Well, I have told you about the Humming-birds and the Birds of Paradise, which are the most beautiful birds that there are in the world. Now I will tell you about just a few other ones which are very beautiful, although they are not quite so beautiful as those are. One of them is the Cock-of-the-Rock, a bird which lives in South America, where the Humming-birds live. There are three kinds and they are all handsome, but the handsomest, I think, is the one that is called the Blood-red Cock-of-the-Rock. It is about the size of a small pigeon, and of the most wonderful blood-red colour you can imagine. You would think, when you saw it first, that it had not one feather on the whole of its body that was not of this brilliant crimson, but, after a little, when your eyes are not so dazzled, you see that its wings and tail are not red but brown. Only, when the wings are shut they are almost quite covered up by the flaming feathers of the back, and just on one part—that part which we should call the shoulders—they are red too. “A scarlet bird! A crimson bird!” that is what you would say first, if you were to see this wonderful Cock-of-the-Rock, and then, all at once, you would cry out, “Oh, but where is his beak? Why, he has no beak!” Yes, and you might almost say, “Where is his head?” for you don't see that either—at least, you only see the back of it, all the rest, and the beak too, is hidden in a wonderful crest of crimson feathers that almost looks like the head itself, only it is a little too big for that. This crest is just the shape of a tea-cosy, so that it looks as if some one had put a little tea-cosy made of the most splendid blood-red, fiery, crimson-sunset feathers right over the bird's head and covered it quite up. You see no beak at all, and it does look so funny to see a bird without a beak—almost as funny as it would to see a beak without a bird.

The two other kinds of Cock-of-the-Rock are very handsome birds, too. One of them has all its plumage orange-coloured, instead of crimson, and the other is of a colour between orange and crimson. So, if you were travelling from one part of South America to another, it would seem as if the same bird was getting brighter and brighter or darker and darker all the way, for the three different kinds do not live in the same parts of the country, but in different parts that join each other. Only, of course, you would have to go in the right direction, which would be, first, through the forests of British Guiana, then along the banks of the great river Amazon—which is the largest river in the world—then up the mountains of Peru, and then, still higher, up those of Ecuador. Or, you might start from Ecuador and go all the way to British Guiana. If you get an atlas and look for the map of South America, your mother will soon show you where all these places are.

Now after what you know about the Humming-birds and the Birds of Paradise, you will not be surprised to hear that this brilliant crimson or orange-coloured bird has quite a sober-coloured wife, and that he is as careful to please her, as they are, by showing her his beautiful bright plumage in all the ways in which it looks best; in fact he is so very careful about it that I feel quite sure he pleases himself by doing so, at the same time. You know now that male birds dance, when they show their fine feathers to their wives and sweethearts, for I have told you about the “sÁcalelis” of the Great Bird of Paradise, and the way in which those other Birds of Paradise danced whilst the two travellers were watching them. But some birds have still more wonderful dances than these; at least they behave in a way that is even more like real dancing. Now the Cock-of-the-Rock is a very fine dancer indeed, and he has a regular place to dance and play in, which we may call his ball-room, or his drawing-room, or his play-ground—whichever name we like best. He chooses it in some part of the forest where it is a little open, and where the ground is soft and mossy, and here, every day, a number of birds assemble, some males and some females; for of course the hen-birds come too, there would be nothing to dance for without them. Then first one of the cocks walks out into the middle of the open space and begins to dance. He flutters and waves his wings, moves his head, with its wonderful crimson tea-cosy, from side to side, and hops about with the queerest little jumpy steps you ever saw. As he goes on he gets more and more excited, springs higher and higher into the air, waves his wings more and more violently, and shakes his head as if he were trying to shake off the tea-cosy, so as to have a cup of tea to refresh himself. All the other birds stand and look at him, criticise his performance, turn their heads towards each other, and make remarks, you may be sure. “How elegant!” exclaims a young hen Cock-of-the-Rock. “What spring! What elasticity! Really he is a very fine performer.” “I have seen finer ones in my time,” says an older hen—in fact quite an elderly bird. “One could judge better, however, if there were some one else to compare him with. He seems to be having it all his own way. In my time there was more emulation amongst male birds.” And you may be sure that, as soon as she says that, ever so many other Cocks-of-the-Rock step out into the ring, and there they are, all dancing together, all springing and jumping, all waving their wings, and all trying to shake the tea-cosies off their heads, so as to have a cup of tea for refreshment after all that exercise. Perhaps you will say that that is nonsense, because there is no teapot under the tea-cosy; but remember that no one has ever taken that tea-cosy off. How can you tell what is under a tea-cosy until you take it off. (Your mother will tell you that this is only fun.)

