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Canst thou imagine where those spirits live

Which make such delicate music in the woods?

Shelley.

BIRD-SONGS.

Why do birds sing? Has their music a meaning, or is it all a matter of blind impulse? Some bright morning in March, as you go out-of-doors, you are greeted by the notes of the first robin. Perched in a leafless tree, there he sits, facing the sun like a genuine fire-worshiper, and singing as though he would pour out his very soul. What is he thinking about? What spirit possesses him?

It is easy to ask questions until the simplest matter comes to seem, what at bottom it really is, a thing altogether mysterious; but if our robin could understand us, he would, likely enough, reply:—

"Why do you talk in this way, as if it were something requiring explanation that a bird should sing? You seem to have forgotten that everybody sings, or almost everybody. Think of the insects—the bees and the crickets and the locusts, to say nothing of your intimate friends, the mosquitoes! Think, too, of the frogs and the hylas! If these cold-blooded, low-lived creatures, after sleeping all winter in the mud,[3] are free to make so much use of their voices, surely a bird of the air may sing his unobtrusive song without being cross-examined concerning the purpose of it. Why do the mice sing, and the monkeys, and the woodchucks? Indeed, sir—if one may be so bold—why do you sing, yourself?"

This matter-of-fact Darwinism need not frighten us. It will do us no harm to remember, now and then, "the hole of the pit whence we were digged;" and besides, as far as any relationship between us and the birds is concerned, it is doubtful whether we are the party to complain.

But avoiding "genealogies and contentions," and taking up the question with which we began, we may safely say that birds sing, sometimes to gratify an innate love for sweet sounds; sometimes to win a mate, or to tell their love to a mate already won; sometimes as practice, with a view to self-improvement; and sometimes for no better reason than the poet's—"I do but sing because I must." In general, they sing for joy; and their joy, of course, has various causes.

For one thing, they are very sensitive to the weather. With them, as with us, sunlight and a genial warmth go to produce serenity. A bright summer-like day, late in October, or even in November, will set the smaller birds to singing, and the grouse to drumming. I heard a robin venturing a little song on the 25th of last December; but that, for aught I know, was a Christmas carol. No matter what the season, you will not hear a great deal of bird music during a high wind; and if you are caught in the woods by a sudden shower in May or June, and are not too much taken up with thoughts of your own condition, you will hardly fail to notice the instant silence which falls upon the woods with the rain. Birds, however, are more or less inconsistent (that is, a part of their likeness to us), and sometimes sing most freely when the sky is overcast.

But their highest joys are by no means dependent upon the moods of the weather. A comfortable state of mind is not to be contemned, but beings who are capable of deep and passionate affection recognize a difference between comfort and ecstasy. And the peculiar glory of birds is just here, in the all-consuming fervor of their love. It would be commonplace to call them models of conjugal and parental faithfulness. With a few exceptions (and these, it is a pleasure to add, not singers), the very least of them is literally faithful unto death. Here and there, in the notes of some collector, we are told of a difficulty he has had in securing a coveted specimen: the tiny creature, whose mate had been already "collected," would persist in hovering so closely about the invader's head that it was impossible to shoot him without spoiling him for the cabinet by blowing him to pieces!

Need there be any mystery about the singing of such a lover? Is it surprising if at times he is so enraptured that he can no longer sit tamely on the branch, but must dart into the air, and go circling round and round, caroling as he flies?

