by Ruskin Bond
The rulers of Garhwal were often changing their capitals, and when, after the Gurkha War (of 1811–15), the former capital of Srinagar became part of British Garhwal, Raja Sudershan Shah established his new capital at Tehri. It is said that when he reached this spot, his horse refused to go any further. This was enough for the king, it seems; or so the story goes.
Perhaps Prince Bhagirath’s chariot will come to a halt here too, when the dam is built. The two 246 metre-high earthen dam, with forty-two square miles of reservoir capacity, will submerge the town and about thirty villages.
But as we leave the town and cross the narrow bridge over the river, a mighty blast from above sends rocks hurtling down the defile, just to remind us that work is indeed in progress.
Unlike the Raja’s horse, I have no wish to be stopped in my tracks at Tehri. There are livelier places upstream. And as for the Ganga herself, that deceptively gentle river, I wonder if she will take kindly to our efforts to contain her.
Great Trees of Garhwal
LIVING FOR MANY years in a cottage at 7,000 feet in the Garhwal Himalayas, I was fortunate to have a big window that opened out on the forest, so that the trees were almost within my reach. Had I jumped, I should have landed quite safely in the arms of an oak or chestnut.
The incline of the hill was such that my first-floor window opened on what must, I suppose, have been the second floor of the tree. I never made the jump, but the big langurs—silver grey monkeys with long swishing tails—often leapt from the trees on to the corrugated tin roof and made enough noise to disturb the bats sleeping in the space between the roof and ceiling.
Standing on its own was a walnut tree, and truly this was a tree for all seasons. In winter the branches were bare; but they were smooth and straight and round like the arms of a woman in a painting by Jamini Roy. In the spring, each branch produced a hard, bright spear of new leaf. By midsummer the entire tree was in leaf; and towards the end of the monsoon, the walnuts, encased in their green jackets, had reached maturity.
Then the jackets began to split, revealing the hard brown shell of the walnuts. Inside the shell was the nut itself. Look closely at the nut and you will notice that it is shaped rather like the human brain. No wonder the ancients prescribed walnuts for headaches!
Every year the tree gave me a basket of walnuts. But last year the walnuts were disappearing one by one, and I was at a loss to know who had been taking them. Could it have been Bijju, the milkman’s son? He was an inveterate tree climber. But he was usually to be found on oak trees, gathering fodder for his cows. He told me that his cows liked oak leaves but did not care for walnuts. He admitted that they had relished my dahlias, which they had eaten the previous week, but he denied having fed them walnuts.
It wasn’t the woodpecker. He was out there every day, knocking furiously against the bark of the tree, trying to prise an insect out of a narrow crack. He was strictly non-vegetarian and none the worse for it.
One day I found a fat langur sitting in the walnut tree. I watched him for some time to see if he was going to help himself to the nuts, but he was only sunning himself. When he thought I wasn’t looking, he came down and ate the geraniums; but he did not take any walnuts.
The walnuts had been disappearing early in the morning while I was still in bed. So one morning I surprised everyone, including myself, by getting up before sunrise. I was just in time to catch the culprit climbing out of the walnut tree.
She was an old woman, who sometimes came to cut grass on the hillside. Her face was as wrinkled as the walnuts she had been helping herself to. In spite of her age, her arms and legs were sturdy. When she saw me, she was as swift as a civet cat in getting out of the tree.
‘And how many walnuts did you gather today, Grandmother?’ I asked.
‘Only two,’ she said with a giggle, offering them to me on her open palm. I accepted one of them. Encouraged, she climbed back into the tree and helped herself to the remaining nuts. It was impossible to object. I was taken up in admiration of her agility in the tree. She must have been about sixty, and I was a mere forty-five, but I knew I would never be climbing trees again.
To the victor the spoils!
The horse chestnuts are inedible, even the monkeys throw them away in disgust. Once, on passing beneath a horse chestnut tree, a couple of chestnuts bounced off my head. Looking up, I saw that they had been dropped on me by a couple of mischievous rhesus monkeys.
