It is not to be expected that any country village of two streets, much less Greenfield, could long remain ignorant of such a new and amazing phase as the devotion of any man to any woman therein; but, as nobody liked to interfere too soon in what might only be, after all, a mere business arrangement, Greenfield contented itself with using its eyes, its ears, and its tongues, with one exception to the latter organ's clatter, in favor of Hitty Hyde; to her no one dared as yet approach with gossip or advice.

In the mean time Hitty went on her way, all regardless of the seraphs at the gate. Abner Dimock was handsome, agreeable, gentlemanly to a certain lackered extent;—who had cared for Hitty, in all her life, enough to aid and counsel her as he had already done? At first she was half afraid of him; then she liked him; then he was "so good to me!" and then—she pitied him! for he told her, sitting on that hard old sofa, in the June twilight, how he had no mother, how he had been cast upon the charities of a cruel and evil world from his infancy; reminded her of the old red school-house where they had been to school together, and the tyranny of the big boys over him,—a little curly, motherless boy. So he enlarged upon his life; talked a mildly bitter misanthropy; informed Miss Hyde by gradual insinuations that she was an angel sent on earth to console and reform a poor sinner like him; and before the last September rose had droped, so far had Abner Dimock succeeded in his engineering, that his angel was astounded one night by the undeniably terrestrial visitation of an embrace and a respectfully fervid kiss.

Perhaps it would have been funny, perhaps pathetic, to analyze the mixed consternation and delight of Mehitable Hyde at such bon-fide evidence of a lover. Poor woman's heart!—altogether solitary and desolate,—starved of its youth and its joy,—given over to the chilly reign of patience and resignation,—afraid of life,—without strength, or hope, or pleasure,—and all at once Paradise dawns!—her cold, innocent life bursts into fiery and odorous bloom; she has found her fate, and its face is keen with splendor, like a young angel's. Poor, deluded, blessed, rapture-smitten woman!

Blame her as you will, indignant maidens of Greenfield, Miss Flint, and Miss Sharp, and Miss Skinner! You may have had ten lovers and twenty flirtations apiece, and refused half-a-dozen good matches for the best of reasons; you, no doubt, would have known better than to marry a man who was a villain from his very physiognomy; but my heart must needs grow tender toward Miss Hyde; a great joy is as pathetic as a sorrow. Did you never cry over a doting old man?

But when Mrs. Smith's son John, a youth of ten, saw, by the light of an incautious lamp that illuminated a part of the south parlor, a good-night kiss bestowed upon the departing Abner by Miss Hitty Hyde and absolutely returned by said Abner, and when John told his mother, and his mother revealed it to Miss Flint, Miss Flint to Miss Skinner, and so forth, and so on, till it reached the minister's wife, great was the uproar in Greenfield; and the Reverend Mrs. Perkins put on her gray bonnet and went over to remonstrate with Hitty on the spot.

Whether people will ever learn the uselessness of such efforts is yet a matter for prophecy. Miss Hyde heard all that was said, and replied very quietly, "I don't believe it." And as Mrs. Perkins had no tangible proofs of Abner Dimock's unfitness to marry Judge Hyde's daughter, the lady in question got the better of her adviser, so far as any argument was concerned, and effectually put an end to remonstrance by declaring with extreme quiet and unblushing front,—

"I am going to marry him next week. Will you be so good as to notify Mr. Perkins?"

Mrs. Perkins held up both hands and cried. Words might have hardened Hitty; but what woman that was not half tigress ever withstood another woman's tears?

Hitty's heart melted directly; she sat down by Mrs. Perkins, and cried, too.

"Please, don't be vexed with me," sobbed she. "I love him, Mrs. Perkins, and I haven't got anybody else to love,—and—and—I never shall have. He's very good to love me,—I am so old and homely."

"Very good!" exclaimed Mrs. Perkins, in great wrath, "good! to marry Judge Hyde's daughter, and—fifty thousand dollars," Mrs. Perkins bit off. She would not put such thoughts into Hitty's head, since her marriage was inevitable.

"At any rate," sighed Hitty, on the breath of a long-drawn sob, "nobody else ever loved me, if I am Judge Hyde's daughter."

So Mrs. Perkins went away, and declared that things had gone too far to be prevented; and Abner Dimock came on her retreating steps, and Hitty forgot everything but that he loved her; and the next week they were married.

Here, by every law of custom, ought my weary pen to fall flat and refuse its office; for it is here that the fate of every heroine culminates. For what are women born but to be married? Old maids are excrescences in the social system,—disagreeable utilities,—persons who have failed to fulfil their destiny,—and of whom it should have been said, rather than of ghosts, that they are always in the wrong. But life, with pertinacious facts, is too apt to transcend custom and the usage of novel-writers; and though the one brings a woman's legal existence to an end when she merges her independence in that of a man, and the other curtails her historic existence at the same point, because the novelist's catechism hath for its preface this creed,—"The chief end of woman is to get married"; still, neither law nor novelists altogether displace this same persistent fact, and a woman lives, in all capacities of suffering and happiness, not only her wonted, but a double life, when legally and religiously she binds herself with bond and vow to another soul.

Happy would it have been for Hitty Hyde, if with the legal fiction had chimed the actual existent fact!—happy indeed for Abner Dimock's wife to have laid her new joy down at the altar, and been carried to sleep by her mother under the mulleins and golden-rods on Greenfield Hill! Scarce was the allotted period of rapture past half its term, scarce had she learned to phrase the tender words aloud that her heart beat and choked with, before Abner Dimock began to tire of his incumbrance, and to invent plans and excuses for absence; for he dared not openly declare as yet that he left his patient, innocent wife for such scenes of vice and reckless dissipation as she had not even dreamed could exist.

Yet for week after week he lingered away from Greenfield; even months rolled by, and, except for rare and brief visits home, Hitty saw no more of her husband than if he were not hers. She lapsed into her old solitude, varied only by the mutterings and grumblings of old Keery, who had lifted up her voice against Hitty's marriage with more noise and less effect than Mrs. Perkins, and, though she still staid by her old home and haunts, revenged herself on fate in general and her mistress in particular by a continual course of sulking, all the time hiding under this general quarrel with life a heart that ached with the purest tenderness and pity. So some people are made, like chestnuts; one gets so scratched and wounded in the mere attempt to get at the kernel within, that it becomes matter of question whether one does not suffer less from wanting their affection than from trying to obtain it. Yet Hitty Dimock had too little love given her to throw away even Keery's habit of kindness to her, and bore with her snaps and snarls as meekly as a saint,—sustained, it is true, by a hope that now began to solace and to occupy her, and to raise in her oppressed soul some glimmer of a bright possibility, a faint expectation that she might yet regain her husband's love, a passion which she began in her secret heart to fear had found its limit and died out. Still, Hitty, out of her meek, self-distrusting spirit, never blamed Abner Dimock for his absence or his coldness; rather, with the divine unselfishness that such women manifest, did she blame herself for having linked his handsome and athletic prime with her faded age, and struggle daily with the morbid conscience that accused her of having forgotten his best good in the indulgence of her own selfish ends of happiness. She still thought, "He is so good to me!" still idealized the villain to a hero, and, like her kind, predestined to be the prey and the accusing angel of such men, prayed for and adored her husband as if he had been the best and tenderest of gentlemen. Providence has its mysteries; but if there be one that taxes faith and staggers patience more than another, it is the long misery that makes a good woman cringe and writhe and agonize in silence under the utter rule and life-long sovereignty of a bad man. Perhaps such women do not suffer as we fancy; for after much trial every woman learns that it is possible to love where neither respect nor admiration can find foothold,—that it even becomes necessary to love some men, as the angels love us all, from an untroubled height of pity and tenderness, that, while it sees and condemns the sin and folly and uncleanness of its object, yet broods over it with an all-shielding devotion, laboring and beseeching and waiting for its regeneration, upheld above the depths of suffering and regret by the immortal power of a love so fervent, so pure, so self-forgetting, that it will be a millstone about the necks that disregard its tender clasping now, to sink them into a bottomless abyss in the day of the Lord.

Now had one long and not unhappy autumn, a lingering winter, a desolate spring, a weary summer, passed away, and from an all-unconscious and protracted wrestling with death Hitty Dimock awoke to find her hope fulfilled,—a fair baby nestled on her arm, and her husband, not all-insensible, smiling beside her.

It is true, that, had she died then, Abner Dimock would have regretted her death; for, by certain provisions of her father's will, in case of her death, the real estate, otherwise at her own disposal, became a trust for her child or children, and such a contingency ill suited Mr. Dimock's plans. So long as Hitty held a rood of land or a coin of silver at her own disposal, it was also at his; but trustees are not women, happily for the world at large, and the contemplation of that fact brought Hitty Hyde's husband into a state of mind well fitted to give him real joy at her recovery.

So, for a little while, the sun shone on this bare New England hill-side, into this grim old house. Care and kindness were lavished on the delicate woman, who would scarce have needed either in her present delight; every luxury that could add to her slowly increasing strength, every attention that could quiet her fluttering and unstrung nerves, was showered on her, and for a time her brightest hopes seemed all to have found fruition.

