shown greater dissimilarity in their forms than did these cocks in their voices. For the fowl, like the dog, has become an extremely variable creature in the domestic state, in voice no less than in size, form, colour, and other particulars. At one end of the scale there was the raucous bronchial strain produced by the unwieldy Cochin. What a bird is that! Nature, in obedience to man's behests, and smiling with secret satire over her work, has made it ponderous and ungraceful as any clumsy mammalian, wombat, ardvaark, manatee, or hippopotamus. The burnished red hackles, worn like a light mantle over the black doublet of the breast, the metallic dark green sickle-plumes arching over the tail, all the beautiful lines and rich colouring, have been absorbed into flesh and fat for gross feeders; and with these have gone its liveliness and vigour, its clarion voice and hostile spirit and brilliant courage; it is Gallus bankiva degenerate, with dulled brains and blunted spurs, and its hoarse crow is a barbarous chant. And far away at the other end, startling in its suddenness and impetuosity, was a trisyllabic crow, so brief, piercing, and emphatic, that it could only have proceeded from that peppery uppish little bird, the bantam. And of the three syllables, the last, which should be the longest, was the shortest, "short and sharp like the shrill swallow's cry," or perhaps even more like the shrieky bark of an enraged little cur; not a _reveille_ and silvern morning song in one, as a crow should be, but a challenge and a defiance, wounding the sense like a spur, and suggesting the bustle and fury of the cockpit. If this style of crowing was known to Milton, it is perhaps accountable for the one bad couplet in the "Allegro": While the cock with lively din Scatters the rear of darkness thin. Someone has said that every line in that incomparable poem brings at least one distinct picture vividly before the mind's eye. The picture the first line of the couplet I have quoted suggests to ray mind is not of crowing Chanticleer at all, but of a stalwart, bare-armed, blowsy-faced woman, vigorously beating on a tin pan with a stick; but for what purpose--whether to call down a passing swarm of bees, or to summon the chickens to be fed--I never know. It is only my mental picture of a "lively din." As to the second line, all attempts to see the thing described only bring before me clouds and shadows, confusedly rushing about in an impossible way; a chaos utterly unlike the serenity and imperceptible growth of morning, and not a picture at all.