The Woodp.e.c.k.e.rs.

by Fannie Hardy Eckstorm.

FOREWORD: THE RIDDLERS

Long ago in Greece, the legend runs, a terrible monster called the Sphinx used to waylay travelers to ask them riddles: whoever could not answer these she killed, but the man who did answer them killed her and made an end of her riddling.

To-day there is no Sphinx to fear, yet the world is full of unguessed riddles. No thoughtful man can go far afield but some bird or flower or stone bars his way with a question demanding an answer; and though many men have been diligently spelling out the answers for many years, and we for the most part must study the answers they have proved, and must reply in their words, yet those shrewd old riddlers, the birds and flowers and bees, are always ready for a new victim, putting their heads together over some new enigma to bar the road to knowledge till that, too, shall be answered; so that other men's learning does not always suffice. So much of a man's pleasure in life, so much of his power, depends on his ability to silence these persistent questioners, that this little book was written with the hope of making clearer the kind of questions Dame Nature asks, and the way to get correct answers.

This is purposely a _little_ book, dealing only with a single group of birds, treating particularly only some of the commoner species of that group, taking up only a few of the problems that present themselves to the naturalist for solution, and aiming rather to make the reader _acquainted with_ the birds than _learned about_ them.

The woodp.e.c.k.e.rs were selected in preference to any other family because they are patient under observation, easily identified, resident in all parts of the country both in summer and in winter, and because more than any other birds they leave behind them records of their work which may be studied after the birds have flown. The book provides ample means for identifying every species and subspecies of woodp.e.c.k.e.r known in North America, though only five of the commonest and most interesting species have been selected for special study. At least three of these five should be found in almost every part of the country. The Californian woodp.e.c.k.e.r is never seen in the East, nor the red-headed in the far West, but the downy and the hairy are resident nearly everywhere, and some species of the flickers and sapsuckers, if not always the ones chosen for special notice, are visitors in most localities.

Look for the woodp.e.c.k.e.rs in orchards and along the edges of thickets, among tangles of wild grapes and in patches of low, wild berries, upon which they often feed, among dead trees and in the track of forest fires. Wherever there are boring larvae, beetles, ants, gra.s.shoppers, the fruit of poison-ivy, dogwood, june-berry, wild cherry or wild grapes, woodp.e.c.k.e.rs may be confidently looked for if there are any in the neighborhood. Be patient, persistent, wide-awake, sure that you see what you think you see, careful to remember what you have seen, studious to compare your observations, and keen to hear the questions propounded you. If you do this seven years and a day, you will earn the name of Naturalist; and if you travel the road of the naturalist with curious patience, you may some day become as famous a riddle-reader as was that Oedipus, the king of Thebes, who slew the Sphinx.

I

HOW TO KNOW A WOODp.e.c.k.e.r

The woodp.e.c.k.e.r is the easiest of all birds to recognize. Even if entirely new to you, you may readily decide whether a bird is a woodp.e.c.k.e.r or not.

The woodp.e.c.k.e.r is always striking and is often gay in color. He is usually noisy, and his note is clear and characteristic. His shape and habits are peculiar, so that whenever you see a bird clinging to the side of a tree "as if he had been thrown at it and stuck," you may safely call him a woodp.e.c.k.e.r. Not that all birds which cling to the bark of trees are woodp.e.c.k.e.rs,--for the chickadees, the crested t.i.tmice, the nuthatches, the brown creepers, and a few others like the kinglets and some wrens and wood-warblers more or less habitually climb up and down the tree-trunks; but these do it with a pretty grace wholly unlike the woodp.e.c.k.e.r's awkward, cling-fast way of holding on. As the largest of these is smaller than the smallest woodp.e.c.k.e.r, and as none of them (excepting only the tiny kinglets) ever shows the patch of yellow or scarlet which always marks the head of the male woodp.e.c.k.e.r, and which sometimes adorns his mate, there is no danger of making mistakes.

The nuthatches are the only birds likely to be confused with woodp.e.c.k.e.rs, and these have the peculiar habit of traveling down a tree-trunk with their heads pointing to the ground. A woodp.e.c.k.e.r never does this; he may move down the trunk of the tree he is working on, but he will do it by hopping backward. A still surer sign of the woodp.e.c.k.e.r is the way he sits upon his tail, using it to brace him. No other birds except the chimney swift and the little brown creeper ever do this. A sure mark, also, is his feet, which have two toes turned forward and two turned backward. We find this arrangement in no other North American birds except the cuckoos and our one native parroquet. However, there is one small group of woodp.e.c.k.e.rs which have but three toes, and these are the only North American land-birds that do not have four well-developed toes.