So far as song is the voice of emotion, it will of necessity vary with the emotion; and every one who has ears must have heard once in a while bird music of quite unusual fervor. For example, I have often seen the least flycatcher (a very unromantic-looking body, surely) when he was almost beside himself; flying in a circle, and repeating breathlessly his emphatic chebec. And once I found a wood pewee in a somewhat similar mood. He was more quiet than the least flycatcher; but he too sang on the wing, and I have never heard notes which seemed more expressive of happiness. Many of them were entirely new and strange, although the familiar pewee was introduced among the rest. As I listened, I felt it to be an occasion for thankfulness that the delighted creature had never studied anatomy, and did not know that the structure of his throat made it improper for him to sing. In this connection, also, I recall a cardinal grosbeak, whom I heard several years ago, on the bank of the Potomac River. An old soldier had taken me to visit the Great Falls, and as we were clambering over the rocks this grosbeak began to sing; and soon, without any hint from me, and without knowing who the invisible musician was, my companion remarked upon the uncommon beauty of the song. The cardinal is always a great singer, having a voice which, as European writers say, is almost equal to the nightingale's; but in this case the more stirring, martial quality of the strain had given place to an exquisite mellowness, as if it were, what I have no doubt it was, a song of love.

Every kind of bird has notes of its own, so that a thoroughly practiced ear would be able to discriminate the different species with nearly as much certainty as Professor Baird would feel after an examination of the anatomy and plumage. Still this strong specific resemblance is far from being a dead uniformity. Aside from the fact, already mentioned, that the characteristic strain is sometimes given with extraordinary sweetness and emphasis, there are often to be detected variations of a more formal character. This is noticeably true of robins. It may almost be said that no two of them sing alike; while now and then their vagaries are conspicuous enough to attract general attention. One who was my neighbor last year interjected into his song a series of four or five most exact imitations of the peep of a chicken. When I first heard this performance, I was in company with two friends, both of whom noticed and laughed at it; and some days afterwards I visited the spot again, and found the bird still rehearsing the same ridiculous medley. I conjectured that he had been brought up near a hen-coop, and, moreover, had been so unfortunate as to lose his father before his notes had become thoroughly fixed; and then, being compelled to finish his musical education by himself, had taken a fancy to practice these chicken calls. This guess may not have been correct. All I can affirm is that he sang exactly as he might have been expected to do, on that supposition; but certainly the resemblance seemed too close to be accidental.

The variations of the wood thrush are fully as striking as those of the robin, and sometimes it is impossible not to feel that the artist is making a deliberate effort to do something out of the ordinary course, something better than he has ever done before. Now and then he prefaces his proper song with many disconnected, extremely staccato notes, following each other at very distant and unexpected intervals of pitch. It is this, I conclude, which is meant by some writer (who it is I cannot now remember) when he criticises the wood thrush for spending too much time in tuning his instrument. But the fault is the critic's, I think; to my ear these preliminaries sound rather like the recitative which goes before the grand aria.

Still another musician who delights to take liberties with his score is the towhee bunting, or chewink. Indeed, he carries the matter so far that sometimes it seems almost as if he suspected the proximity of some self-conceited ornithologist, and were determined, if possible, to make a fool of him. And for my part, being neither self conceited nor an ornithologist, I am willing to confess that I have once or twice been so badly deceived that now the mere sight of this Pipilo is, so to speak, a means of grace to me.

One more of these innovators (these heretics, as they are most likely called by their more conservative brethren) is the field sparrow, better known as Spizella pusilla. His usual song consists of a simple line of notes, beginning leisurely, but growing shorter and more rapid to the close. The voice is so smooth and sweet, and the acceleration so well managed, that, although the whole is commonly a strict monotone, the effect is not in the least monotonous. This song I once heard rendered in reverse order, with a result so strange that I did not suspect the identity of the author till I had crept up within sight of him. Another of these sparrows, who has passed the last two seasons in my neighborhood, habitually doubles the measure; going through it in the usual way, and then, just as you expect him to conclude, catching it up again, Da capo.

But birds like these are quite outdone by such species as the song sparrow, the white-eyed vireo, and the Western meadow-lark—species of which we may say that each individual bird has a whole repertory of songs at his command. The song sparrow, who is the best known of the three, will repeat one melody perhaps a dozen times, then change it for a second, and in turn leave that for a third; as if he were singing hymns of twelve or fifteen stanzas each, and set each hymn to its appropriate tune. It is something well worth listening to, common though it is, and may easily suggest a number of questions about the origin and meaning of bird music.

