50 
BIRD-LIFE. 
at the same time they acknowledge to its full extent the 
peculiar gift of the Mocking-bird—mimicry. All observers, 
without exception, relate the most extraordinary stories of 
this bird. The voice of the Mocking-bird is, according to 
the statement of that reliable naturalist, Wilson, capable 
of every change. It can produce every imaginable sound, 
from the clear soft notes of the Thrush to the wild 
scream of the Vulture. The Mocking-bird follows with 
the greatest fidelity the measure and tone of the songster 
whose lay he has stolen, but generally excels it in 
power of expression and sweetness of execution. In its 
native woods no other bird can vie with it: its songs are 
various without limit. The listener might often fancy 
that he hears a number of birds singing, which had agreed 
to do so in company. This one songster will deceive the 
hunter, and even birds themselves: his repertoire is derived 
from the locality that he inhabits; in the open forest he 
imitates the birds around him, in the neighbourhood of 
men he interweaves with his song all those sounds which 
are heard in the farmyard. In captivity this bird loses 
but little either of its capabilities or perseverance. “ It is 
impossible,” as Wilson says, “to listen to it without 
interest.” It whistles the dog—■“ Caesar” jumps up, 
wags his tail and runs to his master; it will squeak like a 
frightened Chicken, when the old Hen immediately 
rushes out with ruffled feathers and hanging wings, 
clucking all over the place after her brood, which she 
imagines to have been attacked and would fain shelter: 
the barking of a dog, the mewing of a cat, creaking of a 
passing cart; these all follow one another with the 
greatest fidelity and quickness. A song once learnt, no 
matter how long ago, is repeated correctly and with¬ 
out instruction. The lays of the Canary-bird and the 
