Woodland Tales

First find the bright star that is at the bend of the Dipper handle. This is called the "Old Squaw"; on her back is a tiny star that they call "The Pappoose."

As soon as an Indian boy is old enough to understand, his mother takes him out into the night when it is calm and clear, and without any moon or any bright lights near, and says, "My child, yonder is the Old Squaw, the second of the seven stars; she is going over the top of the hill; on her back she carries her pappoose. Tell me, my child, can you see the pappoose?"

Then the little redskin gazes, and from his mother's hand he takes two pebbles, a big one and a little one, and he sets them together on her palm, to show how the two stars seem to him. When the mother is sure that he did see them clearly, she rejoices. She goes to the fire and drops a pinch of tobacco into it, for incense to carry her message, then looking toward the sky she says: "Great Spirit, I thank Thee that my child has the eyes of a hunter."

These things are not new, O Woodcrafter. The wise men of our race call the Big Star "Mizar" one of the chariot horses, and the little star "Alcor" or the Rider. In all ages it has been considered proof of first-class eyes, to see this little star. Can you see it? Have you the eyes of a hunter?

TALE 51
Orion the Hunter, and His Fight With the Bull

In the 49th Tale I told you there were two giants among the mighty hunters in the sky, Boötes, whose adventure with the Bears you have already heard, and Orion. (O-ry´-on).

Orion was the most famous of all. In his day men had no guns; they had nothing but clubs, spears, and arrows to fight with, and the beasts were very big and fierce as well as plentiful, yet Orion went whenever he was needed, armed chiefly with his club, fought the wild beasts, all alone, killing them or driving them out, and saving the people, for the joy of doing it. Once he killed a lion with his club, and ever afterward wore the lion's skin on his arm. Bears were as nothing to him; he killed them as easily as most hunters would rabbits, but he found his match, when he went after a ferocious wild Bull as big as a young elephant.

As soon as the Bull saw him, it came rushing at him. It happened to be on the other side of a stream, and as it plunged in, Orion drew his bow and fired seven quick shots at the Bull's heart. But the monster was coming head on, and the seven arrows all stuck in its shoulder, making it madder than ever. So Orion waved his lion skin in his left hand, and with his club in the right, ran to meet the Bull, as it was scrambling up the bank from the water.

The first whack of the club tumbled the Bull back into the water, but it turned aside, went to another place, and charged again. And again Orion landed a fearful blow with the club on the monster's curly forehead.

By this time, all the animals had gathered around to see the big fight, and the gods in heaven got so interested that they shouted out, "Hold on, that is good enough for us to see. Come up here."

So they moved the mighty Hunter and the Bull, and the River and all the animals, up to heaven, and the fight has gone on there ever since.

In the picture I have shown a lot of animals besides Orion and the Bull, but the only things I want you to look now in the sky, are Orion's belt with the three stars on it, and the Pleiades on the Bull's shoulder, the seven spots where the seven arrows struck.

And remember these stars cannot be seen in summer, they pass over us in winter time. You can find Orion by drawing a straight line across the rim of the Dipper, beginning at the inner or handle side, passing through the outer or Pointers side, and continued for twice the length of the Dipper, handle and all, this will bring you to Betelgeuze, the big star in the Giant's right shoulder, below that are the three stars of his belt, sometimes called the "Three Kings."

TALE 52
The Pleiades, that Orion Fired at the Bull

When late autumn comes the Pleiades (Ply'-a-dees) appear in the evening sky to the eastward. These are the seven shots in the Bull's shoulder, the seven arrows from Orion's bow. The Guide can locate them by continuing the line of Orion's belt, eight times the length of the belt to the right, as one faces the Hunter, so Orion must have been very close indeed. At first they look like a faint light with a few bright pin-points scattered through. Tennyson described them as:

The best time to see them is some clear night about Christmas, when there is no moon, and the Pleiades are nearly overhead, above the mist and smoke of the horizon, and there are no electric lights near by.

Study them attentively. Make a tube of your two hands and look through. Look on the ground, then look back again; look not straight at them, but a little to one side; and at last, mark down on paper how many you can clearly see, putting a big spot for the big one, and little spots for the little ones. Poor eyes see nothing but a haze; fairly good eyes see four of the pin-points; good eyes see five; the best of eyes see seven. I can see seven on a clear winter night when there are no clouds and no moon. This is as high as you need expect to get, although it is said that some men in clear air on a mountain top have seen ten, while the telescope shows that there are 2,000.

