Birds in the Bush

by Bradford Torrey

The white-eyed greenlet is a vocalist of such extraordinary versatility and power that one feels almost guilty in speaking of him under the title which stands at the head of this paper. How he would scold, out-carlyling Carlyle, if he knew what were going on! Nevertheless I cannot rank him with the great singers, exceptionally clever and original as, beyond all dispute, he is; and for that matter, I look upon the solitary as very much his superior, in spite of—or, shall I say, because of?—the latter's greater simplicity and reserve.

But if we hesitate thus about these two inconspicuous vireos, whom half of those who do them the honor to read what is here said about them will have never seen, how are we to deal with the scarlet tanager? Our handsomest bird, and with musical aspirations as well, shall we put him into the second class? It must be so, I fear: yet such justice is a trial to the flesh; for what critic could ever quite leave out of account the beauty of a prima donna in passing judgment on her work? Does not her angelic face sing to his eye, as Emerson says?

Formerly I gave the tanager credit for only one song,—the one which suggests a robin laboring under an attack of hoarseness; but I have discovered that he himself regards his chip-cherr as of equal value. At least, I have found him perched at the tip of a tall pine, and repeating this inconsiderable and not very melodious trochee with all earnestness and perseverance. Sometimes he rehearses it thus at nightfall; but even so I cannot call it highly artistic. I am glad to believe, however, that he does not care in the least for my opinion. Why should he? He is too true a gallant to mind what anybody else thinks, so long as one is pleased; and she, no doubt, tells him every day that he is the best singer in the grove. Beside his divine chip-cherr the rhapsody of the wood thrush is a mere nothing, if she is to be the judge. Strange, indeed, that so shabbily dressed a creature as this thrush should have the presumption to attempt to sing at all! "But then," she charitably adds, "perhaps he is not to blame; such things come by nature; and there are some birds, you know, who cannot tell the difference between noise and music."

We trust that the tanager will improve as time goes on; but in any case we are largely in his debt. How we should miss him if he were gone, or even were become as rare as the summer red-bird and the cardinal are in our latitude! As it is, he lights up our Northern woods with a truly tropical splendor, the like of which no other of our birds can furnish. Let us hold him in hearty esteem, and pray that he may never be exterminated; no, not even to beautify the head-gear of our ladies, who, if they only knew it, are already sufficiently bewitching.

What shall we say now about the lesser lights of that most musical family, the finches? Of course the cardinal and rose-breasted grosbeaks are not to be included in any such category. Nor will I put there the goldfinch, the linnet, the fox-colored sparrow, and the song sparrow. These, if no more, shall stand among the immortals; so far, at any rate, as my suffrage counts. But who ever dreamed of calling the chipping sparrow a fine singer? And yet, who that knows it does not love his earnest, long-drawn trill, dry and tuneless as it is? I can speak for one, at all events; and he always has an ear open for it by the middle of April. It is the voice of a friend,—a friend so true and gentle and confiding that we do not care to ask whether his voice be smooth and his speech eloquent.

The chipper's congener, the field sparrow, is less neighborly than he, but a much better musician. His song is simplicity itself; yet, even at its lowest estate, it never fails of being truly melodious, while by one means and another its wise little author contrives to impart to it a very considerable variety, albeit within pretty narrow limits. Last spring the field sparrows were singing constantly from the middle of April till about the 10th of May, when they became entirely dumb. Then, after a week in which I heard not a note, they again grew musical. I pondered not a little over their silence, but concluded that they were just then very much occupied with preparations for housekeeping.

The bird who is called indiscriminately the grass finch, the bay-winged bunting, the bay-winged sparrow, the vesper sparrow, and I know not what else (the ornithologists have nicknamed him Poœcetes gramineus), is a singer of good parts, but is especially to be commended for his refinement. In form his music is strikingly like the song sparrow's; but the voice is not so loud and ringing, and the two or three opening notes are less sharply emphasized. In general the difference between the two songs may perhaps be well expressed by saying that the one is more declamatory, the other more cantabile; a difference exactly such as we might have expected, considering the nervous, impetuous disposition of the song sparrow and the placidity of the bay-wing.

As one of his titles indicates, the bay-wing is famous for singing in the evening, when, of course, his efforts are doubly acceptable; and I can readily believe that Mr. Minot is correct in his "impression" that he has once or twice heard the song in the night. For while spending a few days at a New Hampshire hotel, which was surrounded with fine lawns such as the grass finch delights in, I happened to be awake in the morning, long before sunrise,—when, in fact, it seemed like the dead of night,—and one or two of these sparrows were piping freely. The sweet and gentle strain had the whole mountain valley to itself. How beautiful it was, set in such a broad "margin of silence," I must leave to be imagined. I noticed, moreover, that the birds sang almost incessantly the whole day through. Much of the time there were two singing antiphonally. Manifestly, the lines had fallen to them in pleasant places: at home for the summer in those luxuriant Sugar-Hill fields, in continual sight of yonder magnificent mountain panorama, with Lafayette himself looming grandly in the foreground; while they, innocent souls, had never so much as heard of hotel-keepers and their bills. "Happy commoners," indeed! Their "songs in the night" seemed nowise surprising. I fancied that I could be happy myself in such a case.

Our familiar and ever-welcome snow-bird, known in some quarters as the black chipping-bird, and often called the black snow-bird, has a long trill, not altogether unlike the common chipper's, but in a much higher key. It is a modest lay, yet doubtless full of meaning; for the singer takes to the very tip of a tree, and throws his head back in the most approved style. He does his best, at any rate, and so far ranks with the angels; while, if my testimony can be of any service to him, I am glad to say ('t is too bad the praise is so equivocal) that I have heard many human singers who gave me less pleasure; and further, that he took an indispensable though subordinate part in what was one of the most memorable concerts at which I was ever happy enough to be a listener. This was given some years ago in an old apple-orchard by a flock of fox-colored sparrows, who, perhaps for that occasion only, had the "valuable assistance" of a large choir of snow-birds. The latter were twittering in every tree, while to this goodly accompaniment the sparrows were singing their loud, clear, thrush-like song. The combination was felicitous in the extreme. I would go a long way to hear the like again.

If distinction cannot be attained by one means, who knows but that it may be by another? It is denied us to be great? Very well, we can at least try the effect of a little originality. Something like this seems to be the philosophy of the indigo-bird; and he carries it out both in dress and in song. As we have said already, it is usual for birds to reserve the loudest and most taking parts of their music for the close, though it may be doubted whether they have any intelligent purpose in so doing. Indeed, the apprehension of a great general truth such as lies at the basis of this well-nigh universal habit,—the truth, namely, that everything depends upon the impression finally left on the hearer's mind; that to end with some grand burst, or with some surprisingly lofty note, is the only, or to speak cautiously, the principal, requisite to a really great musical performance,—the intelligent grasp of such a truth as this, I say, seems to me to lie beyond the measure of a bird's capacity in the present stage of his development. Be this as it may, however, it is noteworthy that the indigo-bird exactly reverses the common plan. He begins at his loudest and sprightliest, and then runs off into a diminuendo, which fades into silence almost imperceptibly. The strain will never be renowned for its beauty; but it is unique, and, further, is continued well into August. Moreover,—and this adds grace to the most ordinary song,—it is often let fall while the bird is on the wing.