Watching Wheatears, Dabchicks, Oyster-catchers, etc.

The wheatear is common over the warren-lands, and as I have been so fortunate as to witness for a whole afternoon, and very closely, a series of combined displays and combats on the part of two rival males, which struck me as very interesting, and as bearing on the question of sexual selection, I will give the account in extenso, as I noted it down from point to point between the intervals of following the birds about on my hands and knees. Should the narrative be tedious—and it is, I confess, somewhat minute—I need not ask my readers to absolve nature and give me the blame of it, for I am assured that anyone in the least degree interested in birds and their ways might have lain and watched these bizarreries a hundred times repeated, without wishing to get up and go. My observations were made on the last day but one of March, and are as follows:—

"2.30 (about).—Two male wheatears have for some time been hopping about in each other's company, and one now makes a hostile demonstration against the other. This he does by advancing and lowering the head, with the beak pointed straight forward, ruffling out the feathers, fanning the tail, and making a sudden, swift run towards him. He stops, however, before the point of actual contact, and the two birds hop about, each affecting to think very little about the other." The wheatear, I should say, always hops, and, by so doing, always give me something of a surprise, for there is that in his appearance which does not suggest hopping, but rather that he would run over the ground like a wagtail. His hops, however, are so quick, and take him forward so smoothly, that the effect on the eye is often much more like running than hopping. I therefore often speak of him as running, though, I believe, he never does so in the strict sense of the word. To continue. "After some time, during which there was nothing specially noteworthy in their behaviour, the two birds flew, one after the other, to some little distance off on a higher and more sandy part of the warren, and here a female wheatear appeared, hopping near them. One of the males at once ran to her, but had instantly to fly before the fierce wrath of the other. The hen then flew to a stunted willow in the neighbourhood, where she sat perched amongst the topmost twigs, the males not following her, but continuing to hop about in each other's vicinity as before. She remained there some five or ten minutes, when she flew out over the warrens, and with my attention concentrated on the rival birds, I lost her, and cannot say where she went down.

"One of the male wheatears now enters a shallow depression in the ground—not a hole, or the mouth of a rabbit-burrow, but one of those natural fallings away of the soil which make rugged and give a character to these sandy, lichen-clothed wastes. As soon as he is in it he seems to become excited, and running forward and coming out on the opposite brink, he flies from this to the one by which he has entered, hardly two feet off, then instantly back again, again to the other, and so backwards and forwards some dozen or twenty times, so rapidly that he makes of himself a little arch in the air constantly spanning the hollow, all in the greatest excitement. Finishing here, he runs a little way to another such depression, enters it, and coming out again, acts in precisely the same way, making the same little rapidly moving arch of two black up-and-down-pointed wings, moving now this way, now that, now forwards, now backwards, from edge to edge of the trough, perching each time on each edge of it, but so quickly, it seems rather to be on the points of the wings than the feet that he comes down. Wings are all one sees; they whirl forwards and backwards, backwards and forwards, making a little arch or bridge, the highest point of which, in the centre—which is the point of the upper wing—is some two feet from the floor of the trough, whilst the point of the lower one almost touches it. All this time the other male bird is quite near, but seems to take little notice of the performance. At length the frenzied one desists from his madness of motion, and the two now hop about over the warren as before, closely in each other's company. In some ten minutes or so there is the same display—or rather frenzy—but whether made by the same bird or the other one I am unable to say. This time it commences on the even turf and not in a hollow, but after a few throws the bird finds one and throws, thenceforth, over that." I have seen, I think, a Japanese acrobat throw a wonderful succession of somersaults backwards and forwards within his own length. With the bird there was no somersault, but the effect was something the same. The man's body also presented the appearance of an arch in the air (as when one vibrates a lighted joss-stick from side to side), but, as the bird moved much more quickly, the resemblance in its case was more perfect.

"Once or twice again, now, one of the two birds acts in the same way, always seeming to prefer to do so over a depression in the ground. One then flies up a little way into the air, descends again, and, on alighting, instantly recommences as before, again, I think, over a slight hollow. The motion is equally violent, but not so long continued, some seven or eight flings, perhaps, in all. At the end of it he stops still, advances the head straight forwards, lowering it a trifle, swells the feathers, and broadly fans the tail. Then the two birds fly at each other, but almost in the act of closing they part, with a little twitter, and commence hopping over the warren as before. It is a constant little run of hops, a pause, and then another little run of hops, each bird following the other about in turn, the distance between them being, as a rule, from two or three feet to five or six paces.

