664 



The Zoologist— April, 1867. 



Allegro, or by MaelzrVs Metronome = 126. 



I 1*0. 7>at. 



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The Abbe Arnaud has penned some very minute observations upon 

 the voice of the swan. He says : — " The swan, with his wings 

 expanded, his neck stretched, and his head erect, comes to place 

 himself opposite to his female, and utters a cry to which the female 

 replies by another, which is lower by half a tone. The voice of the 

 male passes from A {la) to B flat {si bemol) : that of the female from 

 G sharp {sol didse) to A. The first note is short and transient, and 

 has the effect which our musicians call sensible ; so that it is not 

 detached from the second, but seems to slip into it. Observe that, 

 fortunately for the ear, they do not both sing at once ; in fact if while 

 the male sounded B flat, the female struck A, or if the male uttered 

 A while the female gave G sharp, there would result the harshest and 

 most insupportable of discords. We may add that this dialogue is 

 subjected to a constant and regular rhythm, with the measure of two 

 times. The inspector assured me that during their amours these birds 

 have a cry still sharper, but much more agreeable." (Wood's Buffbn, 

 xix. 511, note). 



Wild Duck, Wild Fowl {Anas boschas). 



Midsummer NiyhCi Dream, Act iii. Scene 1. 



Tempest, Act ii. Scene 2. 



Troilus and Crcssida, Act iii. Scene 2. 



* * * " Yon know 

 Strange fowl light upon neighbouring ponds." 



Cymbeline, Act i. Scene 5. 



* * * " Like a flight oifowl 

 Scatter' d by wind and high tempestuous gusts." 



Titus Andronicus, Act v. Scene 3. 



" Such as fear the report of a caliver worse than a struck fowl or hurl wild 

 duck."— Henri/ VI., Part I., Act iv. Scene 2. 



" Alas! poor hurl fowl, now will he creep into hedges." 



Much Ado About Nothing, Act ii. Scene I 



