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II BIRD–SONGS I SUSPECT it requires a special gift of grace to enable one to hear the bird-songs; some new power must be added to the ear, or some obstruction removed. There are not only scales upon our eyes so that we do not see, there are scales upon our ears so that we do not hear. A city woman who had spent much of her time in the country once asked a well-known ornithologist to take her where she could hear the bluebird. “What, never heard the bluebird!” said he. “I have not,” said the woman. “Then you will never hear it,” said the bird-lover; never hear it with that inward ear that gives beauty and meaning to the note. He could probably have taken her in a few minutes where she could have heard the call or warble of the bluebird; but it would have fallen upon unresponsive ears — upon ears that were not sensitized by love for the birds or associations with them. Bird-songs are not music, properly speaking, but only suggestions of music. A great many people whose attention would be quickly arrested by the same volume of sound made by a musical instrument or by artificial means never hear them at all. The sound of a boy’s penny whistle there in the grove or the meadow would separate itself more from the background of nature, and be a greater challenge to the ear, than is the strain of the thrush or the song of the sparrow. There is something elusive, indefinite, neutral, about bird-songs that makes them strike obliquely, as it were, upon the ear; and we are very apt to miss them. They are a part of nature, the Nature that lies about us, entirely occupied with her own affairs, and quite regardless of our presence. Hence it is with bird-songs as it is with so many other things in nature — they are what we make them; the ear that hears them must be half creative. I am always disturbed when persons not especially observant of birds ask me to take them where they can hear a particular bird, in whose song they have become interested through a description in some book. As I listen with them, I feel like apologizing for the bird: it has a bad cold, or has just heard some depressing news; it will not let itself out. The song seems so casual and minor when you make a dead set at it. I have taken persons to hear the hermit thrush, and I have fancied that they were all the time saying to themselves, “Is that all?” But should one hear the bird in his walk, when the mind is attuned to simple things and is open and receptive, when expectation is not aroused and the song comes as a surprise out of the dusky silence of the woods, then one feels that it merits all the fine things that can be said of it. One of our popular
writers and lecturers upon birds told me this incident: He had engaged to take
two city girls out for a walk in the country, to teach them the names of the
birds they might see and hear. Before they started, he read to them Henry van
Dyke’s poem on the song sparrow, — one of our best bird-poems, — telling them
that the song sparrow was one of the first birds they were likely to hear. As
they proceeded with their walk, sure enough, there by the roadside was a
sparrow in song. The bird man called the attention of his companions to it. It
was some time before the unpracticed ears of the girls could make it out; then
one of them said (the poem she had just heard, I suppose, still ringing in her
ears), “What! that little squeaky thing?” The sparrow’s song meant nothing to
her at all, and how could she share the enthusiasm of the poet? Probably the
warble of the robin, or the call of the meadowlark or of the highhole, if they
chanced to hear them, meant no more to these girls. If we have no associations
with these sounds, they will mean very little to us. Their merit as musical
performances is very slight. It is as signs of joy and love in nature, as
heralds of spring, and as the spirit of the woods and fields made audible,
that they appeal to us. The drumming of the woodpeckers and of the ruffed
grouse give great pleasure to a countryman, though these sounds have not the
quality of real music. It is the same with the call of the migrating geese or
the voice of any wild thing: our pleasure in them is entirely apart from any
considerations of music. Why does the wild flower, as we chance upon it in the
woods or bogs, give us more pleasure than the more elaborate flower of the
garden or lawn? Because it comes as a surprise, offers a greater contrast with
its surroundings, and suggests a spirit in wild nature that seems to take
thought of itself and to aspire to beautiful forms. The songs of caged birds are always disappointing, because such birds have nothing but their musical qualities to recommend them to us. We have separated them from that which gives quality and meaning to their songs. One recalls Emerson’s lines: —
I have never yet
seen a caged bird that I wanted, — at least, not on account of its song, — nor
a wild flower that I wished to transfer to my garden. A caged skylark will sing
its song sitting on a bit of turf in the bottom of the cage; but you want to
stop your ears, it is so harsh and sibilant and penetrating. But up there
against the morning sky, and above the wide expanse of fields, what delight we
have in it! It is not the concord of sweet sounds: it is the soaring spirit of
gladness and ecstasy raining down upon us from “heaven’s gate.” Then, if to the
time and the place one could only add the association, or hear the bird through
the vista of the years, the song touched with the magic of youthful memories!