As she recovered and was restored to strength, of course these cares ceased. But now the new instincts of motherhood absorbed her, and, brooding over the rosy child that was her own, caressing its waking, or hanging above its sleep, she scarce noted that her husband's absences from home grew more and more frequent, that strange visitors asked for him, that he came home at midnight oftener than at dusk. Nor was it till her child was near a year old that Hitty discovered her husband's old and rewakened propensity,—that Abner Dimock came home drunk,—not drunk as many men are, foolish and helpless, mere beasts of the field, who know nothing and care for nothing but the filling of their insatiable appetite;—this man's nature was too hard, too iron in its moulding, to give way to temporary imbecility; liquor made him savage, fierce, brutal, excited his fiendish temper to its height, nerved his muscular system, inflamed his brain, and gave him the aspect of a devil; and in such guise he entered his wife's peaceful Eden, where she brooded and cooed over her child's slumbers, with one gripe of his hard hand lifted her from her chair, kicked the cradle before him, and, with an awful though muttered oath, thrust mother and child into the entry, locked the door upon them, and fell upon the bed to sleep away his carouse.

Here was an undeniable fact before Hitty Dimock, one she could no way evade or gloss over; no gradual lesson, no shadow of foreboding, preluded the revelation; her husband was unmistakably, savagely drunk. She did not sit down and cry;—drearily she gathered her baby in her arms, hushed it to sleep with kisses, passed down into the kitchen, woke up the brands of the ash-hidden fire to a flame, laid on more wood, and, dragging old Keery's rush-bottomed chair in front of the blaze, held her baby in her arms till morning broke, careless of anything without or within but her child's sleep and her husband's drunkenness. Long and sadly in that desolate night did she revolve this new misery in her mind; the fact was face to face, and must be provided for,—but how to do it? What could she do, poor weak woman, even to conceal this disgrace, much more to check it? Long since she had discovered that between her and her husband there was no community of tastes or interests; he never talked to her, he never read to her, she did not know that he read at all; the garden he disliked as a useless trouble; he would not drive, except such a gay horse that Hitty dared not risk her neck behind it, and felt a shudder of fear assail her whenever his gig left the door; neither did he care for his child. Nothing at home could keep him from his pursuits; that she well knew; and, hopeful as she tried to be, the future spread out far away in misty horror and dread. What might not, become of her boy, with such a father's influence? was her first thought;—nay, who could tell but in some fury of drink he might kill or maim him? A chill of horror crept over Hitty at the thought,—and then, what had not she to dread? Oh, for some loophole of escape, some way to fly, some refuge for her baby's innocent life! No,—no,—no! She was his wife; she had married him; she had vowed to love and honor and obey,—vow of fearful import now, though uttered in all pureness and truth, as to a man who owned her whole heart! Love him!—that was not the dread; love was as much her life as her breath was; she knew no interval of loving for the brute fiend who mocked her with the name of husband; no change or chance could alienate her divine tenderness,—even as the pitiful blue sky above hangs stainless over reeking battle-fields and pest-smitten cities, piercing with its sad and holy star-eyes down into the hellish orgies of men, untouched and unchanged by just or unjust, forever shining and forever pure. But honor him! could that be done? What respect or trust was it possible to keep for a self-degraded man like that? And where honor goes down, obedience is sucked into the vortex, and the wreck flies far over the lonely sea, historic and prophetic to ship and shore.

No! there was nothing to do! her vow was taken, past the power of man to break; nothing now remained but endurance. Perhaps another woman, with a strong will and vivid intellect, might have set herself to work, backed by that very vow that defied poor Hitty, and, by sheer resolution, have dragged her husband up from the gulf and saved him, though as by fire; or a more buoyant and younger wife might have passed it by as a first offence, hopeful of its being also the only one. But an instinctive knowledge of the man bereft Hitty of any such hope; she knew it was not the first time; from his own revelations and penitent confessions while she was yet free, she knew he had sinned as well as suffered, and the past augured the future. Nothing was left her, she could not escape, she must shut her eyes and her mouth, and only keep out of his way as far as she could. So she clasped her child more tightly, and, closing her heavy eyes, rocked back and forth till the half-waked boy slept again; and there old Keery found her mistress, in the morning, white as the cold drifts without, and a depth of settled agony in her quiet eyes that dimmed the old woman's only to look at.

Neither spoke; nor when her husband strode into the breakfast-room and took his usual place, sober enough, but scarcely regretful of the over-night development, did any word of reproach or allusion pass the wife's white lips. A stranger would have thought her careless and cold. Abner Dimock knew that she was heartbroken; but what was that to him? Women live for years without that organ; and while she lived, so long as a cent remained of the Hyde estate, what was it to him if she pined away? She could not leave him; she was utterly in his power; she was his,—like his boots, his gun, his dog; and till he should tire of her and fling her into some lonely chamber to waste and die, she was bound to serve him; he was safe.

And she offered no sort of barrier to his full indulgence of his will to drink. Had she lifted one of her slender fingers in warning, or given him a look of reproachful meaning, or uttered one cry of entreaty, at least the conscience within him might have visited him with a temporary shame, and restrained the raging propensity for a longer interval; but seeing her apparent apathy, knowing how timid and unresisting was her nature,—that nothing on earth will lie still and be trodden on but a woman,—Abner Dimock rioted and revelled to his full pleasure, while all his pale and speechless wife could do was to watch with fearful eyes and straining ears for his coming, and slink out of the way with her child, lest both should be beaten as well as cursed; for faithful old Keery, once daring to face him with a volley of reproaches from her shrill tongue, was levelled to the floor by a blow from his rapid hand, and bore bruises for weeks that warned her from interference. Not long, however, was there danger of her meddling. When the baby was a year and a half old. Keery, in her out-door labors,—now grown burdensome enough, since Mr. Dimock neither worked himself nor allowed a man on the premises,—Keery took a heavy cold, and, worn out with a life of hard work, sank into rest quickly, her last act of life being to draw Hitty's face down to her own, wrinkled and wan as it was, scarce so old in expression as her mistress's, and with one long kiss and sob speak the foreboding and anxious farewell she could not utter.

"Only you now!" whispered Hitty to her child, as Keery's peaceful, shrouded face was hidden under the coffin-lid and carried away to Greenfield Hill. Pitiful whisper! happily all-unmeaning to the child, but full of desolation to the mother, floating with but one tiny plank amid the wild wrecks of a midnight ocean, and clinging as only the desperate can cling to this vague chance of life.

A rough, half-crazed girl, brought from the alms-house, now did the drudgery of the family. Abner Dimock had grown penurious, and not one cent of money was given for comfort in that house, scarce for need. The girl was stupid and rude, but she worked for her board,—recommendation enough in Mr. Dimock's eyes; and so hard work was added to the other burdens loaded upon his silent wife. And soon came another, all-mysterious, but from its very mystery a deeper fear. Abner Dimock began to stay at home, to be visited at late hours by one or two men whose faces were full of evil and daring; and when, in the dead of the long nights, Hitty woke from her broken and feverish sleep, it was to hear muffled sounds from the cellar below, never heard there before; and once, wrapping a shawl about her, she stole down the stairways with bare feet, and saw streams of red light through the chinks of the cellar-door, and heard the ring of metal, and muttered oaths, all carefully dulled by such devices as kept the sounds from chance passers in the street, though vain as far as the inhabitants of the house itself were concerned. Trembling and cold, she stole back to her bed, full of doubts and fears, neither of which she dared whisper to any one, or would have dared, had she possessed a single friend to whom she could speak. Troubles thickened fast over Hitty; her husband was always at home now, and rarely sober; the relief his absences had been was denied her entirely; and in some sunny corner of the uninhabited rooms up-stairs she spent her days, toiling at such sewing as was needful, and silent as the dead, save as her life appealed to God from the ground, and called down the curse of Cain upon a head she would have shielded from evil with her own life.

Keen human legislation! sightless justice of men!—one drunken wretch smites another in a midnight brawl, and sends a soul to its account with one sharp shudder of passion and despair, and the maddened creature that remains on earth suffers the penalty of the law. Every sense sobered from its reeling fury, weeks of terribly expectation heaped upon the cringing soul, and, in full consciousness, that murderer is strangled before men and angels, because he was drunk!—necessary enough, one perceives, to the good of society, which thereby loses two worse than useless members; but what, in the name of God's justice, should His vicegerent, law, visit upon the man who wrings another life away by slow tortures, and torments heart and soul and flesh for lingering years, where the victim is passive and tenacious, and dies only after long-drawn anguish that might fill the cup of a hundred sudden deaths? Yet what escapes the vicegerent shall the King himself visit and judge. "For He cometh! He cometh to judge the earth; with righteousness shall he judge the world, and the people with equity."

Six months passed after Keery's death, and now from the heights of Greenfield and her sunny window Hitty Dimock's white face looked out upon a landscape of sudden glory; for October, the gold-bringer, had come, pouring splendor over the earth, and far and wide the forests blazed; scarlet and green maples, with erect heads, sentinelled the street, gay lifeguards of autumn; through dark green cedars the crimson creeper threaded its sprays of blood-red; birches, gilded to their tops, swayed to every wind, and drooped their graceful boughs earthward to shower the mossy sward with glittering leaves; heavy oaks turned purple-crimson through their wide-spread boughs; and the stately chestnuts, with foliage of tawny yellow, opened wide their stinging husks to let the nuts fall for squirrel and blue-jay. Splendid sadness clothed all the world, opal-hued mists wandered up and down the valleys or lingered about the undefined horizon, and the leaf-scented south wind sighed in the still noon with foreboding gentleness.

One day, Abner Dimock was gone, and Hitty stole down to the garden-door with her little child, now just trying to walk, that he might have a little play on the green turf, and she cool her hot eyes and lips in the air. As she sat there watching the pretty clumsiness of her boy, and springing forward to intercept his falls, the influence of sun and air, the playful joy of the child, the soothing stillness of all Nature, stole into her heart till it dreamed a dream of hope. Perhaps the budding blossom of promise might become floral and fruitful; perhaps her child might yet atone for the agony of the past;—a time might come when she should sit in that door, white-haired and trembling with age, but as peaceful as the autumn day, watching the sports of his children, while his strong arm sustained her into the valley of shadow, and his tender eyes lit the way.

