Upon The Tree-Tops Part 13

It is hard to tell in what way this bird impressed every one with a sense of his imperial character, but it is true that he did. He never a.s.sociated with the other birds, and he selected for his perches those in the darker part of the room, where his fellows did not go. Favorite resting-places were the edge of a hanging map, the top of a gas fixture, and a perch so near my seat that most birds were shy of it. Though extravagantly fond of water, requiring his bath daily, he greatly disliked to bathe in the dishes common to all. Like a royal personage, he preferred his bath in his own quarters.

Moreover, the clarin never added his voice to a medley of music. If moved to sing while others were doing so, he first reduced them to silence by a peculiar mystical call, which had a marked effect not only upon every bird in the room, but upon the human listeners as well. This call cut into the ripple of sweet sounds about him like a knife, loud, sharp, and incisive, instantly silencing every bird. It consisted of two notes exactly one octave apart,--the lower one first,--uttered so nearly together that they produced the effect of one double note. After a pause of a few seconds it was repeated, as clear and distinct as before, with mouth open wide. It was delivered with the deliberation of a thrush; the bird standing motionless except the tail, which hung straight down, and emphasized every note with a slight jerk. This loud call, having been given perhaps twenty times, began to diminish in volume, with longer intervals between, till it became so faint it could scarcely be heard,--a mere murmur with closed bill, yet so remarkable and so effective that for some time not a bird peeped. Occasionally, while the room was quiet, he began to sing; but again it appeared that it was his purpose merely to hush the babble of music, for, having secured his beloved stillness, the beautiful bird remained a long time at rest, sitting closely on his perch, plainly in deep content and happiness.

Sometimes, when out in the room, he delivered the call with extraordinary excitement, turning from side to side, posturing, flirting one wing or both, lifting them quite high and bringing them down sharply; but when in the cage at dusk--his favorite time--he stood, as I said, motionless and without agitation.

In another way my bird differed from nearly all the feathered folk, and proved his right to belong to the thrush family; he was not in any degree fussy; he never hopped about aimlessly, or to pa.s.s away time. He had not only a beautiful repose of manner, but there was an air of reticence in everything he did. Even in so trivial a matter as eating, he was peculiar. During the season he was always supplied with huckleberries, of which he was exceedingly fond. Any other bird would take his stand beside the dish, and eat till he was satisfied; but quite otherwise did the clarin. He went deliberately to the floor where they were, took one berry daintily in the tip of his beak, returned with it to the upper perch, fixed his eyes upon me, and suddenly, without a movement, let it slip down his throat, his eyes still upon me, with the most comically solemn expression of "Who says I swallowed a berry?" Then he stood with an air of defiant innocence, as if it were a crime to eat berries, not wiping his bill nor moving a feather till he wanted another berry, when he ate it in exactly the same way.

[Sidenote: _AT THE MIRROR._]

The clarin defended himself against imposition, but, except to his own reflection in the gla.s.s, he never showed warlike inclinations. Upon his first sight of himself he was much excited. His feathers rose, especially on the back, where they looked like a hump; his beak pointed toward the offensive stranger, he uttered a peculiar new war-cry and then flung himself violently upon the enemy. Of course he brought up against the gla.s.s, and dropped panting to the bureau. In a moment he rallied, poured out a few unfamiliar notes in a loud strange voice, with wings quivering, body swaying from side to side, and tail wide spread.

Then lifting both wings high above his back, he repeated the attack.

Finding himself a second time baffled, he remained where he had dropped, silent, a picture of despair.

I hastened to end his trouble by covering the gla.s.s. He flew several times around the room, then alighted, reduced the inmates to meek silence by his mysterious calls, then flew to his own cage, retired to the upper perch, and remained quiet and motionless for an hour or more; apparently meditating upon the strange occurrence, and wondering how the elusive stranger had disappeared. During his trouble before the gla.s.s, all the birds in the room were excited; they always were close observers of everything he did, and never seemed to regard him as one of themselves.

