Wayside and woodland trees — Reading Companion
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This digital edition of Wayside and woodland trees — Reading Companion is described by source-level measurements including 49,460 words, 3 hr 36 min estimated reading time, and 10 detected text sections.
The text analysis averages about 21.7 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Shrubs -- Great Britain,” connecting these edition facts with the source record’s subject description.
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Read the Text
Scot was thinking of the "unearned increment" another generation might gather in, due to the almost unceasing activity of the vegetable cells in the manufacture of timber. The other view was expressed by "the Autocrat of the Breakfast-table" in a letter to a friend: "Whenever we plant a tree we are doing what we can to make our planet a more wholesome and happier dwelling-place for those who come after us, if not for ourselves." But, after all, it is the trees that have been planted by Nature that give the greatest pleasure apart from commercial considerations--the lonely Pine, that grows in rugged grandeur on the edge of the escarpment where its seed was planted in the crevice by the wind; the Oak that grows outside the forest, where a squirrel or a jay dropped the acorn, and where the young tree had room all its life to throw out its arms as it would; the little cluster of Birches that springs from the ferns and moss of the hillside. All trees so grown develop an individuality that is not apparent in their fellows of the timber forest; and however we may delight in the peace and quiet of the forest, with its softened light and cool fragrant air, we can there only regard the trees in a mass. We might, indeed, reverse the old saying, and declare that we cannot see the trees on account of the wood.
Nature and the timber-producer have different aims and pursue different methods in the making of forests, though the latter is not above taking a hint from the former occasionally. Nature mixes her seeds and sows them broadcast over the land she intends to turn into forest, that the more vigorous kinds may act as nurses, sheltering and protecting the less robust. Then comes the struggle for existence, with its final ending in the survival of the fittest. In the mean time the mixed forest has given shelter to an enormous population of smaller fry--plants, mammals, birds, and insects--and has been a delightful recreation ground for man. The timber-producer aims at so controlling the struggle for existence that the survival of the fit is maintained from start to finish. He plants his young trees in regular order, putting in nurses at intervals and along the borders, intending to cut them down when his purpose has been served. The timber trees are allowed no elbow-room, the putting forth of lateral branches is discouraged, but steady upward growth and the production of "canopy" is abetted. His aim is to get these timber-sticks as near alike as possible, free from individuality, and with the minimum of difference in girth at top and bottom of each pole. This means a thicker and longer balk of clean timber when the tree is felled and squared. The continuous canopy induces growth in the upward direction only, and discourages the weeds and undergrowth that add to the charm of the forest, but which unprofitably use up the wood-producing elements in the soil. This plan contrasts strongly with the views on planting formerly prevalent in this country, John Evelyn, for example, making a special point of giving the Oak room to stretch out its arms, "free from all incumbrances." But, then, unlike the timber-producers, Evelyn had an eye for landscape beauty, and giving an opportunity for the display of such beauty. He says: "And if thus his Majesty's forests and chases were stored, viz. with this spreading tree at handsome intervals, by which grazing might be improved for the feeding of deer and cattle under them (for such was the old Saltus), being only visited with the gleams of the sun, and adorned with the distant landscapes appearing through the glades and frequent valleys, nothing could be more ravishing."
Edward Step's Wayside and Woodland Trees opens with a clear purpose: to help the country rambler identify native trees and larger shrubs, not to add to forestry treatises. The preface sets a practical tone, emphasizing straightforward identification over academic depth. Step's voice is that of an informed naturalist who values direct observation, and his prose moves between precise botanical detail and engaging asides on local uses and beliefs.
A Naturalist's Voice: Precision and Anecdote
Step's language shifts between technical description and conversational anecdote. In the entry on the Sloe (Blackthorn), he notes the fruit's 'terribly harsh' taste and its effect on the palate, then recounts how country people make wine from it and how 'old-wife followers of St. Paul' soak sloes in gin. This blend of botany and folklore gives the text a distinctive rhythm. The voice is authoritative but not dry, and the pace varies: a detailed account of stamens and carpels may be followed by a wry remark about tea leaves or port wine. Step also includes historical references, such as Pliny's claim that cherries reached Britain by the first century A.D., and Evelyn's story of Richard Haines planting Kent's orchards. These digressions enrich the identification guide without overwhelming it.
Structure and Pace: From Flower to Fruit
The book's organization follows a logical progression from native to exotic species, with a classified index and a separate index for quick reference. Within each entry, Step typically describes the tree's bark, leaves, flowers, and fruit in sequence, but he varies the pace by inserting practical notes or historical context. For example, after detailing the Blackthorn's floral anatomy—'from fifteen to twenty stamens round the single carpel'—he shifts to the fruit's use in wine and gin. This structural pattern keeps the reader engaged, as the botanical facts are anchored in real-world applications. The descriptions of the Bullace and Wild Plum show a similar pattern: differences in bark color, leaf shape, and fruit size are listed concisely, then followed by notes on distribution and cultivation. Step's writing thus moves steadily but with frequent pauses for anecdote, creating a rhythm that suits the rambler's pace.
Setting and Sensory Detail: The Woodland in Words
Step's descriptions are grounded in sensory observation. He notes the Sloe's 'blackness hidden by a delicate bloom that gives it a purplish glaucous hue' and the fruit's 'tight jacket' that 'begins to relax and pucker' as it ripens. Such details evoke the physical experience of handling the fruit. The setting is implicitly the British countryside—hedgerows, woods, and orchards—and Step often references local practices, like the belief that Blackthorn leaves were used to adulterate tea. He also contrasts wild and cultivated forms, as when he observes that some wild cherry trees 'bear fruit much larger and of better flavour than usual,' hinting at the interplay between nature and human selection. These sensory and contextual cues help the reader picture the trees in their native habitats, reinforcing the guide's practical aim.
Step's guide rewards the reader who moves slowly, pausing over the botanical details and the stories woven around them. The book is best used as a companion on walks, with its pocket-sized format and clear illustrations. Let the descriptions lead you to look closely at bark, leaf, and fruit, and let the anecdotes deepen your sense of the tree's place in local history and lore.
There’s a quiet comfort in flipping through old field guides, the kind where botany feels like memory. Edward Step’s little book made me want slower walks, noticing bark and old tales. I found that same unhurried patience in Forest Trees of Illinois: How to Know Them — Context and Discussion, which lingers like a familiar path through autumn woods, gentle and knowing.
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