One season a friend in England sent me a score of skylarks in a cage. I gave
them their liberty in a field near my place. They drifted away, and I never
heard them or saw them again. But one Sunday a Scotchman from a neighboring
city called upon me, and declared with visible excitement that on his way along
the road he had heard a skylark. He was not dreaming; he knew it was a skylark,
though he had not heard one since he had left the banks of the Doon, a quarter
of a century or more before. What pleasure it gave him! How much more the song
meant to him than it would have meant to me! For the moment he was on his
native heath again. Then I told him about the larks I had liberated, and he
seemed to enjoy it all over again with renewed appreciation. Many years ago some
skylarks were liberated on Long Island, and they became established there, and
may now occasionally be heard in certain localities. One summer day a
friend of mine was out there observing them; a lark was soaring and singing in
the sky above him. An old Irishman came along, and suddenly stopped as if
transfixed to the spot; a look of mingled delight and incredulity came into his
face. Was he indeed hearing the bird of his youth? He took off his hat, turned
his face skyward, and with moving lips and streaming eyes stood a long time
regarding the bird. “Ah,” my friend thought, “if I could only hear that song
with his ears!” How it brought back his youth and all those long-gone days on
his native hills! The power of
bird-songs over us is so much a matter of association that every traveler to
other countries finds the feathered songsters of less merit than those he left
behind. The stranger does not hear the birds in the same receptive, uncritical
frame of mind as does the native; they are not in the same way the voices of
the place and the season. What music can there be in that long, piercing, far-heard
note of the first meadowlark in spring to any but a native, or in the
“o-ka-lee” of the red-shouldered starling as he rests upon the willows in
March? A stranger would probably recognize melody and a wild woodsy quality in
the flutings of the veery thrush; but how much more they would mean to him
after he had spent many successive Junes threading our northern trout-streams
and encamping on their banks! The veery will come early in the morning, and
again at sundown, and perch above your tent, and blow his soft, reverberant
note for many minutes at a time. The strain repeats the echoes of the limpid
stream in the halls and corridors of the leafy woods. While in England in
1882, I rushed about two or three counties in late June and early July, bent on
hearing the song of the nightingale, but missed it by a few days, and in some
cases, as it seemed; only by a few hours. The nightingale seems to be wound up
to go only so long, or till about the middle of June, and it is only by a rare
chance that you hear one after that date. Then I came home to hear a nightingale
in song one winter morning in a friend’s house in the city. It was a curious
let-down to my enthusiasm. A caged song in a city chamber in broad daylight,
in lieu of the wild, free song in the gloaming of an English landscape! I
closed my eyes, abstracted myself from my surroundings, and tried my best to
fancy myself listening to the strain back there amid the scenes I had haunted
about Haslemere and Godalming, but with poor success, I suspect. The
nightingale’s song, like the lark’s, needs vista, needs all the accessories of
time and place. The song is not all in the singing, any more than the wit is
all in the saying. It is in the occasion, the surroundings, the spirit of which
it is the expression. My friend said that the bird did not fully let itself
out. Its song was a brilliant medley of notes, — no theme that I could detect,
— like the lark’s song in this respect; all the notes of the field and forest
appeared to be the gift of this bird, but what tone! what accent! like that of
a great poet! Nearly every May I
am seized with an impulse to go back to the scenes of my youth, and hear the
bobolinks in the home meadows once more. I am sure they sing there better than
anywhere else. They probably drink nothing but dew, and the dew distilled in
those high pastoral regions has surprising virtues. It gives a clear, full,
vibrant quality to the birds’ voices that I have never heard elsewhere. The
night of my arrival, I leave my southern window open, so that the meadow chorus
may come pouring in before I am up in the morning. How it does transport me
athwart the years, and make me a boy again, sheltered by the paternal wing! On
one occasion, the third morning after my arrival, a bobolink appeared with a
new note in his song. The note sounded like the word “baby” uttered with a
peculiar, tender resonance: but it was clearly an interpolation; it did not
belong there; it had no relation to the rest of the song. Yet the bird never
failed to utter it with the same joy and confidence as the rest of his song.
