In November, when tramping in the Midlands, I paid a visit to a friend who had previously informed me, in describing the attractions of the small, remote, rustic village he lived in, that it was haunted by owls.
The night-roving bird that inhabits the country village and its immediate neighbourhood is, in most cases, the white or barn owl, the owl that prefers a loft in a barn or a church tower for home and breeding-place to the hollow, ivied tree. The loft is dry and roomy, the best shelter from the storm and the tempest, although not always from the tempest of man's insensate animosity. The larger wood owl is supposed to have a different disposition, to be a dweller in deep woods, in love with "seclusion, gloom, and retirement,"—a thorough hermit. It is not so everywhere, certainly not in my friend's Gloucestershire village, where the white owl is unknown, while the brown or wood owl is quite common. But it is not a thickly wooded district; the woods there are small and widely separated. There is, however, a [Pg_174] deal of old hedgerow timber and many large trees scattered about the fields. These the owl inhabits and is abundant simply because the gamekeeper is not there with his everlasting gun; while the farmers look on the bird rather as a friend than an enemy.
To go a little further into the matter, there are no gamekeepers because the landowners cannot afford the expensive luxury of hand-reared pheasants. The country is, or was, a rich one; but the soil is clay so extraordinarily stiff that four or five horses are needed to draw a plough. It is, indeed, strange to see five huge horses, all in line, dragging a plough, and moving so slowly that, when looked at from a distance, they appear not to move at all. If here and there a little wheat is still grown, it is only because, as the farmers say, "We mun have straw." The land has mostly gone out of cultivation, many vacant farms could be had at about five shillings an acre, and the landlords would in many cases, when pay day came round, be glad to take half a crown and forgive the rest.
The fields that were once ploughed are used for grazing, but the sheep and cattle on them are very few; one can only suppose that the land is not suitable for grazing purposes, or else that the farmers are too poor to buy sufficient stock.
Viewed from some eminence, the wide, green [Pg_175] country appears a veritable waste; the idle hedges enclosing vacant fields, the ancient scattered trees, the absence of life, the noonday quiet, where the silence is only broken at intervals by some distant bird voice, strangely impress the mind as by a vision of a time to come and of an England dispeopled. It is restful; there is a melancholy charm in it similar to that of a nature untouched by man, although not so strong. Here, everywhere are visible the marks of human toil and ownership—the wave-like, parallel ridges in the fields, now mantled with grass, and the hedges that cut up the surface of the earth into innumerable segments of various shapes and sizes. It is not wild, but there is something in it of the desolaton that accompanies wildness—a promise soon to be fulfilled, now that grass and herbage will have freedom to grow, and the hedges that have been trimmed for a thousand years will no longer be restrained from spreading.
In this district the farmhouses and cottages are not scattered over the country. The farm-buildings, as a rule, form part of the village; the villages are small and mostly hidden from sight among embowering trees or in a coombe. From the high ground in some places it is possible to gaze over many miles of surrounding country and not see a human habitation; [Pg_176] hours may sometimes be passed in such a spot without a human figure appearing in the landscape.
The village I was staying at is called Willersey; the nearest to it, a little over a mile away, is Saintbury. This last was just such a pretty peaceful spot as would tempt a world-weary man to exclaim on first catching sight of it, "Here I could wish to end my days." A little old-world village, set among trees in the sheltering hollow of a deep coombe, consisting of thatched stone cottages, grouped in a pretty disorder; a modest ale-house; a parsonage overgrown with ivy; and the old stone church, stained yellow and grey with lichen, its low square tower overtopped by the surrounding trees. It was a pleasure merely to sit idle, thinking of nothing, on the higher part of the green slope, with that small centre of rustic life at my feet. For many hours of each day it was strangely silent, the hours during which the men were away at a distance in the fields, the children shut up in school, and the women in their cottages. An occasional bird voice alone broke the silence—the distant harsh call of a crow, or the sudden startled note of a magpie close at hand, a sound that resembles the broken or tremulous bleat of a goat. If an apple dropped from a tree in the village, its thud would be audible from end to end of the little crooked street [Pg_177] in every cottage it would be known that an apple had dropped. On some days the sound of the threshing-machine would be heard a mile or two away; in that still atmosphere it was like the prolonged hum of some large fly magnified a million times. A musical sound, buzzing or clear, at times tremulous, rising or falling at intervals, it would swell and fill the world, then grow faint and die away. This is one of the artificial sounds which, like distant chimes, harmonise with rural scenes.
Towards evening the children were all at play, their shrill cries and laughter sounding from all parts of the village. Then, when the sun had set and the landscape grew dim, they would begin to call to one another from all sides in imitation of the wood owl's hoot. During these autumn evenings the children at this spot appeared to drop naturally into the owl's note, just as in spring in all parts of England they take to mimicking the cuckoo's call. Children are like birds of a social and loquacious disposition in their fondness for a set call, a penetrative cry or note, by means of which they can converse at long distances. But they have no settled call of their own, no cry as distinctive as that of one of the lower animals. They mimic some natural sound. In the case of the children of these Midland villages it is [Pg_178] the wood owl's clear prolonged note; and in every place where some animal with a striking and imitable voice is found its call is used by them. Where no such sound is heard, as in large towns, they invent a call; that is, one invents it and the others immediately take it up. It is curious that the human species, in spite of its long wild life in the past, should have no distinctive call, or calls, universally understood. Among savage tribes the men often mimic the cry of some wild animal as a call, just as our children do that of an owl by night, and of some diurnal species in the daytime. Other tribes have a call of their own, a shout or yell peculiar to the tribe; but it is not used instinctively—it is a mere symbol, and is artificial, like the long-drawn piercing coo-ee of the Australian colonists in the bush, and the abrupt Hi! with which we hail a cab, with other forms of halooing; or even the lupine gurgled yowl of the morning milkman.
After dark the silence at the village was very profound until about half-past nine to ten o'clock, when the real owls, so easily to be distinguished from their human mockers, would begin their hooting—a single, long, uninflected note, and after it a silent interval of eight or ten seconds; then the succeeding longer, much more beautiful note, quavering at first, but [Pg_179] growing steady and clear, with some slight modulation in it. The symbols hoo-hoo and to-whit to-who, as Shakespeare wrote it, stand for the wood owl's note in books; but you cannot spell the sound of an oaten straw, nor of the owl's pipe. There is no w in it, and no h and no t. It suggests some wind instrument that resembles the human voice, but a very un-English one—perhaps the high-pitched somewhat nasal voice of an Arab intoning a prayer to Allah. One cannot hit on the precise instrument, there are so many; perhaps it is obsolete, and the owl was taught his song by lovers in the long ago, who wooed at twilight in a forgotten tongue,
And gave the soft winds a voice,
With instruments of unremembered forms.
No, that cannot be; for the wood owl's music is doubtless older than any instrument made by hands to be blown by human lips. Listening by night to their concert, the many notes that come from far and near, human-like, yet airy, delicate, ............