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 intervals one or another of them will make its peculiar throw or somersault in the air. This, in its completest form, is a wonderful thing to behold, though so familiar that no attention is paid to it. The bird in full flight—in a rushing torrent of sound and motion—may be seen to partially close the wings, and fall plumb as though it had been shot. In a moment or two, but often not before there has been a considerable drop, the wings are again partially extended, and the bird turns right head over heels. Then, sweeping buoyantly upwards, sometimes almost from the ground, it continues its flight as before. Such a tumble as this is a fine specimen. They are not all so abrupt and dramatic, but there is one point common to them all, which is the impossibility of saying exactly how the actual somersault is thrown. Do these tumblings add to the charm of the peewit's flight? To the charm, perhaps; certainly to the wonder and interest, but hardly (unless we are never to criticise nature) to the grace. The contrast is too great, there is something of violence, almost of buffoonery, about it. It is as though the clown came tumbling right into the middle of the transformation scene.

As the birds sweep about, they begin to enter into their bridal dances, pursuing each other with devious flight, pausing, hanging stationary with flapping wings one just above the other, then sweeping widely away in opposite directions. Shortly afterwards they are again flying side by side, or the sun, "in a wintry smile," catches both the white breasts as they make a little coquettish dart at each other. Then again they separate, and again the joyous "coo-oo-oo,