STUDY OF THE HERMIT'S SONG.
Yet after the first surprise and wonder were over, she swung loyally back to her first love, the wood thrush, of whose sublime voice she says, "The first solemn opening note transports you instantly into a holy cathedral."
For myself, I have never been able to choose permanently between these two glorious singers, and at that time I had been under the spell of the hermit song for days. Morning after morning I had spent in the woods, listening to the marvelous voice, and trying to discover its charm.
The bird began to sing his way down to us about ten o'clock in the morning. I heard him first afar off, then coming nearer and nearer, till he reached some favorite perch in the woods behind, and very near the farmhouse, before noon, where he usually sang at intervals till eight o'clock in the evening. I studied his song carefully. It consisted of but one clause, composed of a single emphasized note followed by two triplets on a descending scale. But while retaining the relative position of these few notes he varied the effect almost infinitely, by changing both the key and the pitch constantly, with such skill that I was astonished to discover the remarkable simplicity of the song. A striking quality of it was an attempt which he frequently made to utter his clause higher on the scale than he could reach, so that the triplets became a sort of trill or tremolo, at the very extreme of his register. Sometimes he gave the triplets alone, without the introductory note; but never, in the weeks that I studied his song, did he sing other than this one clause.
It was only with an effort that I could force myself to analyze the performance. Far easier were it, and far more delightful, to sit enchanted, to be overwhelmed and intoxicated by his thrilling music. For me, the hermit voices the sublimity of the deep woods, while the veery expresses its mystery, its unfathomable remoteness. A wood warbler, on the contrary, always brings before me the rush and hurry of the world of people, and the wood pewee its under-current of eternal sadness. Into the mood induced by the melancholy pewee song breaks how completely and how happily the cheery optimism of the chickadee! Brooding thoughts are dissipated, all is not a hollow mockery, and life is still worth living.
A PERFECT NOOK.
Often, when listening to the hermit song, I wondered that at the first note of the king of singers all other birds were not mute. But evidently the birds have not enthroned this thrush. Possibly, even, they do not share human admiration for his song. The redstart goes on jerking out his monotonous ditty; chippy irreverently mounts a perch and trills out his inane apology for a song; the vireo in yonder tree spares us not one of his never-ending platitudes. But the hermit thrush goes on with sublime indifference to the voices of common folk down below. Sometimes he is answered from afar by another of his kind, who arranges his notes a little differently. The two seem to wait for each other, as if not to mar their divine harmony by vulgar haste or confusion.
"We must find the 'see-here' bird," said my friend the next morning, when she appeared at the door of the farmhouse, and I joined her for our second tramp. This was a bird whose long, deliberate notes, sounding like the above words, had tantalized me from the day of my arrival.
We resolved this time to go into the woods we had skirted the night before. A set of bars admitted us to a most enticing bit of forest, a paradise to city-weary eyes and nature-loving hearts. From the bars rose sharply a rough wood road, while a few steps to the right and a scramble up a rocky path changed the whole world in a moment. We were in a perfect nook, which I had discovered a few days before, with a carpet of dead leaves, a sky of waving branches, the fierce sun shut out by curtains of living green, the air cooled by a clear mountain stream, and the "priceless gift of delicious silence"—silence that had haunted my dreams for months—broken only by the voices of birds, whispers of leaves, and ripple of brook. In this spot,