"3.10.—Another little fly up into the air, followed by the frenzied dance on descending. Then the two come together in the mouth of a rabbit-burrow, fly at each other as before, separate again almost immediately, and continue their hopping over the warren, the one still dogging the other.

"3.30.—The two fly at each other as though to fight; but, again, just as they seem about to meet, they avoid, and quicker than the eye can follow they are a yard or so apart. One of them then dances violently from one depression of the soil to another, arching the space between the two; at the end of it he fans out the tail and stands looking defiantly at his rival, who fans his and returns the glance, then makes a little run towards him, sweeping the ground with it. Instead of fighting, however, which both the champions seem to be chary of, one of them again runs into a hollow—this time a very shallow one—and begins to dance, but in a manner slightly different. He now hardly rises from the ground, over which he seems more to spin in a strange sort of way than to fly—to buzz, as it were—in a confined area, and with a tendency to go round and round.[9] Having done this a little, he runs quickly from the hollow, plucks a few little bits of grass, returns with them into it, drops them there, comes out again, hops about as before, flies up into the air, descends, and again dances about.

"At about four the female reappears, flying from the warren towards the same willow-tree where she had before sat. She perches in it again, and after remaining but a short time, flies down, and once more becomes invisible. Shortly afterwards one of the male birds flies to a little distance, but whether towards her or not I cannot say. He then rises into the air and descends with a twittering song, upon which the other one, who has remained where he was, does so too. The two are now a good way apart, but the distance is soon diminished till they are again quite near, when one of them flies away, then turns and flies back again and settles not quite so near. As he does so, the other one flies in an opposite direction, and at the end of his flight rises into the air with the twitter-song and descends, when the other immediately does the same, just as before. Then again they hop, now this way, now that way, but always diminishing the distance, till at length not more than some three or four feet separates them. But it must not be supposed (and this applies throughout) that the birds seem to have any sinister intention, or even any impertinent curiosity, in regard to each other. They do not advance openly to the attack, but get to close quarters in a very odd sort of way. Seeming for the most part to be unconscious of each other's presence, hopping constantly away from and approaching one another but obliquely, they in reality dog each other's steps and keep a constant eye on each other's movements. When at length there is but this short space between them, they stand for a moment looking at each other, yet without any very warlike demonstration. Then, all at once, one darts upon the other—so swiftly that I cannot be sure whether he flies, hops, or does both—and there is now a fierce and prolonged fight. For a moment or two they are in the air (though not at any height), then struggling on the ground, when one, getting uppermost, holds the other down. At last they separate, and for a few seconds stand close together as though recovering breath. Then, as by mutual consent, they retire from each other to a short distance and hop about again in the same manner as before. One of them then again flies singing into the air, and on coming down dances, but to this the other does not respond, and now all goes on in the usual way, the birds getting once or twice again quite close, but separating without fighting. At half-past four there is another twittering flight into the air, and a dance on descent, which is emulated in a few minutes by the rival bird. Shortly afterwards one flies a considerable way off, but is followed almost at once by the other, and the same thing goes on. Then there is another flight and song with, this time, no dance on descent, but, as though to make up for this omission, on the next occasion, which is some few minutes afterwards, there are two distinct transports on alighting, separated by a short interval. On this occasion the bird did not sing either in ascending or descending.

"Here some other birds claimed my attention, and I was away for a quarter of an hour. On returning, at a quarter to five, I found the two wheatears still together, and precisely the same thing going on. Shortly after five they again fought, but this time entirely in the air. They mounted, fighting, to a considerable height, descended, still doing so, and separated in alighting. Afterwards both of them sang whilst on the ground, and then one mounted up, still singing, and danced when he came down. At half-past five I could only see one of the birds, and this one I noticed to run several times in and out of one of those sandy depressions I have spoken of, and which seem to play such a part in these curious performances. A little later both of them seem gone, but now, at a quarter to six, as I am about to follow their example, I again see them, in company with the hen. She shortly runs a little away from them, the two males remaining together, but making no further demonstration. In a little, one of them flies to her, and these two are now in each other's company, singing, flying, and twittering, for some ten minutes. It would seem as though she had made her choice, and that this was submitted to by the rejected bird, but just before leaving at six o'clock all three are again together."

