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I owned my farm for two years before learning that the
sky dance is to be seen over my woods every evening in April and May.
Since we discovered it, my family and I have been reluctant to miss
even a single performance.
The show
begins on the first warm evening in April at exactly 6:50 pm. The
curtain goes up one minute later each day until 1 June, when the time
is 7:50. This sliding scale is dictated by vanity, the dancer demanding
a romantic light intensity of exactly 0.05 foot-candles. Do not be
late, and sit quietly, lest he fly away in a huff.
The
stage props, like the opening hour, reflect the temperamental demands of
the performer. The stage must be an open amphitheater in woods or
brush, and in its center there must be a mossy spot, a streak of
sterile sand, a bare outcrop of rock, or a bare roadway. Why the male
woodcock should be such a stickler for a bare dance floor puzzled me at
first, but I now think it is a matter of legs. The woodcock's legs are
short, and his struttings can not be executed to advantage in dense
grass or weeds, nor can his lady see them there. I have more woodcocks
than most farmers because I have more mossy sand, too poor to support
grass.
Knowing the place and the hour,
you seat yourself under a bush to the east of the dance floor and wait,
watching against the sunset for the woodcock's arrival. He flies in low
from some neighboring thicket, alights on the bare moss, and at once
begins the overture: a series of queer throaty peents spaced about two seconds apart, and sounding much like the summer call of the nighthawk.
Suddenly
the peenting ceases and the bird flutters skyward in a series of wide
spirals, emitting a musical twitter. Up and up he goes, the spirals
steeper and smaller, the twittering louder and louder, until the
performer is only a speck in the sky. Then, without warning, he tumbles
like a crippled plane, giving voice in a soft, liquid warble that a
March bluebird might envy. At a few feet from the ground he levels off
and returns to his peenting ground, usually to the exact spot where the
performance began, and there resumes his peenting.
These excerpts are from “A Sand County Almanac, with essays on
conservation from Round River”,
by Aldo Leopold and published by Oxford University Press
(1966).
For more information about Aldo Leopold, see: http://www.aldoleopold.org
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