great variety of modulations which can be produced from a military trumpet, 

 and, going upon the axiom that Nature does nothing in vain, compare the form 

 of such a trumpet with the more ingenious mechanism of a swan's windpipe, 

 we cannot but conclude that this instrument is at least capable of producing 

 the sounds which have been described by the ancient authors.*' 



In distinguishing between the \\'histling and Tame or Mute Swans. Bingley 

 describes this strange form of windpipe, "Which falls into the chest, then turns 

 back like a trumpet, and afterwards makes a second bend to join the lungs. The 

 curve being inside the neck of the W histler or Hooper, instead of being an ex- 

 ternal adornment, as in the case of the graceful Mute, in whom 



Behold I The mantling spirit of reserve 



Fashions his neck into a goodly curve. 



An arch thrown back between luxuriant wings 



Of whitest garniture, like fir-tree boughs. 



To which, on some unruffled morning clings 



A dusky weight of winter's purest snows — ' 

 while with the ^lusical Swan the gift of voice is balanced by a corresponding 

 detraction from personal appearance ; for the straight neck and smaller stature 

 impart, we are told (alas I), a certain goose-like suggestion." 



This aesthetic obstacle is. however, successfully surmounted by the fact that 

 their songs are uttered mostly at night, when flying far overhead in the dark- 

 ness : but there is no help for the statement of Albertus ^lagnus. which must 

 needs be taken for better or for worse, that "When swans fight, they hiss and 

 emit a sort of bombilation, not unlfke the braying of an ass, but not so much pro- 

 longed." 



The Abbe Arnaud, whose observations were said to be very minute, com- 

 pletes the list of odious comparisons as follows: "One can hardly say that the 

 swans of Chantilly sing; they cr\', but their cries are truly and constantly modu- 

 lated ; their voice is not sweet : on the contrary, it is shrill, piercing, and rather 

 disagreeable. I could compare it to nothing better than the sound of a clarionet 

 winded by a person unacquainted with the instrument.'' 



Proceeding then to depict the manner of their dual concerts, he continues : 

 ''The swan, with his wings expanded, his neck stretched and his head erect, 

 comes to place himself opposite to his mate, and utters a cry to which she 

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

 from A to B flat; that of the female from G sharp to A. The first note is short 

 and transient, and has the efifect which our musicians call sensible, so that it 

 is not detached from the second, but seems to slip into it. This dialogue is 

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

 Observe that, fortunately for the ear, they do not both sing at once V 



Nuttall is likewise arrayed with the witnesses for quantity rather than 

 qualit}- of sound. Of the dying song, he says, 'These doleful strains were heard 

 at the dawn of day or when the winds and waves were still, and, like the syrinx 



734 



