Part II

Half a mile from home, at the farther edge of the woods, where the land was highest, a great pine-tree stood, the last of its generation. Whether it was left for a boundary mark, or for what reason, no one could say; the woodchoppers who had felled its mates were dead and gone long ago, and a whole forest of sturdy trees, pines and oaks and maples, had grown again. But the stately head of this old pine towered above them all and made a landmark for sea and shore miles and miles away. Sylvia knew it well. She had always believed that whoever climbed to the top of it could see the ocean; and the little girl had often laid her hand on the great rough trunk and looked up wistfully at those dark boughs that the wind always stirred, no matter how hot and still the air might be below. Now she thought of the tree with a new excitement, for why, if one climbed it at break of day, could not one see all the world, and easily discover from whence the white heron flew, and mark the place, and find the hidden nest?

What a spirit of adventure, what wild ambition! What fancied triumph and delight and glory for the later morning when she could make known the secret! It was almost too real and too great for the childish heart to bear.

All night the door of the little house stood open and the whippoorwills came and sang upon the very step. The young sportsman and his old hostess were sound asleep, but Sylvia's great design kept her broad awake and watching. She forgot to think of sleep. The short summer night seemed as long as the winter darkness, and at last when the whippoorwills ceased, and she was afraid the morning would after all come too soon, she stole out of the house and followed the pasture path through the woods, hastening toward the open ground beyond, listening with a sense of comfort and companionship to the drowsy twitter of a half-awakened bird, whose perch she had jarred in passing. Alas, if the great wave of human interest which flooded for the first time this dull little life should sweep away the satisfactions of an existence heart to heart with nature and the dumb life of the forest! There was the huge tree asleep yet in the paling moonlight, and small and silly Sylvia began with utmost bravery to mount to the top of it, with tingling, eager blood coursing the channels of her whole frame, with her bare feet and fingers, that pinched and held like bird's claws to the monstrous ladder reaching up, up, almost to the sky itself. First she must mount the white oak tree that grew alongside, where she was almost lost among the dark branches and the green leaves heavy and wet with dew; a bird fluttered off its nest, and a red squirrel ran to and fro and scolded pettishly at the harmless housebreaker. Sylvia felt her way easily. She had often climbed there, and knew that higher still one of the oak's upper branches chafed against the pine trunk, just where its lower boughs were set close together. There, when she made the dangerous pass from one tree to the other, the great enterprise would really begin.

She crept out along the swaying oak limb at last, and took the daring step across into the old pine-tree. The way was harder than she thought; she must reach far and hold fast, the sharp dry twigs caught and held her and scratched her like angry talons, the pitch made her thin little fingers clumsy and stiff as she went round and round the tree's great stem, higher and higher upward. The sparrows and robins in the woods below were beginning to wake and twitter to the dawn, yet it seemed much lighter there aloft in the pine-tree, and the child knew she must hurry if her project were to be of any use.

The tree seemed to lengthen itself out as she went up, and to reach farther and farther upward. It was like a great main-mast to the voyaging earth; it must truly have been amazed that morning through all its ponderous frame as it felt this determined spark of human spirit wending its way from higher branch to branch. Who knows how steadily the least twigs held themselves to advantage this light, weak creature on her way! The old pine must have loved his new dependent. More than all the hawks, and bats, and moths, and even the sweet voiced thrushes, was the brave, beating heart of the solitary gray-eyed child. And the tree stood still and frowned away the winds that June morning while the dawn grew bright in the east.

Sylvia's face was like a pale star, if one had seen it from the ground, when the last thorny bough was past, and she stood trembling and tired but wholly triumphant, high in the tree-top. Yes, there was the sea with the dawning sun making a golden dazzle over it, and toward that glorious east flew two hawks with slow-moving pinions. How low they looked in the air from that height when one had only seen them before far up, and dark against the blue sky. Their gray feathers were as soft as moths; they seemed only a little way from the tree, and Sylvia felt as if she too could go flying away among the clouds. Westward, the woodlands and farms reached miles and miles into the distance; here and there were church steeples, and white villages, truly it was a vast and awesome world