As she sat dreaming, suddenly a figure intercepted the sunshine, and, looking up, she saw Abner Dimock's father, the elder Abner, entering the little wicket-gate of the garden. A strange, tottering old figure, his nose and chin grimacing at each other, his bleared eyes telling unmistakable truths of cider-brandy and New England rum, his scant locks of white lying in confusion over his wrinkled forehead and cheeks, his whole air squalid, hopeless, and degraded,—not so much by the poverty of vice as by its demoralizing stamp penetrating from the inner to the outer man, and levelling it even below the plane of brutes that perish.

"Good-day! good-day!" said he to his son's wife, in a squeaking, tremulous tone, that drove the child to his mother's arms,—"Abner to home?"

"No, Sir," said Hitty, with an involuntary shudder, that did not escape the bleared blue eye that fixed its watery gaze upon her.

"Cold, a'n't ye? Better go in, better go in! Come, come along! How d'e do, little feller? don't know yer grandper, hey?"

The child met his advances with an ominous scream, and Hitty hurried into the house to give him to the servant's charge, while she returned to the sitting-room, where the old man had seated himself in the rocking-chair, and was taking a mental inventory of the goods and chattels with a momentary keenness in his look that no way reassured Hitty's apprehensive heart.

"So, Abner a'n't to home?"

"No, Sir."

"Don't know where he's gone, do ye?"

"No, Sir."

"Don't never know where he goes, I expect?"

"No, Sir."

"Well, when he comes home,—know when he's a-comin' home?"

"No, Sir."

"Well, when he doos, you tell him 't some folks come to the tavern last night, 'n' talked pretty loud, 'n' I heerd—Guess 'ta'n't best, though, to tell what I heerd. Only you tell Abner 't I come here, and I said he'd better be a-joggin'. He'll know, he'll know,—h'm, yes," said the old man, passing his hand across his thin blue lips, as if to drive away other words better left unsaid,—and then rising from his seat, by the aid of either arm, gained his balance, and went on, while he fumbled for his stick:—

"I'd ha' writ, but black and white's a hangin' matter sometimes, 'n' words a'n't; 'n' I hadn't nobody to send, so I crawled along. Don't ye forget now! don't ye! It's a pretty consider'ble piece o' business; 'n' you'll be dreffully on't, ef you do forget. Now don't ye forget!"

"No, I won't," said Hitty, trembling as she spoke; for the old man's words had showed her a depth of dreadful possibility, and an old acquaintance with crime and its manoeuvres, that chilled the blood in her veins. She watched him out of the gate with a sickening sense of terror at her heart, and turned slowly into the house, revolving all kinds of plans in her head for her husband's escape, should her fears prove true. Of herself she did not think; no law could harm her child; but, even after years of brutality and neglect, her faithful affection turned with all its provident thoughtfulness and care at once to her husband; all her wrongs were forgotten, all her sorrows obliterated by this one fear. Well did St. Augustine say, "God is patient because He is eternal": but better and truer would the saying have been, had it run, "God is patient because He is love": a gospel that He publishes in the lives of saints on earth, in their daily and hourly "anguish of patience," preaching to the fearful souls that dare not trust His long-suffering by the tenacious love of those who bear His image, saying, in resistless human tones, "Shall one creature endure and love and continually forgive another, and shall I, who am not loving, but Love, be weary of thy transgressions, O sinner?" And so does the silent and despairing life of many a woman weave unconsciously its golden garland of reward in the heavens above, and do the Lord's work in a strange land where it cannot sing His songs.

The day crept toward sunset, and Hitty sat with her wan face pressed to the window-pane, hushing her child in his cradle with one of those low, monotoned murmurs that mothers know; but still her husband did not come. The level sun-rays pierced the woods into more vivid splendor, burnished gold fringed the heavy purple clouds in the west, and warm crimson lights turned the purple into more triumphant glory; the sun set, unstained with mist or tempest, behind those blue and lonely hills that guard old Berkshire with their rolling summits, and night came fast, steel-blue and thick with stars; but yet he did not come, the untouched meal on the table was untouched still. Hour after hour of starry darkness crept by, and she sat watching at the window-pane; overhead, constellations marched across the heavens in relentless splendor, careless of man or sorrow; Orion glittered in the east, and climbed toward the zenith; the Pleiades clustered and sparkled as if they missed their lost sister no more; the Hyades marked the celestial pastures of Taurus, and Lyra strung her chords with fire. Hitty rested her weary head against the window-frame and sent her wearier thoughts upward to the stars; there were the points of light that the Chaldeans watched upon their plains by night, and named with mystic syllables of their weird Oriental tongue,—names that in her girlhood she had delighted to learn, charmed by that nameless spell that language holds, wherewith it plants itself ineradicably in the human mind, and binds it with fetters of vague association that time and chance are all-powerless to break,—Zubeneschamali and Zubenelgunebi, Bellatrix and Betelguese, sonorous of Rome and Asia both, full of old echoes and the dry resonant air of Eastern plains,—names wherein sounded the clash of Bellona's armor, and the harsh stir of palm-boughs rustled by a hot wind of the desert, and vibrant with the dying clangor of gongs, and shouts of worshipping crowds reverberating through horrid temples of grinning and ghastly idols, wet with children's blood.

Far, far away, the heavenly procession and their well-remembered names had led poor Hitty's thoughts; worn out with anxiety, and faint for want of the food she had forgotten to take, sleep crept upon her, and her first consciousness of its presence was the awakening grasp of a rough hand and the hoarse whisper of her husband.

"Get up!" said he. "Pick up your brat, get your shawl, and come!"

Hitty rose quickly to her feet. One faculty wretchedness gives, the power of sudden self-possession,—and Hitty was broad awake in the very instant she was called. Her husband stood beside her, holding a lantern; her boy slept in the cradle at her feet.

"Have you seen your father?" said she, with quick instinct.

"Yes, d—n you, be quick! do you want to hang me?"

Quick as a spirit Hitty snatched her child, and wrapped him in the blanket where he lay; her shawl was on the chair she had slept in, her hood upon a nail by the door, and flinging both on, with the child in her arms, she followed her husband down-stairs, across the back-yard, hitting her feet against stones and logs in the darkness, stumbling often, but never falling, till the shadow of the trees was past, and the starlight showed her that they were traversing the open fields, now crisp with frost, but even to the tread,—over two or three of these, through a pine-wood that was a landmark to Hitty, for she well knew that it lay between the turnpike-road and another, less frequented, that by various windings went toward the Connecticut Hue,—then over a tiny brook on its unsteady bridge of logs, and out into a lane, where a rough-spoken man was waiting for them, at the head of a strong horse harnessed to one of those wagons without springs that New-Englanders like to make themselves uncomfortable in. Her husband turned to her abruptly.

"Get in," said he; "get in behind; there's hay enough; and don't breathe loud, or I'll murder you!"

She clambered into the wagon and seated herself on the hay, hushing her child, who nestled and moaned in her arms, though she had carried him with all possible care. A sharp cut of the whip sent the powerful horse off at full speed, and soon this ill-matched party were fast traversing the narrow road that wound about the country for the use of every farm within a mile of its necessary course, a course tending toward the Connecticut.

Hour after hour crept by. Worn out with fatigue, poor Hitty dozed and fell back on the soft hay; her child slept, too, and all her troubles faded away in heavy unconsciousness, till she was again awakened by her husband's grasp, to find that dawn was gathering its light roseate fleeces in the east, and that their flight was for the present stayed at the door of a tavern, lonely and rude enough, but welcome to Hitty as a place of rest, if only for a moment. The sullen mistress of the house asked no questions and offered no courtesy, but, after her guests had eaten their breakfast, rapidly prepared, she led the way to a bedroom in the loft, where Abner Dimock flung himself down upon the straw bed and fell sound asleep, leaving Hitty to the undisturbed care of her child. And occupation enough that proved; for the little fellow was fretful and excited, so that no hour for thought was left to his anxious and timid mother till the dinner-bell awoke her husband and took him downstairs. She could not eat, but, begging some milk for her boy, tended, and fed, and sung to him, till he slept; and then all the horrors of the present and future thronged upon her, till her heart seemed to die in her breast, and her limbs failed to support her when she would have dragged herself out of doors for one breath of fresh air, one refreshing look at a world untroubled and serene.

So the afternoon crept away, and as soon as night drew on the journey was resumed. But this night was chill with the breath of a sobbing east wind, and the dim stars foreboded rain. Hitty shivered with bitter cold, and the boy began to cry. With a fierce curse Abner bade her stop his disturbance, and again the poor mother had hands and heart full to silence the still recurring sobs of the child. At last, after the midnight cocks had ceased to send their challenges from farm to farm, after some remote church-clocks had clanged one stroke on the damp wind, they began to pass through a large village; no lights burned in the windows, but white fences gleamed through the darkness, and sharp gable ends loomed up against the dull sky, one after another, and the horse's hoofs flashed sparks from the paved street before the church, that showed its white spire, spectre-like, directly in their path. Here, by some evil chance, the child awoke, and, between cold and hunger and fear, began one of those long and loud shrieks that no power can stop this side of strangulation. In vain Hitty kissed, and coaxed, and half-choked her boy, in hope to stop the uproar; still he screamed more and more loudly. Abner turned round on his seat with an oath, snatched the child from its mother's arms, and rolled it closely in the blanket.