The white-eyed vireo is a singer of astonishing spirit, and his sudden changes from one theme to another are sometimes almost startling. He is a skillful ventriloquist, also, and I remember one in particular who outwitted me completely. He was rehearsing a well-known strain, but at the end there came up from the bushes underneath a querulous call. At first I took it for granted that some other bird was in the underbrush; but the note was repeated too many times, and came in too exactly on the beat.

I have no personal acquaintance with the Western meadow-lark, but no less than twenty-six of his songs have been printed in musical notation, and these are said to be by no means all.[4]

Others of our birds have similar gifts, though no others, so far as I know, are quite so versatile as these three. Several of the warblers, for example, have attained to more than one set song, notwithstanding the deservedly small reputation of this misnamed family. I have myself heard the golden-crowned thrush, the black-throated green warbler, the black-throated blue, the yellow-rumped, and the chestnut-sided, sing two melodies each, while the blue golden-winged has at least three; and this, of course, without making anything of slight variations such as all birds are more or less accustomed to indulge in. The best of the three songs of the blue golden-wing I have never heard except on one occasion, but then it was repeated for half an hour under my very eyes. It bore no resemblance to the common dsee, dsee, dsee, of the species, and would appear to be seldom used; for not only have I never heard it since, but none of the writers seem ever to have heard it at all. However, I still keep a careful description of it, which I took down on the spot, and which I expect some future golden-wing to verify.

But the most celebrated of the warblers in this regard is the golden-crowned thrush, otherwise called the oven-bird and the wood wagtail. His ordinary effort is one of the noisiest, least melodious, and most incessant sounds to be heard in our woods. His song is another matter. For that he takes to the air (usually starting from a tree-top, although I have seen him rise from the ground), whence, after a preliminary chip, chip, he lets fall a hurried flood of notes, in the midst of which can usually be distinguished his familiar weechee, weechee, weechee. It is nothing wonderful that he should sing on the wing—many other birds do the same, and very much better than he; but he is singular in that he strictly reserves his aerial music for late in the afternoon. I have heard it as early as three o'clock, but never before that, and it is most common about sunset. Writers speak of it as limited to the season of courtship; but I have heard it almost daily till near the end of July, and once, for my special benefit, perhaps, it was given in full—and repeated—on the first day of September. But who taught the little creature to do this—to sing one song in the forenoon, perched upon a twig, and to keep another for afternoon, singing that invariably on the wing? and what difference is there between the two in the mind of the singer?[5]

It is an indiscretion ever to say of a bird that he has only such and such notes. You may have been his friend for years, but the next time you go into the woods he will likely enough put you to shame by singing something not so much as hinted at in your description. I thought I knew the song of the yellow-rumped warbler, having listened to it many times—a slight and rather characterless thing, nowise remarkable. But coming down Mount Willard one day in June, I heard a warbler's song which brought me to a sudden halt. It was new and beautiful—more beautiful, it seemed at the moment, than any warbler's song I had ever heard. What could it be? A little patient waiting (while the black-flies and mosquitoes "came upon me to eat up my flesh"), and the wonderful stranger appeared in full view—my old acquaintance, the yellow-rumped warbler.

