Wake-Robin. John Burroughs

gun. A bird in the hand is worth half a dozen in the bush, even for ornithological purposes; and no sure and rapid progress can be made in the study without taking life, without procuring specimens. This bird is a warbler, plainly enough, from his habits and manner; but what kind of warbler? Look on him and name him: a deep orange or flame-colored throat and breast; the same color showing also in a line over the eye and in his crown; back variegated black and white. The female is less marked and brilliant. The orange-throated warbler would seem to be his right name, his characteristic cognomen; but no, he is doomed to wear the name of some discoverer, perhaps the first who robbed his nest or rifled him of his mate, – Blackburn; hence, Blackburnian warbler. The burn seems appropriate enough, for in these dark evergreens his throat and breast show like flame. He has a very fine warble, suggesting that of the redstart, but not especially musical. I find him in no other woods in this vicinity.

      I am attracted by another warble in the same locality, and experience a like difficulty in getting a good view of the author of it. It is quite a noticeable strain, sharp and sibilant, and sounds well amid the old trees. In the upland woods of beech and maple it is a more familiar sound than in these solitudes. On taking the bird in hand, one cannot help exclaiming, “How beautiful!” So tiny and elegant, the smallest of the warblers; a delicate blue-back, with a slight bronze-colored triangular spot between the shoulders; upper mandible black; lower mandible yellow as gold; throat yellow, becoming a dark bronze on the breast. Blue yellow-back he is called, though the yellow is much nearer a bronze. He is remarkably delicate and beautiful, – the handsomest as he is the smallest of the warblers known to me. It is never without surprise that I find amid these rugged, savage aspects of Nature creatures so fairy and delicate. But such is the law. Go to the sea or climb the mountain, and with the ruggedest and the savagest you will find likewise the fairest and the most delicate. The greatness and the minuteness of Nature pass all understanding.

      Ever since I entered the woods, even while listening to the lesser songsters, or contemplating the silent forms about me, a strain has reached my ears from out the depths of the forest that to me is the finest sound in nature, – the song of the hermit-thrush. I often hear him thus a long way off, sometimes over a quarter of a mile away, when only the stronger and more perfect parts of his music reach me; and through the general chorus of wrens and warblers I detect this sound rising pure and serene, as if a spirit from some remote height were slowly chanting a divine accompaniment. This song appeals to the sentiment of the beautiful in me, and suggests a serene religious beatitude as no other sound in nature does. It is perhaps more of an evening than a morning hymn, though I hear it at all hours of the day. It is very simple, and I can hardly tell the secret of its charm. “O spheral, spheral!” he seems to say; “O holy, holy! O clear away, clear away! O clear up, clear up!” interspersed with the finest trills and the most delicate preludes. It is not a proud, gorgeous strain, like the tanager’s or the grossbeak’s; suggests no passion or emotion, – nothing personal, – but seems to be the voice of that calm sweet solemnity one attains to in his best moments. It realizes a peace and a deep solemn joy that only the finest souls may know. A few nights ago I ascended a mountain to see the world by moonlight; and when near the summit the hermit commenced his evening hymn a few rods from me. Listening to this strain on the lone mountain, with the full moon just rounded from the horizon, the pomp of your cities and the pride of your civilization seemed trivial and cheap.

      I have seldom known two of these birds to be singing at the same time in the same locality, rivaling each other, like the wood-thrush or the veery. Shooting one from a tree, I have observed another take up the strain from almost the identical perch in less than ten minutes afterward. Later in the day when I had penetrated the heart of the old “Barkpeeling,” I came suddenly upon one singing from a low stump, and for a wonder he did not seem alarmed, but lifted up his divine voice as if his privacy was undisturbed. I open his beak and find the inside yellow as gold. I was prepared to find it inlaid with pearls and diamonds, or to see an angel issue from it.