The tree itself is a friendly one, especially in summer when it is in full leaf. The least breath of wind makes the leaves break into conversation, and their rustle is a cheerful sound, unlike the sad notes of pine trees in the wind. The spring flowers look like candelabra, and when the blossoms fall they carpet the hillside with their pale pink petals.
We pass now to my favourite tree, the deodar. In Garhwal and Kumaon it is called dujar or devdar; in Jaunsar and parts of Himachal it is known as the kelu or kelon. It is also identified with the cedar of Lebanon (the cones are identical), although the deodar’s needles are slightly longer and more bluish. Trees, like humans, change with their environment. Several persons familiar with the deodar at Indian hill stations, when asked to point it out in London’s Kew Gardens, indicated the cedar of Lebanon; and when shown a deodar, declared that they had never seen this tree in the Himalayas!
We shall stick to the name deodar, which comes from the Sanskrit Deva-daru (divine tree). It is a sacred tree in the Himalayas; not worshipped, not protected in the way that a peepul is in the plains, but sacred in that its timber has always been used in temples, for doors, windows, walls and even roofs. Quite frankly, I would just as soon worship the deodar as worship anything, for in its beauty and majesty it represents nature in its most noble aspect.
No one who has lived amongst deodars would deny that it is the most godlike of Himalayan trees. It stands erect, dignified; and though in a strong wind it may hum and sigh and moan, it does not bend to the wind. The snow slips softly from its resilient branches. In the spring the new leaves are tender green, while during the monsoon the tiny young cones spread like blossoms in the dark green folds of the branches. The deodar thrives in the rain and enjoys the company of its own kind. Where one deodar grows, there will be others. Isolate a young tree and it will often pine away.
The great deodar forests are found along the upper reaches of the Bhagirathi valley and the Tons in Garhwal; and in Himachal and Kashmir, along the Chenab and the Jhelum, and also the Kishanganga; it is at its best between 7,000 and 9,000 feet. I had expected to find it on the upper reaches of the Alaknanda, but could not find a single deodar along the road to Badrinath. That particular valley seems hostile to trees in general, and deodars in particular.
The average girth of the deodar is 15–20 feet, but individual trees often attain a great size. Records show that one great deodar was 250 feet high, 20 feet in girth at the base, and more than 550 years old. The timber of these trees, which is unaffected by extremes of climate, was always highly prized for house buildings; and in the villages of Jaunsar Bawar, finely carved doors and windows are a feature of the timbered dwellings. Many of the quaint old bridges over the Jhelum in Kashmir are supported on pillars fashioned from whole deodar trees; some of these bridges are more than 500 years old.
To return to my own trees, I went among them often, acknowledging their presence with the touch of my hand against their trunks—the walnut’s smooth and polished; the pine’s patterned and whorled; and oak’s rough, gnarled, full of experience. The oak had been there the longest, and the wind had bent his upper branches and twisted a few, so that he looked shaggy and undistinguished. It is a good tree for the privacy of birds, its crooked branches spreading out with no particular effect; and sometimes the tree seems uninhabited until there is a whirring sound, as of a helicopter approaching, and a party of long-tailed blue magpies stream across the forest glade.
After the monsoon, when the dark red berries had ripened on the hawthorn, this pretty tree was visited by green pigeons,
the kokla birds of Garhwal, who clambered upside down among the fruit-laden twigs. And during winter, a white-capped redstart perched on the bare branches of the wild pear tree and whistled cheerfully. He had come down from higher places to winter in the garden.
The pines grow on the next hill—the chir, the Himalayan blue pine, and the long-leaved pine—but there is a small blue pine a little way below the cottage, and sometimes I sit beneath it to listen to the wind playing softly in its branches.
Open the window at night and there is usually something to listen to: the mellow whistle of a pigmy owlet, or the cry of a barking deer which has scented the proximity of a panther. Sometimes, if you are lucky, you will see the moon coming up over Nag Tibba and two distant deodars in perfect silhouette.
