Archive for Information
Now that the tree swallows are done with them, it seems like every birdhouse at Mill Creek has been turned to a new purpose: as a song perch for noisy, feisty, fecund little spartina-dwellers.
Yes, that’s a wren. Yes, that’s a house. But that doesn’t make it a wren house — or a house wren, either.
It’s the season of plenty for cedar waxwings. The streaky young are out of the nest to join their parents in gorging themselves on the ripening cherries and mulberries.
These handsome little gluttons are everywhere right now in northern New Jersey, but the most fun is watching them on the edges of the salt marsh, when small bands emerge to hunt insects over the mud, hovering and fluttering among the more dashing swallows and swifts.
Who would have thought to add a tide table to the waxwing watcher’s toolkit?
Percy MacKaye’s fantasy masque “Sanctuary” was quite a big deal in the early part of the last century. It quickly became a standard part of the program whenever a bird refuge or nature center was dedicated, and inspired everything from songs to high-design bird baths.
The play was premiered in September 1913 at the dedication of the Helen Woodruff Smith bird preserve in Plainfield, New Hampshire. The cast at this first performance was an illustrious one:
Both Eleanor and Margaret Wilson took part in this first performance, Margaret singing the prelude and her sister taking on the role of Ornis, the collective spirit of birddom.
The author’s daughter, Arvia MacKaye, “fell into reverie” as the prelude was sung — a prelude credited in later publications to her own precocious pen.
Joseph Lindon Smyth and Percy MacKaye himself played the leading roles of the Faun and the Poet.
Bit parts were assigned to family members and friends. Little Arvia changed her costume to play Hummingbird, and Cardinal was the sculptor Herbert Adams.
Witter Bynner, a prolific and largely forgotten poet, was suitably fierce as the plumer Stark; happily, the masque ends with his conversion to the preservationist cause.
There was another, more important conversion, too. Eleanor and Margaret Wilson’s father was named Woodrow, and the president and his wife were in the audience that September day in New Hampshire. Perhaps he recalled the play’s adjurations when he signed the Migratory Bird Treaty Act a few years later.
On May 16, 1818, Wilhelm Schilling encountered a small flock of this handsome tern for the first time on German soil. He collected one, and did not see the species again until June 1819, this time three pairs on the island Lips; this time he collected all six. A few returned to Lips the next year, only to wind up themselves on their backs in Schilling’s specimen drawers. The next year, 1821, the species “was entirely absent from these localities,” which led Schilling and his colleague Ludwig Brehm to conclude that
this is a nomadic bird on the islands of the Baltic Sea, which breeds there only occasionally and in warm, dry years.
On examining Schilling’s specimens, Brehm recognized the bird as Montagu’s Sterna anglica and Wilson’s Sterna aranea — but he liked neither of those names, and so he gave it a new one, Sterna risoria.
It has a loud call, similar to human laughter, sounding like hähä or hä, which in its many variations expresses the bird’s different moods. Schilling heard this call from those that he saw in May 1818. When he shot at one and missed, it climbed high into the air and seemed to want to mock the unhappy marksman with its laughter.
However suitable the name risoria, Brehm couldn’t, of course, just go around changing things to tease his friends. In fact, this species had already accumulated a considerable stock of synonyms by the time Brehm’s name was published in 1822; the earliest had been given it sixty years earlier by Linnaeus himself, Sterna nilotica, the Nile tern.
But Brehm was not defeated. In 1830, he determined that the catch-all genus Sterna could profitably be split up, with the Gull-billed Terns occupying one of their own.He named the new genus Gelochelidon, the “laughing swallow.”
Even today, not everyone understands Brehm’s genus name. I often hear it spoken, and even see it written, as if it were “Geochelidon,” a hypercorrection first made in print by the great German and Cuban ornithologist Juan Gundlach. Gundlach doesn’t explain himself, but I suspect that he, like some of our own contemporaries, thought of this elegant bird as a “ground tern” of sorts — after all, it doesn’t dive, and even by tern standards, this species spends a great deal of its time loafing on mud and gravel bars.
It doesn’t much matter. But getting the name wrong comes at a cost: the cost of the mental image of that lucky tern flying high over Schilling’s head, filling the skies above Rügen with the sound of triumphant laughter.
Those secured before a maternal government interfered were assuming nuptial dress.
I would like to have been there that day.