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Rh the fulmar petrel without becoming dissatisfied, or at least critical, in regard to that of other sea-birds. The larger gulls grow hopelessly coarse and heavy; the kittiwake is not what it was, something is gone from the bold corsair-like sweeps of the Arctic skua, and even in the seeming-laboured grace of the tern the eye begins to dwell more on the labour and less on the grace. All these birds are bodies: the fulmar petrel more suggests a soul. Something of this it owes to its colouring, which, though approaching to blue above, and of the purest-looking white below, yet has in it that exquisitely smoked or shadowed quality which allows of no glint or gleam, avoids all saliency, and almost seems alien from substance itself. It blends with the air, of which it seems to be a condensation rather than something introduced into it. Yet most lies in the flight. In this there is conveyed to one a sense, not so much of power over as of actual partnership in the element in which the bird floats, as though it had been born there, as though it might sleep and awake there, as though it had never been, nor ever could be, anywhere else. It is, I suppose, the small apparent mechanism of the flight that gives this impression, the absence, or the ease, of effort. Sliding, as it were, from the face of the precipice, and often from the most towering heights of it, the thin cleaver-like wings are at once, or after a few quick, flickering vibrations, spread to their full extent, and on them the bird floats, sweeps, circles, now sinking towards the sea, now cresting the summit of the