In Bird Land :: XI. THE WOOD-PEWEE. A MONOGRAPH.

XI. THE WOOD-PEWEE. A MONOGRAPH.

Almost every person living in the country or the suburbs of a town is familiar with the house-pewee, or phoebe-bird. It is usually looked upon as the sure harbinger of spring. In my boyhood days my parents and grandparents were wont to say, “Spring is here; the phoebe is singing.” And if blithesomeness of tone and good cheer have anything to do with the advent of the season of song and bursting blossoms, the pewit, as he is often called, must be a true herald and prophet. He seems to carry the “subtle essence of spring” in his tuneful larynx, and in the graceful sweep of his flight as he pounces upon an insect. It is quite easy to make the transition from his familiar song of Phe-e-by to the exclamation, Spring’s here! by a little stretch of the fancy.

But the phoebe has a woodland relative, a first cousin, with which most persons are not so well acquainted, because he is more retiring in his habits, and seeks out-of-the-way places for his habitat. I refer to the wood-pewee. If your eyes and ears are not so sharp as they should be, you may get these two birds confounded; yet there is no need of making such a blunder. The woodland bird is smaller, slenderer, and of a darker cast than his relative; and, besides, there is a marked difference in the musical performances of these birds. The song of the phoebe is sprightly and cheerful, and the syllables are uttered rather quickly, while the whistle of the wood-pewee is softer and more plaintive, and is repeated with less emphasis and more deliberation. There is, indeed, something inexpressibly sad and dreamy about the strain of the wood-pewee, especially if heard at a distance in the “emerald twilight” of the “woodland privacies.” Mr. Lowell seldom erred in his attempts to characterize the songs and habits of the birds, but in his exquisite poem entitled “Phoebe” he certainly must have referred to the wood-pewee and not to the phoebe-bird, as his description applies to the former but not to the latter. He calls this bird “the loneliest of its kind,” while the pewit is a familiar species about many a country home. Taking it for granted that he meant the wood-pewee, how happy is his description!

“It is a wee sad-colored thing,

As shy and secret as a maid;

That ere in choir the robins ring,

Pipes its own name like one afraid.

“It seems pain-prompted to repeat

The story of some ancient ill,

But Phoebe! Phoebe! sadly sweet,

Is all it says, and then is still.

· · · · · · ·

“Phoebe! it calls and calls again;

And Ovid, could he but have heard,

Had hung a legendary pain

About the memory of the bird.

· · · · · · ·

“Phoebe! is all it has to say

In plaintive cadence o’er and o’er,

Like children who have lost their way,

And know their names, but nothing more.”

This poetical tribute is certainly very graceful, and would be true to life if the phonetic representation were a little more accurate. Instead of Phoebe, imagine the song to be Pe-e-w-e-e-e or Phe-e-w-e-e-e, and you will gain a clear idea of the minstrelsy of this songster of the wildwood. However, he frequently varies his tune,—to prevent its becoming monotonous, I opine. He sometimes closes his refrain with the falling inflection or circumflex, and sometimes with the rising, as the mood prompts him. In the former case the first syllable receives the greater emphasis and is the more prolonged, and in the latter this order is precisely reversed. When the last syllable is uttered with the rising circumflex, it is usually, if not always, cut off somewhat abruptly. Moreover, this minstrel often runs the two syllables of his song together,—a peculiarity that I have represented in my notes, taken while listening to the song, in this way: Phe-e-e-o-o-w-e-e-e! There is a characteristic swing about the melody that refuses to be caught in the mesh of letters and syllables.

In some of the pewee’s vocal efforts he does not get farther than the end of the first syllable. The song seems to be cut off short, as if the notes had stuck fast in the singer’s throat, or as if something had occurred to divert his mind from the song. Perhaps this hiatus is caused by the sudden appearance of an insect glancing by, which attracts the musician’s attention. This bird usually chooses a dead twig or limb in the woods as a perch, on which he sits and sings, turning his head from side to side, so that no flitting moth may escape him.