      He is not much in the books. Indeed, I am acquainted with scarcely any writer on ornithology whose head is not muddled on the subject of our three prevailing song-thrushes, confounding either their figures or their songs. A writer in the “Atlantic”1 gravely tells us the wood-thrush is sometimes called the hermit, and then, after describing the song of the hermit with great beauty and correctness, coolly ascribes it to the veery! The new Cyclopædia, fresh from the study of Audubon, says the hermit’s song consists of a single plaintive note, and that the veery’s resembles that of the wood-thrush! These observations deserve to be preserved with that of the author of “Out-door Papers,” who tells us the trill of the hair-bird (Fringillia socialis) is produced by the bird fluttering its wings upon its sides! The hermit-thrush may be easily identified by his color; his back being a clear olive-brown becoming rufous on his rump and tail. A quill from his wing placed beside one from his tail on a dark ground presents quite a marked contrast.

      I walk along the old road, and note the tracks in the thin layer of mud. When do these creatures travel here? I have never yet chanced to meet one. Here a partridge has set its foot; there, a woodcock; here, a squirrel or mink: there, a skunk; there, a fox. What a clear, nervous track reynard makes! how easy to distinguish it from that of a little dog, – it is so sharply cut and defined! A dog’s track is coarse and clumsy beside it. There is as much wildness in the track of an animal as in its voice. Is a deer’s track like a sheep’s or a goat’s? What winged-footed fleetness and agility may be inferred from the sharp, braided track of the gray squirrel upon the new snow! Ah! in nature is the best discipline. How wood-life sharpens the senses, giving a new power to the eye, the ear, the nose! And are not the rarest and most exquisite songsters wood-birds?

      Everywhere in these solitudes I am greeted with the pensive, almost pathetic note of the wood-pewee. The pewees are the true fly-catchers, and are easily identified. They are very characteristic birds, have strong family traits, and pugnacious dispositions. They are the least attractive or elegant birds of our fields or forest. Sharp-shouldered, big-headed, short-legged, of no particular color, of little elegance in flight or movement, with a disagreeable flirt of the tail, always quarreling with their neighbors and with one another, no birds are so little calculated to excite pleasurable emotions in the beholder, or to become objects of human interest and affection. The king-bird is the best dressed member of the family, but he is a braggart; and, though always snubbing his neighbors, is an arrant coward, and shows the white feather at the slightest display of pluck in his antagonist. I have seen him turn tail to a swallow, and have known the little pewee in question to whip him beautifully. From the great-crested to the little green fly-catcher, their ways and general habits are the same. Slow in flying from point to point, they yet have a wonderful quickness, and snap up the fleetest insects with little apparent effort. There is a constant play of quick, nervous movements underneath their outer show of calmness and stolidity. They do not scour the limbs and trees like the warblers, but, perched upon the middle branches, wait, like true hunters, for the game to come along. There is often a very audible snap of the beak as they seize their prey.

      The wood-pewee, the prevailing species in this locality, arrests your attention by his sweet, pathetic cry. There is room for it also in the deep woods, as well as for the more prolonged and elevated strains.

      Its relative, the phœbe-bird, builds an exquisite nest of moss on the side of some shelving cliff or overhanging rock. The other day, passing by a ledge near the top of a mountain in a singularly desolate locality, my eye rested upon one of these structures, looking precisely as if it grew there, so in keeping was it with the mossy character of the rock, and I have had a growing affection for the bird ever since. The rock seemed to love the nest and to claim it as its own. I said, what a lesson in architecture is here! Here is a house that was built, but with such loving care and such beautiful adaptation of the means to the end, that it looks like a product of nature. The same wise economy is noticeable in the nests of all birds. No bird would paint its house white or red, or add aught for show.

      At one point in the grayest, most shaggy part of the woods, I come suddenly upon a brood of screech-owls, full grown, sitting together upon a dry, moss-draped limb, but a few feet from the ground. I pause within four or five yards of them and am looking about me, when my eye alights upon these gray, motionless figures. They sit perfectly upright, some with their backs and some with their breasts

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For December, 1858.