In coloration the woodp.e.c.k.e.rs show a strong family likeness. Except in some young birds, the color is always brilliant and often is gaudy.

Usually it shows much clear black and white, with dashes of scarlet or yellow about the head. Sometimes the colors are "solid," as in the red-headed woodp.e.c.k.e.r; sometimes they lie in close bars, as in the red-bellied species; sometimes in spots and stripes, as in the downy and hairy; but there is always a _contrast_, never any blending of hues. The red or yellow is laid on in well-defined patches--square, oblong, or crescentic--upon the crown, the nape, the jaws, or the throat; or else in stripes or streaks down the sides of the head and neck, as in the logc.o.c.k, or pileated woodp.e.c.k.e.r.

There is no rule about the color markings of the s.e.xes, as in some families of birds. Usually the female lacks all the bright markings of the male; sometimes, as in the logc.o.c.k, she has them but in more restricted areas; sometimes, as in the flickers, she has all but one of the male's color patches; and in a few species, as the red-headed and Lewis's woodp.e.c.k.e.rs, the two s.e.xes are precisely alike in color. In the black-breasted woodp.e.c.k.e.r, sometimes called Williamson's sapsucker, the male and female are so totally different that they were long described and named as different birds. It sometimes happens that a young female will show the color marks of the male, but will retain them only the first year.

Though the woodp.e.c.k.e.rs cling to the trunks of trees, they are not exclusively climbing birds. Some kinds, like the flickers, are quite as frequently found on the ground, wading in the gra.s.s like meadowlarks.

Often we may frighten them from the tangled vines of the frost grape and the branches of wild cherry trees, or from clumps of poison-ivy, whither they come to eat the fruit. The red-headed woodp.e.c.k.e.r is fond of sitting on fence posts and telegraph poles; and both he and the flicker frequently alight on the roofs of barns and houses and go pecking and pattering over the shingles. The sapsuckers and several other kinds will perch on dead limbs, like a flycatcher, on the watch for insects; the flickers, and more rarely other kinds, will sit crosswise of a limb instead of crouching lengthwise of it, as is the custom with woodp.e.c.k.e.rs.

All these points you will soon learn. You will become familiar with the form, the flight, and the calls of the different woodp.e.c.k.e.rs; you will learn not only to know them by name, but to understand their characters; they will become your acquaintances, and later on your friends.

This heavy bird, with straight, chisel bill and sharp-pointed tail-feathers; with his short legs and wide, flapping wings, his unmusical but not disagreeable voice, and his heavy, undulating, business-like flight, is distinctly bourgeois, the type of a bird devoted to business and enjoying it. No other bird has so much work to do all the year round, and none performs his task with more energy and sense. The woodp.e.c.k.e.r makes no aristocratic pretensions, puts on none of the coy graces and affectations of the professional singer; even his gay clothes fit him less jauntily than they would another bird. He is artisan to the backbone,--a plain, hard-working, useful citizen, spending his life in hammering holes in anything that appears to need a hole in it. Yet he is neither morose nor unsocial. There is a vein of humor in him, a large reserve of mirth and jollity. We see little of it except in the spring, and then for a time all the laughter in him bubbles up; he becomes uproarious in his glee, and the melody which he cannot vent in song he works out in the channels of his trade, filling the woodland with loud and harmonious rappings. Above all other birds he is the friend of man, and deserves to have the freedom of the fields.

II

HOW THE WOODp.e.c.k.e.r CATCHES A GRUB

Did you ever see a hairy woodp.e.c.k.e.r strolling about a tree for what he could pick up?

There is a _whur-r-rp_ of gay black and white wings and the flash of a scarlet topknot as, with a sharp cry, he dashes past you, strikes the limb solidly with both feet, and instantly sidles behind it, from which safe retreat he keeps a sharp black eye fixed upon your motions. If you make friends with him by keeping quiet, he will presently forgive you for being there and hop to your side of the limb, pursuing his ordinary work in the usual way, turning his head from side to side, inspecting every crevice, and picking up whatever looks appetizing. Any knot or little seam in the bark is twice scanned; in such places moths and beetles lay their eggs. Little coc.o.o.ns are always dainty morsels, and large coc.o.o.ns contain a feast. The b.u.t.terfly-hunter who is hoping to hatch out some fine cecropia moths knows well that a large proportion of all the coc.o.o.ns he discovers will be empty. The hairy woodp.e.c.k.e.r has been there before him, and has torn the chrysalis out of its silken cradle. For this the farmer should thank him heartily, even if the b.u.t.terfly-hunter does not, for the cecropia caterpillar is destructive.

