The next remarkable family of nocturnal birds comprises the Moth-Hunters, including, in New England, only two species,—the Whippoorwill and the Night-Hawk, or Piramidig. These birds resemble the Owls in some of their habits; but in their structure, in their mode of subsistence, and in their general traits of character, they are like Swallows. They are shy and solitary, take their food while on the wing, abide chiefly in deep woods, and come abroad only at twilight or in cloudy weather. They remain, like the Dove, permanently paired, lay their eggs on the bare ground, and, when perched upon the branch of a tree, sit upon it lengthwise, unlike other birds. They are remarkable for their singular voices, of which that of only one species, the Whippoorwill, can be considered musical. They are known in all parts of the world, but are particularly numerous in the warmer parts of America.
The Whippoorwill (Caprimulgus vociferus) is well known to the inhabitants of this part of the world, on account of his nocturnal song. This is heard only in densely wooded and retired situations, and is associated with the solitude of the forest, as well as the silence of night. The Whippoorwill is, therefore, emblematic of the rudeness of primitive Nature, and his voice always reminds us of seclusion and retirement. Sometimes he wanders away from the wood into the precincts of the town, and sings near some dwelling-house. Such an incident was formerly the occasion of superstitious alarm, being regarded as an omen of some evil to the inmates of the dwelling. The true cause of these irregular visits is probably the accidental abundance of a particular kind of insects, which the bird has followed from his retirement.
I believe the Whippoorwill, in this part of the country, is first heard in May, and continues vocal until the middle of July. He begins to sing at dusk, and we usually hear his note soon after the Veery, the Philomel of our summer evenings, has become silent. His song consists of three notes, in a sort of triple or waltz time, with a slight pause after the first note in the bar, as given below:—
[Illustration: SONG OF THE WHIPPOORWILL. Whip-poor-Will Whip-p'r-Will
Whip-p'r-Will Whip-]
I should remark, that the bird usually commences his song with the second syllable of his name, or the second note in the bar. Some birds fall short of these intervals; but there seems to be an endeavor, on the part of each individual, to reach the notes as they are written on the scale. A few sliding notes are occasionally introduced, and an occasional preluding cluck is heard when we are near the singer.
The note of the Quail so closely resembles that of the Whippoorwill, that I have thought it might be interesting to compare the two.
[Illustration: NOTE OF THE QUAIL. Bob White. More Wet.]
So great is the general similarity of the notes of these two birds, that those of the Quail need only to be repeated several times in succession, without pause, to be mistaken for those of the Whippoorwill. They are uttered with similar intonations; but the voice of the nocturnal bird is more harsh, and his song consists of three notes instead of two.
The song of the Whippoorwill, though wanting in mellowness of tone, as may be perceived when he is only a short distance from us, is to most people very agreeable, notwithstanding the superstitions associated with it. Some persons are not disposed to rank the Whippoorwill among singing-birds, regarding him as more vociferous than musical. But it would be difficult to determine in what respect his notes differ from the songs of other birds, except that they approach more nearly to the precision of artificial music. Yet it will be admitted that considerable distance is required to "lend enchantment" to the sound of his voice. In some retired and solitary districts, the Whippoorwills are often so numerous as to be annoying by their vociferations; but in those places where only two or three individuals are heard during the season, their music is the source of a great deal of pleasure, and is a kind of recommendation to the place.
I was witness of this, some time since, in one of my botanical rambles in the town of Beverly, which is, for the most part, too densely populated to suit the habits of these solitary birds. On one of these excursions, after walking several hours over a rather unattractive region, I arrived at a very romantic spot, known by the unpoetical name of Black Swamp. Nature uses her most ordinary materials to form her most delightful landscapes, and often keeps in reserve prospects of enchanting beauty, and causes them to rise up, as it were, by magic, where we should least expect them. Here I suddenly found myself encompassed by a charming amphitheatre of hills and woods, and in a valley so beautiful that I could not have imagined anything equal to it. A neat cottage stood alone in this spot, without a single architectural decoration, which I am confident would have dissolved the spell that made the whole scene so attractive. It was occupied by a shoemaker, whom I recognized as an old acquaintance and a worthy man, who resided here with his wife and children. I asked them if they could live contented so far from other families. The wife of the cottager replied, that they suffered in the winter from their solitude, but in the spring and summer they preferred it to the town,—"for in this place we hear all the singing-birds, early and late, and the Whippoorwill sings here every night during May and June." It was the usual practice of these birds, they told me, to sing both in the morning and the evening twilight; but if the moon rose late in the evening, after they had become silent, they would begin to sing anew, as if to welcome her rising. May the birds continue to sing to this happy family, and may the voice of the Whippoorwill never bode them any misfortune!