In taking these eyesight tests you may use your spectacles if you usually wear them.

TALE 53
The Twin Stars

TALE 54
Stoutheart and His Black Cravat

Do you know the bird that wears a black cravat, which he changes once a year? It is the English Sparrow, the commonest of all our birds. His hair is gray, but he must have been red-headed once, for just back of his ears there is still a band of red; and his collar, maybe, was white once, but it is very dingy now. His shirt and vest are gray; his coat is brown with black streaks—a sort of sporting tweed. The new cravat comes when the new feathers grow in late summer; and, at first, it is barred with gray as if in half mourning for his sins. As the gray tips wear off, it becomes solid black; that is, in March or April. In summer, it gets rusty and worn out; so every year he puts on a new one in late August.

The hen sparrow is quite different and wears no cravat. She has a black-and-brown cape of the sporting pattern, but her dress is everywhere of brownish Quaker gray.

The song of the English Sparrow is loud and short; but he tries to make up, by singing it over and over again, for many minutes.

He eats many bad bugs, and would be well liked, if he did not steal the nests and the food of Bluebirds, Woodpeckers, Swallows, and others that are prettier and more useful birds, as well as far better singers than he is.

But there is much to admire in the Sparrow. I do not know of any bird that is braver, or more ready to find a way out of trouble; and if he cannot find a way, he cheerfully makes the best of it.

Some years ago I was at Duluth during a bitterly cold spell of weather. The thermometer registered 20° or 30° below zero, and the blizzard wind was blowing. Oh my, it was cold. But out in the street were dozens of English Sparrows chirruping and feeding; thriving just as they do in warmer lands and in fine weather.

When black night came down, colder yet, I wondered what the little stout-hearts would do. Crawl into some hole or bird-house, maybe? or dive into a snowdrift? as many native birds do.

I found out; and the answer was most unexpected.

In front of the hotel was a long row of electric lights. At nine o'clock, when I chanced to open the window for a breath of air, my eye fell on these; on every bulb was an English Sparrow sound asleep with the overarching reflector to turn the storm, and the electric bulb below him to warm his toes. My hat is off. Our Department of Agriculture may declare war on the Sparrow; but what is the use? Don't you think that a creature who is not afraid of blizzard or darkness, and knows how to use electric lights, is going to win its life-battle, and that he surely is here to stay?

TALE 55
Tracks, and the Stories They Tell

Sometimes, in town, just after rain, when the gutters are wet, and the pavement dry, look for the tracks of some Dog that walked with wet feet on the pavement. You will find that they are like "a" in the drawing. A Dog has five toes on his front feet, but only four touch the pavement as he walks. The claws also touch, and make each a little mark.

Now look for the track of a Cat; it is somewhat like that of the Dog, but it is smaller, softer, and the claws do not show (b). They are too good to be wasted on a pavement; she keeps them pulled in, so they are sharp when she has use for them.

Make a drawing of each of these, and make it life size.

When there is dust on the road, or snow, look for Sparrow tracks; they are like "c."

Note how close together the front three toes are. The inner two are really fast together, so they cannot be separated far and the hind toe is very large. Last of all, note that the tracks go two and two, because the Sparrow goes "hop hop, hop." These things mean that the Sparrow is really a tree bird; and you will see that, though often on the ground he gets up into a tree when he wishes to feel safe.

Look for some Chicken tracks in the dust; they are like "d" in the drawing because the Chicken does not go "hop, hop, hop" like the Sparrow, but "walk, walk, walk." The Chicken is a ground bird. Most of the song birds hop like the Sparrow, and most of the game birds walk like a Chicken. But the Robin (e) goes sometimes hopping and sometimes running, because part of his life is in the trees, and part on the ground.

TALE 56
A Rabbit's Story of His Life, Written by Himself

Yes, the Rabbit wrote it himself and about himself in the oldest writing on earth, that is the tracks of his feet.

In February of 1885, one morning after a light snowfall, I went tramping through the woods north of Toronto, when I came on something that always makes me stop and look—the fresh tracks of an animal. This was the track of a Cottontail Rabbit and I followed its windings with thrills of interest. There it began under a little brush pile (a); the bed of brown leaves showing that he settled there, before the snow-fall began. Now here (b) he leaped out after the snow ceased, for the tracks are sharp, and sat looking around. See the two long marks of his hind feet and in front the two smaller prints of his front feet; behind is the mark made by his tail, showing that he was sitting on it.