"Hold on a minute, Ben!" said he to his companion; "this yelp must be stopped"; and stepping over to the back of the wagon, he grasped his wife tightly with one arm, and with the other dropped his child into the street. "Now drive, Ben," said he, in the same hoarse whisper,—"drive like the Devil!"—for, as her child fell, Hitty shrieked with such a cry as only the heart of a mother could send out over a newly-murdered infant. Shriek on shriek, fast and loud and long, broke the slumbers of the village; nothing Abner could do, neither threat nor force, short of absolute murder, would avail,—and there was too much real estate remaining of the Hyde property for Abner Dimock to spare his wife yet. Ben drove fiend-fashion; but before they passed the last house in the village, lights were glancing and windows grating as they were opened. Years after, I heard the story of such a midnight cry borne past sleeping houses with the quick rattle of wheels; but no one who heard it could give the right clue to its explanation, and it dried into a legend.

Now Hitty Dimock became careless of good or evil, except one absorbing desire to get away from her husband,—to search for her child, to know if it had lived or died. For four nights more that journey was pursued at the height of their horse's speed; every day they stopped to rest, and every day Hitty's half-delirious brain laid plans of escape, only to be balked by Abner Dimock's vigilance; for if he slept, it was with both arms round her, and the slightest stir awoke him,—and while he woke, not one propitious moment freed her from his watch. Her brain began to reel with disappointment and anguish; she began to hate her husband; a band of iron seemed strained about her forehead, and a ringing sound filled her ears; her lips grew parched, and her eye glittered; the last night of their journey Abner Dimock lifted her into the wagon, and she fainted on the hay.

"What in hell did you bring her for, Dimock?" growled his companion; "women are d——d plagues always."

"She'll get up in a minute," coolly returned the husband; "can't afford to leave a goose that lays golden eggs behind; hold on till I lift her up. Here, Hitty! drink, I tell you! drink!"

A swallow of raw spirit certainly drove away the faintness, but it brought fresh fire to the fever that burned in her veins, and she was muttering in delirium before the end of that night's journey brought them to a small village just above the old house on the river that figured in the beginning of this history, and which we trust the patient reader has not forgotten. Abner Dimock left his wife in charge of the old woman who kept the hovel of a tavern where they stopped, and, giving Ben the horse to dispose of to some safe purchaser, after he had driven him down to the old house, returned at night in the boat that belonged to his negro tenant, and, taking his unconscious wife from her bed, rowed down the river and landed her safely, to be carried from the skiff into an upper chamber of the old house, where Jake's wife, Aunt Judy, as Mr. Dimock styled her, nursed the wretched woman through three weeks of fever, and "doctored" her with herbs and roots.

The tenacious Hyde constitution, that was a proverb in Greenfield, conquered at last, and Hitty became conscious, to find herself in a chamber whose plastered walls were crumbling away with dampness and festooned with cobwebs, while the uncarpeted floor was checkered with green stains of mildew, and the very old four-post bedstead on which she lay was fringed around the rickety tester with rags of green moreen, mould-rotted.

Hitty sank back on her pillow with a sigh; she did not even question the old negress who sat crooning over the fire, as to where she was, or what had befallen her; but accepted this new place as only another misty delirium, and in her secret heart prayed, for the hundredth time, to die.

Slowly she recovered; for prayers to die are the last prayers ever answered; we live against our will, and tempt living deaths year after year, when soul and body cry out for the grave's repose, and beat themselves against the inscrutable will of God only to fall down before it in bruised and bleeding acquiescence. So she lived to find herself immured in this damp and crumbling house, with no society but a drinking and crime-haunted husband, and the ignorant negroes who served him,—society varied now and then by one or two men revolting enough in speech and aspect to drive Hitty to her own room, where, in a creaking chair, she rocked monotonously back and forth, watching the snapping fire, and dreaming dreams of a past that seemed now but a visionary paradise.

For now it was winter, and the heavy drifts of snow that lay on Dimock's meadow forbade any explorations which the one idea of finding her child might have driven her to make; and the frozen surface of the river no white-sailed ship could traverse now, nor the hissing paddle-wheels of a steamer break the silence with intimations of life, active and salient, far beyond the lonely precinct of Abner Dimock's home.

So the winter passed by. The noises and lights that had awoke Hitty at midnight in the house at Greenfield had become so far an institution in this lonely dwelling that now they disturbed her sleep no more; for it was a received custom, that, whenever Abner Dimock's two visitors should appear, the cellar should resound all night with heavy blows and clinking of metal, and red light as from a forge streamed up through the doorway; but it disturbed Hitty no more; apathy settled down in black mist on her soul, and she seemed to think, to care, for nothing.

But spring awoke the dead earth, and sleeping roots aroused with fresh forces from their torpor, and sent up green signals to the birds above. A spark of light awoke in Hitty's eye; she planned to get away, to steal the boat from its hidden cove in the bushes and push off down the friendly current of the river,—anywhere away from him! anywhere! though it should be to wreck on the great ocean, but still away from him! Night after night she rose from her bed to hazard the attempt, but her heart failed, and her trembling limbs refused their aid. At length moonlight came to her aid, and when all the house slept she stole downstairs with bare, noiseless feet, and sped like a ghost across the meadow to the river-bank. Poor weak hands! vainly they fumbled with the knotted rope that bound the skiff to a crooked elm over-hanging the water,—all in vain for many lingering minutes; but presently the obdurate knot gave way, and, turning to gather up her shawl, there, close behind her, so close that his hot breath seemed to sear her cheek, stood her husband, clear in the moonlight, with a sneer on his face, and the lurid glow of drunkenness, that made a savage brute of a bad man, gleaming in his deep-set eyes. Hitty neither shrieked nor ran; despair nerved her,—despair turned her rigid before his face.

"Well," said he, "where are you going?"

"I am going away,—away from you,—anywhere in the world away from you!" answered she, with the boldness of desperation.

"Ha, ha! going away from me!—that's a d—d good joke, a'n't it? Away from your husband! You fool! you can't get away from me! you're mine, soul and body,—this world and the next! Don't you know that? Where's your promise, eh?—'for better, for worse!'—and a'n't I worse, you cursed fool, you? You didn't put on the handcuffs for nothing; heaven and hell can't get you away from me as long as you've got on that little shiny fetter on your finger,—don't you know that?"

The maddened woman made a quick wrench to pull away from him her left hand, which he held in his, taunting her with the ring that symbolized their eternal bonds; but he was too quick for her.

"Hollo!" laughed he; "want to get rid of it, don't you? No, no! that won't do,—that won't do! I'll make it safe!"

And lifting her like a child in his arms, he carried her across the meadow, back to the house, and down a flight of crazy steps into the cellar, where a little forge was all ablaze with white-hot coal, and the two ill-visaged men she well knew by sight were busy with sets of odd tools and fragments of metal, while on a bench near by, and in the seat of an old chair, lay piles of fresh coin. They were a gang of counterfeiters.

Abner Dimock thrust his wife into the chair, sweeping the gilt eagles to the floor as one of the men angrily started up, demanding, with an oath, what he brought that woman there for to hang them all.

"Be quiet, Bill, can't you?" interposed the other man. "Don't you see he's drunk? you'll have the Devil to pay, if you cross a drunk Dimock!"

But Abner had not heard the first speaker; he was too much occupied with tying his wife's arms to the chair,—a proceeding she could nowise interfere with, since his heavy foot was set upon her dress so as to hold her own feet in helpless fixedness. He proceeded to take the ring from her finger, and, searching through a box of various contents that stood in one corner, extracted from it a delicate steel chain, finely wrought, but strong as steel can be; then, at the forge, with sundry tools, carefully chosen and skilfully used, he soldered one end of the chain to the ring, and, returning to his wife, placed it again upon her finger.

"Here, Bill," growled he, "where's that padlock off the tool-chest, eh? give it here! This woman's a fool,—ha, ha, ha!—she wanted to get away from me, and she's my wife!"

Another peal of dissonant laughter interrupted the words.

"What a d——d good joke! I swear I haven't laughed before, this dog's age! And then she was goin' to rid herself of the ring! as if that would help it! Why, there's the promise in black and white,—'love, honor, and obey,'—'I take thee, Abner,'—ha, ha! that's good! But fast bind, fast find; she a'n't going to get rid of the ring. I'll make it as tight as the promise; both of 'em 'll last to doomsday. Give me the padlock, you scoundrel!"

Bill, the man he addressed, knew too much to hesitate after the savage look that sent home the last words,—and, drawing from a bag of tools and dies a tiny padlock and key, he handed them to Dimock, who passed the chain about Hitty's thin white wrist, and, fastening it with the padlock, turned the key, and, withdrawing it from the lock, dropped it into the silvery heat of the forge, and burst into a fit of laughter, so savage and so inhuman that the bearded lips of his two comrades grew white with horror to hear the devil within so exult in his possession of a man.

Hitty sat, statue-like, in her chair; stooping, the man unbound her, and she rose slowly and steadily to her feet, looking him in the face.

"Look!" said she, raising her shackled arm high in air,—"I shall carry it to God!"—and so fled, up the broken stairway, out into the moonlight, across the meadow,—the three men following fast,—over the fallen boughs that winter had strewn along the shore, out under the crooked elm, swift as light, poising on the stern of the boat, that had swung out toward the channel,—and once more lifting her hand high into the white light, with one spring she dropped into the river, and its black waters rolled down to the sea.



THE END OF ALL.

Wandering along a waste Where once a city stood, I saw a ruined tomb, And in that tomb an urn,—

A sacred funeral-urn, Without a name or date, And in its hollow depths A little human dust!

Whose dust is this, I asked, In this forgotten urn? And where this waste now lies What city rose of old?

