the sights and sounds that accompany them, more lovely, by causing them to be respectively suggestive of a certain class of sensations. The birds of the pasture and forest are not frequent enough in cultivated places to be associated with the garden or village inclosure. Nature has confined particular birds and animals to certain localities, and thereby adds a poetic and a picturesque attraction to their features. There are also certain flowers that cannot be cultivated in the garden, as if they were designed for the exclusive adornment of those secluded arbors which the spade and the plough have never profaned. Here flowers grow which are too holy for culture, and birds sing whose voices were never heard in the cage of the voluptuary, and whose tones inspire us with a sense of freedom known only to those who often retire from the world, to live in religious communion with Nature.
When the flowers of early summer are gone, and the graceful neottia is seen in the meadows, extending its spiral clusters among the nodding grasses,—when the purple orchis is glowing in the wet grounds, and the roadsides are gleaming with the yellow blossoms of the hypericum, the merry voice of the Bobolink has ceased, and many other familiar birds have become almost silent. At this time, if we stroll away from the farm and the orchard into more retired and wooded haunts, we may hear, at all times of the day and at frequent intervals, the pensive and melodious notes of the Wood-Sparrow, who sings as if he were delighted at being left almost alone to warble and complain to the benevolent deities of the grove. He who in his youth has made frequent visits to these pleasant and solitary places, and wished that he could live and love forever among the wild-roses, the blushing azaleas, the red summer-lilies, and the thousands of beautiful and sweet-scented flowers that spring up among the various spicy and fruit-bearing shrubs which unite to form a genuine huckleberry-pasture,—he only knows the unspeakable delights which are awakened by the sweet, simple notes of this little warbler.
The Wood-Sparrow (Fringilla pusilla) is somewhat less than a Canary, with a chestnut-colored crown; above of a grayish brown hue, and dusky white beneath. Though he does not seem to be a shy bird, I have never seen him in cultivated grounds, and the inmates of solitary cottages alone are privileged to hear his notes from their windows. He loves the hills which are half covered with young pines, viburnums, cornels, and huckleberry-bushes, and feeds upon the seeds of grasses and wild lettuce, with occasional repasts of insects and berries.
His notes are sweet and plaintive, seldom consisting of more than one strain. He commences slowly, as if repeating the syllable, de de de de de de d' d' d' d' d' d' d' r' r' r',—increasing in rapidity, and at the same time rising as it were by semi-tones, or chromatically, to about a major fourth on the scale. In midsummer, when this bird is most musical, he occasionally lengthens his song by alternately ascending and descending, interposing a few chirping notes between the ascending and descending series. The song loses a part of its simplicity, and, as it seems to me, is not improved by this variation.
While listening to the notes of the Wood-Sparrow, we are continually saluted by the agreeable, though less musical song of the Chewink, or Ground-Robin,—a bird that frequents similar places. This is a very beautiful bird, elegantly spotted with white, red, and black,—the female being of a bright bay color where the male is red. Every rambler knows him, not only by his plumage and his peculiar note, but also by his singular habit of lurking about among the bushes, appearing and disappearing like a squirrel, and watching all our movements. Though he does not avoid our company, it is with difficulty that a marksman can obtain a good aim at him, so rapidly does he change his position among the leaves and branches. In this habit he resembles the Wren. While we are watching his mo-