Then he had taken alarm at something and dashed off at speed (c), for now his hind feet are tracking ahead of the front feet, as in most bounding forefoots, and the faster he goes, the farther ahead those hind feet get.

See now how he dodged about here and there, this way and that, among the trees, as though trying to escape some dreaded enemy (c, d, e, f).

But what enemy? There are no other tracks, and still the wild jumping went on.

I began to think that the Rabbit was crazy, flying from an imaginary foe; possibly that I was on the track of a March Hare. But at "g" I found on the trail for the first time a few drops of blood. That told me that the Rabbit was in real danger but gave no clue to its source.

At "h" I found more blood and at "j" I got a new thrill, for there, plain enough on each side of the Rabbit track, were finger-like marks, and the truth dawned on me that these were the prints of great wings. The Rabbit was fleeing from an eagle, a hawk, or an owl. Some twenty yards farther "k" I found in the snow the remains of the luckless Rabbit partly devoured. Then I knew that the eagle had not done it, for he would have taken the Rabbit's body away, not eaten him up there. So it must have been a hawk or an owl. I looked for something to tell me which, and I got it. Right by the Rabbit's remains was the large twin-toed track (l) that told me that an owl had been there, and that therefore he was the criminal. Had it been a hawk the mark would have been as shown in the left lower corner, three toes forward and one back, whereas the owl usually sets his foot with two toes forward and two backward, as in the sketch. This, then, I felt sure was the work of an owl. But which owl? There were two, maybe three kinds in that valley. I wished to know exactly and, looking for further evidence, I found on a sapling near by a big soft, downy, owlish feather (m) with three brown bars across it; which told me plainly that a Barred Owl or Hoot Owl had been there recently, and that he was almost certainly the killer of the Cottontail.

This may sound like a story of Sherlock Holmes among the animals—a flimsy tale of circumstantial evidence. But while I was making my notes, what should come flying through the woods but the Owl himself, back to make another meal, no doubt. He alighted on a branch just above my head, barely ten feet up, and there gave me the best of proof, next to eye witness of the deed, that all I had gathered from the tracks and signs in the snow was quite true.

I had no camera in those days, but had my sketch book, and as he sat, I made a drawing which hangs to-day among my pictures that are beyond price.

Here, then, is a chapter of wild life which no man saw, which man could not have seen, for the presence of a man would have prevented it. And yet we know it was true, for it was written by the Rabbit himself.

If you have the seeing eye, you will be able to read many strange and thrilling happenings written for you thus in the snow, the mud, and even the sand and the dust.

TALE 57
The Singing Hawk

Listen, Guide and young folk, I want to add another bird to your list to-day; another secret of the woods to your learning.

I want you to know the Singing Hawk. Our nature writers nearly always make their hawks scream, but I want you to know a wonderful Hawk, right in your own woods, that really and truly sings, and loves to do it.

It is a long time ago since I first met him. I was going past a little ravine north of Toronto, on a bright warm mid-winter day, when a loud call came ringing down the valley and the bird that made it, a large hawk, appeared, sailing and singing, kee-o, kee-o, kee-o, kee-o, kee-o, kee-ye-o, ky-ye-o, ky-oodle, ky-oodle, kee-o, kee-o and on; over and over again, in a wild-wood tone that thrilled me. He sailed with set wings to a near-by tree, and ceased not his stirring call; there was no answer from the woods, but there was a vibrant response in my heart. It moved me through and through. How could it do so much, when it was so simple? I did not know how to tell it in words, but I felt it in my boyish soul. It expressed all the wild-wood life and spirit, the joy of living, the happy brightness of the day, the thrill of the coming spring, the glory of flight; all, all it seemed to voice in its simple ringing, "kee-o, kee-o, kee-o, kee-yi-o"; never before had I seen a bird so evidently rejoicing in his flight; then singing, it sailed away from sight; but the song has lingered ever since in the blessed part of my memory. I often heard it afterward, and many times caught the Blue-jay in a feeble imitation of its trumpet note. I never forgot the exact timbre of that woodland call; so when at length, long after, I traced it to what is known in books as the "Red-shouldered Hawk," it was a little triumph and a little disappointment. The books made it all so commonplace. They say it has a loud call like "kee-o"; but they do not say that it has a bugle note that can stir your very soul if you love the wild things, and voices more than any other thing on wings the glory of flight, the blessedness of being alive.