In the spring, when the room was emptied of all its tenants excepting two or three who could not be set free, the clarin was a very happy bird. He flew freely and joyously about, delighting especially in sweeping just over my head as if he intended to alight, and he sang hours at a time. The only disturbance he had then--the crumpled roseleaf in his lot--was the presence of a saucy blue jay, a new-comer whom he could neither impress by his manner nor silence by his potent calls. So far from that, the jay plainly determined to outshriek him; and when no one was present to impose restraint on the naughty blue-coat (who, as a stranger, was for a time quite modest), he overpowered every effort of his beautiful _vis-a-vis_ by whistles and squawks and cat-calls of the loudest and most plebeian sort. At the first sound of this vulgar tirade the imperial bird was silent, scorning to use his exquisite voice in so low company; while the jay, in no whit abashed, filled the room with the uproar till some one entered, when he instantly ceased.

[Sidenote: _WRAPPED IN FUSS._]

The regularity of the clarin's bath has been mentioned; he dried himself, if possible, in the suns.h.i.+ne. Even in this he had his own way, which was to raise every feather on end; the delicate tips rose on his crown, the neck plumage stood out like a ruff, the tail spread, and the wings hung away from the body. In this att.i.tude, he looked as if wrapped in exquisite furs from his small beak to his slender black legs. He shared with all thrushes a strange restlessness on the approach of evening. First he moved back and forth on one perch with a gliding motion, his body crouched till the breast almost touched the perch, tail standing up, and wings quivering. Then he became quiet, and uttered his call for some time, and soon after settled for the night, sleeping well and even dreaming, as was evident from the m.u.f.fled sc.r.a.ps of song and whispered calls that came from his cage.

This bird has all the sensitiveness of an artistic temperament, and one can readily believe that in freedom he would choose a life so secluded as to merit the popular name, "the invisible bird," inhabiting the wildest and most inaccessible spots on the rough mountain-side, as Mr.

Frederic A. Ober found some of his near relations in the West Indies.

If, in spite of his reserved manners, any bird was impertinent enough to chase or annoy him, he acted as if his feelings were hurt, went to his cage, and refused to leave it for some time. Yet it was not cowardice, for he could and did defend his cage against intruders, flying at them with cries of rage. Also, if his wishes chanced to interfere with the notions of another bird,--as they did on one or two occasions that I noticed,--he showed no lack of spirit in carrying them out. Once that I remember, he chose to perch on the top of a certain cage next a window, where he had not before cared to go. The particular spot that he occupied was the regular stand of another bird, one also accustomed to having his own way, and quite willing to fight for it,--a Brazilian cardinal. The cardinal, of course, disputed the point with the clarin, but the latter retained his position as long as he desired, running at the enemy with a cry if he ventured to alight near. In general, his tastes were so different from others that he seldom came into collision with them.

[Sidenote: _NOT DARING TO LAUGH._]

When, on the approach of spring, some of his room-mates grew belligerent, and there arose occasional jarring between them, my bird showed his dislike of contention and coa.r.s.e ways by declining to come out of his cage at all. Although the door stood open all day, and he was kept busy driving away visitors, he insisted on remaining a hermit till the restless birds were liberated, when he instantly resumed his usual habits, and came out as before. His sensitiveness was exhibited in another way,--mortification if an accident befell him. For example, when, by loss of feathers in moulting, he was unable to fly well, and fell to the floor instead of reaching the perch he aimed at, he stood as if stunned, motionless where he happened to drop, as if life were no longer worth living. Once he fell in this way upon a table beside a newspaper. As he landed, his feet slid on the polished surface, and he slipped partly under the loose paper, so that only his head appeared above it. There he stood for five minutes looking at me, and bearing a droll resemblance to a bird's head on a newspaper. He was not more than four feet from me, and was obviously deeply chagrined, and in doubt whether he would better ever try to recover himself; and I positively did not dare to laugh, lest I hurt him more.

