the birds, and in the former the Wren is one of the principal musicians. After the full rays of the sun have silenced the early performers, the Song-Sparrow and the Red Thrush continue to sing, at intervals, the greater part of the day. The Wren is likewise heard at all hours; but when the languishing heat of noon has arrived, and most of the birds are silent, the few that continue to sing become more than usually vocal, and seem to form a select company. They appear, indeed, to prefer the noonday, because the general silence that prevails at this hour renders their voices more distinguishable than at other times. The birds which are thus, as it were, associated with the Wren, in this noonday concert, are the Bobolink, the Cat-bird, and the two Warbling Fly-catchers, occasionally joined by the few and simple notes of the Summer Yellow-bird. If we are in the vicinity of the deep woods, we may also hear, at this hour, the loud and shrill voice of the Golden-Crowned Thrush, a bird that is partial to the heat of noon.
Of all these, however, the Wren is the most remarkable, having a note that is singularly varied and animated. He exhibits great compass and power of execution, but wants variety in his tones. He begins very sharp and shrill, like a grasshopper, then suddenly falls to a series of low guttural notes, and ascends, like the rolling of a drum, to another series of high notes, rapidly trilled. Almost without a pause, he recommences with his querulous insect-chirp, and proceeds through the same trilling and demi-semiquavering as before. He is not particular about the part of the song which he makes his closing note, but will leave off right in the middle of a strain, when he appears to be in the height of ecstasy, to pick up a spider or a fly.
As the Wren raises two broods of young in a season, his notes are prolonged to a late period of the summer, being frequently heard in the second or third week in August. He leaves for a southern clime about the first of October. In his migratory habits he differs from the European Wren, which is a constant resident in his native regions.
Our American birds, like the American flowers, have not been celebrated in classic song. They are scarcely known, except to our own people, and they have not in general been exalted by praise above their real merits. We read, both in prose and verse, the praises of the European Lark, Linnet, and Nightingale, and the English Robin Redbreast has been immortalized in song. But the American Robin, (Turdus migratorius,) though surnamed Redbreast, is a bird of different species and different habits. Little has been written about him, and he enjoys but little celebrity; he has never been puffed and overpraised, and, though universally admired, the many who admire him are diffident all the while, lest they are mistaken in their judgment and are wasting their admiration upon an object that is unworthy of it, and whose true merits fall short of their own estimate.
I shall not ask pardon of those critics who are always canting about genius—and who would probably deny this gift to the Robin, because he cannot cry like a chicken or squall like a cat, and because with his charming strains he does not mingle all sorts of discords and incongruous sounds—for assigning to the Robin the highest rank as a singing-bird. Let them say of him, in the cant of modern criticism, that his performances cannot be great, because they are faultless; it is enough for me, that his mellow notes, heard at the earliest flush of morning, in the more busy hour of noon, or the quiet lull of evening, come upon the ear in a stream of unqualified melody, as if he had learned to sing under the direct instruction of that beautiful Dryad who taught the Lark and the Nightingale. The Robin is surpassed by certain birds in some particular qualities. The Mocking-bird has more power, the Red Thrush more variety, the Vesper-bird more execution, and the Bobolink more animation; but each of these birds has more faults than the Robin, and would be less