To-day, as I write, is December 2, 1917; and this morning as I walked in my homeland, a sailing, splendid hawk came pouring out the old refrain, "kee-yi-o, kee-yi-o, kee-oh." Oh, it was glorious! I felt little prickles in the roots of my hair as he went over; and I rejoiced above all things to realize that he sang just as well as, yes maybe a little better than that first one did, that I heard in the winter woods some forty years ago.

TALE 58
The Fingerboard Goldenrod

"Oh, Mother Carey! All-mother! Lover of us little plants as well as the big trees! Listen to us little slender Goldenrods.

"We want to be famous, Mother Carey, but our stems are so little and our gold is so small, that we cannot count in the great golden show of autumn, for that is the glory of our tall cousins. They do not need us, and they do not want us. Won't you give us a little job all our own, our very own, for we long to be doing something?"

Then Mother Carey smiled so softly and sweetly and said: "Little slender Goldenrods, I am going to give you something to do that will win you great honour among all who understand. In the thick woods the moss on the trunk shows the north side; when the tree is alone and in the open, the north side is known by its few branches; but on the open prairie, there is no plant that stands up like a finger post to point the north for travellers, while the sun is hid."

"This, then do, little slender Goldenrods; face the noon sun, and as you stand, throw back your heads proudly, for you are in service now. Throw back your heads till your golden plumes are pointing backward to the north—so shall you have an honourable calling and travellers will be glad that I have made you a fingerboard on the plains."

So the slender Goldenrod and his brothers rejoiced and they stood up straight, facing the noon sun, and bent backward, throwing out their chests till their golden caps and plumes were pointed to the north.

And many a traveller, on cloudy days and dark nights, has been cheered by the sight of the Compass Goldenrod, pointing to the north and helping him to get home.

This does not mean that every one of them points to the north all the time. They do their best but there are always some a little wrong. Yet you can tell the direction at night or on dark days if you look at a bed of them that grew out in full sunlight.

"Yon is the north," they keep on singing, all summer long, and even when winter comes to kill the plant, and end its bloom, the brave little stalk stands up there, in snow to its waist, bravely pointing out the north, to those who have learned its secret. And not only in winter storms, but I have even found them still on guard after the battle, when the snow melted in springtime. Once when I was a boy, I found a whole bank of them by a fence, when the snow went off in April, and I wrote in their honour this verse:

TALE 59
Woodchuck Day, February Second Sixth Secret of the Woods

It was Monapini that told Ruth Pilgrim, and Ruth Pilgrim told the little Pilgrims, and the little Pilgrims told the little Dutchmen, and the little Dutchmen told it to all the little Rumours, and the grandchild of one of these little Rumours told it to me, so you see I have it straight and on good authority, this Sixth Secret of the Woods.

The story runs that every year the wise Woodchuck retires to sleep in his cozy home off the subway that he made, when the leaves begin to fall, and he has heard the warning. Mother Carey has sung the death-song of the red leaves; sung in a soft voice that yet reaches the farthest hills:

And Mother Earth, who is Maka Ina, cries to her own: "Come, hide in my bosom, my little ones." And the wise Woodchuck waits not till the blizzard comes, but hides while he may make good housing, and sleeps for three long moons.

But ever on the second sun of the Hunger-moon (and this is the Sixth Secret) he rouses up and ventures forth. And if so be that the sun is in the sky, and the snow on the bosom of his Mother Earth, so that his shadow shall appear on it, he goeth back to sleep again for one and a half moons more—for six long weeks. But if the sky be dark with clouds and the earth all bared of snow so that no shadow shows, he says, "The blizzard time is over, there is food when the ground is bare," and ends his sleep.

This is the tale and this much I know is true: In the North, if he venture forth on Woodchuck Day, he sees both sun and snow, so sleeps again; in the South there is no snow that day, and he sleeps no more; and in the land between, he sleeps in a cold winter, and in an open winter rouses to live his life.

These things I have seen, and they fit with the story of Monapini, so you see the little Rumour told me true.

