WOOL* THRUSH. 



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 York and 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, in 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 vox angelica stop of the 

 cathedral organ. The song suggests divine inspiration; 

 to quote Mr. Cheney, " in a moment one is oblivious to 

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