IMITATION AND MIMICRY. 211 
ing wings and bristled feathers, clucking to protect 
its injured brood. ‘The barking of the dog, the 
mewing of the cat, the creaking of a passing wheel- 
barrow, follow with great truth and rapidity. He 
repeats the tune taught him by his master, though 
of considerable length, fully and faithfully. He 
runs over the quaverings of the canary, and the 
clear whistlings of the Virginia nightingale or red- 
bird, with such superior execution and effect, that 
the mortified songsters feel their own inferiority, 
and become altogether silent; while he seems to 
triumph in their defeat by redoubling his exertions. 
“This excessive fondness for variety, however, 
in the opinion of some, injures his song. His ele- 
vated imitations of the brown-thrush are frequently 
interrupted by the crowing of cocks; and the war- 
blings of the bluebird, which he exquisitely man- 
ages, are mingled with the screaming of swallows 
or the cackling of hens; amid the simple melody 
of the robin we are suddenly surprised by the shrill 
reiterations of the whip-poor-will; while the notes - 
of the kildeer, the blue-jay, martin, Baltimore, and 
twenty others, succeed, with such imposing reality, 
that we look round for the originals, and discover, 
with astonishment, that the sole performer in this 
singular concert is the admirable bird now before us. - 
During this exhibition of his powers, he spreads 
his wings, expands his tail, and throws himself 
around the cage in all the ecstasy of enthusiasm, 
seeming not only to sing, but to dance, keeping 
time to the measure of hisown music. Both in his 
native and domesticated state, during the solemn 
stillness of night, as soon as the moon rises in silent 
majesty, he begins his delightful solo; and sere- 
nades us the livelong night with a full display of his 
vocal powers, making the. whole neighbourhood 
ring with his inimitable medley.”’* 
* Amer. Omith., iL, 19. 