And what a persistent singer he is! He sings not only in the spring when other vocalists are in full tune, but also all summer long, never growing disheartened, even when the mercury rises far up into the nineties. What a pleasant companion he has been in my midsummer strolls as I have wearily patrolled the woods! On the sultriest August days, when all other birds were glad to keep mute, sitting on their shady perches with open mandibles and drooping wings, the dreamful, far-away strain of the wood-pewee has drifted, a welcome sound, to my ears through the dim aisles. He seems to be a friend in need. How often, when the heat has almost overcome me, as I pursued my daily beat, that song has put new vigor into my veins! When Mr. Lowell wrote that

“The phoebe scarce whistles

Once an hour to his fellow,”

he must have been listening to a far lazier specimen than those with which I am acquainted.

Most birds fall occasionally into a kind of ecstasy of song, and the wood-pewee is no exception. One evening, after it had grown almost dark, a pewee flew out into the air directly above my head from a tree by the wayside, and began to sing in a perfect transport as he wheeled about; then he swung back into the tree, keeping up his song in a continuous strain, and in sweet, half-caressing tones, until finally it died away, as if the bird had fallen into a doze during his vocal recital. I lingered about for some time, but he did not sing again. Why should he repeat his good-night song?

I have frequently heard young pewees in midsummer singing in a continuous way, instead of whistling the intermittent song of their elders. It sounds very droll, giving you the impression that the little neophyte has begun to turn the crank of his music-box and can’t stop. His voice is quite sweet, but his execution is very crude. Wait, however, until he is eight or nine months older, and he will show you what a winged Orpheus can do. My notes say that on the thirtieth of July, 1891, I heard a “pewee’s quaint, prolonged whistle, interlarded with his ordinary notes.” Thus it will be seen that he is a somewhat versatile songster, proving the poet’s lines half true and half untrue:—

“The birds but repeat without ending

The same old traditional notes,

Which some, by more happily blending,

Seem to make over new in their throats.”

Younger readers may, perhaps, need to be informed that the wood-pewee belongs to the family of flycatchers, as do also the king-bird or bee-martin, the phoebe-bird, the great-crested flycatcher, and a number of other interesting species, all of which have a peculiar way of taking their prey. The pewee will sit almost motionless on a twig, lisping his plaintive tune at intervals, until a luckless insect comes buzzing near, all unconscious of its peril, when the bird will make a quick dash at it, seize it dexterously between his mandibles, and then circle around gracefully to the same or another perch, having made a splendid “catch on the fly.” If the quarry he has taken is small, it slips at once down his throat; but should it be too large to be disposed of in that summary way, he will beat it into an edible form upon a limb before gulping it down. Agile as he is, he sometimes misses his aim, being compelled to make a second, and occasionally even a third attempt to secure his prize. I have witnessed more than one comedy which turned out to be a tragedy for the ill-starred insect. Sometimes the insect will resort to the ruse of dropping toward the ground when it sees the bird darting toward it, and then a scuffle ensues that is really laughable, the pursuer whirling, tumbling, almost turning somersault in his desperate efforts to capture his prize. Once an insect flew between me and a pewee perched on a twig, when the bird darted down toward me with a directness of aim that made me think for a moment he would fly right into my face; but he made a dexterous turn in time, caught his quarry, and swung to a bough near by. If one were disposed to be speculative, one might well raise Sidney Lanier’s pregnant inquiry at this point, the reference being to the southern mocking-bird, and not to our pewee,—

“How may the death of that dull insect be

The life of yon trim Shakspeare, on the tree?”

It has been my good fortune to find one, but only one, nest of this bird. It was placed on a horizontal branch about fifteen feet above the ground, and was a neat, compact structure, decorated on the outside with grayish lichens and moss, giving it the appearance of an excrescence on the limb.[6] It is said by those who have closely examined the nests, that they are handsomely built and ornamented, and are equalled only by the dainty houses of the humming-bird and the blue-gray gnat-catcher. The eggs, usually four in number, are of a creamy white hue, beautifully embellished with a wreath of lavender and purplish-brown around the larger end or near the centre.

Though our bird prefers solitary places for his home, he is far from shy, if you call on him in his haunt in the wildwood. He will sit fearless on his perch, even if you come quite near, looking at you in his staid, philosophical way, as if you were scarcely worth noticing. Nor will he hush his song at your approach, although he does not seem to care whether you listen to him or not. It is seldom that he can be betrayed into doing an undignified act; and even if he does almost turn a somersault in pursuing a refractory miller, he recovers his poise the next moment, and settles upon his perch with as much sang froid as if nothing unusual had occurred. Altogether, the wood-pewee is what Bradford Torrey would call a “character in feathers.”

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