so thoroughly distinctive. I wrote it down thus: _tee-koi,
tee-koo_,--two couplets, the first syllable of each a little emphasized
and dwelt upon, not drawled, and a little higher in pitch than its
fellow. Perhaps it might be expressed thus:--

[Illustration]

I cannot profess to be sure of that, however, nor have I unqualified
confidence in the adequacy of musical notation, no matter how skillfully
employed, to convey a truthful idea of any bird song.

[Footnote 1: As it was, I did not find _Dendroica virens_ in Florida. On
my way home, in Atlanta, April 20, I saw one bird in a dooryard
shade-tree.]

The affair remained a mystery till, in Daytona, nine days afterward, the
same notes were heard again, this time in lower trees that did not stand
in deep water. Then it transpired that my mysterious warbler was not a
warbler at all, but the Carolina chickadee. That was an outcome quite
unexpected, although I now remembered that chickadees were in or near
the St. Augustine swamp; and what was more to the purpose, I could now
discern some relationship between the _tee-koi, tee-koo_ (or, as I now
wrote it, _see-toi, see-too_), and the familiar so-called phoebe whistle
of the black-capped titmouse. The Southern bird, I am bound to
acknowledge, is much the more accomplished singer of the two. Sometimes
he repeats the second dissyllable, making six notes in all. At other
times he breaks out with a characteristic volley of fine chickadee
notes, and runs without a break into the _see-toi, see-too_, with a
highly pleasing effect. Then if, on the top of this, he doubles the
_see-too_, we have a really prolonged and elaborate musical effort,