Some sounds cannot be recognized. They are strange night sounds, the sounds of the trees themselves, stretching their limbs in the dark, shifting a little, flexing their fingers. Great trees of the mountains, they know me well. They know my face in the window; they see me watching them, watching them grow, listening to their secrets, bowing my head before their outstretched arms and seeking their benediction.
Birdsong in the Hills
BIRDWATCHING IS MORE difficult in the hills than on the plains. Many birds are difficult to spot against the dark green of the trees or the varying shades of the hillsides. Large gardens and open fields make birdwatching much easier on the plains; but up here in the mountains one has to be quick of eye to spot a flycatcher flitting from tree to tree, or a mottled brown tree creeper ascending the trunk of oak or spruce. But few birds remain silent, and one learns of their presence from their calls or songs. Birdsong is with you wherever you go in the hills, from the foothills to the tree line; and it is often easier to recognize a bird from its voice than from its colourful but brief appearance.
The barbet is one of those birds which are heard more than they are seen. Summer visitors to our hill stations must have heard their monotonous, far-reaching call, pee-oh, pee-oh, or un-neeow, un-neeow. They would probably not have seen the birds, as they keep to the tops of high trees where they are not easily distinguished from the foliage. Apart from that, the sound carries for about half a mile, and as the bird has the habit of turning its head from side to side while calling, it is very difficult to know in which direction to look for it.
Barbets love listening to their own voices and often two or three birds answer each other from different trees, each trying to outdo the other in a shrill shouting match. Most birds are noisy during the mating season. Barbets are noisy all the year round!
Some people like the barbet’s call and consider it both striking and pleasant. Some don’t like it and simply consider it striking!
In parts of the Garhwal Himalayas, there is a legend that the bird is the reincarnation of a moneylender who died of grief at the unjust termination of a lawsuit. Eternally his plaint rises to heaven, un-neeow, un-neeow which means, ‘injustice, injustice’.
Barbets are found throughout the tropical world, but probably the finest of these birds is the great Himalayan barbet. Just over a foot in length, it has a massive yellow bill, almost as large as that of a toucan. The head and neck are a rich violet; the upper back is olive brown with pale green streaks. The wings are green, washed with blue, brown and yellow. In spite of all these brilliant colours, the barbet is not easily distinguished from its leafy surroundings. It goes for the highest treetops and seldom comes down to earth.
Hodgson’s grey-headed flycatcher-warbler is the long name that ornithologists, in their infinite wisdom, have given to a very small bird. This tiny bird is heard, if not seen, more often than any other bird throughout the Western Himalayas. It is almost impossible to visit any hill station between Naini Tal and Dalhousie without noticing this warbler; its voice is heard in every second tree; and yet there are few who can say what it looks like.
Its song (if you can call it that) is not very musical, and Douglas Dewar in writing about it was reminded of a notice that once appeared in a third-rate music hall: The audience is respectfully requested not to throw things at the pianist. He is doing his best.
Our little warbler does his best, incessantly emitting four or five unmusical but joyful and penetrating notes.
He is much smaller than a sparrow, being only some four inches in length, of which one-third consists of tail. His lower plumage is bright yellow, his upper parts olive green; the head and neck are grey, the head being set off by cream-coloured eyebrows. He is an active little bird always on the move, and both he and his mate, and sometimes a few friends, hop about from leaf to leaf, looking for insects both large and small. And the way he puts away an inch-long caterpillar would please the most accomplished spaghetti eater!
Another tiny bird heard more often than it is seen is the green-backed tit, a smart little bird about the size of a sparrow. It constantly utters a sharp, rather metallic but not unpleasant, call which sounds like ‘kiss me, kiss me, kiss me…’
Another fine singer is the sunbird, which is found in Kumaon and Garhwal. But perhaps the finest songster is the grey-winged ouzel. Throughout the early summer he makes the wooded hillsides ring with his blackbird-like melody. The hill people call this bird the kastura or kasturi, a name also applied to the Himalayan whistling thrush. But the whistling thrush has a yellow bill, whereas the ouzel is redbilled and is much the sweeter singer.