The first time the clarin fell to the floor, I ventured to offer him the end of a perch which I held. Not in the least startled, he looked at it, then at me, then accepted the civility by stepping upon it, and holding there while I lifted and carried him to the door of the cage. This soon came to be the regular thing, and all through the trying season of moulting he waited for me to bring a perch and restore him to the upper regions where he belonged. He would have been easily tamed. Even with no efforts toward it, he came on my desk freely, talked to me, with quivering wings, and readily ate from my finger. The only show of excitement, as he made these successive advancements, was the rising of some part of his plumage. At one time he lifted the feathers around the base of his head, so that he appeared to have on a cap a little too big, with a fringe on the edge; and on his first alighting on the arm of the chair where I sat, the feathers over his ears stood out like ear-m.u.f.fs.

[Ill.u.s.tration: STUDYING THE BLUE JAY--SOLITAIRE AND BLUE JAY]

[Sidenote: _IMITATING THE JAY._]

When at last the clarin and the blue jay were left nearly alone in the room, I noticed that the clarin began watching with interest the movements of the jay. They had never come in collision, except of the voice above mentioned, because the jay preferred the floor, chairs, and desk, and seldom touched the perches, while the clarin nearly lived upon them. But after some study the latter clearly made up his mind to try the places his larger room-mate liked so well. He had already learned to go upon the desk and ask for currants, which in the absence of fresh berries I kept soaking in a little covered dish. If, after asking as plainly as eloquent looks and significant movements of wings could, I did not take the hint and give him some, he flew over my head, just touching it as he pa.s.sed. But now, having resolved to imitate the jay, he went to the floor, and tried all of his chosen retreats: the lower rounds of the chair, my rockers, my knee, and the back of a chair sacred to the jay. During these excursions into unknown regions he discovered that warm air came out of the register, and apparently thinking he had discovered summer, he perched on the water-cup that hung before it, spread his feathers, and seemed as happy as if he had really found that genial season.

Who can describe the song of a bird? Poets and prose writers alike have lavished epithets on nightingale and mockingbird, wood thrush and veery, yet who, till he heard one, could imagine what its song was like? Yet I must speak of it.

Singing was always a serious matter with my bird; that is, he never sang while eating or flying about, interpolating his exquisite notes between two mouthfuls, or dropping them from the air. He always placed himself deliberately, and waited for the room to be still,--or made it so, as already related. During the first few months of his residence with me he gave one song of perhaps twenty notes, ending in a lovely tremolo. This had great variety of arrangement, but all bore unmistakable resemblance to the original theme. It was in quality totally unlike any bird note I ever heard, and thrilling in an extraordinary degree, though it was uttered with the beak nearly closed. I can readily believe what Mr. Ober and others a.s.sert, that it must have a startling effect when poured out freely in his native woods.

This song alone placed the clarin at the head of all songsters that I have heard or heard of, and I have heard all of our own best songsters, and the nightingale and wood lark of Europe. But after nearly a year of this he came out one memorable day with an entirely new melody, much more intricate and more beautiful, which for some time he reserved for very special and particular occasions, still giving the former one ordinarily. Some months later, to my amazement, he added a third chant, part of which so resembled that of the wood thrush that if he had been near one I should have thought it a remarkable mimicry. He delivered this with the exquisite feeling of the native bird, even the delicious quivering tone at the end, which indeed my bird often repeated in a low tone by itself. Sometimes, when the room was very still and he sitting on his perch, feathers puffed out, perfectly happy, he breathed out this most bewitching tremulous sound without opening his beak,--a performance enchanting beyond words to express.

[Sidenote: _AN ENCHANTING SINGER._]

These themes the clarin constantly varied, and in the three years of his life with me I often noted down, in a sort of phonetic way, his songs, as he delivered them, and I have six or seven that are perfectly distinct and different. He never mixed them together or united them; he rarely sang two on the same day. All through, too, there seemed so much reserve power that one could not resist the conviction that he could go on and on, and break one's heart with his voice if he chose. The bird's own deep feeling was shown by his conduct; the least movement in the room would shut him up instantly. One could heartily say with another bird-lover across the sea, "If he has not a soul, who will answer to me for the human soul?"