It is to be observed here that these two birds, though they were in active and excited rivalry for the greater part of an afternoon, and though they made many feints and, as it were, endeavours to fight, yet only really fought twice, seeming, indeed, to have a considerable respect for each other's prowess, and "letting I dare not wait upon I will" during most of the time. Perhaps they were brave, but the idea given me by the whole thing was that of two cowards trying to work themselves up into a sufficient degree of fury to overcome, for a moment or two, their natural timidity. "Willing to wound, but yet afraid to strike," seemed to me to describe their mental attitude.

Much has been said as to the pugnacity of birds, but I think that a large amount of timidity often mingles with this pugnacity, even in the most pugnacious kinds. I have seen, for instance, two pheasants sit, first, face to face, pecking timidly at, or rather towards, each other, and then, on rising, make various little half-hearted feints and runs, one at another, as though trying to fight and not being able to, and this for quite a long time. At last one of them ran to some distance away, and then, turning, made a most tremendous, fiery rush down upon the other one, like a knight in the tilt-yard. Nothing could have looked bolder, more spirited, more full of fire and fury, but—just like these wheatears—at the very moment that he should have hurled himself upon his foe he swerved timidly aside, and all his brave carriage was gone in a moment. And what struck me (and, indeed, as humorous) was that this other bird—the one thus charged down upon—who had been just as timid, and had seemed to find fighting equally difficult, did not retreat, as one might have expected, before this great show, but sat quietly, as knowing it to be "indeed but show," and that there was nothing really to fear. In fact, it was like the drawing of swords between Nym and Pistol in Henry V., each being afraid to use his, and knowing the other to be so too. Black-cocks, again, are often very ready to avoid a conflict, and dance much more fiercely than they fight. A bird, indeed, which is a very demon in the "spiel" or "lek-platz" may, as I have seen, become meek and retreat from it upon the entry of another, which other is then, of course, ipso facto, the boldest bird in existence. Blackbirds are considered to be quarrelsome,[10] and I know that even the hens—or, perhaps, they especially—will sometimes fight in the most vindictive manner. But, as with these wheatears, I have seen in the case of rival cock blackbirds a great deal of chariness of real fighting mingle with much ostentation of being ready to fight.

I am not, of course, disputing the pugnacity of birds during the breeding season and often at other times. That is quite beyond doubt, and proofs or instances of it are altogether superfluous. But the pugnacity is all the greater if, in order for it to assert itself, a greater or less degree of timidity, varying, of course, in different species and individuals, must first be overcome. Assuming that this is sometimes the case (and I know not how else such instances as I have given are to be explained), is it so unlikely that rival birds, wishing to fight yet half afraid to, and being thus in a state of great nervous tension, should fall into certain violent or frenzied movements, into little paroxysms of fury, as when a man is popularly said to "dance with rage"? Anything that excites highly tends to exalt the courage and conquer fear, as we know with our own martial music, to say nothing of the "pyrrhic" and other dances. It seems possible, therefore, that such violent movements as are here imagined might have this effect, and thus, though excited originally by rage—or some high state of emotion—only, might be persisted in and increased through experience of their efficacy. But if this does ever happen, may we not have here the origin—or one of the origins—of those undoubted displays made by the male bird to the female, on which the theory of sexual selection is chiefly based? That the male birds should, in the beginning, have consciously displayed their plumage, in however slight a manner, to the females, with an idea of it striking them, seems improbable, and, even if we might assume the intelligence requisite for this, the theory of sexual selection supposes the beauty of the plumage to have been gained by the display of it, not that the display has been founded upon the beauty. Then what should first lead a bird of dull plumage consciously to display this plumage before the female? A mere habit of the male, increased and perfected by the selective agency of the female (as this is explained by Darwin), has hitherto—as far as I know—been considered a sufficient explanation of the origin and early stages of such displays as are now made by the great bustard, the various birds of paradise, or the argus pheasant. But if we can show a likelihood as to how this habit has arisen we are, at least, a step farther forward, even if a slight difficulty has not thereby been removed.

