Birds in London — A Closer Reading
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was Mr. Mandeville B. Phillips, of South Norwood, then private secretary to the late Archbishop of Canterbury. By accident he had become possessed of a carrion crow, sold to him as a young raven taken from a nest at Ely. This bird made so interesting a pet that its owner became desirous of hearing the experiences of others who had kept carrion crows. Mr. Phillips, in kindly giving me the history of his bird, says that at different times he has kept ravens, daws, jays, and magpies, but has never had so delightful a bird friend as the crow. It was a revelation to him to find what an interesting pet this species made. No other bird he had owned approached him in cleverness and in multiplicity of tricks and devices: he could give the cleverest jackdaw points and win easily. If his bird was an average specimen of the race, he wondered that the crow is not more popular as a pet. This bird was fond of his liberty, but would always come to his master when called, and roosted every night in an outhouse. Like the tame raven, and also like human beings of a primitive order of mind, he was excessively fond of practical jokes, and whenever he found the dog or cat asleep he would steal quietly up and administer a severe prod on the tail with his powerful beak. He would also fly into the kitchen when he saw the window open, to steal the spoons; but his chief delight was in a box of matches, which he would carry off to pick to pieces and scatter the matches all over the place. He was extremely jealous of a tame raven and a jackdaw that shared the house and garden with him, and which he chose to regard as rivals; but this was his only unhappiness. The appearance of his master dressed in 'blazers' always greatly affected him. It would, indeed, throw him into such a frenzy of terror that Mr. Phillips became careful not to exhibit himself in such bizarre raiment in the garden. My informant concludes, that he is not ashamed to say that he shed a few tears at the loss of this bird.
I may add that I received a large number of letters in answer to my article on the carrion crow, but none of my correspondents in this country had any knowledge of the bird as a pet. In several letters received from America--the States and Canada--long histories of the common crow of that region as a pet bird were sent to me.
Rarity of the daw in London--Pigeons and daws compared--Æsthetic value of the daw as a cathedral bird--Kensington Palace daws; their disposition and habits--Friendship with rooks--Wandering daws at Clissold Park--Solitary daws--Mr. Mark Melford's birds--Rescue of a hundred daws--The strange history of an egg-stealing daw--White daws--White ravens--Willughby's speculations--A suggestion.
It is somewhat curious to find that the jackdaw is an extremely rare bird in London--that, in fact, with the exception of a small colony at one spot, he is almost non-existent. At Richmond Park, where pheasants (and the gamekeeper's traditions) are preserved, he was sometimes shot in the breeding season; but in the metropolis, so far as I know, he has never been persecuted. Yet there are few birds, certainly no member of the crow family, seemingly so well adapted to a London life as this species. Throughout the kingdom he is a familiar town bird; in one English cathedral over a hundred pairs have their nests; and in that city and in many other towns the birds are accustomed to come to the gardens and window-sills, to be fed on scraps by their human neighbours and friends.
While the daw has diminished with us, and is near to vanishing, the common pigeon--the domestic variety of the blue rock--has increased excessively in recent years. Large colonies of these birds inhabit the Temple Gardens, the Law Courts, St. Paul's, the Museum, and Westminster Palace, and many smaller settlements exist all over the metropolis. Now, a flock or cloud of parti-coloured pigeons rushing up and wheeling about the roofs or fronts of these imposing structures forms a very pretty sight; but the daw toying with the wind, that lifts and blows him hither and thither, is a much more engaging spectacle, and in London we miss him greatly.
W. H. Hudson opens Birds in London by declaring that his aim is to furnish an account of the city's wild bird life 'of to-day'—a phrase that anchors the work in the immediate present of 1898. The preface immediately establishes a personal, observational stance: Hudson notes that previous writings on London birds are 'interesting now, mainly, as showing the changes that have taken place,' and he positions his own work as a corrective, relying 'perhaps too much on my own observation.' This voice—direct, slightly defensive, and grounded in firsthand experience—shapes the entire narrative.
A Voice of Care and Caution
Hudson's prose carries a distinctive blend of scientific precision and personal investment. He describes the rookery on elm-trees 'at the side of the High Street' with the same care he gives to the Leg of Mutton Pond, where a pair of moorhens 'appear quite unconcerned in the presence of people.' The phrase 'the crow with his voice of care,' which serves as the book's epigraph, echoes through Hudson's own tone: he is attentive to threats, noting that Hampstead Heath is 'a very unfavourable breeding-place for birds' because of 'gangs of birds'-nesting boys and young men.' Yet he resists alarmism, instead offering practical suggestions—such as establishing 'small sanctuaries'—that reveal a measured, reformist impulse.
Structure as a Map of Observation
The book's organization mirrors Hudson's method: he moves from general introduction to specific locales, listing species with the rhythm of a field notebook. In the Hampstead section, he catalogs summer visitors—'wryneck and cuckoo, grasshopper-, sedge- and reed-warblers, blackcap and garden warbler'—in a single breathless sentence that mimics the act of scanning. He then shifts to a quieter register when discussing the moorhens: 'They are very tame, and appear quite unconcerned.' This alternation between list-like density and anecdotal pause gives the text a variable pace, reflecting the birdwatcher's alternation between scanning and focused attention.
Changes in Pace: From Catalogue to Reflection
Hudson frequently slows his narrative to dwell on a single scene. The description of the Leg of Mutton Pond—'a rather muddy pool where dogs are accustomed to bathe'—unfolds with deliberate simplicity, contrasting with the rapid enumeration of species earlier. He notes that the moorhens 'rear brood after brood of young every summer' and that 'half-grown young birds assist their parents,' observations that hint at a life cycle unfolding despite urban pressures. These reflective passages, often ending with a practical suggestion ('a few beds of rushes ... would also greatly add to their beauty'), create a rhythm of observation, concern, and quiet advocacy that defines Hudson's voice throughout.
Readers will find that Birds in London rewards attention to its shifts in tempo: the hurried lists of species give way to unhurried portraits of individual birds, and the tone moves from cataloguer to advocate. Hudson's language—precise, personal, and occasionally wry—invites us to see the city's green spaces not as static backgrounds but as contested habitats where every moorhen and rook tells a story of adaptation.
Reading Hudson’s quiet notes on Hampstead’s sparrows, I remembered watching a downy woodpecker at my grandmother’s feeder—how she’d say its drumming was the forest’s heartbeat. Turning the pages of Life histories of North American woodpeckers — Story, Setting & Ideas later felt the same: listening to one patient observer’s voice, not rushing, just noting what the birds did with their ordinary days.
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