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is untrue to fact. So far from shunning the noise of folly, the nightingale sings as boldly as anywhere close to a stage-coach road, or a public path, as anyone will testify who recollects the ‘Wrangler’s Walk’ from Cambridge to Trumpington forty years ago, when the covert, which has now become hollow and shelterless, held, at every twenty yards, an unabashed and jubilant nightingale.

Coleridge surely was not far wrong when he guessed that –

‘Some night-wandering man, whose heart was pierced
With the remembrance of a grievous wrong,
Or slow distemper, or neglected love
(And so, poor wretch, filled all things with himself,
And made all gentle sounds tell back the tale
Of his own sorrow)–he, and such as he,
First named these sounds a melancholy strain,
And many a poet echoes the conceit.’

That the old Greek poets were right, and had some grounds for the myth of Philomela, I do not dispute; though Sophocles, speaking of the nightingales of Colonos, certainly does not represent them as lamenting. The Elizabethan poets, however, when they talked of Philomel, ‘her breast against a thorn,’ were unaware that they and the Greeks were talking of two different birds; that our English Lusciola Luscinia is not Lusciola Philomela, one of the various birds called Bulbul in the East. The true Philomel hardly enters Venetia, hardly crosses the Swiss Alps, ventures not into the Rhineland and Denmark, but penetrates (strangely enough) further into South Sweden than our own Luscinia: ranging meanwhile over all Central Europe, Persia, and the East, even to Egypt. Whether his song be really sad, let those who have heard him say. But as for our own Luscinia, who winters not in Egypt and Arabia, but in Morocco and Algeria, the only note of his which can be mistaken for sorrow, is rather one of too great joy; that cry, which is his highest feat of art; which he cannot utter when he first comes to our shores, but practises carefully, slowly, gradually, till he has it perfect by the beginning of June; that cry, long, repeated, loudening and sharpening in the intensity of rising passion, till it stops suddenly, exhausted at the point where pleasure, from very keenness, turns to pain; and –

‘In the topmost height of joy
His passion clasps a secret grief.’

How different in character from his song is that of the gallant little black-cap in the tree above him. A gentleman he is of a most ancient house, perhaps the oldest of European singing birds. How perfect must have been the special organization which has spread seemingly without need of alteration or improvement, from Norway to the Cape of Good Hope, from Japan to the Azores. How many ages must have passed since his forefathers first got their black caps. And how intense and fruitful must have been the original vitality which, after so many generations, can still fill that little body with so strong a soul, and make him sing as Milton’s new-created birds sang to Milton’s Eve in Milton’s Paradise. Sweet he is, and various, rich, and strong, beyond all English warblers, save the nightingale: but his speciality is his force, his rush, his overflow, not so much of love as of happiness. The spirit carries him away. He riots up and down the gamut till he cannot stop himself; his notes tumble over each other; he chuckles, laughs, shrieks with delight, throws back his head, droops his tail, sets up his back, and sings with every fibre of his body: and yet he never forgets his good manners. He is never coarse, never harsh, for a single note. Always graceful, always sweet, he keeps perfect delicacy in his most utter carelessness.

And why should we overlook, common though he be, yon hedge-sparrow, who is singing so modestly, and yet so firmly and so true? Or cock- robin himself, who is here, as everywhere, honest, self-confident, and cheerful? Most people are not aware, one sometimes fancies, how fine a singer is cock-robin now in the spring-time, when his song is drowned by, or at least confounded with, a dozen other songs. We know him and love him best in winter, when he takes up (as he does sometimes in cold wet summer days) that sudden wistful warble, struggling to be happy, half in vain, which surely contradicts Coleridge’s verse:-