THINGS TO KNOW

Things to Know

TALE 60
How the Pine Tree Tells Its Own Story

Suppose you are in the woods, and your woods in Canada, or the Northern States; you would see at once two kinds of trees: Pines and Hardwoods.

Pines, or Evergreens, have leaves like needles, and are green all the year round; they bear cones and have soft wood.

The Hardwoods, or Broadleaves, sometimes called Shedders, have broad leaves that are shed in the fall; they bear nuts or berries and have hard wood.

Remember this, every tree that grows has flowers and seeds; and the tree can always be told by its seeds, that is, its fruit. If you find a tree with cones on it, you know it belongs to the Pine family. If you find one with broad leaves and nuts or berries, it belongs to the Hardwoods.[C]

Of these the Pines always seem to me more interesting.

In September, 1002, I had a good chance to study Pine trees in the mountains of Idaho. There was a small one that had to be cut down, so I made careful drawings of it. It was fourteen years old, and across the stump it showed one ring of wood for each year of growth, and a circle of branches on the trunk for each year. Notice that between the branches, the trunk did not taper; it was an even cylinder, but got suddenly smaller at each knot by the same amount of wood as was needed by those branches for their wood.

If we begin in the centre of the stump, and at the bottom of the trunk, we find that the little tree tells us its own story of its life and troubles. Its first year, judging by the bottom section of the trunk (No. 1) and by the inmost ring, was just ordinary. Next year according to section 2 and ring 2, it had a fine season and grew nearly twice as much as the first year. The third year the baby Pine had a very hard time, and nearly died. Maybe it was a dry summer, so the little tree grew only 2-1/2 inches higher while the ring of wood it added was no thicker than a sheet of paper. Next year, the fourth, it did better. And the next was about its best year, for it grew 7-1/2 inches higher, and put on a fine fat ring of wood, as you see.

In its eleventh year, it had some new troubles; either the season was dry, or the trees about too shady, or maybe disease attacked it. For it grew but a poor shoot on the top, and the ring of wood on the stump is about the thinnest of all.

Of course, a saw-cut along the second joint showed but thirteen rings, and the third but twelve while one through the top joint, the one which grew this year, showed but a single ring.

Thus the Pine tree has in itself a record of its whole life; and this is easy to read when the tree is small; but in later life the lower limbs disappear, and the only complete record is in the rings of growth that show on the stump. These never fail to tell the truth.

Of course, you are not to go around cutting down trees merely to count their rings and read their history, but you should look at the rings whenever a new stump gives you a good chance. Then Hardwoods as well as Pines will spread before you the chapters of their life; one ring for each year that they have lived.

TALE 61
Blazes

All hunters and Indians have signs to let their people know the way. Some of these signs are on trees, and are called "Blazes." One of those much used is a little piece of bark chipped off to show the white wood; it means: "This is the way, or the place." Another sign is like an arrow, and means: "Over there," or "Go in that direction." No matter what language they speak, the blazes tell everyone alike. So a blaze is a simple mark that tells us something without using words or letters, and it depends on where it is placed for part of its meaning.

On the following page are some blazes used in our towns to-day. You will find many more if you look, some in books; some on the adjoining page.

TALE 62
Totems[D]

A Totem is a simple form used as the emblem or symbol of a man, a group of men, an animal, or an idea; it does not use or refer to words or letters, so it is the same in all languages. Unlike the blaze it does not depend on its position for part of its meaning.

Among peoples that cannot read or write, each leading man had a Totem that he used, instead of writing his name. He put this mark on his property, and at length put it on his shield and armour to distinguish him in battle. Out of this grew heraldry.

Modern trade-marks are Totems though often spoiled by words or letters added. The Totem continues in use because it is so easy to see a long way off, and can be understood by all, no matter what their language. Most of the great railway companies have a Totem and the use of such things is increasing to-day.

Here in the drawing are some Totems seen daily in our towns. Doubtless you can add to the number.

TALE 63
Symbols

If you have thought much about it, O Guide! you will surely find that, for decoration, it is better to use a beautiful symbol of anything, rather than a good photograph of it. For the symbol lets the imagination loose, and the other chains it to the ground; the one is the spirit, and the other the corpse. These things you cannot tell to the little folks, but you can prove them to yourself, and you will see why I wish to give some symbols here for use.

