We saw a banyan tree which sent down supporting stems from branches which were sixty feet above the ground. That is, I suppose it was a banyan;its bark resembled that of the great banyan in the botanical gardens at Calcutta, that spider-legged thing with its wilderness of vegetable columns. And there were frequent glimpses of a totally leafless tree upon whose innumerable twigs and branches a cloud of crimson butterflies had lighted--apparently. In fact these brilliant red butterflies were flowers, but the illusion was good. Afterward in South Africa, I saw another splendid effect made by red flowers. This flower was probably called the torch-plant--should have been so named, anyway. It had a slender stem several feet high, and from its top stood up a single tongue of flame, an intensely red flower of the size and shape of a small corn-cob. The stems stood three or four feet apart all over a great hill-slope that was a mile long, and make one think of what the Place de la Concorde would be if its myriad lights were red instead of white and yellow.
A few miles down the mountain we stopped half an hour to see a Thibetan dramatic performance. It was in the open air on the hillside. The audience was composed of Thibetans, Ghurkas, and other unusual people.
The costumes of the actors were in the last degree outlandish, and the performance was in keeping with the clothes. To an accompaniment of barbarous noises the actors stepped out one after another and began to spin around with immense swiftness and vigor and violence, chanting the while, and soon the whole troupe would be spinning and chanting and raising the dust. They were performing an ancient and celebrated historical play, and a Chinaman explained it to me in pidjin English as it went along. The play was obscure enough without the explanation; with the explanation added, it was (opake). As a drama this ancient historical work of art was defective, I thought, but as a wild and barbarous spectacle the representation was beyond criticism.
Far down the mountain we got out to look at a piece of remarkable loop-engineering--a spiral where the road curves upon itself with such abruptness that when the regular train came down and entered the loop, we stood over it and saw the locomotive disappear under our bridge, then in a few moments appear again, chasing its own tail; and we saw it gain on it, overtake it, draw ahead past the rear cars, and run a race with that end of the train. It was like a snake swallowing itself.
Half-way down the mountain we stopped about an hour at Mr. Barnard's house for refreshments, and while we were sitting on the veranda looking at the distant panorama of hills through a gap in the forest, we came very near seeing a leopard kill a calf. --[It killed it the day before.]
--It is a wild place and lovely. From the woods all about came the songs of birds,--among them the contributions of a couple of birds which I was not then acquainted with: the brain-fever bird and the coppersmith. The song of the brain-fever demon starts on a low but steadily rising key, and is a spiral twist which augments in intensity and severity with each added spiral, growing sharper and sharper, and more and more painful, more and more agonizing, more and more maddening, intolerable, unendurable, as it bores deeper and deeper and deeper into the listener's brain, until at last the brain fever comes as a relief and the man dies.
I am bringing some of these birds home to America. They will be a great curiosity there, and it is believed that in our climate they will multiply like rabbits.
The coppersmith bird's note at a certain distance away has the ring of a sledge on granite; at a certain other distance the hammering has a more metallic ring, and you might think that the bird was mending a copper kettle; at another distance it has a more woodeny thump, but it is a thump that is full of energy, and sounds just like starting a bung. So he is a hard bird to name with a single name; he is a stone-breaker, coppersmith, and bung-starter, and even then he is not completely named, for when he is close by you find that there is a soft, deep, melodious quality in his thump, and for that no satisfying name occurs to you. You will not mind his other notes, but when he camps near enough for you to hear that one, you presently find that his measured and monotonous repetition of it is beginning to disturb you; next it will weary you, soon it will distress you, and before long each thump will hurt your head; if this goes on, you will lose your mind with the pain and misery of it, and go crazy. I am bringing some of these birds home to America.
There is nothing like them there. They will be a great surprise, and it is said that in a climate like ours they will surpass expectation for fecundity.
I am bringing some nightingales, too, and some cue-owls. I got them in Italy. The song of the nightingale is the deadliest known to ornithology. That demoniacal shriek can kill at thirty yards. The note of the cue-owl is infinitely soft and sweet--soft and sweet as the whisper of a flute. But penetrating--oh, beyond belief; it can bore through boiler-iron. It is a lingering note, and comes in triplets, on the one unchanging key: hoo-o-o, hoo-o-o, hoo-o-o; then a silence of fifteen seconds, then the triplet again; and so on, all night. At first it is divine; then less so; then trying; then distressing; then excruciating; then agonizing, and at the end of two hours the listener is a maniac.
And so, presently we took to the hand-car and went flying down the mountain again; flying and stopping, flying and stopping, till at last we were in the plain once more and stowed for Calcutta in the regular train.
That was the most enjoyable day I have spent in the earth. For rousing, tingling, rapturous pleasure there is no holiday trip that approaches the bird-flight down the Himalayas in a hand-car. It has no fault, no blemish, no lack, except that there are only thirty-five miles of it instead of five hundred.