It is interesting to note the changes that take place from one season to
another in the comparative beauty of certain trees. The Ash, for
example, during the early part of October, is one of the most beautiful
trees of the forest, exceeded only by the maple in variety of tinting.
In summer, too, but few trees surpass it in quality of foliage, disposed
in flowing irregular masses, light and airy, but not thin, though
allowing the branches to be traced through it, even to their
extremities. It has a well-rounded head, neither so regular as to be
formal, nor so broken as to detract from its peculiar grace. When
standing with other trees in midsummer, in the border of a wood, or
mingled with the standards by the roadside, the Ash would be sure to
attract admiration. But no sooner have the leaves fallen from its
branches than it takes rank below almost all other trees, presenting a
stiff, blunt, and awkward spray, and an entire want of that elegance it
affects at other seasons.
The Ash is a favorite in Europe, though deficient there in autumnal
tints. It is a tree of the first magnitude, and has been styled in
classical poetry the Venus of the forest, from the general beauty of its
proportions and flowing robes. The English, however, complain of the
Ash, on account of its tardy leafing in the spring and its premature
denudation in the autumn. “Its leaf,” says Gilpin, “is much tenderer
than that of the oak, and sooner receives impression from the winds and
frost. Instead of contributing its tint, therefore, in the wane of the
year, among the many colored offspring of the woods, it shrinks from the
blast, drops its leaf, and in each scene where it predominates leaves
wide blanks of desolate boughs amid foliage yet fresh and verdant.
Before its decay we sometimes see its leaf tinged with a fine yellow,
well contrasted with the neighboring greens. But this is one of nature’s
casual beauties. Much oftener its leaf decays in a dark, muddy,
unpleasing tint.”
The Ash is remarkable for a certain trimness and regularity of
proportion, and it seldom displays any of those breaks so conspicuous in
the outlines of the hickory, which in many points it resembles. The
trunk rises to more than an average height before it is subdivided; but
we do not see the central shaft above this subdivision, as in the poplar
and the fir. Lateral branches seldom shoot from the trunk, save, as I
have sometimes observed, a sort of bushy growth, surrounding it a little
below the angles made by the lower branches. It is called in Europe “the
painters’ tree.” But George Barnard, alluding to this fact, remarks:
“Unlike the oak, the Ash does not increase in picturesqueness with old
age. The foliage becomes rare and meagre, and its branches, instead of
hanging loosely, often start away in disagreeable forms.”
North America contains a greater number of species of the genus
_Fraxinus_ than any other part of the globe. But three of these only are
common in New England,—the white, the red, and the black Ash. The first
is the most frequent both in the forest and by the roadsides, the most
beautiful, and the most valuable for its timber. All the species have
pinnate and opposite leaves, and opposite branches in all the recent
growth; but as the tree increases in size, one of the two invariably
becomes abortive, so that we perceive this opposite character only in
the spray. The leaflets are mostly in sevens, not so large nor so
unequal as in the similar foliage of the hickory.
The white and the red Ash have so nearly the same external characters,
that it requires some study to distinguish them. They do not differ in
their ramification, nor in their autumnal hues. The black Ash may be
readily identified by the leaves, which are sessile, and like those of
the elder; also by the dark bluish color of the buds and newly formed
branches, and the slenderness of its proportions. It seldom attains a
great height or size, and is chiefly confined to swamps and muddy soils.
The wood of this species is remarkable for strength and elasticity. The
remarks of George Barnard respecting the localities of the Ash in Europe
will apply to the American species: “Though seen everywhere, its
favorite haunt is the mountain stream, where its branches hang
gracefully over the water, adding much beauty to the scene. It is to be
met with in every romantic glen and glade, now clinging with
half-covered roots to a steep, overhanging cliff, and breaking with its
light, elegant foliage the otherwise too abrupt line, or with its soft
warm green relieving the monotonous coloring of the rocks or the sombre
gray of some old ruin.”
There are some remarkable superstitions and traditionary notions
connected with the Ash-tree. The idea that it is offensive, and even
fatal, to serpents, is not of modern origin, though not a rustic laborer
can be found who would not consider an Ash-tree planted before his house
as a charm against their intrusion. According to Pliny, if a serpent be
surrounded on one side by fire and on the other by a barricade of the
leaves and branches of the Ash-tree, he will escape through the fire,
rather than through its fatal boughs. It is related in the Edda that man
was first created from the wood of this tree, and it is not improbable
that this superstition has some connection with the fable of Adam and
Eve, and through this with the supposed antipathy of the serpent for the
Ash-tree.
There is a saying in Great Britain, that, if the Ash puts forth its
leaves before the oak, the following summer will be wet; but if the
leafing of the oak precedes that of the Ash, it will be dry. I am not
aware that any such maxim has obtained credence in the United States.