There is another reason, one which you can give to them. It is this: Only the highly trained artist can make a good portrait drawing, while the smallest child, if it sticks to symbols, is sure, in some degree, of a pleasant success in its very first effort.

These that I give, are copied from Indian art, and whether in colour, in raised modelling, or in black lines, can be used successfully to decorate anything that you are likely to make.

TALE 64
Sign Language

All men, especially wild men, and some animals have a language of signs. That is, they talk to each other without making any sounds; using instead, the movements of parts of the body. This is "eye talk," while words are "ear talk."

Among the animals, horses bob their heads when they are hungry and paw with a front foot when thirsty or eager to be off. Dogs wag their tails when pleased, and cows shake their heads when angry.

Policemen, firemen, railway men, and others use signs because there is too much noise to be heard. School children use signs because they are not allowed to talk in school. Most children know the signs for "yes" and "no," "come here," "go away," "hurry up," "you can't touch me," "hush!", "shame on you!", "up," "down," "word of honour," "swimming," etc.

The traffic policeman is using signs all day long. By a movement of the hand he signals:—stop, go on, come here, hurry up, wait, turn around, go by, stay back, over there, you look out, right here, and one or two others.

How many signs can you add to these two lists?

TALE 65
The Language of Hens

Yes; Hens talk somewhat as we do; only they haven't so many words, and don't depend on them as we have to.

There are only ten words in ordinary hen-talk.

The cluck, cluck of the mother means "Come along, kiddies."

The low kawk of warning, usually for a hawk.

The chuck, chuck of invitation means, "Good food."

The tuk-ut-e-ah-tuk means, "Bless my soul, what is that?"

The cut, cut, get your hair cut, of a Hen that has just laid and is feeling greatly relieved; no doubt, saying, "Thank goodness, that's done!" or maybe it is a notice to her mate or friend that "Business is over, let's have some fun. Where are you?"

The soft, long-drawn tawk—tawk—tawk, that is uttered as the Hen strolls about, corresponds to the whistling of the small boy; that is, it is a mere pastime, expressing freedom from fear or annoyance.

The long, harsh, crauk, crauk of fear when captured.

The quick clack, clack, clatter when springing up in fear of capture.

The put, put of hunger.

And, of course, the peep, peep of chickens and the cock-a-doodle-doo, which is the song of the Rooster.

Some Hens may have more; but these given here are hen-talk for mother-love, warning, invitation, surprise, exultation, cheerfulness, fear, astonishment, and hunger. Not a bad beginning in the way of language.

TALE 66
Why the Squirrel Wears a Bushy Tail

"Oh, Mother, look at that Gray Squirrel!" shouted Billie. "What a beautiful bushy tail he has!" Then, after a pause he added, "Mother, what is its tail for? Why is it so big and fluffy? I know a 'Possum has a tail to hang on a limb with, and a Fish can swim with his tail, but why is a Gray Squirrel's tail so bushy and soft?"

Alas! Mother didn't know, and couldn't tell where to find out. It was long after, that little Billie got the answer to his childish, but really important question. The Alligator may use his tail as a club, the Horse, his tail as a fly-flapper, the Porcupine his tail as a spiked war-club, the 'Possum his as a hooked hanger, the Fox his as a muffler, the Fish his as a paddle; but the Gray Squirrel's tail is a parachute, a landeasy. I have seen a Gray Squirrel fall fifty feet to the ground, but his tail was in good condition; he spread it to the utmost and it landed him safely right side up.

I remember also a story of a Squirrel that lost his tail by an accident. It didn't seem to matter much for a while. The stump healed up, and the Squirrel was pert as ever; but one day he missed his hold in jumping, and fell to the ground. Ordinarily, that would have been a small matter; but without his tail he was jarred so severely that a dog, who saw him fall, ran up and killed him before he could recover and climb a tree.

TALE 67
Why a Dog Wags His Tail

There is an old story that the Dog said to the Cat: "Cat, you are a fool; you growl when you are pleased and wag your tail when you are angry." Which happens to be true; and makes us ask: Why does a Dog wag his tail to mean friendship?

The fact is, it is part of a wig-wag code, which is doubly interesting now that all our boys are learning wig-wagging with a white flag. We think that our army people invented this method; but Woodcraft men know better.

