But the commonest bird, the one which vastly outnumbers all the others I have named together, is the starling. It was Caleb Bawcombe's favourite bird, and I believe it is regarded with peculiar affection by all shepherds on the downs on account of its constant association with sheep in the pasture. The dog, the sheep, and the crowd of starlings—these are the lonely man's companions during his long days on the hills from April or May to November. And what a wise bird he is, and how well he knows his friends and his enemies! There was nothing more beautiful to see, Caleb would say, than the behaviour of a flock of starlings when a hawk was about. If it was a kestrel they took little or no notice of it, but if a sparrowhawk made its appearance, instantly the crowd of birds could be seen flying at furious speed towards the nearest flock of sheep, and down into the flock they would fall like a shower of stones and instantly disappear from sight. There they would remain on the ground, among the legs of the grazing sheep, until the hawk had gone on his way and passed out of sight.
The sparrowhawk's victims are mostly made among the young birds that flock together in summer and live apart from the adults during the summer months after the breeding season is over.
When I find a dead starling on the downs ranged over by sparrowhawks, it is almost always a young bird—a "brown thrush" as it used to be called by the old naturalists. You may know that the slayer was a sparrowhawk by the appearance of the bird, its body untouched, but the flesh picked neatly from the neck and the head gone. That was swallowed whole, after the beak had been cut off. You will find the beak lying by the side of the body. In summertime, when birds are most abundant, after the breeding season, the sparrowhawk is a fastidious feeder.
CHAPTER XI
STARLINGS AND SHEEP-BELLS
Starlings' singing—Native and borrowed sounds—Imitations of sheep-bells—The shepherd on sheep-bells—The bells for pleasure, not use—A dog in charge of the flock—Shepherd calling his sheep—Richard Warner of Bath—Ploughmen singing to their oxen in Cornwall—A shepherd's loud singing
The subject of starlings associating with sheep has served to remind me of something I have often thought when listening to their music. It happens that I am writing this chapter in a small village on Salisbury Plain, the time being mid-September 1909, and that just outside my door there is a group of old elder-bushes laden just now with clusters of ripe berries on which the starlings come to feed, filling the room all day with that never-ending medley of sounds which is their song. They sing in this way not only when they sing—that is to say, when they make a serious business of it, standing motionless and a-shiver on the tiles, wings drooping and open beak pointing upwards, but also when they are feasting on fruit—singing and talking and swallowing elderberries between whiles to wet their whistles. If the weather is not too cold you will hear this music daily, wet or dry, all the year round. We may say that of all singing birds they are most vocal, yet have no set song. I doubt if they have more than half a dozen to a dozen sounds or notes which are the same in every individual and their very own. One of them is a clear, soft, musical whistle, slightly inflected; another a kissing sound, usually repeated two or three times or oftener, a somewhat percussive smack; still another, a sharp, prolonged hissing or sibilant but at the same time metallic note, compared by some one to the sound produced by milking a cow into a tin pail—a very good description. There are other lesser notes: a musical, thrush-like chirp, repeated slowly, and sometimes rapidly till it runs to a bubbling sound; also there is a horny sound, which is perhaps produced by striking upon the edges of the lower mandible with those of the upper. But it is quite unlike the loud, hard noise made by the stork; the poor stork being a dumb bird has made a sort of policeman's rattle of his huge beak. These sounds do not follow each other; they come from time to time, the intervals being filled up with others in such endless variety, each bird producing its own notes, that one can but suppose that they are imitations. We know, in fact, that the starling is our greatest mimic, and that he often succeeds in recognizable reproductions of single notes, of phrases, and occasionally of entire songs, as, for instance, that of the blackbird. But in listening to him we are conscious of his imitations; even when at his best he amuses rather than delights—he is not like the mocking-bird. His common starling pipe cannot produce sounds of pure and beautiful quality, like the blackbird's "oboe-voice," to quote Davidson's apt phrase: he emits this song in a strangely subdued tone, producing the effect of a blackbird heard singing at a considerable distance. And so with innumerable other notes, calls, and songs—they are often to their originals what a man's voice heard on a telephone is to his natural voice. He succeeds best, as a rule, in imitations of the coarser, metallic sounds, and as his medley abounds in a variety of little, measured, tinkling, and clinking notes, as of tappings on a metal plate, it has struck me at times that these are probably borrowed from the sheep-bells of which the bird hears so much in his feeding-grounds. It is, however, not necessary to suppose that every starling gets these sounds directly from the bells; the birds undoubtedly mimic one another, as is the case with mocking-birds, and the young might easily acquire this part of their song language from the old birds without visiting the flocks in the pastures.
The sheep-bell, in its half-muffled strokes, as of a small hammer tapping on an iron or copper plate, is, one would imagine, a sound well within the starling's range, easily imitated, therefore specially attractive to him.
But—to pass to another subject—what does the shepherd himself think or feel about it; and why does he have bells on his sheep?