WOOD THRUSH. 
Sva presto; 
Ailegretto, aq ote 
ay oe Be aaa 
Jee eee. 
This goes to prove that the essential character of the 
Wood Thrush’s song is the comparative even value of the 
first two of the three notes which constitute its common 
form. No other Thrush sings exactly that way; the 
Hermit’s notes are not even, and those of the Olive-back 
although even are not limited to three. 
The Wood Thrush is the one who sings in the vicinity of 
New Yorkand south of that point, indeed, I might just 
as well say the rule also applies to Boston; but then, both 
the Hermit and the Olive-back are occasionally heard 
about the latter city en passant, and I very much doubt 
whether one is likely to hear either bird around New 
York or a considerable distance north of it. The com- 
parative merits of the Thrushes as singers are, Jn a great 
measure, a matter of opinion; but it is a question 
whether such a brilliant vocalist as the Hermit can 
be relegated to a second place relatively with any wood- 
land singer in the world. The best proof of that bird’s 
superiority may be found among the succeeding pages 
where musical notations seem to make the truth very 
plain. The facts of the case, however, do not in any 
way disparage the splendid vocal ability of the Wood 
Thrush; his music steals upon the senses like the open- 
ing notes of the great Fifth Symphony of Beethoven: it 
fills one’s heart with the solemn beauty of simple melody 
rendered by an inimitable voice! No violin, no piano, 
no organ confined to such a limited score can appeal to 
one so strongly. The quality of tone is indescribably 
fascinating; it is like the harmonious tinkling of crystal 
wine-glasses combined with the vow angelica stop of the 
cathedral organ. The song suggests divine inspiration; 
to quote Mr. Cheney, ‘‘ina moment one is oblivious to 
243 
