THE RETURN OF THE BIRDS. 27 



like i hat of the indigo-bird or oriole ; but for bright- 

 ness, volubility, execution, and power of imitation, 

 he is unsurpassed by any of our northern birds. His 

 ordinary note is forcible and emphatic, but, as stated, 

 not especially musical : Chick-a-re'r-chick, he seems 

 to say, hiding himself in the low, dense undergrowth, 

 and eluding your most vigilant search, as if playing 

 some part in a game. But in July or August, if you 

 are on good terms with the sylvan deities, you ma^ 

 listen to a far more rare and artistic performance. 

 Your first impression will be that that cluster oi 

 azalea, or that clump of swamp-huckleberry, conceals 

 three or four different songsters, each vying with the 

 others to lead the chorus. Such a medley of notes, 

 snatched from half the songsters of the field and for- 

 est, and uttered with the utmost clearness and rapid- 

 ity, I am sure you cannot hear short of the haunts 

 of the genuine mocking-bird. If not fully and accu- 

 rately repeated, there are at least suggested the notes 

 of the robin, wren, cat-bird, high-hole, goldfinch, and 

 song-sparrow. The pip, pip, of the last is produced 

 so accurately that I verily believe it would deceive 

 the bird herself; and the whole uttered in such 

 rapid succession that it seems as if the movement 

 that gives the concluding note of one strain must 

 form the first note of the next. The effect is very 

 rich, and, to my ear, entirely unique. The performer 

 '& very careful not to reveal himself in the mean 

 time ; yet there is a conscious air about the strain 

 '.iat impresses me with the idea that my presence ia 



