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 over; the deportment of the courting or paired birds towards each other—their nuptial antics—is of a different character. With birds, as with men, all outward action must be the outcome of some mental state. What kind of mental excitement is it which causes the stone-curlews to behave every evening in this mad, frantic way? I believe that it is one of expectancy and making ready, that these odd antics—the mad running and leaping and waving of the wings—give expression to the anticipation of going and desire to be gone which begins to possess the birds as evening falls. They are the prelude to, and they end in, flight. The two, in fact, merge into each other, for short flights grow out of the tumblings over the ground, and it is impossible to say when one of these may not be continued into the full flight of departure. They are a part of the dance, and, as such, the birds may almost be said to dance off. Surely in actions which lead directly up to any event there must be an idea, an anticipation of it, nor can the idea of departure exist in a bird's mind (hardly, perhaps, in a man's) except in connection with what it is departing for—food, namely, in this case, a banquet. So when I say that these birds "think of the joys of the night" need this be merely a figure? May it not be true that they do so and dance forth each night, to their joy?

I have said that the social or autumn antics of the stone-curlews—their dances, as I have called them, using the usual phraseology—are distinct from the nuptial or courting ones which they indulge in in the spring. These latter are of a different