282 The Tufted Titmouse 



The various songs of the Tufted Titmouse have been carefully de- 

 scribed by Nuttall, the old ornithologist, who says that "the Peto" and 

 the Carolina Wren were his "constant and amusing companions" during 

 a winter spent in the solitudes of the Southern States. 



After writing that "the notes of the Peto generally partake of the 

 high, echoing, clear tone of the Baltimore Bird," Nuttall describes what 

 he calls peevish notes, "uttered in anger at being approached," answered, 

 perhaps, "by some neighboring rival, against whom 

 d the y a PP eare d levelled in taunt and ridicule, being ac- 

 companied by extravagant gestures." These notes 

 were given in a low, hoarse, "harsh voice, and in a peevish tone exactly 

 like that of the Jay and the Chickadee . . . day-day-day-day, and day- 

 day-day-day-dait," sometimes becoming low and querulous. 'Tshica-dee-dc 

 and kai-tee-did did-dit-did were other variations. 



"Later in the season, in February," Nuttall goes on to say, "when, in 

 the lower part of Alabama, the mild influence of spring began already 

 to be felt, our favorite, as he gaily pursued the busy tribe of insects, 

 now his principal food, called, as he vaulted restlessly from branch to 

 branch, in an echoing, rapid voice, at short intervals, peto-peto-peto-peto. 

 This tender call of recognition was at length answered, and continued at 

 intervals for a minute or two; they then changed their quick call into 

 a slower peto peto peto; and now the natural note passed into the plain- 

 tive key, sounding like que-ah que-ah; then, in the same breath, a jarring 

 note, like that of the Catbird, and, in part, like the sound made by putting 

 the lower lip to the upper teeth, and calling 'tsh 'vah, 'tsh 'vah. After 

 this a call of kerry-kerry-kerry-kerry struck up with an echoing sound 

 ... At length, more delicately than the first, in an undertone, you 

 hear anew, and in a tender accent, peto peto peto peto. In the caprice 

 and humor of our performer, tied by no rules but those of momentary 

 feeling, the expression will perhaps change into a slow and full peet-peet- 

 a-peet-a-peet, then a low and very rapid ker-ker-ker- 

 Nuttall's ker-ker-kerry, sometimes so quick as almost to re- 



Interpretation sem bl e the rattle of a watchman. At another time 

 his morning song commences like the gentle whispers of an aerial spirit, 

 and then becoming high and clear like the voice of the Nightingale, he 

 cries keva keva keva keva; but soon falling into the querulous, the day- 

 day-day-day-day-dait of the Chickadee terminates his performance. Imi- 

 tative, as well as inventive," Nuttall continues, "I have heard the Peto 

 also sing something like the lively chatter of the Swallow, leta-leta-leta- 

 letalit, and then vary into peto-peto-peto-peto extremely quick." 



In conclusion Nuttall says that while the song of the Peto is confined 

 to these "simple, playful, or pathetic calls, yet the compass of voice and 

 the tone in which they are uttered, their capricious variety, and their 

 general effect, at the season of the year when they are heard, are quite as 

 pleasing to the contemplative observer as the more exquisite notes of 

 the summer songsters of the verdant forest." 



