Birds and Poets : with Other Papers. John Burroughs

And imitates thy lay.

       . . . . . . . .

       "Sweet bird! thy bower is ever green,

       Thy sky is ever clear;

       Thou hast no sorrow in thy song,

       No winter in thy year."

      The European cuckoo is evidently a much gayer bird than ours, and much more noticeable.

      "Hark, how the jolly cuckoos sing

       'Cuckoo!' to welcome in the spring,"

      says John Lyly three hundred years agone. Its note is easily imitated, and boys will render it so perfectly as to deceive any but the shrewdest ear. An English lady tells me its voice reminds one of children at play, and is full of gayety and happiness. It is a persistent songster, and keeps up its call from morning to night. Indeed, certain parts of Wordsworth's poem—those that refer to the bird as a mystery, a wandering, solitary voice—seem to fit our bird better than the European species. Our cuckoo is in fact a solitary wanderer, repeating its loud, guttural call in the depths of the forest, and well calculated to arrest the attention of a poet like Wordsworth, who was himself a kind of cuckoo, a solitary voice, syllabling the loneliness that broods over streams and woods,—

      "And once far off, and near."

      Our cuckoo is not a spring bird, being seldom seen or heard in the North before late in May. He is a great devourer of canker-worms, and, when these pests appear, he comes out of his forest seclusion and makes excursions through the orchards stealthily and quietly, regaling himself upon those pulpy, fuzzy titbits. His coat of deep cinnamon brown has a silky gloss and is very beautiful. His note or call is not musical but loud, and has in a remarkable degree the quality of remoteness and introvertedness. It is like a vocal legend, and to the farmer bodes rain.

      It is worthy of note, and illustrates some things said farther back, that birds not strictly denominated songsters, but criers like the cuckoo, have been quite as great favorites with the poets, and have received as affectionate treatment at their hands, as have the song-birds. One readily recalls Emerson's "Titmouse," Trowbridge's "Pewee," Celia Thaxter's "Sandpiper," and others of a like character.

      It is also worthy of note that the owl appears to be a greater favorite with the poets than the proud, soaring hawk. The owl is doubtless the more human and picturesque bird; then he belongs to the night and its weird effects. Bird of the silent wing and expansive eye, grimalkin in feathers, feline, mousing, haunting ruins" and towers, and mocking the midnight stillness with thy uncanny cry! The owl is the great bugaboo of the feathered tribes. His appearance by day is hailed by shouts of alarm and derision from nearly every bird that flies, from crows down to sparrows. They swarm about him like flies, and literally mob him back into his dusky retreat. Silence is as the breath of his nostrils to him, and the uproar that greets him when he emerges into the open day seems to alarm and confuse him as it does the pickpocket when everybody cries Thief.

      But the poets, I say, have not despised him:—

      "The lark is but a bumpkin fowl;

       He sleeps in his nest till morn;

       But my blessing upon the jolly owl

       That all night blows his horn."

      Both Shakespeare and Tennyson have made songs about him. This is Shakespeare's, from "Love's Labor's Lost," and perhaps has reference to the white or snowy owl:—

      "When icicles hang by the wall,

       And Dick the shepherd blows his nail,

       And Tom bears logs into the hall,

       And milk comes frozen home in pail;

       When blood is nipped and ways be foul,

       Then nightly sings the staring owl,

       Tu-whoo!

       Tu-whit! tu-whoo! a merry note,

       While greasy Joan doth keel the pot.

       "When all aloud the wind doth blow,

       And coughing drowns the parson's saw,

       And birds sit brooding in the snow,

       And Marian's nose looks red and raw;

       When roasted crabs hiss in the bowl,

       Then nightly sings the staring owl,

       Tu-whoo!

       Tu-whit! Tu-whoo! a merry note,

       While greasy Joan doth keel the pot."

      There is, perhaps, a slight reminiscence of this song in Tennyson's "Owl:"—

      "When cats run home and light is come,

       And dew is cold upon the ground,

       And the far-off stream is dumb,

       And the whirring sail goes round,

       And the whirring sail goes round;

       Alone and warming his five wits,

       The white owl in the belfry sits.

       "When merry milkmaids click the latch,

       And rarely smells the new-mown hay,

       And the cock hath sung beneath the thatch

       Twice or thrice his roundelay,

       Twice or thrice his roundelay;

       Alone and warming his five wits,

       The white owl in the belfry sits."

      Tennyson has not directly celebrated any of the more famous birds, but his poems contain frequent allusions to them. The

      "Wild bird, whose warble, liquid sweet,

       Rings Eden through the budded quicks,

       Oh, tell me where the senses mix,

       Oh, tell me where the passions meet,"

      of "In Memoriam," is doubtless the nightingale. And here we have the lark:—

      "Now sings the woodland loud and long,

       And distance takes a lovelier hue,

       And drowned in yonder living blue

       The lark becomes a sightless song."

      And again in this from "A Dream of Fair Women:"—

      "Then I heard

       A noise of some one coming through the lawn,

       And singing clearer than the crested bird

       That claps his wings at dawn."

      The swallow is a favorite bird with Tennyson, and is frequently mentioned, beside being the principal figure in one of those charming love-songs in "The Princess." His allusions to the birds, as to any other natural feature, show him to be a careful observer, as when he speaks of

      "The swamp, where hums the dropping snipe."

      His single bird-poem, aside from the song I have quoted, is "The Blackbird," the Old World prototype of our robin, as if our bird had doffed the aristocratic black for a more democratic suit on reaching these shores. In curious contrast to the color of its plumage is its beak, which is as yellow as a kernel of Indian corn. The following are the two middle stanzas of the poem:—

      "Yet, though I spared thee all the spring,

       Thy sole delight is, sitting still,

       With that gold dagger of thy bill

       To fret the summer jenneting.

       "A golden bill! the silver tongue

       Cold February loved is dry;

       Plenty corrupts the melody

       That made thee famous once, when young."

      Shakespeare, in one of his songs, alludes to the blackbird as the ouzel-cock; indeed, he puts quite a flock of birds in this song:—

      "The ouzel-cock so black of hue,