None knows; its name is lost; It was, and is no more: Gone like a wind that blew A thousand years ago!

Its melancholy end Will be the end of all; For, as it passed away, The universe will pass!

Its sole memorial Some ruined world, like ours; A solitary urn, Full of the dust of men!



BIRDS OF THE NIGHT.

There are numerous swarms of insects and many small quadrupeds, requiring partial darkness for their security, that come abroad only during the night or twilight. These would multiply almost without check, but that certain birds are formed with the power of seeing in the dark, and, on account of their partial blindness in the daytime, are forced by necessity to seek their food by night. Many species of insects are most active after dewfall,—such, especially, as spend a great portion of their lifetime in the air. Hence the very late hour at which Swallows retire to rest, the hour succeeding sunset providing them with a fuller repast than any other part of the day. No sooner has the Swallow disappeared, than the Whippoorwill and the Night-Jar come forth, to prey upon the larger kinds of aerial insects. The Bat, an animal of an antediluvian type, comes out at the same time, and assists in lessening these multitudinous swarms. The little Owls, though they pursue the larger beetles and moths, direct their efforts chiefly at the small quadrupeds that steal out in the early evening to nibble the tender herbs and grasses. Thus the night, except the hours of total darkness, is with many species of animals, though they pursue their objects with comparative stillness and silence, a period of general activity.

In this sketch, I shall treat of the Birds of the Night under two heads, including, beside the true nocturnal birds that go abroad in the night to seek their subsistence, those diurnal birds that continue their songs during a considerable portion of the night. Some species of birds are partly nocturnal in their habits. Such is the Chimney Swallow. This bird is seldom out at noonday, which it employs in sleep, after excessive activity from the earliest morning dawn. It is seen afterwards circling about in the decline of day, and is sometimes abroad in fine weather the greater part of the night, when the young broods require almost unremitted exertions, on the part of the old birds, to procure their subsistence.

The true nocturnal birds, of which the Owl and the Whippoorwill are conspicuous examples, are distinguished by a peculiar sensibility of the eye, that enables them to see clearly by twilight and in cloudy weather, while they are dazzled by the broad light of day. Their organs of hearing are proportionally delicate and acute. Their wing-feathers also have a peculiar downy softness, so that they fly without the usual fluttering sounds that attend the flight of other birds, and are able to steal unawares upon their prey, and make their predal excursions without disturbing the general silence of the hour. This noiseless flight is very remarkable in the Owl, as may be observed, if a tame one be allowed to fly about a room, when we can perceive his motions only by our sight. It is a fact worthy of our attention, that this peculiar structure of the wing-feathers does not exist in the Woodcock. Nature makes no useless provisions for her creatures; and hence this nocturnal bird, which obtains his food by digging into the soil, and gets no part of it while on the wing, has no need of this contrivance. Neither stillness nor stealth would assist him in securing his helpless prey.

Among the nocturnal birds, the most notorious is the Owl, of which there are many species, varying from the size of an Eagle down to the little Acadian, which is no larger than a Robin. The resemblance of the Owl to the feline quadrupeds has been a frequent subject of remark. Like the cat, he sees most clearly by twilight or the light of the moon, seeks his prey in the night, and spends the principal part of the day in sleep. The likeness is made stronger by his tufts of feathers, that correspond to the ears of the quadruped,—by his large head,—his round, full, and glaring eyes, set widely apart,—by the extreme contractility of the pupil,—and in his manners, by his lurking and stealthy habit of surprising his victims. His eyes are partially encircled by a disk of feathers that yields a peculiarly significant expression to his face. His hooked bill turned downwards, so as to resemble the nose in a human countenance, the general flatness of his features, and his upright position, give him a grave and intelligent look; and it was this expression that caused him to be selected by the ancients as the emblem of wisdom, and consecrated to Minerva.

The Owl is remarkable also for the acuteness of his hearing, having a large ear-drum, and being provided with an apparatus by which he can exalt this faculty, when under the necessity of listening with greater attention. Hence, while he is silent in his own motions, he is able to perceive the least sound from the motion of any other object, and overtakes his prey by coming upon it in silence and darkness. The stillness of his flight is one of the circumstances that add mystery to his character, and which have assisted in rendering him an object of superstitious dread.

Aware of his defenceless condition in the bright daylight, when his purblindness would prevent him from evading the attacks of his enemies, he seeks some obscure retreat where he may pass the day without exposing himself to observation. It is this necessity which has caused him to make his abode in desolate and ruined buildings, in old towers and belfries, and in the crevices of dilapidated walls. In these places he hides himself from the sight of other birds, who regard him as their common enemy, and who show him no mercy when he is discovered. Here also he rears his offspring, and with these solitary haunts his image is closely associated. In thinly settled and wooded countries, he selects the hollows of old trees and the clefts of rocks for his retreats. All the smaller Owls, however, seem to multiply with the increase of human population, subsisting upon the minute animals that accumulate in outhouses, orchards, and fallows.

When the Owl is discovered in his hiding-place, the alarm is given, and there is a general excitement among the small birds. They assemble in great numbers, and with loud chattering commence assailing and annoying him in various ways, and soon drive him out of his retreat. The Jay, usually his first assailant, like a thief employed as a thief-taker, attacks him with great zeal and animation; the Chickadee, the Nuthatch, and the small Thrushes peck at his head and eyes; while other birds, less bold, fly round him, and by their vociferation encourage his assailants and help to terrify their victim.

It is while sitting on the branch of a tree or on a fence, after his misfortune and his escape, that he is most frequently seen in the daytime; and here he has formed a subject for painters, who have commonly introduced him into their pictures as he appears in one of these open situations. He is likewise represented ensconced in his own select retreats, apparently peeping out of his hiding-place while half-concealed; and the fact of his being seen in these lonely places has caused many superstitions to be attached to his image. His voice is supposed to bode misfortune, and his spectral visits are regarded as the forewarnings of death. His connection with deserted houses and ruins has invested him with a peculiarly romantic character; while the poets, by introducing him to deepen the force of their gloomy and pathetic descriptions, have enlivened these associations; and he deserves, therefore, in a special degree, to be named among those animals which we call picturesque.

The gravity of the Owl's general appearance, combined with a sort of human expression in his countenance, undoubtedly caused him to be selected by the ancients as the emblem of wisdom. The moderns have practically renounced this idea, which had no foundation in the real character of the bird, who possesses only the sly and sinister traits that mark the feline race. A very different train of associations and a new series of picturesque images are now suggested by the figure of the Owl, who has been portrayed more correctly by modern poetry than by ancient mythology. He is now universally regarded as the emblem of ruin and desolation, true to his character and habits, which are intimately allied to this description of scenery.

I will not enter into a speculation concerning the nature and origin of those agreeable emotions which are so generally produced by the sight of objects that suggest the ideas of decay and desolation. It is happy for us, that, by the alchemy of poetry, we are able to turn some of our misfortunes into sources of melancholy pleasure, after the poignancy of grief has been assuaged by time. Nature has beneficently provided, also, that many an object, which is capable of communicating no direct pleasure to our senses, shall affect us agreeably through the medium of sentiment. The image of the Owl is calculated to awaken the sentiment of ruin, and to this feeling of the human soul we may trace the pleasure we derive from the sight of this bird in his appropriate scenery. Two Doves upon the mossy branch of a tree in a wild and beautiful sylvan retreat are the pleasing emblems of innocent love and constancy; but they are not more suggestive of poetic fancies than an Owl sitting upon an old gate-post near a deserted house.

I have alluded, in another page, to the faint sounds we hear when the Night Birds, on a still summer evening, are flying over short distances in a neighboring wood. There is a feeling of mystery excited by these sounds, that exalts the pleasure we derive from the delightful influence of the hour and the season. But the emotions thus produced are of a cheerful kind, and not equal in intensity to the effects of the scarcely perceptible sound occasioned by the flight of the Owl, as he glides by in the dusk of the evening or in the dim light of the moon. Similar in its influence is the dismal voice of this bird, which is harmonized with darkness, and, though in some cases not unmusical, is tuned, as it were, to the terrors of that hour when he makes secret warfare upon the sleeping inhabitants of the wood.

One of the most interesting of this tribe of birds is the little Acadian Owl, (Strix Acadica,) whose note has formerly excited a great deal of curiosity. In "The Canadian Naturalist," an account is given of a rural excursion in April, in the course of which the attention of one of the party is called by his companion, just after sunset, to a peculiar sound proceeding from a cedar swamp. It was compared to the measured tinkling of a cow-bell, or regular strokes upon a piece of iron, quickly repeated. The one appealed to is able to give no satisfactory information about it, but remarks, that, "during the months of April and May, and in the former part of June, we frequently hear, after nightfall, the sound just described. From its regularity, it is thought to resemble the whetting of a saw, and hence the bird from which it proceeds is called the Saw-Whetter." The author could not identify the bird that uttered this note, but conjectured that it might be a Heron or a Bittern. It has since been ascertained that this singular note proceeds from the Acadian Owl. It is like the sound produced by the filing of a mill-saw, and is said to be the amatory note of the male, being heard only during the season of incubation.

Mr. S.P. Fowler, of Danvers, informs me that "the Acadian Owl has another note, which we frequently hear in the autumn, after the breeding season is over. The parent birds, then accompanied by their young, while hunting their prey during a bright moonlight night, utter a peculiar note, resembling a suppressed moan or a low whistle. The little Acadian, to avoid the annoyance of the birds he would meet by day, and the blinding light of the sun, retires in the morning, his feathers wet with dew and rumpled by the hard struggles he has encountered in seizing his prey, to the gloom of the forest or the thick swamp, where, perched on a bough, near the trunk of the tree, he sleeps through a summer's day, the perfect picture of a used-up little fellow, suffering from the sad effects of a night's carouse. But he is an honest bird, notwithstanding his late hours and his idle sleeping days; he is also domestic in his habits, and the father of an interesting family, close at hand, in a hollow white-birch, and he is ever ready to give them his support and protection."