Maybe it was the beginning of a variation that will in time result in an
entirely new bobolink song. On my last spring
visit to my native hills, my attention was attracted to another songster not
seen or heard there in my youth, namely, the prairie horned lark. Flocks of
these birds used to be seen in some of the Northern States in the late fall during
their southern migrations; but within the last twenty years they have become
regular summer residents in the hilly parts of many sections of New York and
New England. They are genuine skylarks, and lack only the powers of song to
make them as attractive as their famous cousins of Europe. The larks are
ground-birds when they perch, and sky-birds when they sing; from the turf to
the clouds — nothing between. Our horned lark mounts upward on quivering wing
in the true lark fashion, and, spread out against the sky at an altitude of two
or three hundred feet, hovers and sings. The watcher and listener below holds
him in his eye, but the ear catches only a faint, broken, half-inarticulate
note now and then — mere splinters, as it were, of the song of the skylark. The
song of the latter is continuous, and is loud and humming; it is a fountain of
jubilant song up there in the sky: but our lark sings in snatches; at each
repetition of its notes it dips forward and downward a few feet, and then rises
again. One day I kept my eye upon one until it had repeated its song one
hundred and three times; then it closed its wings, and dropped toward the earth
like a plummet, as does its European congener. While I was watching the bird,
a bobolink flew over my head, between me and the lark, and poured out his
voluble and copious strain. “What a contrast,” I thought, “between the voice of
the spluttering, tongue-tied lark, and the free, liquid, and varied song of the
bobolink!” I have heard of a
curious fact in the life-histories of these larks in the West. A Michigan woman
once wrote me that her brother, who was an engineer on an express train that
made daily trips between two Western cities, reported that many birds were
struck by the engine every day, and killed — often as many as thirty on a trip
of sixty miles. Birds of many kinds were killed, but the most common was a bird
that went in flocks, the description of which answered to the horned lark.
Since then I have read in a Minnesota newspaper that many horned larks are
killed by railroad locomotives in that State. It was thought that the birds sat
behind the rails to get out of the wind, and on starting up in front of the
advancing train, were struck down by the engine. The Michigan engineer referred
to thought that the birds gathered upon the track to earth their wings, or else
to pick up the grain that leaks out of the wheat-trains, and sows the track
from Dakota to the seaboard. Probably the wind which they might have to face in
getting up was the prime cause of their being struck. One does not think of the
locomotive as a bird-destroyer, though it is well known that many of the
smaller mammals often fall beneath it. A very interesting
feature of our bird-songs is the wing-song, or song of ecstasy. It is not the
gift of many of our birds. Indeed, less than a dozen species are known to me as
ever singing on the wing. It seems to spring from more intense excitement and
self-abandonment than the ordinary song delivered from the perch. When its joy
reaches the point of rapture, the bird is literally carried off its feet, and
up it goes into the air, pouring out its song as a rocket pours out its sparks.
