The songs of birds are as intimately allied with poetry as with music.  The lark has been aptly denominated a “feathered lyric” by one of the English poets; and the analogy becomes apparent when we consider how much the song of a bird resembles a lyrical ballad in its influence on the mind.  Though it utters no words, how plainly it suggests a long train of agreeable images of love, beauty, friendship, and home!  When a young person has suffered any severe wound of the affections, he seldom fails, if endowed with a sensitive mind, to listen to the birds as sharers in his affliction.  Through them the deities of the groves seem to offer him their consolation.  By indulging this habit of making companionship with the objects of Nature, all pleasing sights and sounds gradually become certain anodynes for his sorrow; and those who have this mental alembic for turning grief into a poetic melancholy can seldom be reduced to a state of absolute despondency.  Poetry, or rather the poetic sentiment, exalts all our pleasures and soothes all our afflictions by some illusive charm, whether it be turned into the channel of religion or romance.  Without this reflection of light from the imagination, what is the passion of love? and what is our love of beauty and of sweet sounds, but a mere gravitation?

The voice of every singing-bird has its associations in the minds of all susceptible persons who were born and nurtured within the precincts of its untutored minstrelsy.  The music of birds is modulated in pleasant unison with all the chords of affection and imagination, filling the soul with a lively consciousness of happiness and beauty, and soothing it with romantic visions of memory,—­of love, when it was an ethereal sentiment of adoration and not a passion, and of friendship, when it was a passion and not an expedience,—­of dear and simple adventures, and of comrades who had part in them,—­of dappled mornings, and serene and glowing sunsets,—­of sequestered nooks and mossy seats in the old wood,—­of paths by the riverside, and flowers that smiled a bright welcome to our rambling,—­of lingering departures from home, and of old by-ways, overshadowed by trees and hedged with roses and viburnums, that spread their shade and their perfume around our path to gladden our return.  By this pleasant instrumentality has Nature provided for the happiness of those who have learned to be delighted with the survey of her works, and with the sound of those voices which she has appointed to communicate to the human soul the joys of her inferior creation.

The singing-birds, with reference to their songs, may be divided into four classes.  First, the Rapid Singers, whose song is uninterrupted, of considerable length, and uttered with fervor, and in apparent ecstasy.  Second, the Moderate Singers, whose notes are slowly modulated, but without pauses or rests between their different strains.  Third, the Interrupted Singers, who seldom modulate their notes with rapidity, and make decided pauses between their several strains, of which there are in general from five to eight or nine.  Fourth, the Warblers, whose notes consist of only one or two strains, not combined into a song.