The Mottled Owl, (Strix Asio) or Screech Owl, is somewhat larger than the Acadian or Whetsaw, and not so familiar as the Barn Owl of Europe, though resembling it in general habits. He commonly builds in the hollow of an old tree, also in deserted buildings, whither he resorts in the daytime to find repose and to escape annoyance. His voice is heard most frequently in the latter part of summer, when the young Owlets are abroad, and use their cries for purposes of mutual salutation and recognition. This wailing note is singularly wild, and not unmusical. It is not properly a screech or a scream, like that of the Hawk or the Peacock, but rather a sort of moaning melody, half music and half bewailment. This wailing song is far from disagreeable, though it has a cadence which is expressive of dreariness and melancholy. It might be performed on a small flute, by commencing with D octave and running down by semitones to a fifth below, and frequently repeating the notes, for the space of a minute, with occasional pauses and slight variations, sometimes ascending as well as descending the scale. The bird does not slur the passages, but utters them with a sort of trembling staccato. The separate notes may be distinctly perceived, with intervals of about a semitone.

The Owl is not properly regarded as a useful bird. The generality of the tribe deserve to be considered only as mischievous birds of prey, and no more entitled to mercy and protection than the Falcons, to which they are allied. All the little Owls, however, though guilty of destroying small birds, are very serviceable in ridding our fields and premises of mischievous animals. They likewise destroy multitudes of large nocturnal insects, flying above the summits of the trees in pursuit of them, while at other times their flight is low, when watching for the small animals that run upon the ground. It is probably on account of its low flight that the Owl is seldom seen on the wing. Bats, which are employed by Nature for the same kind of services, fall victims in large numbers to the Owls of different species, who are the principal means of preventing their multiplication.

I should wander from my present purpose, were I to attempt a sketch of the large Owls, as I design only to treat of those birds which contribute, either as poetic or picturesque objects, to improve the charms of Nature. I shall say but a passing word, therefore, of the Great Snowy Owl, almost exclusively an inhabitant of the Arctic regions, where he frightens both man and beast with his dismal hootings,—or of the Cat Owl, the prince of these monsters, who should be consecrated to Pluto,—or of his brother monster, the Gray Owl, that will carry off a full-grown rabbit. There are several other species, more or less interesting, ridiculous, or frightful. I will leave them, to speak of birds of more pleasing habits and a more innocent character.

The next remarkable family of nocturnal birds comprises the Moth-Hunters, including, in New England, only two species,—the Whippoorwill and the Night-Hawk, or Piramidig. These birds resemble the Owls in some of their habits; but in their structure, in their mode of subsistence, and in their general traits of character, they are like Swallows. They are shy and solitary, take their food while on the wing, abide chiefly in deep woods, and come abroad only at twilight or in cloudy weather. They remain, like the Dove, permanently paired, lay their eggs on the bare ground, and, when perched upon the branch of a tree, sit upon it lengthwise, unlike other birds. They are remarkable for their singular voices, of which that of only one species, the Whippoorwill, can be considered musical. They are known in all parts of the world, but are particularly numerous in the warmer parts of America.

The Whippoorwill (Caprimulgus vociferus) is well known to the inhabitants of this part of the world, on account of his nocturnal song. This is heard only in densely wooded and retired situations, and is associated with the solitude of the forest, as well as the silence of night. The Whippoorwill is, therefore, emblematic of the rudeness of primitive Nature, and his voice always reminds us of seclusion and retirement. Sometimes he wanders away from the wood into the precincts of the town, and sings near some dwelling-house. Such an incident was formerly the occasion of superstitious alarm, being regarded as an omen of some evil to the inmates of the dwelling. The true cause of these irregular visits is probably the accidental abundance of a particular kind of insects, which the bird has followed from his retirement.

I believe the Whippoorwill, in this part of the country, is first heard in May, and continues vocal until the middle of July. He begins to sing at dusk, and we usually hear his note soon after the Veery, the Philomel of our summer evenings, has become silent. His song consists of three notes, in a sort of triple or waltz time, with a slight pause after the first note in the bar, as given below:—



I should remark, that the bird usually commences his song with the second syllable of his name, or the second note in the bar. Some birds fall short of these intervals; but there seems to be an endeavor, on the part of each individual, to reach the notes as they are written on the scale. A few sliding notes are occasionally introduced, and an occasional preluding cluck is heard when we are near the singer.

The note of the Quail so closely resembles that of the Whippoorwill, that I have thought it might be interesting to compare the two.



So great is the general similarity of the notes of these two birds, that those of the Quail need only to be repeated several times in succession, without pause, to be mistaken for those of the Whippoorwill. They are uttered with similar intonations; but the voice of the nocturnal bird is more harsh, and his song consists of three notes instead of two.

The song of the Whippoorwill, though wanting in mellowness of tone, as may be perceived when he is only a short distance from us, is to most people very agreeable, notwithstanding the superstitions associated with it. Some persons are not disposed to rank the Whippoorwill among singing-birds, regarding him as more vociferous than musical. But it would be difficult to determine in what respect his notes differ from the songs of other birds, except that they approach more nearly to the precision of artificial music. Yet it will be admitted that considerable distance is required to "lend enchantment" to the sound of his voice. In some retired and solitary districts, the Whippoorwills are often so numerous as to be annoying by their vociferations; but in those places where only two or three individuals are heard during the season, their music is the source of a great deal of pleasure, and is a kind of recommendation to the place.

I was witness of this, some time since, in one of my botanical rambles in the town of Beverly, which is, for the most part, too densely populated to suit the habits of these solitary birds. On one of these excursions, after walking several hours over a rather unattractive region, I arrived at a very romantic spot, known by the unpoetical name of Black Swamp. Nature uses her most ordinary materials to form her most delightful landscapes, and often keeps in reserve prospects of enchanting beauty, and causes them to rise up, as it were, by magic, where we should least expect them. Here I suddenly found myself encompassed by a charming amphitheatre of hills and woods, and in a valley so beautiful that I could not have imagined anything equal to it. A neat cottage stood alone in this spot, without a single architectural decoration, which I am confident would have dissolved the spell that made the whole scene so attractive. It was occupied by a shoemaker, whom I recognized as an old acquaintance and a worthy man, who resided here with his wife and children. I asked them if they could live contented so far from other families. The wife of the cottager replied, that they suffered in the winter from their solitude, but in the spring and summer they preferred it to the town,—"for in this place we hear all the singing-birds, early and late, and the Whippoorwill sings here every night during May and June." It was the usual practice of these birds, they told me, to sing both in the morning and the evening twilight; but if the moon rose late in the evening, after they had become silent, they would begin to sing anew, as if to welcome her rising. May the birds continue to sing to this happy family, and may the voice of the Whippoorwill never bode them any misfortune!

The Night-Hawk, or Piramidig, (Caprimulgus Americanus,) is similar in many points to the Whippoorwill, and the two species were formerly considered identical. The former, however, is a smaller bird; he has no song, and exhibits more of the ways of the Swallow. He is marked by a white spot on his wings, which is very apparent during his flight. He takes his prey in a higher part of the atmosphere,—being frequently seen, at twilight and in cloudy weather, soaring above the house-tops in quest of insects. The Whippoorwill finds his subsistence chiefly in the woods, and takes a part of it from the branches of trees, while poising himself on the wing, like a Humming-Bird. I believe he is never seen circling aloft like the Night-Hawk.

The movements of the Night-Hawk, during this flight, are performed, for the most part, in circles, and are very picturesque. The birds are usually seen in pairs, at such times, but occasionally there are numbers assembled together; and one might suppose they were engaged in a sort of arial dance, or that they were emulating each other in their attempts at soaring to a great height. It is evident that these evolutions proceed in part from the pleasure of motion; but they are also connected with their courtship. While they are soaring and circling in the air, they occasionally utter the shrill and broken note which has been supposed to resemble the word Piramidig, whence the name is derived,—and now and then they dart suddenly aside, to seize a passing insect.

While performing these circumvolutions, the male frequently dives almost perpendicularly downwards, a distance of forty feet or more, uttering, when he turns at the bottom of his descent, a singular note, resembling the twang of a viol-string. This sound has been supposed to proceed from the action of the air, as the bird dives swiftly through it with open mouth; but this supposition is rendered improbable by the fact that the European species makes a similar sound while sitting on its perch. It has also been alleged that the diving motion of this bird is an act designed to intimidate those who seem to be approaching his nest; but this cannot be true, because the bird performs the manoeuvre when he has no nest to defend. This habit is peculiar to the male, and it is probably one of those fantastic motions which are noticeable among the males of the gallinaceous birds, and are evidently their artifices to attract the attention of the female; very many of these motions may be observed in the manners of tame Pigeons.

The twanging note produced during the precipitate descent of the Night-Hawk is one of the picturesque sounds of Nature, and is heard most frequently in the morning twilight, when the birds are busy collecting their repast of insects. During an early morning walk, while they are circling about, we may hear their cry frequently repeated, and occasionally the booming sound, which, if one is not accustomed to it, and is not acquainted with this habit of the bird, affects him with a sensation of mystery, and excites his curiosity in an extraordinary degree.

