ent"; but I should question his inferiority. He is superior to the Mocking-Bird in variety, and is surpassed by him only in the intonation of some of his notes. But no person is ever tired of listening to the Red Mavis, who constantly varies his song, while the Mocking-Bird tires us with his repetitions, which are often continued to a ludicrous extreme.
It is unfortunate that our ornithologists should, in any cases, have adopted the disagreeable names which our singularly unpoetical countrymen have given to the birds. The little Hair-Bird, for example, is called the "Chipping-Sparrow," as if he were in the habit of making chips, like the Carpenter-Bird; and the Red Thrush is called the "Thrasher," which is a low corruption of Thrush, and would signify that the bird had some peculiar habit of threshing with his wings. The word "chipping," when used for "chirping," is incorrect English; and "thrasher" is incorrect in point of fact. No such names should find sanction in books. Let us repudiate the name of "Thrasher" for the Red Thrush, as we would repudiate any other solecism.
The Red Mavis, or Thrush, is most musical in the early part of the season, when he first arrives, or in the month of May; the Veery is most vocal in June, and the Wood-Thrush in July; the Cat-Bird begins early and sings late, and fills out with his quaint notes the remainder of the singing season, after the others have become silent. When one is in a thoughtful mood, the songs of the Wood-Thrush and the Veery surpass all others on their delightful influence; and when I am strolling in the solitary pastures, it seems to me that nothing can exceed the simple melody of the Wood-Sparrow. But without claiming for the Red Thrush any remarkable power of exciting poetic inspiration, his song in the open field has a charm for all ears, and can be appreciated by the dullest of minds. Without singing badly, he pleases the millions. He sings occasionally at all hours of the day, and, when employed in singing, devotes himself entirely to song, with evident enthusiasm.
It would be difficult, either by word or by note, to give one who has never heard the song of the Red Thrush a correct idea of it. This bird is not a rapid singer. His performances seem to be a sort of recitative, often resembling spoken words, rather than musical notes, many of which are short and guttural. He seldom whistles clearly, like the Robin, but he produces a charming variety of tone and modulation. Thoreau, in one of his quaint descriptions, gives an off-hand sketch of the bird, which I will quote:—"Near at hand, upon the topmost spray of a birch, sings the Brown Thrasher, or Red Mavis, as some love to call him,—all the morning glad of your society, that would find out another farmer's field, if yours were not here. While you are planting the seed, he cries,—'Drop it, drop it,—cover it up, cover it up,—pull it up, pull it up, pull it up.'"
We have now left the forest and are approaching the cultivated grounds, under the shade of those fully expanded trees which have grown without restraint in the open field. Here as well as in the wood we find the Pewee, or Phoebe. (Muscicapa nunciola,) one of our most common and interesting birds. He seems to court solitude, and his peculiar note harmonizes well with his obscure and shady retreats. He sits for the most part in the shade, catching his feast of insects without any noise, merely flitting from his perch, seizing his prey, and then resuming his station. This movement is performed in the most graceful manner, and he often turns a somerset, or appears to do so, if the insect at first evades his pursuit,—and he seldom fails in capturing it. All this is done in silence, for he is no singer. The only sounds he utters are an occasional clicking cherup, and now and then, with a plaintive cadence, he seems to speak the word pewee. As the male and female bird cannot be readily distinguished, I have not been able to determine whether this sound is uttered by both sexes, or by the male alone.
