Parkhurst’s Junco: The Career of a Quotation

Fuertes slat-colored junco

It’s one of the infallible signs of the season. Sitting inside on a chilly day, a cup of hot chocolate warming the hands and busy feeders cheering the heart, every year about this time you can watch it creep across the internet: the description of the slate-colored junco as “leaden skies above and snow beneath.”

I’d love to know who’s behind the e-revival of that particular bit of kitsch. Or do you suppose that everybody is quoting the phrase directly from its source, Howard Elmore Parkhurst’s The Birds’ Calendar?

Parkhurst, slate-colored juncos

Parkhurst’s “informal diary” is now virtually unknown — apart, of course, from that throwaway line about the juncos. But it marks the birth of a very special sub-genre in the literature of American birding, namely, the Central Park memoir.

The observations here recorded, with slight exceptions, were all made in that small section known as “The Ramble,” covering only about one-sixteenth of a square mile…. Within this little retreat I have, during the year [1893], found represented nineteen of the twenty-one families of song birds in the United States; some of them quite abundantly in genera and species; with a sprinkling of species from several other classes of land and water birds.

Among the birds Parkhurst encountered in January was

the snow-bird, a trim and sprightly creature about six inches long, dark slate above and on the breast, which passes very abruptly into white beneath, as if it were reflecting the leaden skies above and the snow below…. Their sleek and natty appearance and genial temper commend them at once to the observer.

Parkhurst, Birds' Calendar

And Parkhurst’s “attractive” prose commended itself equally to the contemporary reader. His felicitous description of the junco appears to have been quoted abundantly in the first two decades of the twentieth century, almost (only almost!) always with an attribution to the author. It seems likely that Neltje Blanchan was the earliest vector of dissemination for the phrase, which passed from her Bird Neighbors into leaflets for schoolchildren, who no doubt were as taken by “Mr. Parkhurst’s suggestive description of this rather timid little neighbor” as were his adult readers.

In the years that followed, however, the quotation was loosed from its authorial origins, most often to be cited anonymously. In his 1968 entry for the Bent Life HistoriesEaton followed that “modern” practice in noting only that the junco had been “aptly described as ‘leaden skies above, snow below'” — not bothering to tell us by whom. Parkhurst’s words still appeared in quotation marks, but they had plainly become part of a shared store of birderly lore, no more requiring attribution than the observation that the white outer rectrices are “prominent in flight.”

Ernest Thompson Seton, slate-colored juncos

This has always been the path of a catchy phrase: invented by a single mind, admired by others, then finally taken over into a broader culture eager to forget that it ever had an origin. But the internet has introduced another, more sinister step.

Parkhurst’s words still circulate — especially this time of year — without his name attached. In a classic internet move, though, a google search now, once again, turns up the quotation with an attribution.

A new attribution.

Thoreau described [juncos] as “leaden skies above, snow below.”

I don’t know all of Thoreau. I don’t remember those words in what I have read of the oeuvre, though, and it seems suspect to me that the earliest printed assertion of his authorship (thanks, google) should be from no more than four years before the Mother Jones quotation above. Surely in the 101 years between Parkhurst’s Calendar and 1994 someone would have pointed out the theft. I’m left wondering whether the credit to Thoreau isn’t — gasp — made up, as are so many (it sometimes seems like most) of the attributions on the internet.

It’s one of the unhappy elements of this e-world that it’s awfully easy for us to just say things, whether they’re true or not. But, in an encouraging paradox, the same casual convenience lets us go ad fontes in search of the truth: it takes hardly more time to look up “leaden skies and snow” than it does to decide to type the name “Thoreau.”

So here, a couple of weeks early, is my 2015 resolution: To give Howard E. Parkhurst credit for everything he said or wrote, and to resist the easy temptation to throw attributions around at random.

Who’s with me?

Horsfall slate-colored juncos

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Pokeweed and Raspberries

Purple Finch

It’s among the most familiar phrases in any field guide, Roger Tory Peterson’s description of the adult male purple finch as

like a Sparrow dipped in raspberry juice.

As a fan of both sparrows and raspberry juice, I can’t say that I really get it, but it’s a thoroughly memorable and justly famous line, cited over and over in just about anything written since about these lovely feeder visitors.

Of course, it’s not Peterson’s.

Nowhere that I know of does he attribute the phrase to its source, though he does — as is the case for most of the uncredited quotes in early editions of the field guides — enclose it in single quotation marks.

Happily, the poet Allan Burns filled us in some years ago on the ultimate origin of the Petersonian comparison. In June 1866, nearly seven decades before the Field Guide, John Burroughs published his essay “In the Hemlocks.” “Most people receive with incredulity,” he wrote, “a statement of the number of birds that annually visit our climate.” But they are many, and among them is 

the purple finch or linnet…. His color is peculiar, and looks as if it might have been imparted by dipping a brown bird in diluted pokeberry juice. Two or three more dippings would have made the purple complete.

Pokeweed

The inspiration is obvious, but we still have to get somehow from Burroughs’s brown bird and pokeweed to Peterson’s sparrow (“Sparrow”!) and raspberries.

Neltje Blanchan, whose sesquicentennial nears in 2015, was one of the most successful and influential nature writers of the turn of the twentieth century — and like most of her colleagues, an avowed devotee of John Burroughs, whom she credits, rightly, with having

awaken[ed] the popular enthusiasm for out-of-door life generally and for birds particularly, which is one of the signs of our times.

In her Wild Birds Worth Knowing, published by Doubleday in 1917, Blanchan (who wrote under that name even after marrying her publisher) repeatedly cited Burroughs by name. When it came to the purple finch, however, she took his pokeweed analogy as a springboard for her own fantasy:

Old rose is more nearly the color of this finch which looks like a brown sparrow that had been dipped in a bath of raspberry juice and left out in the sun to fade.

Could this be the hitherto unrecognized missing link between Peterson and Burroughs? It is.

Blanchan complains, in her winning and witty way, that

it would seem as if the people who named most of our birds and wild flower must have been color-blind. Old rose is more nearly the color….

And what does Peterson write, a decade and a half later?

Purple is hardly the word; raspberry or old-rose is more like it.

So far as I’ve been able to determine, Burroughs never (risky word, that) used the words “old rose” to describe a color, certainly not the color of a purple finch.

Rose Old Gay Hill China

Blanchan does, though, and I am more than satisfied that she is the immediate source — Burroughs the ultimate source — for that memorable line in the Field Guide.

It oversimplifies, badly, the function of intertextuality in natural history writing to speak of “plagiarism.” But I do wish that Roger Tory Peterson had mentioned Neltje Blanchan in the acknowledgments of the Field Guide. Plagiarism? No. Bad form? You decide.

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