Now, with regard to these wheatears, it will, I think, be admitted that the little frenzies of the male birds—as I have described them—were of a very marked, and, indeed, extraordinary nature, and also, perhaps, that it is more easy to look upon them as sudden bursts of excitement—nerve-storms or emotional whirlwinds, so to speak—than as displays intended to attract the attention of the female bird. Certainly there was nothing like a set display of the plumage; and, with regard to the female, the question arises, Where was she, at least during the greater part of the time? The two male birds in the course of their drama got over a considerable amount of ground, and constantly flew from one part to another, so that, in order to have had anything like a good view, the female must have accompanied them, and I must then, perforce, have seen her, which I did not, except on the occasions related. She was, therefore, not with them, and, if watching them at all, could only have been doing so from such a distance that the dancings of the male birds would have been very much thrown away. Yet that she took some interest in what was going on appears likely from her flying up twice into the willow tree during its continuance, and being with the two rivals at the end of the day. She might, too, have been listening to the song and observing the flights up into the air, which would have been much more noticeable from a distance.

One might expect a female bird to take some interest in two male ones fighting for her merely, without any adjunct, and if they added to the fighting peculiar violent movements, such as those here described, that interest would tend to become increased. Now I can imagine that with this material of violent motions on the one side and some amount of interested curiosity on the other, the former might gradually come to be a display made entirely for the female, and the latter a greater or lesser degree of pleasurable excitement raised by it with a choice in accordance, which is sexual selection. And that the display would come at last to be made intelligently, and with a view to a proposed end—as in the case supposed of the female wild duck (or other bird) diverting attention from its young—I can also understand. In both instances mere nervous movements due to a high state of excitement would have been directed into a certain channel and then perfected by the agency either of natural or sexual selection.

On this view the curiosity (passing insensibly into interest and satisfaction) of the female bird would have been directed, at first, not to the plumage but to the frenzied actions—the antics—of the male, and he, on his part, would have first consciously displayed only these. From this to the more refined appreciation of colours and patterns may have been a very gradual process, but one can understand the one growing out of the other, for waving plumes and fluttering wings would still be action, and action is emphasised by colour.

Where, however, such movements had not been seized upon and controlled by the latter of these two powers—i.e. sexual selection—(and there is no necessity that they should be), we should have antics not in the nature of sexual display properly speaking, but which might yet bear a greater or less resemblance to such. That this is, in fact, the case has been pointed out by the opponents of sexual selection, and often as if it were evidence against it (though no one, unfortunately, can point to men as a ground for disbelief in armies). Mr Hudson, for instance, in his very interesting work, "The Naturalist in La Plata," after bringing forward a number of cases of curious dance-movements (or of song), performed by birds, and which are, in his opinion, not to be explained on the theory of sexual selection, says, in regard to other cases brought forward by Darwin in support of that theory:

"How unfair the argument is, based on these carefully selected cases gathered from all regions of the globe, and often not properly reported, is seen when we turn from the book[11] to nature, and closely consider the habits and actions of all the species inhabiting any one district!"

Now, had Darwin been of opinion that antics performed by a bird which could not, or could not easily, be explained by his theory, were fatal to it in other cases—if he had thought that the one was inconsistent with the other—then, no doubt, it would have been unfair on his part to have marshalled the affirmative evidence without concerning himself with the negative. But why should he have held that view, or on what good grounds can such a view be maintained? As well might it be argued—so it appears to me—that woollen or other goods could only have been produced through the action of the loom, or some such special machinery. But let the wool be there, and it can be worked up in various ways. Mr Hudson would account for all such displays or exhibitions by "a universal joyous instinct" present throughout nature, but to which birds are more subject than mammals. I do not dispute the instinct—or rather, perhaps, the emotion—or that some of the displays in question may be due to it simply and solely: but I cannot believe that all are. Why should this be the case, or how can movements which are often of a complex and elaborate nature be explained solely by reference to some large general factor, such as joy or vital energy? These may lie at the root of all; but something else, some more special process is, I think, in many cases required. One would not be content to explain all the phenomena of history by a reference to human nature, and though it may be true, as the Kaffirs say, that in a cattle-kraal there can only be one bull, yet nature is a good deal larger than a cattle-kraal. I believe myself that various antics which are performed by birds have grown out of various nervous, excited, or automatic movements arising under the influence of various special causes. Two such possible causes—viz. (1) sudden alarm whilst incubating, and (2) paroxysms of rage or nervous excitement during rivalry for the female I have already indicated. Two other possible ones have also been suggested to me by some of my observations, and I will now, by the aid of these, make an attempt—I daresay a lame one—to throw light on the possible origin of a very extraordinary case of bird-antics, described by Mr Hudson in the work I have mentioned, and which is believed by him to be unique.

