We must next inquire into the nature of song, and endeavour to ascertain whether all the individuals of a species are alike proficient, or, failing this, whether there is any quality which can be observed to be constant under all conditions. I watch the Reed-Buntings in a marsh and find that there are three males occupying adjoining territories. Two of them are fully mature and their plumage is bright: that is to say the crown is black, the collar and breast are white, the flanks are dull white spotted with black, and the mantle is reddish-brown. The third is immature: the crown, instead of being black, is suffused with brown; the collar, instead of being white, is mottled with brown; and the flanks are more heavily streaked with brown. These three birds take up their positions in February, and, as is their wont, sing incessantly each day at daybreak. The song of the first two is normal, including the usual number of phrases which flow in no definite sequence, but are combined and recombined in different order, and the tone is pure; that of the third, the immature bird, is, however, very different; for just as in comparison its plumage is dull, so the phrases of its song are limited and reiterated with great monotony, the tone is impure, and the whole performance is dull and to our ears unmusical. I watch them from February to June, and observe the order in which they are mated--first a mature male; next, after a short interval, the immature male; and finally, after a still longer interval, the remaining bird gets a mate. As the season advances, still keeping watch on the development of the plumage and of the voice of the immature male, I observe that no very definite change takes place--that the colours remain dull, that there is a conspicuous absence in the song of certain phrases, and that the notes lack purity of tone. If now, instead of Reed-Buntings in a marsh, I watch Yellow Buntings on a furze-covered common, I find that, establishing themselves early in February, they sing persistently, and in a few weeks are paired. But what arrests my attention more particularly is the quality of the song; for although the voice is unmistakably the voice of the Yellow Bunting, yet it is incomplete and lacks the variety of phrases and musical notation which we customarily associate with the bird. Nevertheless, as the season advances, there is a progressive development in both these directions, and by the end of March or the beginning of April the song possesses all those qualities which appeal to us so forcibly.