Читать книгу The Blue-Grass Region of Kentucky, and Other Kentucky Articles - James Lane Allen - Страница 9

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The best artists who have painted cultivated ground have always been very careful to limit the area of the crops. Undoubtedly the substitution of a more scientific agriculture for the loose and easy ways of primitive husbandry has changed the key-note of rural existence from a tender Virgilian sentiment to a coarser strain, and as life becomes more unsophisticated it grows less picturesque. When the work of the old-time reaper is done by a fat man with a flaming face, sitting on a cast-iron machine, and smoking a cob pipe, the artist will leave the fields. Figures have a terrible power to destroy sentiment in pure landscape; so have houses. When one leaves nature, pure and simple, in the blue-grass country, he must accordingly pick his way circumspectly or go amiss in his search for the beautiful. If his taste lead him to desire in landscapes the [27] finest evidences of human labor, the high artificial finish of a minutely careful civilization, he will here find great disappointment. On the other hand, if he delight in those exquisite rural spots of the Old World with picturesque bits of homestead architecture and the perfection of horticultural and unobtrusive botanical details, he will be no less aggrieved. What he sees here is neither the most scientific farming, simply economic and utilitarian—raw and rude—nor that cultivated desire for the elements in nature to be so moulded by the hand of man that they will fuse harmoniously and inextricably with his habitations and his work.

The whole face of the country is taken up by a succession of farms. Each of these, except the very small ones, presents to the eye the variation of meadow, field, and woodland pasture, together with the homestead and the surrounding grounds of orchard, garden, and lawn. The entire landscape is thus caught in a vast net-work of fences. The Kentuckian retains his English ancestors' love of enclosures; but the uncertain tenure of estates beyond a single generation does not encourage him to make them the most durable. One does, indeed, notice here and there throughout the country stone-walls of blue limestone, that give an aspect of substantial repose and comfortable firmness to the scenery. But the farmer dreads their costliness, even though his own hill-sides furnish him an abundant quarry. He [28] knows that unless the foundations are laid like those of a house, the thawing earth will unsettle them, that water, freezing as it trickles through the crevices, will force the stones out of their places, and that breaches will be made in them by boys on a hunt whenever and wherever it shall be necessary to get at a lurking or sorely pressed hare. It is ludicrously true that the most terrible destroyer of stone-walls in this country is the small boy hunting a hare, with an appetite for game that knows no geological impediment. Therefore one hears of fewer limestone fences of late years, some being torn down and superseded by plank fences or post-and-rail fences, or by the newer barbed-wire fence—an economic device that will probably become as popular in regions where stone and timber were never to be had as in others, like this, where timber has been ignorantly, wantonly sacrificed. It is a pleasure to know that one of the most expensive, and certainly the most hideous, fences ever in vogue here is falling into disuse. I mean the worm-fence—called worm because it wriggled over the landscape like a long brown caterpillar, the stakes being the bristles along its back, and because it now and then ate up a noble walnut-tree close by, or a kingly oak, or frightened, trembling ash—a worm that decided the destiny of forests. A pleasure it is, too, to come occasionally upon an Osage orange hedge-row, which is a green eternal fence. But you will not find many of these. [29] It is generally too much to ask of an American, even though he be a Kentuckian, to wait for a hedge to grow and make him a fence. When he takes a notion to have a fence, he wants it put up before Saturday night.

TOBACCO PATCH.

If the Kentuckian, like the Englishman, is fond of fencing himself off, like the Frenchman, he loves long, straight roads. You will not find elsewhere in America such highways as the Kentuckian has constructed over his country—broad, smooth, level, white, glistening turnpikes of macadamized limestone. It is a luxury to drive, and also an expense, as one will discover before one has passed through many toll-gates. One could travel more cheaply on [30] the finest railway on the continent. What Richard Grant White thought it worth while to record as a rare and interesting sight—a man on an English highway breaking stones—is no uncommon sight here. All limestone for these hundreds of miles of road, having been quarried here, there, anywhere, and carted and strewn along the road-side, is broken by a hammer in the hand. By the highway the workman sits—usually an Irishman—pecking away at a long rugged pile as though he were good to live for a thousand years. Somehow, in patience, he always gets to the other end of his hard row.

One cannot sojourn long without coming to conceive an interest in this limestone, and loving to meet its rich warm hues on the landscape. It has made a deal of history: limestone blue-grass, limestone water, limestone roads, limestone fences, limestone bridges and arches, limestone engineering architecture, limestone water-mills, limestone spring-houses and homesteads—limestone Kentuckians! Outside of Scripture no people was ever so founded on a rock. It might be well to note, likewise, that the soil of this region is what scientists call sedentary—called so because it sits quietly on the rocks, not because the people sit quietly on it.

Undoubtedly the most picturesque monuments in the blue-grass country are old stone water-mills and old stone homesteads—landmarks each for separate trains of ideas that run to poetry and to history. [31] The latter, built by pioneers or descendants of pioneers, nearly a hundred years ago, stand gray with years, but good for nameless years to come; great low chimneys, deep little windows, thick walls, mighty fireplaces; situated usually with keen discretion on an elevation near a spring, just as a Saxon forefather would have placed them centuries ago. Haply one will see the water of this spring issuing still from a recess in a hill-side, with an overhanging ledge of rock—the entrance to this cavern being walled across and closed with a gate, thus making, according to ancient fashion, a simple natural spring-house and dairy.

Something like a feeling of exasperation is apt to come over one in turning to the typical modern houses. Nowhere, certainly, in rural America, are there, within the same area, more substantial, comfortable homesteads. They are nothing if not spacious and healthful, frame or brick, two stories, shingle roofs. But they lack characteristic physiognomy; they have no harmony with the landscape, nor with each other, nor often with themselves. They are not beautiful when new, and can never be beautiful when old; for the beauty of newness and the beauty of oldness alike depend on beauty of form and color, which here is lacking. One longs for the sight of a rural Gothic cottage, which would harmonize so well with the order of the scenery, or for a light, elegant villa that should overlook these light and elegant [32] undulations of a beautiful and varied landscape. It must be understood that there are notable exceptions to these statements even in the outlying districts of the blue-grass country, and that they do not apply to the environs of the towns, nor to the towns themselves.

Nowhere does one see masses of merely beautiful things in the country. The slumbering art of interior decoration is usually spent upon the parlor. The grounds around the houses are not kept in the best order. The typical rural Kentucky housewife does not seem to have any compelling, controlling sense of the beautiful. She invariably concedes something to beauty, but not enough. You will find a show of flowers at the poorest houses, though but geranium slips in miscellaneous tins and pottery. But you do not generally see around more prosperous homes any such parterres or beds as there is money to spend on, and time to tend, and grounds to justify.