Nightjars (or goatsuckers, to give them their ancient name) are birds that lie concealed during the day in shady woods, coming out at dusk on silent wings to hunt for insects. The nightjar has a huge frog-like mouth, but is best recognized by its long tail and wings and its curiously silent flight. After dusk and just before dawn, you can hear its curious call, tonk-tonk, tonk-tonk—a note like that produced by striking a plank with a hammer.
As we pass from the plains to the hills, the traveller is transported from one bird realm to another.
Rajpur is separated from Mussoorie by a five-mile footpath, and within that brief distance we find the caw of the house crow replaced by the deeper note of the corby. Instead of the crescendo shriek of the koel, the double note of the cuckoo meets the ear. For the eternal cooing of the little brown dove, the melodious kokla green pigeon is substituted. The harsh cries of the rose-ringed parakeets give place to the softer call of the slate-headed species. The dissonant voices of the seven-sisters no longer issue from the bushes; their place is taken by the weird but more pleasing calls of the Himalayan streaked laughing thrushes.
When I first came to live in the hills, it was the song of the Himalayan whistling thrush that caught my attention. I did not see the bird that day. It kept to the deep shadows of the ravine below the old stone cottage.
The following day I was sitting at my window, gazing out at the new leaves on the walnut and wild pear trees. All was still, the wind was at peace with itself, the mountains brooded massively under the darkening sky. And then, emerging from the depths of that sunless chasm like a dark sweet secret, came the indescribably beautiful call of the whistling thrush.
It is a song that never fails to thrill and enchant me. The bird starts with a hesitant schoolboy whistle, as though trying out the tune; then, confident of the melody, it bursts into full song, a crescendo of sweet notes and variations that ring clearly across the hillside. Suddenly the song breaks off right in the middle of a cadenza, and I am left wondering what happened to make the bird stop so suddenly.
At first the bird was heard but never seen. Then one day I found the whistling thrush perched on the broken garden fence. He was deep glistening purple, his shoulders flecked with white; he had sturdy black legs and a strong yellow beak. A dapper fellow who would have looked just right in a tophat! When he saw me coming down the path, he uttered a sharp kree-ee—unexpectedly harsh when compared to his singing—and flew off into the shadowed ravine.
As the months passed, he grew used to my presence and became less shy. Once the rainwater pipes were blocked, and this resulted in an overflow of water and a small per
manent puddle under the steps. This became the whistling thrush’s favourite bathing place. On sultry summer afternoons, while I was taking a siesta upstairs, I would hear the bird flapping about in the rainwater pool. A little later, refreshed and sunning himself on the roof, he would treat me to a little concert—performed, I could not help feeling, especially for my benefit.
It was Govind, the milkman, who told me the legend of the whistling thrush, locally called kastura by the hill people, but also going by the name of Krishan-patti.
According to the story, Lord Krishna fell asleep near a mountain stream and while he slept, a small boy made off with the god’s famous flute. Upon waking and finding his flute gone, Krishna was so angry that he changed the culprit into a bird. But having once played on the flute, the bird had learnt bits and pieces of Krishna’s wonderful music. And so he continued, in his disrespectful way, to play the music of the gods, only stopping now and then (as the whistling thrush does) when he couldn’t remember the tune.
It wasn’t long before my whistling thrush was joined by a female, who looked exactly like him. (I am sure there are subtle points of difference, but not to my myopic eyes!) Sometimes they gave solo performances, sometimes they sang duets; and these, no doubt, were love calls, because it wasn’t long before the pair were making forays into the rocky ledges of the ravine, looking for a suitable maternity home. But a few breeding seasons were to pass before I saw any of their young.
After almost three years in the hills, I came to the conclusion that these were ‘birds for all seasons’. They were liveliest in midsummer; but even in the depths of winter, with snow lying on the ground, they would suddenly start singing as they flitted from pine to oak to naked chestnut.