The sound produced by the European species is a sort of drumming or whizzing note, like the hum of a spinning-wheel. The male commences this performance about dusk, and continues it at intervals during a great part of the night. It is effected while the breast is inflated with air, like that of a cooing Dove. The Piramidig has the power of inflating himself in the same manner, and he utters this whizzing note when one approaches his nest.

The American Woodcock (Scolopax minor) is a more interesting bird than we should infer from his general appearance and physiognomy. He is mainly nocturnal in his habits, and his ways are worthy of study and observation. He obtains his food by scratching up the leaves and rubbish that lie upon the surface of the ground in damp and wooded places, and by boring into the earth for worms. He remains concealed in the wood during the day, and comes out to feed at twilight, choosing the open ploughed lands where worms are abundant; though it is probable that in the shade of the wood he is more or less busy in scratching among the leaves in the daytime.

The Woodcock does not commonly venture abroad in the open day, unless he be disturbed and driven from his retreats. He makes his first appearance here in the latter part of April, and at this season we may observe that soaring habit which renders him one of the picturesque objects of Nature. This soaring takes place soon after sunset, continues during twilight, and is repeated at the corresponding hour in the morning. If you listen at this time near the places of his resort, he will soon reveal himself by a lively peep, frequently uttered, from the ground. While repeating this note, he may be seen strutting about, like a turkey-cock, with fantastic jerkings of the tail and a frequent bowing of the head; and his mate, I believe, is at this time not far off. Suddenly he springs upward, and with a wide circular sweep, uttering at the same time a rapid whistling note, he rises in a spiral course to a great height in the air. At the summit of his ascent, he hovers about with irregular motions, chirping a medley of broken notes, like imperfect warbling. This continues about ten or fifteen seconds, when it ceases, and he descends rapidly to the ground. We seldom hear him while in his descent, but receive the first intimation of it by hearing a repetition of his peep, resembling the sound produced by those minute wooden trumpets sold at the German toy-shops.

No person could watch this playful flight of the Woodcock without interest; and it is remarkable that a bird with short wings and difficult flight should be capable of mounting to so great an altitude. It affords me a vivid conception of the pleasure with which I should witness the soaring and singing of the Skylark, known to me only by description. I have but to imagine the chirruping of the Woodcock to be a melodious series of notes, to feel that I am listening to that bird, which is so familiarized to our imaginations by English poetry that in our early days we always expect his greetings with a summer sunrise. It is with sadness that we first learn in our youth that the Skylark is not an inhabitant of the New World; and our mornings seem divested of a great portion of their charms, for the want of this poetical accompaniment.

There is another circumstance connected with the habits of the Woodcock which increases his importance as an actor in the melodrame of Nature. When we stroll away from the noise and din of the town, where the stillness permits us to hear distinctly all those faint sounds which are turned by the silence of night into music, we may hear at frequent intervals the hum produced by the irregular flights of the Woodcock, as he passes over short distances in the wood, where he is collecting his repast. It resembles the sound of the wings of Doves, rendered distinct by the stillness of all other things, and melodious by the distance. There is a feeling of mystery attached to these musical nights that yields a savor of romance to the quiet voluptuousness of a summer evening.

It is on such occasions, if we are in a moralizing mood, that we may be keenly impressed with the truth of the saying, that the secret of happiness consists in keeping alive our susceptibilities by frugal indulgences, rather than by seeking a multitude of pleasures, that pall in exact proportion to their abundance. The stillness and darkness of a quiet night produce this enlivening effect upon our minds. Our susceptibility is then awakened to such a degree, that slight sounds and feeble sparks of light convey to our souls an amount of pleasure which we seldom experience in the daytime from sights and sounds of the most pleasing description. Thus the player in an orchestra can enjoy such music only as would deafen common ears by its crash of sounds, in which they perceive no connection or harmony; while the simple rustic listens to the rude notes of a flageolet in the hands of a clown with feelings of ineffable delight. Nature, if the seekers after luxurious and exciting pleasures could but understand her language, would say to them, "Except ye become as this simple rustic, ye cannot enter into my paradise."

The American Snipe has some of the nocturnal habits of the Woodcock, and the same habit of soaring at twilight, when he performs a sort of musical medley, which Audubon has very graphically described in the following passage:—"The birds are met with in meadows and low grounds, and, by being on the spot before sunrise, you may see both (male and female) mount high, in a spiral manner, now with continuous beats of the wings, now in short sailings, until more than a hundred yards high, when they whirl round each other with extreme velocity, and dance, as it were, to their own music; for, at this juncture, and during the space of five or six minutes, you hear rolling notes mingled together, each more or less distinct, perhaps, according to the state of the atmosphere. The sounds produced are extremely pleasing, though they fall faintly on the ear. I know not how to describe them; but I am well assured that they are not produced simply by the beatings of their wings, as at this time the wings are not flapped, but are used in sailing swiftly in a circle, not many feet in diameter. A person might cause a sound somewhat similar by blowing rapidly and alternately, from one end to another, across a set of small pipes, consisting of two or three modulations. This performance is kept up till incubation terminates; but I have never observed it at any other period."

Among the Heron family we discover a few nocturnal birds, which, though not very well known, have some ways that are singular and interesting. Goldsmith considered one of these birds worthy of introduction into his "Deserted Village," as contributing to the poetic conception of desolation. Thus, in his description of the grounds which were the ancient site of the village, we read,—

"Along its glades, a solitary guest, The hollow-sounding Bittern guards its nest."

"The Bittern is a shy and solitary bird; it is never seen on the wing in the daytime, but sits, generally with the head erect, hid among the reeds and rushes of extensive marshes, from whence it will not stir, unless disturbed by the sportsman. When it changes its haunts, it removes in the dusk of the evening, and then, rising in a spiral direction, soars to a vast height. It flies in the same heavy manner as the Heron, and might be mistaken for that bird, were it not for the singularly resounding cry which it utters, from time to time, while on the wing: but this cry is feeble when compared with the hollow booming noise which it makes during the night, in the breeding season, from its swampy retreats. From the loudness and solemnity of its note, an erroneous notion prevails with the vulgar, that it either thrusts its head into a reed, which serves as a pipe for swelling its note beyond its natural pitch, or that it immerges its head in water, and then produces its boomings by blowing with all its might."

The American Bittern is a smaller bird, but is probably a variety of the European species. It exhibits the same nocturnal habits, and has received at the South the name of Dunkadoo, from the resemblance of its common note to these syllables. This is a hollow-sounding noise, but not so loud as the voice of the Bittern to which Goldsmith alludes. I have heard it by day proceeding from the wooded swamps, and am at a loss to explain how so small a bird can produce so low and hollow a note. Among this family of birds are one or two other nocturnal species, including the Qua-Bird, which is common to both continents; but there is little to be said of it that would be interesting in this connection. The Herons, however, and their allied species, are birds of remarkable habits, the enumeration and account of which would occupy a considerable space. In an essay on the flight of birds in particular, the Herons would furnish a multitude of very interesting facts.

Let us now turn our attention to those diurnal birds that sing in the night as well as in the day, and which might be comprehended under the general appellation of Nightingales. These birds do not confine their singing to the night, like the true nocturnal birds, and are most vocal when inspired by the light of the moon. Europe has several of these minstrels of the night. Beside the true Philomel of poetry and romance, the Reed-Thrush and the Woodcock are of this character. In the United States, the Mocking-Bird enjoys the greatest reputation; the Rose-breasted Grosbeak and the New York Thrush are also nocturnal songsters.

The Mocking-Bird (Turdus polyglottus) is well known in the Middle and Southern States, but seldom passes a season in New England, except in the southern part of Rhode Island and Connecticut, which seem to be the northern limit of its migrations. Probably, like the Rose-breasted Grosbeak, which is constantly extending its limits in an eastern direction, the Mocking-Bird may be gradually making progress northwardly, so that fifty years hence both of these birds may be common in Massachusetts. The Mocking-Bird is familiar in his habits, frequenting gardens and orchards, and perching on the roofs of houses when singing, like the common Robin. Like the Robin, too, who sings at all hours excepting those of darkness, he is a persevering songster, and seems to be inspired by living in the vicinity of man. In his manners, however, he bears more resemblance to the Red Thrush, being distinguished by his vivacity, and the courage with which he repels the attacks of his enemies.

The Mocking-Bird is celebrated throughout the world for his musical powers; but it is difficult to ascertain precisely the character and quality of his original notes. Hence some naturalists have contended that he has no song of his own, but confines himself to imitations. That this is an error, all persons who have listened to him in his native wild-wood can testify. I should say, from my own observations, not only that he has a distinct song, peculiarly his own, but that his imitations are far from being equal to his original notes. Yet it is seldom we hear him except when he is engaged in mimicry. In his native woods, and especially at an early hour in the morning, when he is not provoked to imitation by the voices of other birds and animals, he sometimes pours forth his own wild notes with full fervor. Yet I have often listened vainly for hours to hear him utter anything but a few idle repetitions of monotonous sounds, interspersed with some ludicrous varieties. Why he should neglect his own pleasing notes, to tease the listener with his imitations of all imaginable discords, is not easily explained.

