By and by his curiosity got the better of him, and he flitted to the top of a brush heap and peeped out at me surreptitiously. My glass was upon him in a moment, revealing his whitish throat and mottled chest washed with buff, the latter being his characteristic marking. A few days later he was singing in a small apple tree by my neighbor's fence. I stole as close to him as I could and peered at him through my binocular, while he returned the compliment by peering at me, and then warily ventured to rehearse his little tune. The least movement on my part would startle him, cause him to flit to another perch and crane out his neck to glare at me questioningly with wild, dilated eyes, uncertain whether I was to be trusted or not. Both of us presently grew tired of our strained position, and so I walked off and he flew away. No doubt there was mutual satisfaction in the inspection we gave each other; at least, I felt well satisfied with having heard the song of so shy a bird. His stay in my neighborhood lasted only a few days; then he left as mysteriously as he had come, without even the courtesy of a good-bye. He went to his summer home in the North, and I did not see him again until the next spring, just twelve months later almost to the day.
WILDWOOD MINSTRELS*
* Parts of this and several other chapters of this book were first published in The New York Times, whose courtesy in permitting him to reprint, the author hereby acknowledges.
Nothing affords the bird student more pleasure than settling the identity of species, albeit sometimes it is hard and patience-trying work. And of all the birds, none are so provokingly and charmingly elusive as some of the wood warblers. What a time I had for several years in making sure of some of these little nymph-like creatures which were flitting about in the foliage of the trees, concealing themselves by a leafy barrier! Many a weary chase did they lead me through the woods, and more than once I almost unjointed my neck by long-continued looking up.
For identifying the tree-top flitters an opera glass is scarcely powerful enough. A field glass or a Bausch & Lomb binocular is really a necessity. It draws the bird right down to you, while at the same time the elusive creature remains at what it regards a safe distance. Its conduct will therefore not be constrained, and the observer can study it in its natural poses.
What an enigma the Tennessee warbler for a long time remained to me! Never still for a moment, yet so indistinctly marked that at a distance it looks like a dozen other birds one might name—a veritable feathered rebus. But finally I fixed its place in the avian schedule with the help of my field glass—white under parts, slightly tinged with yellow, back and rump olive green, top and sides of head delicate bluish-ash; no eye-ring, no wing-bars. There is no other warbler marked quite like that. And yet its song is its most conspicuous mark, so to speak, for it is a loud, shrill, and very rapidly repeated run, which might be spelled out in this way: "Chippy, chippy, chippy, chippity-chippity-chippity." The whole song is emitted at a galloping pace, giving you the impression that the bird is in a desperate hurry. Important business on hand, no doubt! Yes, there is a worm or a nit on the under side of that leaf, and he must nab it now or never! With such pressing business matters on hand, he has no time for regaling you with "linked sweetness long drawn out."
Still, he sometimes does prolong his ditty, giving it a saucy, challenging air. No other warbler sings so loudly. His voice is as shrill and penetrating as that of the indigo bird, though the song is quite different in technique.