The birds sang louder and louder. At last the sun came up bewilderingly bright. Sylvia could see the white sails of ships out at sea, and the clouds that were purple and rose-colored and yellow at first began to fade away. Where was the white heron's nest in the sea of green branches, and was this wonderful sight and pageant of the world the only reward for having climbed to such a giddy height? Now look down again, Sylvia, where the green marsh is set among the shining birches and dark hemlocks; there where you saw the white heron once you will see him again; look, look! a white spot of him like a single floating feather comes up from the dead hemlock and grows larger, and rises, and comes close at last, and goes by the landmark pine with steady sweep of wing and outstretched slender neck and crested head. And wait! wait! do not move a foot or a finger, little girl, do not send an arrow of light and consciousness from your two eager eyes, for the heron has perched on a pine bough not far beyond yours, and cries back to his mate on the nest and plumes his feathers for the new day! The child gives a long sigh a minute later when a company of shouting cat-birds comes also to the tree, and vexed by their fluttering and lawlessness the solemn heron goes away. She knows his secret now, the wild, light, slender bird that floats and wavers, and goes back like an arrow presently to his home in the green world beneath. Then Sylvia, well satisfied, makes her perilous way down again, not daring to look far below the branch she stands on, ready to cry sometimes because her fingers ache and her lamed feet slip. Wondering over and over again what the stranger would say to her, and what he would think when she told him how to find his way straight to the heron's nest.

"Sylvy, Sylvy!" called the busy old grandmother again and again, but nobody answered, and the small husk bed was empty and Sylvia had disappeared.

The guest waked from a dream, and remembering his day's pleasure hurried to dress himself that might it sooner begin. He was sure from the way the shy little girl looked once or twice yesterday that she had at least seen the white heron, and now she must really be made to tell. Here she comes now, paler than ever, and her worn old frock is torn and tattered, and smeared with pine pitch. The grandmother and the sportsman stand in the door together and question her, and the splendid moment has come to speak of the dead hemlock-tree by the green marsh.

But Sylvia does not speak after all, though the old grandmother fretfully rebukes her, and the young man's kind, appealing eyes are looking straight in her own. He can make them rich with money; he has promised it, and they are poor now. He is so well worth making happy, and he waits to hear the story she can tell.

No, she must keep silence! What is it that suddenly forbids her and makes her dumb? Has she been nine years growing and now, when the great world for the first time puts out a hand to her, must she thrust it aside for a bird's sake? The murmur of the pine's green branches is in her ears, she remembers how the white heron came flying through the golden air and how they watched the sea and the morning together, and Sylvia cannot speak; she cannot tell the heron's secret and give its life away. Dear loyalty, that suffered a sharp pang as the guest went away disappointed later in the day, that could have served and followed him and loved him as a dog loves! Many a night Sylvia heard the echo of his whistle haunting the pasture path as she came home with the loitering cow. She forgot even her sorrow at the sharp report of his gun and the sight of thrushes and sparrows dropping silent to the ground, their songs hushed and their pretty feathers stained and wet with blood. Were the birds better friends than their hunter might have been,—who can tell? Whatever treasures were lost to her, woodlands and summer-time, remember! Bring your gifts and graces and tell your secrets to this lonely country child!

Footnotes

  1. As the word is used here, it means the persistent presence of a sound Sylvia remembers and indicates that she is unable to forget the hunter, whom she misses very much.

    — Owl Eyes Editors
  2. Despite how much Sylvia wants to please the young hunter and earn for her grandmother his reward for revealing the white heron’s nest, she cannot do it at the expense of the heron’s life. The heron is a symbol of the beauty and freedom found in the natural world that Sylvia loves as a child of the woods. By refusing to betray the heron, Sylvia expresses her deepest personal values.

    — Wesley, Owl Eyes Editor
  3. The visual image of “golden air” recalls the previous description of the “golden dazzle” of light upon the sea, again emphasizing the beauty of the natural world Sylvia experienced at the top of the towering pine.

    — Owl Eyes Editors
  4. “Dumb” was used in the past to mean unable to speak; it is now unacceptable to use the word in that way.

    — Owl Eyes Editors
  5. The story reaches its dramatic climax when Sylvia decides she cannot tell the hunter the location of the white heron, knowing that he will find the heron and kill it.

    — Owl Eyes Editors
  6. The passage summarizes Sylvia’s reasons for discovering the location of the white heron’s nest: for much-needed money and for love of the young hunter, two very strong motivations for her.

    — Owl Eyes Editors
  7. To rebuke means to scold or express strong disapproval. Sylvia’s grandmother’s rebuking her “fretfully” suggests that Mrs. Tilley feels upset and distressed.

    — Owl Eyes Editors
  8. The point of view in the story shifts again as the author speaks directly to readers. Also, the narration now shifts to the present tense, drawing readers into events as they happen, creating the feeling of sharing them with Sylvia.

    — Owl Eyes Editors
  9. “Lamed” is used here to mean injured or wounded. The condition of Sylvia’s feet illustrates the physical toll of having climbed the tree.

    — Owl Eyes Editors
  10. “Perilous” means dangerous. Sylvia’s descending from the top of the pine tree is as dangerous as her ascent had been.