But what a strange, curious dance it is, this wonderful bird dance, all in the wild, lonely forest. Oh, how interesting it would be to see it—to find out one of those little, open places where the moss is all pressed smooth and firm, and then to hide somewhere near, and wait there quietly, quietly, without making a sound, all alone in the great, wild, lonely forest, until at last—at last—there is a crimson flash amongst the tree-trunks, and then another and another and another, as bird after bird comes flying or walking to the ball-room, and the dance begins. And sometimes you would see them chasing each other through the forest, all very excited, and often clinging to the trunks of the trees, and spreading and ruffling out their lovely plumage, so as to show it to each other, each one seeming to say, “I think mine is finer than yours; perhaps I may be mistaken, but I think so.” What beautiful birds! and what funny birds, and what interesting things they do whilst they are alive! As soon as they are dead they are not funny or interesting any more, and they are only beautiful as a shawl or a piece of embroidery is beautiful. It is dead beauty then; the beauty of life—which is the highest beauty of all—is gone out of them.

Now you can see many and many beautiful things that never had life in them, though some, such as beautiful statues and pictures, imitate life so marvellously that you would almost think they were alive. And you can admire these beautiful things, and take pleasure in looking at them, without having to feel sorry that they once were alive and happy, but have been killed for you to look at. Surely you would not wish a beautiful, happy bird to be killed, just for you to look at. You would not even wish it to be put in a cage and kept alive, in a way in which it could not be happy. No, you would rather know that it was alive and happy in its own country, and only imagine what it was like, and how beautiful it was. That is much the best way of seeing creatures, if we have no other way without killing them or putting them in prison—to imagine them; and there is ever so much more pleasure in imagining creatures alive and happy than in seeing them dead or wretched. It is a very fine thing, I can tell you, to imagine, and some people can do it a great deal better than others. There are people who cannot do it at all, but we do not want birds killed for stupid persons. People who cannot imagine can do capitally without seeing, either—just as well as people who can imagine, only in another way. Now, just ask your mother to promise not to wear any hat that has the feathers of a beautiful Cock-of-the-Rock in it.

In Australia—oh, but perhaps you want to know why this handsome bird is called the Cock-of-the-Rock, such a very funny name. Well, although it lives in forests and flies about amongst the trees, yet some of these forests are on the sides of mountains, so, of course, there are rocks all about. The Cock-of-the-Rock likes to perch upon a very high one; so, when the old travellers first saw it perched up there, and looking such a fine bird, they called it a Cock-of-the-Rock, and almost expected to hear it crow. At least, if this is not the right explanation, it is the only one I can think of. The Indians may have another one, but if they have I cannot tell it you, because I do not know what it is. Perhaps if I were to think a little, I should know—or else I could imagine it—but I have no time to think or imagine just at present. I want to get on.

In Australia, the great island-continent—the island that is so large that we call it a continent—there is a wonderful bird called the Lyre-bird. It is one of the most wonderful and the most beautiful birds that there is in the world, and all its wonder and all its beauty lies in its tail. This wonderful tail—as I am sure you will guess from the name of the bird—is shaped like a lyre, though it is much more beautiful than any lyre ever was, even the one that Apollo played on. You know, I dare say, what a lyre is, a kind of harp with a very graceful shape, curving first out and then in, and then out again on each side, and with the strings in the centre. Now the Lyre-bird has, on each side of its tail, two beautiful, broad feathers that curve in this way, and are of a pretty chestnut colour, with transparent spaces all the way down. These are the two outer tail feathers, and they are like the two sides of the lyre—the solid part of it which is held in the hand, and which we call the framework. Then, for the strings, which, as you know, are stretched across the hollow space within the framework, not from side to side, but lengthways from one end to the other, the Lyre-bird has a number of most beautiful, thin, graceful feathers, more graceful and delicate than the strings of any harp. Only, instead of being straight, like harp strings, these feathers are curved, and droop over to each side in a most graceful way, and instead of keeping inside the two broad feathers—the sides of the lyre—they come a long way past them, and instead of being only four, which is the number of strings that a lyre has, there are ever so many of them—more than a dozen, I feel sure. And if you could see these feathers, and the way they are made, oh, you would think them wonderful. You know that on each side of the quill of most feathers there is what is called the web—which we have talked about—and this web is made of a number of little, light, delicate sprays, like miniature feathers, which we call barbs, and these are kept close together by having a lot of little, tiddy-tiny hooks (though such soft little things don't look like hooks a bit), which are called barbules, with which they catch hold of each other, and won't let each other go. That is why the web of a feather—on each side of the quill—is so smooth and even. But, now, in these wonderful feathers of the Lyre-bird, the little delicate things (the barbs) which make the webs are much fewer than in ordinary feathers, and they have no little hooks to catch hold of each other with, and instead of being all together, they are a quarter of an inch apart, and wave about, each by itself, looking like very delicate threads floating from the long slender quill of the feather. And that, too, is how those beautiful plume-feathers of the Birds of Paradise are formed, and you have seen something like it in the long ones of the peacock's tail. The tail of the Lyre-bird is not so grand, perhaps, as that of the peacock, but it is more graceful and delicate, and on the whole, I think (for on such points one can never be sure) it is still more wonderful.

