakes, noiselessly transforming the world, the exquisite crystals dropping in ditch and gutter, and disguising in the same suit of spotless livery all objects upon which they fall. How novel and fine the first drifts! The old, dilapidated fence is suddenly set off with the most fantastic ruffles, scalloped and fluted after an unheard-of fashion! Looking down a long line of decrepit stone wall, in the trimming of which the wind had fairly run riot, I saw, as for the first time, what a severe yet master artist old Winter is. Ah, a severe artist! How stern the woods look, dark and cold and as rigid against the horizon as iron!
All life and action upon the snow have an added emphasis and significance. Every expression is underscored. Summer has few finer pictures than this winter one of the farmer foddering his cattle from a stack upon the clean snow—the movement, the sharply defined figures, the great green flakes of hay, the long file of patient cows, the advance just arriving and pressing eagerly for the choicest morsels, and the bounty and providence it suggests. Or the chopper in the woods—the prostrate tree, the white new chips scattered about, his easy triumph over the cold, his coat hanging to a limb, and the clear, sharp ring of his axe. The woods are rigid and tense, keyed up by the frost, and resound like a stringed instrument. Or the road-breakers, sallying forth with oxen and sleds in the still, white world, the day after the storm, to restore the lost track and demolish the beleaguering drifts.
All sounds are sharper in winter; the air transmits better. At night I hear more distinctly the steady roar of the North Mountain. In summer it is a sort of complacent purr, as the breezes stroke down its sides; but in winter always the same low, sullen growl.
A severe artist! No longer the canvas and the pigments, but the marble and the chisel. When the nights are calm and the moon full, I go out to gaze upon the wonderful purity of the moonlight and the snow. The air is full of latent fire, and the cold warms me—after a different fashion from that of the kitchen stove. The world lies about me in a "trance of snow." The clouds are pearly and iridescent, and seem the farthest possible remove from the condition of a storm—the ghosts of clouds, the indwelling beauty freed from all dross. I see the hills, bulging with great drifts, lift themselves up cold and white against the sky, the black lines of fences here and there obliterated by the depth of the snow. Presently a fox barks away up next the mountain, and I imagine I can almost see him sitting there, in his furs, upon the illuminated surface, and looking down in my direction. As I listen, one answers him from behind the woods in the valley. What a wild winter sound, wild and weird, up among the ghostly hills! Since the wolf has ceased to howl upon these mountains, and the panther to scream, there is nothing to be compared with it. So wild! I get up in the middle of the night to hear it. It is refreshing to the ear, and one delights to know that such wild creatures are among us. At this season Nature makes the most of every throb of life that can withstand her severity. How heartily she indorses this fox! In what bold relief stand out the lives of all walkers of the snow! The snow is a great tell-tale, and blabs as effectually as it obliterates. I go into the woods, and know all that has happened. I cross the fields, and if only a mouse has visited his neighbor, the fact is chronicled.
The red fox is the only species that abounds in my locality; the little gray fox seems to prefer a more rocky and precipitous country, and a less rigorous climate; the cross fox is occasionally seen, and there are traditions of the silver gray among the oldest hunters. But the red fox is the sportsman's prize, and the only fur-bearer worthy of note in these mountains.[1] I go out in the morning, after a fresh fall of snow, and see at all points where he has crossed the road. Here he has leisurely passed within rifle-range of the house, evidently reconnoitring the premises with an eye to the hen-roost. That clear, sharp track—there is no mistaking it for the clumsy footprint of a little dog. All his wildness and agility are photographed in it. Here he has taken fright, or suddenly recollected an engagement, and in long, graceful leaps, barely touching the fence, has gone careering up the hill as fleet as the wind.
The wild, buoyant creature, how beautiful he is! I had often seen his dead carcass, and at a distance had witnessed the hounds drive him across the upper fields; but the thrill and excitement of meeting him in his wild freedom in the woods were unknown to me till, one cold winter day, drawn thither by the baying of a hound, I stood near the summit of the mountain, waiting a renewal of the sound, that I might determine the course of the dog and choose my position—stimulated by the ambition of all young Nimrods to bag some notable game. Long I waited, and patiently, till, chilled and benumbed, I was about to turn back, when, hearing a slight noise, I looked up and beheld a most superb fox, loping along with inimitable grace and ease, evidently disturbed, but not pursued by the hound, and so absorbed in his private meditations that he failed to see me, though I stood transfixed with amazement and admiration, not ten yards distant. I took his measure