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Ch. 19: Music and Dancing in Nature - Page 2
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"dancing birds."
This species was probably solitary, except when assembling for the
purpose of display; but in a majority of cases, especially in the
Passerine order, the solitary species performs its antics alone, or with
no witness but its mate. Azara, describing a small finch, which he aptly
named _Oscilador,_ says that early and late in the day it mounts up
vertically to a moderate height; then, flies off to a, distance of
twenty yards, describing a perfect curve in its passage; turning, it
flies back over the imaginary line it has traced, and so on repeatedly,
appearing like a pendulum swung in space by an invisible thread.
Those who seek to know the cause and origin of this kind of display and
of song in animals are referred to Darwin's _Descent of Man_ for an
explanation. The greater part of that work is occupied with a laborious
argument intended to prove that the love-feeling inspires the animals
engaged in these exhibitions, and that sexual selection, or the
voluntary selection of mates by the females, is the final cause of all
set musical and dancing performances, as well as of bright and
harmonious colouring, and of ornaments.
The theory, with regard to birds is, that in the love-season, when the
males are excited and engage in courtship, the females do not fall to
the strongest and most active, nor to those that are first in the field;
but that in a large number of species they are endowed with a faculty
corresponding to the aesthetic feeling or taste in man, and deliberately
select males for their superiority in some aesthetic quality, such as
graceful or fantastic motions, melody of voice, brilliancy of colour, or
perfection of ornaments. Doubtless all birds were originally
plain-coloured, without ornaments and without melody, and it is assumed
that so it would always have been in many cases but for the action of
this principle, which, like natural selection, has gone on accumulating
countless small variations, tending to give a greater lustre to the
species in each case, and resulting in all that we most admire in the
animal world--the Rupicola's flame-coloured mantle, the peacock's crest
and starry train, the joyous melody of the lark, and the pretty or
fantastic dancing performances of birds.
My experience is that mammals and birds, with few exceptions--probably
there are really no exceptions--possess the habit of indulging
frequently in more or less regular or set performances, with or without
sound, or composed of sound exclusively; and that these performances,
which in many animals are only discordant cries and choruses,
and uncouth, irregular motions, in the more aerial, graceful, and
melodious kinds take
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