The bird in question is the spur-winged lapwing, and the following is Mr Hudson's account of its performances:—

"If a person watches any two birds for some time—for they live in pairs—he will see another lapwing, one of a neighbouring couple, rise up and fly to them, leaving his own mate to guard their chosen ground; and instead of resenting this visit as an unwarranted intrusion on their domain, as they would certainly resent the approach of almost any other bird, they welcome it with notes and signs of pleasure. Advancing to the visitor, they place themselves behind it; then all three keeping step begin a rapid march, uttering resonant drumming notes in time with their movements, the notes of the pair behind being emitted in a stream, like a drum-roll, while the leader utters loud single notes at regular intervals. The march ceases; the leader elevates his wings and stands erect and motionless, still uttering loud notes; while the other two, with puffed-out plumage, and standing exactly abreast, stoop forward and downward until the tips of their beaks touch the ground, and, sinking their rhythmical voices to a murmur, remain for some time in this position. The performance is then over, and the visitor goes back to his own ground and mate, to receive a visitor himself later on."

Now the most curious point in this remarkable performance, so well described, is that three birds—a pair (male and female), and one other, whether male or female is not stated—take part in it, and how is this fundamental peculiarity to be explained better on the theory of "a universal joyous instinct" than on that of sexual selection, if, indeed, the former one helps us so well? Joy, no doubt, is there, but something else—some shaping force—is surely required to account for the particular form in which it finds expression. Now with regard to the peculiarity pointed out—the odd bird (though all act oddly)—I have, whilst watching birds in the early spring, been struck by the frequency with which three of the same species will be seen in each other's company, usually chasing one another about, and, as with the spur-winged lapwing, these three are almost always made up of a pair (a male and female) and another bird, a male, as I believe. It may be said that here there can be no analogy, for that it is either merely a case of two males courting one female, or that the odd male is both a rival and intruder, endeavouring to come between the married happiness of two who have made their choice. This latter explanation is the one that has generally seemed to me to meet the case, but what I have frequently noticed with surprise is that the state of anger, or, indeed, fury, which one might imagine would obtain under such circumstances between the two male birds, is either wholly absent, or very much subdued. Now it is in the case of our own peewit, more than with any other species, that I have noticed this quite amicable association of three birds, two of which would often seem to be a paired couple, and as my notes, made whilst I had the birds under observation, both illustrate the point and contain the explanation of it which I have to offer, I will here quote from them:

"February 25th.—Three peewits in company with each other. Two are flying close together, as though they were a paired couple, whilst one follows them at a short interval.

"February 27th.—Three peewits flying together in the same way as before—that is to say two, which may be paired birds, are close together, whilst there is commonly a short space between them and the third one. This arrangement may be temporarily suspended or reversed by the bird that has been separated getting up to the other two, when one of these will often fall behind, so that now the bird which was the follower makes one of the two advanced ones, whilst one of these has taken its place. As there is no sexual distinction in the plumage of peewits,[12] it is impossible to be quite sure to what sex each of these birds belongs, but I believe that two of them are male and female, and the third a male, either of the two males being alternately in the close company of the female. This, indeed, may be in the nature of the matter. The pairing off of the birds, we will suppose—as is likely at this time—is not yet completed, and, assuming two of the three to be of one sex, it may not be quite settled with which of them the third will pair. It is not, indeed, necessary to suppose that either of the three will eventually pair with one of the others, though this may be probable. But what appears to me to obtain is this, that the association of two birds (male and female) together has a tendency to bring up a third, presumably a male, who envies this arrangement, and would fain itself make one of the two. But how, then, is the amicableness—or, at any rate, the absence of any marked evidence of hostility—to be accounted for? I believe that at this early season the sexual feelings have not yet become fully developed, or so strong as to produce jealousy to any active extent. Things are only beginning, the emotions are, as yet, in their infancy, and thus, I believe, the curious, not fully defined nature of the actions of the three birds—their seeming to be half unconscious of what they really want or mean—may be accounted for. As the season advances, the tendency will be more and more for the two birds (but I here speak of birds generally) to avoid, or actively to drive away, the third, and for the third to find another bird for a partner, the whole being tempered by the character both of the species of bird and the individual birds belonging to it. The three birds being thus brought together, without the feelings being of a very strong or defined character, and the feelings of animals generally being, as I believe they are, of a very plastic nature (by which I mean that they pass easily from one channel into another), I can understand a sort of sport or game of three birds together arising, at first almost imperceptible, till, by the fundamental laws of evolution—variation and inheritance—it might pass into something highly peculiar, as in the case of the spur-winged lapwing—for though such sport might commence in the air, there would be no reason why it should not pass from thence on to the ground. And that the number should be three, and not more, is thus also explained, for whilst the sight of a paired male and female bird would be likely to excite the sexual feelings—even though, as here supposed, somewhat languid—of another male, so as to make it join them, three together would hardly have this effect in an equal degree, and, moreover, more than three would tend to become a flock, when other feelings would come into play. However this may be, I have, as a matter of fact, been struck with the frequency with which, in the early spring, three birds will keep together, as and in the manner before stated."

