Again, nearly every male at one time or another in the course of the season is aroused to action by the intrusion of a rival. The emotional tone of the owner of the territory is then raised, and the intruder is pursued and attacked; but this alone is not sufficient, it seems as if the chain of instinctive activities, when once aroused by appropriate stimulation, must pursue its course to the end--and the end in such a case is only reached and complete satisfaction only gained when the bird has not merely returned to his "headquarters" but has given vocal expression to his emotion. Finally, we must bear in mind these two facts, that the "headquarters" is occupied solely by the male--it forms no part of the life of the female--and that it is the male only that sings. Many such subtle incidents of behaviour as the foregoing can be perceived but not readily described, and trifling though they may seem to be in themselves, yet in the aggregate they yield full assurance of a close relationship. The distant song of a male, or the presence of an intruding male, have also stimulating effects, though in somewhat different ways. The former evokes the normal reply, that is to say the bird, if silent, is liable to utter a corresponding reply; the latter arouses hostility into which is infused much feeling tone, the bird sings hurriedly while in pursuit of its rival, and, which is more remarkable still, even in the midst of an encounter. Both the normal reply and the emotional song must be similar in origin--different aspects of the same situation--and both are clearly related to the other male. The arrival of a female may also be followed by an emotional outburst which can be heard at intervals for some days; on the other hand, the song may continue as before or, for a time, entirely cease. To take the emotional outburst first. This would appear to be susceptible of explanation on the hypothesis that the voice contributes to a more effective pairing situation; an hypothesis which admittedly, at first sight, gains some support from the fact that a second or a third male is frequently present. But, in truth, the presence of a second male makes the situation, so far as the relationship between the song and the female is concerned, all the more perplexing; for, as we have already seen, the instinct of pugnacity, when aroused by the appearance of an intruder, is also liable to be accompanied by a similarly extravagant song. On each occasion the vocal effort is infused with much feeling tone, and it would be impossible to point to any one feature which is peculiar to only one occasion. The question therefore arises as to whether the emotional outburst which we are attributing to the arrival of a female may not after all be due to the presence of an intruding male. It may be so. But although I can recall no single instance in which the presence of an intruder could be definitely excluded, yet I should hesitate to base upon this any broad generalisation.