With all this strong tendency on the part of birds to vary their music, how is it that there is still such a degree of uniformity, so that, as we have said, every species may be recognized by its notes? Why does every red-eyed vireo sing in one way, and every white-eyed vireo in another? Who teaches the young chipper to trill, and the young linnet to warble? In short, how do birds come by their music? Is it all a matter of instinct, inherited habit, or do they learn it? The answer appears to be that birds sing as children talk, by simple imitation. Nobody imagines that the infant is born with a language printed upon his brain. The father and mother may never have known a word of any tongue except the English, but if the child is brought up to hear only Chinese, he will infallibly speak that, and nothing else. And careful experiments have shown the same to be true of birds.[6] Taken from the nest just after they leave the shell, they invariably sing, not their own so-called natural song, but the song of their foster-parents; provided, of course, that this is not anything beyond their physical capacity. The notorious house sparrow (our "English" sparrow), in his wild or semi-domesticated state, never makes a musical sound; but if he is taken in hand early enough, he may be taught to sing, so it is said, nearly as well as the canary. Bechstein relates that a Paris clergyman had two of these sparrows whom he had trained to speak, and, among other things, to recite several of the shorter commandments; and the narrative goes on to say that it was sometimes very comical, when the pair were disputing over their food, to hear one gravely admonish the other, "Thou shalt not steal!" It would be interesting to know why creatures thus gifted do not sing of their own motion. With their amiability and sweet peaceableness they ought to be caroling the whole year round.

This question of the transmission of songs from one generation to another is, of course, a part of the general subject of animal intelligence, a subject much discussed in these days on account of its bearing upon the modern doctrine concerning the relation of man to the inferior orders.

We have nothing to do with such a theme, but it may not be out of place to suggest to preachers and moralists that here is a striking and unhackneyed illustration of the force of early training. Birds sing by imitation, it is true, but as a rule they imitate only the notes which they hear during the first few weeks after they are hatched. One of Mr. Barrington's linnets, for example, after being educated under a titlark, was put into a room with two birds of his own species, where he heard them sing freely every day for three months. He made no attempt to learn anything from them, however, but kept on practicing what the titlark had taught him, quite unconscious of anything singular or unpatriotic in such a course. This law, that impressions received during the immaturity of the powers become the unalterable habit of the after life, is perhaps the most momentous of all the laws in whose power we find ourselves. Sometimes we are tempted to call it cruel. But if it were annulled, this would be a strange world. What a hurly-hurly we should have among the birds! There would be no more telling them by their notes. Thrushes and jays, wrens and chickadees, finches and warblers, all would be singing one grand medley.

Between these two opposing tendencies, one urging to variation, the other to permanence (for Nature herself is half radical, half conservative), the language of birds has grown from rude beginnings to its present beautiful diversity; and whoever lives a century of millenniums hence will listen to music such as we in this day can only dream of. Inappreciably but ceaselessly the work goes on. Here and there is born a master-singer, a feathered genius, and every generation makes its own addition to the glorious inheritance.

It may be doubted whether there is any real connection between moral character and the possession of wings. Nevertheless there has long been a popular feeling that some such congruity does exist; and certainly it seems unreasonable to suppose that creatures who are able to soar at will into the heavens should be without other equally angelic attributes. But, be that as it may, our friends, the birds, do undeniably set us a good example in several respects. To mention only one, how becoming is their observance of morning and evening song! In spite of their industrious spirit (and few of us labor more hours daily), neither their first nor their last thoughts are given to the question, What shall we eat, and what shall we drink? Possibly their habit of saluting the rising and setting sun may be thought to favor the theory that the worship of the god of day was the original religion. I know nothing about that. But it would be a sad change if the birds, declining from their present beautiful custom, were to sleep and work, work and sleep, with no holy hour between, as is too much the case with the being who, according to his own pharisaic notion, is the only religious animal.

In the season, however, the woods are by no means silent, even at noonday. Many species (such as the vireos and warblers, who get their living amid the foliage of trees) sing as they work; while the thrushes and others, who keep business and pleasure more distinct, are often too happy to go many hours together without a hymn. I have even seen robins singing without quitting the turf; but that is rather unusual, for somehow birds have come to feel that they must get away from the ground when the lyrical mood is upon them. This may be a thing of sentiment (for is not language full of uncomplimentary allusions to earth and earthliness?), but more likely it is prudential. The gift of song is no doubt a dangerous blessing to creatures who have so many enemies, and we can readily believe that they have found it safer to be up where they can look about them while thus publishing their whereabouts.

