If The Appearance Of Old Phelps Attracts Attention, His Voice, When
First Heard, Invariably Startles The Listener.
A small,
high-pitched, half-querulous voice, it easily rises into the shrillest
falsetto; and it has a quality in it that makes it audible in all the
tempests of the forest, or the roar of rapids, like the piping of a
boatswain's whistle at sea in a gale.
He has a way of letting it
rise as his sentence goes on, or when he is opposed in argument, or
wishes to mount above other voices in the conversation, until it
dominates everything. Heard in the depths of the woods, quavering
aloft, it is felt to be as much a part of nature, an original force,
as the northwest wind or the scream of the hen-hawk. When he is
pottering about the camp-fire, trying to light his pipe with a twig
held in the flame, he is apt to begin some philosophical observation
in a small, slow, stumbling voice, which seems about to end in
defeat; when he puts on some unsuspected force, and the sentence ends
in an insistent shriek. Horace Greeley had such a voice, and could
regulate it in the same manner. But Phelps's voice is not seldom
plaintive, as if touched by the dreamy sadness of the woods
themselves.
When Old Mountain Phelps was discovered, he was, as the reader has
already guessed, not understood by his contemporaries. His
neighbors, farmers in the secluded valley, had many of them grown
thrifty and prosperous, cultivating the fertile meadows, and
vigorously attacking the timbered mountains; while Phelps, with not
much more faculty of acquiring property than the roaming deer, had
pursued the even tenor of the life in the forest on which he set out.
They would have been surprised to be told that Old Phelps owned more
of what makes the value of the Adirondacks than all of them put
together, but it was true.
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