It was reserved for the last weeks of his life for my bird to give me the most genuine surprise. One day I sat quietly at my desk. The bird stood on a perch very near my head,--so near I could not turn to look at him, when, without a moment's hesitation, without an instant's preliminary practice, he burst out into a glorious, heavenly, perfect song that struck me dumb and breathless. Not daring to move hand or foot, yet wanting some record of the wonderful aria, I jotted down, in the page I was writing, a few of the opening notes; I could re-write my page, but I could not bear to lose the music. Three times, at intervals of perhaps one minute, he uttered the same marvelous song, and then I never heard it again. After all, I had not a record of it, for though it was deliberate and distinct, at every repet.i.tion I was spellbound, and could not separate it into tones.

Though I should live to be a thousand years old, and visit every country under heaven, I am sure I should never hear such a rapturous burst of song again,--

"Low and soft as the soothing fall Of the fountains of Eden; sweet as the call Of angels over the jasper wall That welcomes a soul to heaven."

After the foregoing study was written, Mr. Frederic A. Ober kindly placed at my disposal his unpublished notes upon another solitaire, the _siffleur montagne_, or mountain whistler. He had the bird in confinement for some time, while in the Antilles on a collecting tour for the United States National Museum; and the bird's character, as shown in captivity, so closely resembled the one I have tried to depict, that I give it as evidence that others have similarly interpreted the manners of the family.

[Sidenote: _LOVE OF SOLITUDE._]

To begin with his love of solitude, one of the strongest characteristics of the _Myadestes_ wherever found. It is that more than anything else which, in connection with his wonderful song, has wrapped the bird in mystery, and aroused the superst.i.tions of the natives of the countries in which he lives. Mr. Ober says, and every one of the few observers who have succeeded in seeing the bird confirms the statement, that he is found only in the most solitary places, inaccessible mountains, wild, gloomy ravines, and dark, impenetrable gorges. Here the graceful bird delights to dwell, calling and singing from his post on a branch overhanging the perpendicular cliffs, hundreds of feet above the level earth. One of them, indeed, secures his beloved solitude by inhabiting the craters of extinct volcanoes.

In sprightliness of manner this bird of solitude reminds one of the catbird, whom he also greatly resembles in looks. He has the quick-darting movements of the flycatchers, and at the same time a strange, preoccupied air, that seems to make him oblivious of people, although they may be within a few feet of him.

Pa.s.sing one of these peculiarly lonely places one day in his wanderings, Mr. Ober heard the note of the siffleur close at hand. He crept cautiously through the trees until he saw the bird, who had ceased singing, and was eating berries from a tall shrub, clinging to its hanging branches.

He soon finished his repast, flew to a dead branch, plumed his feathers, and after a few moments resumed his singing. He uttered a few trills of a rare musical quality that held his listener spellbound, then lightly flew to another branch overhanging the little ravine, at the bottom of which a babbling brook made music,--"not so liquid as siffleurs,"--says the historian. Here a few more strains fell from him, then he flitted to a swinging vine, repeated his bewitching note, and in a moment disappeared. The tones, says Mr. Ober, "are thrilling with solemn music and indescribably impressive." They have also a ventriloquial quality, and many tunes had he vainly searched for the singer, until a note of another sort betrayed his position, which was sometimes almost over the observer's head.

One morning a captive siffleur was dragged out of the trousers pocket of one of his "ragged brigade" and presented to the chronicler. These boys, whose help was indispensable to the collector, were a study in themselves. They were familiar with the habits, songs, and food of every bird in the woods, as well as expert in imitating the note of each one, and by this means drawing him to the fatal limed twigs. The interesting birds of the mountains, the siffleur, the trembleur, and others, they attracted by a peculiar hissing noise.