A very interesting exception to this rule is the savanna sparrow, who sings habitually from the ground. But even he shares the common feeling, and stretches himself to his full height with an earnestness which is almost laughable, in view of the result; for his notes are hardly louder than a cricket's chirp. Probably he has fallen into this lowly habit from living in meadows and salt marshes, where bushes and trees are not readily to be come at; and it is worth noticing that, in the case of the skylark and the white-winged blackbird, the same conditions have led to a result precisely opposite. The sparrow, we may presume, was originally of a humble disposition, and when nothing better offered itself for a singing-perch easily grew accustomed to standing upon a stone or a little lump of earth; and this practice, long persisted in, naturally had the effect to lessen the loudness of his voice. The skylark, on the other hand, when he did not readily find a tree-top, said to himself, "Never mind! I have a pair of wings." And so the lark is famous, while the sparrow remains unheard-of, and is even mistaken for a grasshopper.

How true it is that the very things which dishearten one nature and break it down, only help another to find out what it was made for! If you would foretell the development, either of a bird or of a man, it is not enough to know his environment, you must know also what there is in him.

We have possibly made too much of the savanna sparrow's innocent eccentricity. He fills his place, and fills it well; and who knows but that he may yet outshine the skylark? There is a promise, I believe, for those who humble themselves. But what shall be said of species which do not even try to sing, and that, notwithstanding they have all the structural peculiarities of singing birds, and must, almost certainly, have come from ancestors who were singers? We have already mentioned the house sparrow, whose defect is the more mysterious on account of his belonging to so highly musical a family. But he was never accused of not being noisy enough, while we have one bird who, though he is classed with the oscines, passes his life in almost unbroken silence. Of course I refer to the waxwing, or cedar-bird, whose faint, sibilant whisper can scarcely be thought to contradict the foregoing description. By what strange freak he has lapsed into this ghostly habit, nobody knows. I make no account of the insinuation that he gave up music because it hindered his success in cherry-stealing. He likes cherries, it is true; and who can blame him? But he would need to work hard to steal more than does that indefatigable songster, the robin. I feel sure he has some better reason than this for his Quakerish conduct. But, however he came by his stillness, it is likely that by this time he plumes himself upon it. Silence is golden, he thinks, the supreme result of the highest æsthetic culture. Those loud creatures, the thrushes and finches! What a vulgar set they are, to be sure, the more's the pity! Certainly if he does not reason in some such way, bird nature is not so human as we have given it credit for being. Besides, the waxwing has an uncommon appreciation of the decorous; at least, we must think so if we are able to credit a story of Nuttall's. He declares that a Boston gentleman, whose name he gives, saw one of a company of these birds capture an insect, and offer it to his neighbor; he, however, delicately declined the dainty bit, and it was offered to the next, who, in turn, was equally polite; and the morsel actually passed back and forth along the line, till, finally, one of the flock was persuaded to eat it. I have never seen anything equal to this; but one day, happening to stop under a low cedar, I discovered right over my head a waxwing's nest with the mother-bird sitting upon it, while her mate was perched beside her on the branch. He was barely out of my reach, but he did not move a muscle; and although he uttered no sound, his behavior said as plainly as possible, "What do you expect to do here? Don't you see I am standing guard over this nest?" I should be ashamed not to be able to add that I respected his dignity and courage, and left him and his castle unmolested.

Observations so discursive as these can hardly be finished; they must break off abruptly, or else go on forever. Let us make an end, therefore, with expressing our hope that the cedar-bird, already so handsome and chivalrous, will yet take to himself a song; one sweet and original, worthy to go with his soft satin coat, his ornaments of sealing-wax, and his magnificent top-knot. Let him do that, and he shall always be made welcome; yes, even though he come in force and in cherry-time.