This, it will be observed, was written at a time of year when peewits are only beginning their nuptial antics, though, as to their having begun them, there is no doubt, as I had carefully noted this at a still earlier date. But long subsequent to this, and when the theory of a not fully developed state of the sexual feelings could no longer be tenable as an explanation of non-combativeness, I noticed, or thought I noticed, a more than usual tendency in this species for a single bird to project itself, so to speak, into the midst of a married pair, and for its presence not to be resented, but rather otherwise. If this be really so—for, of course, I may be deceived—it is interesting, and perhaps assists the suggestion which I have offered as to the origin of the astonishing conduct of the spur-winged lapwing, the two being such near relations. When the habit had once commenced, it might continue and become fixed, irrespective of season.

But it may be said that all the evidence which I here bring forward is of three birds being together, and that there is none as to any sport or antic, of however incipient or rudimentary a nature. I have, however, often seen peewits sport and wanton in the air in threes, but I admit that more evidence in this direction is wanted. The little that I have, and will here give, relates, not to the peewit, but to two birds very different both to it and to each other. The first of these is that attractive and delightful little creature, the dabchick or little grebe (Podiceps fluviatilis), a bird whose society I have always cultivated to the best of my ability. My first note, taken on 14th December, I give merely by way of showing that sexual feelings in birds may not always lie entirely dormant, even in the depth of winter; for, from having long watched the same birds in the same little reedy creek, I feel sure that the two I here chronicle were male and female.

These were "pursuing each other, first over the water—fly-flapping along the surface in their peculiar way—then on and under it, ducking, coming up close together, ducking again, and so on, flapping, ducking, and swimming, each in turn. It is very sustained and animated, suggesting an amorous pursuit of the female by the male, even at this time of year. They make a great noise and splashing, they are obstreperous, and a hen moor-hen standing staidly on some bent reeds gives a look as though doubtful of the strict propriety of such conduct,—in the winter,—then with an 'Ah, well! dabchicks will be dabchicks, I suppose, at all times,' resigns herself to the inevitable, and takes to preening her feathers." In the other case, which is the one that bears more directly on the question under discussion, three dabchicks pursued each other in this manner, one behind the other, and following the course of the stream. The last bird was particularly energetic, and seemed determined to interfere with the pursuit of the foremost by the one just in front of him. "When quite near me they all three pitch down and instantly dive. The first to come up stops dead still on the water, looking keenly and expectantly over it, his neck stretched rigidly out, his head darting forward from it at a right angle, as rigid as the neck. The instant another one appears, he dives again with a suddenness as of the lid of a box going down with a snap, and this other one has seen him at the same time, and dives still more quickly, if that were possible—so quickly that there is just a swirl on the water, the appearance seems part of the disappearance, 'and nothing is but what is not.' And this, as I think, continues, but owing to the rapid progress of the birds under the water, and their getting amongst flags and weeds, I never have an equally 'convincing' sight of it."