First, notice that any Dog that has any white on his body has at least a little white on the end of his tail. This is well known; and the reason is that the wild ancestor had a white brush on the end of his tail; a white flag, indeed; and this was the flag of his signal code.

Suppose, then, that a wild Dog, prowling through the woods, sights some other animal. Instantly he crouches; for it is good woodcraft to avoid being seen and then watch from your hiding-place. As the stranger comes near, the crouching Dog sees that it is one of his own kind, and that it is needless to hide any longer; indeed, that it is impossible to remain hidden. So the moment the stranger stops and looks at the crouching Dog, the latter stands straight up on all fours, raises his tail up high, and wags the white tip from side to side in the sign which means, "Let's be friends."

Every Dog knows the sign, every Dog in every town does it yet; every boy has seen it a thousand times. We flatter ourselves that we invented the wig-wag code with our little white flag. Maybe so; but the Dog had it long before we did.

TALE 68
Why the Dog Turns Around Three Times Before Lying Down

Yes, they all do it; the big St. Bernard, the foolish littlest lap Dog, the ragged street Dog; give them bare boards, or a silken cushion, or snow, three turns around and down they go.

Why? Not so hard to answer as some simple questions. Long, long ago, the wild great-great-grandfather of the Dog—a yellow creature with black hair sprinkled on his back, sharp ears, light spots over his eyes, and a white tail-tip—used to live in the woods, or on the prairies. He did not have a home to which he might return every time he wanted to rest or sleep; so he camped wherever he found himself, on the plains, in a thicket, or even in some hole in a rock; and he carried his bedclothes on his back. But he always found it worth while to add a little comfort by smoothing the grass, the leaves, the twigs, or the pebbles before lying down; and the simplest way to do this was by curling up, and turning round three times, with the body brushing the high grass or pebbles into a comfortable shape for a bed.

Yes, and they all do it to-day just the same, big and little, which is only one of the many proofs that they are descended from the same wild-wood great-grandfather, and still remember his habits.

TALE 69
The Deathcup of Diablo

The world went very well in those bright days of the long ago, when the wedding of El Sol and Maka Ina set all living things rejoicing. Green youth and sparkling happiness were everywhere. Only one there was—Diablo—who found in it poor comfort. He had no pleasure in the growing grass. The buttercups annoyed him with the gayness of their gold. It was at this time he chewed their stalks, so that many ever since have been flattened and mangled. And the cherry with its fragrant bloom he breathed on with his poison breath, so its limbs were burnt and blackened into horrid canker bumps. And poisonous froth he blew on the sprouting rose leaves, so they blackened and withered away. The jewel weed, friend of the humming birds, he trampled down, but it rose so many times and so bravely, that he left the yellow dodder like an herb-worm, or a root-born leech to suck its blood all summer long, and break it down. Then to trail over the trunks of trees and suck their life, he left the demon vine, the Poison Ivy with its touch of burning fire. He put the Snapping Turtle in the beautiful lakes to destroy its harmless creatures and the Yellow-eyed Whizz he sent, and the Witherbloom with its breath of flame.

And last he made the Deathcup Toadstool, and sowed it in the woods.

He saw the Squirrels eating and storing up the sweet red russula. He saw it furnish food to mice and deer, so he fashioned the Deathcup Amanita to be like it; and scattered it wherever good mushrooms grew, a trap for the unwary.

Tall and shapely is the Deathcup; beautiful to look upon and smelling like a mushroom. But beware of it, a very little is enough, a morsel of the cup; the next night or maybe a day later the poison pangs set in. Too late perhaps for medicine to help, and Amanita, the Deathcup, the child of Diablo, has claimed another victim.

How shall we know the deadly Amanita among its kindly cousins, the good mushrooms? Wise men say by these:—The poison cup from which its springs; the white kid collar on its neck; the white or yellow gills; and the white spores that fall from its gills if the cup, without the stem, be laid gills down on a black paper for an hour.

By these things we may know the wan Demon of the woods, but the wisest Guides say to their tribe:—"Because death lurks in that shapely mushroom, though there are a hundred good for food, they are much alike, and safety bids you shun them; let them all alone."

So Diablo went on his way rejoicing because he had spoiled so much good food for good folk.

This, the danger of the Deathcup, is the Seventh Secret of the Woods.

TALE 70
Poison Ivy or the Three-Fingered Demon of the Woods