From the “Ornithological Biography.”
IT is where the great magnolia shoots up its majestic trunk, crowned with evergreen leaves, and decorated with a thousand beautiful flowers, that perfume the air around; where the forests and fields are adorned with blossoms of every hue; where the golden orange ornaments the gardens and groves; where bignonias of various kinds interlace their climbing stems around the white-flowered stuartia, and, mounting still higher, cover the summits of the lofty trees around, accompanied with innumerable vines that here and there festoon the dense foliage of the magnificent woods, lending to the vernal breeze a slight portion of the perfume of their clustered flowers; where a genial warmth seldom forsakes the atmosphere; where berries and fruits of all descriptions are met with at every step;—in a word, it is where Nature seems to have paused, as she passed over the earth, and, opening her stores, to have strewed with unsparing hand the diversified seeds from which have sprung all the beautiful and splendid forms which I should in vain attempt to describe, that the Mocking Bird should have fixed its abode,—there only that its wondrous song should be heard.
But where is that favored land? It is in that great continent to whose distant shores Europe has sent forth her adventurous sons, to wrest for themselves a habitation from the wild inhabitants of the forest, and to convert the neglected soil into fields of exuberant fertility. It is, reader, in Louisiana that these bounties of nature are in the greatest perfection. It is there that you should listen to the love song of the Mocking Bird, as I at this moment do. See how he flies round his mate, with motions as light as those of the butterfly! His tail is widely expanded, he mounts in the air to a small distance, describes a circle, and, again alighting, approaches his beloved one, his eyes gleaming with delight, for she has already promised to be his and his only. His beautiful wings are gently raised, he bows to his love, and, again bouncing upwards, opens his bill and pours forth his melody, full of exultation at the conquest he has made.
They are not the soft sounds of the flute or the hautboy that I hear, but the sweeter notes of nature’s own music. The mellowness of the song, the varied modulations and gradations, the extent of its compass, the great brilliancy of execution, are unrivaled. There is probably no bird in the world that possesses all the musical qualifications of this king of song, who has derived all from nature’s self. Yes, reader, all!
No sooner has he again alighted, and the conjugal contract has been sealed, than, as if his breast were about to be rent with delight, he again pours forth his notes with more softness and richness than before. He now soars higher, glancing around with a vigilant eye, to assure himself that none has witnessed his bliss. When these love scenes are over, he dances through the air, full of animation and delight, and, as if to convince his lovely mate that to enrich her hopes he has much more love in store, he that moment begins anew, and imitates all the notes which nature has imparted to the other songsters of the grove.
The musical powers of this bird have often been taken notice of by European naturalists, and persons who find pleasure in listening to the song of different birds whilst in confinement or at large. Some of these persons have described the notes of the nightingale as occasionally fully equal to those of our bird. I have frequently heard both species in confinement, and in the wild state, and, without prejudice, have no hesitation in pronouncing the notes of the European philomel equal to those of a soubrette of taste, which, could she study under a Mozart, might perhaps in time become very interesting in her way. But to compare her essays to the finished talent of the Mocking Bird, is, in my opinion, quite absurd.
