292 BIRDS OF THE NIGHT. 



nous sounds, interspersed with some ludicrous variations. 

 Why he should discard his own delightful song to tease 

 the listener with all imaginable discords is not easily 

 explained. 



Though his powers of mimicry are the cause of his 

 fame, his real merit is not based upon these. He would 

 be infinitely more valuable as a songster, if he were 

 incapable of imitating a single sound. I would add that 

 as an imitator of the songs of other birds he is very 

 imperfect, and has been greatly overrated by our orni- 

 thologists, who seem to vie with each other in their 

 exaggerations of his powers. He cannot utter correctly 

 the notes of the rapid singers. He is successful only 

 in his imitations of those birds whose notes are simple 

 and moderately delivered. Hence he gives good imita- 

 tions of the Eobin. He is, indeed, more remarkable for 

 his indefatigable propensity than for his powers, in which 

 he is exceeded by some Parrots. Single sounds, from 

 whatever source they may come, — from birds, quadru- 

 peds, reptiles, or machines, — he delivers very accurately. 

 But I have heard numbers of. Mocking-Birds in confine- 

 ment attempt to imitate the Canary without success. 

 There is a common saying that the Mocking-Bird will 

 die of chagrin if placed in a cage by the side of a caged 

 Bobolink, mortified because he cannot give utterance 

 to his rapid notes. If this would cause his death, he 

 would also die when confined near a Canary or with any 

 of the rapid-singing Finches. It is also an error to say 

 of his imitations, as writers assert, that they are im- 

 provements upon the originals. When he utters the 

 notes of the Red-Bird, the Oriole, or the common Eobin, 

 his imitations are perfect, but are no clearer or sweeter ; 

 and when he gives us the screaming of a Jay, the mew- 

 ing of a cat, or the creaking of a cart-wheel, he does not 

 change them into music. 



