to admit that with regard to poetry one's preferences change according to the mood one happens to be in and to the conditions generally. At home in murky London on most days I should probably seek pleasure and forgetfulness in Browning; but in such surroundings as I have been describing the lighter-hearted, elf-like Melendez accords best with my spirit, one whose finest songs are without human interest; who is irresponsible as the wind, and as unstained with earthly care as the limpid running water he delights in: who is brother to bird and bee and butterfly, and worships only liberty and sunshine, and is in love with nothing but a flower.
Nearly midway between the useful little bridge and the rose-blossoming tangle I have spoken of there were three elm-trees growing in the open grassy space near the brook; they were not lofty, but had very wide-spreading horizontal branches, which made them look like oaks. This was an ideal spot in which to spend the sultry hours, and I had no sooner cast myself on the short grass in the shade than I noticed that the end of a projecting branch above my head, and about twenty feet from the ground, was a favourite perch of
BIRDS IN A VILLAGE 45
a tree-pipit. He sang in the air and, circling gracefully down, would alight on the branch, where, sitting near me and plainly visible, he would finish his song and renew it at intervals; then, leaving the loved perch, he would drop, singing, to the ground, just a few yards beyond the tree's shadow; thence, singing again, he would mount up and up above the tree, only to slide down once more with set, unfluttering wings, with a beautiful swaying motion to the same old resting-place on the branch, there to sing and sing and sing.
If Melendez himself had come to me with flushed face and laughing eyes, and sat down on the grass at my side to recite one of his most enchanting poems, I should, with finger on lip, have enjoined silence; for in the mood I was then in at that sequestered spot, with the landscape outside my shady green pavilion bathed and quivering in the brilliant sunshine, this small bird had suddenly become to me more than any other singer, feathered or human. And yet the tree-pipit is not very highly regarded among British melodists, on account of the little variety there is in its song. Nevertheless, it is most sweet--perhaps the
46 BIRDS IN TOWN AND VILLAGE
sweetest of all. It is true that there are thousands, nay, millions of things--sights and sounds and perfumes--which are or may be described as sweet, so common is the metaphor, and this too common use has perhaps somewhat degraded it; but in this case there is no other word so well suited to describe the sensation produced.
The tree-pipit has a comparatively short song, repeated, with some variation in the number and length of the notes, at brief intervals. The opening notes are thick and throaty, and similar in character to the throat-notes of many other species in this group, a softer sound than the throat-notes of the skylark and woodlark, which they somewhat resemble. The canary-like trills and thin piping notes, long drawn out, which follow vary greatly in different individuals, and in many cases the trills are omitted. But the concluding notes of the song I am considering--which is only one note repeated again and again--are clear and beautifully inflected, and have that quality of sweetness, of lusciousness, I have mentioned. The note is uttered with a downward fall, more slowly and expressively at each repetition, as if the singer felt overcome at the sweet-