Gyngell : The Singing Time of Birds. 



143 



It is not easy to say to what extent these many and varied 

 vocal expressions of the emotions have unconsciously helped to 

 build up the song's of some species, but I think we may say 

 that, as a general rule, the complete song is a performance as 

 distinct from the other different sounds uttered by birds as is 

 the every day talk of men from the songs that some men may 

 sing- in their leisure hours or happy moments. And it must be 

 evident to all who have listened for a moment to the steady, 

 measured, leisurely song of the Blackbird or Thrush, that, 

 whatever feeling-s the birds may then be expressing-, they have 

 nothings in any way akin to the rapidly-uttered harsh notes 

 which seem to be thrown at iis when we disturb their business 

 or pleasure. On the other hand, certain call notes, notably 

 the long- drawn out ' Cree ' of the Greenfinch, are apparently 

 inseparable from the bird's complete song ; but this is the 

 exception, not the rule. 



The song- par excellence is that apparently joyous vocal 

 performance of the male bird, which is generally given in a 

 more or less leisurely or methodical manner, usually when the 

 sing-er is settled and at ease. It has been described as ' an 

 unbidden expression of emotional energy. It is most marked 

 at the heig-ht of sexual emotion during- the breeding season, but 

 is not exclusively connected with this period.' 



The bird's song proper varies immensely in the different 

 species of birds, although, doubtless, each singer at its own 

 time makes a special effort to produce a song of some sort. 



We are probably right in supposing that the simple efforts 

 of the cock Sparrow to make a continuous song of his ' Chee, 

 chow, churr — chow, chee, churr,' produce the same effect upon 

 the mate of his choice, or his rivals of the house roof, as do the 

 rapturous strains of the Nightingale or Thrush. The Sparrow- 

 does his best, and he does as well as many other song birds, the 

 Chiffchaff for example, to whom all ornithologists extend so 

 warm a welcome in spring, not for the beauty of the bird or 

 song, but merely on account of his visiting us before any other 

 song-bird, and announcing himself so familiarly from our leaf- 

 less trees. 



Soft and simple lisping songs, suggestive of happy child 

 life, characterise the vocal efforts of the Willow Wren, White- 

 throat, Wheatear, Whinchat, and others. The Chaffinch sings 

 a light-hearted, joyous, loud, rapid, though short song. The 

 Robin is calm, plaintive, and almost sad. It sometimes in its 

 confident familiarity enters a church, and then its voice has 



1905 May I. 



