two wrenlings flying madly about in the cottage, now plump against the window, then tumbling breathless to the floor, and two anxious little parents, trying in vain to show their headstrong offspring the way they should go, to the openings under the eaves which led to the great out-of-doors. My face at the window seemed to be the "last straw." A much-distressed bird came boldly up to me behind the glass, saying by his manner—and who knows but in words?—"How can you be so cruel as to disturb us? Don't you see the trouble we are in?" He had no need of Anglo-Saxon (or even of American-English!). I understood him at once; and though exceedingly curious to see how they would do it, I had not the heart to insist. I left them to manage their willful little folk in their own way.

The next morning I was awakened by the jolliest wren music of the season. Over and over the bird poured out his few notes, louder, madder, more rapturously than I had supposed he could. He had guided his family safely out of their imprisoning four walls, I was sure. And so I found it when I went out. Not a wren to be seen about the house, but soft little "churs" coming from here and there among the shrubbery, and every few minutes a loud, happy song proclaimed that wren troubles were over for the summer. Far in among the tangle of bushes and vines, I came upon him, as gay as he had been of yore:—

"Pausing and peering, with sidling head,
As saucily questioning all I said;
While the ox-eye danced on its slender stem,
And all glad Nature rejoiced with them."

The chewink is a curious exchange for the robin. When I noticed the absence of the red-breast, whom—like the poor—we have always with us (at the East), I was pleased, in spite of my fondness for him, because, as every one must allow, he is sometimes officious in his attentions, and not at all reticent in expressing his opinions. I did miss his voice in the morning chorus,—the one who lived in the grove was not much of a singer,—but I was glad to know the chewink, who was almost a stranger. His peculiar trilling song was heard from morning till night; he came familiarly about the camp, eating from the dog's dish, and foraging for crumbs at the kitchen door. Next to the wood-pewee, he was the most friendly of our feathered neighbors.

He might be seen at any time, hopping about on the ground, one moment picking up a morsel of food, and the next throwing up his head and bursting into song:—

"But not for you his little singing,
Soul of fire its flame is flinging,
Sings he for himself alone,"

as was evident from the unconscious manner in which he uttered his notes between two mouthfuls, never mounting a twig or making a "performance" of his music. I have watched one an hour at a time, going about in his jerky fashion, tearing up the ground and searching therein, exactly after the manner of a scratching hen. This, by the way, was a droll operation, done with both feet together, a jump forward and a jerk back of the whole body, so rapidly one could hardly follow the motion, but throwing up a shower of dirt every time. He had neither the grace nor the dignity of our domestic biddy.

Matter of fact as this fussy little personage was on the ground, taking in his breakfast and giving out his song, he was a different bird when he got above it. Alighting on the wren's brush heap, for instance, he would bristle up, raising the feathers on head and neck, his red eyes glowing eagerly, his tail a little spread and standing up at a sharp angle, prepared for instant fight or flight, whichever seemed desirable.

I was amused to hear the husky cry with which this bird expresses most of his emotions,—about as nearly a "mew," to my ears, as the catbird executes. Whether frolicking with a comrade among the bushes, reproving a too inquisitive bird student, or warning the neighborhood against some monster like a stray kitten, this one cry seemed to answer for all his needs, and, excepting the song, was the only sound I heard him utter.

Familiar as the chewink might be about our quarters, his own home was well hidden, on the rising ground leading up to the mesa,—

"An unkempt zone,
Where vines and weeds and scrub oaks intertwine,"

which no one bigger than a bird could penetrate. Whenever I appeared in that neighborhood, I was watched and followed by anxious and disturbed chewinks; but I never found a nest, though, judging from the conduct of the residents, I was frequently "very warm" (as the children say).

About the time the purple aster began to unclose its fringed lids, and the mariposa lily to unfold its delicate cups on the lower mesa,—nearly the middle of July,—full-grown chewink babies, in brown coats and streaked vests, made their appearance in the grove, and after that the whole world might search the scrub oaks and not a bird would say him nay.

"All is silent now
Save bell-note from some wandering cow,
Or rippling lark-song far away."

III.

AN UPROAR OF SONG.

The bird music of Colorado, though not so abundant as one could wish, is singularly rich in quality, and remarkable for its volume. At the threshold of the State the traveler is struck by this peculiarity. As the train thunders by, the Western meadow-lark mounts a telegraph pole and pours out such a peal of melody that it is distinctly heard above the uproar of the iron wheels.

This bird is preëminently the bird of the mesa, or high table-land of the region, and only to hear his rare song is well worth a journey to that distant wonderland. Not of his music could Lucy Larcom say, as she so happily does of our bird of the meadow,—

"Sounds the meadow-lark's refrain
Just as sad and clear."

Nor could his sonorous song be characterized by Clinton Scollard's exquisite verse,—

"From whispering winds your plaintive notes were drawn."

For the brilliant solo of Colorado's bird is not in the least like the charming minor chant of our Eastern lark. So powerful that it is heard at great distances in the clear air, it is still not in the slightest degree strained or harsh, but is sweet and rich, whether it be close at one's side in the silence, or shouted from the housetop in the tumult of a busy street. It has, moreover, the same tender winsomeness that charms us in our own lark song; something that fills the sympathetic listener with delight, that satisfies his whole being; a siren strain that he longs to listen to forever. The whole breadth and grandeur of the great West is in this song, its freedom, its wildness, the height of its mountains, the sweep of its rivers, the beauty of its flowers,—all in the wonderful performance. Even after months of absence, the bare memory of the song of the mesa will move its lover to an almost painful yearning. Of him, indeed, Shelley might truthfully say,—

"Better than all measures
Of delightful sound,
Better than all treasures
That in books are found,
Thy skill to poet