    — Owl Eyes Editors
  11. The passage describes the white heron’s return to its nest with a simile, comparing it to an arrow in flight. The simile suggests that the heron suddenly and quickly drops to its nest, much like an arrow speeds to its target.

    — Owl Eyes Editors
  12. The narrative point of view shifts as the author now speaks directly to Sylvia, which creates an even more personal tone in the story.

    — Owl Eyes Editors
  13. The day’s transitioning from dawn to full daylight is described here with colorful visual imagery that describes the sunrise.

    — Owl Eyes Editors
  14. “Bewildering” means difficult to comprehend. The sun’s being “bewilderingly bright” suggests that the brightness of the sun is astounding. Also, the repetition of the “B” sound in “bewilderingly bright” is an example of alliteration; it draws attention to the description of the sun, further emphasizing its brightness.

    — Owl Eyes Editors
  15. In climbing the tall pine, Sylvia enters a part of the natural world that is new to her, and the experience is thrilling. She identifies with the freedom of the hawks flying nearby.

    — Owl Eyes Editors
  16. Their feathers are described with a simile, comparing them to the softness of moths. The description emphasizes how close Sylvia is to them.

    — Owl Eyes Editors
  17. The passage features two physical points of view: how the hawks appeared looking down at them from the tall pine versus how they appeared looking up at them from the ground.

    — Owl Eyes Editors
  18. “Pinions” refers to the feathered wings of a bird.

    — Owl Eyes Editors
  19. The sea is described through visual images. The sun is beginning to rise, and there is a “golden dazzle” over the sea, suggesting light illuminating the surface of the ocean. The word “golden” has connotations of great beauty.

    — Owl Eyes Editors
  20. Sylvia’s face is described with a simile, comparing it to a pale star. Also, the physical point of view has changed, as Sylvia is now viewed from the ground, looking up.

    — Owl Eyes Editors
  21. The tree is described again through personification, giving it the human trait of feeling love and a sense of responsibility for Sylvia, “his new dependent.”

    — Owl Eyes Editors
  22. A mast is a tall vertical pole that rises from the center of a sailing ship and holds the sails that catch the wind to power the ship. A mainmast is usually the tallest mast on a ship that has several masts. The great pine tree is described with a simile, comparing it to the mainmast on a sailing ship. “The voyaging earth” is an implied metaphor comparing the earth to a ship at sea. The tree is also described through personification, giving it the human ability to feel amazed.

    — Wesley, Owl Eyes Editor
  23. As the word is used here, “pitch” is a semi-solid secretion similar to sap that oozes from pine trees and adheres to the bark.

    — Owl Eyes Editors
  24. The twigs are described with a simile, comparing them to the talons or claws of a bird of prey. The talons are personified by describing them as angry, a human emotion.

    — Owl Eyes Editors
  25. “Chafed” means rubbed against.

    — Owl Eyes Editors
  26. “Pettishly” means in a way that shows worry or irritation. The “harmless housebreaker” refers to Sylvia as she is climbing the tree. The “house” that Sylvia is breaking into is a metaphor for the tree, which is the squirrel’s home.

    — Owl Eyes Editors
  27. The tree is described with an implied metaphor, comparing it to a “monstrous ladder” that Sylvia climbs. “Monstrous” emphasizes the huge size and tremendous height of the tree, while also suggesting that it is dangerous to climb.

    — Owl Eyes Editors
  28. Sylvia’s feet and fingers are described with a simile, comparing them to the claws of a bird. The description emphasizes the difficulty of climbing to the top of the tree.

    — Owl Eyes Editors
  29. The towering pine tree is personified as sleeping in the moonlight, which is growing pale as dawn approaches. The image is one of peace, silence, and solitude.

    — Owl Eyes Editors
  30. The summer night, which brief in duration, is described with a simile that compares it to a winter night, which is dark for a much longer period of time. The simile suggests that time passes very slowly for Sylvia as she anticipates climbing the pine tree at sunrise and discovering the location of the white heron’s nest.

    — Owl Eyes Editors
  31. Sylvia’s “great design” is her plan to climb the towering pine tree in the forest at dawn so as to discover the location of the white heron’s nest. “Broad awake” means wide awake.

    — Owl Eyes Editors
  32. A whippoorwill is a medium-sized song bird that is nocturnal, meaning it is active at night. The whippoorwill’s song sounds like its name: whip poor will. The whippoorwills’ gathering and singing on the step of Sylvia’s house again suggests her close relationship with nature.

    — Owl Eyes Editors
  33. The passage is an example of foreshadowing because it provides a clue to what is going to happen later in the story.

    — Owl Eyes Editors