Though his imitations are the cause of his notoriety, they are not the utterances upon which his true merit is based. He would be infinitely more valuable as a songster, if he were incapable of imitating a single sound. I would add, that as an imitator of the songs of other birds he is very imperfect, and in this respect has been greatly overrated by our ornithologists, who seem to vie with one another in their exaggerations of his powers. He cannot utter the notes of the rapid singers; he is successful only in his imitations of those birds whose notes are simple and moderately delivered. He is, indeed, more remarkable for his indefatigable propensity than for his powers. Single sounds, from whatever source they may come, from birds, quadrupeds, reptiles, or machines, he gives very accurately; but I have heard numbers of Mocking-Birds in confinement attempt to imitate the Canary, and always without success. There is a common saying, that the Mocking-Bird will die of chagrin, if placed in a cage by the side of a caged Bobolink, mortified because he cannot give utterance to his rapid notes. If this were the cause of his death, he would also die when caged in a room with a Canary, a Goldfinch, or any of the rapidly singing Finches. It is also an error to say of his imitations, as the generality of writers assert, that they are improvements upon the originals. When he utters the notes of the Red-Bird, the Golden Robin, or the Common Robin, he does not improve them; and when he gives us the screaming of the Jay or the mewing of the Cat, he does not change them into music.

As an original songster, judging him by what he is capable of performing, however unfrequently he may exercise his powers to the best advantage, the Mocking-Bird is probably equalled only by two or three of our singing-birds. His notes are loud, varied, melodious, and of great compass. They may be compared to those of the Red Thrush, more rapidly delivered, and having more flute notes and fewer guttural notes and sudden transitions. He also sings on the wing and with fervor, like the Linnet, while the other Thrushes sing only from their perch. But his song has less variety than that of the Red Thrush, and falls short of it in as many respects as it surpasses it. For the greater part of the time, the only notes of the Mocking-Bird, when he is not engaged in mimicry, are a sort of melodious whistle, consisting of two notes about a fourth apart, uttered in quick, but not rapid, succession, and hardly to be distinguished from those of the Red-Bird of Virginia.

I heard the notes of the Mocking-Bird the first time in his native wilds, during a railroad journey by night, through the Pine Barrens of North Carolina, in the month of June. The journey was very tiresome and unpleasant, nothing being seen, when looking out upon the landscape, but a gloomy stretch of level forest, consisting of tall pines, thinly scattered, without any branches, except at their tops. The dusky forms of these trees, pictured against the half-luminous sky, seemed like so many giant spectres watching the progress of our journey, and increased the loneliness of the hour. Before daylight, when the sky was faintly crimsoned around the place where the sun was to come forth, the train made a pause of half an hour, at one of the stations, and the passengers alighted. While I was looking at the dreary prospect of desert, tired of my journey and longing for day, suddenly the notes of the Mocking-Bird came to my ear, and changed all my gloomy feelings into delight.

It is seldom I have felt so vividly the power of one little incident to change the tone of one's feelings and the humor of the occasion. As a few drops of oil, cast upon the surface of the waters, will quiet the troubled waves, so did the glad voice of this merry bird suddenly dispel all those sombre feelings which had been fostered by dismal scenes and a lonely journey. Nature never seemed so lovely as when the rising dawn, with its tearful beams and purple radiance, was greeted by this warbling salutation, as from some messenger of light, who came to announce that Morning was soon to step forth from her throne, and extend over all things her smiles and her beneficence.

Of the other American birds that sing in the night I can say nothing from my own observation. The most important of these is the New York Thrush, (Turdus aquaticus,) which is said to resemble the River Nightingale of Europe. This bird, which is common in the Western States, is said to sing melodiously night and day. Wilson remarks of this species, "They are eminently distinguished by the loudness, sweetness, and expressive vivacity of their notes, which begin very high and clear, falling with an almost imperceptible gradation, till they are scarcely articulated. At these times the musician is perched on the middle branches of a tree, over a brook or river-bank, pouring out his charming melody, that may be distinctly heard for nearly half a mile. The voice of this little bird appeared to me so exquisitely sweet and expressive, that I was never tired listening to it." This description is exactly applicable to the song of the Veery, supposed to be silent by Wilson, who could not have fallen into such an error, except by having confined his researches chiefly to the Middle and Southern States.

The Rose-breasted Grosbeak (Loxia rosea) is said to be an excellent songster, passing the greater part of the night in singing, and continuing vocal in confinement. This bird is common in the Western States, but until lately has seldom been seen in New England. I learn, however, from Mr. Fowler, that "the Rose-breasted Grosbeak is found in Essex County, and, though formerly seldom seen, is becoming every year more common. Like the Wood Thrush and Scarlet Tanager, it is retiring in its habits, and is usually found in the most sheltered part of the wood, where, perched about midway on a tree, in fancied concealment, it warbles its soft, clear, and melodious notes." He thinks this bird is not heard so frequently by night as by day, though it often sings in the light of the moon.

In connection with this theme, we cannot help feeling a sense of regret, almost like melancholy, when we reflect that the true Nightingale and the Skylark, the classical birds of European literature, are strangers to our fields and woods. In May and June there is no want of sylvan minstrels to wake the morn and to sing the vespers of a sweet summer evening. A flood of song wakes us at the earliest daylight; and the shy and solitary Veery, after the Vesper-Bird has concluded his evening hymn, pours his few pensive notes into the very bosom of twilight, and makes the hour sacred by his melody. But after twilight is sped, and the moon rises to shed her meek radiance over the sleeping earth, the Nightingale is not here to greet her rising, and to turn her melancholy beams into the cheerfulness of daylight. And when the Queen Moon is on her throne,

"Clustered around by all her starry Fays,"

the Whippoorwill alone brings her the tribute of his monotonous song, and soothes the dull ear of Night with sounds which, however delightful, are not of heaven. We have become so familiar with the Lark and the Nightingale, by the perusal of the romance of rural life, that "neither breath of Morn, when she ascends" without the charm of this her earliest harbinger, "nor silent Night" without her "solemn bird," seems holy, as when we contemplate them in the works of pastoral song. Poetry has hallowed to our minds the pleasing objects of the Old World; those of the New have to be cherished in song yet many more years, before they will be equally sacred to our imaginations.

By some of our writers the Mocking-Bird is put forward as equal in song to the Nightingale. This assumption might be worthy of consideration, if the American bird were not a mimic. But his mocking habits almost annihilate his value as a songster,—as the effect of a good concert would be spoiled, if the players were constantly introducing, in the midst of their serious performances, snatches of ridiculous tunes and uncouth sounds. I have never heard the Nightingale; but if I may judge from descriptions of its song, and from the notes of those Canaries which are said to give us perfect imitations of it, we have no bird in America that equals this classical songster. The following description, by Pliny, which is said to be superior to any other, may afford us some idea of the extent of its powers:—"The Nightingale, that for fifteen days and nights, hid in the thickest shades, continues her note without intermission, deserves our attention and wonder. How surprising that so great a voice can reside in so small a body! Such perseverance in so minute an animal! With what musical propriety are the sounds it produces modulated! The note at one time drawn out with a long breath, now stealing off into a different cadence, now interrupted by a break, then changing into a new note by an unexpected transition, now seeming to renew the same strain, then deceiving expectation. She sometimes seems to murmur within herself; full, deep, sharp, swift, drawling, trembling; now at the top, the middle, and the bottom of the scale. In short, in that little bill seems to reside all the melody which man has vainly labored to bring from a variety of musical instruments. Some even seem to be possessed of a different note from the rest, and contend with each other with great ardor. The bird, overcome, is then seen to discontinue its song only with its life."

The cause of the nocturnal singing of birds that do not go abroad during the night and are strictly diurnal in all their other habits has never been satisfactorily explained. It is natural that the Whippoorwill, which is a nocturnal bird, should sing during his hours of wakefulness and activity. There is also no difficulty in explaining why Ducks and Geese, and some other social birds, should utter their loud alarm-notes, when they meet with any midnight disturbance. These birds usually have a sentinel who keeps awake; and if he give an alarm, the others reply to it. The crowing of the Cock bears more analogy to the song of a bird, for it does not seem to be an alarm-note. This domestic bird may be considered, therefore, a nocturnal songster, if his crowing can be called a song; though it is remarkable that we seldom hear it during evening twilight. The Cock sings his matins, but not his vespers; he crows at the earliest dawn of day, and at midnight upon the rising of the moon, and whenever he is awakened by artificial light. Many singing-birds are accustomed to prolong their notes after sunset to a late hour, and become silent only to commence again at the earliest daybreak. But the habit of singing in the night is peculiar to a small number of birds, and the cause of it forms a curious subject of inquiry.

By what means are they enabled to sustain such constant watchfulness, singing and providing subsistence for their offspring during the day, and still continuing wakeful and musical while it is night? Why do they take pleasure in singing, when no one will come in answer to their call? Have they their worship, like religious beings, and are their midnight lays but the outpouring of the fervency of their spirits? Do they rejoice, like the clouds, in the presence of the moon, hailing her beams as a pleasant relief from the darkness that has surrounded them? Or in the silence of night, are their songs but responses to the sounds of the trees, when they bow their heads and shake their rustling leaves in the wind? When they listen to the streamlet, that makes audible melody only in the hush of night, do they not answer to it from their leafy perch? And when the moth flies hummingly through the recesses of the wood, and the beetle sounds his horn, what are their notes but cheerful responses to these sounds, that break sweetly upon the quiet of their slumbers?

Wilson remarks, that the hunters in the Southern States, when setting out on an excursion by night, as soon as they hear the Mocking-Bird sing, know that the moon is rising. He quotes a writer who supposes that it may be fear that operates upon the birds when they perceive the Owls flitting among the trees, and that they sing, as a timid person whistles in a lonely place, to quiet their fears. But the musical notes of birds are never used by them to express their fears; they are the language of love, sometimes animated by jealousy. It must be admitted that the moonlight awakes these birds, and may be the most frequent exciting cause of their nocturnal singing; but it is not true that they always wait for the rising of the moon; and if this were the fact, the question may still be asked, why these few species alone should be thus affected.