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Bird Biographies a Guide-Book for Beginners

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Bird Biographies a Guide-Book for Beginners K? fp I lOGRAPHIES w AUCiSa f\ \LiCE E.13all BIRD BIOGRAPHIES A GUIDE-BOOK FOR BEGINNERS An Introduction to 150 Common Land Birds of the Eastern United States BIRD BIOGRAPHIES BY ALICE E. BALL Author of "A YEAR WITH THE BIRDS" ILLUSTRATED BY ROBERT BRUCE HORSFALL Painter of Backgrounds in Habitat, Groups American Museum of Natural History New York City 56 COLORED PLATES NEW YORK DODD, MEAD AND COMPANY 1923 Coptri5ht. 1923. By DODD, mead & COMPANY, Ino. PBINTED IN V. 8. A. VAIL-BALLOU COMPANY eiNGHAMTON AND NEW YORK TO MY FRIEND ELIZABETH JONES IN LOVING ACKNOWLEDGMENT OF HER UNTIRING AID, UNWAVERING FAITH, AND INSPIRING CRITICISM THIS BOOK IS DEDICATED ACKNOWLEDGMENTS In the "Foreword" of this book 1 express my grateful appre- ciation to Dr. A. K. Fisher and Mr. E. H. Forbush for permission to use extracts from published works. I wish to add my thanks to Dr. Charles Richmond and Mr. Joseph Riley of the National Museum of Washington, for their courtesy in furnishing me with bird-skins from the National Museum collections and a copy of the A. O. U. Check-list of 1910, used for the descrip- tions and ranges of the birds described in the !ext. I am indebted to Dr. John M. Clarke, Director of the State Museum of the University of New York, for the permission to make selections from Eaton's "Birds of New York"; also to Dr. Francis H. Herrick, of Western Reserve University, and Dr. Alexander Wetmore, of the Biological Survey, for the right to quote from their publications. The selections from John Burroughs, Thoreau, Frank Bolles, Dallas Lore Sharp, Florence Merriam, Olive Thome Miller, Henry W. Longfellow, E. R. Sill, Celia Thaxter, Lucy Larcom, and Edna Dean Proctor, are used by permission of, and by special arrangement with, The Houghton Mifflin Co., the author- ized publishers. Three selections from Wilson Flagg's "Birds of New England" are used by special arrangement with the Page Co. of Boston. To the Courtesy of D. Appleton & Co. I am indebted for the right to quote one stanza of Bryant's "To a Waterfowl," dates and selections from Frank M. Chapman's "Birds of Eastern North America"; to G. P. Putman's Sons for the use of three extracts from Dr. Herrick's "Home Life of Wild Birds," and to Charles Scribner's Sons for Henry van Dyke's rendering of the song sparrow's song. I acknowledge also with thanks my ob- ligation to Mr. T. Gilbert Pearson, for his permission to use six color-plates of the National Association of Audubon Societies and to quote from the Educational Leaflets of the Society. [vii] ACKNOWLEDGMENTS To my friends, Dallas Lore Sharp, Mrs. Sylvester D. Judd, and Miss Harriet E. Richards, I desire to express my deep ap- preciation of their suggestions and criticisms. I am indebted to Mr. James P. Chapin, Assistant-Curator at the American Museum of Natural History, New York, for a critical reading of the manuscript. [viii] — FOREWORD John Burroughs, in his delightful essay called "Birds and Poets" says: "The very idea of a bird is a symbol and a suggestion to the poet. A bird seems to be at the top of the scale, so vehement and intense is his life large brained, large lunged, hot, ecstatic, his frame charged with buoyancy and his heart with song. The beautiful vagabonds, endowed with every grace, mastery of all climes, and knowing no bounds,—how many human aspirations are realized in their free, holiday-lives—and * how many suggestions to the poet in their flight and song." Long before the place of birds in the great scheme of nature was understood, they made their appeal: first, to primitive man, who had curious superstitions and created beautiful myths concerning them; next, to poets and dreamers of ancient civilizations, who used them in allu- sions beautiful with Oriental imagery; to artists, who de- lighted in portraying symbolism; to later poets and lovers of beauty, who perceived deep truths and revelations of God; and to scientists, who saw back of the phenomena of nature the marvelous laws of God. It is interesting to follow the effect birds have had upon the development of man. Though the religion of the early Egyptians was largely worship of the sun and moon, yet reverence for birds entered into their faith and their ritual. The swallow, the heron, the hawk, the vul- 1 Used with the permission of the Houghton, Mifflin Co, the authorized publishers. [ix] FOREWORD ture, the goose, and the ibis were all held sacred. The people of Egypt with their belief in transmigration, imag- ined the swallow and the heron as possible abiding-places for their souls after death. The Chinese and Japanese have had