The skylark and the bobolink habitually do this, while a few others of our
birds do it only on occasions. One summer, up in the Catskills, I added another
name to my list of ecstatic singers — that of the vesper sparrow. Several times
I heard a new song in the air, and caught a glimpse of the bird as it dropped
back to the earth. My attention would be attracted by a succession of hurried,
chirping notes, followed by a brief burst of song, then by the vanishing form of
the bird. One day I was lucky enough to see the bird as it was rising to its
climax in the air, and to identify it as the vesper sparrow. The burst of song
that crowned the upward flight of seventy-five or one hundred feet was brief;
but it was brilliant and striking, and entirely unlike the leisurely chant of
the bird while upon the ground. It suggested a lark, but was less buzzing or
humming. The preliminary chirping notes, uttered faster and faster as the bird
mounted in the air, were like the trail of sparks which a rocket emits before
its grand burst of color at the top of its flight. It is interesting
to note that this bird is quite lark-like in its color and markings, having the
two lateral white quills in the tail, and it has the habit of elevating the
feathers on the top of the head so as to suggest a crest. The solitary skylark
that I discovered several years ago in a field near me was seen on several
occasions paying his addresses to one of these birds, but the vesper-bird was
shy, and eluded all his advances. Probably the
perch-songster among our ordinary birds that is most regularly seized with the
fit of ecstasy that results in this lyric burst in the air, as I described in
my first book, “Wake Robin,” over thirty years ago, is the oven-bird, or
wood-accentor — the golden-crowned thrush of the old ornithologists. Every
loiterer about the woods knows this pretty, speckled-breasted, olive-backed
little bird, which walks along over the dry leaves a few yards from him, moving
its head as it walks, like a miniature domestic fowl. Most birds are very
stiff-necked, like the robin, and as they run or hop upon the ground, carry the
head as if it were riveted to the body. Not so the oven-bird, or the other
birds that walk, as the cow-bunting, or the quail, or the crow. They move the
head forward with the movement of the feet. The sharp, reiterated, almost
screeching song of the oven-bird, as it perches on a limb a few feet from the
ground, like the words, “preacher, preacher, preacher,” or “teacher, teacher,
teacher,” uttered louder and louder, and repeated six or seven times, is also
familiar to most ears; but its wild, ringing, rapturous burst of song in the
air high above the tree-tops is not so well known. From a very prosy, tiresome,
unmelodious singer, it is suddenly transformed for a brief moment into a lyric
poet of great power. It is a great surprise. The bird undergoes a complete
transformation. Ordinarily it is a very quiet, demure sort of bird. It walks
about over the leaves, moving its head like a little hen; then perches on a
limb a few feet from the ground and sends forth its shrill, rather prosy,
unmusical chant. Surely it is an ordinary, commonplace bird. But wait till the
inspiration of its flight-song is upon it. What a change! Up it goes through
the branches of the trees, leaping from limb to limb, faster and faster, till
it shoots from the tree-tops fifty or more feet into the air above them, and
bursts into an ecstasy of song, rapid, ringing, lyrical; no more like its
habitual performance than a match is like a rocket; brief but thrilling;
emphatic but musical. Having reached its climax of flight and song, the bird
closes its wings and drops nearly perpendicularly downward like the skylark. If
its song were more prolonged, it would rival the song of that famous bird. The
bird does this many times a day during early June, but oftenest at twilight.
The song in quality and general cast is like that of its congener, the
water-accentor, which, however, I believe is never delivered on the wing. From
its habit of singing at twilight, and from the swift, darting motions of the
bird, I am inclined to think that in it we have solved the mystery of Thoreau’s
“night-warbler,” that puzzled and eluded him for years. Emerson told him he
must beware of finding and booking it, lest life should have nothing more to
show him. The older ornithologists must have heard this song many times, but
they never seem to have suspected the identity of the singer. Other birds that
sing on the wing are the meadowlark, goldfinch, purple finch, indigo-bird,
Maryland yellow-throat, and woodcock. The flight-song of the woodcock I have
heard but twice in my life. The first time was in the evening twilight about
the middle of April. The bird was calling in the dusk “yeap, yeap,” or “seap,
seap,” from the ground, — a peculiar reedy call. Then, by and by, it started
upward on an easy slant, that peculiar whistling of its wings alone heard;
then, at an altitude of one hundred feet or more, it began to float about in
wide circles and broke out in an ecstatic chipper, almost a warble at times,
with a peculiar smacking musical quality; then, in a minute or so, it dropped
back to the ground again, not straight down like the lark, but more spirally,
and continued its call as before. In less than five minutes it was up again.