But sometimes, on the fair bark of a smooth limb, the woodp.e.c.k.e.r stops, listens, taps, and begins to drill. He works with haste and energy, laying open a deep hole. For what? An apple-tree borer was there cutting out the life of the tree. The farmer could see no sign of him; neither could the woodp.e.c.k.e.r, but he could hear the strong grub down in his little chamber gnawing to make it longer, or, frightened by the heavy footsteps on his roof, scrambling out of the way.

[Ill.u.s.tration: Boring larva.]

It is easy to hear the borer at work in the tree. When a pine forest has been burned and the trees are dead but still standing, there will be such a crunching and grinding of borers eating the dead wood that it can be heard on all sides many yards away. Even a single borer can sometimes be heard distinctly by putting the ear to the tree. Sound travels much farther through solids than it does through air; notice how much farther you can hear a railroad train by the click of the rails than by the noise that comes on the air. Even our dull ears can detect the woodworm, but we cannot locate him. How, then, is the woodp.e.c.k.e.r to do what we cannot do?

Doubtless experience teaches him much, but one observer suggests that the woodp.e.c.k.e.r places the grub by the sense of touch. He says he has seen the red-headed woodp.e.c.k.e.r drop his wings till they trailed along the branch, as if to determine where the vibrations in the wood were strongest, and thus to decide where the grub was boring. But no one else appears to have noticed that woodp.e.c.k.e.rs are in the habit of trailing their wings as they drill for grubs. It would be a capital study for one to attempt to discover whether the woodp.e.c.k.e.r locates his grub by feeling, or whether he does it by hearing alone. Only one should be sure he is looking for grubs and not for beetles' eggs, nor for ants, nor for caterpillars. By the energy with which he drills, and the size of the hole left after he has found his tidbit, one can decide whether he was working for a borer.

But when the borer has been located, he has yet to be captured. There are many kinds of borers. Some channel a groove just beneath the bark and are easily taken; but others tunnel deep into the wood. I measured such a hole the other day, and found it was more than eight inches long and larger than a lead-pencil, bored through solid rock-maple wood. The woodp.e.c.k.e.r must sink a hole at right angles to this channel and draw the big grub out through his small, rough-sided hole. You would be surprised, if you tried to do the same with a pair of nippers the size of the woodp.e.c.k.e.r's bill, to find how strong the borer is, how he can buckle and twist, how he braces himself against the walls of his house.

Were your strength no greater than the woodp.e.c.k.e.r's, the task would be much harder. Indeed, a large grub would stand a good chance of getting away but for one thing, the woodp.e.c.k.e.r _spears_ him, and thereby saves many a dinner for himself.

[Ill.u.s.tration: Indian spear.]

Here is a primitive Indian fish-spear, such as the Pen.o.bscots used. To the end of a long pole two wooden jaws are tied loosely enough to spring apart a little under pressure, and midway between them, firmly driven into the end of the pole, is a point of iron. When a fish was struck, the jaws sprung apart under the force of the blow, guiding the iron through the body of the fish, which was held securely in the hollow above, that just fitted around his sides, and by the point itself.

[Ill.u.s.tration: Solomon Islander's spear.]

The tool with which the woodp.e.c.k.e.r fishes for a grub is very much the same. His mandibles correspond to the two movable jaws. They are knife-edged, and the lower fits exactly inside the upper, so that they give a very firm grip. In addition, the upper one is movable. All birds can move the upper mandible, because it is hinged to the skull. (Watch a parrot some day, if you do not believe it.) A medium-sized woodp.e.c.k.e.r, like the Lewis's, can elevate his upper mandible at least a quarter of an inch without opening his mouth at all. This enables him to draw his prey through a smaller hole than would be needed if he must open his jaws along their whole length. Between the mandibles is the sharp-pointed tongue, which can be thrust entirely through a grub, holding him impaled. Unlike the Indian's spear-point, the woodp.e.c.k.e.r's tongue is barbed heavily on both sides, and it is extensile. As a tool it resembles the Solomon Islander's spear. A medium-sized woodp.e.c.k.e.r can dart his tongue out two inches or more beyond the tip of his bill. A New Bedford boy might tell us, and very correctly, that the woodp.e.c.k.e.r _harpoons_ his grub, just as a whaleman harpoons a whale. If the grub tries to back off into his burrow, out darts the long, barbed tongue and spears him. Then it drags him along the crooked tunnel and into the narrow shaft picked by the woodp.e.c.k.e.r, where the strong jaws seize and hold him firmly.

