slowly or rapidly as the case may be, whilst at the other we have the complex productions of the Warblers; and between these two extremes, notes and phrases are combined and recombined in ways innumerable. And just as there is a rich variety of combination, so there is a very wide variation in the purity and character of the notes—some are harsh, others melodious, some flute-like, others more of a whistle, and others again such as can only be likened to the notes of a stringed instrument. Hence in variety of phrase combination added to variety in the character of the note, there is a possibility of infinite modes of expression.
If, in the latter part of May, we take up a position at dawn in some osier bed, we listen to songs which have reached a high degree of specialisation, songs, moreover, which appeal to us on account of their beauty; if, on the other hand, we climb down the face of the sea cliff, we hear an entirely different class of songs—harsh, guttural, weird, monotonous sounds, which, appeal to us though they may, lack the music of the voices in the osier bed. And just as, in the osier bed, we can recognise each species by its voice, so we can distinguish the "cackle" of the Fulmar, the "croak" of the Guillemot, or the "grunt" of the Shag. In the osier bed, however, there is considerable variation in the song of different individuals of the same species, so much so that we can recognise this one from that; whereas on the