The next time, a few years later, I heard the song in company with a friend,
Dr. Clara Barrus. Let me give the woman’s impression of the song as she
afterward wrote it up for a popular journal. “The sunset light
was flooding all this May loveliness of field and farm and distant wood; song
sparrows were blithely pouring out happiness by the throatful; peepers were
piping and toads trilling, and we thought it no hardship to wait in such a
place till the dusk should gather, and the wary woodcock announce his
presence. But hark! while yet ‘tis light, only a few rods distant, I hear that
welcome ‘seap...seap,’ and lo! a chipper and a chirr, and past us he flies, — a
direct, slanting upward flight, somewhat labored, — his bill showing long
against the reddened sky. ‘He has something in his mouth,’ I start to say, when
I bethink me what a long bill he has. Around, above us he flies in wide,
ambitious circles, the while we are enveloped, as it were, in that hurried chippering
sound — fine, elusive, now near, now distant. How rapid is the flight! Now it
sounds faster and faster, ‘like a whiplash flashed through the air,’ said my
friend; up, up he soars, till he becomes lost to sight at the instant that his
song ends in that last mad ecstasy that just precedes his alighting.” The meadowlark
sings in a level flight, half hovering in the air, giving voice to a rapid
medley of lark-like notes. The goldfinch also sings in a level flight, beating
the air slowly with its wings broadly open, and pouring out its jubilant,
ecstatic strain. I think it indulges in this wing-song only in the early
season. After the mother bird has begun sitting, the male circles about within
earshot of her, in that curious undulating flight, uttering his “per-chic-o-pee,
per-chic-o-pee,” while the female calls back to him in the tenderest tones,
“Yes, lovie; I hear you.” The indigo-bird and the purple finch, when their
happiness becomes too full and buoyant for them longer to control it, launch
into the air, and sing briefly, ecstatically, in a tremulous, hovering flight.
The air-song of these birds does not differ essentially from the song delivered
from the perch, except that it betrays more excitement, and hence is a more
complete lyrical rapture. The purple finch is
our finest songster among the finches. Its strain is so soft and melodious, and
touched with such a childlike gayety and plaintiveness, that I think it might
sound well even in a cage inside a room, if the bird would only sing with the
same joyous abandonment, which, of course, it would not do. It is not generally known that individual birds of the same species show different degrees of musical ability. This is often noticed in caged birds, among which the principle of variation seems more active; but an attentive observer notes the same fact in wild birds. Occasionally he hears one that in powers of song surpasses all its fellows. I have heard a sparrow, an oriole, and a wood thrush, each of which had a song of its own that far exceeded any other. I stood one day by a trout-stream, and suspended my fishing for several minutes to watch a song sparrow that was singing on a dry limb before me. He had five distinct songs, each as markedly different from the others as any human songs, which he repeated one after the other. He may have had a sixth or a seventh, but he bethought himself of some business in the next field, and flew away before he had exhausted his repertory. I once had a letter from Robert Louis Stevenson, who said he had read an account I had written of the song of the English blackbird. He said I might as well talk of the song of man; that every blackbird had its own song; and then he told me of a remarkable singer he used to hear somewhere amid the Scottish hills. But his singer was, of course, an exception; twenty-four blackbirds out of every twenty-five probably sing the same song, with no appreciable variations: but the twenty-fifth may show extraordinary powers. I told Stevenson that his famous singer had probably been to school to some nightingale on the Continent or in southern England. I might have told him of the robin I once heard here that sang with great spirit and accuracy the song of the brown thrasher, or of another that had the note of the whip-poor-will interpolated in the regular robin song, or of still another that had the call of the quail. In each case the bird had probably heard the song and learned it while very young. In the Trossachs, in Scotland, I followed a song thrush about for a long time, attracted by its peculiar song. It repeated over and over again three or four notes of a well-known air, which it might have caught from some shepherd boy whistling to his flock or to his cow. The songless birds — why has Nature denied them this gift? But they nearly all have some musical call or impulse that serves them very well. The quail has his whistle, the woodpecker his drum, the pewee his plaintive cry, the chickadee his exquisitely sweet call, the highhole his long, repeated “wick, wick, wick,” one of the most welcome sounds of spring, the jay his musical gurgle, the hawk his scream, the crow his sturdy caw. Only one of our pretty birds of the orchard is reduced to an all but inaudible note, and that is the cedar-bird. |
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