THE MARSH \\ARi:i.KR'S MUSIC 209 



his numerous epics: his three or four happy Hnes are 

 worth more as K'^'"J>' ^'^^ l)ird its characteristic expres- 

 sion, than all the verses of the transatlantic poets on 

 the subject. 



The mocking-bird. I may say here, is a powerful 

 singer, and I noticed that in listening to the white-winged 

 mocking-bird of Patagonia, which I believe to be the 

 greatest of the genus, he subdued or smallcd his voice 

 when imitating the small or weak-voiced songsters, but 

 in spite of the subduing the song, coming from his 

 larger organ, had gained in power and penetration. With 

 the marsh warbler it is just the reverse: the low songs 

 are reproduced with fidelity, the loud strains while re- 

 taining their exact form arc emitted in a lower tone. 

 Thus, he can copy the phrases of the thrush, but the 

 notes do not carry much further than his imitation of 

 the willow-wren. One is reminded of Sir John Davies' 

 lines — 



All tilings received do such proportions take 



As those things have wherein they are received; 



So little glasses little faces make. 

 And narrow webs on narrow frames be weaved. 



On the other hand he makes many of the songs he 

 copies sweeter and more beautiful than their originals. 

 We may say that he is a perfect artist in his borrowings, 

 and brings the songs of all the others into harmony 

 with his own native notes and with one another. This 

 was observed by Warde Fowler, who was the first in 

 England to describe the song. He wrote: "In spite 

 of many imitations in which the bird indulges there is 



