IMITATION AND MIMICRY. 205 
as it is in the case of the bird called the mocking 
bird, that these sounds are derived from imitation. 
We have elsewhere taken notice of some inter 
esting peculiarities in the American blue-jay (Gar- 
rulus cristatus, Brisson), and shall now advert to 
what is said of its powers of imitation and mimicry 
“In the charming season of spring,” says Wilson, 
““when every thicket pours forth harmony, the 
part performed by the jay always catches the ear 
He appears to be, among his fellow-musicians, what 
the trumpeter is in a band, some of his notes hav 
ing no distant resemblance to the tones of that in- 
strument. Thus he has the faculty of changing 
through a great variety of modulations, according 
to the particular humour he happens to bein. When 
disposed for ridicule, there is scarce a bird whose 
peculiarities of song he cannot tune his notes to. 
When engaged in the blandishments of love, they 
resemble the soft chatterings of a duck, and while 
he nestles among the thick branches of the cedar, 
are scarce heard at a few paces distance; but no 
sooner does he discover your approach, than he 
sets up a sudden and vehement cry, flying off, and 
screaming with all his might, as if he called the 
whole feathered tribes of the neighbourhood to 
witness some outrageous usage he had received. 
When he hops undisturbed among the high branches 
of the oak and hickory, they become soft and mu- 
sical; and his calls of the female a stranger would 
readily mistake for the repeated creakings of an 
ungreased wheelbarrow. All these he accompa- 
nies with various nods, jerks, and other gesticula- 
tions, for which the whole tribe of jays are so re- 
markable. 
“He is not only bold and vociferous, but pos- 
sesses a considerable talent for mimicry, and seems 
to enjoy great satisfaction in mocking and teasing 
other birds, particularly the little hawk (Falco spar- 
verius), imitating his eeaeanee he sees him, and 
