strike obliquely, as it were, upon the ear; and we are very apt to miss them. They are a part of nature, the Nature that lies about us, entirely occupied with her own affairs, and quite regardless of our presence. Hence it is with bird-songs as it is with so many other things in nature—they are what we make them; the ear that hears them must be half creative. I am always disturbed when persons not especially observant of birds ask me to take them where they can hear a particular bird, in whose song they have become interested through a description in some book. As I listen with them, I feel like apologizing for the bird: it has a bad cold, or has just heard some depressing news; it will not let itself out. The song seems so casual and minor when you make a dead set at it. I have taken persons to hear the hermit thrush, and I have fancied that they were all the time saying to themselves, "Is that all?" But should one hear the bird in his walk, when the mind is attuned to simple things and is open and receptive, when expectation is not aroused and the song comes as a surprise out of the dusky silence of the woods, then one feels that it merits all the fine things that can be said of it.

One of our popular writers and lecturers upon birds told me this incident: He had engaged to take two city girls out for a walk in the country, to teach them the names of the birds they might see and hear. Before they started, he read to them Henry van Dyke's poem on the song sparrow,—one of our best bird-poems,—telling them that the song sparrow was one of the first birds they were likely to hear. As they proceeded with their walk, sure enough, there by the roadside was a sparrow in song. The bird man called the attention of his companions to it. It was some time before the unpracticed ears of the girls could make it out; then one of them said (the poem she had just heard, I suppose, still ringing in her ears), "What! that little squeaky thing?" The sparrow's song meant nothing to her at all, and how could she share the enthusiasm of the poet? Probably the warble of the robin, or the call of the meadowlark or of the highhole, if they chanced to hear them, meant no more to these girls. If we have no associations with these sounds, they will mean very little to us. Their merit as musical performances is very slight. It is as signs of joy and love in nature, as heralds of spring, and as the spirit of the woods and fields made audible, that they appeal to us. The drumming of the woodpeckers and of the ruffed grouse give great pleasure to a countryman, though these sounds have not the quality of real music. It is the same with the call of the migrating geese or the voice of any wild thing: our pleasure in them is entirely apart from any considerations of music. Why does the wild flower, as we chance upon it in the woods or bogs, give us more pleasure than the more elaborate flower of the garden or lawn? Because it comes as a surprise, offers a greater contrast with its surroundings, and suggests a spirit in wild nature that seems to take thought of itself and to aspire to beautiful forms.

The songs of caged birds are always disappointing, because such birds have nothing but their musical qualities to recommend them to us. We have separated them from that which gives quality and, meaning to their songs. One recalls Emerson's lines:—