rippled blanket over the site, and the great white bird with the black-tipped pinions that saw it all from the beginning to the end has returned to the dark, frozen silences of the northlands whence it came.
In the late spring of 1930 Philip Rhayader came to the abandoned lighthouse at the mouth of the Aelder. He bought the light and many acres of marshland and salting surrounding it.
He lived and worked there alone the year round. He was a painter of birds and of nature, who, for reasons, had withdrawn from all human society. Some of the reasons were apparent on his fortnightly visits to the little village of Chelmbury for supplies, where the natives looked askance at his misshapen body and dark visage. For he was a hunchback and his left arm was crippled, thin and bent at the wrist, like the claw of a bird.
They soon became used to his queer figure, small but powerful, the massive, dark, bearded head set just slightly below the mysterious mound on his back, the glowing eyes and the clawed hand, and marked him off as "that queer painter chap that lives down to lighthouse."
Physical deformity often breeds hatred of humanity in men. Rhayader did not hate; he loved very greatly, man, the animal kingdom, and all nature. His heart was filled with pity and understanding. He had mastered his handicap, but he could not master the rebuffs he suffered, due to his appearance. The thing that drove him into seclusion was his failure to find anywhere a return of the warmth that flowed from him. He repelled women. Men would have warmed to him had they got to know him. But the mere fact that an effort was being made hurt Rhayader and drove him to avoid the person making it.
He was twenty-seven when he came to the Great Marsh. He had traveled much and fought valiantly before he made the decision to withdraw from a world in which he could not take part as other men. For all of the artist's sensitivity and woman's tenderness locked in his barrel breast, he was very much a man.
In his retreat he had his birds, his painting, and his boat. He owned a sixteen-footer, which he sailed with wonderful skill. Alone, with no eyes to watch him, he managed well with his deformed hand, and he often used his strong teeth to handle the sheets of his billowing sails in a tricky blow.
He would sail the tidal creeks and estuaries and out to sea, and would be gone for days at a time, looking for new species of birds to photograph or sketch, and he became an adept at netting them to add to his collection of tamed wildfowl in the pen near his studio that formed the nucleus of a sanctuary.
He never shot over a bird, and wild-fowlers were not welcome near his premises. He was a friend to all things wild, and the wild things repaid him with their friendship.
Tamed in his enclosures were the geese that came winging down the coast from Iceland and Spitsbergen each October, in great skeins that darkened the sky and filled the air with the rushing noise of their passage —the brown-bodied pink-feet, white-breasted barnacles with their dark necks and clowns' masks, the wild white fronts with black-barred breasts, and many species of wild ducks—widgeon, mallard, pintails, teal, and shovelers.
Some were pinioned, so that they would remain there as a sign and signal to the wild ones that came down at each winter's beginning that here were food and sanctuary.
Many hundreds came and remained with him all through the cold weather from October to the early spring, when they migrated north again to their breeding-grounds below the ice rim.
Rhayader was content in the knowledge that when storms blew, or it was bitter cold and food was scarce, or the big punt guns of the distant bag hunters roared, his birds were safe; that he had gathered to the sanctuary and security of his own arms and heart these many wild and beautiful creatures who knew and trusted him.
They would answer the call of the north in the spring, but in the fall they would come back, barking
In the late spring of 1930 Philip Rhayader came to the abandoned lighthouse at the mouth of the Aelder. He bought the light and many acres of marshland and salting surrounding it.
He lived and worked there alone the year round. He was a painter of birds and of nature, who, for reasons, had withdrawn from all human society. Some of the reasons were apparent on his fortnightly visits to the little village of Chelmbury for supplies, where the natives looked askance at his misshapen body and dark visage. For he was a hunchback and his left arm was crippled, thin and bent at the wrist, like the claw of a bird.
They soon became used to his queer figure, small but powerful, the massive, dark, bearded head set just slightly below the mysterious mound on his back, the glowing eyes and the clawed hand, and marked him off as "that queer painter chap that lives down to lighthouse."
Physical deformity often breeds hatred of humanity in men. Rhayader did not hate; he loved very greatly, man, the animal kingdom, and all nature. His heart was filled with pity and understanding. He had mastered his handicap, but he could not master the rebuffs he suffered, due to his appearance. The thing that drove him into seclusion was his failure to find anywhere a return of the warmth that flowed from him. He repelled women. Men would have warmed to him had they got to know him. But the mere fact that an effort was being made hurt Rhayader and drove him to avoid the person making it.
He was twenty-seven when he came to the Great Marsh. He had traveled much and fought valiantly before he made the decision to withdraw from a world in which he could not take part as other men. For all of the artist's sensitivity and woman's tenderness locked in his barrel breast, he was very much a man.
In his retreat he had his birds, his painting, and his boat. He owned a sixteen-footer, which he sailed with wonderful skill. Alone, with no eyes to watch him, he managed well with his deformed hand, and he often used his strong teeth to handle the sheets of his billowing sails in a tricky blow.
He would sail the tidal creeks and estuaries and out to sea, and would be gone for days at a time, looking for new species of birds to photograph or sketch, and he became an adept at netting them to add to his collection of tamed wildfowl in the pen near his studio that formed the nucleus of a sanctuary.
He never shot over a bird, and wild-fowlers were not welcome near his premises. He was a friend to all things wild, and the wild things repaid him with their friendship.
Tamed in his enclosures were the geese that came winging down the coast from Iceland and Spitsbergen each October, in great skeins that darkened the sky and filled the air with the rushing noise of their passage —the brown-bodied pink-feet, white-breasted barnacles with their dark necks and clowns' masks, the wild white fronts with black-barred breasts, and many species of wild ducks—widgeon, mallard, pintails, teal, and shovelers.
Some were pinioned, so that they would remain there as a sign and signal to the wild ones that came down at each winter's beginning that here were food and sanctuary.
Many hundreds came and remained with him all through the cold weather from October to the early spring, when they migrated north again to their breeding-grounds below the ice rim.
Rhayader was content in the knowledge that when storms blew, or it was bitter cold and food was scarce, or the big punt guns of the distant bag hunters roared, his birds were safe; that he had gathered to the sanctuary and security of his own arms and heart these many wild and beautiful creatures who knew and trusted him.
They would answer the call of the north in the spring, but in the fall they would come back, barking
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