adds, "Some males will sing each tune about fifty times, though seldom; some will only sing them from five to ten times. But as far as I have observed, each male has his seven songs. I have applied the rule to as many as a dozen different birds, and the result has been the same."
An individual will sometimes, for half a day, confine himself almost entirely to a few of these variations; but he will commonly sing each one more or less in the course of the day. I have observed also, that, when one principal singer takes up a particular tune, other birds in the vicinity will unite in the same. The several variations are mostly in triple time, a few in common time, and there is an occasional blending of both in the same tune, which consists usually of four bars or strains, sometimes five, though the song is frequently broken off at the end of the third strain. This habit of varying his notes through so many permutations, and the singularly fine intonations of many of them, entitle the Song-Sparrow to a very high rank as a singing-bird.
There is a manifest difference in the expression of these several tunes. The one which I have marked as No. 3 is particularly plaintive, and is usually in common time. No. 2 is the one which I think is most frequently sung. No. 5 is querulous and entirely unmusical. There is a remarkable precision in the song of this bird, and the finest singers are those which, in the language of musicians, have the least execution. There are some individuals that blend their notes together so promiscuously, and use so many flourishes, that it is difficult to identify their song, or to perceive its expression. Whether these tunes of the Song-Sparrow express to his mate, or to others of his species, different sentiments, and convey different messages, or whether the bird adopts them for his own amusement, I have not been able to determine. Neither have I learned whether a certain hour of the day or a certain state of the weather predisposes him to sing a particular tune. This point may, perhaps, be determined by some future observer; and it may be ascertained that the birds of this species have their matins and their vespers, their songs of rejoicing and of complaining, of courtship when in presence of their mate, and of encouragement and solace when she is sitting upon her nest. As Nature has a benevolent and a definite object in every instinct which she has established among her creatures, it is not probable that this habit of the Song-Sparrow is the mere result of accident. All the variations of his song are given, with the specimens, at the end of this article, and, though individuals differ in their singing, the notes will afford the reader a good general idea of the several tunes.
Soon after the arrival of the Song-Sparrow, when the spring-flowers have begun to be conspicuous in the meadow, we are greeted by the more fervent and lengthened notes of the Vesper-bird, (Fringilla graminea,) poured out with a peculiarly pensive modulation. This species closely resembles the former, but may be distinguished from it, when on the wing, by two white lateral feathers in the tail. The chirp of the Song-Sparrow is also louder, and pitched on a lower key, than that of the present species. By careless observers, these two Finches, on account of the similarity in their general appearance and habits, are considered identical. The Vesper-bird, however, is the least familiar of the two, and, when both are singing at the same time, will be found to occupy a position more remote from the house than the other. In several localities, these two species are distinguished by the names of Bush-Sparrow and Ground-Sparrow, from their supposed different habits of placing their nests, one in a bush and the other on the ground. But they do not in fact differ in this respect, as each species occasionally builds in both ways.
The Vesper-bird attracts more general attention to his notes than the Sparrow, because he sings a longer, though a more monotonous song, and warbles with more
