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Many persons, I presume, have admired Wordsworth’s poem on the cuckoo, without recognizing its truthfulness, or how thoroughly, in the main, the description applies to our own species. If the poem had been written in New England or New York, it could not have suited our case better:–

“O blithe New-comer! I have heard,
I hear thee and rejoice,
O Cuckoo! shall I call thee Bird,
Or but a wandering Voice?

“While I am lying on the grass,
Thy twofold shout I hear,
From hill to hill it seems to pass,
At once far off, and near.

“Though babbling only to the Vale,
Of sunshine and of flowers,
Thou bringest unto me a tale
Of visionary hours.

“Thrice welcome, darling of the Spring!
Even yet thou art to me
No bird, but an invisible thing,
A voice, a mystery;

“The same whom in my schoolboy days
I listened to; that Cry
Which made me look a thousand ways
In bush, and tree, and sky.

“To seek thee did I often rove
Through woods and on the green;
And thou wert still a hope, a love;
Still longed for, never seen.

“And I can listen to thee yet;
Can lie upon the plain
And listen, till I do beget
That golden time again.

“O blessed Bird! the earth we pace
Again appears to be
An unsubstantial, faery place;
That is fit home for thee!”

Logan’s stanzas, “To the Cuckoo,” have less merit both as poetry and natural history, but they are older, and doubtless the latter poet benefited by them. Burke admired them so much that, while on a visit to Edinburgh, he sought the author out to compliment him:–

“Hail, beauteous stranger of the grove!
Thou messenger of spring!
Now Heaven repairs thy rural seat,
And woods thy welcome sing.

“What time the daisy decks the green,
Thy certain voice we hear;
Hast thou a star to guide thy path,
Or mark the rolling year?

. . . . . . . .

“The schoolboy, wandering through the wood
To pull the primrose gay,
Starts, the new voice of spring to hear,
And imitates thy lay.

. . . . . . . .

“Sweet bird! thy bower is ever green,
Thy sky is ever clear;
Thou hast no sorrow in thy song,
No winter in thy year.”

The European cuckoo is evidently a much gayer bird than ours, and much more noticeable.

“Hark, how the jolly cuckoos sing
‘Cuckoo!’ to welcome in the spring,”

says John Lyly three hundred years agone. Its note is easily imitated, and boys will render it so perfectly as to deceive any but the shrewdest ear. An English lady tells me its voice reminds one of children at play, and is full of gayety and happiness. It is a persistent songster, and keeps up its call from morning to night. Indeed, certain parts of Wordsworth’s poem–those that refer to the bird as a mystery, a wandering, solitary voice–seem to fit our bird better than the European species. Our cuckoo is in fact a solitary wanderer, repeating its loud, guttural call in the depths of the forest, and well calculated to arrest the attention of a poet like Wordsworth, who was himself a kind of cuckoo, a solitary voice, syllabling the loneliness that broods over streams and woods,–

“And once far off, and near.”

Our cuckoo is not a spring bird, being seldom seen or heard in the North before late in May. He is a great devourer of canker-worms, and, when these pests appear, he comes out of his forest seclusion and makes excursions through the orchards stealthily and quietly, regaling himself upon those pulpy, fuzzy titbits. His coat of deep cinnamon brown has a silky gloss and is very beautiful. His note or call is not musical but loud, and has in a remarkable degree the quality of remoteness and introvertedness. It is like a vocal legend, and to the farmer bodes rain.