low to be out of the wind, and would have to rise a little to clear the bridge on which I was. Silverspot saw me standing there, and as I was closely watching him he didn’t like it. He checked his flight and called out, “Be on your guard,” or
No. 2
One bar of musical notation depicting the call of Silverspot the Crow, which reads “Caw.” This call would translate in English to “be on your guard.”

and rose much higher in the air. Then seeing that I was not armed he flew over my head about twenty feet, and his followers in turn did the same, dipping again to the old level when past the bridge.

Next day I was at the same place, and as the crows came near I raised my walking stick and pointed it at them. The old fellow at once cried out “Danger,” and rose fifty feet higher than before.

No. 3
One bar of musical notation depicting the call of Silverspot the Crow, which reads “Ca.” This call would translate in English to “danger.”

Seeing that it was not a gun, he ventured to fly over. But on the third day I took with me a gun, and at once he cried out, “Great danger⁠—a gun.

No. 4
One bar of musical notation depicting the call of Silverspot the Crow, which reads “ca ca ca ca Caw.” This call would translate in English to “great danger—a gun.”

His lieutenant repeated the cry, and every crow in the troop began to tower and scatter from the rest, till they were far above gun shot, and so passed safely over, coming down again to the shelter of the valley when well beyond reach. Another time, as the long, straggling troop came down the valley, a red-tailed hawk alighted on a tree close by their intended route. The leader cried out, “Hawk, hawk,” and stayed his flight, as did each crow on nearing him, until all were massed in a solid body.

No. 5
One bar of musical notation depicting the call of Silverspot the Crow, which reads “Caw Caw.” This call would translate in English to “hawk, hawk.”

Then, no longer fearing the hawk, they passed on. But a quarter of a mile farther on a man with a gun appeared below, and the cry, “Great danger⁠—a gun, a gun; scatter for your lives,” at once caused them to scatter widely and tower till far beyond range.

No. 6
One bar of musical notation depicting the call of Silverspot the Crow, which reads “ca ca ca ca Caw.” This call would translate in English to “great danger—a gun, a gun; scatter for your lives.”

Many others of his words of command I learned in the course of my long acquaintance, and found that sometimes a very little difference in the sound makes a very great difference in meaning. Thus while No. 5 means hawk, or any large, dangerous bird, this means “wheel around,”

No. 7
Three bars of musical notation depicting the call of Silverspot the Crow, which reads “Caw Caw ca ca ca ca.” This call would translate in English to “wheel around.”

evidently a combination of No. 5, whose root idea is danger, and of No. 4, whose root idea is retreat, and this again is a mere “good day,” to a far away comrade.

No. 8
Two bars of musical notation depicting the call of Silverspot the Crow, which reads “Caw Caw.” This call would translate in English to “good day.”

This is usually addressed to the ranks and means “attention.”

No. 9
Three bars of musical notation depicting the call of Silverspot the Crow, with no “lyrics” provided. This call would translate in English to “attention.”

Early in April there began to be great doings among the crows. Some new cause of excitement seemed to have come on them. They spent half the day among the pines, instead of foraging from dawn till dark. Pairs and trios might be seen chasing each other, and from time to time they showed off in various feats of flight. A favorite sport was to dart down suddenly from a great height toward some perching crow, and just before touching it to turn at a hairbreadth and rebound in the air so fast that the wings of the swooper whirred with a sound like distant thunder. Sometimes one crow would lower his head, raise every feather, and coming close to another would gurgle out a long note like

No. 10
Two bars of musical notation depicting the call of Silverspot the Crow, which reads as an extended “C‑r‑r‑r‑a‑w.” This call is presumed by the narrator to be a mating call.

What did it all mean? I soon learned. They were making love and pairing off. The males were showing off their wing powers and their voices to the lady crows. And they must have been highly appreciated, for by the middle of April all had mated and had scattered over the country for their honeymoon, leaving the sombre old pines of Castle Frank deserted and silent.

II

The Sugar Loaf hill stands alone in the Don Valley. It is still covered with woods that join with those of Castle Frank, a quarter of a mile off in the woods, between the two hills, is a pine-tree in whose top is a deserted hawk’s nest. Every Toronto schoolboy knows the nest, and, excepting that I had once shot a black squirrel on its edge, no one had ever seen a sign of life about it. There it was year after year, ragged and old, and falling to pieces. Yet, strange to tell, in all that time it never did drop to pieces, like other old nests.

One morning in May I was out at gray dawn, and stealing gently through the woods, whose dead leaves were so wet that no rustle was

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