interesting concep- tions regarding birds that have been both symbolic and poetic. In Japan, wild ducks, geese, cocks, herons, and cranes have been highly honored. The people have built torii gates, or entrances to their temples, as "bird-rests" or perches for their sacred fowl. The Greek and Roman mythologies abound in allusions to bird-life. It was natural that the powerful eagle should be held sacred to Jupiter, the lordly peacock to Juno, the wise owl to Minerva, the repulsive vulture that haunted battlefields to Mars, the beautiful swan to Apollo, and the cooing dove to Venus. The American Indians regarded birds with great rever- ence. Their bird-myths are full of beauty. To them the eagle and the raven were especially sacred. The dove was a cherished symbol of early Christian writers and painters. The pelican, too, was revered; it was the mediaeval symbol of charity. The red breast of the robin was thought to have been caused by a prick of a thorn in Christ's crown as the bird strove to "wrench one single thorn away." The red crossbill's beak was believed to have been twisted in its attempt to remove the iron nail from Christ's blood-stained hand. Burroughs continues: "The very oldest poets, the towering antique bards, seem to make very little mention of the song-birds. They loved better the soaring, swoop- ing birds of prey, the eagle, the ominous birds, the vul- [x] FOREWORD tures, the storks and cranes, or the clamorous sea-birds and the screaming hawk. These suited better the rugged, warlike character of the times, and the simple, powerful souls of the singers themselves. Homer must have heard tlie twittering of the swallows, the cry of the plover, the voice of the turtle (dove), and the warble of the nightin- gale; but they were not adequate symbols to express what he felt or to adorn his dieme. i^schylus saw in the eagle the 'dog of Jove,' and his verse cuts like a sword with such a conception. "It is not because the old bards were less as poets, but that they were more as men. To strong, susceptible characters, the music of nature is not confined to sweet sounds. The defiant scream of the hawk circling aloft, the wild whinney of the loon, the whooping of the crane, the booming of the bittern, the loud trumpeting of the migratory geese sounding down out of the midnight sky, or the wild crooning of the flocks of gulls—are much more welcome in certain moods than any and all mere bird-melodies, in keeping as they are with the shaggy and untamed features of ocean and woods, and suggesting something like Richard Wagner music in the ornithologi- cal orchestra." As the life of man grew less warlike and heroic, as the humbler fireside virtues were honored and the amenities of life were cultivated, it is true that poets sang of the gentler, more beautiful aspects of nature. Wordsworth wrote of the skylark, the cuckoo, and the throstle, Shel- ley and Shakespeare of the skylark, Keats of the nightin- gale and of goldfinches, Tennyson of the swallow and the throstle. They were, however, all deeply sensitive to the wilder phases of nature—to the scudding cloud, the dash- [xi] FOREWORD ing spray of the ocean, the raving and moaning of the tempest. They saw, too, as have many later poets, a spiritual significance and an inspiration as truly great and ennobling as the conceptions of the older bards. Numerous American poets have found spiritual help, comfort, and inspiration in birds. Frank Bolles felt the presence of God in the forest where the Oven-bird sings: 'Touting out his spirit's gladness Toward the Source of life and being.'* Celia Thaxter mused on God's care of man and bird: "For are we not God's children both, Thou, little Sandpiper, and I?" Serenity and joy came to Edna Dean Proctor: "My heart beside the bluebird, sings And folds serene its weary wings." Edward Rowland Sill voiced human need in his poem: SPRING TWILIGHT Surely thus to sing, Robin, Thou must have in sight. Beautiful skies behind the shower, And dawn beyond the night. Would thy faith were mine, Robin! Then, though night were long All its silent hours would melt Their shadow into song." Beautiful memories that soothed pain came to Helen Hunt Jackson at the mere shadow of a bird's wing across her darkened window. Bird-song bowed Lucy Larcom's heart in reverence: [xii] FOREWORD "Then will the birds sing anthems: for the earth and sky and air Will seem a great cathedral, filled with beings dear and fair; And long processions, from the time that bluebird notes begin Till gentians fade, through forest-aisles will still move out and in." All who appreciate Bryant's great poem "To a Water- fowl" may see God, not only "flying over the hill with the bird," but as the unfailing guide of the human soul.
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