III

HOW THE WOODp.e.c.k.e.r COURTS HIS MATE

Other birds woo their mates with songs, but the woodp.e.c.k.e.r has no voice for singing. He cannot pour out his soul in melody and tell his love his devotion in music. How do songless birds express their emotions? Some by grotesque actions and oglings, as the horned owl, and some by frantic dances, as the sharp-tailed grouse, woo and win their mates; but the amorous woodp.e.c.k.e.r, not excepting the flickers, which also woo by gestures, whacks a piece of seasoned timber, and rattles off interminable messages according to the signal code set down for woodp.e.c.k.e.rs' love affairs. He is the only instrumental performer among the birds; for the ruffed grouse, though he drums, has no drum.

There is no cheerier spring sound, in our belated Northern season, than the quick, melodious rappings of the sapsucker from some dead ash limb high above the meadow. It is the best performance of its kind: he knows the capabilities of his instrument, and gets out of it all the music there is in it. Most if not all woodp.e.c.k.e.rs drum occasionally, but drumming is the special accomplishment of the sapsucker. He is easily first. In Maine, where they are abundant, they make the woods in springtime resound with their continual rapping. Early in April, before the trees are green with leaf, or the p.u.s.s.y-willows have lost their silky plumpness, when the early round-leafed yellow violet is cuddling among the brown, dead leaves, I hear the yellow-bellied sapsucker along the borders of the trout stream that winds down between the mountains.

The dead branch of an elm-tree is his favorite perch, and there, elevated high above all the lower growth, he sits rolling forth a flood of sound like the tremolo of a great organ. Now he plays staccato,--detached, clear notes; and now, accelerating his time, he dashes through a few bars of impetuous hammerings. The woods reecho with it; the mountains give it faintly back. Beneath him the ruffed grouse paces back and forth on his favorite mossy log before he raises the palpitating whirr of his drumming. A chickadee digging in a rotten limb pauses to spit out a mouthful of punky wood and the brown _Vanessa_, edged with yellow, first b.u.t.terfly of the season, flutters by on rustling wings. So spring arrives in Maine, ushered in by the reveille of the sapsucker.

So ambitious is the sapsucker of the excellence of his performance that no instrument but the best will satisfy him. He is always experimenting, and will change his anvil for another as soon as he discovers one of superior resonance. They say he tries the tin pails of the maple-sugar makers to see if these will not give him a clearer note; that he drums on tin roofs and waterspouts till he loosens the solder and they come tumbling down. But usually he finds nothing so near his liking as a hard-wood branch, dead and barkless, the drier, the harder, the thinner, the finer grained, so much the better for his uses.

Deficient as they are in voice, the woodp.e.c.k.e.rs do not lack a musical ear. Mr. Burroughs tells us that a downy woodp.e.c.k.e.r of his acquaintance used to change his key by tapping on a knot an inch or two from his usual drumming place, thereby obtaining a higher note. Alternating between the two places, he gave to his music the charm of greater variety. The woodp.e.c.k.e.rs very quickly discover the superior conductivity of metals. In parts of the country where woodp.e.c.k.e.rs are more abundant than good drumming trees, a tin roof proves an almost irresistible attraction. A lightning-rod will sometimes draw them farther than it would an electric bolt; and a telegraph pole, with its tinkling gla.s.ses and ringing wires, gives them great satisfaction. If men did not put their singing poles in such public places, their music would be much more popular with the woodp.e.c.k.e.rs; but even now the birds often venture on the dangerous pastime and hammer you out a concord of sweet sounds from the mellow wood-notes, the clear peal of the gla.s.s, and the ringing overtones of the wires.

The flicker often telegraphs his love by tapping either on a forest tree or on some loose board of a barn or outhouse; but he has other ways of courting his lady. On fine spring mornings, late in April, I have seen them on a horizontal bough, the lady sitting quietly while her lover tried to win her approval by strange antics. Quite often there are two males displaying their charms in open rivalry, but once I saw them when the field was clear. If fine clothes made a gentleman, this brave wooer would have been first in all the land: for his golden wings and tail showed their glittering under side as he spread them; his scarlet headdress glowed like fire; his rump was radiantly white, not to speak of the jetty black of his other ornaments and the beautiful ground-colors of his body. He danced before his lady, showing her all these beauties, and perhaps boasting a little of his own good looks, though she was no less beautiful. He spread his wings and tail for her inspection; he bowed, to show his red crescent; he bridled, he stepped forward and back and sidewise with deep bows to his mistress, coaxing her with the mellowest and most enticing _co-wee-tucks_, which no doubt in his language meant "Oh, promise me," laughing now and then his jovial _wick-a-wick-a-wick-a-wick-a_, either in glee or nervousness. It was all so very silly--and so very nice! I wonder how it all came out. Did she promise him? Or did she find a gayer suitor?

IV

HOW THE WOODp.e.c.k.e.r MAKES A HOUSE