[Sidenote: _THE BIRD INSULTED._]

The bird brought to Mr. Ober had been caught by bird-lime and was unhurt, but greatly mortified and insulted by his treatment. He seemed at first dazed, and utterly silent. But after a while he gave utterance to a cry of distress, which he repeated at intervals on that first morning, particularly when people came too near him. Before night he evidently realized the uselessness of protests, and became silent. He never for a moment displayed the wild terror and panic seen in most birds when first caught.

The next morning he ate berries and drank fresh water calmly and without fear; but for several days he did not utter a sound. One of the peculiarities of these birds is their fearlessness in the presence of man, or perhaps more correctly their intelligence, which prevents them, as it does our native thrushes, from being frightened unless there is something really alarming.

This is the natural and charming att.i.tude of bird and beast toward man, until taught by deadly experience what they have to dread, as has been proved many times.

It is not, therefore, in the case of the solitaires, fear of man which drives them to their secluded dwelling-places. It is a certain reserve of character, a strong dislike to a crowd, a genuine love of solitude, and who shall say there is not also an appreciation of the attractions of scenery!

After Mr. Ober's bird had become used to his captivity, the collecting boys brought in another prisoner, a trembleur, so named because of his curious and restless manners, the jerks and quivers, the spasmodic movements of head and wings and tail, and the bows and postures with which he does everything.

The unfortunate trembleur indulged in no amusing antics on this occasion, however. He was overwhelmed by the extent of the disaster that had befallen him,--captivity in the hands of his worst foe. He crouched in one corner of his box, looking with wonder at his surroundings.

Now appeared a new trait in the character of siffleur. His deep love of solitude was even aggressive; he would not tolerate the intrusion of another bird upon his domain. He greeted his fellow-sufferer first with hisses and then with threats and feints of war. Trembleur did not respond, but he presented his formidable bill in readiness to repel attack.

[Sidenote: _ANNOYED BY HUMMINGBIRDS._]

One of his own family, another siffleur, being added to the imprisoned party, the first-comer was most unfriendly, flying at him, and trying to keep him from food and water.

Another indication of the bird's love of quiet was his annoyance at the hummingbirds, whose ways Mr. Ober was studying, and who flitted about the room all the time. From the first he regarded them with disfavor.

Their frivolous manners and their constant humming were not pleasing to him; but when they became so impertinent as to alight on his back, this trifling with his dignity was past endurance; he hissed, and snapped his beak at the elusive little creatures, and finally worked himself into such a rage that he was found completely exhausted, and almost in a dying condition. These continued excitements, indeed, so wore upon his sensitive nature that he did not long survive his extreme pa.s.sion.

This was the more to be regretted because of the readiness with which he accepted his fate. He became tame in a week after capture, and readily took food from the fingers. From the first he never made the least effort to escape, but seemed perfectly contented, so long as he was alone. It was the presence of intruders--as he regarded them--that he resented so fatally.

One of this most interesting family, Townsend's fly-catching thrush (_Myadestes Townsendii_) is resident in the mountains of Colorado, and it is pleasing to see how the most scientific and the least emotional of chroniclers fall into rapture over his song. "Never have I heard a more delightful chorus of bird music," says one. "The song can be compared to nothing uttered by any other bird I have heard," says another. "A most exquisite song in which the notes of purple finch, wood thrush, and winter wren are blended into a silvery cascade of melody that ripples and dances down the mountain-side as clear and sparkling as the mountain brook," says a third.

Charles Dudley Warner, who found the clarin a favorite cage bird in Mexico, says of his song (in "Mexican Notes"): "Its long, liquid, full-throated note is more sweet and thrilling than any other bird note I have ever heard; it is hardly a song, but a flood of melody, elevating, inspiring as the skylark, but with a touch of the tender melancholy of the nightingale in the night."

XIII.