Later I found that the birds fed on the berries of the poison ivy, red cedar, climbing bittersweet, and the buds and embryo needles of the pitch pine, together with the seeds of the box elder. The favorite food of the flock that I watched seemed always to be the pits of the wild black cherry (_Prunus serotina_). They would take the pits well out of sight back into their beaks, keeping their bills half open in a comical manner, as if they had a bone in the throat. A second later there would be a cracking noise and out would drop two nicely split segments of the cherry pits, the meat having been swallowed. Sometimes in the trees they would sidle along the limbs exactly as a parrot does along its perch. The authorities state that the evening grosbeak has no immature plumage, but passes after its first moulting immediately into full plumage. I saw one, however, that I am sure was in immature plumage. The back was yellowish instead of being gray, like the females', and the wings were of a dirty white color instead of being mottled black and white, like the plumage of the females, or half black and half white, like the plumage of the males. Both sexes seemed to have the same call and gave it equally often. The history of the evening grosbeak illustrates the far-reaching and never-ending consequences of a falsehood. This bit of moralizing is called forth because of the name of this sorely misdescribed bird. In three languages, English, Greek and Latin, the myth is perpetuated that the evening grosbeak, or _Hesperiphona vespertina_, sings only at twilight. It all began in 1823, when one Major Delafield, a boundary agent of the United States government, was camping northwest of Lake Superior. There he met a flock of evening grosbeaks in the twilight, and instantly jumped to the conclusion that the birds were accustomed to spend the day in the dark recesses of impassable swamps and come out and sing only at evening. As a matter of fact, the evening grosbeak goes to bed at dark, like all other respectable, reputable birds. Its song is a wandering, jerky warble that the singer himself recognizes as a miserable failure, for he often stops and looks discontented and then remains silent for a minute before trying again. It sounds like the early part of a robin's song, but is always suddenly checked as if the performer were out of breath. The guess of the imaginative major was later elaborated by Prince Lucien Bonaparte, Nuttall, and even by later ornithologists,--Coues among them,--not one of whom had ever seen or heard the bird. Coues's description in his "Key to North American Birds" is worth quoting as a specimen of the rhetoric in which a past generation of ornithologists dared to indulge.