Now, here, on the 4th February, we have, as in the case of the peewits, three birds together, all in pursuit of each other, but two, as it appeared to me, in a little more intimate association, and the third seeming to wish to make a third. They chase each other excitedly down the stream for a little, then all pitch down upon it and dive, and one, upon coming up, dives again at the merest sight of another who behaves similarly, a peculiarly set and rigid attitude being adopted by the waiting bird. Is this not something like a little romp or water-dance following on the excitement of the chase? True, it may have been fighting between the two males, for dabchicks, like the great crested grebe and other water-birds, probably fight by diving and attacking each other beneath the surface. To my eyes, however, it had very much the appearance of a romp, or, at any rate, a something betwixt sport and earnest. Assuming it to have been so, then here is a habit of a sport or antic between three birds at the end of an excited chase of each other. Now supposing this habit to increase, then, as the birds became more enamoured of their little sport—as it became more and more a fixed habit with them—is it not likely that the preliminary chase before the romp began would be thrown more and more into the background? The more one enjoys a thing, the more eager is one to begin it, and as here, the longer the chase lasted, the longer must the romp at the end be postponed, the tendency would be for the former to become shortened and shortened, till at length it ceased altogether, the approach of the one bird getting to be associated in the minds of the other two with the sport or game alone. In the final stage this last might be extraordinary in a high degree, but every trace of its origin, as here suggested, would have vanished. And so strongly might the habit or instinct of thus romping À trois be now implanted, that one of any pair of birds would be ready to join any other pair, and they to receive him, in order to indulge in it.

I can, indeed, see no reason why birds that sported well should succeed in life better than others, but if such sporting were an outcome of general vigour, and vigorous birds were selected, their sportings would be selected also. And that movements of this sort would tend sooner or later—if only by mere preference—to fall into some sort of form, also seems not unlikely. It will be remembered that what I have just recounted took place early in February, whereas the dabchick does not, in my experience, commonly build before May. One would not, at so early a period, expect to find the jealous and combative feelings of the male in regard to the female bird fully awake, but if there were apt to be occasional sudden outbursts of this—little flare-ups, inducing appropriate action for a few moments and then passing quickly away—the birds might be left, as it were, surprised at themselves and not quite knowing what had started them off. The originating cause would have ceased or subsided, but the excitation consequent on the bodily activity which had been thus aroused would require a further outlet, and this might pass in time into some prescribed play or antic which might afterwards be indulged in for its own sake.

My other instance is that of the oyster-catcher. If anyone will watch these birds closely, he may see three of them go through a performance bearing the same sort of resemblance to that of the spur-winged lapwing, that the combs of the humble-bee do to the more perfect ones of the hive-bee. He may see, for instance, two standing side by side with their heads bent forwards and downwards, as the two lapwings bend theirs, though here the length of the brilliant, orange-red bills, the tips of which, also, almost touch the ground, make the angle of inclination a much lesser one. In this attitude they both of them utter a long, continuous, piping note, of a very powerful and penetrative quality, sometimes swaying their heads from side to side as though in ecstasy at their own performance, and seeming to listen intently in a manner strongly suggestive of the musical connoisseur. The third bird, who is obviously the female, either stands or walks at a short distance from the two pipers, who will frequently follow and press upon her, and then, though the march is not quite so formal and regular, it yet bears for a few moments a considerable resemblance to that of the spur-winged lapwing, as described and figured in Mr Hudson's work. Of course, there is really no march at all in the proper sense of the word, but there is the occasional resemblance, and the resemblance suggests the origin. In the case of the spur-winged lapwing the play is commenced by one bird of a pair flying to another pair, and thus making the trio. There is the same kind of rough and imperfect resemblance to this in the way in which these oyster-catcher trios commonly open, but as an account of what I actually saw may give a better idea of how the birds act than can a mere generalisation, I will illustrate the last point, as well as those others which I have mentioned, by this means.

"When one of the male birds—standing near the female—commences thus to pipe, the other one, if on the same rock, runs excitedly up to him, and pushing him out of the way so as to occupy almost his exact place, pipes himself, as though he would do so instead of him. The other, however, is not to be silenced, but standing close by him the two pipe together, throwing their heads from time to time in each other's direction, and then back again, in a frenzy or ecstasy, as though they were Highland bagpipers of rival clans piping against each other, and swinging their instruments as they grew inspired by their strains. Continuing thus to act, the two male birds approach and press upon the female. She flies to a corner of the rock, the two, still piping vigorously, follow and again press upon her. She flies down upon a lower ledge of it, the two pipe down at her from above. She flies from the rock, they half raise their heads, and cease to pipe, then with single querulous notes, and in their ordinary attitude, walk disconsolately about.

