The Atlantic Monthly, Volume 10, No. 60, October, 1862: A Magazine of Literature, Art, and PoliticsVarious
History
The Atlantic Monthly, Volume 10, No. 60, October, 1862: A Magazine of Literature, Art, and Politics
Various
American periodicals
Notwithstanding the Red Maple is the most intense scarlet of any of our
trees, the Sugar-Maple has been the most celebrated, and Michaux in his
"Sylva" does not speak of the autumnal color of the former. About the
second of October, these trees, both large and small, are most
brilliant, though many are still green. In "sprout-lands" they seem to
vie with one another, and ever some particular one in the midst of the
crowd will be of a peculiarly pure scarlet, and by its more intense
color attract our eye even at a distance, and carry off the palm. A
large Red-Maple swamp, when at the height of its change, is the most
obviously brilliant of all tangible things, where I dwell, so abundant
is this tree with us. It varies much both in form and color. A great
many are merely yellow, more scarlet, others scarlet deepening into
crimson, more red than common. Look at yonder swamp of Maples mixed with
Pines, at the base of a Pine-clad hill, a quarter of a mile off, so that
you get the full effect of the bright colors, without detecting the
imperfections of the leaves, and see their yellow, scarlet, and crimson
fires, of all tints, mingled and contrasted with the green. Some Maples
are yet green, only yellow or crimson-tipped on the edges of their
flakes, like the edges of a Hazel-Nut burr; some are wholly brilliant
scarlet, raying out regularly and finely every way, bilaterally, like
the veins of a leaf; others, of more irregular form, when I turn my head
slightly, emptying out some of its earthiness and concealing the trunk
of the tree, seem to rest heavily flake on flake, like yellow and
scarlet clouds, wreath upon wreath, or like snow-drifts driving through
the air, stratified by the wind. It adds greatly to the beauty of such a
swamp at this season, that, even though there may be no other trees
interspersed, it is not seen as a simple mass of color, but, different
trees being of different colors and hues, the outline of each crescent
tree-top is distinct, and where one laps on to another. Yet a painter
would hardly venture to make them thus distinct a quarter of a mile off.
Public-domain text, read in full here on John Shaqi.
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