Listen to the charm of birds in any sequestered woodland on a bright forenoon in early summer. As you try to disentangle the medley of sounds, the first, perhaps, which will strike your ear will be the loud, harsh, monotonous, flippant song of the chaffinch, and the metallic clinking of two or three sorts of titmice. But above the tree-tops, rising, hovering, sinking, the woodlark is fluting tender and low. Above the pastures outside the skylark sings -- as he alone can sing; and close by from the hollies rings out the blackbird's tenor -- rollicking, audacious, humorous, all but articulate. From the tree above him rises the treble of the thrush, pure as the song of angels; more pure, perhaps, in tone, though neither so varied nor so rich as the song of the nightingale. And there, in the next holly, is the nightingale himself; now croaking like a frog, now talking aside to his wife, and now bursting out into that song, or cycle of songs, in which if any man find sorrow, he himself surely finds none. . . . In Nature there is nothing melancholy.

Prose Idylls. 1866.