"After some ten minutes the female flies back again. The demeanour of the two birds is at once visibly affected, and they begin to pipe again, though not so vigorously as before. They continue to do so, more or less, at intervals, the third bird (the female) remaining always passive, and never once piping. All at once one of the two pipers flies violently at the other, who flies off, and is closely pursued by him. They alight—it would seem together—on the edge of a great rocky slab, but are instantly at some little distance apart, looking at each other and bearing themselves after the manner of rivals. How they separated, whether as recoiling from a conflict, or avoiding it, I cannot now say. The movements of birds are often so quick, that the eye, though it may follow, forgets them as they pass. On another occasion, a bird close to where I sit, on hearing the pipe from a rock a little off the shore, becomes excited, pipes for a moment itself, and then darts off to the rock. On alighting, he instantly runs to the piping bird, and the two pipe together to a third, exactly as before. This third one, silent and unresponsive, soon flies away. The piping instantly ceases, and the two birds assume normal attitudes.

"The note of the male oyster-catcher when thus courting the female differs both from its ordinary one, and, as I think, from that of the female. The usual note is a loud 'wich, wich, wich,' or some similar sharp, penetrative cry, constantly reiterated. The pipe is a much more wonderful affair, and, though harsh, is like a real composition. It is of long continuance, beginning with something like 'kee, kee, kee, kee, ker-vie, ker-vie, ker-vie, ker-vie, ker-vie,' a loud and ear-piercing clamour. Gradually, however, it sinks, becoming in its later stages quite faint, and ending, commonly, in a sort of long-drawn-out, quavering trill which the bird seems to pause upon with pleasure. Holding down its head all the time, it seems to drink in every tittle of the sound, and to strive to give it its full and just expression. So much has it, whilst doing this, the appearance of a musician, and so much does the long, straight, orange bill resemble a pipe it is playing on, that if fingers were to appear there of a sudden, and begin to 'govern the stops,' one would hardly feel surprise—for a moment or two. A point to be noted is that the piping bird is not always turned towards the female he is courting, even when close beside her. He turns towards her, commonly (perhaps always), when he begins, but having once begun, he seems more enthralled by his own music than by her, and will turn from side to side, or even right round and away from her, as though in the rhythmical sway of his piping."

Here, then, at last, we have upon our own shores, and amongst our own birds, an unmistakable case of a display or performance of a very marked character, in which three birds are present, though one takes only a passive part. The motive power here is obviously sexual; two males are, at least to all appearance, courting one female. But I made at the time this special observation, that, though the rival birds did, upon two occasions, fly at each other, and though the piping of one always brought the other over to him to pipe in rivalry, yet, when once they began to pipe vigorously, their interest seemed to become centred in, and, as it were, abstracted into this. The actual display, in this case vocal, seemed to have become, or to be in process of becoming, of more importance than the emotion which had given birth to it, the essence seemed merged into the form, the book had become its binding. I suggest that this may be sometimes actually the case in nature, that a movement, or a note, or series of notes, may become itself so all-absorbing as to demand the whole consciousness of the bird who, in performing it, forgets the why and the wherefore of the performance. Let this process once commence, and certain movements—antics—performed at first with a definite object, might be gone through at last for themselves alone, the object having become now merely to perform them. In this case, we should have a pure antic or display, the reason of it being unobvious and its origin a puzzle. Such a principle, if it exists, might, perhaps, be called the "law of the formalisation of actions once purposive" (which sounds learned enough), and perhaps traces of it may be seen amongst ourselves. What, for instance, are our civilised dances except movements which have become quite formal and meaningless, but which once, as in the war-dance of the savage, had an intense significance? The analogy is not quite perfect, unless we could show that actual war, for instance, had sometimes passed into a dance. Whether this has ever been the case with man I do not know, but I believe that it may have actually happened with some birds, for which idea I will further on adduce my, perhaps, somewhat slender evidence. But, coming back to the oyster-catchers, I can understand that under such a law as this, the actions of the two male birds in regard to the female might gradually get to be of a quite formal and non-courting nature, and, though I will not here try to indicate the steps by which the female bird might gradually enter into the dance-movements or the song, they do not seem to me impossible to conceive of. The number of performers, however, having once become fixed, would be likely to continue, through habit, as long as no other influence arose to affect it.

The fact that it was in the early days of July, when the true courting-season should have been over, that I witnessed these movements, may perhaps strengthen the above view.

In seeking to explain such performances as those of the spur-winged lapwing in this latter way, one must assume the number of three birds to have originated in accordance with general principles, and that first there has been a real courtship of the female bird by two males, the antics proper to which have, at last, become stereotyped into a formal dance or display. This, however, would not exclude the possibility of what I have suggested in the case of the dabchicks and common peewit, and I believe myself that it is not by one only, but by many causes, that the many curious antics of birds are to be explained.