SO THE STORY OF THE BIRDS. 
calling, fighting, and pleasing—indicate the probable 
development of all music from one source. 
Spring songs of migrant birds are made by males 
frequently that come on ahead of the tide of females, 
and are doubtless an advertisement of position and 
condition of heart, as well as a serenade and a solicita- 
tion. In these cases birds that have usually lowly 
haunts may mount the tip sprays of tall trees, as they 
sing, and abandon all else to melody till this engross- 
ing business is over. Such are our robins, thrushes, 
wrens, indigo birds, chewinks, ete. or four years 
the writer observed a single red-winged blackbird to 
sit upon the only brush near a meadow pond, and, for a 
while in the spring, gurgle out his ‘“ con-ker-ee-e” 
and lift his gaudy epaulets, combining acting with 
melody. It is probable that it was the same bird 
each year. 
Song doubtless may appear to have a mere cheer- 
ing effect or that of a serenade purely. The nightin- 
gale and many others sing mostly after the mate be- 
gins to sit. Others appear to sing as they go about 
their work, but usually when the young are hatched 
and the father is busy worm hunting he is silent. 
The sudden acquisition to the family of from four to 
eight hungry mouths might dampen the melody of 
many of us. 
Song sometimes seems to have in it the element 
of rejoicing in anticipation. We can not resist the 
impression that this is the cause of the bluebird’s early 
song. 
In the fall many blackbirds get together and sing 
