LITMIR.BIZ

Скачать книгу

tree, towering above the surrounding objects in the landscape, and yielding to the view something of an indescribable charm. There it stands, the symbol of decayed reputation, in its old age still retaining the primness of its youth; neither drooping in its infirmities under the weight of their burden, nor losing in its desertedness the fine lustre of its foliage; and in its disgrace still bearing itself proudly, as if conscious that its former honors were deserved, and not forgetting that dignity which becomes one who has fallen without dishonor.

      There is no other tree that so pleasantly adorns the sides of narrow lanes and avenues, or so neatly accommodates itself to limited inclosures. Its foliage is dense and of the liveliest green, tremulous, and making delicate music to the light fingers of every breeze; its terebinthine odors scent the soft vernal wind that enters your open windows with the morning sunshine; its branches, always tending upward, closely gathered together, and slenderly formed, afford a harbor to the singing-birds, who revel among them as a favorite resort; and its long tapering spire, that points to heaven, gives an air of cheerfulness and religious tranquillity to village scenery.

      Of the drooping trees, the Weeping Willow is the most conspicuous example, unless we except the American Elm; but a remarkable difference may be observed in the drooping character of these two trees. In the Elm we perceive a general arching or curvature of all its branches, from their points of junction with the tree to their extremities; so that two rows of Elms, meeting over an avenue, would represent, more nearly than any other trees disposed in the same manner, the vault of a Gothic arch. A double row of Weeping Willows would make no such figure by the meeting of their branches. The Weeping Willow extends its long arms in lines more nearly straight, not originating, as in the Elm, for the most part, from one common centre of junction, but joining the shaft of the tree at different points;—hence the drooping character of this tree is observed only in its long, slender, and terminal spray.

      The Weeping Willow is one of the most poetical of trees, being consecrated to the Muse by the part which has been assigned it in many a scene of romance, and by its connection with events recorded in Holy Writ. It is invested with a poetical interest by its symbolical representation of sorrow in the pendulous character of its spray, by its fanciful uses as a garland for disappointed lovers, and by the employment of it in burying-grounds, and in pictures as drooping over graves. We remember it in sacred history by its association with the rivers of Babylon, with the tears of the Children of Israel, and with the forsaken harps of their sorrowing minstrels, who hung them upon its branches. It is distinguished by the graceful beauty of its outlines, its light-green delicate foliage, its sorrowing attitude, and its gently waving spray, all in sweet accordance with its picturesque, poetic, and Scriptural associations.

      Hence the Weeping Willow never fails to give pleasure to the sight even of the most insensible observer. There are not many whose minds are so obtuse as to be blind to its peculiarly graceful attitude and motions, and every one is familiar with its history, as recorded in poetry and romance, all the incidents of which have served to elevate it above any association with fashion or vulgarity. When we see it waving its long branches neatly over some private inclosure, overshadowing the gravelled walk and the flower-garden,—or watching pensively over the graves of the dead, where the light hues of its foliage help to soften the glowing fancies which are apt to arise from our meditations among the tombs,—or on some wide common, giving solace to the passing traveller, and inviting the playful children to its shade,—or trailing its sweeping spray, like the tresses of a Naiad, over some silvery pond or gently flowing stream,—it is in all cases a delightful object, always picturesque, always soothing, inspiring, and sacred to memory, and serving, by its alliance with what is hallowed in literature, to bind us more closely to Nature.

      Above all the trees of the New World, the Elm deserves to be considered the sovereign tree of New England. It is abundant both in field and forest, and forms the most remarkable feature in our cleared and cultivated grounds. Though the Elm is found in almost all parts of the country, in no other is it so conspicuous as in the Northeastern States, where, from the earliest settlement of the country, it has been planted as a shade-tree, and has been valued as an ornament above the proudest importations from a foreign clime. It is the most remarkable of the drooping trees except the Willow, which it surpasses in stateliness and in the variety of its growth.

      When I look upon a noble Elm,—though I feel no disposition to contemn the studies of those who examine its flowers and fruit with the scrutinizing eye of science, or the calculations of those who consider only its practical use—it is to me an object of pleasing veneration. I look upon it as the embodiment of some benign intention of Providence, who has adapted it in numerous ways to the wants of his creatures. While admiring its grace and its majesty, I think of the great amount of human happiness and of comfort to the inferior animals of which it has been the blessed instrument. How many a happy assemblage of children and young persons has been, during the past century, repeatedly gathered under its shade, in the sultry noons of summer! How many a young May-queen has been crowned under its roof, when the greensward was just daisied with the early flowers of spring! And how many a weary traveller has rested from his journey in its benevolent shade, and from a state of weariness and vexation, when o'erspent by heat and length of way, has subsided into one of quiet thankfulness and content!

      Though the Elm has never been consecrated by the Muse, or dignified by making a figure in the paintings of the old masters, the native inhabitant of New England associates its varied forms with all that is delightful in the scenery of his own land or memorable in its history. He has beheld many a noble avenue formed of Elms, when standing in rows in the village, or by the rustic road-side. He has seen them extending their broad and benevolent arms as a protection over many a spacious old farm-house and many an humble cottage, and equally harmonizing with all. They meet his sight in the public grounds of the city, with their ample shade and flowing spray, inviting him to linger under their pleasant umbrage in summer; and in winter he has beheld them among the rude hills and mountains, like spectral figures keeping sentry among their passes, and, on the waking of the year, suddenly transformed into towers of luxuriant verdure and beauty. Every year of his life has he seen the beautiful Hang-Bird weave his pensile habitation upon the long and flexible branches of the Elm, secure from the reach of every living creature. From its vast dome of interwoven branches and foliage he has listened to the songs of the earliest and the latest birds; and under its shelter he has witnessed many a merry-making assemblage of children, employed in the sportive games of summer.

      To a native of New England, therefore, the Elm has a value more nearly approaching that of sacredness than any other tree. Setting aside the pleasure derived from it as an object of visual beauty, it is intimately associated with the familiar scenes of home and the events of his early life. In my own mind it is pleasingly allied with those old dwelling-houses which were built in the early part of the last century, and form one of the marked features of New England home architecture during that period. They are known by their broad and ample, but low-studded rooms, their numerous windows with small panes, their single chimney in the centre of the roof that sloped down to the lower story in the back part, and in their general unpretending appearance, reminding one vividly of that simplicity of life which characterized our people before the Revolution. Their very homeliness is delightful, by leaving the imagination free to dwell upon their pleasing suggestions. Not many of these charming old houses are now extant: but whenever we see one, we are almost sure to find it accompanied by its Elm, standing upon the green open space that slopes up to it in front, and waving its long branches in melancholy grandeur over the venerable habitation which it seems to have taken under its protection, while it droops with sorrow over the infirmities of its old companion of a century.

      The Elm is remarkable for the variety of forms which it assumes in different situations. Often it has a drooping spray only when it has attained a large size; but it almost invariably becomes subdivided into several equal branches, diverging from a common centre, at a considerable elevation from the ground. One of these forms is that of a vase: the base being represented by the roots of the tree that project above the soil and join the trunk,—the middle by the lower part of the principal branches, as they swell out with a graceful curve, then gradually diverge, until they bend downward and form the lip of the vase, by their circle of terminal branches. Another of its forms is that of a vast dome, as represented by those trees that send up a single shaft to the height of twenty feet or more, and then extend their branches at a wide divergency

Скачать книгу