YO 151K1> STUDIES VVITU A CAMERA 



There is a mystery about a marsh akin to that 

 which impresses one in a primeval forest. The pos- 

 sibilities of Ijoth seem limitless. One hears so much 

 and sees so little. Birds calling from a distance of 

 only a few yards may remain long unidentified. A 

 rustling in the reeds arouses vague expectations. 



The notes of marsh-inhabiting birds are in keep- 

 ing with the character of their haunts. They are 

 distinctly wild and strange, and often thrilling. The 

 Rails, for example, all have singuLir, loud, startling 

 calls. The American Bittern is a famous marsh 

 songster, but although several of his common names 

 are based on his calls, it is only recently that he has 

 actually been seen uttering them. The Gallinulo re- 

 sembles the hen in the character, volume, and variety 

 of its notes, and to it and not the Clapper Rail 

 should be given the name " Marsh Hen."' Indeed, 

 its European relative, from which it can scarcely 

 be distinguished, is known as the Mo<jr Hen or 

 Water Hen. 



But of all this marsh music none to my ear is 

 more singular than the call of the Pied-billed 

 Grebe. It is meidioned in few b(>i:)ks, and has won 

 the bird no such fame as the Loon's maniacal laugh- 

 ter has tirought him, though as a vocalist the Grebe 

 fairly rivals his largo cciusin. Like most bird calls 

 it is indescribable, but ])erliaps sufUcient idea of its 

 character may lie given to lead to its identification 

 when liear<l. It is very loud and sonorous, with a 

 cuckoolike quality, ami may be written cnir-coir- 

 roir-c(nr-coir-coir-coip-c(}ir-c<nr-u]i, caiv-tili, coir-ult, 

 roir-uh. These noti'S \;\vy in number, and are some- 

 times f(dliiwe(l by prninnged wailing cou'-'^ or olts 



