The forest - a strange thing for an Englishman - is very destitute of birds. This is no country where every patch of wood among the meadows gibes up an increase of song, and every valley wandered through by a streamlet rings and reverberates from side to with a profusion of clear notes. And this rarity of birds is not to be regretted on its own account only. For the insects prosper in their absence, and become as one of the plagues of Egypt. Ants swarm in the hot sand; mosquitos drone their nasal drone; wherever the sun finds a hole in the roof of the forest, you see a myriad transparent creatures coming and going in the shaft of light; and even between-whiles, even where there is no incursion of sun-rays into the dark arcade of the wood, you are conscious of a continual drift of insects, an ebb and flow of infinitesimal living things between the trees. Nor are insects the only evil creatures that haunt the forest. For you may plump into a cave among the rocks, and find yourself face to face with a wild boar, or see a crooked viper slither across the road.
Perhaps you may set yourself down in the bay between two spreading beech-roots with a book on your lap, and be awakened all of a sudden by a friend: 'I say, just keep where you are, will you? You make the jolliest motive.' And you reply: 'Well, I don't mind, if I may smoke.' And thereafter the hours go idly by. Your friend at the easel labours doggedly a little way off, in the wide shadow of the tree; and yet farther, across a strait of glaring sunshine, you see another painter, encamped in the shadow of another tree, and up to his waist in the fern. You cannot watch your own effigy growing out of the white trunk, and the trunk beginning to stand forth from the rest of the wood, and the whole picture getting dappled over with the flecks of sun that slip through the leaves overhead, and, as a wind goes by and sets the trees a-talking, flicker hither and thither like butterflies of light. But you know it is going forward; and, out of emulation with the painter, get ready your own palette, and lay out the colour for a woodland scene in words.
Your tree stands in a hollow paved with fern and heather, set in a basin of low hills, and scattered over with rocks and junipers. All the open is steeped in pitiless sunlight. Everything stands out as though it were cut in cardboard, every colour is strained into its highest key. The boulders are some of them upright and dead like monolithic castles, some of them prone like sleeping cattle. The junipers - looking, in their soiled and ragged mourning, like some funeral procession that has gone seeking the place of sepulchre three hundred years and more in wind and rain - are daubed in forcibly against the glowing ferns and heather. Every tassel of their rusty foliage is defined with pre-Raphaelite minuteness. And a sorry figure they make out there in the sun, like misbegotten yew-trees!
The scene is all pitched in a key of colour so peculiar, and lit up with such a discharge of violent sunlight, as a man might live fifty years in England and not see.
Meanwhile at your elbow some one tunes up a song, words of Ronsard to a pathetic tremulous air, of how the poet loved his mistress long ago, and pressed on her the flight of time, and told her how white and quiet the dead lay under the stones, and how the boat dipped and pitched as the shades embarked for the passionless land. Yet a little while, sang the poet, and there shall be no more love; only to sit and remember loves that might have been. There is a falling flourish in the air that remains in the memory and comes back in incongruous places, on the seat of hansoms or in the warm bed at night, with something of a forest savour.
'You can get up now,' says the painter; 'I'm at the background.'
And so up you get, stretching yourself, and go your way into the wood, the daylight becoming richer and more golden, and the shadows stretching farther into the open. A cool air comes along the highways, and the scents awaken. The fir-trees breathe abroad their ozone. Out of unknown thickets comes forth the soft, secret, aromatic odour of the woods, not like a smell of the free heaven, but as though court ladies, who had known these paths in ages long gone by, still walked in the summer evenings, and shed from their brocades a breath of musk or bergamot upon the woodland winds. One side of the long avenues is still kindled with the sun, the other is plunged in transparent shadow. Over the trees the west begins to burn like a furnace; and the painters gather up their chattels, and go down, by avenue or footpath, to the plain.
A PLEASURE-PARTY
As this excursion is a matter of some length, and, moreover, we go in force, we have set aside our usual vehicle, the pony-cart, and ordered a large wagonette from Lejosne's. It has been waiting for near an hour, while one went to pack a knapsack, and t'other hurried over his toilette and coffee; but now it is filled from end to end with merry folk in summer attire, the coachman cracks his whip, and amid much applause from round the inn door off we rattle at a spanking trot. The way lies through the forest, up hill and down dale, and by beech and pine wood, in the cheerful morning sunshine.