But now is it not very strange that any bird should have a tail like that—a tail that is shaped like Apollo's lyre? Well, I will tell you how it happened, for it is one of those things that requires an explanation—and is lucky. Once the great god Apollo (who is the god of music and song) was walking in Australia and playing upon his lyre. Now, I must tell you, at that time—it was a very long time ago—the Lyre-bird had not a tail like it has now, but quite an ordinary one; so, as it is only its tail that is extraordinary, it was quite an ordinary bird. But although it was ordinary in appearance, it was extremely musical, as it is now—I must tell you that—and also a wonderful imitator of every sound that can be made. The Lyre-bird can imitate all the different notes of other birds, as well as the barking of dogs, the mewing of cats, and the conversation of people.

So, when it heard Apollo playing so sweetly on his lyre, it was quite enraptured, and began to imitate it so cleverly that you would have thought there were two Apollos playing on two lyres. All the other birds and creatures were delighted at this—for, of course, two good things are better than only one—but, for some reason or other which I cannot quite explain, Apollo was not nearly so pleased. In fact, he became angry, and so angry that he threw his lyre at the poor bird who had so appreciated his music, and the lyre hit it on the tail as it ran away and cut it right off. Of course, when the Lyre-bird found that it had no tail it was in a terrible state, and it came to Apollo and said: “It was because I loved your music that I tried to imitate it. I failed, no doubt—for who can sing as Apollo?—but still it is a hard price to have to pay for my admiration.” And when Apollo heard that, he was so sorry for what he had done, and so pleased with the way in which the Lyre-bird had explained things, that he said to it: “Well, I will make amends, and what I give shall be better than what I took away. The lyre which I threw at you, you shall keep, but it shall be of feathers, and even more beautiful than my own. You shall not play on it, for none but myself must do that, but you shall always be a most musical bird, as you are now, and able to imitate any sound that you hear, even my own playing. That power I will not take away from you, I will even increase it, and from this time forth you shall be called the Lyre-bird, in honour of your piety and good taste.”

That is how the Lyre-bird got its tail, and why it is, now, a very beautiful, as well as a very musical, bird. But what its tail was like before Apollo gave it the one it has now, that I cannot tell you, for it has never been known to allude to the subject, and it would hardly do to ask it. We only know that it was quite ordinary. But, do you know, Apollo never quite liked the Lyre-bird's imitating him, even though he had told it that it might, and so, not so very long afterwards, he left the country. He went to Greece—it was a very long time ago—and he has not gone back to Australia yet.

Now you may be sure that a bird with a tail like that has his playing ground, where he may come and show it to his wife or sweetheart; for it is only the male bird who has it—like the others—though, really, I cannot think what Apollo was about, not to give it to the hen as well, for he was always a very polite god. The Lyre-bird's playground is a small, round hillock—which he makes all himself—and there he will come and walk about, raising his magnificent tail right up into the air, and spreading it out in the most beautiful and graceful way. And, as he does this, he will sing so beautifully, sometimes his own notes, which are very pretty ones, and sometimes those of other birds, all of which he can imitate quite well. But, of course, as Apollo has left Australia, he cannot imitate him any more now, and after such a long time he has forgotten what he learnt, unless, indeed, his own notes are what Apollo used to play. But, if that is the case, he must have left off singing his old song, and I do not think he would have done that.

This wonderful bird builds a wonderful nest with a roof to it, so that he can get right inside it and be quite hidden from sight, tail and all, although he is so large—almost as large as a pheasant, even without counting his tail. As a rule it is only little birds that make nests like that, and not big ones. The Lyre-bird's nest is something like the one that our little wren makes—which perhaps you have seen—only of course ever so much bigger. Only one egg is laid in it, and out of it comes one of the queerest little birds you can imagine, all covered with white, fluffy down, and with no tail at all that you can see, so that you would never think he was going to grow into a Lyre-bird. It takes him four years to get that wonderful tail. Apollo did not mean him to have it, until he was quite grown up—it was not a thing to be entrusted to children.

Now you must not think that the Lyre-bird always holds his tail up in the air, for when he walks through the thick bushes he has to carry it as a pheasant does, and I think you know how that is. As soon as he wants to show it to his wife or his sweetheart, up it goes, and oh, it does look so beautiful!

But now, if it were not for that promise which your mother is going to make you, there would very soon be no more of these wonderful birds, with their wonderful and beautiful tails, left in Australia, which would mean that there would be none in the whole world, for Australia is the only country in the world where they are found. People like much better to see that beautiful tail in their rooms, where it will soon get spoilt and dusty, or to put some feathers of it in their hats, than to know that the bird is running about with it, alive and happy, holding it down like a pheasant's when he walks through the bushes, but raising it in the air when he stands on his little hillock, for the hen Lyre-bird to see, and singing her a song as well. People who live in Australia—and there are a great many people who live there—might often see it doing that if they were to take a little trouble (they take a great deal of trouble to kill it), and, even if they could not see it, they would hear its beautiful song. But they like much better to kill it, so that there may be a little less song and beauty and happiness in the world, and all because of the wicked little demon with the correct suit of clothes. But all this is going to be altered, and you are going to alter it. Just run to your mother, wherever she is—if she is not with you now—and ask her to promise, ever so faithfully, never to have anything whatever to do with a hat that has so much as one single feather of a Lyre-bird in it.